Here are 100 books that K-punk fans have personally recommended if you like
K-punk.
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I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
This book will change your idea of the place and importance of synthesizers in music history. I had the privilege to be taught by Trevor Pinch as an undergraduate and have followed his work closely since. His passing in late 2021 left a massive hole in the field of Science and Technology Studies and he is sorely missed.
The book is based on primary research on the genesis and development of the Moog synthesizer, perhaps the most important instrument in electronic music history. Unlike most texts on the instruments of electronic music, which dig into the technical details of synthesis, I love the fact that this book gives you the human stories and socio-technical processes behind how an iconic synthesizer was designed, circulated, and adopted by rock musicians from Rick Wakeman to The Beatles.
There is delight in the details, such as how salesmen packed the unwieldy Moog synth into…
Though ubiquitous today, available as a single microchip and found in any electronic device requiring sound, the synthesizer when it first appeared was truly revolutionary. Something radically new--an extraordinary rarity in musical culture--it was an instrument that used a genuinely new source of sound: electronics. How this came to be--how an engineering student at Cornell and an avant-garde musician working out of a storefront in California set this revolution in motion--is the story told for the first time in Analog Days, a book that explores the invention of the synthesizer and its impact on popular culture.
A moving story of love, betrayal, and the enduring power of hope in the face of darkness.
German pianist Hedda Schlagel's world collapsed when her fiancé, Fritz, vanished after being sent to an enemy alien camp in the United States during the Great War. Fifteen years later, in 1932, Hedda…
I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
I wasn’t expecting this! One of the most gifted and quirky songsmiths of the age, the lead singer of art pop band The Talking Heads no less, turns his attention to the technological evolution of music.
I found profound insight and erudition on every page, but it’s not preachy or overly auto-biographical. Instead, Byrne limns out the changing shapes of music and how it comes into being in composition, performance, and education. He is as much at ease with Hume and Adorno as he is with scales, harmonies, and DJ culture, and the payoff is enormous.
Whenever I pick this book up, which is regularly, it takes me on unexpected journeys and provokes new ideas. My favorite quote on the creative process: “The idea is to allow the chthonic material the freedom it needs to gurgle up.”
How Music Works is David Byrne's buoyant celebration of a subject he has spent a lifetime thinking about.
Equal parts historian and anthropologist, raconteur and social scientist, Byrne draws on his own work over the years with Talking Heads, Brian Eno, and his myriad collaborators - along with journeys to Wagnerian opera houses, African villages, and anywhere music exists - to show that music-making is not just the act of a solitary composer in a studio, but rather a logical, populist, and beautiful result of cultural circumstance.
A brainy, irresistible adventure, How Music Works is an impassioned argument about music's…
I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
This is the book that changed my view of music and made me realise that I could write about popular music from a sociological perspective and not bore people to death!
Simon combines the punchy directness of a music critic with a thorough understanding of music as a social force that shapes our lives, loves, and identities. The book demonstrates an encyclopedic knowledge of 20th-century popular music.
I often start any research project by using the index to look up related terms and ask: “What does Simon say?” I particularly like the sections on how star persona works, and the chapter on technology is a must, too.
Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distill our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic…
Sine, a professor of creative writing, accompanies Sam, a neuroscientist, on a conference trip to a Hotel Castle. Sam wants to present a new device, the "monitor." Sine hopes to recover from tending to her mother who just passed away.
When they arrive, Sine is in a dream-like state. Real…
I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
Is music as universally positive and life-affirming as we think?
This book made me think twice about that idea. Yes, music lubricates our identities and can generate fellow feeling and a sense of well-being, but it can just as easily drive us apart. Think about pop’s repertoire of overtly sexist and racist songs, the booing of national anthems at sports events, and music reserved for the status acquisition practices of the elite, like opera.
What I like about David Hesmondhalgh’s exploration of why music matters is that it takes a balanced view of these questions. I use it a lot in teaching as an antidote to the somewhat lazy idea that music is *always* a force for social good. I also admire David’s ability to move from the somewhat abstract realms of moral philosophy to dancing bodies without losing sight of basic but important questions like social inequality.
Listen to David Hesmondhalgh discuss the arguments at the core of 'Why Music Matters' with Laurie Taylor on BBC Radio 4's Thinking Allowed here: www.bbc.co.uk/iplayer/episode/b03q9q2n/Thinking_Allowed_Why_Music_Matters_Bhangra_and_Belonging/
In what ways might music enrich the lives of people and of societies? What prevents it from doing so? Why Music Matters explores the role of music in our lives, and investigates the social and political significance of music in modern societies.
First book of its kind to explore music through a variety of theories and approaches and unite these theories using one authoritative voice
Combines a broad yet theoretically sophisticated approach to music and…
I have been a professor of politics and law for decades, first at Harvard and then Oxford, and so on; I spent these decades trying to understand what makes democracy work. I think we’ve been focusing on the wrong things, and as a political and legal theorist, I want to help us think about a better way forward—one we can carve for ourselves every day of our lives.
I find Sam’s book imperative: love it or hate it, praise it or criticize it; Sam gets us to think seriously about culture and identity as he opens an important debate for our complex democracies to engage with. I taught with Sam at Harvard and never ceased to be amazed by his profound understanding of the world. We may disagree with him, but he certainly gets us talking.
As people increasingly define themselves by ethnicity or religion, the West will find itself more and more at odds with non-western civilizations that reject its ideals of democracy, human rights, liberty, the rule of law, and the separation of the church and the state. Huntington feels that the fundamental source of conflict in the post-Cold War period will not be primarily ideological or economic, but cultural. Picturing a future of accelerated conflict and increasingly "de-westernized" international relations, he argues for greater understanding of non-western civilizations and offers strategies for maximizing western influence, by promoting co-operative relations with Russia and Japan,…
I teach history at The Ohio State University. This project began when I listened in 1976 to a radio broadcast in which Jack Eddy, a solar physicist, speculated that a notable absence of sunspots in the period 1645-1715 contributed to the “Little Ice Age”: the longest and most severe episode of global cooling recorded in the last 12,000 years. The Little Ice Age coincided with a wave of wars and revolution around the Northern Hemisphere, from the overthrow of the Ming dynasty in China to the beheading of Charles I in England. I spent the next 35 years exploring how the connections between natural and human events created a fatal synergy that produced human mortality on a scale seldom seen before – and never since.
Brook uses artifacts portrayed in six paintings by the Dutch Golden Age painter Johannes Vermeer to show how, several centuries before the World Wide Web, the local and the global were intimately connected. He surprises his readers by showing that people and goods and ideas moved around the 17th-century world in ways that – rather like us – their ancestors would have considered impossible. Perhaps because Brook is a Canadian historian of China who is familiar with Europe, he provides a truly global history and almost every page contains a “gee whiz” fact. I also love the idea that “Every picture tells a story.”
From the epicentre of Delft in the Netherlands Brook takes the paintings of Johannes Vermeer and uses details of them as a series of entry points to the widest circles of world trade and cultural exchange in the seventeenth century. An officer's beaver hat in 'Officer and the Laughing Girl' opens up the story of Champlain's dealing with the native peoples of Canada and the beaver trade. A china dish on a table in another painting uncovers the story of the Chinese porcelain trade. Moving outwards from Vermeer's studio Brook traces the web of trade that was spreading across the…
In an age of splendor, a heretic king strips Egypt bare—forcing his queen to quell rebellion and plunging his children into a conspiracy against the crown.
Salvation in the Sun follows Nefertiti as she ascends the throne beside Pharaoh Amenhotep—soon to become Akhenaten—just as he declares war on Egypt’s ancient…
I’m a journalist in Edmonton, Canada, who covered former premier Jason Kenney’s rise through Alberta politics, in which he tapped into the populist zeitgeist of Donald Trump and Brexit, and his eventual implosion. I have a newsletter on Substack, "The Orchard," where I cover the intersection of politics, the media, and corporate power. Through my journalism, I’ve developed a keen interest in this age of mass discontent we find ourselves in, with right-wing political and economic elites promising to blow up the entire system they embody while feckless liberal politicians seek to tinker around the edges to make the established order more palatable.
In this book, Pankaj Mishraj describes how the failures of secular modernity led to the rise of revanchist movements seeking to provide those left behind with a common sense of purpose.
I greatly appreciated the international scope of Mishraj’s analysis, with which he reveals how the growth of reactionary, theocratic, and xenophobic populist politics across the globe are manifestations of the same sense of malaise.
He convincingly argues that these tensions are as old as modernity itself. Rather than engaging strictly with the same old historical and sociological sources to make his case, the author refreshingly engages the poets and novelists of the era he describes.
'The kind of vision the world needs right now...Pankaj Mishra shouldn't stop thinking' Christopher de Bellaigue, Financial Times
'This is the most astonishing, convincing, and disturbing book I've read in years' Joe Sacco
'Urgent, profound and extraordinarily timely' John Banville
How can we explain the origins of the great wave of paranoid hatreds that seem inescapable in our close-knit world - from American 'shooters' and ISIS to Trump, from a rise in vengeful nationalism across the world to racism and misogyny on social media? In Age of…
There is a saying that you can take the girl out of Scotland but not Scotland out of the girl. I am that girl. Born and raised in Scotland, I earned an MA from Edinburgh University and a M.Litt from Oxford. I met my husband during the summer at Dartmouth College and the rest, as they say, is history. Or, at least it would be, except for the hankering back to Scotland that never leaves. My novel set in Scotland was published by Simon & Schuster.
I value this book because, since joining the United Kingdom in 1707, much of Scottish history has been disregarded. Even though I studied history in my Scottish school to a high level, the details of our past were replaced with English history. Well-known radio personality, Billy Kay, brings together a wealth of information about Scotland’s outside influence through the ages. Scotland was one of the first countries to see the benefit of an educated working class, and in the countries to which they emigrated, their learning stood them in good stead. Scottish culture, over hundreds of years before it was incorporated into the United Kingdom, had well-established cultural centers throughout Europe and even as far as Russia.
'Thaim wi a guid Scots tongue in their heid are fit tae gang ower the warld'
In The Scottish World, renowned broadcaster Billy Kay takes us on a global journey of discovery, highlighting the extraordinary influence the Scots have had on communities and cultures on almost every continent.
While others have questioned the self-confidence of the Scots, Kay has travelled the world from Bangkok to Brazil, Warsaw to Waikiki and found ringing endorsements for the integrity and intellect, the poetry and passion of the Scottish people in every country he has visited.
I’m a historian who wants to understand the big picture as best I can. And while occasionally I can clear my schedule enough to read a 1,000pp book, realistically that won’t happen often so I am always on the alert for short books that aim to provide what I am looking for: a coherent vision of the whole of human history. That’s asking a lot of an author, but these five do it well.
This one is 359 pages and says almost nothing about the 20th century. It is quirky in terms of what it includes and what it leaves out, but reliable in its facts and judgments, and full of insights I haven’t encountered elsewhere. It does not bother with grand theories or overarching narrative, but focuses on what the author finds interesting. Cook is a specialist on the history of Islam, which gives the book an uncommon vantage point.
Why has human history been crowded into the last few thousand years? Why has it happened at all? Could it have happened in a radically different way? What should we make of the disproportionate role of the West in shaping the world we currently live in? This witty, intelligent hopscotch through human history addresses these questions and more. Michael Cook sifts the human career on earth for the most telling nuggets and then uses them to elucidate the whole. From the calendars of Mesoamerica and the temple courtesans of medieval India to the intricacies of marriage among an aboriginal Australian…
Born the heir of a master woodcutter in a queendom defined by guilds and matrilineal inheritance, nonbinary Sorin can’t quite seem to find their place. At seventeen, an opportunity to attend an alchemical guild fair and secure an apprenticeship with the…
I grew up and completed the formative years of my college education in Cape Town, South Africa, while active also in anti-apartheid struggles. My Ph.D. dissertation in the 1980s focused on the elaboration of key racial ideas in the modern history of philosophy. I have published extensively on race and racism in the U.S. and globally, in books, articles, and public media. My interests have especially focused on the transforming logics and expressions of racism over time, and its updating to discipline and constrain its conventional targets anew and new targets more or less conventionally. My interest has always been to understand racism in order to face it down.
Lisa Lowe and I were in sustained conversation as we were composing our respective books. I read earlier drafts of hers as I was writing mine. Her analysis of settler-colonialism, the African slave trade, and trade in Asian goods and peoples in the Caribbean and Americas illustrated for me ways of thinking about the global relations and interactive impacts of the movements of people, culture, and thought. Her focus on how liberal thought shaped and is shaped by these relations helped to surface the coercive and discriminatory practices that made liberal thought possible. This “history of the present” by extension was enormously generative for thinking about the history of the neoliberal present too.
In this uniquely interdisciplinary work, Lisa Lowe examines the relationships between Europe, Africa, Asia, and the Americas in the late eighteenth- and early nineteenth- centuries, exploring the links between colonialism, slavery, imperial trades and Western liberalism. Reading across archives, canons, and continents, Lowe connects the liberal narrative of freedom overcoming slavery to the expansion of Anglo-American empire, observing that abstract promises of freedom often obscure their embeddedness within colonial conditions. Race and social difference, Lowe contends, are enduring remainders of colonial processes through which "the human" is universalized and "freed" by liberal forms, while the peoples who create the conditions…
