One of the more counterintuitive rules of pop music says that the least original artists often end up being the most imitated ones. That’s how Elvis can be simultaneously remembered as the person who made America rock and the guy who stole from the true creators of rock; it’s how there are so many Google results for the phrase “Oasis knockoff.” Two bands that just released sophomore albums exemplify the idea that nostalgia and creative theft can be forward-thinking.
Disclosure, Chvrches, And The Anxiety Of Influencing
skornhaber@theatlantic.com, The Atlantic: Entertainment
Mon, 09/28/2015 - 12:38pm
Topics: america ldquo;oasis chrvches british lsquo;90s chicago howard lawrence the guardian dj song summer pitchfork&rsquo meaghan garvey settle duke dumont years rudimental sam smith lsquo;that guy howard l.a times the weeknd lorde season smith&rsquo ldquo;echoes&rdquo ldquo;jaded,&rdquo bones what you believe electro-pop scottish lauren mayberry&rsquo men without hats&rsquo ldquo;safety dance&rdquo swift&rsquo carly rae jepsen&rsquo open eye ldquo;bury it,&rdquo ldquo;make them gold,&rdquo ldquo;leave trace,&rdquo sam esmail fight club&rsquo robot blue,&rdquo order-y ldquo;just can&rsquo enough&rdquo disclosure sam smith ldquo;latch&rdquo years disclosure&rsquo chvrches mode sound feels album it’s sounding music sense sounds widely debut depeche band’s popular results hard mention band plausibly doesn’t chorus bands creators they’re called sophomore rock lsquo;80s synth styles show mainstream track brothers landed melodies sonic huge number guest
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