The Return of 90s Fever

90s child takes a look at the resurrection of the golden era of pop

Avicii is a genius. His musical production might be more straight forward than a Dora the Explorer sticker book, but he definitely knows his demographic – children of the 90s. Born into that infamous decade, there lies within us a hidden desire to experience a renaissance of neon raves and out of tune guitars. ‘Wake Me Up’ is the apocalyptic second coming of ‘Cotton-Eyed Joe’. He’s taken a Mumford & Sons chord progression, vomited on some abysmal pre-sets and lo ‘n’ behold, you’ve sold the most records in two years. Veritable Goebbels.

But there’s only one truly reliable way to test musical trends. And that’s Sean Paul.

With the release of ‘The Other Side Of Love’ in June we heard confirmation that the 90s really are stuck here. With that drop, we witness a moment in musical history, perhaps only rivalled by Dylan going electric. Even Chase & Status have sold their drum and bass souls to the mortgage brokers, with latest single ‘Count on Me’. House might have been the Viagra of should’ve-gone-to-Sports-Direct-apparelled hipsters, from Shoreditch to Shoreditch, but no longer. 2013 has seen that 90s sound penetrate deep into the mainstream club scene, impregnating it with such hits as ‘White Noise’ and ‘Need U 100%’. Giving birth to a nineties messiah, destined to save our eternally inebriated souls from the Abercrombie clad, bro-dance bully of the noughties.

With the Stone Roses reunion, Blur’s new material, and the constant Oasis rumour, it’s increasingly clear that the 90s didn’t pay enough first time round. Even Nirvana’s ‘In Utero’ is being re-milked this month for its 20th anniversary. Thankfully, the B-town explosion, fronted by pop-grunge fusion act Peace, looks like it could be fuelling a musical revolution to match that of the electronic hemisphere.

Can’t really write a comment on the 90s resurgence without mentioning the OD time-bomb that is Miley Cyrus. The effort she puts to maintain those stereotypical buns is about as sincere as Robin Thicke’s erection. ‘We Can’t Stop’ was basically her bragging about how euphoric her molly ‘come up’ was. If she’s really committed to the 90s mantra her follow-up should have been her crying in the foetal position, dry-retching for 45 minutes, not midget abuse. Even Tesco’s latest advert features deep house anthem ‘What I Might Do’. Cashing in quicker than Kanye West’s clothing line.

We might be lapping up every chilled-house compilation MOS can ejaculate, but if we want anything out of this comeback, we’re all better off stocking up on the only two things certain to increase in value. Ecstasy and hair gel.

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