All 12 episodes from the first season of the American sci-fi mystery series in which two secret service agents - Pete Lattimer (Eddie McClintock) and Myka Bering (Joanne Kelly) - are deployed in a top-secret facility where the government has amassed a wealth of mysterious items linked to the supernatural and occult. The duo is assigned the unusual job of investigating rumours of new objects and locating any that have gone missing. Episodes are: 'Pilot', 'Resonance', 'Magnetism', 'Claudia', 'Elements', 'Burnout', 'Implosion', 'Duped', 'Regrets', 'Breakdown', 'Nevermore' and 'MacPherson'.

In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.

In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.

Twenty-five years since acid house and Ecstasy revolutionized pop culture, Simon Reynolds's landmark rave history Energy Flash has been expanded and updated to cover twenty-first-century developments like dubstep and EDM's recent takeover of America. Author of the acclaimed postpunk history Rip It Up and Start Again, Reynolds became a rave convert in the early nineties. He experienced first-hand the scene's drug-fuelled rollercoaster of euphoria and darkness. He danced at Castlemorton, the illegal 1992 mega-rave that sent spasms of anxiety through the Establishment and resulted in the Criminal Justice and Public Order Bill. Mixing personal reminiscence with interviews and ultra-vivid description of the underground's ever-changing sounds as they mutated under the influence of MDMA and other drugs, Energy Flash is the definitive chronicle of electronic dance culture. From rave's origins in Chicago house and Detroit techno, through Ibiza, Madchester and the anarchic free-party scene, to the pirate-radio underworld of jungle and UK garage, and then onto 2000s-shaping genres such as grime and electro, Reynolds documents with authority, insight and infectious enthusiasm the tracks, DJs, producers and promoters that soundtracked a generation. A substantial final section, added for this new Faber edition, brings the book right up to date, covering dubstep's explosive rise to mass popularity and America's recent but ardent embrace of rave. Packed with interviews with participants and charismatic innovators like Derrick May, Goldie and Aphex Twin, Energy Flash is an infinitely entertaining and essential history of dance music.

In this, the first book to take a big-picture view of the entire post punk period, acclaimed author and music journalist Simon Reynolds recreates a time of tremendous urgency and idealism in pop music. Full of anecdote and insight, and featuring the likes of Joy Division, The Fall, Pere Ubu, PiL and Talking Heads, Rip It Up And Start Again stands as one of the most inspired and inspiring books on popular music ever written.

This compelling book offers an important insight into the way organizations implement policies and procedures to prevent future disasters occurring. The third edition includes an introductory chapter which demonstrates on a theoretical and practical level a number of reasons why individuals and groups of people fail to learn from disasters in the first place. Based on thorough research, Learning from Disasters is essential reading for all those involved in risk management, disaster planning and security and safety management.

Totally Wired features 32 interviews with the post-punk era's most innovative musicians and colourful personalities. From Ari Up, Jah Wobble, David Byrne, Edwyn Collins, it also includes conversations with the most influential of label bosses, managers, record producers, DJs and journalists - such as John Peel and Paul Morley. Crackling with argument and anecdote, these conversations bring a rich human dimension post-punk's exceptional characters, from their earliest days to their glorious and sometimes disastrous musical adventures. Along with interviews, we get 'overviews': further reflections by Simon Reynolds on key icons and crucial scenes, including John Lydon and Public Image Ltd, Ian Curtis and Joy Division, and the lineage of glam grotesquerie running from Siouxsie & The Banshees to the New Romantics to Leigh Bowery.

A Guardian, Sunday Times, Mojo, Daily Telegraph and Observer Book of the Year Longlisted for the Penderyn Music Book Prize 2017 As the sixties dream faded, a new flamboyant movement electrified the world: GLAM! In Shock and Awe, Simon Reynolds explores this most decadent of genres on both sides of the Atlantic. Bolan, Bowie, Suzi Quatro, Alice Cooper, New York Dolls, Slade, Roxy Music, Iggy, Lou Reed, Be Bop Deluxe, David Essex -- all are represented here. Reynolds charts the retro future sounds, outrageous styles and gender-fluid sexual politics that came to define the first half of the seventies and brings it right up to date with a final chapter on glam in hip hop, Lady Gaga, and the aftershocks of David Bowie's death. Shock and Awe is a defining work and another classic in the Faber Social rock n roll canon to stand alongside Rip it Up, Electric Eden and Yeah Yeah Yeah.

All 64 episodes from all five seasons of the American sci-fi mystery show. When two secret service agents, Pete Lattimer (Eddie McClintock) and Myka Bering (Joanne Kelly), are reassigned to a top secret government facility they initially perceive it as a demotion. However, as they become familiar with the contents of Warehouse 13 - storehouse to a wealth of mysterious items linked to the supernatural and the occult - the duo reconsider. With the aid of Claudia Donovan (Allison Scagliotti), a technical whiz-kid, they apply themselves to the important task of investigating potential discoveries of new objects and seeking out those that have gone missing.

Ecstasy did for house music what LSD did for psychedelic rock. Now, in "Energy Flash," journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA ("ecstasy") and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s.
England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching--and partaking in--the rave scene early on, observing firsthand ecstasy's sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon.
Read on, and learn why is nitrous oxide is called "hippy crack."

The first book to make sense of 21st Century pop, Retromania explores rock's nostalgia industry of revivals, reissues, reunions and remakes, and argues that there has never before been a culture so obsessed with its own immediate past. 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 empowered by mind-blowing technology, but too often it's used as a time machine or as a tool to shuffle and rearrange music from yesterday.We live in the digital future but we're mesmerized by our analogue past.

Rip It Up and Start Again is the first book-length exploration of the wildly adventurous music created in the years after punk. Renowned music journalist Simon Reynolds celebrates the futurist spirit of such bands as Joy Division, Gang of Four, Talking Heads, and Devo, which resulted in endless innovations in music, lyrics, performance, and style and continued into the early eighties with the video-savvy synth-pop of groups such as Human League, Depeche Mode, and Soft Cell, whose success coincided with the rise of MTV. Full of insight and anecdotes and populated by charismatic characters, Rip It Up and Start Again re-creates the idealism, urgency, and excitement of one of the most important and challenging periods in the history of popular music.

All 13 episodes from the third season of the American sci-fi mystery series. When two secret service agents, Pete Lattimer (Eddie McClintock) and Myka Bering (Joanne Kelly), are reassigned to a top-secret government facility they initially perceive it as a demotion. However, as they become familiar with the contents of Warehouse 13 - storehouse to a wealth of mysterious items linked to the supernatural and occult - the duo reconsider. With the aid of Claudia Donovan (Allison Scagliotti), a technical whiz-kid, they apply themselves to the important task of investigating potential discoveries of new objects and seeking out those that have gone missing. The episodes are: 'The New Guy', 'Trials', 'Love Sick', 'Queen for a Day', '3... 2... 1', 'Don't Hate the Player', 'Past Imperfect', 'The 40th Floor', 'Shadows', 'Insatiable', 'Emily Lake', 'Stand' and 'The Greatest Gift'.

With a foreword by Simon Reynolds, Neon Screams explores the plethora of new street genres that have emerged at the turn of the 2020s. Neon Screams is a manifesto, a rallying cry for the new musical futurism. Taking street music's embrace of Auto-Tune in the late 2000s as his starting point, Kit Mackintosh launches you through a whirlwind tour of the last decade of cutting-edge music, championing the modern genres still uncovering the sonic impossible, from mumble rap to drill to Afrobeats, bashment and beyond. Beginning where most future music chronicles end, Mackintosh establishes a new pantheon of pioneers and innovators. Offering dizzying insights into the likes of Future, Young Thug, Migos and Vybz Kartel, Neon Screams is conceptual weaponry to use against all those who say music isn't what it used to be. Part polemic, part synesthetic possession, Neon Screams is essential reading for everyone eager to uncover the new frontiers of future music.

There is a growing (if not urgent) need for those being trained for ordained (and lay) ministry to be provided with a more solid grounding in liturgical principles, and Simon Reynolds seeks to address this by demonstrating how good liturgical leadership can be the foundation from which all other theological, historical, pastoral and missiological issues arise. Table Manners attempts to avoid being a 'party' book and will consciously avoid issues of churchmanship (except in pointing to what is positive in the various Christian traditions). Rather, it is written from the conviction that (i) a proper understanding of the Eucharist, and a theologically-informed approach to celebrating it (even if this manifests itself in many different styles), should mean that worshippers can go to churches of an unfamiliar tradition and yet still be caught up in the action, because what is essential and enlarging about good liturgical celebration would be recognisable; and (ii) that the success of presidency also demands the liturgical education of the whole people of God, because until they know what to ask for, their expectations will remain constrained.

One of "The Telegraph"'s Best Music Books 2011 We live in a pop age gone loco for retro and crazy for commemoration. Band re-formations and reunion tours, expanded reissues of classic albums and outtake-crammed box sets, remakes and sequels, tribute albums and mash-ups . . . But what happens when we run out of past? Are we heading toward a sort of culturalecological catastrophe where the archival stream of pop history has been exhausted?

Simon Reynolds, one of the finest music writers of his generation, argues that we have indeed reached a tipping point, and that although earlier eras had their own obsessions with antiquity--the Renaissance with its admiration for Roman and Greek classicism, the Gothic movement's invocations of medievalism--never has there been a society so obsessed with the cultural artifacts of its own immediate past. "Retromania "is the first book to examine the retro industry and ask the question: Is this retromania a death knell for any originality and distinctiveness of our own?

"Bring the Noise" weaves together interviews, reviews, essays, and features to create a critical history of the last twenty years of pop culture, juxtaposing the voices of many of rock and hip hop's most provocative artists--Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead--with Reynolds's own passionate analysis. With all the energy and insight you would expect from the author of "Rip It Up and Start Again," "Bring the Noise" tracks the alternately fraught and fertile relationship between white bohemia and black street music. The selections transmit the immediacy of their moment while offering a running commentary on the broader enduring questions of race and resistance, multiculturalism, and division. From grunge to grime, from Madchester to the Dirty South, "Bring the Noise" chronicles hip hop and alternative rock's competing claims to be the cutting edge of innovation and the voice of opposition in an era of conservative backlash. Alert to both the vivid detail and the big picture, Simon Reynolds has shaped a compelling narrative that cuts across a thrillingly turbulent two-decade period of pop music.

With his critically acclaimed "Rip It Up and Start Again," renowned music journalist Simon Reynolds applied a unique understanding to an entire generation of musicians working in the wake of punk rock. Spawning artists as singular as Talking Heads, Joy Division, The Specials, Siouxsie and the Banshees, Gang of Four, and Devo, postpunk achieved new relevance in the first decade of the twenty-first century through its profound influence on bands such as Radiohead, Franz Ferdinand, and Vampire Weekend. With "Totally Wired" the conversation continues. The book features thirty-two interviews with postpunk's most innovative personalities--such as Ari Up, Jah Wobble, David Byrne, and Lydia Lunch--alongside an "overview" section of further reflections from Reynolds on postpunk's key icons and crucial scenes. Included among them are John Lydon and PIL, Ian Curtis and Joy Division, and art-school conceptualists and proto-postpunkers Brian Eno and Malcolm McLaren. Reynolds follows these exceptional, often eccentric characters from their beginnings through the highs and lows of postpunk's heyday. Crackling with argument and anecdote, "Totally Wired" paints a vivid portrait of individuals struggling against the odds to make their world as interesting as possible, in the process leaving a legacy of artistic ambition and provocation that reverberates to this day.

Over the course of the past 25 years, a quiet but persistent revolution has been taking place in English cathedrals, in some larger churches in major towns and cities, as well as the chapels of university colleges. The numbers of people drawn by the distinctive musical character of their worship has risen significantly, with Choral Evensong becoming the locus of this persistent growth in the numbers of worshippers. A significant number of these people are under 40 years of age; and many others have, until now, lived their lives on the edges of the Church - if not completely beyond it. Simon Reynolds believes Evensong is providing a place of sanctuary for people seeking space for reflection in a frenetic world. It is becoming a significant part of the Church of England’s mission. Lighten Our Darkness provides the definitive guide to Choral Evensong, and will be a fascinating introduction for newcomers to this historic form of worship, and for clergy and students wishing to explore its roots.

From Morrissey and Nick Cave to The Streets and Kanye West, this is the book that explores the links between hip-hop and rock. Reynolds has focused on two strands: white alternative rock and black street music. He's identified the strange dance of white bohemian rock and black culture, how they come together at various points and then go their own way. Through interviews he has carried out as a top music journalist for the last twenty years, Reynolds is here able to tell a story of musical rivalry which noone has told before. The approach is similar to Rip It Up and Start Again: a cultural history told through the music we love and the stars and movements that have shaped the world we live in.

Iggy Pop once said of women: "However close they come I'll always pull the rug from under them. That's where my music is made." For so long, rock 'n' roll has been fueled by this fear and loathing of the feminine. The first book to look at rock rebellion through the lens of gender, "The Sex Revolts" captures the paradox at rock's dark heart--the music is often most thrilling when it is most misogynist and macho. And, looking at music made by female artists, it asks: must it always be this way?

Provocative and passionately argued, the book walks the edgy line between a rock fan's excitement and a critic's awareness of the music's murky undercurrents. Here are the angry young men like the Stones and Sex Pistols, cutting free from home and mother; here are the warriors and crusaders, The Clash, Public Enemy, and U2 taking refuge in a brotherhood-in-arms; and here are the would-be supermen, with their man-machine fantasies and delusions of grandeur, from Led Zeppelin and Jim Morrison to Nick Cave and gangsta rap. The authors unravel the mystical, back-to-the-womb longings of the psychedelic tradition, from Pink Floyd, Jimi Hendrix, and Van Morrison to Brian Eno, My Bloody Valentine, and ambient techno. Alongside the story of male rock, "The Sex Revolts" traces the secret history of female rebellion in rock: the masquerade and mystique of Kate Bush, Siouxie, and Grace Jones, the demystifiers of femininity, like the Slits and Riot Grrl, tomboy rockers like L7 and P. J. Harvey, and confessional artists like Janis Joplin, Joni Mitchell, and Courtney Love.

A heady blend of music criticism, cultural studies, and gender theory by two of rock's keenest observers, "The Sex Revolts" isset to become the key text in the women-in-rock debate.