Very few people are up in arms about the evolution of a style of music (and musicians) once beloved for its outsider ethos and “authenticity” into something that has been characterized as, variously, “dad rock,” “for sale next to the register at Starbucks” or, even, as Abebe does, “NPR Muzak,” (not that we’re sensitive or anything) is our current oversupply of alternatives. If we’re not into it, he says, we no longer have to throw a fit, because we’re already on to the next one.