Avant-funk

[2] Some motifs of the style in the 1970s and 1980s included "neurotic slap-bass" and "guttural pseudo-sinister vocals,"[1] as well as "Eurodisco rhythms; synthesizers used to generate not pristine, hygienic textures, but poisonous, noisome filth; Burroughs’ cut-up technique applied to found voices.

"[4] According to critic Simon Reynolds, the movement was animated by the notion that "rock's hopes of enjoying a future beyond mere antiquarianism depends on assimilating the latest rhythmic innovations from black dance music.

"[4] Early acts who have retrospectively been described with the term include German krautrock band Can,[6] American funk artists Sly Stone and George Clinton,[7] and jazz trumpeter Miles Davis.

[1] Many of its original practitioners instead became a part of the UK's first wave of house music,[12] including Cabaret Voltaire's Richard H. Kirk and Graham Massey of Biting Tongues (and later of 808 State).

[1] Reynolds compared the UK's rave music and jungle scenes of the early 1990s to a "reactivation" of avant-funk, calling it "a populist vanguard, a lumpen bohemia that weirdly mashed together the bad-trippy sounds of art school funk-mutation with a plebeian pill-gobbling rapacity".