American Rock MusicRock music from America
Current trends in American rock music
With the new depressed tendencies of American music since the 1990s, new generations of rock stars have increasingly moved away from the openness of much traditional music (in other words, that scattered in many smaller cities in the south of the United States) to experience a conspicuous "pop" afflatus:
Starting from the best expressions of this particular evolution, people like Wilco, Ryan Adams and more recently Brandi Carlile have created a sparkling sound with certain characteristics that were very different from those of Guy Clark, Neil Young or Johnny Cash. Having learned the technique of "perfect" backdrops between guitars, voices and rhythm instruments, these products almost always fish in an autobiographical theme that expresses situations they have often painfully experienced.
These are themes of contemporary social life that necessarily give back an America that is completely different from that of thirty years ago, but which, musically speaking, causes confusion because formally correct operations need more authenticity to prevail. The doubt of a radical change in the interpretation of the rock tradition is a little more than a statement:
Rock (i.e. the genre that germinates in it all subsets of American traditions, from blues to country music, from Folk to Rock'n'Roll) cannot ignore the contribution of ideology and respect for the past; is exactly what is missing today in the "American" genre (as it is called today), where, besides an inevitable generalization process of the "old" part of the tradition, which is only achieved through an obvious musical education, there is an urgent direction united that comes from the tastes of the masses, those who grew up in the era of interplanetary social communication and need a sweeter attachment to popular values and traditions.
One of the strangest and frankly most inexplicable things in a mentally active country like the United States is why traditions have not been effectively mixed with the prevailing deepening through electronics*: although there are embryos and isolated cases of these structures, the elements outside the full virginity of American music have almost been banned, not even in light of important and successful performances such as Wilco.
Does the audience still indirectly lead the heads of American musicians? A recent example of the skillful divergence of American music trends is the musical experience of singer Brandi Carlile and the group opening their concerts, The Lone Bellow, who were recently angry about their first record hikes, which aroused my interpretative curiosity:
When Brandi has established his own effective style in which the characteristics of his musical DNS stand out, perfectly attuned to today's "rough" times (an example of originality that could be a lesson for many of our rock singers), Lone Bellow's debut shows a path still far removed from that artistic openness that is the fundamental element for obtaining a valid passport to free oneself from the burden of anachronistic weaving of the canvases of tradition.
If it is a modern and successful product, it must not lose sight of the authenticity of the proposal, because if it is true that there are exceptions to the principle of participation in success = poor artistic quality, then it is also true that there are elements that can give this product those unique, easily recognizable characteristics that effectively bridge the best "syntons" of the past and present of the traditional genre.