The other day while reading Martin Aston’s book about the 4AD label, I came across a single sentence:
By 1985, American college radio had gathered momentum alongside the spurt in independent record labels, with the likes of [Clan of Xymox’s] “A Day” striking radio programmers as adventurous and commercial, and a modern, gleaming alternative to the guitar-centric homegrown scene spearheaded by bands such as REM, Sonic Youth and Hüsker Dü.
To be honest, I hadn’t been thinking of my Walk in Silence project lately, partly because I’d put it aside some time ago. I didn’t trunk it, I just put it aside so I could focus on the Trilogy Edit and newer fiction. I’d also gone through my projected timeline last summer on a personal level, if only to purge it from my writing brain for a while.
That personal version really wasn’t the original idea that I’d had. I was thinking more along the lines of a chronological book about college rock. The releases bracketing the story would be The Smiths’ third single, “What Difference Does It Make” (January 1984) and Nine Inch Nails’ Pretty Hate Machine (October 1989).
I could never quite figure out a way to solidify my idea that that was the golden era of college rock, before it became much more mainstream in 1991 with Nirvana and everyone else. Until that one sentence. It made sense to me, though…1984-85 was about the time that a lot of independent distributors and labels in the US, such as Relativity and Caroline, started licensing British bands that had only been available on expensive imports. [Only Sire had any sizeable share in that field as a major label, having signed the Smiths, Depeche Mode, and others.]
So it occurs to me that perhaps it’s time for me to resurrect the Walk in Silence project as it was originally intended, focusing on the sounds of college rock in the mid to late 80s. Maybe without so much of the personal added to it this time out.
Of course, I already have a few writing projects on tap as it is, so I’ll have to figure out how the hell to fit this in. Heh.