What Happens In 'Rip It Up And Start Again. Post-Punk 1978-1984'?

2026-02-20 10:07:49 84

4 Answers

Olivia
Olivia
2026-02-24 21:36:55
If you're into music that challenges the status quo, this book is a goldmine. Reynolds paints post-punk as this laboratory where weird ideas thrived—like Cabaret Voltaire splicing industrial noise with tape loops, or Orange Juice merging jangly guitars with disco beats. It's not just about the music; it's about the mindset. These artists were obsessed with reinvention, often tearing down their own sound before anyone else could.

The chapters on Manchester and Leeds are especially gripping, showing how cities became hubs for experimentation. But what sticks with me is the irony: so many bands wanted to avoid commercial success, yet their work became iconic. The book’s title says it all—they kept ripping things up, but their fragments ended up defining an era.
Piper
Piper
2026-02-25 22:48:44
I've had 'Rip It Up and Start Again' on my shelf for years, and it's one of those books that completely reshaped how I see music history. Simon Reynolds dives deep into the post-punk era, covering bands like Joy Division, Talking Heads, and The Fall, but it's not just a nostalgia trip—it's about how these artists shattered conventions. The book argues that post-punk wasn't just a reaction to punk's simplicity; it was a creative explosion, blending art school sensibilities with raw energy.

What I love is how Reynolds captures the tension between ambition and chaos. Bands like Gang of Four were dissecting politics through funk rhythms, while Siouxsie and the Banshees turned goth into high theater. The book doesn't gloss over the messy reality, though—label struggles, drug problems, and internal conflicts are all there. It's a bittersweet read because you see how many of these bands burned bright but couldn't sustain it. Still, their influence echoes in everything from indie rock to electronic music today.
Jane
Jane
2026-02-26 22:59:51
Reynolds’ book is like a time machine to a period where every record store bin held something unpredictable. Post-punk bands treated albums as art manifestos—PiL’s 'Metal Box' with its tin can packaging, or The Pop Group’s chaotic collages. The book’s strength is its balance: celebrating the genius while acknowledging the pretension and burnout.

I circled so many passages about how technology (cheap synths, four-track recorders) fueled creativity. Bands like Depeche Mode went from basement tinkering to stadiums, but the book never loses sight of the grassroots chaos that made it all happen. My takeaway? That era’s restlessness still feels fresh—like a blueprint for anyone tired of cookie-cutter art.
Bennett
Bennett
2026-02-26 23:05:22
Reading 'Rip It Up and Start Again' feels like stumbling into an underground club where every band is trying to out-weird each other. Reynolds has this knack for making you hear the music as you read—describing the scratchy guitars of Wire or the eerie synths in Human League demos. It’s not just a history lesson; it’s a vibe. I got obsessed with how bands like Scritti Politti started as Marxist collectives but ended up flirting with pop stardom.

The book also nails how post-punk was global, not just a UK thing. Talking about Lydia Lunch’s confrontational performances or the Aussie band The Birthday Party adds this wildcard energy. And the fashion! Reynolds ties in the visuals—like the androgynous looks of Adam Ant—proving style was as radical as the sound. It’s a reminder that music scenes thrive when they’re about more than just notes.
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