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Retromania: Pop Culture's Addiction to Its Own Past - Simon Reynolds - Google книги

Very few are nostalgic for, say, old browser versions though I am, I want them to be the same as a few years ago with only security updates as difference but many people are for the stuff they read about within the browser.

Is it just me who feels that digital music has divorced them from tracklistings? I always used to know song retromania reynolds when it was all records, tapes and CDs, but now I've listened to many albums dozens of times without knowing all the track names, because I never stare at the listings.

Instrumental albums in particular, I experience as single works, like a classical symphony, and unless some favourite moment usually a bass drop makes me check titles, I find it weird to talk about the tracks as retromania reynolds units.

It's possible to be just as geeky about retromania reynolds and beauty as about music and film, but this isn't obvious to outsiders because its popular image is vapid, and most fashion magazines other than Vogue and a couple of others that I'm not sure are even still going write about it in a vapid way.

Retromania reynolds with more analytical approaches may well post-date this book. Reynolds is enthusiastic about hypnagogic pop and the revival of 80s synth sounds by retromania reynolds musicians. One of whom has a theory I like: I was getting tired of that sound already in and expected it to have gone by now.

Retromania: Pop Culture’s Addiction to Its Own Past by Simon Reynolds: review - Telegraph

Rip van Winkle returns in and finds it's more ubiquitous than ever. I started calling it retromania reynolds dreampop, convinced it's retromania reynolds decade's sound that won't die, like the boring post-ladrock that was landfill indie in the 00s.


Reynolds criticises contemporary futurology as focused on consumer trends but not its greater conceptual retromania reynolds. History that ignores major macro factors is obviously rubbish, yet everyone apparently puts up with the equivalent in predictions.

Retromania: Pop Culture's Addiction to its Own Past by Simon Reynolds – review

It feels like it was a retromania reynolds of extended meditation. I am comfortable with silence in a way I never used to be.

The commentary lacks the awareness gained from personal experiences like when I first really listened to Eno's Another Green World and realised, about 20 years after the fact, that Gorky's Zygotic Mynci, a band who seemed really different when Retromania reynolds was a teenager, were massively derivative of it.

If I'd heard Gorky's only after Eno, of course I would have had a different opinion of them. What was the last major popular music movement in the UK?

Reynolds feels it was rave he was therewith only a cursory nod to dubstep my answer; at the time he was a retromania reynolds dad in New York.

Retromania: Pop Culture's Addiction to Its Own Past by Simon Reynolds

Many retromania reynolds age feel it was Britpop. Libertines fans now 30ish found the band hugely significant.


But in I have the sense that serious something music fans are more interested in the new than were the indie-folk-Americana-curating hipsters from the late s described in Retromania. This book has already added to my life musically: One of those occasional revelations that makes one re-annoyed about retromania reynolds past retromania reynolds thought accepted and settled.


In I ripped and sold hundreds of CDs, whilst living with someone who retromania reynolds that physical media was dead. He would, though, have nothing to do with Apple software, like many cool geeks pre-iPhone, so one can hardly blame him for not retromania reynolds the plethora of options in iTunes.


After all, forms of nostalgia or arcadianism — the Victorian revival of Gothic, say — have arisen, sometimes very productively, throughout history. Reynolds argues that retro revives a past that is barely the past all those I Love the s-style showsand does so, using retromania reynolds and internet-enhanced documentation, with a forensic precision that precludes creative distortion retromania reynolds the art that comes from misremembering.

Retromania reynolds retro sensibility, he adds, isn't animated by the modernist anger or subversion found in the work of collagist John Heartfield or the productions of Public Enemy's Hank Shocklee, but a general mood of eclectic irony.

Put this way, Reynolds seems to be describing the kinds of bricolage and hyper-referentiality of postmodernism. But he's also narrating the trickle-down effect, philosophically as much as technologically, of the remix culture of the late s, when cheap samplers allowed artists to treat the whole history retromania reynolds recorded music retromania reynolds a free zone for resource extraction.

Retromania: Pop Culture’s Addiction to Its Own Past by Simon Reynolds: review

That's what he wants pop music to do; not to think of retromania reynolds past retromania reynolds terms of repertoire or standards, but as a series of chokes and shackles from which, in existential fashion, it must perpetually break free.

Though far from being a Luddite, he worries about websites such as YouTube that clog the present with too many yesterdays: Are revivals necessarily bad? And what of listening to the listeners?