The punkadelic Skunks have been at it in Austin for four years.
1987, Judge I-Rankin', "Underground", Spin, April 1987, page 41:
Instead the material is perfectly executed punkadelic glam-bop burnished with a healthy dose of metallic insolence.
1992, Mike Clifford & Pete Frame, The Harmony Illustrated Encyclopedia of Rock, Harmony Books (1992), →ISBN, page 167:
Career: Manchester quartet who developed 'punkadelic' new wave sound on early gigs in Sweden.
1992, James Young, Nico: Songs They Never Play on the Radio, Bloomsbury (1999), →ISBN, page 141:
Eric had been part of the early eighties Manchester Scene. First hanging out with Pete Shelley of the Buzzcocks, who wrote a song about him called ‘What do I Get?’; then as one of Shelley's Tiller Boys; and latterly forming his own punkadelic group, Eric Random and the Bedlamites.
We go on driving — black, snaky, timeless driving, stopping at 7-Eleven's for cigarettes, beer, driving — driving, the car radio blasting punkadelic sounds, boombox heartbeats in the belly.
But although its motor is usually sex and/or sexism, the greatest music of the "punkadelic" era achieves a kind of abstract urgency;
1999, Thomas Petzinger, The New Pioneers: The Men and Women Who Are Transforming the Workplace and Marketplace, Simon & Schuster (1999), →ISBN, page 59:
Soon Chank had built a community of regular Web-site visitors, mainly artists and designers who tuned in not just to check out his latest fonts but to read his zany (often indecorous) accounts of his punkadelic lifestyle.
2005, Simon Reynolds, Rip it Up and Start Again: Postpunk 1978-1984, Penguin Books (2005), →ISBN, page 106:
Instead, the Fall tranced out to the primal monotony of Can, the methedrine-scorched white noise of the Velvet Underground, and sixties "punkadelic" bands like the Seeds (who only had one keyboard riff, which they endlessly recycled).
2007, Steve Chick, Psychic Confusion: The Sonic Youth Story, Omnibus Press (2007), →ISBN, unnumbered page:
King described his aesthetic as “punkadelic”: he envisioned the band somehow fusing garage-rock with genres he believed kindred with punk-folk-rock and psychedelic rock.
2014, Ian Glasper, The Day the Country Died: A History of Anarcho Punk 1980–1984, PM Press (2014), →ISBN, page 179:
Then, when Compassion split in the early Nineties, Lol and Ed formed Compassion Family, “a punkadelic dance outfit specialising in techno terrorism,” who released several minor trance classics on Inter 1, Boom and Full Moon Records, before once again setting up their own label, Greedy Dig Productions.
