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Down With Childhood: Pop Music and the Crisis of Innocence

Paul Rekret

“Takes the reader on an exhilarating tour through the recent history of pop music and politics.”
— New Inquiry

 

 

 

 

 

 

Triptych: Three Studies of Manic Street Preachers’ The Holy Bible

Rhian E Jones, Daniel Lukes, Larissa Wodtke

“Captures the band’s intellectual appeal.”
— Dan Hancox, Guardian

 

 

 

 

 

 

1996 and the End of History

David Stubbs

 

 

 

 

 

 

Red Set: A History of Gang of Four

Jim Dooley

“The definitive history of Gang of Four, along the way explaining why their music meant so much for the embryonic leftwing ideas of their dedicated followers…”
— openDemocracy

 

 

 

 

 

 

Ashes to Ashes: The Songs of David Bowie 1976–2016

Chris O’Leary

“The best David Bowie writing bar none.”
—Bob Stanley

 

 

 

 

 

 

Dead Precedents

Roy Christopher

“Written with the passion of a zine-publishing fan and the acuity of an academic…”
— Dan Hancox, Guardian

 

 

 

 

 

 

Under My Thumb

Rhian E Jones and Eli Davies

“A book that arms us with the clarifying arguments we need in this moment.”
—Jessica Hopper, Frieze

 

 

 

 

 

 

Anadolu Psych
Daniel Spicer

“As a knowledgeable and thoughtful overview to a scene which is now more accessible than ever, this serves as a perfect introduction.”

—The Wire

 

 

 

 

 

Justify My Love

Ryann Donnelly

“A tender and corporeal autobiography of what it means to express yourself as a female musician when everything feels bound by the playful but taut restrictions of love, sex and power.” — Hannah Ewens, VICE

 

 

 

 

 

 

 

 

 

 

Mad Skills: MIDI and Music Technology in the Twentieth Century

Ryan Diduck

“Do you like electronic music and Marxism? You’re in luck… great for gearheads and anyone who resents the rise of black-boxed control mechanisms.”
— Pitchfork

 

 

 

 

 

 

Smile If You Dare

Ramzy Alwakeel

“As well as a keen critical edge, it is equipped with an undisguised mad love for the source material, a sense of passionate abandon induced by the tragic/ecstatic synth-pop that pours out of the speakers.”
—The Wire