Kontextmaschine

3rd May 2023

Post reblogged from with 86 notes

vriskakinnieaynrand:
northshorewave:
kontextmaschine:
kontextmaschine:
kontextmaschine:
God, how much of ‘80s pop was just “and now… The British Queers!”
I used to nod in agreement about how rave was just derived from gay clubs, Paradise Garage and all that, but god, it’s like getting your prostate slammed gives you +5 Synthesizer
This was the context of Trent Reznor calling himself a “synth faggot” in 1994
The “the only Good Music is angsty stripped-down guitar rock” crowd lost so hard no one even remembers them for kicking dirt on.
it held on for a while—the German Invasion (Rammstein, KMFDM, Eisenfunk) as the columbinecore alternative (and pop punk from MCR to NOFX as the “we should consider accepting homosexuality” alternative) to a radio rock landscape from Christian (Creed) to rap (Linkin Park) now old enough to be reformulated as a foreign-relations export product (The Hu ft. Papa Roach!)—but died w the Bush era when America repolarized its music as Rap vs. Country as in pop (Beyonce, Rihanna, Kanye) vs. connecticut ( Mumford & Sons “”“"stomp clap hey”“”“ to im-actually-thinking-about-going-to-grad-school-for-ethnomusicology?core like Thinking Fellers Union Local Whatever)
what even are the poles now? mitski vs. ashnikko? indie-sadgirl convergence vs party pop-emo? like we are going to have to critically rehabilitate kesha and lmfao if not brokencyde. insane clown posse as well now that anyone on the coasts has heard of them
should’ve held on for longer. though ofc the real disaster for popular music of any kind was the early 2000′s style of (over)production. in electronic music the real disaster came way earlier with the introduction of the 808 and especially the 909 and the advent of music as sth people dance to while zoinked out on drugs

As compared to just think about in German?