Liquidities for the Essex Man:

The Monetarist Eroticism of British Yacht Pop


Chapter in Music/Video: Histories, Aesthetics, Media (Bloomsbury 2018)

Chapter considers early 1980s British music videos as aspirational blueprints for newly wealthy beneficiaries of Thatcher’s deregulation and the classless society — the yacht as mobile bachelor pad, the ennui of supermodels on exotic beaches, George Michael’s guilty feet, unisex hairstyles a la Princess Diana, Bryan Ferry’s sophisticated seduction techniques crash and burn, and nascent neoliberal fronting via on-credit cash-flows.

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Tension of Exclusion:

On Death Grips and The Californian Ideology


Chapter in A Dark California: Essays on Dystopian Depictions in Popular Culture (McFarland 2018)

First academic writing on the avant-garde Californian noise/punk/rap/electronica group Death Grips, considering early mixtapes and early live performances – rhizomatic links between the counterculture and neoliberal culture, the aesthetics of Pirelli models on Big Sur in 1969, outsider art in the age of social media, Charles Manson’s critique of the entertainment industry, West Coast reshaping of immaterial labour, rap’s imaginings of dystopian futures. Draws on analysis of a number of live performances of Death Grips, in Manchester and Barcelona.

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Mind Usurps Program:

Virtuality and the ‘New Machine Aesthetic’ of Electronic Dance Musics


Chapter in The Oxford University Press Handbook of Virtuality and Music (2016)

Radical rereading of post-rave electronic dance music and sampling, considering DJ alchemy and the channelling of the dead, orchestrations of dancefloor adrenaline, Walter Benjamin’s writings on hallucinogenics and jazz, affective counterpoints of electronic and human noise channels, colonial imaginings of African wisdom and otherness, the reworking of psychedelia via the “guru register”, with particular attention to EDM group Leftfield. Includes my own images from the Venus Club in Manchester, and advice on appropriate dance moves.

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Audio recording of a talk drawing on this chapter (for IASPM-UK, 2016):

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Shoegaze as the Third Wave:

Affective Psychedelic Noise, 1965-1991


Chapter in Resonances: Noise and Contemporary Music (2013)

Contextualisation of shoegaze music in respect to affect and psychedelia, with particular consideration of guitar distortion (from Eric Clapton to Syd Barrett to Kevin Shields), gender fluid vocals, cat imagery on LPs, the influence of early Dinosaur Jr’s sound, rave’s psychedelic heritage, the live listlessness of shoegaze performers, and the body co-opted as amplifier. Includes considerations of My Bloody Valentine and The Telescopes live.

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“A Music Video is Simply a Promo for a Song”:

Music Video as Documentary



Chapter in Populäre Musikkulturen im Film (2016)

The arresting nature of British indie music videos of the 80s/90s: Jarman shoots The Smiths, Britpop’s taking back control of civic spaces, Suede’s poverty tourism, Pulp’s thift shop conceits, Blur reworking Wham!… Hoggart’s “Scholarship Boy” surveys new vistas of hedonism.

Download PDF of chapter (in English): A_Music_Video_is_Simply_a_Promo_for_a_S

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