Yeah Yeah Yeahs, Interpol and more populate this archival documentary that avoids the New York indie scene's ugliness and pettiness, sometimes treating its subjects with too much reverence.
It's therefore fitting that the book from which Southern and Lovelace's film was painstakingly adapted – Lizzy Goodman's densely populated oral history of New York's post-9/11 music scene, published in 2017 – was conceived as something of a spiritual sequel to one of east coast punk's seminal texts: Please Kill Me, Legs McNeil and Gillian McCain's own scintillating, warts-and-all oral history, from 1996.
Beyond the millennial nostalgia factor, however, the film offers a snapshot of a period shaped by a seismic rift in the consumption – and production – of pop culture, with the transition from analog to digital distribution. Not only did the emergence of Napster slash revenue across the industry, resulting in the tightening of purse strings, but it also created a way for people to converge over music that had nothing to do with geography.
The Rapture's debut record Echoes was co-produced by the band, Murphy and DFA co-founder Tim Goldsworthy.
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