It is incredible to think that Simon Reynolds - English critic, one of the best known music journalists in the world - had wanted to come back Post Punk after writing the book of the same name, a monumental Lay Bible which addressed in a comprehensive way the musical period between 78 and 84: that is, one of music's most exciting seasons ever developed in the short-wave surf left (though violent) of punk. Here's the "behind the scenes" of Post Punk, a large book of 492 pages titled Totally Wired (ISBN editions) that contains glosses, notes in the margin, other wise and interviews that supplement and enrich the discourse developed in the earlier book. Why even go back on that period of history? Not only the hierarchy of criteria for music: in the end only after years of neglect has finally recognized that this season has produced some of the most intriguing material ever in the history of "rock", expanding the possibilities of music generated by youth contamination and a new rock inspired by a vision of "urgency to constant change." Suffice it to say that within the label "post-punk band falls fundamental as Talking Heads, Wire, Joy Division, Pere Ubu, Public Image Ltd., Gang of Four, The Birthday Party Nick Cave, XTC, The Cure, Devo, This Heat, Pop Group, all around New York no wave, the Fall of Mark Smith, New Order, the Residents, the early U2. Materials very varied: the collision of punk and funk to the more austere trials - in some cases were connected to the hidden materials of the seventies, as krautrock and Canterbury Sound - the use of synthesizers in pop deconstruction, by forms of rock "existentialist" up the new pop then luck came in the eighties, from industrial to hard forms of more or less deviated. A unique period in which flourished the first independent labels and has produced fundamental legacies in all the music that came afterwards. And so here's a Another reason for returning to the post punk to speak today, the here and now music that drew heavily from those years through a systematic looting and - in some cases - very profitable: the case studies (and known) of Interpol, Liars, LCD Soundsystem and Franz Ferdinand are here to witness it. The book is an opportunity to come back to these topics in depth, often through the testimonies of some of the key figures of that period. Illuminating in this respect are the interviews with Jah Wobble, the head of the lower miracle of the first records of Public Image Ltd John Lydon (aka Johnny Rotten, the Sex Pistols and the rotten prophet of the post punk), or that the founder of Factory Tony Wilson, died in 2007, with a commemoration of the important overtime in the production of Martin Hannett by Joy Division. Or the one with David Byrne of Talking Heads and the great John Peel's Radio One (it happened that the people speak "of" groups of John Peel "as shorthand to describe a certain kind of bizarre post-punk do-it-yourself deliberately eccentric "). But the book is also a way to reattach the theories of Reynolds up that time. A statement on all accounts for the adventurous spirit of that time: "Perhaps the best way to think about the post-punk is not a genre but in terms of those in an area of \u200b\u200bopportunity, which revealed a range of new genres: dark, industrial, synthpop, disco and other mutant. Since it is a space - or perhaps a discourse on music, rather than a musical style - what unites all these activities is a set of imperatives undefined: innovation, eccentricity intentional rejection of all things, who had a history or that they were "rock 'n' roll. " Andrea Tramonte, Unione Sarda, 07/07/2010
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