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Coles This Book Should Be Played Loud: Photographs of New York's Downtown Underground 1990-2001 at Bayshore Shopping Centre in Ottawa, ON
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A vivid, time-warping portrait by a true insider of New York’s downtown music scene in the 1990s, capturing a moment when grit, experimentation, and raw creativity collided.
This love letter to the New York City music scene of the 1990s draws on an insider’s collection of film photography and stories to trace the pulse of a subculture that thrived on the edges of the mainstream—where punk, noise, indie rock, and electronic sounds blurred into something entirely new.
Layered and collaged by the photographer herself—with the intimacy of a diary, and the chaos of a wall of paste-ups—the book focuses on the in-between moments: musicians hunched over pedals, friends getting drinks after a show, audiences pressed shoulder-to-shoulder in anticipation.
Alongside photographs of key bands of the time—from the Yeah Yeah Yeahs and Jon Spencer Blues Explosion to Cat Power and the Misfits—are ephemera and contributions from protagonists of the indie punk scene: flyers and posters that lined the streets of the Lower East Side; first-hand recollections from musicians and contemporaries. The city itself is a constant presence, grounding the music in a specific urban texture that no longer quite exists.
More than nostalgia for a pre-digital age, this book is a study of impermanence—of scenes that burn brightly and vanish, leaving only echoes behind. It invites the reader to experience not just how the music looked, but how it felt to be there.
A vivid, time-warping portrait by a true insider of New York’s downtown music scene in the 1990s, capturing a moment when grit, experimentation, and raw creativity collided.
This love letter to the New York City music scene of the 1990s draws on an insider’s collection of film photography and stories to trace the pulse of a subculture that thrived on the edges of the mainstream—where punk, noise, indie rock, and electronic sounds blurred into something entirely new.
Layered and collaged by the photographer herself—with the intimacy of a diary, and the chaos of a wall of paste-ups—the book focuses on the in-between moments: musicians hunched over pedals, friends getting drinks after a show, audiences pressed shoulder-to-shoulder in anticipation.
Alongside photographs of key bands of the time—from the Yeah Yeah Yeahs and Jon Spencer Blues Explosion to Cat Power and the Misfits—are ephemera and contributions from protagonists of the indie punk scene: flyers and posters that lined the streets of the Lower East Side; first-hand recollections from musicians and contemporaries. The city itself is a constant presence, grounding the music in a specific urban texture that no longer quite exists.
More than nostalgia for a pre-digital age, this book is a study of impermanence—of scenes that burn brightly and vanish, leaving only echoes behind. It invites the reader to experience not just how the music looked, but how it felt to be there.
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