2010 can be summed up as the year of extreme musical escapism. For example, an influential and meaningful genre like “ambient” has been watered down into sub-categories like “witch-house”, “chill-wave”, “wave-gaze” and dozens more. Sigh. All of these terms represent the same basic feeling and trend that has dominated this year’s music releases, the powerful and influential blogosphere and even popular music criticism, yet none of these micro-genres feel like movements. Some of it is definitely memorable and holds promise beyond the bedroom recordings that have marked its heavy promotion and fuss. But let . . .
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