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Via The Daily Swarm:

A Rational Conversation is a column by editor and writer Eric Ducker. Every week he gets on iChat or Gchat or Skype or whatever with a special guest to examine a subject that’s been on his mind.

When does premature nostalgia for music that is already based in nostalgia get gross? And what does it say about our current cultural tastes? Case in point: this past October, Saddle Creek reissued Danse Macabre, the 2001 album by The Faint. Meanwhile, Matador Records reissued Interpol’s Turn on the Bright Lights this past week to mark its ten-year anniversary, which has resulted in oral histories via both Pitchfork and Paste. Alas, such celebrations of albums that are just over a decade old – ones that themselves fetishized earlier landmarks of post-punk and new wave – can seem kind of suspect; conversely, do these re-releases provide crucial windows into how we consume the not-so-distant pop-cultural past? Ducker discussed this accelerated canonizing of cool with “Chris Ott”: https://twitter.com/shallowrewards, the highly-opinionated man behind the Shallow Rewards videocast. Ott is almost absurdly qualified to such matters – he was on the firing line when these records had their initial impact: he edited Pitchfork when the site, in a post also written by Ott, called Turn on the Bright Lights the best album of 2002.




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