From the founding member of Sonic Youth, a passionate memoir tracing the author's life and art—from his teen years as a music obsessive in small-town Connecticut, to the formation of his legendary rock group, to thirty years of creation, experimentation, and wonder "Downtown scientists rejoice! For Thurston Moore has unearthed the missing links, the sacred texts, the forgotten stories, and the secret maps of the lost golden age. This is history—scuffed, slightly bent, plenty noisy, and indispensable." —Colson Whitehead, Pulitzer Prize–winning author of The Underground Railroad and Harlem Shuffle Thurston Moore moved to Manhattan’s East Village in 1978 with a yearning for music. He wanted to be immersed in downtown New York’s sights and sounds—the feral energy of its nightclubs, the angular roar of its bands, the magnetic personalities within its orbit. But more than anything, he wanted to make music—to create indelible sounds that would move, provoke, and inspire. His dream came to life in 1981 with the formation of Sonic Youth, a band Moore cofounded with Kim Gordon and Lee Ranaldo. Sonic Youth became a fixture in New York’s burgeoning No Wave scene—an avant-garde collision of art and sound, poetry and punk. The band would evolve from critical darlings to commercial heavyweights, headlining festivals around the globe while helping introduce listeners to such artists as Nirvana, Hole, and Pavement, and playing alongside such icons as Neil Young and Iggy Pop. Through it all, Moore maintained an unwavering love of music: the new, the unheralded, the challenging, the irresistible. In the spirit of Just Kids, Sonic Life offers a window into the trajectory of a celebrated artist and a tribute to an era of explosive creativity. It presents a firsthand account of New York in a defining cultural moment, a history of alternative rock as it was birthed and came to dominate airwaves, and a love letter to music, whatever the form. This is a story for anyone who has ever felt touched by sound—who knows the way the right song at the right moment can change the course of a life.

FEATURING A FOREWORD BY COREY TAYLOR OF SLIPKNOT For lack of a better term, Lou Brutus is a "Professional Music Fan." He lives the dream of millions by traveling the Earth attending concerts and interviewing rock stars. He's spent his life blasting tunes on the radio, becoming the first to play all of your favorite bands, and gaining access to literally thousands of music events. There is no one in the media who has seen more shows or conducted more on-site interviews than Lou. Sonic Warrior is a collection of insane-but-true stories from the career of Rock Radio legend Lou Brutus. Each chapter is a separate tale that careens around his 40+ years of covering concerts, interviewing music's biggest stars, and influencing generations of radio listeners. Starting with the first show he attended (Black Sabbath at New York City's Madison Square Garden in December 1976, where he threw up Boone's Farm Strawberry Wine all over his older sister's boyfriend) and continuing to the present day (where he doesn't puke as much). Stops along the way include Live Aid in Philadelphia (where he threw up on the entire crowd from a helicopter), the Arctic (where he didn't throw up on anyone but did get in a mosh pit with the native Inuit villagers as Metallica performed a song about sodomizing a goat), Live Earth in London (where he chugged ale with Spinal Tap's "Stonehenge" dwarfs and almost threw up), and the New Jersey Turnpike (where the tour bus he was traveling in ran over a guy, which is much worse than throwing up). Whether having his life energy drained through the palm of his hand by Keith Richards of The Rolling Stones, watching cocaine get snorted off a stripper's ass in Pantera's dressing room, or drooling in his own lap after smoking some kind of mutant mind warp demon weed with Snoop Dogg, Brutus gives a hilariously unvarnished look at the realities of the music industry from his fly-on-the-wall, "I'm just the guy here to interview the band" vantage point. The book also features a Foreword by his friend Corey Taylor, Grammy Award winning singer for Slipknot and Stone Sour, as well as an original illustration for each chapter by artist Alan MacBain.

In King’s Vibrato Maurice O. Wallace explores the sonic character of Martin Luther King Jr.’s voice and its power to move the world. Providing a cultural history and critical theory of the black modernist soundscapes that helped inform King’s vocal timbre, Wallace shows how the qualities of King’s voice depended on a mix of ecclesial architecture and acoustics, musical instrumentation and sound technology, audience and song. He examines the acoustical architectures of the African American churches where King spoke and the centrality of the pipe organ in these churches, offers a black feminist critique of the influence of gospel on King, and outlines how variations in natural environments and sound amplifications made each of King’s three deliveries of the “I Have a Dream” speech unique. By mapping the vocal timbre of one of the most important figures of black hope and protest in American history, Wallace presents King as the embodiment of the sound of modern black thought.

Enter the basement of Peninsular Plaza, a shopping mall in central Singapore, and you'll descend into rock history. Since the days of the now-legendary group The Straydogs, this area has served as the locus for amateur and semi-professional musicians. For the bands and their fans, rock music defines their lives in Singapore. It is not uncommon to see legends from the 1960s jamming out with new up-and-coming artists, and the basement venue has afforded expected and unexpected opportunities for work, play, and meaning in the contemporary music scene in this Southeast Asian city-state. The emergent quality of this community is simultaneously fiercely cosmopolitan, and entirely Singaporean. Sonic City is an ethnography of the community centered around these musicians, their family, friends, and fans, and the way they make music and a way of life. It considers the aesthetic dispositions, cultural values, ideologies, and identities within the constraints of urban life in the city. Grounded in debates from sound studies and based on five years of deeply participatory sonic ethnography, Steve Ferzacca draws on Bruno Latour's ideas of the social continually emergent, constantly in-the-making, associations of heterogeneous elements of human and non-human mediators and intermediaries to portray a community entangled in vernacular and national heritage projects. What emerges is a vernacular heritage drawing upon Singapore's unique place in Southeast Asian and World history.

The definitive chronicle of underground music in the 1980s tells the stories of Black Flag, Sonic Youth, The Replacements, and other seminal bands whose DIY revolution changed American music forever. Our Band Could Be Your Life is the never-before-told story of the musical revolution that happened right under the nose of the Reagan Eighties -- when a small but sprawling network of bands, labels, fanzines, radio stations, and other subversives re-energized American rock with punk's do-it-yourself credo and created music that was deeply personal, often brilliant, always challenging, and immensely influential. This sweeping chronicle of music, politics, drugs, fear, loathing, and faith is an indie rock classic in its own right. The bands profiled include: Sonic Youth Black Flag The Replacements Minutemen Husker Du Minor Threat Mission of Burma Butthole Surfers Big Black Fugazi Mudhoney Beat Happening Dinosaur Jr.

How black electronic dance music makes it possible to reorganize life within the contemporary city. Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban--ecologies that can never simply be reduced to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city. Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiment with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Teklife, Ghettoville, Eski foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life. Pushing the critical debates concerning the phonic materiality of blackness, undercommons, and aesthetic sociality in new directions, Teklife, Ghettoville, Eski rethinks these concepts through concrete examples of contemporary black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism.

"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

A timely exploration of whether sound and listening can be the basis of political change. In a world dominated by the visual, could contemporary resistances be auditory? This timely and important book from Goldsmiths Press highlights sound's invisible, disruptive, and affective qualities and asks whether the unseen nature of sound can support a political transformation. In Sonic Agency, Brandon LaBelle sets out to engage contemporary social and political crises by way of sonic thought and imagination. He divides sound's functions into four figures of resistance—the invisible, the overheard, the itinerant, and the weak—and argues for their role in creating alternative “unlikely publics” in which to foster mutuality and dissent. He highlights existing sonic cultures and social initiatives that utilize or deploy sound and listening to address conflict, and points to their work as models for a wider movement. He considers issues of disappearance and hidden culture, nonviolence and noise, creole poetics, and networked life, aiming to unsettle traditional notions of the “space of appearance” as the condition for political action and survival. By examining the experience of listening and being heard, LaBelle illuminates a path from the fringes toward hope, citizenship, and vibrancy. In a current climate that has left many feeling they have lost their voices, it may be sound itself that restores it to them.