Thursday, May 21, 2015

nowhen pop with nowhere to go

Embling's Tiny Mix Tapes review of Shamir's Ratchet and its exquisite pastiche of "low-key electropop, glam house, dance rap, and indie power-balladry" 

"Shamir isn’t paying homage to any one era in particular; to me, he sounds as indebted to the turn of the Millennium as he is to the artists from whom the dance-punks and electroclashists were cribbing. Ratchet exhibits a temporal and generic dimensionality that is completely alien to me, as a person who spent the most formative years of his young adulthood without immediate access to portable devices that could feasibly contain the entire history of a given genre.
The closest analogue I can muster is the current season of Ru Paul’s Drag Race, wherein young, inexperienced, yet fully-formed queens who’ve grown up not only with ball culture, but also with reality TV and Drag Race itself, keep besting their older, less polished, more narrowly-defined competitors.
"Maybe I should be thinking instead of Alexander, weeping at the prospect of having no lands left to conquer? In any case, Shamir, as a young artist, is proof to me of evolution as a reality, progress as an upward arc, and also of the existential terror I feel when I listen to Ratchet and my mind hears a historical vanishing point. When I hear Shamir’s nimble and cherubic vocals, I often hear a question hanging in air: where can we possibly go from here?
Please forgive me for saying this, but younger Millennials — there needs to be a more accurate term for the generation of those born in the post-broadband era — are in many ways like the final girl’s friend in The Human Centipede, meaning that they eat last and are fed only that which has already been twice digested. Maybe that sounds ungenerous, but think of the limitations of such limitless access: Shamir, who is a prodigy almost without peer, can’t make the music he wants without being reduced to echoes and aftershocks of every single (lesser) artist who entered this world before him."

[emphases added]

1 comment:

  1. I saw Shamir play last weekend and thoroughly enjoyed his show. Whilst it offered nothing new sonically what was interesting was the gender queering of the vocals - going both ways - his falsetto and the female singers voice pitched way down. The music was a (well put together) vehicle chosen to project his lyrical ideas and concepts. If music in terms of genre, sonics, rhythm etc has long hit a brick wall it still feels like there is room for manoeuver with lyrical content and concepts contained within the whole package.