For all those who still think that raves and Electronic Dance Music Culture (EDMC) can be dismissed as destructive hedonistic practices anchored in what is perceived as mainstream culture, Graham St John proves the opposite to be true. Focusing exclusively on communities that mix the principles of pleasure with politics, this book retells post-rave history by introducing us to new forms of resistance. St John attempts to provide us with both a historical narrative of EDMC and a global cross-section of raving tribes (Europe, North America and Australia). Although at times this seems to be a complex undertaking, St John succeeds in showing the truly global connections, the cross-fertilisation of not only musical influences, but cultural and political practices.

Chapter 1 sets the tone for the book in that it introduces the main themes which are referred to throughout: being outlawed, and subsequent modes of resistance. The spectrum of resistance that is discussed reflects a complex pursuit of freedom: complex in that individuals or groups seek freedom from various forms of perceived oppression in a variety of ways.

The second chapter deals with the sound system culture in the UK, tracing its roots back to Jamaican dance hall. St John argues that alternative attitudes and motivations that existed within the dancehall culture were adopted in UK techno counterculture. By doing so, St John politicises the techno counterculture right from the off. This allows him to present the political aspects of this youth culture as a constituent. The history told with regards to techno culture is that of politics, resistance and an alternative lifestyle away from commercialism.

The next chapter is dedicated to specific tribes which are the result of the emigration of tribal UK sound systems. As shown in the overwhelming depth of knowledge presented, St John is clearly both an observer and a participant. The reader might occasionally experience information overload, especially since the linguistic terminology of tribal sound systems is not only reflected in names and titles but also in the numerous quotes. However, this chapter presents us with the ethnomusicological evidence that supports the theoretical framework of this book.

Chapter four is the most interesting of all in that it develops a typography of different vibes, drawing on the theories of Victor Turner, Michel Maffesoli and Emile Durkheim. Nine different modes of resistance are identified: Dionysian, outlaw, exile, avant, spiritual, reclaiming, safety, reactionary and activist. Distinctions between the individual modes are made very clear when being described on a purely theoretical level. Discussing various active tribes across the world, these distinctions seem to blur and cross over at numerous occasions in later chapters. And yet, St John's introduction of ‘vibe tribalism’ enriches any discussion on the nature of EDM communities. Moreover, this concept lends itself to be adapted by various music-based communities:

The second idea that appears to be useful for any scholar researching musical communities is the concept of carnival. By comparing the nature of big EDM gatherings with carnivals, it becomes clear that alternative lifestyles are practised and supported. Furthermore, these festivals are a manifestation of a self-sufficient existence outside Western societal norms. The discussion of mega-festivals shows how the heterogeneity of such events presents the participant with a variety of freedoms. Although this discussion is an essential part of the book, it makes the application of the vibe-concept a little difficult.

The remaining chapters deal with various aspects of techno countercultures such as the millennium and its resurgence of spiritual developments, the attempted regulation of political dance events, and the specific situation of Australia's EDMC. Including a section on hardcore is quite possibly an attempt to show how a protective exclusivity (in this case by means of music) can lead to the preservation of a counterculture in its purest form.

This book is an enjoyable and useful read. As the title suggests, it discusses a particular form of EDMC. Analysing and contextualising its formative characteristics not only vertically in terms of a historical narrative but also horizontally with regard to global networks, a convincing case is made for the creation and practice of alternative lifestyles with alternative values and alternative modes of resistance. However, what needs pointing out to scholars who are less familiar with this genre is that global raving countercultures are not fully representative of EDMC and that there exists a techno culture that is as commercial, mainstream and perhaps apolitical as the latest chart hit.