In a 1970s commuter town, Tracey Thorn's teenage life was forged from what failed to happen. Her diaries were packed with entries about not buying things, not going to the disco, the school coach not arriving. Before she was a best-selling musician and writer, Tracey Thorn was a typical teenager: bored and cynical, despairing of her aspirational parents. Her only comfort came from house parties, Meaningful Conversations and the female pop icons who hinted at a new kind of living.

In her bestselling autobiography, Bedsit Disco Queen, Tracey Thorn recalled the highs and lows of a 30-year career in pop music. But with the touring, recording and extraordinary anecdotes, there wasn't time for an in-depth look at what she actually did for all those years: sing. She sang with warmth and emotional honesty, sometimes while battling acute stage fright.

In 1983, backstage at the Lyceum in London, Tracey Thorn and Lindy Morrison first met. Tracey's music career with the Marine Girls had just begun, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by activism and agitprop theatre, lesbian punk bands and rock 'n' roll love affairs. Morrison came to be a kind of mentor to Thorn, a strong female role model in a male dominated industry. They both faced a chauvinist music media wanting them to behave to type.

In the summer of 1992, on the eve of an American tour, Ben Watt, one half of the Billboard-topping pop duo Everything but the Girl, was taken to a London hospital complaining of chest pain. He didn't leave for two and a half months. Watt had developed a rare life-threatening disease that initially baffled doctors. By the time he was allowed home, his ravaged body was 46 pounds lighter, and he was missing most of his small intestine.

Maria Bamford is a comedian’s comedian (an outsider among outsiders) and has forever fought to find a place to belong. From struggling with an eating disorder as a child of the 1980s, to navigating a career in the arts (and medical debt and psychiatric institutionalization), she has tried just about every method possible to not only be a part of the world, but to want to be a part of it. In Bamford’s “trademark blend of disarming intimacy and dark whimsy” (Publishers Weekly), Sure, I’ll Join Your Cult brings us on a quest to participate in something.

Thurston Moore moved to Manhattan’s East Village in 1978 with a yearning for music. He wanted to be immersed in downtown New York’s sights and sounds—the feral energy of its nightclubs, the angular roar of its bands, the magnetic personalities within its orbit. But more than anything, he wanted to make music—to create indelible sounds that would move, provoke, and inspire. His dream came to life in 1981 with the formation of Sonic Youth, a band Moore cofounded with Kim Gordon and Lee Ranaldo.

Just Kids begins as a love story and ends as an elegy. It serves as a salute to New York City during the late 60s and 70s and to its rich and poor, its hustlers and hellions. A true fable, it is a portrait of two young artists' ascent, a prelude to fame.

Autobiography covers Morrissey's life from his birth until the present day.

What if you woke up one morning and found you’d acquired another self—a double who was almost you and yet not you at all? What if that double shared many of your preoccupations but, in a twisted, upside-down way, furthered the very causes you’d devoted your life to fighting against? Not long ago, the celebrated activist and public intellectual Naomi Klein had just such an experience—she was confronted with a doppelganger whose views she found abhorrent but whose name and public persona were sufficiently similar to her own that many people got confused about who was who.

Ben Watt’s father was a working-class Glaswegian jazz musician - a politicized left-wing bandleader and composer - whose heyday in the late 1950s took him into the glittering heart of London’s West End. His mother, Romany, the daughter of a Methodist parson, was a Shakespearean actress who had triplets in her first marriage before becoming a leading showbiz feature writer and columnist in the ’60s and ’70s. They were both divorced and from very different backgrounds, and they came together at a fateful New Year’s Day party in 1957 like colliding trains.

Musician, actor, activist, and the iconic face of New York City cool, Debbie Harry is the front woman of Blondie, a band that forged a new sound that brought together the worlds of rock, punk, disco, reggae, and hip-hop to create some of the most beloved pop songs of all time. As a muse, she collaborated with some of the boldest artists of the past four decades. The scope of Debbie Harry’s impact on our culture has been matched only by her reticence to reveal her rich inner life - until now.

Before he was responsible for some of the most iconic drumming in popular music, Stephen Morris grew up in 1960s and '70s industrial Macclesfield, on a quiet road that led seemingly to nowhere. Far removed from the bright lights and manic energy of nearby Manchester, he felt stifled by suburbia and feared he might never escape. Then he joined Joy Division - while they were still known as Warsaw - a pioneer of the rousing post-punk sound that would revolutionise 20th-century rock.

In Remain in Love, Frantz writes about the beginnings of Talking Heads - their days as art students in Providence, moving to the sparse Chrystie Street loft Frantz, Weymouth, and Byrne shared where the music that defined an era was written. With immersive vivid detail, Frantz describes life on tour, down to the meals eaten and the clothes worn - and reveals the mechanics of a long and complicated working relationship with a mercurial frontman.

GOTH is an entertaining and engaging historical memoir, and a journey through Goth music and culture, exploring creative giants like The Cure, Siouxsie and the Banshees, Bauhaus, Joy Division, and many more great bands that offered a place of refuge for the misfits of the ‘80s and ever since. Written by Lol Tolhurst, co-founder of The Cure, this book offers a riveting retrospective of the genre’s iconic movers and shakers, infused with stories from Tolhurst’s personal trove of memories.

Since his death ten years ago, Lou Reed’s living presence has only grown. The great rock-poet presided over the marriage of Brill Building pop and the European avant-garde, and left American culture transfigured. In Lou Reed: The King of New York, Will Hermes offers the definitive narrative of Reed’s life and legacy, dramatizing his long, brilliant, and contentious dialogue with fans, critics, fellow artists, and assorted habitués of the demimonde.