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Simon Reynolds

Bring the Noise

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Bring the Noise weaves together interviews, reviews, essays, and features to create a critical history of the last twenty years of pop culture, juxtaposing the voices of many of rock and hip hop’s most provocative artists—Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead—with Reynolds’s own passionate analysis. With all the energy and insight you would expect from the author of Rip It Up and Start Again, Bring the Noise tracks the alternately fraught and fertile relationship between white bohemia and black street music. The selections transmit the immediacy of their moment while offering a running commentary on the broader enduring questions of race and resistance, multiculturalism, and division. From grunge to grime, from Madchester to the Dirty South, Bring the Noise chronicles hip hop and alternative rock’s competing claims to be the cutting edge of innovation and the voice of opposition in an era of conservative backlash. Alert to both the vivid detail and the big picture, Simon Reynolds has shaped a compelling narrative that cuts across a thrillingly turbulent two-decade period of pop music.
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696 бумажных страниц
Дата публикации оригинала
2011
Год выхода издания
2011
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Цитаты

  • Nickolay Ovchinnikovцитирует3 месяца назад
    Of all the post-rock units, Seefeel have most avidly embraced techno’s methodology; appropriately, they’ve found a commercial niche in the ‘electronic listening’ genre (recently performing alongside Autechre and -ziq), and a home on its premier label, Warp.
  • Nickolay Ovchinnikovцитирует3 месяца назад
    Crause sees Disco Inferno as a ‘virtual reality band’. But what’s really interesting about them is the way they haven’t totally abandoned the rock process: they combine the physicality of live performance with the wizardry of sampling. (Crause claims that DI Go Pop was recorded live, and that the group’s future plans include using Marshall amps!)
  • Nickolay Ovchinnikovцитирует3 месяца назад
    desire to create a ‘fictional psycho-acoustic space’

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