Ask an 11-year-old

Then there’s the really fascinating part. People in their 20s are having a new experience: They are, for the first time, noticing some of the things actual teenagers enjoy and are being completely appalled, both morally and aesthetically. A flood of young rappers is scoring hits with music that baffles grown rap fans with its slurry boneheadedness […] If the last version of pop was driven by people who desperately wanted everyone to care and everything to matter, it’s only natural for the next wave to be interested in what it looks like when you don’t care, and nothing matters.
25 Songs That Tell Us Where the Future of Music is Going, Introduction by Nitsuh Abebe, New York Times Magazine, Sunday, March 11

The introduction concludes with,

"Keep scanning along that birth chart, and it will emerge that the highest number of births in American history seems to have come around 2007. If you want to know where music is going, ask an 11-year-old."

"A tangy, lemony, electrical emotional wave"

I was coming down the stairs at the front of the bus when a sound hit me like a lightning bolt. It was more than a sound, actually. It was a tangy, lemony, electrical emotional wave. Have you ever dealt with skunk spray at very close range? It goes past being a smell — it’s like a wave of high voltage meat that engulfs you so fully that you can’t tell which of your senses you are experiencing. That was the intensity of this sound
Guitarist Damian Kulash, on hearing Herbie Hancock’s ‘Rockit’ for the first time at age 7. (link)

Ungovernable Hybridity

And if ‘vibes’ are now considered intellectual property, let us swiftly prepare for every idiom of popular music to go crashing into juridical oblivion. Because music is a continuum of ungovernable hybridity, a dialogue between generations where the aesthetic inheritance gets handed down and passed around in every direction. To try and adjudicate influence seems as impossible as it does insane. Is that the precedent being set here?
It’s okay if you hate Robin Thicke. But the ‘Blurred Lines’ verdict is bad for pop music. Chris Richards, Washington Post, March 11, 2015