Still in a Dream
Shoegaze, Slackers and the Reinvention of Rock, 1984–1994
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ナレーター:
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Alexander Arnold
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著者:
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Simon Reynolds
'To devote a book to a set of wilfully amorphous and hazy bands, many of them long-forgotten outriders, is an act of love, commensurate with the saturated thrum of much of the music' OBSERVER
Twenty years after his acclaimed postpunk best-seller, Rip It Up and Start Again, Simon Reynolds tells the tale of what happened next: the underground explosion of noisepop, shoegaze, slacker rock and grunge that reverberated through the mid-Eighties into the early Nineties.
Capturing the musical exhilaration of the era along with the alienation of youth during a period of ascendant conservative politics and glitzy mainstream pop, Still in a Dream celebrates a golden age of guitar reinvention, a second psychedelia of mind-blowing sounds pioneered by bands like My Bloody Valentine and Sonic Youth. In Britain, groups like Cocteau Twins and Slowdive escaped into shimmering dreamworlds while American underground rockers like Dinosaur Jr. and Pavement blended apathy and urgency into thrilling noise.
A propulsive and personal account from a journalist who covered this music in real time from the frontlines, Still in a Dream vividly recreates a period that was the last blast for the analogue culture of vinyl records and music papers, before the Internet changed everything.©2026 Simon Reynolds (P)2026 Orion Publishing Group Limited
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批評家のレビュー
Although he is mature in his analysis, he nonetheless retains the zeal of an erudite cheerleader. He writes eloquently on the feeling of being overtaken or subsumed by the music, of relinquishing logic in pursuit of inner space . . . to devote a book to a set of wilfully amorphous and hazy bands, many of them long-forgotten outriders, is an act of love, commensurate with the saturated thrum of much of the music
A love letter to the late, lamented weekly music press, a disquisition on the idea of noise in rock (from Husker Du to My Bloody Valentine) and a statement on why Britpop turned out to be a 'cultural calamity'. Read it for Reynolds's argumentative vigour and his enthralled immersion in the music he adores
His writing is passionate, with a penchant for theory . . . it's a thrill ride. If you weren't there, you'll wish you had been
An insightful history, mixed with fond memoires of writing for Melody Maker, one of the weekly "inkies" in the UK's exuberantly opinionated music press
A masterwork . . . The fascinating thing about Simon Reynolds is that as he gets older and adds more books to his canon, it becomes increasingly fascinating to see where his attention will turn next. Where ever it is you know it's going to be good. After all, you don't get to be the best music journalist working today for no reason
We know and appreciate the Simon Reynolds authority and formula but, Still in a Dream, is worth more than the value of considered critical conversation . . . not so much a memoir or biography, unravelling the person, but a grand hat tip and bow to the bands and their music . . . In the end, Still in a Dream will be personal for some readers too: triggering stops and starts as you retrieve vinyl, CDs and other memorabilia to revisit with fresh interest (Ngaire Ruth)
Through the fug of nostalgic haze, [Reynolds] brings his subjects and their times to crystal-clear life, with plenty of the kind of new, exciting pin-sharp thought we came to adore from the very best of the weekly music press . . . Still in a Dream acts beautifully as a thorough, thoughtful examination of the many featured bands and their music, as an encapsulation of the societies in which they emerged, and as a memoir of the formative years of Reynolds' adult life (David Pollock)
Much like the melodies of the music itself, this book feels like a story which has been waiting to burst out and shine for an eternity. Every band detail is fascinating but the real joy lies in Reynolds being entirely enraptured by a scene, the tales of someone blissfully caught in the heart of a storm
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