As we enter into the final month of 2019, it’s natural to cast an eye back as another year somehow flies past. 2020 is beyond the starting point of sci-fi films that formed many of our youths, despite fears over the millennium bug, to our latter day Trumpisms and the dog shite that is Brexit, the world seems to be a darkness no one quite predicted.
Surveying the period between 2000 and 2020 feels like a valid exercise because I think for most of us that have been listening to music for a long time, it’s probably the timeframe that’s exposed us to the most stuff. Online shopping, file sharing, the re-emergence of vinyl and cassettes, endless re-issues, friendships across the globe through social media, smartphones, home entertainment systems and Bandcamp to list a few, have meant my consumption of music has gone through the roof. Throw in the debate around identity, the environment, actual good vs evil and countless other aspects of our world has given artists an ever-expanding landscape to draw from.
Of course, the amount of access to music, new and old, could be seen as a form of gluttony. Attention spans get shorter whilst folders of digital files get lost on nameless hard drives. Music as a formless commodity or rolling membership. But in the midst of all these pit falls, what does truly great music need to do to survive in these fickle times?
Konstantaj Objektoj, therefore is a 20-part survey of music, over the next 20 days, that for whatever reason, have simply refused to grow dusty on our shelves in these last 20 years…
#KonstantajObjektoj starts tomorrow…
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