Contemporary pop is trapped between a vacuous present and an unrecoverable past

Evidence

The image becomes more than a comment on Bowie — the man who once traded on his ability to escape the past is now trapped by it. It also functions as a diagnosis of a broader temporal malaise. What is this white space, this void? An optimistic reading would construe it as the openness of a present that is not yet decided. A bleaker take — one in keeping with the hackneyed quality of the music — would see the white space as standing in for the vacancy of the present, with nothing there except a necessarily failed attempt to escape and recover the past. That’s our pop predicament in 2013, a predicament which The Next Day couldn’t seriously have been expected to resolve. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1314

Categorization

  • DEEPTHINKING: Why this counts: not the claim’s novelty but the way the cover design stretches into a whole diagnosis of temporal malaise — a present that reads either as undecided openness or dead vacancy recoverable only by failed retro.
  • XREF: connects to: Hauntological pop music can express unresolved doubt through an aesthetic of greyness — Mark Fisher, Ghosts of My Life: Writings on…, 447; Synthpop’s futurism is now a superseded past rather than an available future — Mark Fisher, Ghosts of My Life: Writings on…, 448; Contemporary pop’s return to modernism may overcome the postmodernism it recycles — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 983 (+7 more)

Broader Connections