I think the 2010's will be musically dominated by...(now 100% free of pitchfork bullshit)

polyrhythms, musicians with chops making complicated music but playing it sloppy on purpose, meticulously crafted homages to 90's rap, number one singles recorded on laptops in peoples living rooms, indonesian percussion jams, and interminable discussions of pitchforks top 200 of the decade list

also,

Even more fragmentation is a boring, but probably correct, answer.

― Tied Up In Geir (Geir Hongro), Wednesday, October 21, 2009 7:18 PM (2 days ago) Bookmark Suggest Ban Permalink

a 90's revival somewhere around 2015 (if the world wont end in 2012)

― Zeno, Wednesday, October 21, 2009 7:21 PM (2 days ago) Bookmark Suggest Ban Permalink

The Beatles and Michael Jackson. Taylor Swift. Miley Cyrus. Some other teenaged girl with a not-bad voice from the South (currently aged 11). Also, bebop finally breaks, especially when it melds with contemporary country. The Disney factory further perfects its pop making machine, and by 2014, the oldest person on the Billboard top 20 will be 15. The crunk revival hits in 2019, to the glee of everyone. And Billy Joel makes a comeback and becomes the new Old Dylan, or at least the new Old Johnny Cash.

― MumblestheRevelator, Wednesday, October 21, 2009 7:43 PM (2 days ago) Bookmark Suggest Ban Permalink

First big worldwide Asian superstar pop stars.

― Samuel (a hoy hoy), Wednesday, October 21, 2009 7:48 PM (2 days ago) Bookmark

ok im going to just say right off the bat that if any of the pitchfork whine whine bullshit migrates over here yer getting banned from this thread

Tinchy Stryder has a #1 US album.

― Samuel (a hoy hoy), Thursday, 22 October 2009 20:46 (Yesterday) Bookmark Suggest Ban Permalink

Ariel Pink will be the Kurt Cobain of the 10's.

― Fetchboy, Thursday, 22 October 2009 20:50 (Yesterday) Bookmark

ok im going to just say right off the bat that if any of the pitchfork whine whine bullshit migrates over here yer getting banned from this thread

― Don Quishote (jjjusten), Friday, October 23, 2009 5:50 AM (13 minutes ago) Bookmark

jjjusten, it took me a while to understand why this thread existed, maybe you should explicitly indicate it in the title?

I think the 2010's will be dominated by musically

done and done xpost

tbh did not think original thread was all that brilliant either

OK. Not been on ILX for a week and missed the previous thread on this subject. A few things I think might make a contribution in the next few years.

1) Use of autotune and other voice altering technologies outside of R&B and electronic music. I know that it's been used in music in a subtle way for a long time but the overt use of it seems to be something that there'll be more of - particularly outside of R&B.

2) New electronic instruments. Control surfaces for electronic instruments have been relatively stable for a while. The Tenori-on and more geekily, the Eigenharp will be joined by more instruments designed for more interesting live electronic performance (as opposed to guy hunched over laptop).

3) Grunge revival. Definitely agree with the people who put this forward. It's the old 20 year revival rule I guess.

4) Smaller acts. Not height :) Number of members. Both because with electronics you need less people in the band and also because there's less members to pay - which I would imagine will be a factor until the middle of the 10s when the fallout from the arrival of internet music finally settles.

5) Trends based around the use of directional sound - where sound outside of the designated area is silent. Raves in the middle of towns? A relaxation of live music rules as noise abatement ceases to be an issue? It'll be interesting to see how this develops. The technology is very close - AFAIK it's just a cost issue right now and the cost has been falling rapidly.

I think the 2010's ILM eoy polls will be dominated run by musically. ;-)

xps

what i'd sincerely like to see/hear in the '10s:

*Black Metal Blues (or Bluez, if you will)
*Death-Crunk
*Grind-Hop
*Trip-Doom
*Blue-Thrash

treblekicker's #1 and #2 are inevitable. I hope #3 doesn't happen; post-grunge is still lingering heavily on loud rock radio so it doesn't seem like a "revival" would have a lot of momentum.

Use of autotune and other voice altering technologies outside of R&B and electronic music. I know that it's been used in music in a subtle way for a long time but the overt use of it seems to be something that there'll be more of - particularly outside of R&B.

I think this has already happened in much of the non-Anglophone pop music world.

(At any rate, I can definitely vouch for it being big in reggaeton (which of course has pretty close ties to R&B) and in Egyptian pop music and maybe Arab pop music generally, but I've also heard stay examples from lots of other directions.)

As I said in the last thread, I agree with a grunge revival, but judging particularly by the Dead Weathers album, also a return to the Beavis & Butthead school of alt-rock - Royal Trux and that kind of thing.

Interesting what Treblekicker said about directional sound. I can imagine a problem-solving technology company like Dyson or Apple inventing something like this. The Glade stage at Glasto did this, you'd wander past and see all these people dancing around in the middle of the day to this really quiet music - as soon as you walked into the circle of speakers you were bombarded!

Maybe not in the 2010s, but with increasingly powerful sub woofer technology, I'm waiting for the day when sound can become a physical frequency - You could go to a rave and have your body manipulated by soundwaves, forced back by bass...

Oh man I'd love the 2010 to be primarily influenced by Royal Trux.

2010s* although 1 year of royal trux love would still be great.

I don't buy the idea of a grunge revival, partly because I really don't want to buy the idea of a grunge revival, but also because I don't really accept the 20 year rule. It's not like the late 1950s saw a big swing revival, or that the oughts saw the return of hair metal. (Or did it, and I missed it?) But a nostalgia-induced grunge revival also doesn't make sense for the same reason there's not going to be a gangsta rap revival or Cowboy hat country revival - because it never freakin' went away. Or to put in another way, grunge already staged a comeback, only this time it called itself Nickelback.

'50s - doo wop was influenced by swing, no?
'00s - have you forgotten a little band called The Darkness already?

grunge doesn't have to mean Nickleback really does it?

have you forgotten a little band called The Darkness already?

I'm an American, so they never really entered my consciousness in the first place. Nobody here gave a rat's ass about them, as far as I know.

Maybe the grunge revival if it happens is more Eurocentric, where grunge isn't quite so big because yeah, I agree that on US airwaves grunge never went away. Having said that, isn't it a bit like garage rock? It was always around but suddenly The White Stripes connected with the zeitgeist and it became big (and hip) again. Grunge has never gone away in America, but it's also been shit (Nickelback) for a long time. I can see room for a band that reinvigorates it as a musical movement - that's what's missing at the minute.

Not so sure about the Autotune thing - there might rather be a backclash against it.

But I do see, as much as I regret it personally, a 90s revival coming. Maybe the 909 kick will return again, after the Linn kick has dominated 00s (like 80s) electro(nica). After all, the 909 mick was maybe the most archetypical stylistic element of 90s electronic/dance.

geir, please leave your drum machine talk out of it, because drums are for dancing, not music, and have no place in the melodic chord changing complexity of the future or indeed the past after 1967.

I also don't buy the idea that the super-ostensive use of autotune will become ubiquitous. Were there a lot of people at the end of the 70s who believed the 80s would be nothing but people singing with a vocoder? (Peter Frampton:1970s::T-Pain:2000s) If Jay-Z is serious about killing off auto-tune, he needs to convince Neil Young to record an album using it, thereby guaranteeing no one will ever use it again.

As I asked on the other thread before it went out of hand : as it has happened for other decades starting a bit before the actual decade, the 10s might have started already. In this case, who would the pioneers of a genre that will be big in the 10s be ?
someone said, half-jokingly I suppose, animal collective. thinking about it, why not since their sound on MPP is pretty "new" and has already started to spawn copies (I've heard a few tracks that sound TOTALLY like MPP's rip off).
also, about revivals : new jack swing anyone ?

ps : thanks for this new version of the thread...

I can see really massive, unavoidable hip-house becoming a thing, globally.

In Britain, a few fallow years commercially for Brit guitar bands. A boom for young British MCs maybe. An electro backlash.

I'm trying to work out who the next decade's Green Day will be (ie unfashionable band from previous decade who suddenly become huge stadium fillers with the kids). Maybe someone ridiculous like Pendulum?

Credible American whiteboy guitar music is properly overdue a testosterone revival. I can see Buckley falsettos and Neil Young impressions becoming suddenly hugely unfashionable.

won't Muse be the biggest "rock" band of the 10s ?
I've always taken them as a joke but somehow they seem to grow bigger and bigger...

5) Trends based around the use of directional sound - where sound outside of the designated area is silent. Raves in the middle of towns? A relaxation of live music rules as noise abatement ceases to be an issue? It'll be interesting to see how this develops. The technology is very close - AFAIK it's just a cost issue right now and the cost has been falling rapidly.

I'm really quite amazed by this.

I can see really massive, unavoidable hip-house becoming a thing, globally.
As for that, I'd been calling it electro-hop. But can easily see it - Dizzee Rascal's Bonkers, and Example's 'Hooligans' I think are going to spawn a whole new field of imitations like that.

I was thinking of it as pushed from the US as well, maybe from someone like Kanye.

treblekicker's #5 is potentially awesome, and not something I was aware of at all - more details please. If I've understood right, one of the things it might lead to is micro-clubs in previously non-club areas, and thereby probably more fragmentation. All to the good in my view - you might get ultralocal scenes mushrooming and cross-fertilising via the internet very rapidly

Oh dude, LRAD parties.

Directional sound on Ted...

http://blog.ted.com/2009/01/woody_norris_on.php

Have heard a few tipped up+coming young bands who sound totally grunge, but I hope (and this is borne out by at least a couple of those bands) that if there is a grunge revival it will excise the whiney power chord dirges that previous after-the-fact grunge lingerers from Bush to Creed and Nickelback were stuck on, and instead dig up the breezier, more playful side.

e.g. Dinosaur Pile-Up are totally 90s, but they're the fun, goofy bits of Incesticide or the first Foo Fighters album, not grunge as it would sound if your basis for band formation was reading snidey reviews of Pearl Jam as constipated, angsty, goateed million-sellers, and figured maybe you could be too, without stopping to consider why Pearl Jam at one point didn't seem unbearable

On another note, I guess breakbeats are due back in; be interesting to see if drum machine beats and four-to-the-floor bassdrums get held in as much disdain as they were mid/late 90s (ok, partly just my corny d+b/IDM-listening circles, but there was a lot of that about).

I'm trying to work out who the next decade's Green Day will be (ie unfashionable band from previous decade who suddenly become huge stadium fillers with the kids). Maybe someone ridiculous like Pendulum?

I can imagine a rise in frat-dance - there's always been this link between fans of mall-punk/nu-metal/emo/crabcore/whatever it is today and the more blatant sector of drum'n'bass (i.e. Pendulum, Chase & Status, Subfocus) - Which goes back to what I said on the other thread about the assimilation of Dubstep into other genres. Stuff like Caspa sounds like it's designed to appeal to hard rock fans and it's only a matter of time until a bunch of kids in tight jeans start adding square-wave sub frequencies to their brand of angsty rock.

won't Muse be the biggest "rock" band of the 10s ?
I've always taken them as a joke but somehow they seem to grow bigger and bigger...

They and The Killers are the next two bands to become able to draw stadium crowds. Mind you, it may partly be based on their 90s work though. Being stadium size sort of requires some kind of back catalogue to draw material from.

At the end of the decade, after dropping in sales for most of the decade, CDs will have a rise in popularity among collectors. :)

Shortly followed by mp3 collectors' fairs.

Well, I would guess mp3s are quite nostalgic by 2020. It's all lossless by then :)

really i think music is going to get even more cross-pollinated and omnivorous, ie it'll be more expected and less novel to mix genres, recording techniques, and cultures.

― Ømår Littel (Jordan), Thursday, October 22, 2009 12:51 PM (Yesterday) Bookmark Suggest Ban Permalink

That's one really interesting point right now. We do seem to be moving towards some sort of Omega point in the way things are mixing up. Personally I find it really exciting - not least because today it seems so much less self-conscious compared to previous efforts. I'm guessing it probably because kids now can hear so much more music than they used to due to filesharing. The 10s could be a golden age for music in this way.

Well, I would guess mp3s are quite nostalgic by 2020. It's all lossless by then :)

There will be a movement claiming the superiority of MP3s over lossless. They'll nostalgically recall growing up in the naughties accustomed to listening to MP3s on shitty earbuds that have a "sweet warmth" they prefer over the "harsh," "unforgiving" and "overly revealing" full bandwidth of lossless audio and better quality headphones and speakers.

Personally I look forward to being able to carry my 6TB collection around in the chip implanted in my neck.

We do seem to be moving towards some sort of Omega point in the way things are mixing up

This happened in the 90s as well in Britain and then there was a sudden snap against it at the start of the 00s with a load of new acts that were weirdly purist. It'll happen again at some point next decade I'd imagine.

That's true. I guess there's always that tension. I suppose what's different is how surrounded by technology kids are. I noticed that Turnkey, one of the main shops that sold synths in London shut down a while back. I'm guessing that's 'cos everyone uses (normally pirated) software now. With this sort of stuff just a torrent download away though, I hope it makes the chance/nature of a backlash less likely, but a purist backlash is definitely as possibility.

Nah it's a different kind of post-fileshare mix-up this time round I think. The purists never really go away so much as veer in and out of mainstream attention - there's enough unironic Gospel According to Gallagher kids still out there - but most of the 16/17 year-olds I talk have genuinely mixed-up taste compared to even 10 years ago imo.

Going back to Doglatin's point upthread I'd say there's got to be a new massive cartoonish frat/punk/dance stadium bosh act a la the Prodigy/Pendulum along at some point soon.

It's Pendulum, surely? I don't feel like they're near peaked yet.

but most of the 16/17 year-olds I talk have genuinely mixed-up taste compared to even 10 years ago imo.

agreed, and genre-splicing today is starting to feel way more natural and less stunt-like compared to the 90s or early 00s

I think there's an unselfconsciousness about it that's new.

Like we're passing the age where young bands seeking to impress go "hey we like Hip Hop and Grunge" like it's a thing.

yes but a fuck load of us illegally downloaded it.

That'd be an interesting question tho, whether those albums downloaded in amongst the endless terminal moraine of everything free forever will stand out or be especially influential to anybody who isn't already committed to the idea of Beatles Rule Everything.

Personally I think they're good and interesting but some of you need to LET THE FUCK GO.

Surely in a world where everything is downloaded the cream rises to the top and you know, it's not like they are bad records.

I'm at least hoping some bands are formed after learning how wtf-great the beatles are instead oh-oasis-influence beatles.

No challops but if I was 15 I'd probably dig Oasis more than the Beatles assuming I gave a toss about either of those lamers.

re: Beatles, would there really be a noticeable difference from all the mid-90s hype surrounding Anthology? That was a huge entry point to the band, I think - anyway I was fifteen or so and a bunch of people I knew (myself included) discovered them at that point. Not sure what it panned out as exactly in terms of music but I'm sure it did in some sub rosa way, much like the current crop of hype will. Don't expect a wave of Beatle-sounding groups!

I think predictions like this have got to take close stock of demographics and generational stuff - people who were 10 years old in the mid-90s are going to be breaking very soon as major acts and they're who you should look to to predict stuff. For example I guarantee you are going to see tons and tons of sounds/moves copped from boy bands and American Idol, but not in a pop context or in parody either. Like, kids that absorbed the big melodies and the dancing and all that are going to be in indie rock bands and hip-hop crews and that stuff is going to be trickling up very naturally.

On the "Mellon Collie" thread I also predicted a wave of Smashing-Pumpkins-influenced overstuffed art-grunge to come of age at some point or another - maybe it already has in some form I don't recognize...

granted i'm firmly in the over-30 camp so i could be wrong here, but i clearly remember back in my high school and college days, every time there was a major re-release of some group of crusty old rockers, the sheer weight of coverage in the music press would cause a temporary critical re-appraisal of their output, and loads of people would suddenly start rating them again, even if they'd hated that kind of shit just a year or two before. in particular i remember early led zep (of all groups!) suddenly gaining cred among my musician friends who'd previously been all "screw that aor shit" only a year earlier... and this happening about 10 minutes before grunge took over the 90's

re: the anthology hype - would this have been right around the time oasis and blur and those guys took off? i can't really remember the timeline for sure but it sounds about right.

I predict that the legit grunge band that will hit is Red Fang.

re: Like, kids that absorbed the big melodies and the dancing and all that are going to be in indie rock bands and hip-hop crews and that stuff is going to be trickling up very naturally.

I agree. Its kind of beginning to happen already; I've heard a lot of (admittedly bad) young unsigned bands who seem to, whether consciously or not, not been afraid of big melodies, straying away from a snarl you may have had to have before.

It follows on from Noodle Vague's point; kids these days are listening to such a wider selection of music, that naturally their just going to be influenced by more. Genre-crossing is more natural now, and I think the overtly American Idol/X Factor style of big pop, will permeate in the same way.

an important question wrt the 2010's: how will obvious economic factors play into this? on one hand: as time goes by, fewer and fewer will people pay even a penny for recorded music. so, if you make it, you pretty much commit to doing it for free (somewhat true now, more and more true as time goes by) on the other hand: anyone who feels like it can also record, distribute and promote their music for free, with common household appliances. but how will this shape the dominant musical genres of the decade?

to me, this implies: make a demo in you living room for free, just to promote your local shows to your friends and acquaintances. if by some random alignment of the stars what you do is sheer, catchy genius, it may just take off like wildfire and spread worldwide by word of forum alone. not that you'll make a penny off that, but suddenly you'll be touring for wads of cash, if you feel like it. therefore: music scenes will splinter and fragment into whatever each local city/town's local zeitgeist dictates. random stellar examples of individual cities genres will rise to the top naturally. this doesn't sound that bad actually!

as time goes by, fewer and fewer will people pay even a penny for recorded music

i'm still hoping this trend will reverse, or that the peak period for freeloading has already passed having reached saturation 4-5 years ago. evidently legal/paid downloads have been on the rise, its just whether there's a ceiling on that lower than what people have traditionally spent on physical formats. in ten years i expect downloads to have surpassed CD and vinyl sales regardless of the 'always being able to get it for free' [problem inevitably persisting.

I'm still surprised they ('they') haven't figured out a way to stop illegal/free downloading. It can't be that far off that the more obvious ways of doing so will go and have it all pushed to the more obscure edges of the internet.

/says guy on the internet who has no idea whats going on.

you can't really stop it at this point, you can only continue to come up with more convenient and compelling legal alternatives and hope that people switch over

which i think may be a trend for the 2010s, to stay on topic! the emergence of filesharing at the beginning of this decade was sort of rationalized by all these stories going around portraying the music industry as a captialist nightmare that was suppressing artists, only in it for the profit, etc (the big deal about wilco's yankee hotel foxtrot being rejected by their label and other similar stories, that older steve albini article that always used to show up everywhere)

i think as the music industry adapts and moves away from that image of itself (which it's already started doing as far as i can tell?) and starts to look like one in which the artists have more control, it will sort of de-rationalize filesharing for a lot of people. radiohead made huge amounts of money last year by giving away their album for free! people do want to pay for music if they know exactly where their money's going (to the band).

i think as the music industry adapts and moves away from that image of itself (which it's already started doing as far as i can tell?)

nah it's still a capitalist nightmare

to blend catchy pop with weird experimentalism?

This is not possible anymore. I mean, surely, The Beatles did it, but everything The Beatles did back then is not experimental today, and I think it's largely impossible in 2009 to be "weird and experimental" and catchy at the same time.
Which makes me prefer if everyone chooses to stick to the latter, thank you....

re: Beatles, would there really be a noticeable difference from all the mid-90s hype surrounding Anthology?

Dunno. Maybe not. So, you mean, Britpop will happen once again then? Because Britpop was very much the thing of the day in the mid 90s. And the Beatles revivalism surely helped it.

And, btw, by the end of the 90s, I am sure a lot of "modern" people doubted that guitar based hair metal/hard rock would ever become fashionable with teens again. We all know what happened. Thanks to Guitar Hero.....

Misread that last bit as "Thanks to Geir Hongro....."

as time goes by, fewer and fewer will people pay even a penny for recorded music

If this is ever close to happen, musicians will be paid by download statistics through a tax paid by every internet subscriber in the world.

posts on this thread should take the form of the Conan skit "In the Year 2000"

phew, i think i came dangerously close to changing the topic of discussion here to something other than what the 2010's will musically dominated by! my apologies, and thanks guys for keeping things on focus :) geir i don't don't really understand why you think pop can't be experimental any more post beatles - it's like you're just saying it to say it, then walking away. surely the beatles haven't mined every possible experimental possibility in the universe! like, no one particularly expected "once in a lifetime" to be a hit (least of all the talking heads) but somehow, in the uk at least, it was. had the beatles already mined to death the channelling-american-evangelist-preacher-radio-show? no! and i think there obviously remain areas yet to be explored, by the beatles or anyone else.

actually i'd think the combination of free recording (via laptop) and free international promotion (via internet word of mouth) combined with the worlds taste for novelty, would almost inevitably result in some lucky combination of catchy and weird to take off in a huge way, doncha think?

ok, posit #237: odd vst plugins will have a huge influence on the sound of modern hits (look at what autotune's done already ffs!)

I think Anthony Burgess got it right. All tomorrow's droogs will be listening to classical music and Heaven 17.

― mottdeterre, Friday, October 23, 2009 4:19 AM (2 days ago) Bookmark

i've actually been going to my ipod's classical playlist a LOT when i start to get bored with boring old rock, r&b, and jazz

could classical music make some interesting leap forward and suddenly become relevant again? like, what if someone wrote a new piece of chamber music, except for synth, sampler, guitar, and, ummm, glockenspiel. and it was plainly classical, but also catchy and easy to hum?

one word. Hongrotronica. Highly melodic and catchy Beatles-esque electronic dance music. lots of mellotron samples.

― scott seward, Friday, October 23, 2009 2:00 AM (2 days ago) Bookmark

i wouldn't mind if this happened

Seriously, by the end of the 2010s, things are probably so fragmented that you can hardly talk of any kind of trends at all. All kinds of musical genres will exist, all of them enjoying an underground audience that uses the net to find whatever they want to listen to. And hardly anything will be able to surface and cross over to anyone but the cult already into that genre.

This means the hitlists will be owned by the underground cult which at any time contains the largest number of fans. In the 00s this was hip-hop in the US, pop electro in Europe. In the 10s it may be something else. But it will never ever be able to capture the entire masses the same way the most popular music in the 60s did.

i wished someone had picked up and ran with this on on the old thread cause i thought it was interesting and valid. what new genre's would arise from this phenominon?

X-Post: I dunno, but I don't consider "Once In a Lifetime" all that catchy, really. Great video, yes, the the song in itself is to me too weird and experimental to really be considered catchy in the traditional sense. Surely "Road To Nowhere" and "And She Was" were catchy (and much bigger commercial hits), but also way less experimental.

And that is my point. Of course The Beatles didn't do everything that was possible to do as far as experimentation goes, but I think they (and some other contemporary acts like Beach Boys) went about as far as they could possibly go without the boundaries of what would traditionally work as catchy music, that is, great melodies with a great buildup to really catchy singalong choruses.

It is also typical that at least from the late 80s onwards, almost all "experimental" acts have almost always moved away from traditional song forms, probably acknowledging that you cannot experiment any more within the traditional song forms. And, I think they're right. You cannot really make experimental music within those boundaries. But you can still make new and really catchy music within those boundaries. Which is what I prefer people to do instead of having to experiment all the time. Oasis were never experimenting in the slightest, but they still wrote some great and catchy songs that were new songs in the meaning that nobody had written those exact songs before them. And I think that's great, and there was no point in complaining about the lack of experimentaion because I feel all the experimentation the world does ever actually need was already done by Beatles or Beach Boys in the late 60s.

geir what was exciting about the beach boys and especially the beatles was their sense of adventure and their daring high stakes formal innovations. otherwise they were just motown rip-off bands. i mean for christ's sake "surfin' usa" plagiarized "sweet little 16"

Nonsense. Beatles were only a "Motown rip-off" band in their earliest and least formally innovative years.

note the word "otherwise." my point is that geir's continued harping on the platonic perfection of the beach boys and beatles is entirely misguided. very original, i know

like, what if someone wrote a new piece of chamber music, except for synth, sampler, guitar, and, ummm, glockenspiel. and it was plainly classical, but also catchy and easy to hum?

i think this happens all the time, but no one really pays attention outside 'new music' fans, or whatever.

(also sounds like that newest tyondai braxton album)

sounds like talk radio theme music

geir what was exciting about the beach boys and especially the beatles was their sense of adventure and their daring high stakes formal innovations. otherwise they were just motown rip-off bands. i mean for christ's sake "surfin' usa" plagiarized "sweet little 16"

Mike Love was no Motown rip-off, he was ripping off Chuck Berry and never really got any further than that. Brian Wilson was very harmonically innovating ever since "Surfer Girl" though, and without ever losing the sense of catchiness along the way.

And, no, even from the start of their Parlophone years, The Beatles were doing more than just ripping off Motown. Back in Hamburg in 60-61 they did little more than just ripping off their 50s rock'n'roll heroes though.

oh please, mr. 1-postman. just take george in 1976. he gets sued for ripping off "he's so fine" and records "pure smokey." be that as it may, and getting back on track, here's a prayer for motown revivalism dominating the 2010s

didn't we already have a shot at that with amy winehouse, sharon jones, raphael saadiq, etc.?

i don't know, what about with groups though? some four tops, temptations, miracles, supremes, etc., for the now? i will hold my breath until i hear one. the closest thing we've had for a long time are boy bands, and maybe destiny's child. could be jt will step it up, though, or cee-lo, or andre 3000, or fatlip, or who knows

praying for a Screaming Jay Hawkins revival over here

"I think it's largely impossible in 2009 to be 'weird and experimental' and catchy at the same time."

WTF?

can we have another, third thread that's 100% free of geir-centered hubbub?

2010s will be dominated by 100% Pitchfork bullshit

beware of crabcore. it's coming...

Back to the frat-dance thing... If the new Bassnectar album gets big, he could definitely be the new prodge/penjlum/chasenstatus.

2010's will sound like Kid Baltan meets Kid Cudi

Don't forget the Kid Rock revival.

kid n play should get a boost from the inevitable 90's revival as well

Meets Kid 606 and Kid A.

kid n play should get a boost from the inevitable 90's revival as well

http://img.thesun.co.uk/multimedia/archive/00922/SNN0507DD_280_1__922291a.jpg

oh, god no

the 2010's will be dominated by freewheeling noise-prog-avant-psych-genreliberated-fuckarounds obv

there will be a reality tv show dedicated to pursuit of the perfect 15-minute rock symphony

Results 1 - 10 of about 630,000 for "the xx factor". (0.21 seconds)

The role of reality TV in the '10s is an interesting thing. Reality TV shows do seem to suffer from fatigue - look at the later Big Brothers. When it comes to the Pop Idol/X Factors, doesn't anyone else think given the collapse of the major label pop model what the contestants are being offered doesn't amount to much anymore?

As opposed to back in the day when signing to a record label as an unknown 20 year-old pop star who doesn't write their own songs was a one way ticket to millionaireville.

Well it was clearly never so. But the chances of millionaireville have declined along with the sales.