This genre used to be called "underground," then "progressive", then "alternative rock" then "indie rock" and now it's just called "indie". And really, it's not a genre.
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. Learn More
This is a thoroughly researched exploration of one of the most original, unexpected, and durable British albums of the 1990s. An album which distilled a genre from the musical, cultural, and social ether, Portishead's "Dummy" was such a complete artistic achievement that its ubiquitous successes threatened to exhaust its own potential. Learn More
It was virtually impossible to ignore Radiohead's KID A when it was released in early October of 2000. But the album was more than just a ten-track collection of songs written by five musicians from Oxfordshire, more than the "weird" follow-up to the critics' fashionable go-to record of choice, OK COMPUTER, more than what the VILLAGE VOICE described as "the biggest, warmest recorded go-fuck-yourself in recent memory." KID A was an event. Learn More
Pavement wrapped up at Easley Recording in Memphis. They mixed the tracks and recorded overdubs in New York. They took a step back and assessed the material. It was a wild scene. Learn More
Part manifesto, part publicity stunt, part limited edition object (at least in its ridiculously miniscule initial pressing), 69 LOVE SONGS is also a survey of recent popular culture, high and low. Learn More