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

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

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

There is soooo much disco & classic house fetishism here, people who are all into talking up history/roots in black & gay communities, but it's all middle-aged white dudes spinning vinyl.

That's true in part but I also think that for younger people it's precisely the "history/roots in black & gay communities" aspect that is most interesting about that music, because of how it intersects with broader contemporary political/social/cultural concerns.

In New York I went to this event Ladyland where the big headliners were like Honey Dijon, Octo Octa, Jayda G etc. and the idea that the party was explicitly framing house as a form of music of and for marginalised groups (along race / gender lines) was the pretty much the selling point - and it was totally packed.

And more broadly I do get the sense that for a lot of young people that stuff like Pose / Paris Is Burning has become their entry point to house music rather than something they become familiar with after the fact.

that’s super interesting

Paris Is Burning is way up in 2010s!

Pose/Paris Is Burning is a good entry point

Is Leigh Bowery up or down?

is zouk still hot?

lol

how is claude bolling doing ?

julie london ?

bonzo dog band ?

when will bad company FINALLY be reevaluated

Paris Is Burning is way up in 2010s!

― Hannah GAPDY (Whiney G. Weingarten), Thursday, 18 July 2019 01:15 (three hours ago) link

Seriously though - sometimes it seems like every gay guy under the age of 25 went to a "how to vogue" summer camp at some point in the past two years.

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

lol i spent most of my ilx career shitting on this tendency ... but if there's a place for it surely its the thread literally asking for ppl to posit on the abstract cachet of artists across long periods of history

There is so much dull early house revivalism right now - I'm not even talking about records from the 80s or early 90s here I just mean a slavish, over-cautious recreation of the sounds.

Oh yeah I'm not terribly interested in hearing new tracks that sound like old house tracks.

But if DJs want to play, like, the Bar Dub of Barbara Tucker's "I Get Lifted" then that is fine with me.

And I have no problem if people are engaging in house/disco as a living tradition (even if it's not my preferred dance music), but it bothers me when it feels walled off as this retro museum piece. At least when those are the only nights around, aside from top 40.

i see some posters for house nights that have the "strictly for the grown and sexy" "no hats no jerseys" thing that seemed to aimed at black people of a certain age

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

― quelle sprocket damage (sic), Wednesday, July 17, 2019 6:21 PM (yesterday)

This was probably around 2011 at a very boring land grant university in a remote rural location, so adjust your level of hipness accordingly.

x-allposts:

Bands at 10- or approaching 15-years-old are near the nadir of their music being out of time. The best quality stuff from the Meet Me In The Bathroom-era NYC bands have passed their furthest apogee and will slowly begin to come into vision again in a few years time when teenagers start chowing down on Fever To Tell and Is This It.

You’d think that but half this thread was us discussing a nu metal reassessment

I spent a lot of the 00s listening to punk bands that added Casios and the general skinny-tie, plasticy feel. The Minds, Epoxies, Jett Rink, Lost Sounds, Capricorns, Ima Robot, Coachwhips, and many others on In The Red and Dirtnap. Elena-era Fall kinda fits. Blood Visions was the apogee. Hardly a major thing, but the impulse is gone from garage rock at the moment. Had Jay Reatard lived, I expect he'd be in the doldrums now.

I’m always looking out for an unknown pleasures shirt without the damn text