In retro-spect, Retromania feels like an accurate account of the first decade of the 21st Century - what it felt like to live through a time in which pop culture didn't really feel like a distinct time with its own feel or spirit; a period when pop's pulsebeat seemed sluggish. If the book continues to have value or interest, I think it will be as a document of an era, rather than any kind of prognosis - an emotional history of the 2000s, an etiology of its distinctive affects. A historical curio, perhaps - what some people worried about, or argued about, in the first decade or so of the new millennium.
In conclusion here's a video of a presentation I gave at the Selector Pro conference in Moscow this July. I took the opportunity to talk about Retromania five years on (although it has just come out in Russian only last year) and to assess what had changed in that half-decade while also exploring how my ideas had clarified or shifted or reversed. (The chap introducing me, by the way, is the legendary Russian rock critic Artemy Troitsky).
The title - Everything Is A Remix: Why Music Dwells On the Past - was something the British Council organisers came up with based on the text I'd sent through (for the simultaneous translators to acquaint themselves with in advance). I realised - too late in the day to change it - that the title should really be Everything Isn't A Remix - for part of the talk involves me taking issue with the proponents of recreativity.
Later on I may add here, after the clip, the text of a lecture I gave regularly for a few years that I kept on embellishing, expanding and fine-tuning, in which I fairly definitively laid out the counter-argument to the "everything is a remix" bods.
But for now... Ciao.