GENERATION ECSTASY ~ Into the World of Techno and Rave Culture
Book review and technical detail GENERATION ECSTASY ~ Into the World of Techno and Rave Culture Simon Reynolds
|Technical detail of GENERATION ECSTASY ~ Into the World of Techno and Rave Culture|
|Title||GENERATION ECSTASY ~ Into the World of Techno and Rave Culture|
|Category||Entertainment & Sports|
|Publisher||Little Brown & Co (T)|
|Publishing Date||1st January, 1970|
Rock announcer Reynolds (The Sex Revolts) chronicles how MDMA (a consciousness-expanding amphetamine, aka “ecstasy”) and MIDI (computer complete technology) calm spawned the altered ball ability of the “chemical generation.” While America has never absolutely bent on to cyberbanking ball music, techno and acerbic abode accept been the aftermost decade’s ascendant European pop music genres. Reynolds, a biographer for Rolling Stone, Spin, and iD, has been watching the arena back the backward 1980s, back England, Germany, and Holland began transforming alien Detroit techno and Chicago house. Once beatitude was alien into British clubs, its sense-heightening and empathy-elevating furnishings alloyed with the soundtrack, acceptable for abode what LSD was for consciousness-expanding rock. Reynolds, declaring a “rockist” bias, mostly prefers discussing recording artists, DJs, and subgenres over anecdotic babble culture’s underground ball clubs, actionable accumulation parties in warehouses and country fields, charlatan radio stations, or the music’s sociological significance. For the uninitiated, his anatomy of acerbic house’s descendents (Manchester indie-dance, beep and bass, Belgian hardcore, breakbeat ‘ardcore, ambient techno, trance, darkcore, Dutch gabba, happy, jungle, to name a few) may assume obsessive. This all-embracing overview, however, dispassionately archive the assured acceleration and abatement of drug-based agreeable fashion. As dopamine and serotonin corruption larboard the aforetime blissed-out ravers with a charge for faster tracks—up to 300 bpm—and added drugs such as heroin, ketamine, and speed, the aboriginal aficionados decried the bastardization of their complete and confused on to altered cyberbanking experiments. Reynolds does accept some active passages of acreage research, such as his acquaintance of one of Spiral Tribe’s 20,000-strong acclaim in rural Castlemorton, but they can’t analyze to the E-fictions of Irvine Welsh (The Acerbic House) or Alan Warner (Morvern Callar). Although neither Reynolds nor anyone abroad can adumbrate post-rave’s future, his hardcore history of its aboriginal decade is a exciting remix of the soundscape’s greatest hits.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.
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