Which artists legacies have improved/worsened during the 2010s?

look technically if your rep went up during the 2010s then

Billy Eilish stock was down between last thursday and friday :'-( But up again!

Buy low sell high!

Ppl were talking about flying lotus and dubstep idk why keef would be off for the thread subject ... could also talk about afrobeats and kreayshawn and azealia banks and chillwave, thread concept still applies

You know what has gone down that we didn’t really talk about is the kind of hipster crossover dance music of the late 00s: nu disco and edits & that kind of stuff feels way less relevant to the current hyped sound I wd think even tho there are still sustained industries devoted to them

FlyLo's debut came out 15 years ago

Ppl were talking about flying lotus and dubstep idk why keef would be off for the thread subject ... could also talk about afrobeats and kreayshawn and azealia banks and chillwave, thread concept still applies

― ILX’s bad boy (D-40), Wednesday, July 17, 2019 2:48 PM (two minutes ago)

dubstep started around 05

FlyLo's debut came out 15 years ago

― change display name (Jordan), Wednesday, July 17, 2019 4:50 PM (twenty-one seconds ago) bookmarkflaglink

Seemed to me his career only really hit peak critical attention circa 2010 💁🏻‍♂️

You guys are arguing just to argue

Who was made fun of or forgotten in the previous decade that's more respected now? Who was critically beloved but is now kind of a joke? Why?

If we’re sticking to that fine idk why based on the thread title tho, seems like stuff from the beginning of the decade being treated differently now is just as relevant

Maybe peak mainstream visibility, but there was a ton of hype around 'Los Angeles' and Low End Theory around '08.

Btw I have been meaning to say that LCD Soundsystem / DFA / etc. seems way down. Partially because of how they handled the reunion thing, but it also feels like the territory of disco bros and vinyl purists, and didn't catch on with the next generation.

xp

You guys are arguing just to argue

No, I'm arguing to procrastinate

mitski's been around for a while, albeit the first time most people heard her was 2014. she's up btw

Btw I have been meaning to say that LCD Soundsystem / DFA / etc. seems way down. Partially because of how they handled the reunion thing, but it also feels like the territory of disco bros and vinyl purists, and didn't catch on with the next generation.

xp

― change display name (Jordan), Wednesday, July 17, 2019 4:56 PM (four minutes ago) bookmarkflaglink

Agree. The ppl I know still on this heavy are old millennials and older. Feels like the younger gen got more into techno, more into weird internet shit like future funk, more into whatever you’d call pc music

(Keef was making & releasing songs in 2009 lol but w/e)

Btw I have been meaning to say that LCD Soundsystem / DFA / etc. seems way down. Partially because of how they handled the reunion thing, but it also feels like the territory of disco bros and vinyl purists, and didn't catch on with the next generation.

feel like LCD's music was designed to have this ephemeral feeling to it, half their songs are about getting older and "the last party" and not being cool anymore so yeah I kinda figured they'd fall by the wayside once the moment was over. I know the reunion album was a big deal but people stopped talking about it pretty much immediately after its release and I never heard any of the songs anywhere

They feel like next gen Wilco to me, as do ppl fetishizing “disco” in general

I guess part of the ppl who would have been into late 00s disco consensus just came up into indie like Mac demarco or whatever, like that entire class of gateway drug artists like hot chip don’t exist any more ... mitski strikes me as the closest to this

I don’t know this stuff well enough but I think I’m right in the broad outlines

Datarock just released a new album last year and virtually nobody heard it. it was quite good but man you just can't do that sound right now

Frogbs nails it w/r/t LCD and the ephemeral. I think LCD was always destined to disappear into nothingness. "Enjoy it while you can, the party will be over soon" is a massive LCD vibe. Can't say I mind, particularly, Murphy's bathos always rubbed me up the wrong way. But it doesn't seem odd; on the contrary.

have to assume that most late-90s / turn of the millennium indie rock is at a low ebb in "mattering.". like i would be seriously startled if any of my students mentioned being into Modest Mouse. and as much as they meant to me in the early 00s, their 2010s work felt irrelevant and almost anonymous the moment it dropped. this might go double for other acts like them that had 1-2 big radio hits, like franz ferdinand.

I feel like Studio and Lindstrom are gonna be like my 80s college rock where I can’t explain to the next generation for the life of me why it mattered

Tbh I think modest mouse type stuff actually translates better than the indie Kids are dancing again stuff like the rapture dfa nu disco

(I know I’m conflating a bunch of scenes and styles here)

A few years ago I saw the Unknown Pleasures poster next to Bob at the campus poster sale and it felt like a changing of the guards

guessing "a few" is standing for "31" here

xp I hear Modest Mouse played A LOT by people in their 20's who work at my local morning coffee place

Hipster house obviously should have been mentioned in that nu disco space obv

weird how "legacy improved/worsened" itt means "young people dig it/don't care about it"

"indie kids are dancing" was also always a very very niche development, of interest to pitchfork readers and such but something to which 99% of the population was totally oblivious. tho of course to the extent that the thread is about cool points and street cred, then it's abt the present day trendsetter boho equivalents to those earlier indie kids. and said trendsetters, AFAICT, dance to lizzo and rihanna and, interestingly enough, "212" - they don't need guitar bands for this.

oh here's one that startled and pleased me and my partner the other day: a college-aged kid wearing a Moon Pix shirt! dunno how much to take from that versus coffee shop plays (tho come to think of it I heard some of cat power's 00s stuff in my own local shop a couple months back). that is an act/sound I would not have expected to have escape velocity from its own indie moment but come to think of it it seems totally consistent with the more atmospheric and moody/vibey listening preferences of The Kids.

i mean wd you rather make wild guesses abt young people, or just have each of us oldsters in turn report on who we used to think was important and now no longer care about?

am down for both obv, i'm old

I'm interested in both! Plus wild guesses about what old ppl in general no longer care about.

I feel like Studio and Lindstrom are gonna be like my 80s college rock where I can’t explain to the next generation for the life of me why it mattered

― ILX’s bad boy (D-40), Thursday, July 18, 2019 12:19 AM (forty-seven minutes ago) bookmarkflaglink

Right there with you! :D

"Air France, kids.. No, not the fucking airline..."

One of my takeaways from my time in the US over the past few weeks was that early nineties house is firmly ensconced as the 'consensus' dance music sound that both older and younger crowds can gel with, and it's less that disco or disco-revivalism is out of favour (not sure that disco will ever be 'out of favour' per se ever again) but that it has been muscled out of the central limelight. This is even less of a shift than it looks like at first, once you realise that in both cases it reflects a dance music discourse where generational divides are strongly de-emphasised (i.e. both disco/nu-disco and early ninteties house are designed to be at least inoffensive and broadly familiar to pretty much everyone, so the narrative is effectively the same).

I think the problem with conflating "what's in" with "what the kids are into" is that this is only half the story. IME young people today are much more respectful and knowledgeable about past music than my generation was, and for the most part they don't see these big generational divides that were so important previously. They have blind spots where there is stuff that was bigger in the past but has less prominence now, but I don't get the sense that much is rejected on the grounds of being "old music" very often (excepting artists that have been explicitly cancelled).

It doesn't entirely run the other way, of course: lots of current popular music leads to a lot of head-scratching amongst older listeners.

Doc C I think the indie kids dancing narrative extends way further than its initial niche media narrative ... by the time of, like, “reckless with your love” it’s just sounding like straight up house music but its reach is this pretty big cross section of ppl ... but marketed to cross market cool kids ... the other thing that happens is by 2010 the Kanye album comes out & I think prestige rap takes some of that base, and of course by streaming / SoundCloud some of the kids are in a field listening to Trippie redd ... I do think there’s some overlap there w hipsters of yore

I think the problem with conflating "what's in" with "what the kids are into" is that this is only half the story. IME young people today are much more respectful and knowledgeable about past music than my generation was, and for the most part they don't see these big generational divides that were so important previously. They have blind spots where there is stuff that was bigger in the past but has less prominence now, but I don't get the sense that much is rejected on the grounds of being "old music" very often (excepting artists that have been explicitly cancelled).

It doesn't entirely run the other way, of course: lots of current popular music leads to a lot of head-scratching amongst older listeners.

― Tim F, Wednesday, July 17, 2019 6:19 PM (two minutes ago) bookmarkflaglink

This makes sense tho I do think watching ppl try to rev up excitement for disco in music journalism by speaking of the old evil men who hated it feels like an effort to create some kind of vitality in a genre that has kind of drifted to nu trip hop territory of inoffensiveness

"disco infiltrators", if you will

This makes sense tho I do think watching ppl try to rev up excitement for disco in music journalism by speaking of the old evil men who hated it feels like an effort to create some kind of vitality in a genre that has kind of drifted to nu trip hop territory of inoffensiveness

― ILX’s bad boy (D-40), Wednesday, July 17, 2019 11:24 PM (ten minutes ago) bookmarkflaglink

Oh yeah, like I got the context for Nate's article being titled '40 disco songs that don't suck', but there really is no one who thinks disco sucks anymore.

what else are you all “over”

remember the purple wow sound

you know whos sound really has come back around, and sorry for breaking the rules of the first post of the thread, is spaceghostpurrp, who i honestly didnt expect to have as much creative/cultural longevity as he has

In terms of older artists, the obvious example which has been referred to in other threads but not in this one yet is The Blue Nile, where the cult critical awareness that existed in the 90s and 00s really started to build some momentum in this decade (e.g. making Pitchfork's top 200 albums of the 80s) - though arguably the process which started that development was the convergence of eighties synth pop revivalism / yacht rock revivalism / balearic revivalism which began in the second half of the 00s.

But it feels like a very ILX-ish success, and it makes me wonder if in a few years Rickie Lee Jones' 'Pirates' will have gotten to a similar point.

can we make jane siberry's the walking be the next to happen

I would love that though I wonder if jane's irreducible quirkiness will always be a bridge too far. If the whole album sounded like "The Lobby" then it would already have happened, of course.

"old albums with a not-insignificant fanbase on ILX that have yet to really catch on with broader music crit consensus" would be a good separate thread tho.

would really like it if there was a resurgence of interest in Rickie Lee Jones' 'Pirates'

xxxp re: “atmospheric and moody/vibey listening preferences”, Moon Pix does seem like a precursor to When We Fall Asleep, Where Do We Go? in some respects

I feel like there's a pretty endless stream of indie folkish artists that feel descended from cat power