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Energy Flash: A Journey Through Rave Music and Dance Culture par [Reynolds, Simon]
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Energy Flash: A Journey Through Rave Music and Dance Culture Format Kindle


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Descriptions du produit

Présentation de l'éditeur

Ecstasy did for house music what LSD did for psychedelic rock. Now, in Energy Flash, journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA (“ecstasy”) and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s.

England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching—and partaking in—the rave scene early on, observing firsthand ecstasy’s sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon.

Read on, and learn why is nitrous oxide is called “hippy crack.”

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 1772 KB
  • Nombre de pages de l'édition imprimée : 610 pages
  • Editeur : Soft Skull Press; Édition : Reprint (1 mars 2012)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B007HOO5VM
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Amazon.com: 4.3 étoiles sur 5 11 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Good read. I bought this to relive something I ... 14 juin 2015
Par triphase - Publié sur Amazon.com
Format: Broché Achat vérifié
Good read. I bought this to relive something I experienced myself (90's & early 2000s underground rave movement) through someone else's perspective to see someone else's experiences and compare them to what I remember. Now keep in mind I experienced this movement in NYC, and really nowhere else. This book (and its author) clearly has a perspective from the UK. But it was entertaining to read, and I learned a lot of things I never knew about the movement that the author was aware of that were happening around the world at the time, and does a good job of telling the stories of the parallel things and events occurring around the world since the 80s that brought the rave/edm scene from an underground acid house movement to where it is today.
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 It's a little dry and the later chapters are pretty irrelevant to what I'm interested in 23 décembre 2014
Par Alan McVeigh - Publié sur Amazon.com
Format: Broché Achat vérifié
Huge book. It's a little dry and the later chapters are pretty irrelevant to what I'm interested in, but the first 1/2 of the book detailing the rise of dance music and its influence in the UK is great. Nice record list to work through finding too.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A lot of critics of the book complain about Reynolds' ... 14 juin 2015
Par Andres Osinski - Publié sur Amazon.com
Format: Broché Achat vérifié
A lot of critics of the book complain about Reynolds' highly opinionated views on the developments of electronic dance music. This is a mistake; a wholly academic research and categorization with no regards to the vivid, honest opinions of the people who were there is of no use when much of the magic is about what it represented, where the parties happened, who were its consumers and creators, and so on.

Reynolds describes the ambiances, locations, producers, labels, and theory behind the music, parties and institutions that compose the music of that era. It adds social significance to those of us who have only the sounds free of context. A must-have for anyone with interest in electronic music of the past and present.

Simon provides a refreshing, highly informative, and thorough overview of dance culture. It has made me appreciate and discover music I would not have found otherwise, and clarifies many questions I had on musical preference.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Could Not Put It Down 10 janvier 2014
Par Pvt - Publié sur Amazon.com
Format: Broché Achat vérifié
Sure, Mr Reynolds has a fondness for hardcore rave, but we were all sucked into electronic music by one genre or another. One has to start somewhere. He has done a fantastic job cobbling together all the disperate elements that make up the rave culture and explaining them to those of us that were there (and have difficulty remembering) and those who wern't.

I found the extra chapters from the American eddition a most-worthy addition as these touched on some of my favourite developments like trance and progressive house of which I am a particular fan.

Congradulations to Simon Reynolds for finding the vocabulary to describe what we heard all those years ago and to peg down some of those elusive feelings we had whist jiving amoungst the smoke machines of our youth.

I've moved straight onto his next book - Rip It Up and Start Again - I'm hooked.
6 internautes sur 9 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Useful to get a general idea of the history of EDM and some of its classic tracks, but deeply flawed 13 février 2014
Par Christopher Culver - Publié sur Amazon.com
Format: Broché
Simon Reynolds is a British music journalist (born in 1963) who has covered several different genres of popular music, but experiences in clubs, raves and with the drug Ecstasy have made a powerful impact on his life. ENERGY FLASH is a voluminous survey of electronic dance music (EDM) and the culture (style, drugs) surrounding it since its start in the 1980s. The first edition of the book (titled GENERATION ECSTASY in the United States) appeared in 1998, but a second edition describes later developments up to 2007.

While Reynolds focuses mainly on the British scene, there is ample coverage of US developments. Besides starting his history with the Detroit techno and Chicago house movements without which the UK would have never had acid house and everything after, Reynolds also dedicates an entire chapter to US raves, highlighting the very different vibe there compared to Europe. The German scene is also covered, but in considerably less detail than the UK or US.

Through each evolution in EDM (acid house, hardcore, IDM, jungle, trance, progressive, etc.), Reynolds mentions iconic tracks of the era. Take, for instance, this bit on "Voodoo Ray" by A Guy Called Gerald:

"With its undulant groove and dense percussive foliage, its glassy, gem-faceted bass-pulse and tropical bird synth-chatter, `Voodoo Ray' looks ahead to the polyrhythmic luxuriance of Gerald's mid-nineties forays into jungle, as do the tremulous whimpers and giggles of the blissed-out female vocal."

When the first edition of this book was published in the 1990s, readers must have felt somewhat frustrated by these vague verbal descriptions, which don't really impart what the track really sounds like. However, we now live in the age of YouTube, when readers can easily hear nearly every track mentioned in ENERGY FLASH. Much of the book's value lies in walking you through classic tracks that you can go on to download yourself.

What seriously undermines ENERGY FLASH, however, is a lack of fact-checking and an inability to distinguish opinion from fact. As Reynolds makes clear in the introduction, his preference is a genre of aural assault and chemical saturation, where the names of the producers of tracks or even DJs is irrelevant, the dancers in a club living in the moment. For him, this is the truly revolutionary music of the era. He sees notions of "progressive house", "intellectual dance music" and "home listening" as throwbacks to established music genres.

Of course it's fine to have an opinion, and any reader is likely to find some strands of EDM more worthwhile than others. However, Reynold can't help making snide comments like "No one listens to The Future Sound of London any more" (my paraphrase), but a glance at FSOL's LastFM artist page reveals that over half a million people still do, with younger audiences continually discovering them and leaving ecstatic comments on the wall. Even the progressive rock that Reynolds feels progressive dance music follows into historical oblivion has shown considerably staying power if one simply looks at its internet presence.

There are also readily spottable factual mistakes in e.g. dates: the "Battle of Beaulieu" between trad and modern jazz fans happened at the 1960 festival, not the 1961 one; the 1992 hardcore scene wasn't inspired by Playstation games because that console was not released until two years later. We get misspellings like "Liz Frazer" for the chanteuse of Cocteau Twins (whose last name is in fact Fraser) and outright misrememberings like "Trevor Seaman" for "Dave Seaman". Mistakes like these lead one to doubt the overall reliability of Reynolds' history.
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