"This is the way that pop ends," music critic Simon Reynolds wrote in his 2011 book, Retromania. "Not with a bang but with a box set whose fourth disc you never get around to playing and an overpriced ticket to the track-by-track restaging of the Pavement album you played to death in your first year in college." The death of originality in music; our cultural obsession with nostalgia; the near-total availability of any kind of music, at any time—these are the themes that made Retromania one of