Its crazy to think this album came out 10 years ago, and that its still relevent as ever. At the beginning of this year the meme was that the new year was 2016, or at least it would rhyme. We were bracing ourselves for political turmoil and good music. That political turmoil and good music is why I think we see many cite 2016 as being the end of Mark Fisher's capitalist realism, I find this is still debatable though it is undeniable that there has been a cultural shift over the past 10 years. We can see that shift reflected in the work of Jeff Rosenstock. The renewed interest in what comes after postmodernism in the context of post and meta-irony over the last 10 years is reflected in this album, Rosenstock articulates the feeling of political helpnessness and desire for community in a way I've never seen anyone else replicate.
Every european city seems to have some form of docklands development and this phenomena has reached my "hometown"(use of americanism felt appropriate), right as I'm sort of leaving. I always say about Rosenstock's music that it feels like what it feels like to grow up, so to see the city "grow up" as I do(gentrified feels like the wrong word to use here), for better or worse feels relevant.