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A thorough history of Slint, and the Louisville scene that surrounded the band, leading up to and focusing on the creation of their masterpiece, Spiderland.
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Examines the generation that came of age between the Baby Boomers and the Millennials, providing a tribute to its cultural, technological, and political contributions, from Yahoo! and Lollapalooza to Nirvana and Woodstock '94.
"Music journalist Andrew Earles provides a rundown of 500 landmark albums recorded and released by bands of the indie rock genre"--
Storm Static Sleep: A Pathway Through Post-Rock is the first publication dedicated to the story of post-rock music. As grunge and britpop ruled the airwaves in the early 90s, post-rock was a vital jolt of innovation for a world sleepwalking back towards rock tradition. Now, more than twenty years on, post-rock's mark on the cultural landscape is significant. Dedicated post-rock festivals exist across the globe and the music is commonplace in film and advertisement soundtracks. Meanwhile, the listenership has bloomed into an international community whose devotion borders on the obsessive. Despite its rise to mainstream cultural prominence, the significance of post-rock remains a subject of some controversy, with the label itself often abused as a journalistic cliché and regularly loathed by the artists tagged with it. To date there is no comprehensive account of post-rock history in either print or online. Storm Static Sleep sets the record straight. It unpicks the meaning of post-rock, tunnelling back to its origins to interrogate the journalists who championed it and the bands who renounced it. Featuring over 30 first-hand interviews with some of the most prominent names in post-rock - including members of Mogwai, Tortoise, Mono, Isis, Slint, God Is An Astronaut and producer Steve Albini - Storm Static Sleep follows one of music's most nomadic terms through every stage of its transformation.
John Darnielle describesMaster of Reality in the voice of a fifteen-year-old boy being held in an adolescent psychiatric center in southern California in 1985. The narrator explains Black Sabbath like an emissary from an alien race describing his culture to his captors: passionately, patiently, and lovingly.
Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.
From a Los Angeles hospital bed, equipped with little more than a laptop and a stack of records, James “J Dilla” Yancey crafted a set of tracks that would forever change the way beatmakers viewed their artform. The songs on Donuts are not hip hop music as “hip hop music” is typically defined; they careen and crash into each other, in one moment noisy and abrasive, gorgeous and heartbreaking the next. The samples and melodies tell the story of a man coming to terms with his declining health, a final love letter to the family and friends he was leaving behind. As a prolific producer with a voracious appetite for the history and mechanics of the music he loved, J Dilla knew the records that went into constructing Donuts inside and out. He could have taken them all and made a much different, more accessible album. If the widely accepted view is that his final work is a record about dying, the question becomes why did he make this record about dying? Drawing from philosophy, critical theory and musicology, as well as Dilla's own musical catalogue, Jordan Ferguson shows that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist's declining health as it is an example of what scholars call “late style,” placing the album in a musical tradition that stretches back centuries.
If writing about music is like dancing about architecture, you'd do best to hone your chops and avoid clich�s (like the one that begins this sentence) by learning from the prime movers. How to Write About Music offers a selection of the best writers on what is perhaps our most universally beloved art form. Selections from the critically-acclaimed 33 1/3 series appear alongside new interviews and insights from authors like Lester Bangs, Chuck Klosterman, Owen Pallet, Ann Powers and Alex Ross. How to Write About Music includes primary sources of inspiration from a variety of go-to genres such as the album review, the personal essay, the blog post and the interview along with tips, writing prompts and advice from the writers themselves. Music critics of the past and the present offer inspiration through their work on artists like Black Sabbath, Daft Punk, J Dilla, Joy Division, Kanye West, Neutral Milk Hotel, Radiohead, Pussy Riot and countless others. How to Write About Music is an invaluable text for all those who have ever dreamed of getting their music writing published and a pleasure for everyone who loves to read about music.