"Derrida does not stop repeating himself."
He's just like me fr.
(this letter is almost certainly fake btw.)
Also coined the word hauntology lol. Later that became associated with music in particular.
This doesn't actually quite work here since I can actually answer the sound of 2005 and 2010 (especially 2005,) and the main difference is that there was increased variety and less monopoly because of the internet (especially true of the 2010s.) Also the 'is this even music' sentiment is still very much still alive haha. Look at the reaction to mumble rap and trap metal etc.
For the 2000s there was a kind of 'the Supernatural (TV show) boys' are in a Hard rock band aesthetic/musical style was quite popular (like Breaking Benjamin.) And pop punk obviously. Dreadlocks/cyber dreads. Rap rock/metal, nu-metal. Vaguely distorted nu-metal guitar sound (there's a better way of saying this but I'm going to keep saying that.) Some of this overlapped with the 90s because the decade was 95-2005 and that's not how most people like to model musical decades. Also some 'decades' are slightly longer than others. Not unique post-punk started in the late 70s and continued into the 80s. 2004 seems to be a very defining year in music for the 2000s and 97 for the 90s part.
Skillet obviously: https://www.youtube.com/watch?v=uGcsIdGOuZY(I actually went to uni with the clone of the female singer lol. That's how I discovered this song.)
That was a very common sound. Lots of songs about like fighting like a monster/animal etc within (I noticed Starset picked up on that aspect):
^ This song was in every amv in the late 2000s on YouTube.
Industrial kind of guitar sounds. It takes influence from industrial rock like NiN but also hip hop, goth rock, post-hardcore etc.
Rock was kind of everywhere then. The same director who created this Marilyn Manson video for The Beautiful People made one for Christina Aguilera and that was also heavier than pop is now. And the creepy distortion was everywhere.
This wasn't my favourite Evanescence song at all and they strong armed them into having a rapper on the track. But it combines so many of these elements together you can see why this track was popular:
More of the creepy distortion. This Jack off Jill album came out in 2000 (they spent a lot of time with Marilyn Manson and had overlapping band members so you can see some of the similarities in sound to early Manson though Scott Putesky did work on that track he did on this one.) This Birthday Massacre track is similar too
You start to see post rock and such in the mid-late 2000s. Which sometimes sounds like Breaking Benjamin fused with 90s alt rock in space. Everyone starts to get nebula leggings as we move into the 2010s. This is when things start 'slowing down'
And Starset are a 2010 band with a 2000s sound (you can't make that distinction unless there is a 2000s sound):
Another 2000s track in 2021:
"Oh I never wanted to brag." etc Tbf with shadows of Welcome to Paradise by Green Day (though there's 2 recordings of this song and the more realised version this reminds me of was a '95 track which is in that approximate 95-2005 pop punk window,) there's also an American Idiot feel to this. And then the distorted guitars make an appearance of course.
2010 is when e-genres started to appear so you get more social commentary that is hauntological and the distortion is still there because 'everything is surreal, ethereal, liminal and decaying' are the ongoing vibes. But there's more experimentation. lots of sampling. And video games, computer sound effects, and the internet are becoming a central feature in music:
Remix of the Playstation start up sound of course:
Once again this started earlier with references from Skrillex in song titles in the 2000s:
Witch house obviously (so you start to see occult themes merging with chopped and screwed hip hop):
Some of this and related genres are very interesting:
NiN were really huge but even in the above video she doesn't think to make the 90s sound defined by that but by this point aggressive electronic music that draws from like aggrotech and industrial and dark electronic is blending into the mainstream a lot more:
This track is one of the most interesting. It's a bit like dark mirror world 70s which is appropriate because the defining drugs were again increasingly throughout the 2010s and onwards an overlap of psychedelics and opiates:
This blends into the mainstream with ??? (Crosses) (but it loses a lot of the musical style in the process much I love Chino Moreno/Deftones/??? (Crosses.))
You have post rock and a lot of introspective and emotionally flattened effect lo-fi music - for lack of a better way of putting it - that's very different from the 2000s heavy aggressive music (like Billie Eilish, Chelsea Wolfe, Phoebe Brigers, Giles Corey) Along those lines this is the decade that created 'mumble rap'
Blackgaze becomes a thing which blends post rock and black metal:
Some of all this music draws on older electronic music and post-rock from the 2000s like God is an Astronaut, Mogwai, and even older electronic artists like Coil and Aphex Twin. Even Deftones in the sense of having more hushed vocals with some elements of rock.
It's a very electronic decade outside of the hiphop singularity that started to occur.
This is very interesting:
This is from 2008 but is part of what defines the 2010s mainstream sound:
You also see the computers appearing subtly in R&B as we go into the 2020s:
This Patrick Wolf track is 2010 music in the 2000s essentially (2005):
It's a bit too early to point out what artists sound like they come from the 2010s right now.
There was some folktronica + baroque pop sort of thing you see with Final Fantasy/Owen Pallett and IAMX here too. This was all obviously inspired by Bjork and Kate Bush of course. But everything was always inspired by everything.
There's some cute anecdote of Chris Corner meeting Bjork in an interview I can't find now and then being like 'I want to have her babies' or something (don't remember fully,) and then being embarrassed. They covered Venus as a Boy too:
needed Keli AliThis argument about which one sounds hotter and should have kept on as the lead vocalist happens every time lol on all their music videos.Oh please, she would have ruined it. She was a nice performer but his vocals are 100 times better. Plus, his voice just sounds sexier.
It's kind of the opposite of gay (male) but yeah OK. The word you are looking for is 'feminine.' 'feminine.' Actually I've changed my mind using gay as a synonym for [BEEP] or anything adj will give Glinner an aneurysm even though he hates [BEEP] too so go ahead. This song is about bisexual threesomes. And the opening sounds so much like the opening to Teignmouth by Patrick Wolf actually now that I think about it.Nahhh. She's alright but she can't even hold a candle to Chris. And we all need more of Chris singing gay stuff in our lives
So a lot of the music is fusing multiple genres and styles together and borrowing directly (via sampling,) of just in terms of inspiration from different things and kind of a melting pot. This genre fushion thing existed prior though like trip-hop in the UK in the 90s
This is part of the House soundtrack obviously too:It has been described as a psychedelic fusion of hip hop and electronica with slow tempos and an atmospheric sound, often incorporating elements of jazz, soul, funk, reggae, dub, R&B, and other forms of electronic music, as well as sampling from movie soundtracks and other eclectic sources.
That's actually very weird but I can imagine goths absolutely losing their [BEEP] over that haha which is hilarious. Move over Marilyn Manson. No really Chris did that aesthetic better too later on. Actually Sneaker Pimps worked with him on Long Hard Road out of Hell too and I don't recall all the details from interviews but that was a whole thing I think everyone's egos got in the way especially Liam, Kelli and him. (That was a whole thing for anyone who ever worked with him really lol. Trent Reznor.) I do actually like a bunch of Marilyn Manson's music though.Described as trip hop, the album had the label "goth" affixed to it by more than one reviewer.
Anyway Maybe cause of Small Town Witch (because of the witch thing,) and The Fuel. After Every Party I Die was a bit dark I guess.Manson would recall that while recording the song, "The guitar player of the Sneaker Pimps had just got hit in the foreskin and he told me about it, which is a dumb as [BEEP] thing to do, because the first thing I did was hit him in the dick, and I'm sure that probably added to the tension in the room."
If you reach a lot. I think I can almost hear it:
Bearing in mind I don't think this specific song was ever really considered goth:
Like the heavyness with the magical tinkling sound. That's also a great/shit way to describe The Cure's back catalogue lol.
Wait what am I doing? (No not the autistic rambling I mean when considering The Cure specifically.) This is probably a better example (it's much heavier and darker but you have the 'magical tinkling' icicle like sound repeating through it):
Some former trip hop artists like Chris Corner (from Sneaker Pimps now IAMX) are still making pretty interesting music and was throughout the 2000s. But this isn't mainstream at all. And I'm just posting this now because IAMX. Let's be honest.
That being said I didn't really care for the new Sneaker Pimps stuff during my brief listen.
You have no idea how long it took me to remember the name of/find Ari Lennox.
I'm trying to do something impossible in this post. But that's part of the sound of the 2000s/2010s.
Also if you want complete revolution you need new instruments otherwise over time you just start to refine things more and more.
Man I really need to create something decent with those oven recordings some day. This experiment which is hardly music was all I did with it. It was just such a great oven. The sonically creepiest object that ever came into my life. There's a 98% chance that's not going to happen.