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Trip-hop described some of the 1990s' best music, and it was one of the decade's most revealing bad ideas. This book chronicles the music and its leading artists, packed with recommended listening, essential tracks, great remixes, and under-recognized albums."Your playlists will soon be overflowing." - Spectrum CultureThe music itself was an intoxication of beats, bass, and voice. It emerged amid the social tensions of the late 1980s, and as part of hip-hop's rise to global dominance. It carried the innovations of Jamaican soundsystem culture, the sweet refuge of Lovers Rock, the bliss of club jazz dancefloors and post-rave chill-out rooms. It went mainstream with Massive Attack, Portishead, Tricky, DJ Shadow, Kruder & Dorfmeister, and Björk; and with record labels like Ninja Tune and Mo' Wax. To the artists' despair, the music was tagged with a silly label and packaged as music for the boutique and the lounge; made respectable with awards and acclaim.But the music at its best still sounds experimental and dramatic; and its influence lingers through artists like FKA twigs, Sevdaliza, James Blake, Billie Eilish, and Lana Del Rey. This short book is a guide to 'trip-hop' in its context of the weird 1990s: nostalgia and consumerism; pre-millenium angst and lo-fi technology; casual exoticism amid accelerating globalization and gentrification.

Featuring exclusive interviews with key figures, from Napalm Death vocalist Barney Greenway to guitarist Bill Steer of Gentlemans Pistols, Carcass, and Napalm Death, this is your guide through the history of death metal.Guitars playing abrasive, discordant riffs, the thunderous double-kick of the drums acting like an accelerated heartbeat, and porcine, guttural vocals pummeling twisted lyrics. Courting controversy from inception to its modern day iteration, death metal presents a number of contradictions: Driven and adventurous musicians compete to make uncomfortable noises; it is crude and far beyond parody and yet consistently popular; and the music is pig-headedly uncommercial despite making a few labels, albeit briefly, wealthy. This book explores the history and methodology of the genre, charting its aims and intentions, its crossovers to the mainstream, successes and failures, and tracks how it developed from the bedrooms of Birmingham and Florida to the near-mainstream, to the murky cult status it enjoys today.

Beginning in the late 1970s as an offshoot of disco and punk, dance-punk is difficult to define. Also sometimes referred to as disco-punk and funk-punk, it skirts, overlaps, and blurs into other genres including post-punk, post-disco, new wave, mutant disco, and synthpop. This book explores the historical and cultural conditions of the genre as it appeared in the late 1970s and early 1980s and then again in the early 2000s, and illuminates what is at stake in delineating dance-punk as a genre. Looking at bands such as Gang of Four, ESG, Public Image Ltd., LCD Soundsystem, The Rapture, and Le Tigre, this book examines the tensions between and blurring of the rhetoric and emotion in dance music and the cynical and ironic intellectualizing associated with post-punk.

From the storied ache of mbube harmonies of the '40s to the electronic boom of kwaito and the amapiano and house explosion of the '00s, this book explores vignettes taken from across South Africa's popular music history. There are moments in time where music can be a mighty weapon in the fight for freedom. Disguised in a danceable hook or shouted for the world to hear, artists have used songs to deliver important truths and bring listeners together in the face of a segregated reality. In the grip of the brutal apartheid era, South Africa crafted its own idiosyncratic popular musical vernacular that operated both as sociopolitical tool and realm of escape. In a country with 11 official languages, music had the power to unite South Africans in protest. Artists bloomed a new idyll from the branches of countless storied musical traditions, and in turn found themselves banned or exiled-the profound epiphany that music can exist both within the pleasure of itself and for serving a far greater purpose.

Teen pop is a sub-genre of popular music marketed to tweens and teens. Its melodic yearning and veneer of sincerity appeal to an emerging romantic eroticism and autonomy. But tweens and teens buy music that isn't primarily marketed to them, too. Teen pop encompasses several kinds of musical styles, not limiting itself to just one-teen pop wants to play. During the 1970s, teen pop sometimes worked subversively, challenging the status quo it seemed to represent. Male pop stars such as David Cassidy were shown suggestively in popular magazines and female pop stars such as Cher had their own TV shows. Teen magazines, pin-ups, comics, films, and TV programs provided luscious visual stereo, promoting fashion styles, lingo, and dance moves, signaling individual identity but also community. The music provided a way for young people to believe they had something all their own, an authenticity experimenting with sexuality and social conduct, all dressed up in glitter and satin, blue jeans and boom boxes, torn fishnets and safety pins and, magically, their dreams. Cartoon pop and made-for-TV bands! Bubblegum pop! Glam! Hip hop! Hard rock and pop rock and stadium rock! Punk! Disco! Teen pop reinforced aspects of the counterculture it absorbed as the music kept playing-and playing back.Although it's very difficult to attain and maintain social progress and play it forward-there are so many tragedies-'70s Teen Pop examines how liberation and a true counterculture can be possible through music.

Krautrock is not a music genre. Krautrock is a way of life. Its sonic diversity and global reach belie the common culture from where it emerged. This is a band-by-band history. In May 1945, the Allies defeated Nazi Germany, putting an end to the European front of World War II and the Third Reich. In the immediate aftermath, German youth were tasked to create their own culture. Krautrock is this unlikely success story, as hundreds of bands-including Kraftwerk and Can-seemed to sprout overnight in the early 1970s, forging a unique and experimental sound that was different than American or British rock. The major innovation of krautrock is not only its motorik beat, the steady click-click of Can's Jaki Liebezeit or monolithic stomp-stomp of Neu!'s Klaus Dinger, but also how the musicians relate to each other. In krautrock, no musician is given more focus than any other, and listening to these bands is to witness interplay common in jazz music. Thus, krautrock represents German politics reflected in music: a dictatorship replaced by democracy. Krautrock explores the history and methodology of the genre, charting its influences and innovations, its more mainstream acts (like Faust, Kraftwerk, and Can) as well as the less universally known (including Harmonia, Popol Vuh, Embryo, and Ash Ra Tempel), and how the genre developed in post-war Germany and what it means to today's listeners.

Neue Deutsche Welle (NDW), or "German New Wave," was made extraordinarily popular in the 1970s and 1980s by the likes of Nena's "99 Luftballoons" and Trio's "Da Da Da"-and then left as quickly as it came. Conventional wisdom among artists dictates that it's better to burn out than fade away, but this doesn't tell the full story of NDW-the reason for its rapid rise and fall, the historical context that necessitated the genre, and where the energy of the NDW movement went after its end. The genre has international influences but still demonstrates a uniquely German desire to build a new, sanitized identity in the aftermath of World War II. Originally quite subversive and underground, NDW became exponentially more mainstream until it could no longer sustain itself creatively. And rather than disappearing, it helped give rise to the post-Cold War rave craze and is still an important touchstone in music history.

Folk music of the 1960s and 1970s was a genre that was always shifting and expanding, yet somehow never found room for so many. In the sounds of soul-folk, Black artists like Terry Callier and Linda Lewis began to reclaim their space in the genre, and use it to bring their own traditions to light- the jazz, the blues, the field hollers, the spirituals- and creating something wholly new, wholly theirs, wholly ours. This book traces the growing imprints of soul-folk and how it made its way from folk tradition to subgenre. Along the way, it explores the musicians, albums, and histories that made the genre what it is.

Math rock sounds like blueprints look: exact, precise, architectural. This trance-like progressive metal music with indie rock and jazz influences has been captivating and challenging listeners for decades. Bands associated with the genre include King Crimson, Black Flag, Don Caballero, Slint, American Football, Toe, Elephant Gym, Covet, and thousands more. In an online age of bedroom producers and sampled beats and loops, math rock is music that is absolutely and resolutely played: men and woman in rooms with instruments creating chaos, beauty, and beautiful chaos.This is the first book-length look at the global phenomenon. Containing interviews with prominent musicians, producers, and critics spanning the globe, Math Rock will delight longtime fans while also serving as a primer for those who want to delve deeper. It shows why and how an intellectually complex, largely faceless, and almost entirely instrumental form of music has been capturing the attention of listeners for 50 years-and counting.