Read Ebook {PDF EPUB} Temperature's Rising An Oral and Visual History of by Mike McGonigal Galaxie 500. Galaxie 500 was an American alternative rock band that formed in 1987 and split up in 1991 after releasing three albums: Today , On Fire and This Is Our Music . [4] The band was made up of guitarist , drummer and bassist . Contents. History Musical style and influences Post-Galaxie 500 activities Influence Discography Studio albums Compilations Post-split releases Singles Promotional videos DVDs Further reading References. History. Guitarist Dean Wareham, drummer Damon Krukowski and bassist Naomi Yang had met at the Dalton School in New York City in 1981, but began playing together during their time as students at Harvard University. [5] [6] [7] [8] Wareham and Krukowski had formed a series of punk- influenced student bands, before Wareham returned to New York. [8] When he returned in 1987 he and Krukowski formed a new band, with Yang joining the group on bass guitar, the new group deciding on the name Galaxie 500, after a friend's car, a Ford Galaxie 500. The band began playing gigs in Boston and New York City, and recorded a demo which they sent to Shimmy Disc label boss and producer Mark , who agreed to produce the band. [5] With Kramer at the controls, the band recorded the "Tugboat" single in February 1988, and the "Oblivious" flexi-disc, and moved on to record their debut album, Today , which was released on the small Aurora label. [6] The band toured the United Kingdom in late 1988 and in 1989, then signed to Rough Trade and released their second album, On Fire , which has been described as "lo-fi psychedelia reminiscent of Jonathan Richman being backed by The Velvet Underground", [6] and is considered the band's defining moment. [5] On Fire reached number 7 in the UK Indie Chart, and met with much critical acclaim in the United Kingdom, but was less well received by the US music press, who cited Wareham's 'vocal limitations' as a weakness. [9] [10] Galaxie 500 recorded two sessions for John Peel's BBC Radio 1 programme, these later released on the Peel Sessions album. Their cover of Jonathan Richman's "Don't Let Our Youth Go To Waste" was also voted into number 41 in 1989's Festive 50 by listeners to the show. [11] The band split up in the spring of 1991 after the release of their third album, This Is Our Music. Wareham, who had already moved back to New York, quit the band after a lengthy American tour. [6] [7] Galaxie 500's records were released in the US and UK on the independent Rough Trade label. When Rough Trade went bankrupt in 1991, Krukowski and Yang purchased the masters at auction, reissuing them on Rykodisc in 1996 as a box set containing all three albums and another disc of rarities. [12] Musical style and influences. Galaxie 500 used fairly simple instrumental techniques enhanced with an atmospheric production style. The Velvet Underground and Jonathan Richman have been identified as key influences. [6] [9] In interviews on the Galaxie 500 DVD Don't Let Our Youth Go to Waste , Wareham cites Spacemen 3 as another key inspiration. Post-Galaxie 500 activities. After leaving Galaxie 500, Wareham tried his hand at production, working with Mercury Rev. He released a solo single, "Anesthesia," in February 1992, and formed a new band, Luna. Krukowski and Yang continued to record under the moniker Pierre Etoile (French for "Rock Star"), and then Damon and Naomi (whose first two releases were also produced by Kramer), and as members of Magic Hour. [6] They also began the avant-garde press Exact Change. [13] In June 2010 Wareham announced on his website that he would be going on an autumn tour under the moniker "Dean Wareham plays Galaxie 500," where he would, as the moniker suggests, only play Galaxie 500 songs. [14] Influence. Galaxie 500's music had an influence on many later indie music groups, including Low. [9] Their music has been covered and referenced by several well known artists. In Liz Phair's song "Stratford-on-Guy", she sings, "And I was pretending that I was in a Galaxie 500 video." In Xiu Xiu's song "Dr. Troll", Jamie Stewart sings, "Listen to On Fire and pretend someone could love you." On Neutral Milk Hotel's debut album, On Avery Island , the song "Naomi" is believed to be about Naomi Yang, and includes the line "There is no Naomi in view/She walks through Cambridge stocks and strolls"; in 2011, Yang created a music video for the song. [15] The Brian Jonestown Massacre's And This Is Our Music was titled in reference to the group's album This Is Our Music (which itself was titled after Ornette Coleman's album This Is Our Music ). [9] Sonic Youth frontman Thurston Moore has cited Galaxie 500's album Today as "the guitar record of 1988". [16] In 2012 the song "Tugboat" was featured in the film The Perks of Being a Wallflower , directed by Stephen Chbosky and based on his book of the same name. [17] Discography. Studio albums. Today (Aurora, 1988) On Fire (Rough Trade, 1989) This Is Our Music (Rough Trade, 1990) Compilations. Galaxie 500 (box set) (Rykodisc, 1996) The Portable Galaxie 500 (best-of) (Rykodisc, 1998) (rarities) (2004) Post-split releases. Copenhagen (live, 1990) (Rykodisc, 1997) Peel Sessions (2005) Singles. "Tugboat"/"King of Spain" (Aurora, 1988) "Oblivious" included on a hard-vinyl compilation 7" free with Chemical Imbalance magazine "Blue Thunder"/"Hail" (split w/ Straitjacket Fits) (1989) "Blue Thunder EP" (Rough Trade, 1990) "Rain"/"Don't Let Our Youth Go to Waste" (1990) Caff "Fourth of July"/"Here She Comes Now" (Rough Trade, 1990) "Snowstorm" (live)/"Pictures" (live) (2004) Promotional videos. "Tugboat" (1988) "Blue Thunder" (1989) "When Will You Come Home" (1989) "Fourth of July" (1990) Don't Let Our Youth Go to Waste (2004) Further reading. McGonigal, Mike. Temperature's Rising: An Oral and Visual History of Galaxie 500. Oregon: Yeti Publishing, 2013 Wareham, Dean. Black Postcards: A Rock & Roll Romance . New York: Penguin, 2008. Related Research Articles. Young Marble Giants were a post-punk band formed in Cardiff, Wales in 1978. Their music was based around the vocals of Alison Statton along with the minimalist instrumentation of brothers Philip and Stuart Moxham. Their early sound was a sharp contrast with the more aggressive punk rock that dominated the underground at the time. Young Marble Giants released just one full-length studio album, Colossal Youth , in 1980. They also released two EPs and recorded a John Peel session. Luna is an American dream pop band formed in 1991 by singer and guitarist Dean Wareham after the breakup of Galaxie 500. Described by Rolling Stone as "the best band you’ve never heard of," Luna combine intricate guitar work, traditional rock rhythms, and poetic lyrics. The Television Personalities are an English post-punk band formed in 1977 by London singer-songwriter Dan Treacy. Their varied, volatile and long career encompasses post punk, neo-psychedelia and indie pop; the only constant being Treacy's songwriting. Present and former members include Chelsea childhood mates 'Slaughter Joe' Joe Foster, one time best friend Ed Ball and Jowe Head, with Jeffrey Bloom from 1983-94. The threesome of Dan, Jowe and Jeff formed the longest unchanged line-up and as a result is considered by many to be the definitive line-up, performing hundreds of gigs around the world and recording many of the band's most popular songs like How I Learned to Love the Bomb, Salvador Dali's Garden Party and Strangely Beautiful. Despite this, the Television Personalities are best known for their early single "Part Time Punks", a favourite of John Peel's. Today is the debut studio album by American indie rock band Galaxie 500, released in 1988 on Aurora Records. On Fire is the second studio album by American indie rock band Galaxie 500, released in 1989 on Rough Trade Records. This Is Our Music is the third and final studio album by American indie rock band Galaxie 500, released in 1990 on Rough Trade Records. Lunapark was the debut album by indie rock band Luna. It was released in 1992 on Elektra Records. As the first musical outing of Dean Wareham since the disbanding of Galaxie 500, Lunapark set forth the new musical directions of Wareham and embraced a musical sound that would continue to evolve throughout Luna's tenure. Originally recorded as a three-piece, Luna did not add guitarist Sean Eden to the lineup until 1993's Slide EP. Life Without Buildings were a Glasgow, Scotland-based indie rock band. Dean Wareham is an American musician and actor who formed the band Galaxie 500 in 1987. He left Galaxie 500 in April 1991 and founded the band Luna. Since Luna's breakup in 2005, Wareham has released albums with fellow Luna bandmate Britta Phillips. They also work as film composers, notably on the Noah Baumbach films The Squid and the Whale and Mistress America . He released a self-titled album in 2014 and reformed Luna in 2015. Damon & Naomi are an American dream pop/indie folk duo, formed in 1991 by Damon Krukowski and Naomi Yang, formerly of Galaxie 500. Naomi Yang is an American musician, graphic designer, photographer and filmmaker. She was a member of the dreampop band Galaxie 500, psychedelic rock band Magic Hour and is half of the psychedelic folk duo Damon and Naomi. She has also made videos for a wide number of artists including Future Bible Heroes, Waxahatchee and Julia Holter. Exact Change is an American independent book publishing company founded in 1989 by Damon Krukowski and Naomi Yang who, outside of their publishing careers, were musicians associated with Galaxie 500 and Damon and Naomi. The company specialises in re-publishing 19th- and 20th-century avant-garde literature and has published works by John Cage, Salvador Dalí and Denton Welch among many others. Damon Krukowski is an American musician, poet and writer. He was a member of the dreampop band Galaxie 500 and the psychedelic rock band Magic Hour, and is half of the psychedelic folk duo Damon and Naomi. He is also a published poet and writer. Miracle Fortress is a Canadian indie rock band based in Montreal, Quebec. The band's studio work is primarily a solo, project of songwriter Graham Van Pelt, who is accompanied by the rest of the band during live shows. BOB were an indie pop band from North London, England, formed in 1985. Nancy Harrow is an American jazz singer and songwriter. Uncollected is a compilation album by Galaxie 500, originally released in 1996 as a part of the Galaxie 500 box set. It was later reissued as a single disc in 2004 by Rykodisc Records. Peel Sessions is a compilation album of live BBC radio sessions by Galaxie 500. The Portable Galaxie 500 is a compilation album by the rock band Galaxie 500. It was released in 1998 on Rykodisc. Magic Hour were an American psychedelic rock band from greater Boston, Massachusetts, USA and were made up of former Crystalized Movements member Wayne Rogers and Kate Biggar and former Galaxie 500 members Damon Krukowski and Naomi Yang. Temperature's Rising: Galaxie 500. "Don't Let Our Youth Go to Waste" is a fascinating oral history of one of American indie rock's most enduring and influential acts. Slow, deliberate and deceptively simple, the music of Boston-based band Galaxie 500 was wonderfully at odds with the prevailing underground sounds of the mid- to-late-1980s. The primary contributors are the three band members -- Naomi Yang, Damon Krukowski, and Dean Wareham -- but dozens of people were interviewed in all -- fellow musicians and record business folks, music critics, and scenesters. This book provides a complex, sometimes contentious account of the …mehr. A Studied Aesthetic: ‘Temperature’s Rising: An Oral History of Galaxie 500’ This collaboration expands an oral history from participants and observers, one of whom, bassist Naomi Yang, crafted the visual content enhancing this careful indie-rock band’s image a quarter-century ago. That span surprises her, as she reflects in this compilation’s final sentence: “I am grateful for not letting my youth go to waste and I am looking forward to adventures to come.” Even before they formed what began as a shambling, untutored Galaxie 500, together from Fall 1987 to Spring 1991, they shared some youthful adventures together, unlike many a rock band’s pedigree. Yang and her partner, drummer Damon Krukowski, have known guitarist-singer Dean Wareham since they were teenagers at the same (unnamed here, but Dalton) Manhattan prep school in the late ’70s. They earned degrees from Harvard, with Yang and Krukowski staying on as graduate students for a while while Wareham worked as a clerical temp. Meanwhile, they started a band in Boston. But it didn’t sound like Mission of Burma or hardcore. As journalist Francis Dimenno observes: “Their album covers made a statement. Cool Restraint. Educated. Upper Class. Lots of Social Contacts.” As an intern for graphic designer Milton Glaser before she began her visual arts degree at Harvard, Yang possessed a confident air in her own promotional material. When the Italian font she hand-cut from a wedding invitation (which would grace many of Galaxie 500’s productions) did not have two letters needed, she drew her own for the band’s first cassette labels. She added such refinement seamlessly to the pre-digital mechanical and knife-trimmed process that she meticulously annotated as typographical directions for the band’s debut LP Today (1988). These examples, added to the sounds the band labored to produce from raw promise, demonstrate the trio’s concern for precision. It’s more elusive from McGonigal’s verbal transcriptions what Galaxie 500 sounded like for a curious reader coming to this collection (many appeared in a series for Pitchfork in 2010). Writer Martin Aston sums them up: “They played slow when everyone was fast. They were defiantly lo-fi before it became accepted, they preceded shoegazing, but never felt as posy as much of what followed. It was totally out of time, not in a scene, music that existed because they just felt like playing it, or were limited by how they played. Punk mentality. ‘We’re aspiring to primitivism,’ Damon once told me.” Aston’s claim that Galaxie 500 “never felt as posy” as those who came later may be debatable. For evidence, the stylized, rarified, or shimmering nature of many photographs by Yang and colleagues such as classmate Sergio Huidor or Shimmy Disc’s Michael Macioce (at the World’s Fair site in Queens) document well the band’s determination to stand out from their leather-jacketed peers. Even in denim, Wareham tries to exude sophistication, while Krukowski’s similarly rumpled fashion plays off of his knowing scowl. And as for Yang, her bold earrings and dress sense draw one’s attention. The band, as photos and their recollections illustrate how the three worked together–before they did not. Simon Raymonde of the Cocteau Twins notes Galaxie 500’s lack of a solo star: he liked Yang’s “simple naive approach” on the bass, while Wareham’s “Velvets-y delivery” by “smart lyrics”, a dry vocal style, and nimble guitar filled the space left by Krukowski’s “expressive” and often spare, jazz-tinged percussion washes and taps. (No questions are asked by McGonigal; he silently arranges the responses in brief chapters around chronological themes.) The drummer explains how he heard the guitar at the top, his partner’s bass in the middle of the soundstage on stage or in his mental mix, and himself at the bottom. Fitting this model, Krukowski felt it was “like joining the circus.” Under Kramer’s production, skillful singles led to an amazing first album, that album to another many judged even better, On Fire (1989) on Rough Trade, and acclaim. For a while at gigs, on the road, or in rehearsal, the band got along. Predictably, Wareham laments (briefly here, but see for far more the first hundred pages of his 2008 memoir Black Postcards ) that the pressure of a pair teamed off against himself made for poor negotiations as a purported trio. As the band’s power struggles grew, they — all in their mid-20s — contended against outside pressures. Courted by Rough Trade, Yang recoiled. What the businessmen presented in the guise of friendship, she suspected as manipulation. Producing product, for the three committed to crafting quality, clashed with Galaxie 500’s ethic. Their rapid from-underground-to-college-radio success kept some misgivings internally shrouded and externally sidestepped. Kramer remembers: “The band was standing on top of a mountain looking down. The first record didn’t seem like it got any bad reviews anywhere.” Their second met with even better reception, but their third, This Is Our Music (1990), came with the record label and mismanagement problems (not helped by Kramer’s addiction) that left Galaxie 500 straitened. Yang includes a photo of the “money envelope” with penciled scrawls of what cash came in from promoters and what went out for cabfare. Even at the height of their career, the lessons learned on such trials as their US 1990 tour about to the realities of playing a distant city one week and then rushing back to the corporate temp job, as Wareham reflects, sobered them. McGonigal’s determination to match Yang’s spare commentary on her archive of artifacts with unadorned transcripts may please fans, but for those less informed, this may not meet a newcomer’s needs. The verbal editor provides neither an index nor introduction. True, a discography could be cobbled by a careful reader from Yang’s inclusions. Most new fans will prefer a music guide for a standard overview of the band’s influences, eclectic covers, lyrical moods, and production emphases. Kramer in an aside laments not capturing Galaxie 500 live when they could play as loud as Sonic Youth; the band’s dynamic range on stage and on record, and (within a short career) their quickly improved dexterity both merit more mention than either the trio or their colleagues here provide. “I was always drawn to the simple and the well proportioned rather than the flashy.” Yang’s aesthetic speaks for her band. They all squelch any reunion rumors. “We made three albums together, and those records are our children; even though we’re divorced we still need to talk about the children occasionally.” Wareham’s tone captures the steady (or a few wobbly) judgments Galaxie 500 made, as musicians and as creators, to leave the best they could for discerning audiences then, and, enriched by Yang’s contributions on their behalf, now in this handsomely assembled presentation of words and depictions about memorable music. Lemuria. While Lemuria's 2008 debut full-length Get Better has remained a fan favorite for valid reasons, 2011's Pebble left a lot of people cold. It could've been the anticipation–the band had jumped from Asian Man to Bridge Nine and recorded the album with J. Robbins, and those two factors combined with the near-universal reverence of Get Better definitely inflated anticipation. But while Get Better and Pebble are both lyrically dark albums, the former had a far sunnier sonic disposition than the latter. Robbins' production was–as it usually is–airy, austere and very organic- sounding, and some felt it didn't bring out Lemuria's once-inherent pop songwriting chops as much as was needed to be effective. Are expectations for The Distance is So Big tempered a little bit? Maybe, but judging by what Lemuria have released from it so far, there's cause for excitement. The Brilliant Dancer single seems to keep the alt-brooding of Pebble intact while incorporating those lighter production elements found on Get Better . Not only that, but it's readily apparent that the band are more comfortable than ever as musicians and songwriters: The title track is seemingly two songs in one, with its quiet beginnings, ratcheted verses and anthemic choruses. Sheena Ozzella and Alex Kerns harmonize better than they ever have before, and Kerns' percussion is particularly interesting, seamlessly changing tempos on a dime. Then, the song stops. Upon first listen, one might think it's over. Once it returns, one might really think it's over because what returns sounds like an entirely different song: the band slow the tempo, up the piano and drive their instruments into the ground, with the exception of Ozzella's and Kern's vocals, which continue to hover over everything. It's jarring and it works. "Helloing," the b-side exclusive to this single, is a showcase for Kerns' vocal range, which until now mostly comprised of low and lower. He's improved considerably, able to inflect higher when the song calls for it and quickly go back lower when Ozzella chimes in on the choruses. Musically, the song is far more straightforward than "Brilliant Dancer": there's some neat bass lines from Max Gregor throughout the verses that conform to Ozzella's darkly evolving riffs toward the song's end, but it's mostly a solid Lemuria song with some nice vocal interplay, a few moments of interesting musicianship, and little flash. In other words, a perfectly acceptable b-side. The Distance Is So Big is due out June 18, 2013 via Bridge Nine Records. Indie band Galaxie 500's rise chronicled in new book. It is not often that a band that had a really short lifespan and recorded only three albums is still mentioned years after it had broken up. But that's the unique musical legacy left by the Boston/Cambridge-based alternative rock group Galaxie 500. Formed in 1987 by guitarist/singer Dean Wareham, drummer Damon Krukowski and bassist Naomi Yang, Galaxie 500 created atmospheric and dense music that was generally slow in tempo -- a contrast to most of its rock-oriented peers during the late '80s. Influenced by the Velvet Underground, punk and post-punk music, Galaxie 500 provided a sonic template that most younger bands still follow today. Following a string of acclaimed records, the band was on the precipice of greater mainstream popularity until it split up in 1991, ironically the same year when alternative music broke with the arrival of Nirvana. "Galaxie's music is completely original, but only subtly so," writer Mike McGonigal, who has been long acquainted with the group's music, told CBSNews.com. "You could write some kind of rock and roll equation for their sound quite easily -- whatever, [the third] Velvet Underground album + K Records divided by Young Marble Giants plus the hazy gauze of Clay Allison. They were perfect for their time, and no one else sounded like them." Now the career of the band is the subject of a new book, "Temperature's Rising: Galaxie 500: An Oral and Visual History," published by Yeti. With text by McGonigal and images from the archival collection of Yang, "Temperature's Rising" tells the story of three friends from New York City who started the band over 25 years ago; traces its triumphs through acclaimed albums and touring; and concludes with the band's somewhat rather bitter breakup. It features recent interviews with the principal members as well as commentary from friends and former associates, including longtime producer Kramer and Cocteau Twins member Simon Raymonde. "The book actually began as an assignment from Mark Richardson at Pitchfork three years ago," explains McGonigal, "on the occasion of some deluxe reissues of the group's catalog. I'd done a few mini oral histories before in a Studs Terkel, Jr./ "Please Kill Me" [the 1997 oral history book of punk rock by Legs McNeil] style and greatly enjoyed it, so I was really glad when Richardson suggested that format at the outset." Yang provided the commentary for the many Galaxie 500-related items from her collection that are featured in "Temperature's Rising." It was a project that she had wanted to do for ten years. "I had had the idea because I had saved all this stuff," she said. "And I thought it would be kind of a nice way to tell a story of the band through the ephemera, through the objects, since the flyers, the posters, all the graphic design and photograph were the mementos of not just the band but also of a time that's passed -- when people did save these things and there was this physical paper trail to a band's birth, growth or death -- in a different way than it is now because everything is virtual." The arrival and numbering of the first Galaxie 500 single "Tugboat," May 1988. Naomi Yang. One of the pieces from her archive is a collection of photographs from 1988 that depict the arrival of copies of the band's first-ever single, "Tugboat," from the pressing plant. "We couldn't believe it," Yang says now. "It was sort of the furthest that we could imagine of the extent of our vision was to actually have a real 7-inch single. It was fun. We were kind of surprised. It was a moment when the music business actually all of a sudden became very real to us. It was like, 'Wow, look it's really here,' but then all of a sudden, it was like this commercial object that means something else." Trending News. McGonigal recalls getting a review copy of the "Tugboat" single at the time and loving it. "I remember clearly listening to this record after it arrived, over and over again," he said, "then taking it to friends' apartments and dorm rooms and doing the same thing with it. I called the number on the press release to enthuse about it and thank the person for sending me this little blessed-out thing, and that turned out to be the band's manager, Marc Alghini, whose small label Aurora initially released the first Galaxie 500 and LP." Original artwork for Galaxie 500 poster, fall 1987, by Naomi Yang. Naomi Yang. He eventually saw Galaxie 500 perform live at the New Music Seminar. "It was a revelation," he said. "They were always a riveting live band, and were far louder for sections of each show than you'd ever get a sense of on their recordings. They weren't silly, fey emo kids; they'd tap into a whirling frenzy when they wished to. "We hit it off, and instantly were friendly. Later, I asked them to play a show I put together with the Go Team and Mecca Normal, at a yoga studio on the Lower East Side called Jiva Mukti. And then when the fanzine shop See Hear I worked at flooded, I asked them to play at a benefit for the store at CBGB's, which is when Sonic Youth who were also on the bill got to hear them (and surprised me by liking them.)" In addition to being Galaxie 500's former bassist and co-songwriter, Yang was also the band's visual auteur through her photography and graphic design. She made flyers and posters and even did the typographical work in a time before Photoshop. "The idea of trying to find a graphic image somehow was enticing and evocative," she said, "[that] would make someone interested. It was something that I was thinking a lot about. So doing a poster was very natural thing for me; it wasn't like a burden or a big deal. In fact, I really liked doing all that. It was my own interest in graphic design that sort of predated the band." The book goes on to describe the making of the albums "Today," "On Fire" and "This is Our Music" with producer Kramer; performing in Europe and appearing on radio sessions for the legendary British DJ John Peel; and signing to major indie label Rough Trade. In hindsight, the amount of success Galaxie 500 achieved in a short amount of time is impressive by today's standards. "The band went from being on their manager's label to getting signed to a giant, worldwide indie label," says McGonigal. "I'm sure they had to book their first tour ot two, but after then they had booking agents. They got flown to England to play, and the press there loved them. Aside from their first record, they never had to hand assemble their releases themselves, and do their own press, or put up all their own flyers. So they were a great band who was recognized in their own time and who fairly quickly got to where they could make a living off of their music." But then the relationship among the members cooled around the time of the release of what would become the final Galaxie 500 album "This is Our Music." Just as the group was on the verge of touring Japan, Wareham abruptly quit the band. "I love that Galaxie 500 broke up when they did," says McGonigal, "because I doubt their fourth record would have been as good as the first three. There's only so much most bands have in them. And personally, as a fan, I'm happy that they aren't friends today, because there have to be a few bands left who won't get back together to do these awful reunion shows where the groups are humiliatingly asked to perform their best album, in order, front to back, for spoiled brats holding phones the entire time." Galaxie 500, 1988. Naomi Yang. Following the band's break-up, Wareham led his own band Luna throughout the '90s and then collaborated with Britta Phillips as Dean and Britta; he is working on his upcoming solo record. Krukowski and Yang have recorded and performed together as the duo Damon and Naomi since 1992. They're currently composing a soundtrack for a silent film that Yang is making and editing with photographer Norman von Holtzendorff; she has also recently directed videos for Julia Holter, Meg Baird and Neutral Milk Hotel. "We're very lucky that people are still interested in the band and the music," Yang says of Galaxie 500's legacy. "That's what I would hope for our work that it means something enough to people; that it wasn't just something of the moment; that it could still mean something to people like music that we love to listen that's years and years old. I feel very grateful that people can still be interested in it. I feel it's often nice because it has all the differences voices telling the whole history, so it's a very fair representation of what the band was and what happened." To see photos from the book and commentary from Yang and McGonigal, check out the photo gallery above.