REACTIONS FROM READERS WHO DIDN'T GET SENT IT FOR FREE
"Surprised even myself by how much I enjoyed and devoured this book. Just loved it.... What I really appreciate about Simon’s writing is his capacity to trace the lineage of sounds and influences, his thoughtful capacity to put words to ineffable qualities of music.... but perhaps moreso, his ability to see into the ethos of the time, place and people who were making the music. His sense of how the cultural aesthetic and music philosophy and politics are all boiled into the indie music is just fabulous, and I found myself often amazed at how he was capturing feelings of an era that I felt true, but had never articulated. I love this ability to see how the potent fresh music of a culture are a direct manifestation of that moment’s gestalt.... I thank Simon for such a labour of love and such a delightful insight.... Over 400 pages and I wished it was longer.... If you love this era of music, read this book. So, so satisfying.
- Robert, Goodreads
- WaneLietoc, r/indieheads, Reddit
"Long-awaited follow-up to the 2006 classic Rip it Up and Start Again. And by far the best Simon Reynolds has written.... Nearly every band covered in this book I fell in love with; the music, the way they looked and dressed, the music press at the time... the concerts and festivals I attended when these bands were in their pomp. I feel privileged to have been at an age to appreciate everything going on around 84/85/86/87. Reading this I get exactly the same impression that Simon Reynolds had, and this privilege and passion pours off every page. If you were my age around the time period of this book. If you fell in love with any/all of the band's mentioned in this book, then this is a book for you. A perfect accompaniment to his Rip It Up and Start Again. Thank you Simon for bringing back so many memories. Highly recommended." - - Bookends (Amazon.co.uk reviewer)
"I've never dropped everything so fast to read a book immediately after receiving my pre-order.... It's a good book. It met my sky-high expectations" - Richard Balmer (Goodreads)
"Enjoyed this more than Reynolds’ “Rip It Up and Start Again”... Much more personal and sensational than his recounting of Post Punk history. These years clearly have much fondness attached to them from him which makes this a joy to read." - Aaron Hodgetts (Goodreads)
"Reynolds is a great writer. Many visceral, haptic descriptions of music that made me immediately put the book down and look up whatever song he was waxing lyrical about.... I loved hearing Reynolds discuss the critical 'battles' which took place within the independent music zine world (who did Melody Maker think was the future of music, and how did this show that NME's position was retrograde, old hat, soporific?). A lot of this reads like an impassioned plea for the value of criticism. It reminded me of how much I owe my aesthetic taste to those who write about art, who helped me see its value – it's beauty." - Luke McCarthy (Goodreads)
"Reynolds is one of the sharpest minds in music journalism, and like his other excellent books, this one is no disappointment. Taking a HUGE area of music to cover, he depicts his time writing for Melody Maker in the 80s / 90s and the emerging explosion in indie rock." - Nick Cubs (Goodreads)
Daniel Avery, Instagram reel
"Still in a Dream is Reynolds' clearest attempt to write close to his own life, with attention directed towards his work in the Melody Maker editorial office and the love affair with the American journalist Joy Press, to whom he is now married. This forms the framework for some overarching thoughts about work (what society wants from you) versus art (dreams and desires) and what opportunities existed in the transition between the 1980s and 1990s to escape society's expectations and create alternative worlds that went under the radar of a more utilitarian parent generation.
"One of the best things about Still in a Dream is the many descriptions of the material conditions under which the music – and Reynolds’ own journalism – came into being…. A small gap exists in time where they can create a life outside the demands of society. There is room to dream, and thus the music also sounded floating and yearning….
"Compared to Reynolds’ previous books…. Still in a Dream is a broader account of the connections between the individual and the collective and how cultural currents can wash through us and create oceanic trends…. Reynolds weaves all these stories together and gives a kind of portrait of a moment in time. The stories about being a music journalist in London, and what this community was about, are some of the most interesting things about the book. He takes self-criticism at some points and surprises with his music historical revisionism…. Reynolds is aware that the many journalistic conceptualizations have not always been for the best... In Still in a Dream Reynolds tries to sneak away from the labels. It fits well with the dream theme. He captures some currents under the language, and some melodic textures outside the reach of the official narratives. Maybe it's possible to bathe in the pink mist and still have new experiences." - Susanne Christensen, Vagant
"Was it all a dream? I'm still dizzy, there could be various reasons for that, but a noticeable, sweet whizzing lingers in my body. I've read the new book by one of the most influential music writers of our time: the Englishman Simon Reynolds. Still in a Dream is at times dizzying non-fiction about the most wonderful and dreamy music that was created in the alternative rock era 30–40 years ago. This was among the last events in analog pop culture before the internet changed everything. At that time, alternative expressions could be viable, without having to be explicit resistance work, like today. You also have to dig out old LPs, CDs, seven-inches and maxi singles, not least Youtube videos, to get this music straight into your veins again. Thus, a very inspiring book."
"Simon Reynolds is the kind of music writer who makes you want to rush out and listen to a hundred bands you have either never heard of or heard of / meant to check out / never got round to. If you dabbled with any of his previous books (Rip It Up and Start Again: Postpunk 1978-84 is one of our particular faves) you’ll need little encouragement to make a beeline for this one..... An essential purchase for the muso in your life, Still in a Dream is as entertaining, informative and combative as a night out with your gig going buddies." - Bookmunch
"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" ― Neil Mason, Moonbuilding, Book of the Week
"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 ― Record Collector
"His writing is passionate. . . it's a thrill ride. If you weren't there, you'll wish you had been" - Uncut
"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 ― Louder Than War
"For those of us who lived through the late 80s and early 90s, it’s a bit disconcerting to see this period of music eulogised through multiple articles and books. But every so often, a ‘must-read’ book emerges from this literary mountain, and Simon Reynolds, ex-Melody Maker journalist, has written a remarkably detailed account of what you might term alternative music.... There are some interesting stories from the perspective of somebody who was definitely there and most likely wore the t-shirt. It’s one for the music nerds, but it’s written with a real sense of joy. Even the most ardent student of this period will surely not be familiar with everything here; there’s plenty of scope to learn... It’s an extraordinarily detailed work, nostalgia for a pre-Internet age. It will be of interest to anybody interested in the music of the period" - No More Workhorse
"A masterful cultural and social archaeology"- Richard Imrich, Fullmoon
EARLIER COVERAGE
Kieran Press-Reynolds chats with Dad for GQ - long, rambling, occasionally goofy colloquy with my firstborn
My Baker's Dozen on reinvention of the guitar at The Quietus - with a YouTube playlist to accompany.
Moonbuilding - lovely review by Neil Mason (scroll down a ways)
Matt Moore at Lost Tempo appraises not just the new book but the entire Reynolds bibliography
Financial Times best books of the summer
To Here Knows When podcast - excellent chat with Paul McDermott
Word In Your Ear podcast - fun chat with Mark Ellen and David Hepworth - Word In Your Ear podcast - the episode with me now available on Apple and YouTube
Quietus news story by Christian Eede on Still In A Dream, with comments from myself and from the cover designer Henri Holz
German version from Ventil Verlag. November 2026
American translation on Da Capo January 2027
Spanish language version is due from Caja Negra Editora in Argentina. 2027.
Italian version from Minimum Fax. 2027
French version from Audimat. 2028
PLAYLISTS AND FOOTNOTES
Still In A Dream YouTube playlist
Early activity at the Still In A Dream Footnotes blog - The Lost Epigraphs and Lodestar Quotations - with much more to follow in due course
Check out Instagram.com/simonreynoldswriter/ for the latest news about the book
I am sure I will enjoy it, but I haven’t had a chance to find out yet, because as soon as my copy came into the house it was stolen by my son. Looking forward to reading it as soon as I can steal it back.
ReplyDeleteHe’s a huge Cocteaus and Slowdive fan, and looks at me with derision when I try to tell him about how back in the day Slowdive were not taken particularly seriously. The Richey Edwards “I hate Slowdive more than Hitler” line did not go down at all well.
That's a bit of myth though - they got a lot of attention and praise (at least from Melody Maker) up until their debut album, which was a bit disappointing. Then Britpop happened and all the 'gazers got shunted to one side. But certainly for the first three EPs, Slowdive had their champions.
DeleteI think the current generation likes the vindication narrative.... "we alone understand Slowdive". The amount of times I've seen Dave Simpson's "rather drown in a bath full of porridge than listen to Souvlaki again" review cited as if it was typical of the coverage...
Get your boy to do an Amazon or Goodread review. Unless he hates it, of course!
DeleteI think Slowdive was the band I walked out on halfway through their set at the Fleece and Firkin in Bristol sometime in the 90s. It's the only time I can remember leaving a gig before the end because I was so bored. I just googled it and they did play there in 1991 so I bet it was them. I probably went to see the support band, anyway. Can't remember who that would have been either...
Delete“The current generation likes the vindication narrative” yes I think that’s exactly right. It’s the Nuggets idea: this incredible music was neglected by our benighted elders, but we can see how amazing it was and finally give it the respect it deserves. Which makes Slowdive today’s equivalent of Love, maybe, based on their reputation among our generation. Or even the Velvet Underground, given the explosion of young shoegaze bands today.
DeleteI think Love got good reviews and were a cult-admired band, but tanked in the marketplace - inexplicably from our perspective today.
DeleteMBV are the true Velvet Underground analogy, just in scale of influence, although they probably sold more in their own first phase day than VU did in their original lifetime . But I have read things recently where people have questioned the idea of VU as prophets without honour - saying they had fairly decent sales, and there was a lot of interest from critics and from fellow musicians.
Still, if you compare the Velvets to a band like Cream... or Chicago and Blood Sweat and Tears, god help us... they were undeniably a flop, especially given all the benefits of the Warhol patronage and glamour-by-association.
I saw Slowdive just the once in '90 or '91 - they were not a very exciting live experience. Records was where they came into their own. But they might be better now as a live band, for all I know - probably the ardour of their young fans adds to the concert vibe. Their album from 2017 is surprisingly excellent... the more recent one hasn't really clicked with me yet, sounds a bit too digital-clean.
DeleteWas it just recently that you listened to the 2017 album Simon? It certainly was a great backing up of the returning hero’s welcome they had received at Primavera 2014 and then subsequent festivals. I do love the record but when I read a comment someone posted that it was Dire Straits shoegaze I couldn’t really argue with that either. It sort of does have an AI shoegaze generated sheen about it, very good AI at that! I do like the 2023 album as well although agree it sounds very clean. I just saw the early Slowdive once at the ULU in 1991 and they were fairly listless. Seen them three times now since 2018 and enjoyed them all. The modern PAs and visuals do make a band like them sound majestic now.
ReplyDeleteYes only recently - I was surprised how good it was, particularly the track "Star Roving".
DeleteI would go see them now - I'm sure you are right, the modern sound systems would do them justice.
When I saw them back in the day, they were sandwiched between Levitation and headliners Blur (who were odious) and it was a bit static. Their songs are all stately and midtempo or slower, so it wouldn't result in a set that has much dynamics, let alone any rave-ups.
This is all very gratifying to read. As I think I commented here once, I saw Slowdive play a gig in 1992 and I couldn't believe how awful they were. If I saw them today I'd assume they were a shoegaze parody band formed by Fred Armisen and Carrie Brownstein.
ReplyDeleteBut maybe they just weren't very good outside the studio. It probably didn't help, either, that they were in a lowly support slot (for Ride, who were infinitely better, on that night anyway). Perhaps the sound was off. I don't know. I just couldn't take them seriously after that.
Now that I've read "Still In A Dream" I might give them another shot. I quite liked "Morningrise", which I pulled from one of the book's playlist.
(The book was marvelous, unsurprisingly. It's been fun exploring all the music I rejected because of ignorant teenage snobbery. And I bought my copy as a UK import. Appropriate extra layer of nostalgia for me.)