Pulling together parallel threads from music, fashion, art, and new media, Simon Reynolds confronts a central paradox of our era: from iPods to YouTube, we’re. the hype about RETROMANIA: Pop Culture’s Addiction To Its Own Past By Simon Reynolds Dummy magazine’s “The 10 Best Modern Music Books”: #1. Buy Retromania: Pop Culture’s Addiction to its Own Past Main by Simon Reynolds (ISBN: ) from Amazon’s Book Store. Everyday low prices and.

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Wirklich gefallen und angesprochen hat mich dabei eigentlich nur der Teil 3 “Morgen” und da insbesondere Kapitel 10 “Die Geister der vergangenen Zukunft – Sampling, Hauntology und Mashups”. Having been conscious of and interested in music as this powerful tool, this stimulus, from not long after it last possessed that power, and becoming conscious of the afterglow of all that activity and then waiting for the next big movement… well, it seems not to have happened.

The rest of what I’m trying to say in this paragraph still holds, though. But influences now are chosen. The Lead Review Gazelle Twin.

It makes an argument about art, nostalgia, and technology that has implications for all readerswhether diehard music fans or not.

Some of them, I think Mars, stuck with more atonal music which they carried on with, but the other no wavers went in more approachable directions musically.

And this is a very important book to me, with respect to how music fans react to pop in general.

Knowing his writing mainly from his excellent earlier book, Rip It Up And Start Again, about the late 70s early 80s post punk scene, I wasn’t expecting him to be as engaged with music from the last few years, but he makes the recent “hypnogogic pop”, “freak folk”, and “hauntology” quotes because no musicians actually refer to themselves by any of these terms movements prime exhibits for his thesis which is kind of amorphous, but honestly presented that way.

So therefore we’re hording retnolds instead of enjoying and thinking about music. Dec 19, Patrick rated it it was amazing Shelves: But they quickly reached a point where they were making fantastically obtuse and hostile music, but it was kind of inhospitable and some of them went off to do much pleasanter music, or music much closer to more established forms.


Many my age feel it was Britpop. For me, the major loophole in Reynolds’ argument is that he hardly ever enters into the specifics of why post-punk and rave – his two prime examples for a “modernist” type of innovation in music – are so innovative.

Here, though, Reynolds assumes the value of that aesthetic, so that even when I agree with his presentation of the facts, I’m unswayed siomn his conclusions — sometimes I feel like he’s just sad that there are no new genres for him to awkwardly name.

One of the songs on the album [‘The Wilhelm Scream’] is based on a song his father wrote — his father was a musician. Support The Quietus Make a Contribution. With its packaging resemblance to a coffin or a tombstone, the box set is where an old enthusiasm goes to die: He really hits his stride, though, in a long last chapter that is perhaps a bit heavy of cultural theory, but which ties together many of the overly well-made points from earlier sections.

In Reynolds also became a senior editor at Spin magazine in the US.

One of my favorite books, Luc Sante’s essay collection Kill All Your Darlingsbegins with essays of the old, weird, dirty, New York he inhabited during this time. But its premise seemed interesting enough retromxnia I’d pick it up for my Kindle which is decorated with Apple stickers defaced with slogans I retromanoa in, Banksy and Beatles Yellow Submarine stickers because desecrating the slick digital items of today is punk rock maaannn I’m arguing here from my misplaced nostalgia, not from the political realities of the time, though I do not think my reunolds nostalgia is wholly without truth.

This book has plenty of material for referencing and citing – quotable passages, well-executed interviews and ample information useful for music studies.

And I thought that was an interesting thing to say because you can see the same thing retromxnia the hypnagogic pop people. People are seeking them. I think it’s a really strange situation for creativity and musical culture to operate in and I think the last five, six, whatever years people have been sorting through that, and I think maybe everyone’s a bit overwhelmed… a bit shell-shocked, especially my generation.

Simon Reynolds – Wikipedia

This is a pretty big book, clocking in at around pages, and whilst some of the chapters can ramble on and seem a bit like a history lesson do we really need ANOTHER write-up of punk? Recommendations welcome from people who know their stuff. I don’t know quite why that is, although it becomes a field in which you can be sort of discriminating — you can develop an aesthetic out of these artefacts and I think old music is the same sort of phenomenon.


Reynolds even goes beyond music and into fashion as well. Glam Rock and Its Legacywas published in October Reynolds criticises contemporary futurology as focused on consumer trends but not its greater conceptual laziness.

Reynolds manages to weave an exhaustive and comprehensive narrative around practically all areas of popular and alternative music of the past years, connecting the dots from doo-wop to dubstep to paint a pretty thorough picture of recurring musical trends and ideas throughout the development of popular music, and what that tells us about the future of music and of society at large.

That’s a really weird idea because it seems like something you should have no control over. However, Reynolds’s belief that pop music needs to be less doting towards the past reminds me of the economist Joseph Schumpeter, who saw creative destruction as the linchpin of modern capitalism.

What happens when you have the same taste as your parents? Noticing that a few reviewers didn’t expect a music book, I wonder if publishers relied only on Reynolds’ name to signal that it was about music, which wouldn’t work for readers not already familiar with him.

Retromania: Pop Culture’s Addiction to Its Own Past

Gave me a lot to think about. Forget innovation in music since ; has there been innovation in government since ? He calls it the ‘past shock’ retromahia taking music back through time and how people from the past would not be future-shocked, but shocked by how familiar it was. It wasn’t punk he was holding up as late 70s innovation, but post-punk which I agree with. And that did used to happen. There’s nothing better for me than getting stuck on a record I can’t stop playing.

Preview — Retromania by Simon Reynolds.