Meaning: This quote by musician Graham Coxon reflects his observation of a musical trend wherein American bands are adopting a sound reminiscent of British bands from the late 1970s and early 1980s. Coxon, best known as the guitarist for the British band Blur, has a keen understanding of the music scene and has likely noticed a shift in the sonic landscape that he finds noteworthy.

The late 1970s and early 1980s were a pivotal time for music, particularly in the United Kingdom. It was a period marked by the emergence of influential bands such as The Clash, The Smiths, Joy Division, and many others, whose music embodied a distinct blend of punk, new wave, and post-punk sounds. This era also saw the rise of the mod and punk subcultures, which significantly influenced the music and fashion of the time.

Coxon's reference to American bands sounding "quite English" suggests that he perceives a revival or reimagining of the musical styles that were prevalent in the UK during that era. This observation raises intriguing questions about the cyclical nature of musical trends and the ways in which artists draw inspiration from the past while infusing their own unique creativity into their work.

One possible interpretation of Coxon's statement is that he sees a resurgence of the raw, unpolished energy and introspective lyricism that characterized many British bands of the late 1970s and early 1980s. This musical aesthetic often involved a DIY ethos and a rejection of mainstream conventions, which resonated with audiences seeking authenticity and a departure from the commercialized sound of the time.

It's worth noting that musical cross-pollination between the UK and the US has been a longstanding phenomenon. The British Invasion of the 1960s saw UK bands like The Beatles and The Rolling Stones influencing American music, while the punk and new wave movements of the late 1970s and early 1980s also had a significant impact on American artists.

In the contemporary music landscape, the globalization of culture and the ease of access to diverse musical influences through digital platforms have further blurred geographical boundaries, allowing artists to draw from a wide range of sonic palettes. This fluid exchange of ideas and sounds can result in American bands incorporating elements of the British musical aesthetic that Coxon alludes to in his statement.

Moreover, the cyclical nature of music trends suggests that certain styles and sounds often resurface and undergo reinterpretation by new generations of artists. This phenomenon may explain why Coxon perceives a renewed focus on a particular musical direction that he associates with the late 1970s and early 1980s.

In conclusion, Graham Coxon's observation about American bands sounding "quite English" like they did in the late 70s and early 80s offers a thought-provoking lens through which to consider the evolving dynamics of musical influence and creativity. It speaks to the enduring legacy of past musical movements and the ways in which they continue to inspire and shape the sonic landscapes of the present. Coxon's insight invites us to contemplate the cyclical nature of musical trends and the ways in which artists pay homage to the sounds that have left an indelible mark on the history of popular music.