What’s interesting about post-punk is how the music press and music culture, particularly in the UK, worked in this dialectical way – where you have a proposition and a reaction against it. Each phase of music takes a tendency as far as it can go and then there’s a reaction that says, “You’re missing something…” So punk was this raw aggression and blast of rebellion, and post-punk says “Yeah, but this has become sloganeering, the music is stagnant, we’re going to make the critique more sophisticated”, then that becomes too cerebral and it’s met with New Pop, which was more ‘fun’. It was an exciting time to follow each reaction and counter-reaction. You had to be convinced by the arguments of music. Because music is an argument. Music and criticism are not separate. Every piece of music contains a kind of critical statement, and criticism, when it’s done well, can approach a kind of musicality.