Anthony Gomez III explores how out of the commercial failure of the 1980s Paisley Underground genre, a Los Angeles that suffered one of the highest crime rates in the country, the rise of Chicano/a art in the public eye, and record label disputes, singer Hope Sandoval and guitarist David Roback form the influential dream pop band Mazzy Star.

Mazzy Star's So Tonight That I Might See was a slow, reluctant success. Pushed by Capital Records as an album for teenagers to make out during, as a record about girlhood, and as music for those uninterested in the era's male aggression, the album's reputation has been plagued by these forced connections ever since.

But by tracing the hurried development of So Tonight That I Might See and the band's efforts to bend the record company's wants to their will, this book revisits and challenges these imposed narratives that have overshadowed the band's interest in the mystical, the American Southwest, ranchera music from the mid-century, and a surrealism which summons the strange, dark shadows of everyday life in the US.

Situating the band and its groundbreaking debut within the context of The Troubles, this book explores the band's complicated and controversial relationship with the Belfast punk scene, a scene that actively defied violent social divisions to create important non-sectarian spaces through which an “Alternative Ulster” was imagined and put into practice.

Stiff Little Fingers' 1979 debut album, Inflammable Material, was the first independent album to ever reach the UK Top 20 and is regarded as one of the most influential punk releases of all time, containing the singles “Suspect Device” and “Alternative Ulster.” Inflammable Material was both a product of, and response to, The Troubles, the era of political violence in Northern Ireland that claimed more than 3,500 lives over three decades.

Though Inflammable Material was regarded as the clarion call for that scene, with anthemic songs now regarded as synonymous with the times, the band was often viewed with suspicion and outright hostility by many of their contemporaries.

Tame Impala's psychedelic third album Currents (2015) is emblematic of a cultural shift in music production and consumption in the early days of streaming and a project that cemented its creator, Kevin Parker, as one of Australian music's most unlikely success stories and influential exports.

Currents marked a conscious shift in sound and attitude for its creator, West Australian polymath Kevin Parker, resisting his role as psych rock savior to embrace soul, disco, funk and his latent pop instincts. The result was Tame Impala's most popular and influential album, transforming them into festival-headlining, internet-famous Gen Z idols and turning the ear of popular acts, from Rihanna and Lady Gaga to Travis Scott and Dua Lipa. Parker's increasingly substantial credits as a collaborative producer and songwriter, with the likes of these artists as well as The Weeknd, Mark Ronson, Justic, Gorillaz and many more, served to enshrine him as a modern architect of pop music.

Not bad for a shy, shaggy teen who used to lurk in basement Perth venues and play gigs with a towel on his head.

This book dives deep into Currents, examining its context, creation, content, and lasting impact and importance in the history of Australian popular music. The album's themes of metamorphosis and genre-blurring sound embodied (and possibly encouraged) a wider shift in the 2010s of popular music trends, consumption, and listening habits.

At the dawn of the 21st century, the New York City indie rock scene emerged as a beacon of artistic innovation, capturing widespread attention. Within this vibrant milieu, Interpol's second album, Antics, stands out as a landmark release.

Released in 2004, Antics initially received a spectrum of responses-acclaimed by fans yet, somewhat dismissively regarded by critics; nevertheless, time has favored Antics, elevating it to a revered status among aficionados. Covering the album's intricate musical craftsmanship to its innovative marketing, and with insights from lead singer Paul Banks, this book reveals the depths of Interpol's creative evolution and the album's shift towards distinct singles while maintaining its atmospheric essence. Highlighting the band's widespread appeal, especially in Latin America, the book looks into the band's fervent fanbase and the cultural phenomena that arose, showcasing the enduring bond between Interpol and their international audience. It discusses the global impact of Antics, and underscores the album's longevity and Interpol's status as architects of a sound that has resonated across borders and generations, cementing their place in the annals of modern music history.

Upon the release of Sufjan Stevens' seventh studio album, Carrie & Lowell, two divergent groups found themselves as strange bedfellows: the LGBTQIA+ community and American evangelical Christians. Both were united in praise for Stevens' beautifully melancholic music.

Critically acclaimed as one of the best albums of 2015, the elegiac and intimate record about the death of Sufjan's estranged mother reflects the musician's own paradoxical posture-Carrie & Lowell is both sacred and profane, Christian and queer, traditional and progressive, despairing and hopeful.

Theologian and cultural critic Joel Mayward considers Carrie & Lowell as a mystical metamodern memento mori, Sufjan's symphonic (as opposed to systematic) approach to the questions of mortality, sexuality, and God. Fusing critical observations with personal narrative, Mayward examines the unique audience reception of Carrie & Lowell and the questions it raises: in a world of division, how might Stevens' affecting music act as a bridge of love between seemingly irreconcilable communities? As Carrie & Lowell reminds us of the painful truth that “we're all gonna die,” perhaps it also offers a glimpse of transcendence and hope on this side of death.

Featuring interviews with John Oswald, Negativland, and others and drawing on a wealth of research on copyright and intellectual property, Plunderphonics explores the impact of a genre that made illegality a point of pride.

In Plunderphonics, Matthew Blackwell tells the story of a group of musicians who advocated for changes to the copyright system by deploying unlicensed samples in their recordings. The composer John Oswald, who coined the genre term “plunderphonics,” was threatened with legal action by the Canadian Recording Industry Association on behalf of Michael Jackson. The Bay Area group Negativland was sued by Island Records on behalf of U2 for their parody of the band. These artists attracted media attention to their cause in a bid to expand fair use protections. Later, the Australian band the Avalanches encountered the limitations of the music licensing system during the release of their debut album, having to drop several samples that could not be successfully cleared. Finally, American DJ and producer Girl Talk released a series of albums featuring hundreds of uncleared samples and successfully avoided lawsuits by publicly arguing a fair use defense.

This book narrates the conflicts between these artists and the recording industry. Blackwell places plunderphonics in the cultural contexts of postmodernism, Situationism, and culture jamming and analyzes responses to the genre from the media and the legal system. Along with histories of each artist, changes to American copyright law are tracked through important cases like Grand Upright v. Warner Bros. and Bridgeport v. Dimension Films. Though the legal terrain did not shift in the favor of plunderphonic musicians, they changed public perception of fair use and enabled more widespread sampling in underground music.

Through text and comics, 20th Century Ambient searches through ambient music's recent history to unearth how the genre has evolved and the role it plays in our daily lives.

Ambient music is a part of our daily lives, whether we all realize it or not. It's the undercurrent in some of our favorite songs. It's the mood-setting background music in our favorite movies and video games. We hear it in the placid music pumped through the speakers in department stores, on critically acclaimed albums from generational talents, and in synthesizer drones from the depths of Soundcloud. It's present in the peaceful sounds of spa music, new-age chants, and wellness resources like the Calm app that purport ambient's healing properties. You can find it on those strange, anonymous instrumental nature albums you can buy at Bed Bath & Beyond. It shows up in genres ranging from electronic and rock music to jazz and lo-fi beats. Ambient is everywhere.

20th Century Ambient details a crucial period in which ambient music became a fully realized idea and is secretly one of the most popular genres in the world. Ambient has existed debatably as long as music itself. It wasn't until the 20th century that it became a defined genre. This book walks through ambient's ambiguous timeline to uncover not just the genre's evolution but to understand why it resonates so deeply with the human spirit. From Erik Satie's classical compositions, hidden histories in blues and dub music, innovations by Brian Eno and Alice Coltrane, all the way through modern artists spearheading ambient in the still early 21st century.

The B-52s were always queer, though not overtly, and this book dissects the coded queer messaging in their music, using 1989's Cosmic Thing as a focal point.

Alongside the author's own queer awakening, Crighton investigates the band's history and recorded work to date, providing cultural context along the way, and proves what was obvious all along – the B-52s aren't just pop culture icons, they are queer history.

Cosmic Thing took the world by storm in 1989 in the wake of the band's single greatest tragedy: losing guitarist Ricky Wilson to complications from AIDS in 1985. Cosmic Thing is a celebration of queer joy in the face of that seismic setback. Not only did the B-52s have to fight through their pain and grief to make their fifth full length record, the band was also up against a conservative government under Reagan (then Bush), a misunderstood virus still ravaging the queer community and an indifferent public after years out of the spotlight. Watching the band enjoy their greatest success in the face of adversity was part of what made Cosmic Thing such a marvel to behold - as miraculous as the B-52s' entire career.

John Cale's enigmatic masterpiece, Paris 1919, appeared at a time when the artist and his world were changing forever. It was 1973, the year of the Watergate hearings and the oil crisis, and Cale was at a crossroads. The white-hot rage of his Velvet Underground days was nearly spent; now he was living in Los Angeles, working for a record company and making music when time allowed. He needed to lay to rest some ghosts, but he couldn't do that without scaring up others. Paris 1919 was the result.

In this vivid, wide-ranging book, Mark Doyle hunts down the ghosts haunting Cale's most enduring solo album. There are the ghosts of New York – of the Velvets, Nico, and Warhol – that he smuggled into Los Angeles in his luggage. There is the ghost of Dylan Thomas, a fellow Welshman who haunts not just Paris 1919 but much of Cale's life and art. There are the ghosts of history, of a failed peace and the artists who sought the truth in dreams. And there are the ghosts of Christmas, surprising visitors who bring a nostalgic warmth and a touch of wintry dread. With erudition and wit, Doyle offers new ways to listen to an old album whose mysteries will never fully be resolved.

Capturing the fraught moment in popular music history as reflected in and anticipated by Since I Left You (2000), the debut studio album from electronic music group The Avalanches.

Since I Left You has a reputation amongst its advocates that exceeds those of nearly all of its closest peers. Yet despite the inordinate amount of attention this album has received, it has never been thoroughly examined in context. While repeatedly celebrated for its artistry, technical skill, and emotional resonance - in particular its sample-based material and then-cutting edge technological feats within the electronic music genre - it has never been definitively placed in the world that produced it.

Charles Fairchild studies this album in a way no one else has. Since I Left You is placed in its historical, technological, and cultural contexts and is examined for the social and aesthetic attributes it was said to possess at the time of its release. There is a focus on the clear set of aesthetic aspirations that guided the album's creators and how those creators pasted together the fragments of many sound worlds.

Hounds Of Love invites you to not only listen, but to cross the boundaries of sensory experience into realms of imagination and possibility. Side A spawned four Top 40 hit singles in the UK, ‘Running Up That Hill (A Deal with God)’, ‘Cloudbusting’, ‘Hounds of Love’ and ‘The Big Sky’, some of the best-loved and most enduring compositions in Bush’s catalogue. On side B, a hallucinatory seven-part song cycle called The Ninth Wave broke away from the pop conventions of the era by using strange and vivid production techniques that plunge the listener into the psychological centre of a near-death experience. Poised and accessible, yet still experimental and complex, with Hounds Of Love Bush mastered the art of her studio-based songcraft, finally achieving full control of her creative process. When it came out in 1985, she was only 27 years old.

This book charts the emergence of Kate Bush in the early-to-mid-1980s as a courageous experimentalist, a singularly expressive recording artist and a visionary music producer. Track-by-track commentaries focus on the experience of the album from the listener’s point of view, drawing attention to the art and craft of Bush’s songwriting, production and sound design. It considers the vast impact and influence that Hounds Of Love has had on music cultures and creative practices through the years, underlining the artist’s importance as a barrier-smashing, template-defying, business-smart, record-breaking, never-compromising role model for artists everywhere.

This book charts the emergence of Kate Bush in the early-to-mid-1980s as a courageous experimentalist, a singularly expressive recording artist and a visionary music producer. Track-by-track commentaries focus on the experience of the album from the listener’s point of view, drawing attention to the art and craft of Bush’s songwriting and sound design. It considers the vast impact and influence that Hounds Of Love has had on music cultures and creative practices through the years, underlining the artist’s importance as a barrier-smashing, template-defying, business-smart, record-breaking, never-compromising role model for artists everywhere.

In 1999, Modest Mouse struck out for Chicago to record their major-label debut for Epic Records. Amid indie circle cries of “sellouts,” a largely untested producer, and a half-built studio, the trio recorded the instrumental basics of The Moon & Antarctica … and then singer/songwriter Isaac Brock got his face smashed by a hooligan in a park.

With barely any vocals recorded, Brock emerged from the hospital with his jaw completely wired shut, and returned to a mostly empty studio. And there, on a diet of painkillers, in a neighborhood that wanted to purge the band from its borders, a creative alchemy took place that would redefine Modest Mouse and indie rock at large.

The fact that the band finished the album at all is surprising. The fact that it is now considered by critics as “hands-down one of the greatest records ever made” (NME) is perhaps an utter miracle.

The Moon & Antarctica is an album so strange and enigmatic, from those sweet opening notes, to the plunging depths of the middle, to the shocking, furious end, that you almost hesitate to listen to it again for fear of it losing its chaotic magic. But then you do, and you discover all-new sounds-a lost harmonic here, a stray percussion element there, a fresh interpretation of a lyric that leaves you thunderstruck.

And that ever-looming question, years on: How the hell did Modest Mouse pull this off?!

This Is Hardcore is Pulp's cry for help. A giant, sprawling, flawed masterpiece of a record, the 1998 album manages to tackle some of the most inappropriate grown-up issues of the day – fame, ageing, mortality, drugs, and pornography – and still come out crying and laughing on the other side. The subject of pornography dominates the record – from its controversial artwork to the images conjured up by songs like "Seductive Barry" and the title track – after Pulp's main man, Jarvis Cocker – who'd spent most of his teenage and adult life chasing celebrity, only to be cruelly disappointed when it finally arrived in spades – hit upon the grand notion of using pornography as a metaphor for fame. The album's commercial failure as a follow-up to the band's Britpop-defining, Different Class, also symbolizes a death knell for Britpop itself.

Dark, right? Except just like Pulp themselves, Jane Savidge's book is playful and sometimes very funny indeed. Kicking off with an imaginary conversation between Jarvis Cocker and the people who run the Total Fame Solutions helpline, Savidge expertly guides us through the trials and tribulations of an album that begins with the so-called Michael Jackson Incident, when Cocker got up on stage at the 1996 Brit Awards and waggled his fully-clothed bum at the King of Pop. Pulp's This Is Hardcore may be a sleazy run through porn and mental demise, and an album that chronicles Cocker's continuing disillusionment with his newfound lot in life, but Savidge's book assesses the cultural and historical context of the album with insider knowledge and a sharp modern lens, ultimately making a case for it as one of the most important albums of the 1990s