Over the holidays, during a family get-together, two younger relatives mentioned what their favourite pop song was. I did not know the song by title or artist, and until very recently I actually I thought it was an advertising jingle. I now understand that the combination of the song’s novelty factor and its ubiquitous appearance had helped to make it very popular. I can see why it may appeal to kids – but I doubt it will become an evergreen classic….
The song they mentioned incorporates a number of musical tropes very prevalent in many current pop songs, especially as regards the vocal styling and lyrical phrasing. But like much of the music being produced these days, it will likely be forgotten within a couple of years at most. The inherent “novelty” of the vocal could render the song a one-hit wonder, and the artist a one-trick pony.
I have nothing wrong with pop music per se, but if “we are what we eat”, surely we can become what we listen to. An unending and unvarying diet of mainstream pop music (as defined by commercial radio playlists, as measured by self-serving charts compiled by streaming services, and as financed by major record label marketing budgets and promotional tie-ins) is the equivalent of eating nothing but fast food and processed snacks.
So, at the risk of being labelled a grumpy old man, here is a list of things that are mostly wrong with contemporary pop music:
1. Vocals that feature one (or more) of the following:
- the sound of cutesy chipmunks on helium
- forced falsettos, cracked breathlessness and over-emoting warbling
- singing from the back of the throat (as if constipated)
- singing through the nose (as if congested)
- whining, strained upper registers (as made infamous by a certain tantric pop star)
- auto-tune effects (especially those in search of a melody…)
- shouting in place of projection
- turning vowels into consonants, and consonants into vowels
- adding syllables that don’t exist, and leaving out ones that do
- over-stressed sibilants
2. Lyrical phrasing, scansion and rhyming schemes courtesy of Dr. Seuss,
3. Slogans, nursery rhymes and shouty phrases in place of lyrics
4. Drum and percussion tracks either programmed by ADHD, or inflicted with St. Vitus’s Dance
5. Boring, boxy and plodding 4/4 rhythms, with no syncopation or variation
6. Same set of production techniques and sound effects as used by every other producer or DJ
7. Samples based on the nastiest ringtones available (or programmed on the cheapest synths around)
8. Never mind a lack of key changes, or an absence of chord progressions, songs that revel in one-note vocal lines
9. An absence of interesting melodic or harmonic structures
10. Sound compressed into the smallest available bandwidth so it is easier to stream, but which ends up sounding flat and claustrophobic, and with exactly the same sound dynamics as every other song
11. No space to let the music breathe – every available beat and bar has to be filled up, especially with vocalese stylings
12. Too many cooks – songs by “X feat. Y with Z” are usually contrived concoctions dreamed up by the record company (“hey, we can flog this song to fans of all three of them!”) that end up as filler tracks on their respective solo albums
13. Kitchen sink productions (as in everything BUT the…) – you can almost imagine the producer in the studio shouting, “cue flamenco guitar, cue rapping, cue 80’s sample, cue metronomic rimshot, cue call and response vocals, cue detuned kick drum….!”
Part of the problem is that with the cheaper costs of recording, and the wider access to the means of production, anyone can make music, and release it direct to the public online. Meaning there is just so much more new music to listen to. However, the major record labels and their media partners still control most of the marketing budgets and distribution costs, that largely decide the songs we tend to hear, and that ultimately determine which songs become “hits”. By default, this process prescribes much of what is deemed “popular taste”. With the increased use of algorithms and other techniques, artists, producers, labels and media platforms can increasingly predict what songs will be successful, in a self-fulfilling prophesy of what will “sell”. it’s like punk never happened….
Next week: Sola.io – changing the way renewable energy is financed