what seems overtly, blatantly digital in today’s pop — to draw attention to its digital hyper-reality — are all those AutoTune treatments and various other vocal-science effects (stutters, glitches, drastic pitchshifts from high to low) etc that you get routinely in chartpop in recent years— that, and the general sheen of too-perfectness on both vocals (through AutoTune) and on the entire sonic-surface of songs — a digi-gloss - there seems to be an attempt there, semi-unconscious most likely, to make music keep up with the high-definition crispness of flat-screen TV, CGI in film, skin-tone even-ness and other digital touching-up effects as used in glossy magazine photography and (i believe) also in TV and films.
Retromania, Simon Reynolds on the New Aesthetic.

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