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ad that we
Top 10 Most Overrated Bands
Pop music as a field of art has been notorious in exaggerating the importance of its own work. From the more naïve claims of divinity by certain artists, to the subtle interpolations of an artist's songs to anywhere that a sound system projects, pop music has found itself as the most conspicuous signifier of the age of self-importance. Nowhere is this seen more than the fans and followers of bands who momentarily become enamored by a nuanced style. This implicit privileging of difference as the most superlative of qualities in a work of art has guided not only pop music's actual creations, but the popular connotations of pop music itself. When commenting on popular music in an ostensibly "credible" region, it is always given that change and artistic metamorphosis are the common sense values for the artist, hence the privileging of the self as that which is independent and identifiable as a self in distinction of other selves. Pop music's claim for individuality is not simply a recognition of an age which is self-obsessed in seeing itself in its individuality, but the diminution of the traditional sense of aesthetic quality as that which is the music listening experience itself. In this list, we will highlight how pop music has come to show itself as justifying its worth in difference purely speaking, and how music's traditional essence in unrecognized aesthetic appeal has been lost because of this. We will see how these next bands have been heralded mostly for aspects that have nothing to do with the aesthetics of music, but the popular recognition of difference. It is with this in mind that the importance of the transcendence of pop music is to become a theme for one who listens to music afterwards, which is methodically nothing more than negating oneself, ones entire identity from the music listening experience.
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