Post-Nineties electronic music retreated into conventional musicality and recessive detail

Evidence

Apart from grime and aspects of dubstep, Nineties post-techno music overall seems to have retreated into “musicality” (in the conventional sense of the word) and pleasantness. … And this applies on the micro as well as macro level: individual tracks seem to have less “thrust” and drive, to be more about involution and recessive details. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1252

Categorization

• XREF: The ‘retreat into musicality’ parallels Fisher’s broader claim about the decline of militant-modernist culture into comfortable, pleasant postmodern reference — consistent with his hauntology essays. — connects to: North continues an electronic-pop mode that stalled prematurely in the mid-1980s — Mark Fisher, Ghosts of My Life: Writings on…, 447; Old electronic music no longer ages because the culture stopped progressing — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1237; Electronic music labels lost their connection to any expected, lived future — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1238 (+4 more)

Broader Connections

• Electronic dance music moved from formal innovation to production refinement across the 2000s #corroborates (0.85) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1257
• Contemporary electronic music has decelerated from rave’s rate of innovation #exemplifies (0.82) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1228