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Post by slashpop on Apr 21, 2021 2:03:57 GMT 10
No. When it really happens it happens.
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Post by mc98 on Apr 21, 2021 2:10:25 GMT 10
No. When it really happens it happens. Don't know why you are disagreeing. Many of these songs sound distinct enough from the late 2010s, especially 2017-2018.
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Post by dudewitdausername on Apr 21, 2021 5:09:34 GMT 10
One of the songs I listed in my post just reached No. 1 on the Billboard chart!
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Post by SharksFan99 on Apr 21, 2021 11:56:46 GMT 10
I'm sorry, but I just don't see it. A change of sound in the past would have been in the form of actual new styles of music emerging onto the charts and replacing the old ones. You only need to look back ten years ago to see how much of a change the early 2010s were from the late 2000s. For instance, we went from emo, dance-pop, scene, post-grunge and r&b in 2008, to electropop, dubstep and indie-pop by about 2011. That's a span of only three years. How much has really changed since 2018? "Drivers License" could have been a Lorde song from five years ago, even The Weeknd's '80s-inspired synthpop sound isn't exactly breaking new ground. Bruno Mars literally made a name for himself based on his '70s and '80s pop influences and that was during the early-mid 2010s.
I'll be honest, I think we are really clutching at straws by saying that the early 2020s sound is simply defined by "bouncier" or "groovier" songs. The fact that we are judging an era's "sound" based on those qualities alone is a sign of just how stagnant pop culture is at the present time. We're looking for change when there hasn't been any real significant change.
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Post by dudewitdausername on Apr 21, 2021 13:22:37 GMT 10
I'm sorry, but I just don't see it. A change of sound in the past would have been in the form of actual new styles of music emerging onto the charts and replacing the old ones. You only need to look back ten years ago to see how much of a change the early 2010s were from the late 2000s. For instance, we went from emo, dance-pop, scene, post-grunge and r&b in 2008, to electropop, dubstep and indie-pop by about 2011. That's a span of only three years. How much has really changed since 2018? "Drivers License" could have been a Lorde song from five years ago, even The Weeknd's '80s-inspired synthpop sound isn't exactly breaking new ground. Bruno Mars literally made a name for himself based on his '70s and '80s pop influences and that was during the early-mid 2010s. I'll be honest, I think we are really clutching at straws by saying that the early 2020s sound is simply defined by "bouncier" or "groovier" songs. The fact that we are judging an era's "sound" based on those qualities alone is a sign of just how stagnant pop culture is at the present time. We're looking for change when there hasn't been any real significant change. I mean, there are definitely songs out now that I could not see coming out in 2017 or even 2018. Let alone charting like they are now.
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Post by Deleted on Apr 21, 2021 13:23:44 GMT 10
I'm sorry, but I just don't see it. A change of sound in the past would have been in the form of actual new styles of music emerging onto the charts and replacing the old ones. You only need to look back ten years ago to see how much of a change the early 2010s were from the late 2000s. For instance, we went from emo, dance-pop, scene, post-grunge and r&b in 2008, to electropop, dubstep and indie-pop by about 2011. That's a span of only three years. How much has really changed since 2018? "Drivers License" could have been a Lorde song from five years ago, even The Weeknd's '80s-inspired synthpop sound isn't exactly breaking new ground. Bruno Mars literally made a name for himself based on his '70s and '80s pop influences and that was during the early-mid 2010s. I'll be honest, I think we are really clutching at straws by saying that the early 2020s sound is simply defined by "bouncier" or "groovier" songs. The fact that we are judging an era's "sound" based on those qualities alone is a sign of just how stagnant pop culture is at the present time. We're looking for change when there hasn't been any real significant change. To be honest, I don't think it ever will change. We've hit a wall, and that wall is called copyright.
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Post by sman12 on Apr 21, 2021 13:23:58 GMT 10
What I'm gathering here is that the early 2020s sounds (currently) are bouncy/melodic/pop rock trap, disco-synthpop revival, hyperpop (kinda, but who knows), and Brooklyn drill. I do see that the music scene incrementally changed from the late 2010s as that era had sole trap dominance with Soundcloud/emo rappers, Drake, and Cardi B running the scene, but as what SharksFan said, it isn't as drastic as the late 2000s-early 2010s period or other periods like it in the past.
One thing's for sure, though: Trap music may never go away for years to come.
The subgenre is still a major force of popular music and will most likely leave a long lasting legacy in hip-hop with its influences on other genres of music and much more. But it does make me wonder if there will be another rap subgenre that'll take its dominant place in a few years (yes, I know drill is popping right now, but it's actually a subgenre of trap as well, so it's essentially a rap sub-subgenre).
dudewitdausername likes this
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Post by dudewitdausername on Apr 21, 2021 13:26:26 GMT 10
What I'm gathering here is that the early 2020s sounds (currently) are bouncy/melodic/pop rock trap, disco-synthpop revival, hyperpop (kinda, but who knows), and Brooklyn drill. I do see that the music scene incrementally changed from the late 2010s as that era had sole trap dominance with Soundcloud/emo rappers, Drake, and Cardi B running the scene, but as what SharksFan said, it isn't as drastic as the late 2000s-early 2010s period or other periods like it in the past. One thing's for sure, though: Trap music may never go away for years to come. The subgenre is still a major force of popular music and will most likely leave a long lasting legacy in hip-hop with its influences on other genres of music and much more. But it does make me wonder if there will be another rap subgenre that'll take its dominant place in a few years (yes, I know drill is popping right now, but it's actually a subgenre of trap as well, so it's essentially a rap sub-subgenre). The thing about trap music is how MALLEABLE it is.. you obviously have the gangsta-type hood trap songs, but then you have EMO trap from a few years ago, BOUNCY dance-trap, melodic guitar-based trap, and pop rock trap now... It's so flexible that yeah, it's gonna stick around because it can change to match the mood of the time. Could you see an emo trap song like "XO Tour Llif3" coming out or charting nowadays? I can't, because emo trap has been replaced by Pop Punk trap prevalent today, with new artists like iann dior, 24kGoldn, more recently Lil Nas X with "Montero", and the former emo trap artists like Trippie Redd jumping onto the pop punk trap wave. I can definitely tell if most songs are from 2017/18, or if they are from today.
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Post by SharksFan99 on Apr 21, 2021 13:52:05 GMT 10
I mean, there are definitely songs out now that I could not see coming out in 2017 or even 2018. Let alone charting like they are now. I do agree that there are certain songs which would have sounded out of place had they been released three or four years ago. The recent pop-rock influence on Trap is a good example, for instance. However, what we are currently seeing on the charts is a progression of the styles that were more or less already in existence in some form back in the late 2010s, rather than a complete shift to a new aesthetic/sub-genre which is truly unique to the early 2020s. Bouncy/melodic Trap isn't unique to this era in the same way that dubstep shaped the sound of the early 2010s. As it stands currently, I just have a hard time believing in such a thing as an "early 2020s sound", when so much of what is popular can be directly traced back to trends that were around during the 2010s. 808s are still having an influence on new pop releases, and even in other genres, the vocal styles of artists like Olivia Rodrigo, Tate McRae etc. can be traced back to the indie-pop artists/bands who were popular over five years ago, such as Lorde and Passenger. To be honest, I don't think it ever will change. We've hit a wall, and that wall is called copyright. I feel much the same way tbh, but mainly from the viewpoint that pop culture has simply become too fragmented for real change to actually occur. The Top-40 charts have never been as irrelevant to the music industry as what they are now.
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Post by Deleted on Apr 21, 2021 21:00:25 GMT 10
If the Top 40s become irrelevant, that’s a massive improvement in my book. The problem is corporate has found a formula and they’re going to stick with it for as long as it works, until that horse is bloodied to a pulp. That and super restrictive copyright laws - which, again, goes back to the power of corporations - have effectively stifled creativity.
Recommended reading: In Defence of Serendipity by Sebastian Olma and Capitalist Realism by Mark Fisher
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Post by ItsMichael on Apr 21, 2021 22:11:56 GMT 10
What I am getting mostly from the hit songs is still trap music but it feels more vibrant as opposed to that emo rap around 3 to 4 years ago. I’m also seeing pop punk having a resurgence with MGK, YUNGBLUD, and even Trippie Redd who used to make emo trap songs. I can see a shift in sound in music now but I still think that there are still some songs that sound like they were made in the 2016/2017/2018 era so there’s not an established sound just yet. Let’s wait until 2023 then we will probably have a different music mood for the 20s.
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Post by rainbow on Apr 21, 2021 22:17:04 GMT 10
I'm sorry, but I just don't see it. A change of sound in the past would have been in the form of actual new styles of music emerging onto the charts and replacing the old ones. You only need to look back ten years ago to see how much of a change the early 2010s were from the late 2000s. For instance, we went from emo, dance-pop, scene, post-grunge and r&b in 2008, to electropop, dubstep and indie-pop by about 2011. That's a span of only three years. How much has really changed since 2018? "Drivers License" could have been a Lorde song from five years ago, even The Weeknd's '80s-inspired synthpop sound isn't exactly breaking new ground. Bruno Mars literally made a name for himself based on his '70s and '80s pop influences and that was during the early-mid 2010s. I'll be honest, I think we are really clutching at straws by saying that the early 2020s sound is simply defined by "bouncier" or "groovier" songs. The fact that we are judging an era's "sound" based on those qualities alone is a sign of just how stagnant pop culture is at the present time. We're looking for change when there hasn't been any real significant change. Some of these trap songs that I’ve listened to on this thread sound no different from trap in 2017-2018. I’m not denying that music hasn’t been through a shift at all, but the shift is really small and just barely noticeable. The billboard charts went through a whole musical genre shift between 2007-2010 with the rise of electropop and decline of rock. That’s what makes those years feel so different despite being just three years apart. Idk, maybe my perspective will change on this once we leave this era.
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Post by SharksFan99 on Apr 22, 2021 0:00:28 GMT 10
If the Top 40s become irrelevant, that’s a massive improvement in my book. The problem is corporate has found a formula and they’re going to stick with it for as long as it works, until that horse is bloodied to a pulp. That and super restrictive copyright laws - which, again, goes back to the power of corporations - have effectively stifled creativity. Recommended reading: In Defence of Serendipity by Sebastian Olma and Capitalist Realism by Mark Fisher Corporate has always stuck to a formula that has emphasized profits over creativity though, even going back to the days of Beatlemania. It isn't anything new IMO. Streaming is still largely a new medium that has yet to be fully ironed out (eg. Paul McCartney and Noel Gallagher currently pushing for streaming reforms in the UK), but I wouldn't say it has put creativity to a disadvantage. If anything, it has enhanced it. So many of the new emerging artists that have made it onto the charts over the past 5-10 years have done so either through social media or through underground labels. AJR made it big by sampling Spongebob and gaining a following through YouTube. They're generally not going to be held back by the rigid copyright laws that major-label artists are forced to abide by. So in theory, we're living through an era which should be promoting greater creative diversity in the Top-40, but that simply isn't happening. We're actually seeing the opposite unfolding. I personally put it down to two things; streaming and social media having made pop culture too fragmented for a definitive 'new sound' to emerge, and a general sense of lull that society has been going through since the breakthrough of smartphones. For instance, I can't help but think that part of the reason behind the longevity of '80s nostalgia, is due to society having a general lack of new ideas as for how we should go forward, and the emergence of smartphones has meant that it is now easier than ever before to relive aesthetics and styles that were relevant in years gone by. I do agree that restrictive copyright laws are part of the problem too, but it doesn't really address why we're not seeing more creative works by the indie/unassigned artists and groups on the charts. Social media is actually a breeding ground for experimentation and further creativity.
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Post by Deleted on Apr 22, 2021 19:07:26 GMT 10
If the Top 40s become irrelevant, that’s a massive improvement in my book. The problem is corporate has found a formula and they’re going to stick with it for as long as it works, until that horse is bloodied to a pulp. That and super restrictive copyright laws - which, again, goes back to the power of corporations - have effectively stifled creativity. Recommended reading: In Defence of Serendipity by Sebastian Olma and Capitalist Realism by Mark Fisher Corporate has always stuck to a formula that has emphasized profits over creativity though, even going back to the days of Beatlemania. It isn't anything new IMO. Streaming is still largely a new medium that has yet to be fully ironed out (eg. Paul McCartney and Noel Gallagher currently pushing for streaming reforms in the UK), but I wouldn't say it has put creativity to a disadvantage. If anything, it has enhanced it. So many of the new emerging artists that have made it onto the charts over the past 5-10 years have done so either through social media or through underground labels. AJR made it big by sampling Spongebob and gaining a following through YouTube. They're generally not going to be held back by the rigid copyright laws that major-label artists are forced to abide by. So in theory, we're living through an era which should be promoting greater creative diversity in the Top-40, but that simply isn't happening. We're actually seeing the opposite unfolding. I personally put it down to two things; streaming and social media having made pop culture too fragmented for a definitive 'new sound' to emerge, and a general sense of lull that society has been going through since the breakthrough of smartphones. For instance, I can't help but think that part of the reason behind the longevity of '80s nostalgia, is due to society having a general lack of new ideas as for how we should go forward, and the emergence of smartphones has meant that it is now easier than ever before to relive aesthetics and styles that were relevant in years gone by. I do agree that restrictive copyright laws are part of the problem too, but it doesn't really address why we're not seeing more creative works by the indie/unassigned artists and groups on the charts. Social media is actually a breeding ground for experimentation and further creativity. I don't think it's merely a matter of fragmentation either. After all, we had the beginnings of musical tribalism in the 2000s and we still ended up with widely recognizable hits like Finger Eleven's Paralyzer or Fergie's Fergalicious and later had the early 2010s with culture revolving around electropop. Also, the problem as you have pointed out is not one of lack of access - it's a lack of originality. That can't be explained by not enough people coalescing around a particular sound - if this were the cause, then we'd see all sorts of innovative genres springing up all over the place, yet the closest we have to that is future funk which is a derivative of something older. Same with electro swing and other like it: it's just a recycled version of something that came before. The thing is, corporate has always stuck to a formula but they haven't always been successful in rising to the top (I'm especially looking at the mid-1970s here). Yet since the late '90s, they have been, and pretty reliably so. Why is that? Because due to research and advanced technology, they literally have chart-toppers down to a science. Major record labels know exactly what kinds of sounds hit the right dopamine receptors in the brain to get you to like a song, so they are repeating that ad nauseam because it works. Because of that, they're able to basically enforce their dominance of the charts by crowding out those who don't have "ThE SeCrEt FoRmULa." Of course, there are much larger factors at play in the death of originality including postmodern capitalism itself, which is why I recommended you to read Mark Fisher. He goes into all of that and how the way we think about creativity has been damaged by the current zeitgeist of society, which has been in place since the Reagan-Thatcher era.
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Post by Deleted on Apr 22, 2021 23:53:05 GMT 10
I'm sorry, but I just don't see it. A change of sound in the past would have been in the form of actual new styles of music emerging onto the charts and replacing the old ones. You only need to look back ten years ago to see how much of a change the early 2010s were from the late 2000s. For instance, we went from emo, dance-pop, scene, post-grunge and r&b in 2008, to electropop, dubstep and indie-pop by about 2011. That's a span of only three years. How much has really changed since 2018? "Drivers License" could have been a Lorde song from five years ago, even The Weeknd's '80s-inspired synthpop sound isn't exactly breaking new ground. Bruno Mars literally made a name for himself based on his '70s and '80s pop influences and that was during the early-mid 2010s. I'll be honest, I think we are really clutching at straws by saying that the early 2020s sound is simply defined by "bouncier" or "groovier" songs. The fact that we are judging an era's "sound" based on those qualities alone is a sign of just how stagnant pop culture is at the present time. We're looking for change when there hasn't been any real significant change. I agree with this. Drivers License could have come out at any time since 2016 (when I first heard it, it reminded me of this song). Music is very stagnant right now due to the pandemic. There hasn't been much change in sound since probably the 2016-17 timeframe. I blame the fact that there are no concerts, nightlife, or social events. Those hold significant influence over pop music and the direction it goes. Right now, what is popular is what people can record and listen to in their homes and that's stuff like bedroom pop and soundcloud trap. EDM is just sad right now. I think the mid-late 2020s will see a significant shift in music. It always happens. The '80s sound overstayed it's welcome for a few years into the 1990s and there's a pretty good chance we could see that in the 2020s. Once people return from forced solitary confinement, they will be ready for something new.
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