El estudio de grabación como elemento clave en la concepción del post-rock de Simon Reynolds

  1. Ugo Fellone
Zeitschrift:
Etno: Cuadernos de Etnomusicología

ISSN: 2014-4660

Datum der Publikation: 2020

Ausgabe: 15

Nummer: 2

Seiten: 247-269

Art: Artikel

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Andere Publikationen in: Etno: Cuadernos de Etnomusicología

Zusammenfassung

Simon Reynolds is one of the most relevant music critics of the last three decades. Known for his books about retromania, rave culture, post-punk or glam rock, this British author has achieved a big amount of prestige that has legitimized him in the field of music journalism. This privileged position allowed him to establish certain neologisms, being post-rock the most popular of them. Reynolds speaks about post-rock in many articles for The Wire, Melody Maker, Mojo and The Village Voice, but it is an article for the first of these magazines, “Shaking the Rock Narcotic”, the one which would acquire a more canonical status. In this text, Reynolds defines post-rock by its use of rock instrumentation for non-rock purposes and the recording studio as an instrument. This notion of the studio as an instrument, which goes back to the ideas of Brian Eno, is what will be discussed in this paper. For this purpose, a brief genealogy of the term post-rock in the writings of Simon Reynolds will be made. Inevitably, this will lead us to evaluate his place within the subfield of music criticism and his relationship with diverse technological-musical developments that happened in the first half of the 1990s. In this way, we can understand not only the place that the recording studio occupies in Reynolds’ definitions, but something deeper: the complex –and often elusive relationship– that exists between music criticism and music production.

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Fuente de los datos: Dialnet