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Energy Flash: A Journey Through Rave Music and Dance Culture
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From Booklist
The title refers to the drug of choice at the multimedia events typical of Reynolds' subject: the "rave" scene, in which impressionable youngsters congregate in such roomy venues as pastures and warehouses to be musically entertained while under the influence. Rave music includes techno and several other strains, all of them electronic. Reynolds traces it from the German group Kraftwerk's "Krautrock" to disco and funk to the many rave-friendly formats extant today. Besides this music history, Reynolds discusses the panoply of rave-worthy drugs and proper rave attitude and deportment. His occasionally hyperventilating prose may discourage nonfan readers, yet this is a neat history of a cultural anomaly--a strain of pop music with a large audience but nearly no presence in the regular pop music media. And as a special bonus, Reynolds reveals why nitrous oxide is called "hippy crack." A solid addition for pop music collections and perhaps a source of ideas for an in-library festival (well . . . maybe not). Mike Tribby
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From Kirkus Reviews
Rock journalist Reynolds (The Sex Revolts, not reviewed) chronicles how MDMA (a psychedelic amphetamine, a.k.a. ``ecstasy'') and MIDI (computer sound technology) together spawned the unique dance culture of the ``chemical generation.'' While America has never quite caught on to electronic dance music, techno and acid house have been the last decade's dominant European pop music genres. Reynolds, a writer for Rolling Stone, Spin, and iD, has been watching the scene since the late 1980s, when England, Germany, and Holland began transforming imported Detroit techno and Chicago house. Once ecstasy was introduced into British clubs, its sense-heightening and empathy-elevating effects fused with the soundtrack, becoming for house what LSD was for psychedelic rock. Reynolds, declaring a ``rockist'' bias, mostly prefers discussing recording artists, DJs, and subgenres over describing rave culture's underground dance clubs, illegal mass parties in warehouses and country fields, pirate radio stations, or the musics sociological significance. For the uninitiated, his taxonomy of acid house's descendents (Manchester indie-dance, bleep and bass, Belgian hardcore, breakbeat 'ardcore, ambient techno, trance, darkcore, Dutch gabba, happy, jungle, to name a few) may seem obsessive. This encyclopedic overview, however, dispassionately charts the inevitable rise and fall of drug-based musical fashion. As dopamine and serotonin abuse left the formerly blissed-out ravers with a need for faster tracksup to 300 bpmand additional drugs such as heroin, ketamine, and speed, the original aficionados decried the bastardization of their sound and moved on to different electronic experiments. Reynolds does have some vivid passages of field research, such as his experience of one of Spiral Tribe's 20,000-strong raves in rural Castlemorton, but they can't compare to the E-fictions of Irvine Welsh (The Acid House) or Alan Warner (Morvern Callar). Although neither Reynolds nor anyone else can predict post-rave's future, his hard-core history of its first decade is a heady remix of the soundscape's greatest hits. (16 pages b&w photos, not seen) -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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To promote Kraftwerk's 1991 remixed "greatest hits" compilation The Mix, the group's American label, Elektra, came up with an amusing ad: a simulation of the famous one-and-only photo of blues pioneer Robert Johnson, but with his suit filled by a robot's body. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
To promote Kraftwerk's 1991 remixed "greatest hits" compilation The Mix, the group's American label, Elektra, came up with an amusing ad: a simulation of the famous one-and-only photo of blues pioneer Robert Johnson, but with his suit filled by a robot's body. Lesen Sie die erste Seite
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I agree with the leading review; the notion that reynolds is comparing everything to his beloved hardcore is very tight here. Reading this book, it becomes quite plausible that reynolds thoroughly enjoyed a few years in there, with a certain style of music, and holds it dear to his heart, comparing/shunning the rest. I admittedly was interested throughout the entire book, mostly because this is one of few books (around here) of its kind. A more obvious example of reynolds letting his hardcore bias in is his thrashing of FSOL; how they use too many sounds (I consider an extremely ridiculous idea), and how simplicity is best....and of course, hardcore is so simple that it is beautiful blah blah blah. He is clearly quite knowledgeable but needs to learn (discover) that each of the other genres he discusses have entire histories and cultures of their own, and that hardcore is, although a vital part of the uk rave scene, not the epicentre of electronic music. Thus the title including 'techno' culture was a bit lacking in the entire spectrum of techno (although the coverage of detroit was tight and necessary).
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First off, the title is a bit misleading - this book is about the history of rave culture (primarily in England), and has very little to do with psychedelic/ecstasy culture and its philosophy.
The historical aspect of the book is a good overview, but extremely biased towards the hardcore and related genres of techno. In particular I was offended by the author's suggestion that 'Intelligent Dance Music' was virtually racist because it avoided the use of black hip hop beats while those beats were getting a lot of play in clubs and at raves. The author presents himself as an outsider at the beginning of the book, but he was clearly part of and influenced by the hardcore scene. That isn't bad in of itself, but in this author's case it means that ever other niche is compared to the original hardcore scene (as well as its closely related genres) in a negative light; the author insinuates that the other genres simply don't get the point. Frankly, I think the author is the one who is unable to get any of the other genres.
All of this aside, I give this book four starts because it is a truly excellent resource for techno music fans, as well as anyone who is interested in learning more about the different genres of techno. Each section of the book presents (biased) descriptions of leading artists in each genre, and there is an excellent list in the appendix of tens of genres of technos with several album recommendations for each genre. This makes it an excellent reference for anyone interested in learning more about the different genres of techno.
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One would expect "Generation Ecstasy" to chronicle how Ecstasy and similar drugs affected the lives of a generation of people. It does not. Instead, the author provides a very detailed history of rave events and of rave and techno music. The author discusses entrepreneurs, musicians, and DJs, but does not discuss the people attending weekend rave events.
Mr. Reynolds is English, and much of his discussion is centered in England. The author describes how rave events evolved from small club events to major outdoor events to clandestine events hidden to avoid closure by local authorities. Mr. Reynolds discusses rave and techno music and DJ mixing techniques. He provides an extensive bibliography and discography. Mr. Reynolds discusses drug (over)use at rave events. He discusses the growth and death of the belief that drugs like Ecstasy would promote world peace. Mr. Reynolds' discussions are interesting, but they do not describe Ecstasy's effect on peoples' daily lives.
One seeking a history of techno and rave culture will enjoy this book. One seeking to understand the lives and goals of "Generation Ecstasy" will find it disappointing.
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Outside kinda glancing in through the fog
I read this book in hopes of finding some interesting journalistic insite into the history of Rave culture. Oh well. Lesen Sie weiter...
Am 17. Mai 2000 veröffentlicht
FABULOUS RESOURCE
Wheather you are in the scene or just curious what all this stuff called "techno" is, this book is an indespensible resource. Lesen Sie weiter...
Am 17. November 1999 veröffentlicht
Excellent overview of a culture and a generation!
I am currently doing research on rave culture and the music and drugs associated with this culture. This book has everything - the early history to the present, including specific... Lesen Sie weiter...
Veröffentlicht am 22. Oktober 1999 von Elizabeth Rossick
Excellent read for enthusiasts and shut-in bedroom DJ alike
I bought this book expecting it to be all about raves and the history of the whole scene. I was only half-right. Lesen Sie weiter...
Am 16. September 1999 veröffentlicht
Knowledge/fandom limits ability for critical dialogue
Having just worked my way through the UK publication of this book, alternitavely titled "Energy Flash", I must say that I have been given a decent working history of... Lesen Sie weiter...
Am 1. August 1999 veröffentlicht
Overly dramatic, but still a decent read
I'd have to agree with the above reviewer about Reynolds' annoying pseudo-intellectual speak. This guy obviously just read Baudrillard's _Simulacra and Simulacram_ one night while... Lesen Sie weiter...
Am 24. Juni 1999 veröffentlicht
The finest book yet about ecstacy and the rave culture
Simon Reynolds writes as an enthusiast, not a critic. This is, nevertheless, the most intelligent, vivid, comprehensive book I have ever read about the ecstacy culture. Lesen Sie weiter...
Veröffentlicht am 20. Mai 1999 von jbeggs@ogilvy.co.za
highly-informative and vividly written summary of rave
Reynolds provides an highly-information, excruciatingly detailed view of the history of rave culture and techno music. Lesen Sie weiter...
Am 4. Januar 1999 veröffentlicht
Boring. Reynolds sucks the life out of an interesting topic.
Filled with annoying postmodern pseudo-english, Generation Ecstasy seems to be written by someone who desperately wants to be thought of as intelligent. Lesen Sie weiter...
Am 27. Oktober 1998 veröffentlicht
excellent. I'm glad to see the world of rave is out!
AWESOME!! ONE WORD: AWESOME!
Am 13. Oktober 1998 veröffentlicht
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