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Future Days: Krautrock and the Building of Modern Germany (English Edition) Format Kindle

5 étoiles sur 5 1 commentaire client

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Longueur : 514 pages Word Wise: Activé Composition améliorée: Activé
Langue : Anglais

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Descriptions du produit

Revue de presse

“[A] well-written and enjoyable look at that very fascinating pop music that emerged from Germany from the mid-‘60s onward… An excellent contextualization of German Rock."
Yahoo! Music

“A massive answered prayer… Well-researched, well-written, intensely detailed, and oftentimes gripping."
Kirkus Reviews

“David Stubbs deftly situates legends like Can, Faust, Neu! and Kraftwerk in their historical context—the politics and culture of post-WWII Germany. But more crucially, the rollicking energy of his prose and reeling majesty of his imagery convey everything about this music that transcends time and place.”
—Simon Reynolds, author of Retromania and Rip It Up and Start Again

Présentation de l'éditeur

West Germany following the Second World War was a country in shock: estranged from its recent history, and adrift from the rest of Europe. But this disorientating landscape proved fertile ground for a generation of musicians who, from the 1960s onwards, would develop the experimental and various sounds that became known as Krautrock.
Eschewing the Anglo-American jazz/blues tradition, they took their inspiration from elsewhere: the mysticism of the East; the fractured classicism of Stockhausen; the pneumatic repetition of industry and the dense forests of the Rhineland; the endless winding of Autobahns.

Faust, Neu!, Cluster, Ash Ra Tempel, Amon Dl II, Can and Kraftwerk. These may not all be household names, but the influence of their ruminative, expansive compositions upon Western popular music is incalculable. These groups were key to the development of postpunk, electronica and ambient music. Without them Bowie would not have made his Berlin trilogy, Talking Heads would have been a straight-ahead rock band, and the Pet Shop Boys would have a completely different stage act.

Future Days is an in-depth study of this meditative, sometimes abstract, often very beautiful music and the groups that made it, throwing light on the social and political context that informed them. It's an indispensable book for those wanting to understand how much of today's music came about, and to discover a wealth of highly influential and pioneering musicians.


Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 2794 KB
  • Nombre de pages de l'édition imprimée : 514 pages
  • Pagination - ISBN de l'édition imprimée de référence : 1612194745
  • Editeur : Faber & Faber; Édition : Main (5 août 2014)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00KEW6A6M
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Activé
  • Composition améliorée: Activé
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: n°232.962 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Format: Format Kindle Achat vérifié
ouvrage très bien écrit et complet le livre donne envie d'écouter et de découvrir les groupes dont il est question
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x937ea0e4) étoiles sur 5 9 commentaires
12 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x93886900) étoiles sur 5 Pretty good with a few caveats 1 octobre 2015
Par BT - Publié sur Amazon.com
Format: Relié Achat vérifié
Pretty good with a few caveats. The writer includes song by song descriptions for many of the albums he discusses in detail, which would seem to be something he has developed skill, confidence, and interest in during his time as a music reviewer. However, in the context of a book like this I found it to be distracting and unnecessary; many of those reading it will be familiar with the albums already and those who aren't would probably be interested in checking them out, but having someone describe each song using elaborate metaphors and analogies in unlikely to add much for either party.

The second thing that kind of bugged me is that while an author's perspective in a book like this will inevitably come through, particularly in the selection of albums and artists to be discussed, this particular author's perspective seems particularly shaped by the orthodoxies of his given background, and this seems to be indulged to an extent that it lessens the work as a whole; in addition, this perspective represents an outdated and unjustifiably elitist one that thankfully a large percentage of the music-listening world has started to move away from.

He obviously treasures any music that is difficult to listen to but treats it as a given that this criteria is one that is obviously superior to any number of other factors that one could use. Therefore early Tangerine Dream is good but all of their late seventies/early eighties stuff is worthless. But since Kraftwerk are held in respect, both their difficult and more "commercial" work is worthy of admiration (bordering on the hyperbolic) and discussion. But one of the things that makes them respectable is how influential they are. But no credit is given to Tangerine Dream for the immense influence their commercial work had. And Popol Vuh's synthesizer-less material is given short shrift and it's stated that many do not consider this work to be "true" krautrock (which was certainly news to me and I would imagine quite a few others); the music's supposed religious influence and aspiration is stated as evidence that it (including the soundtracks to Herzog's movies) is meant to be pleasant sounding and lacking in darker emotional resonances, which would be a surprise to many that have heard the Aguirre soundtrack, the main theme of which is certainly a pretty melancholy and desolate piece of music. Also, the "remixed" second half of Neu! 2 is somehow attributed with influencing modern remix culture (huh?), and treated as being somehow a listening experience comparable to the original compositions on their first three albums.

All of this is by way of getting at the following point. You can try to canonize whatever bands you want, treat whatever subjective criteria you choose as being an objective reflection of value, and try to propagate the old album-oriented perspective, but the way things are going (and for the better, which is often not the case) is that most music listeners do not feel the need to make these distinctions and value judgements anymore. Yes, sure, Can is one of the greatest bands of all time and they have several albums that are chock full of amazing songs. But that doesn't preclude anyone from saying that Tangerine Dream's original contributions to the Risky Business soundtrack are also great. You don't need to pick one over the other or put the other down. It doesn't really serve to elevate the band you think is more important. They're just different sounds that serve different moods at different times. Trying to make these distinctions based on "importance" makes music boring and bogs down the listener in trying to sort out supposed social and cultural significance (i.e., other people's assigned meaning and value) instead of just leaving the listener alone to immerse themselves in their personal subjective experience with a specific piece of music, which is really the only experience that deserves to be labeled as "meaningful," as well as opening the author up to criticisms of using value systems that are never explicitly established and defended to support judgements that are ultimately unnecessary.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x938851e0) étoiles sur 5 Very well researched and well written. 14 octobre 2014
Par M. Underwood - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
Probably the best analysis of German rock and experimental music of the 70s and beyond that I have read. It places the music, musicians and music scene in a broad social, economic and political context that gives a satisfying understanding of why things developed how they did. Seems to pick out the main players well. Strong focus on Amon Duul II, Faust, Can and Kraftwerk. I highly recommend this book.
HASH(0x93882fd8) étoiles sur 5 Makes a great door stop, but not worth reading. 19 mars 2016
Par Jim A. Smith - Publié sur Amazon.com
Format: Relié Achat vérifié
This book was a complete disappointment. I only got half way through before giving up on reading it. The author seems to have listened to the same music I did, but in an alternative universe. Florian Schneider looks like a benevolent sea monster, and Conrad Scnitzler reminds him of the cartoon character Bart Simpson, and where does he find these musicians he compares the German bands with? I've listened to rock'n roll my whole life and never heard the Red Dirt Riders, Fat Cat Trio or Jasper Carrot. I read music bios all the time, and this is the strangest one I've ever come across. I actually threw it in the trash on the curb before finishing it, but fished it back out of the garbage because it cost me $25. I'll take it to the used book store to see if I can exchange it for something else. Maybe Jasper Carrot would like read it, because his name is mentioned.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x93886ad4) étoiles sur 5 Good try, but confused and incomplete 20 août 2015
Par Kenny Roberts - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
I was surprised that so much of the book deals with the post-WWII history of Germany. I wasn't convinced about some of the conclusions Stubbs arrives at. When the author finally gets to the music the descriptions are confused, the timelines incomplete. There is good information in the book, and I'm glad to read it, but 'Future Days' is NOT the definitive book I was hoping for. And the argument whether or not to use the derogatory term "Krautrock" was hand-wringing at its worst.
5 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x938967ec) étoiles sur 5 The introduction was very good and provided a historical framework 24 août 2014
Par W. Frederick - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
The introduction was very good and provided a historical framework. Where Stubbs really falls down is on band research (i.e., Eloy the band spells its name without an "i"). He could have learned much from a couple hours more of internet research and reading the previous books on the subject in English. The chapter on NDW was cursory, at best, while the last chapter was incredibly superfluous. And his opinions on various bands were also un-needed. Overall, a good book that adds a bit to the research on German experimental rock but is probably only of interest to completists like myself.
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