Daft Punk, 'Random Access Memories'

Uložio sam trud u friziranje odgovora kako bi oni bili iole prihvatljivi, pretpostavljam starije dobnoj, publici ovih anketa. Na brojnim listama koje sam usput proučavao izuzetno je malo rokenrol izdanja, ona su, ukratko, prilično nerelevantna za dveidesete. 

Nadam se da se ne isčuđavate uvrštavanju Beyonce i Taylor Swift, pitanje nije što vam se dopada nego koji je soundtrack prošlog desetljeća. Iako nisam neki diskofil i ne pratim pasionirano nova izdanja, eto, iznenadilo me da su i Radioglave imale neku ploču, na koju sam više manje slučajno nabasao pri dnu jednog od pregleda predmetnog desetljeća.

Stvari se mijenjanju, sviđalo nam se ili ne.

(NME)

It’s been a complicated time for British music, and in truth, for us here at NME, too. As the guitar bands of the 2000s fell out of favour, all eyes on what was next. Right on cue, it was grime’s time to shine. British rap has been the UK’s biggest success story of the last 10 years; it’s punk, it’s angry and it’s political, like the best music always is.

We’ve also seen a new-gen of US hip-hop artists dominating the charts, leading the old guard to ask if the culture was losing some of its cred. Is the triplet flow just lazy? The numbers would suggest otherwise.

Culturally, we’ve become unthinkable narcissists, all thanks to social media. Imagine seeing your mate shamelessly taking a pouty selfie and posting it online 10 years ago. They’d never hear the end of it. Now it’s just… fine? Rewarded, even. Just check out Yungblud’s Instagram. The effect of that on modern music? Likes have been pivotal in scoring record deals for new artists while TikTok is a new marker for viral success. The industry has changed dramatically. Now everyone’s an A&R. So, in short: a bit of a weird one.