on a new kind of music

Currents manages to masterfully stay on track, as perhaps the archetype of our generation’s omnivorous nature and the 21st century’s new philosophy of history; a past, present and future which exist simultaneously, here, in one gorgeous musical tapestry.

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If there is anything we’ve learned about music in the 21st century’s second decade, it is the uniquely innovative power of the music obsessed.

Before I go further let me clarify. Yes, for a couple of decades now we’ve had the record store equivalents of dumpster divers blowing our collective minds, here’s looking at you DJ Shadow, you know the kind, the “DJ’s” of the 90’s and early 2000’s who collectively changed our definition of what a DJ is and can be, and, perhaps inadvertently, for better and for worse, opened the door for the 21st century’s ubiquitous character, the producer as musician. (For the better part of that duality we’re looking at Daft Punk, and, for the worse, well, that’s neither here nor there.)

But where the musically over-literate of the 90’s and early 2000’s confined their nostalgia-inducing output to the recombination and retexturalization of music we forgot we loved and the sounds of which it was composed, the nostalgia-obsessed of the more recent 21st century have taken the concept one step further, using those sounds not as material but solely as influence, to create new music that sounds wholly familiar.

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