By Simon Reynolds
Bring the Noise weaves jointly interviews, reports, essays, and contours to create a severe background of the final two decades of popular culture, juxtaposing the voices of lots of rock and hip hop’s such a lot provocative artists—Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead—with Reynolds’s personal passionate research.
With all of the strength and perception you will count on from the writer of Rip It Up and begin Again, Bring the Noise tracks the alternately fraught and fertile courting among white bohemia and black highway track. the choices transmit the immediacy in their second whereas providing a operating remark at the broader enduring questions of race and resistance, multiculturalism, and department. From grunge to dust, from Madchester to the soiled South, Bring the Noise chronicles hip hop and replacement rock’s competing claims to be the leading edge of innovation and the voice of competition in an period of conservative backlash.
Alert to either the bright element and the massive photograph, Simon Reynolds has formed a compelling narrative that cuts throughout a thrillingly turbulent two-decade interval of father track.
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Additional resources for Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop
If The Smiths had only produced sunny, cuddly stuff like ‘Heaven Knows’, ‘Ask’, ‘Vicar 42 Bring the Noise_[FIN]:bring the noise 3/28/11 11:16 AM Page 43 43 the smiths in a Tutu’, they would have merely presaged the perky negligibility of The Housemartins, the sound that grins itself to death. The Smiths were heroic party-poopers at the Top of the Pops office do, glowering at the forced jollity; they were like those gauche youths who turn up to house parties only to cling to the dark corners in chaste disdain, driven by the naive, vaguely inhuman conviction that all merriment is a lie.
There’s a haunted awareness on the indie scene that progress is ‘freeing’ us into a world without the anchorage of faith or narrative, ‘freeing’ us of the norms and values that tie, but also console. The cowboy’s drift and the ghost town have become potent metaphors for our present. Five years ago troubled spirits would have used funk’s tension to express their paranoia and disorientation, but now they’re drawn to the desolation, despondency and fatigue of folk and country. The Smiths sing ‘It’s over and it hardly began’.
When funkateer Prince Charles’s ‘Cash Money’ was being hailed 20 Bring the Noise_[FIN]:bring the noise 3/28/11 11:16 AM Page 21 21 nasty boys: rap by all the white crits as a raw protest song, it was real funny when he appeared on Janice Long and said it was about how he wanted to make loads of money. Such confusions arise because rock fantasies are about returning to this mythical ‘street’, this lost ‘real’. But blacks find rock culture’s downward aspirations ludicrous: they can’t renounce the privileges of affluence that most of them never had.