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Patti Smith

Bread Of Angels

    A radiant new memoir from beloved artist and writer Patti Smith, author of the National Book Award Winner Just Kids. God whispers through a crease in the wallpaper, writes Patti Smith in this indelible account of her life as an artist. A post-Second World War childhood unfolds in a condemned housing complex described in Dickensian detail: consumptive children, vanishing neighbours, an infested rat house, and a beguiling book of Irish fairytales.

    We enter the child’s world of the imagination where Smith, the captain of her loyal and beloved sibling army, vanquishes bullies, communes with the king of tortoises and searches for sacred silver pennies. The most intimate of Smith’s memoirs, Bread of Angels takes us through her teenage years where the first glimmers of art and romance take hold. Arthur Rimbaud and Bob Dylan emerge as creative heroes and role models as Patti starts to write poetry, then lyrics, merging both into the iconic songs and recordings such as Horses and Easter, ‘Dancing Barefoot’ and ‘Because the Night’.

    She leaves it all behind to marry her one true love, Fred Sonic Smith, with whom she creates a life of devotion and adventure on a canal in St. Clair Shores, Michigan with ancient willows and fulsome pear trees. She builds a room of her own, furnished with a pillow of Moroccan silk, a Persian cup, inkwell and fountain pen.

    The couple spend nights in their landlocked Chris-Craft studying nautical maps and charting new adventures as they start their family. As Smith suffers profound losses, grief and gratitude are braided through years of caring for her children, rebuilding her life and, finally, writing again — the one constant in a life driven by artistic freedom and the power of the imagination to transform the mundane into the beautiful, the commonplace into the magical, and pain into hope. In the final pages, we meet Patti on the road again, the vagabond who travels to commune with herself, who lives to write and writes to live.

    Ryan Pinkard

    Shoegaze - 33 1/3 Genre Series

      What the hell is shoegaze? A scene? A movement? A sound? Back in the Nineties, many would have said the so-called genre was entirely fabricated. The term itself, an offensive piss-take given by the notoriously catty and scene-obsessed British music press, was plainly rejected by the absurdly small collection of bands to which it supposedly applied.

      Today shoegaze is undeniable. As a descriptor and as a source of influence, it is used in more ways and by more bands than anyone could have dreamed of 30 years ago. Between those periods of invention and ubiquity, the term, along with the bands it first described, all but disappeared off the face of the earth.

      In this ambitious oral history of a genre that has eluded definition for three decades, Ryan Pinkard unearths the first wave of shoegaze, following the core bands, their sounds, their influence, and their journeys in and out of obscurity. His analysis is woven through dozens of original interviews with artists, label heads, and critics. What he discovers is the unlikely odyssey of this esoteric, experimental music form, which nearly became a mainstream entity, only to be viciously killed off, forgotten, and rediscovered by a new generation that regards it as one of the most influential alternative music events since the Velvet Underground.

      Alex Niven

      Oasis' Definitely Maybe - 33 1/3

        Oasis' incendiary 1994 debut album Definitely Maybe managed to summarize almost the entire history of post-fifties guitar music from Chuck Berry to My Bloody Valentine in a way that seemed effortless. But this remarkable album was also a social document that came closer to narrating the collective hopes and dreams of a people than any other record of the last quarter century. In a Britain that had just undergone the most damaging period of social upheaval in a century under the Thatcher government, Noel Gallagher ventriloquized slogans of burning communitarian optimism through the mouth of his brother Liam and the playing of the other Oasis ‘everymen’: Paul McGuigan, Paul Arthurs and Tony McCarroll.

        On Definitely Maybe, Oasis communicated a timeworn message of idealism and hope against the odds, but one that had special resonance in a society where the widening gap between high and low demanded a newly superhuman kind of leaping. Alex Niven charts the astonishing rise of Oasis in the mid 1990s and celebrates the life-affirming, communal force of songs such as “Live Forever,” “Supersonic,” and “Cigarettes & Alcohol.” In doing so, he seeks to reposition Oasis in relation to their Britpop peers and explore one of the most controversial pop-cultural narratives of the last thirty years.

        Alex Green

        The Stone Roses' The Stone Roses - 33 1/3

          The Stone Roses shows a band sizzling with skill, consumed with drive and aspiration and possessing an almost preternatural mastery of the pop paradigm. This book explores the political and cultural zeitgeist of England in 1989 and attempts to apprehend the magic ingredients that made The Stone Roses such a special and influential album.

          Mike McGonigal

          My Bloody Valentine's Loveless - 33 1/3

            This epoch-making record of the late '80s effortlessly combines dense swathes of guitar noise and dance music. This turned out to be their last record, guitarist and studio maestro Kevin Shields having set their standards so high it was impossible to surpass them. Shields is now playing with Primal Scream.


            Will Hagle

            Madvillain's Madvillainy - 33 1/3

              This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop. Written from the alternating perspectives of three fake music journalist superheroes—featuring interviews with Wildchild, M.E.D., Walasia, Daedelus, Stones Throw execs, and many other real individuals involved with the album's creation—this book blends fiction and non-fiction to celebrate Madvillainy not just as an album, but as a folkloric artifact.

              It is one specific retelling of a story which, like Madvillain's music, continues to spawn infinite legends.

              Chris Ott

              Joy Division's Unknown Pleasures - 33 1/3

                33 1/3 is a series of short books about critically acclaimed and much-loved albums of the last 40 years. Focusing on one album rather than an artist's entire output, the books dispense with the standard biographical background that fans know already, and cut to the heart of the music on each album. The authors provide fresh, original perspectives - often through their access to and relationships with the key figures involved in the recording of these albums.

                By turns obsessive, passionate, creative, and informed, the books in this series demonstrate many different ways of writing about music. (A task which can be, as Elvis Costello famously observed, as tricky as dancing about architecture.) What binds this series together, and what brings it to life, is that all of the authors - musicians, scholars, and writers - are deeply in love with the album they have chosen.

                Jeff Gomez

                Math Rock - 33 1/3 Genre Series

                  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.

                  Claudia Lonkin

                  Neue Deutsche Welle - 33 1/3 Genre Series

                    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.

                    R.J. Wheaton

                    Trip-Hop - 33 1/3 Genre Series

                      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.

                      Larissa Wodtke

                      Dance-Punk - 33 1/3 Genre Series

                        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.

                        Marshall Gu

                        Krautrock - 33 1/3 Genre Series

                          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.

                          Julian Cope

                          Japrocksampler

                            Julian Cope, eccentric and visionary rock musician, follows the runaway underground success of his book "Krautrocksampler" with "Japrocksampler", a cult deconstruction of Japanese rock music, and reveals what really happened when East met West after World War Two. It explores the clash between traditional, conservative Japanese values and the wild rock 'n' roll renegades of the 1960s and 70s, and tells of the seminal artists in Japanese post-war culture, from itinerant art-house poets to violent refusenik rock groups with a penchant for plane hijacking.


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