While the description of insulting sexual behaviour, aggressive mansplaining and the careless attitude of the band’s managers sound unnerving, all music industry bollocks pales in comparison to real losses. Yet at the heart of the book are Miki's own battles: the conflict between her mouthy public persona and her thin-skinned private identity; the trials of being a woman in an infuriatingly male world; the struggle to find a middle ground between 'safe' indie obscurity and 'sell-out' international success. Steve Rippon left fairly early on, replaced on bass by Phil King, who seems to have always been something of an outsider in the band.

This uncompromising autobiography documents the excitement of playing live, the camaraderie of the gang, the thrill of signing to 4AD and the craziness of Lollapalooza. Come down the travelators, exit Sainsbury's, turn right and follow the pedestrianised walkway to Crown Walk and turn right - and Coles will be right in front of you.It's also an at-times bruising, personal story of abuse and neglect, with periods of over-drink A tender, fierce, uncompromising reflection on the power, peril and energy of youth, and how childhood lingers longer than you’d ever expect it to when you’re young. Early Lush had more in common with the Cocteau Twins (Robin Guthrie produced Lush’s debut EP, 1990’s Mad Love) or My Bloody Valentine than they did with their more staid indie rock fellow travellers. Eventually, the topic of bands raises its crimson-dyed head and we are introduced to Emma Anderson, Steve Rippon and Chris Acland who, along with Miki, make up Lush.

But at the heart of the story are Miki’s internal battles: the conflict between her mouthy public persona and her thin-skinned private identity; the trials of being a woman in an infuriatingly male world; and the struggle to find a middle ground between ‘safe’ indie obscurity and ‘sell-out’ international success. The whole time I was in the band, I was scribbling away, I think I’ve got a lot of my private angst into that. Lush were somewhat unusual in the late 1980s and early 1990s as a British guitar band whose lead creative forces were women, leading to some positive attention but also highly negative and, at times, irrational criticism, including bizarre claims their songs were written by their label. The 90s are often seen as synonymous with champagne supernovas in country houses, oversimplifications ingrained in the lore of Britpop. After the band lands on the solid soil of the 4AD label in 1989, the four find themselves confronted by the challenging forces of the music business.One of the most will o’ the wisp of these bands were Lush, co-fronted by two guitarists, Emma Anderson and Miki Berenyi, who met at school and became big enough to crack the US, invited on the second Lollapalooza tour in 1992. It’s with remarkable pragmatism that she looks back at her life and music career: “You can’t expect good times without the bad – neither makes sense without the other.