I'm a bit drunk but whatever.
I don't want to be rude, but I disagree with a lot here.
My first point addresses music here in the UK.
1998? Anything huge happening in the UK music...No shit! Garage. UK garage, 2-step garage. Second wave jungle/dnb. And, as should be needless to say, these weren't "fads" or whatever, these were thriving, devoted scenes. Scenes that were split between different personalities, even. Different ages. Different styles. Innovations? Loads. Just listen to a song like Bound 4 Da Reload or Gunman and hear dubstep wobbles, "crime grime" sound effect/speech samples, etc. Long before they became well known in public ears. Independent UK pop music today has so much of its roots in this era. The many rappers and whatever. Grime came about because garage, etc. And this can easily be an unbelievably huge talk about garage. It really can. I mean heck, even close precedents like jungle were
the mid-90s more so than Britpop, if we are really speaking about relevancy in UK pop music.
And that's just one aspect of it. Both of you are not focusing on music in general, or even acclaimed music, but on chart music (uh?)
When I say in flux....I'm getting at innovation....I'm getting at a communal sense... especially globally.... there was a global appreciation of music in the 60s and 90s and it has lacked in that regards since. We the posters on this forum are the rare breed since we share such a mutual musical interest on a global scale, but otherwise it is so rare now. Nothing all too unifying.
Well i've already explained how underground, innovative and communal music (whether it creeps into the mainstream, and it often has, or not, like it often doesn't) has always thrived with just one example in with Britain's garage and its successors. In America there were too movements in this era that were essential building blocks to American pop music. But you refer to 'global appreciation' in the 60s and 90s, and I really have no idea what you're getting at there. In the 60s I can kinda see what you mean, where the biggest bands in one country were the biggest bands in every country. By the 90s that was long since dead. You're going to have to explain what that means, because it makes no sense right now to me.
KingLouieLouie76 wrote:1998 represented a time though in which even Swing music became popular again, but what I havent liked over the past 15 years is the emergence of these Boy Bands, those from American Idol, or others of that ilk who have cashed in due to image and nothing else. No substance in their music and that is what is most disheartening to me.
A) Swing music popular again in 1998? Interesting observation but I can't think what music you mean. Certainly not a 'scene' or movement or anything.
B) Your second point there is something that happened LOOONG before the millennium. Prominent manufactured music is not the product of this century and obviously you know that too, so to me your point doesn't hold up. In neither the UK or US was this even a re-emergence but a continuation of before. At the turn of the millennium I know boy bands were in vogue in the states for the first time in almost a decade but take a look at the biggest-selling artists in 1990s America... In the UK I doubt you could have moved for the fuckers even during the heights of Britpop (Boyzone, Take That, etc.) Soulless pop acts always dominant or co-exist with others in the charts.
KingLouieLouie76 wrote:I love today's Indie scene, but unfortunately the trite mainstream BS ruins most of everything to me.
Then don't listen to the radio? (Not that indie music is ever on the radio anyway?) I don't understand how the existence of modern indie music is ruined by the existence of other, unrelated music. Indie music's format is not the same as modern pop music anyway (radio/tv/etc.)
I miss innovation, I miss some unifying defining sound. Something is bound to change in that regards soon... just based on trends throughout time.
There's loads of innovation thanks to ever changing production (electronic music really shines in this context, like Flying Lotus or James Blake, or experimental hip hop like Death Grpis etc.) And lots of emerging styles, as just this decade alone we've had underground movements in vaporwave, modern blackgaze, etc., even if they are indebted to past music (just like Britpop and grunge were).
Mainstream music, here in the UK at least, has completely drowned out 'alternative' music, not that it needs it though. I like your comment about a something bound to change soon, if you are referring to the mainstream. But the underground is just as restless as it always has been.
Mallard No. 22 wrote:
Yes to be fair good music has continued after the 90s, and we are made aware of great new songs now on stations like BBC 6Music, and indeed via this forum.
But there was a certain vibe around the 90s indie scene, which eventually went overground, that was lost as Britpop was briskly spirited away.
What do you mean by the 90s indie scene? You're spanning 10 years of music there, and not necessarily British or American etc. And that accounts for an incredible amount of musical shifts and styles. As such I can't begin to really make sense of what you mean so please clarify. And yeah I think any sort of feeling when Britpop went away is likely a generational thing. I'm sure all the (much worse imo) popular/successful "indie" bands of 10 years later , which encapsulated that whole 'landfill indie' thing, was the last great spark for a generation 10 years younger. Just as I'm sure you'll get silly British indie purists saying that "indie" "sold out" in the late 80s or whatever.
Mallard No. 22 wrote:
As KLL76 says, the emergence of the reality TV teen-type acts has been prevalent ever since. It would be unfair to say they are all bad, but they often lack soul or substance. And even rock acts like Tame Impala - I sometimes think they are as much picked for their 'model' looks as their music. I worry that if an act emerged today with members like Alex James or Paul McGuigan (as they were in the 90s) they might not get record deals.
I already covered the first point, but speaking Britain alone now, I can say that the 2000s had loads, loads
of indie bands in the charts. Just as much as the 90s. And the 2000s had loads of 'soulless' pop acts...just as much as the 90s. So in referring the 2000s, your comment doesn't hold in my eyes. I don't pay attention to modern chart music but I get the impression that 'indie' music has, indeed, been less prevalent in the charts since, but I don't know why this should bother you or Louie, because today, access to modern indie music is more easy than it has ever been. I mean of course I can be sad that some bands don't become more successful or whatever, but for me what makes me much sadder is if they don't get the acclaim they deserve, and that has nothing to do with selling records. Commercial success is a fun game I'll explore in my every number 1 1987-08 series, and I'll sure moan that songs get successful whilst others are slighted, but the charts don't always reflect the qualities of a song - that's the business - so it's no real bother to me.
First, you're around 20 years-old? The reason why I ask is that I was 20 in 1997, but the most hilarious fact was that during that time I was also heavily immersing myself in Classic Rock and I wished that I grew-up in later 60s London instead of the that particular time period. However, over this past decade I realized how fortunate I was to have existed throughout the 90s, especially starting that decade at 13 and ending it at 23....... Just the overall vibe was sensational and to have such a strong movement as Grunge really helped embody that spirit that the Psychedelic era did. I took a lot of that for granted back then, but I actually embraced all of it at the same time.
Yeah I'm 18. My dad often jokes I'd liked to have grown up with "his music", but of course the reality is that I did grow up with "his music", and better yet, in such a way that I now have access to practically all music in the world. I indeed often listen to the music of the past and I do indeed think the musical pop culture (as opposed to underground music) of this decade that the public latch to is pretty faceless. Time will tell how well it holds up.
I better sober up.