Unknown Pleasures
Part of Continuum's 33 and 1/3 series of short books that examine recordings by beloved artists over the years.
This one looks at the rise of Joy Division at the making of their classic debut album, Unknown Pleasures.
Given the brevity of the book it cannot compete with works like "Touching From a Distance" or celebrate the myth to the extent that Twenty-Four Hour Party People did.
It's a basic, functional little volume.
It's worth picking up cheap if you particularly love Joy Division.
Our Band Could Be Your Life
The story of the American indie underground in the eighties as told through short biographies of some of the leading lights of the scene.
I really enjoyed at least half of these short bios, as some of the bands had fascinating interpersonal struggles, financial problems and made great music.
However, the author made some odd decisions. Your band is only indie if your records are recorded for an indie label who used only indie distribution? A pointless distinction if you ask me. If, as I suspect, he only did this to avoid covering REM for the millionth time, then why not just say that?
Why, also, decide to not cover the major label careers of the bands that he does write about beyond a brief sneery paragraph or two about how none of their records were as good once they took money from the big boys?
Why spend countless pages wittering on about the idealism of certain bands? Sure they had admirable politics, that's great, I want to read about the music too at some point though.
Maybe I'm too comfortably cynical about the music business as a whole but the whole concept of indie purity just seems silly to me nowadays. So I'm docking points for his pious devotion to his precious hardcore band's purity.
Otherwise highly recommended for those with an interest in 80's underground indie music.
Fargo Rock City
I've read this book before (entry missing due to db hacker)
Klosterman's aim with this book was, to quote, 'to show why all that poofy, sexist, shallow glam rock was important'. You know what? He totally failed
Klosterman is a talented writer with a witty personable voice that makes it feel like he's talking to you one on one.
The major flaw with the book is that while he obviously loves his metal, he's also deeply insecure about how unhip it is to like it.
Maybe it's his position as a music critic (a profesion full of hipper-than-thou people) that's made him so defensive, I don't know. He spends too much time trying to defend the genre with regard to sexism etc., using incoherent, poorly thought out arguments when he should just acknowledge that it existed. Of course it existed. However, a lot of the point of metal for it's creators and fans over the years has been that it pisses people off. That's all he really needed to say.
The book works when it acts as a biography and talks about how the music soundtracked his life and he should have spent more time on that.
One point that continues to hack me off is his bizarre snobbery about 80's underground music that appears in the epilogue. He gets all het up at the notion that you had to be a bit more adventurous to discover the stuff than metal. It's just fucking true. These bands sold next to nothing, had minimal radio play and ended up meaning a bit too much to the people who loved them. Get over the fact that you liked popular music. Embrace the idea.
I've watched two documentaries about the history of metal and the metallica doc recently and this book doesn't do it's subject any justice compared even to those deeply flawed projects.
The book is frequently funny, it's just that it's frequently wrong-headed too. Go in expecting that and you will get the best out of it.
