One of the critiques often levelled at rock music is that it’s both functionally and formally “dead,” a genre of little to no relevance in terms of mainstream cultural production; a shambling husk of zombified pastiche for earlier and more efficacious periods of prominence and creative vision. Now, depending on your point of view, this critique is either devastatingly accurate or acutely misrepresented, and truthfully, examples abound for either position in this seemingly unending debate. There’s Pitchfork’s brutal assessment of Greta Van Fleet’s naïve “retro-fetishism” or Rolling Stone’s mostly positive response to rapper Machine Gun Kelly’s recent (and highly profitable) flirtation with mid-2000s pop-punk revivalism. Not to forget the recent thirtieth-anniversary remastered edition of Me...
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