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File Size: 29907 KB
Print Length: 480 pages
Simultaneous Device Usage: Up to 4 simultaneous devices, per publisher limits
Publisher: Routledge; 1 edition (June 19, 2013)
Publication Date: June 19, 2013
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00DL1R5OE
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Generation Ecstasy is probably the best book-length study of electronic music available right now. It is comprehensive and discusses just about every sub-genre of elctronic out there. Reynolds even makes a few categories to suit his own critical purposes. While certainly well worth the read, the book has serious flaws.In an effort to disavow his own bourgeois status as music critic and conoisseur, Reynolds routinely sides with the more "populist" sub-genres out there. Jungle and gabba are good. Trip-hop and IDM are snobby. Hardcore and house get the thumbs up, 'intelligent drum and bass' and illbient get the thumbs down. While he often has a point, this siding with what 'moves the masses' turns too easily into apologetics for the culture industry (the mass manufacture and consumption of musical cliché). Under the misguided notion that if a certain class or ethnic group consumes a certain type of music it must be good stuff, Reynolds gets pulled into the knee-jerk dismissal of more "marginal" creativity. At certain points in his book I get weird echoes of Edmund Burke attacking the French Revolution and insisting on the necessity for incremental change within the hallowed lines of tradition. Whatever happened to radical criticism? Reynolds should know that "what sells" is not necessarily the destiny of a genre. The future of music is often (but admittedly not always) heard in its avant-garde. I think Reynolds' pseudo-populism goes hand in hand with his annoying habit of tracing electronic music back onto the grids of music he already understands. Witness just one of many: "If rave is heavy metal (rowdy, stupefying, a safety valve for adolescent aggression) and electronic is progressive rock (pseudo-spiritual, contemplative), Digital Hardcore is punk rock: angry, speedy, 'noise-annoys'-y." Analogies like this create a false sense of illumination and profundity. What has he really said by rave=metal, electronic=prog rock, hardcore=punk? The effect of such equations is to call us back to the familiar and to erase the historical specificity of electronic music. Rave is NOT just the repetition of metal with synthesizers, etc.Take these caveats with a grain of salt--the book is still a great pleasure to read.
Excellent book for those interested in the origins of electronic dance music. Simon Reynolds, unlike many scholarly authors, writes in an engaging and personal way. He tells anecdotes from his own experiences in the dance music scene but also brings in an enormous amount of research and knowledge. There is so much good information in this book that it definitely deserves more than one reading.
This is so far the best book I've read on Electronic Dance Music, due to it's multiple perspectives (technological, historical, sociological, musical, cultural, chemical) on the phenomenon. I just think it deserves a proper and updated re-edition that and I hope Reynolds considers doing it!
This is a readable book, by non-academic standards, so anyone should be able to tear into it.The entire book is cast within Reynolds' personal opinions. His taste is aesthetically-questionable, drug-focused, and rock-centric.Despite this, a great deal of research, chronology, and track examples shines through the grand pronouncements. I was introduced to some new tracks, even if I disagree about their importance within the history.His bibliography and discography are useful tools for the researcher or anyone truly interested in this stuff.We probably have to keep in mind how hard it might have been to get an actual book published on this stuff in the 90's when it was portrayed by the media as, well, you remember.I wanted to puke, over and over again, on his pat conclusions of 'how things came to be' and 'what this track means' and 'what that track means' -- it's stink of that good old rock journalism... But it shouldn't keep you away from the book. Push through and you'll know more about EDM.This is a crucial early reference in the scholarship of EDM.
Despite its limitations, this is still the best empirical book about the history of rave culture to date. Reynolds is an English dance music journalist who positions himself at the popular/danceable wing of the dance movement in contrast with its elitist/"intelligent" sections. (My sources in Ibiza/UK, though, tell me that he in fact belongs to London's clubbing elite...).The bulk of the book consists of a long series of interweaved magazine articles that Reynolds published throughout the years. He describes dance music subgenres, artists/promoters/clubs, and how music changes. He also connects rave culture with the rise of harsh neoliberal capitalism in 1980s UK and US. However, Reynolds hyperventilates in excessive descriptions of sounds and theis effects in the communal experience of 'raving' that bonds the "generation ecstasy".Despite the emphasis on musical descriptivism and on the British case, the book demonstrates how dance movement develops in general: in relation to the social tension between the underground and the mainstream, to the repressive action of the neoliberal state, and to the development of a global dance subculture: from the Second Summer of Love (1988) to what he aptly terms as "post-rave diaspora" (since 1997).In the "post-rave diaspora", Reynolds notes that ecclectic experiments have gotten stuck in formal conventions of House, Techno and DnB, and that nobody knows where Techno movement will lead to. (As an example of this claim, see my review of album "Creamfield" by Paul Oakenfold).
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