MENU
Bibliography
Reynolds was born in London in 1963. In the mid 1980s, he attended the University of Oxford, where he co-founded the pop journal Moniter with friend and future Melody Maker colleague David Stubbs. In 1986, Reynolds joined the staff of Melody Maker, where his writing was marked by enthusiasm for a wave of experimental rock artists that emerged in the mid-1980s (including A.R. Kane, My Bloody Valentine, and The Young Gods). During this period, Reynolds and his colleagues set themselves in opposition to what they characterized as the ideological traditionalism and humanism of the indie rock, soul, and pop music of the era, as well as conservative standards of surrounding pop music discourse. Many pieces from this era would later constitute the retrospective collection Blissed Out: The Raptures of Rock, published in 1990.
In 1990, Reynolds left Melody Maker (although he would continue to contribute to the magazine until 1996) and became a freelance writer, splitting his time between London and New York. In the early 1990s, he became involved in rave culture and the electronic dance music scene, particularly that of the UK, and subsequently became a writer on the development of the hardcore "rave continuum" and its surrounding culture. During this time, he also coined the term "post-rock" in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. In 1994, Reynolds moved to the East Village in Manhattan. In 1995, with his wife, Joy Press, Reynolds co-authored The Sex Revolts: Gender, Rebellion and Rock 'n' Roll, a critical analysis of gender in rock. In 1998, Reynolds published Energy Flash: a Journey Through Rave Music and Dance Culture, a history of what became rave music, and became a senior editor at Spin magazine in the US. In 1999, he returned to freelance work and published an American version of Energy Flash in abridged form, titled: Generation Ecstasy: Into the World of Techno and Rave Culture.
In 2005, Reynolds published Rip It Up and Start Again: Postpunk 1978–1984, a comprehensive history of the post-punk era. In 2007, Reynolds published Bring the Noise: 20 Years of Writing about Hip Rock and Hip Hop in the UK, a collection of his writing themed around the relationship between white bohemian rock and black street music. In 2008, an updated edition of Energy Flash was published, with new chapters on the ten years of dance music following the appearance of the first edition. He contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008), edited by Paul D. Miller a.k.a. DJ Spooky. In 2011, Reynolds published Retromania: Pop Culture's Addiction to Its Own Past, a critical investigation into what he perceives as the current situation of chronic retrogression in pop music.
Reynolds has continued writing for magazines, as well as his blog, Blissblog. He resides in Los Angeles.
Description
From the columns of Melody Maker, The Wire, Spin, Rolling Stone, and in each of his books published, Simon Reynolds proposed to deconstruct the discourse of Pop subjecting it to an ideological dissection however has not prevented him indulge in his pleasures. His greatest achievement is deconstructive have eluded the two great analytical methodologies Rock criticism -the "lirocentrism" and the sociological interpretation to focus on sound policy and consider the materiality of sound involved in the various compositional strategies of Pop. The suspension of language in the Noise, the ocean-mystical regressions Acid-Rock, the preponderance of the triad timbre/texture/chromaticity over the melody and the message in the Post-rock and Electronic Music form a continuum Psychedelic that runs Pop history and manifests the fascination Reynolds ecstatic qualities of music, its hallucinatory power of dissolution of ego and power structures that stay in the mind. Along with these sound and complementary aspects, issues like fascism Madonna image in the dog fight and paranoid schizophrenia Hip Hop, Post-punk attraction for black culture, modes of sociability involved in the rave culture and the role of drug-interface technology in the development of music allow Reynolds to inquire into the political economy of Pop and politics of class, race and gender hiding. In its first translation into Spanish, the selected texts in this volume through the main lines of reflection Rock critic most important of the last twenty years Anglophone and current concerns about the future of music, in a context in which the possibilities of new technology has transformed patterns of production, circulation and reception forever.
* Apologies, translated by https://translate.google.com.ar