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Good list, I appreciate that you went for some of the non-LP tracks. Most of these would make my top 10, though not in this order.
Anyone with mystery will eventually reach a critical mass of hype and popularity. Basically he dropped one song, a lot of people liked it a lot. “Who is this guy?” “Has he got anything else?” “Is he coming out with something?” Silence. Then time passes, he drops another track, and everyone likes it a lot too. But still no concrete details about what he’s going to do.
This is the first time we’ve heard anything full, like finally opening the door after gazing through a keyhole.
Ignorance can be as harmful as hate, even though there is no malicious intent in there. In fact, no matter what your intent is, you can still cause harm and spread poison through the culture. If your intent is to not care about how you affect other humans, then that’s not too far from being hateful.
Yeah, if we count people playing an instrument on someone else’s album or coming up with certain parts as “featuring,” then a LOT of albums would have features. This kind of collaboration is surprisingly common when you look at any random band’s liner notes & credits.
Still excited though. Wonder what a cool drum machine part sounds like.
Haha, perhaps! I haven’t examined my intentions that deeply.
I just want to say I’m proud of you guys for avoiding hologram jokes thus far.
it’s cool I’m not mad you guys forgot to vote for Alice Glass
They’re definitely at a disadvantage, since the appeal of their newness has been replaced. It seems only “events” like a new Leonard Cohen album are recalled.
Yep. Very Rolling Stone.
Fundraiser to send Andrew WK to Bahrain anyway? Yeah? YEAH??
I was mostly aware of the DJ after realizing that the people had to keep dancing/celebrating for the cameras for a long time while they waited for Romney to concede and then Obama to speak. No wonder he ran out of songs. If I was picking music, I’d be freaking out about how to keep these clearly tired people swaying.
Builds enthusiasm, supports turnout, etc
I think artists dislike Spotify because the idea that it’s taking away paying customers, that no one’s buying albums because they can just listen to it on Spotify, and then they get mere pennies. But people are stealing music anyway. So if we approach it the way some artists approach illegal downloads — that is, using free music as a marketing tool to grow an audience that will hopefully become concert goers, t-shirt buyers and loyal fans — then Spotify is better than putting an EP on Megaupload. A curious potential fan who heard about your band on a blog isn’t downloading your EP on The Pirate Bay anymore, they’re checking it out on Spotify, and in that instance pennies > nothing.
It feels like Spotify wasn’t designed not to be your income, but a compromise between the free-for-all-eat-everything download culture and the labels that wish radio still made them bank. It feels like they want this to become the 21st century radio, except instead of 50 different songs being played every day, it’s now an infinite number of songs, and so they hope to aggregate the pennies from those plays into a decent payoff.
Either a billionaire father, or, from Sweden.
Also I feel like in all of these debates I have to put the disclaimer that I buy art all the time and I bought the new Grizzly on release please dont hunt me down oh god
Good points all around, but it seems to be about the weaknesses of today’s download culture and not its strengths. Because while I agree it sucks, and that it is just one of the shitty realities of the modern day that we all have to adapt to, it’s not without its benefits. There’s a trade off, and I think today artists of all mediums have to work with its strengths instead of trying to put the genie back in the bottle.
Would either of you be better off in the “cuddly” major label days? The days before blogs? It’s hard to say, but there was far less space at the top because it was all maintained by gatekeepers like labels, radio DJs and what have you. I don’t know if Grizzly Bear would have even gotten big enough to be a cover story on New York Magazine were it not for the internet build. I don’t know if they’d even have the chance to be not-rich were it not for the ubiquity of downloading.
But I did buy their album why are they getting mad at me
As someone who works in a creative field, despite people telling you otherwise, sometimes it seems like you HAVE to do a bunch of free stuff before people notice you. I have no problem with that.
It DOES, however, rub me the wrong way that Amanda Palmer is really really dead set on not compensating her volunteers. For me, it’s not that “no one should ever play for free,” it’s that because of her history & fan involvement, Amanda Palmer seems like she SHOULD be “one of the good ones.” We all know there are shitty predatory internships that basically amount to free labor & busy work, but there are also good ones that take care of you. I think we just expected Palmer to be one of the latter.
I’m guessing that’s the result of different word jockeys commissioned to write different patches of the piece and the introduction writer wasn’t really sure what the overall theme/message was supposed to be because they just wanted to do something provocative and easy (“HIPSTERS! Am I RIGHT?!?”)
But even within their own blurbs it’s confusing. They equate fun. with Arcade Fire, Death Cab with Weezer, Beach House with Massive Attack and Stereolab. It’s all so… huh?
I’ll never understand the point of provoking people at an attempt of being edgy and counter-counter-cultural. Other than pageviews.
Great show. Their set piece was really cool — simple, but it could do a lot. I was hoping you’d have a picture of the end when Victoria played in silhouette with that rainbow shear shirt … very good visual and audio combination going on at this tour.
Here’s my issue with the Lowery piece: I don’t recognize the type of downloader he’s describing. The person who buys “fair trade” coffee and american made clothing aren’t the type that download with reckless abandon and no regard for the artist. At least, not in my experience. It seems to me the typical digital music geek, that is concerned with fairness and support, downloads a lot, and then pays for the stuff they really love in legit downloads, pre-orders, concert tickets, and merch. I know a lot of us go the extra mile to support small artists. As weird as it is, there seems to be an emerging self-sustaining community of artists and consumers who will pay out of the social/ethical pressure to do so. It doesn’t work every time, but it has also worked in times when the old model wouldn’t. I don’t like the way Lowery paints a generation as hypocritical in the way they treat their beliefs and their music fandom.
I’m also uncomfortable when he veers towards getting Google & AT&T involved in restricting their ad network and search results.
Marc Maron’s WTF in song form? Sold.
Come down to what, making clothes? Is fashion really a strike against artistic integrity?
It’s a peripheral interest. Some people make comedy duos. Some people make comic books. Some people make fashion lines.
Nope. If you want to see one real awkward encounter, see when Los Campesinos! was on a week or two ago.