Autor książek "Rip It Up and Start Again: Postpunk 1978-1984" i "Generation Ecstasy: Into the World of Techno and Rave Culture", dziennikarz Simon Reynolds napisał nową ciekawą książkę. Przygląda się w niej modzie na retro, jej przyczynom i skutkom, w muzyce i w szerszej perspektywnie kultury.
W tym wywiadzie mówi m.in. o słabnącej roli krytyków muzycznych...
"(..) The main change I’ve noticed, partly related to the erosion of the gatekeeper function of music critics, is that the messianic or prophetic mode of rock-writing has faded away. Because the critic is rarely introducing readers to something for the first time, the whole “I have heard the future” approach is no longer called for. But also the idea of “the future” of music has eroded for all the reasons I explore in Retromania. We don’t really think so much anymore of a style of music being more advanced than other music forms, or a particular genre or artist being a herald of how music will be. "
o nowej erze dostępności muzyki...
"(...)So you get young fans and musicians who have heard a staggering amount of music by the age of 20, the kind of learning that would have once taken a lifetime of listening to absorb and a small fortune to pay for. Knowledge that was once hard to come by, scattered across books that were often obscure or out-of-print, is now out there for everybody to access. The question is whether this generation has been able to process all this music and knowledge, to digest it or even feel it in any kind of meaningful way."
I dochodzi do wniosku, że skoro jest moda na retro, to bycie autentycznie kreatywnym nie jest ani konieczne, ani nawet za bardzo pożądane...
"What’s interesting is that for so many the innovation issue is not considered urgent. “Is this innovative?” is not a question that people are asking so much. So with Vivian Girls and the Pains of Being Pure at Heart, or the Vaccines in the UK, what’s striking is that these groups have their supporters who don’t seem to regard their derivativeness to be a blemish. You couldn’t even talk about apologists for those bands because they’re not in the least apologetic: the absence of innovation doesn’t bother or embarrass them.
For me what’s really startling about those three groups is that they have returned to the same set of mostly ‘60s influences that were already seeming rather obvious and played-out when the C86 bands were deploying them. I lived through C86, it was one of the things I wrote about as a cub reporter at Melody Maker, and although there were interesting things about the scene to do with the clothing and the overall vibe and ethos of “cutie” (as it was also known), the music even in 1986 seemed distinctly backward-looking. Twenty-five [years] later we have groups returning to the exact same stagnant pool of influences, and getting a good amount of journalistic hype."
"Retromania Vs. Innovation: An Interview with Simon Reynolds" na popmatters.com
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