![]() ![]() It takes time and effort to feel comfortable in one’s own skin. ![]() What one point do you want a reader to take away from this book? I’ve gotten really positive feedback from a lot of my contemporaries who are mentioned in the book and that means a lot to me. I’m curious to know if he’s read it, and if so, what he thought of it. My manager sent a copy to Pete Townshend. Sometimes an isolated event or idea might feel absolute, but in the context of a chronological picture seems more like a bridge from one place to the next. There’s an invisible set of lines that separate - and connect - the concepts of truth, memory, and history. What was your most interesting discovery in writing this book? The nature of the anger and acrimony that infuses much of Mould’s best music is detailed vividly - check the book’s subtitle - yet it’s a story with a uniquely happy ending, as Mould makes peace with himself and his role as an alternative (in several senses) godfather, if not with his old bandmates. The ex-Hüsker Dü and Sugar leader’s memoir is a living history of American post-punk and a deeply personal exorcism, often within the same paragraph. ![]() SEE A LITTLE LIGHT: THE TRAIL OF RAGE AND MELODYīob Mould with Michael Azerrad (Little, Brown) That malleability is one of the reasons we can include everyone from Led Zeppelin to Aphex Twin in the music’s lineage. Even 150 to 200 years ago, the idea of folk was an invention. The whole revolving, cycling folk tradition is about constant reinvention. I’d like to steer people away from the quite common idea that hybrids like folk-rock are not as “real” as traditional folk music. What one point do you want readers to take away from it? I’d be curious to know what she makes of how I place her in the continuum of British folk music. I’d like to think that Kate Bush has read it, too. Shirley Collins sent me a message saying she really appreciated it. They were trying to find something to believe in and moved through all these different spiritualities before settling on Scientology, which perhaps wasn’t the best choice in the end.Īll of the ones mentioned in the book! Some of them have, actually. Their music is very rich because of that. The Incredible String Band were interesting in that their reason for being was almost a religious quest. What’s the most interesting discovery you made while writing this book? Rarely does the musical past seem as much like an enchanted - if doomed - dream as it does in this expansive and hallucinatory survey of the late-Sixties British folk revival. ELECTRIC EDEN: UNEARTHING BRITAIN’S VISIONARY MUSIC What one point or idea do you want readers to take away from it?ĩ. That’s like saying to someone who built a neutron bomb, “So who exactly are you trying to destroy with this?” There’s no musician in particular that I’d want to read it because they’re all in my crosshairs.Īlso Read SPIN’s 10 Best Music Books of 2012 Which artist would you most want to read it? And, of course, that makes my job easy as shit. People take themselves way too seriously. I got a text message from that said, “So let me get this straight: You want to get into our show for free, you don’t even have the balls to come, and then you knock me in your new book? Stay classy.” What the fuck? You know, it’s like Lester Bangs said: Don’t become friends with the enemy. People in the music scene don’t have a sense of humor. What’s the most interesting discovery you made while working on this book? None of your friends - or their record collections - are safe from editor Henry Owings. Pointlessly insular and gut-bustingly hilarious, sacred-cow slaughterhouse Chunklet magazine compiled thousands of takedowns into this 192-page opus of pure passion and bile.
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