indicate, one can read the decade as a period of brash, breathless momentum, especially in technology and the arts.

O’Connell was born in 1997, so this wasn’t personal nostalgia; rather it was a latecomer’s envious longing for a time when, at least if you were young and living in the West, history seemed to be on your side.It was the year of The Bends, the year Danny Boyle started filming Trainspotting, the year Richey Edwards went missing, the year Alex Garland wrote The Beach, the year Blair changed Clause IV after a controversial vote at the Labour C onference. Additionally I don't think the overall view of the book was balanced, it is heavily focused around the interviews from the main cultural players of the 1990's and as a result it is a biased overview, the book would have benefited from some interviews with those who were not so successful. He spent the next decade working in newspapers - principally the Observer and the Sunday Times - before embarking on a multi-award-winning tenure at GQ. There was an attempt at a critical evaluation towards the end of the book but it was a case of too little, too late in what was otherwise a one sided view.

It was the year of The Bends, the year Danny Boyle started filming Trainspotting, the year Richey Edwards went missing, the year Alex Garland wrote The Beach, the year Blair changed Clause IV after a controversial vote at the Labour Conference. Therefore it would be fairer say this book focuses on the 20 year period surrounding 1995 with an additional heavy focus on the 1960's and the cultural parallels that can be drawn from that decade to the 1990's. Just like there's no reflection of Kate Moss's rise to supermodel status with one commenter even goes on to say how tired he was of the eighties supermodels and their unattainable physique while in the same breathe praising Kate Moss's waifishness like. As Jarvis Cocker sings in ‘Sorted for E’s and Wizz’, Pulp’s anthem for disillusioned hedonists, ‘Makes you wonder what it meant.

In the 1980s, he was one of the first editors of i-D, before becoming a Contributing Editor of The Face and Editor of Arena.

However, should the estimated publication date change for whatever reason, we will notify you within a reasonable period of time. As Brooke-Smith observes, it was the ‘mini epoch’ before the mid-1990s economic boom that gave us rave, grunge, Britpop, the YBAs, the supermodels and the indie cinema revolution.Faster Than a Cannonball is a cultural swipe of the decade from loungecore to the rise of New Labour, teasing all the relevant artistic strands through interviews with all the major protagonists and exhaustive re-evaluations of the important records of the year - The Bends by Radiohead, Grand Prix by Teenage Fanclub, Maxinquaye by Tricky, Different Class by Pulp, The Great Escape by Blur, It's Great When You're Straight. Firstly, the layout, you have chapters in the way of months in 1995, with little bullet points at the beginning detailing what happened that month. The Help album of 1995, which united stars in raising funds for children in war-torn places such as Bosnia, might have been a bridge to the world beyond the Groucho Club, but it only registers here because Kate Moss played tambourine on one track. As much as the 90s seem like a last hurrah to a certain way of things, it is also a caustic still seeping through society even now, but I'd have to agree that Britpop didn't cause Brexit. If Jones’s claim that ‘the nineties chimed with the sixties in being a decade that was almost uniquely British’ is questionable enough, then his ambit is more parochial still.