Well, you get the picture. He wants to show that the rave culture is still thriving, now more than 10 years after it took focus in England and moved to the States. He also seems to want to make some sort of statement about the nature of subculture, about technology, about community and about spiritual transcendence. But as deftly as Reiss' camerawork matches up with the glossy surface of his subject, the director seems to have a hard time going deeper. The problems present themselves when the commentators try to explain what it all means.
People tend to sound stupid when they intellectualize dance music.
Same thing with religion, or that quasi-hippie New Age thing called spirituality. That's certainly the case here. Clearly, someone's spending too much of their allowance on ecstasy. Scanner talks about how his work sets voyeurism to music, touching the blurry line between public and private space along the way. Still, his story about moving techno records between the States and England in the late '80s is as concise and illustrative about the global implications of the music as anything in the film, and he actually makes a killer point about how bass, rhythm and light add up to ritual, changing the way that we experience time.