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Style evolution/differentiation of recent popular music...or lack thereof
This topic came up in conversation between me and @fourteenwings, on IRC. It started with this comment.
I love anime music from the early 00s, much like now in the early 10s it has it's own unique flavour.
I disagree with this statement. Not a strong disagreement, since I feel I might suffer from small reference pools. But I don't think it's changed that much.
Relatedly, I don't think U.S./North American pop music has changed that much since, say, around 1995. Again, maybe I have a small reference pool, but I don't see how it would differ much from a random sample weighted for popularity, since pretty much the stuff I hear is stuff from the radio or in public areas or such.
I think perhaps a larger change has come out of the prevalence of individual genres. For example, dubstep hasn't been a thing until very recently, while boy bands seem to have become less popular. But on par, especially within particular styles of songs, I think American pop has largely been the same since the late 90s.
Is it just me or do other people generally think this is the case? (I might have a hypothesis if it is just me, but if it's not just me I'll have to rethink it.)
Comments
At any rate, I disagree. New sounds means new genres means new crossovers and mixing. You won't hear anything similar to Ace of Base or Goo Goo Dolls these days.
Okay, let's go with my earlier statement about anisong.
OPs used to be more... otherworldly and complementary, which used to allow for songs that were lower tempo to still act as OPs (Mirai no Kioku by YUKA, Omoi wo Kanadete by savage genius, Days by FLOW, Sakura by nirgilis) leaving you with a feeling that was more transitional, as in the OP transitioned into the show, but now they're very epic and more their own affairs, their own little episodes within the episode... (Brave Blue by FLOW, INNOCENCE by Aoi Eir, crossing field by LiSA, Kibou ni Tsuite by NO NAME)
EDs were also slower, paced, giving you time to think about what you'd seen but still having a bit of their own flavour (Yasashii Yoake by see-saw, Future by Little Viking, Float by Ohmi Tomoe, Sayonara Solitaire by Saeko Chiba), now they're entire pieces to themselves (stand by me by STEREOPONY, Overfly by Luna Haruna, unfinished by KOTOKO, Yume wa Nandodemo Umarekawaru by NO NAME).
I guess you can say this is more evidencing trends that appear and what becomes popular or not, I'd have to argue that those trends and what appears popular is exactly what is evocative of a particular era in music.
(I would post links to all the music, but I think you know enough of those songs for you to get what I'm going for.)
I actually know who that is! And yeah, they did have a sound that I haven't really heard since listening to them.
Anyway, for comparison's sake 90s / 00s /10s
ETA: To be honest, I feel that using lustra instead of decades with music might be much more accurate in order to keep track of trends and sounds.
???
Juan prefers Monoponies.
They're easier to kill.
@Juan: Those seem like three different styles. Or the first is one style and the last two are another style.
I admit I chose the first one more because it represents how club music sounded in the 90s rather than to look for a sense of synchronicity with the last two, but that was the point, wasn't it? To show that American pop music has changed across the last three decades.
Hm, I guess in that sense it has.