Over the past decade or so, I kind of lost interest in new pop (still the best way of describing it). I was still listening to the music of my youth, indeed expanding on it to the extent that my collection covers most of the best of the 1950s, 60s, 70s and 80s.
But things got spotty post-1990. Samplings for sure, but nothing approaching the blanket coverage I gave the earlier decades. I would read reviews of 90s or 00s releases, and find myself not only not knowing the music I was reading about, but also I didn't even even know the music that the reviewers were referring to as similar or as a contemporary influence.
Now we're into the 10s and two largely unknown decades lie behind me. At first, I thought this was a disadvantage – my rock/pop credentials are shot and any pretense to hipdom is easily seen through. Then something strange happened. I turned this ignorance on its head, and realized, with something of a shock, that I had regained much of the innocence of the music that I fed myself, drip by drip, during my early years of music collection when all I could afford was maybe a couple of LPs a month. Each one hungrily assimilated and some loved.
So this is my new, old, approach. I buy an album that looks interesting, usually one on some obscure or semi-obscure label and don't do it very often. No more 10 'free' albums from the BMG music club. Charlotte Gainsbourg's 'IRM' is one such. Currently on order direct from Drag City Records are a couple of records by Six Organs Of Admittance including one I had to get for the title alone – Asleep On The Floodplain. I'll have to more to say about that when I get those, but 'IRM' is a treat through and through if you like strange, somewhat psychedelic and sinister mood music. As I do.