There’s a kind of boom and bust cycle in modern music (kind of like there is in modern everything) in which certain varieties of music — especially popular and “new” music — are periodically characterized as “dying” or “already dead,” only to then be miraculously resurrected by one or another savior figure/band/composer/whatever, which starts the whole process over again. As with the boom and bust cycle in economics, there also seems to be a law of diminishing returns with each reiteration. Each new claimant to this imaginary musical throne (more…)