If we're to look at the methodology of guitar music, we're within Zeno's reach of the point where every possible input has been tested to some degree. The debate over whether rock and roll is somewhere between dead and dying has intensified as of late; even titans of the field are feeling the need to come to its defense. Either way, I don't think you could find many who would argue that there hasn't been a sea change for the genre in about 20 years - unless you’re willing to consider nu-metal and post-grunge as innovations, which you shouldn't be.
The challenge, then, lies in finding a particular permutation that's allows an individual to meaningfully cleave off from their predecessors. Adam Granduciel understands this concept better than most of his peers, and makes a concerted effort to avoid replicating his influences in favour of building off them. Any time there is mention of the man or his band, The War on Drugs, allusions to Dylan, Henley, Springsteen, Petty and Mascis can't be far behind.
Lost in the Dream, the War on Drugs' third full-length, is a record cut from illustrious cloth, but that’s by no means a sticking point. Granduciel has found his permutation, and mastered it. This album is derivative in the best way it's possible to be so: It never makes you pine for the heroes of yesterday, it breathes new life into old ideas and personalizes them. But the real reason this album is such a triumph is that inspired songwriting will never become unfashionable; Lost in the Dream is overflowing with the stuff.