The interesting thing is the excuses for why science, logic and joined-up thinking don’t work when someone is making a factual claim like “superior audio reproduction.” In this case, subjects claimed the A/B/X switch being present affected the sound, even though the test also showed this couldn’t possibly be true. The testers indulged the subjects by swapping entire cables by hand rather than using A/B/X, but frankly when they reach that stage of homeopathic balderdash, “bugger off” is the right answer.
Of course the new distribution channels are going to act like the old distribution channels. Apple wants to relaunch Beats as a new and exciting service that involves paying them money, so they’re pressuring labels to kill Spotify and Pandora’s free tiers, and pressuring Universal to pull all videos from YouTube. The US Department of Justice and the EU Competition Commission is looking severely askance at these moves. Of course, if Apple succeeds, I’m sure their name won’t become mud or something.
With the tidal.com app sinking without trace for no better reason than that it’s terrible and there’s no conceivable reason to bother with it, Unnamed Insider puts out a heartfelt plea to you, the concerned music lover.
(VLGroup analyses their deal, which is streaming FLAC at a premium … despite A/B testing on good AAC on earbuds coming out much as you’d expect. Wonder if Tidal will pivot to pure 24/96 snake oil, and if there’s a market for 24/96 Nicki Minaj.)
An item alluded to in epic-nerd-level Cramps coverage, but so rare nobody was even known to have a full copy. Here in the astounding world of the future, we have YouTube. Story and video at Dangerous Minds.
This is light jazz funk rock with brilliant musicianship, and Fagen’s voice is still lovely after all these years. I could not remember a single tune while the songs were actually playing, let alone when they finished. If any of these songs had been any good at all, this would have been the best record ever. The same applies to his 1993 and 2006 albums, in case you were wondering. Play The Nightfly again. Or just “New Frontier”.
Metroland is a Belgian electronic duo. Their publicity says “Kraftwerk” a whole lot, though my first thought was “the Kraftwerky end of Severed Heads”. This is their new album, Triadic Ballet. I can keep this short ‘cos you can go to that Bandcamp link and listen for yourself. Also check the single from the album, “Zeppelin” (regular edition, spacious edition), which is just amazingly nice and will stick in your head.
- Chord progressions of 25,000 songs analysed, using the database of Hooktheory’s Theorytab. Which itself is ridiculously fun to play with.
- Audacity is the computer-based tape machine you always wanted. Version 2.1.0 is out now. Here’s an interview with the team.
- Paul’s Extreme Sound Stretch: optimised for extreme stretching. Turn any music into a texture, stretch a three-minute song to three hours.
- So how much is music actually worth? Spoiler: nobody knows.
- Universal Music Hijacks YouTube Videos of Indie Artist. Because of course they did.
- How the majors renewed their grip on music: how to leverage your remaining streams when you don’t even do your own distribution any more.
And there’s a petition for TISM to reform and play it. Go sign now. Because you might be a cunt, but you’re not a fucking cunt.
(No, Severed Heads are unlikely. Let alone New Waver.)
Update from Humphrey B. Flaubert: “If a multi-national with a horrendous human rights record gives me a large cheque, all bets are on.” Also, check his new album out. And here he explains the entire point of TISM.
- Google puts the hard word on artists using YouTube. Sign up for five years or you’re off YouTube.
- What the “vinyl comeback” actually looks like.
- The Museum of Techno reconstructs basslines. “bass was rare in man’s sonic environment before the 2nd half of the 20th century …” The whole site is worth a giggle.
Tom Whitwell has just reposted his 2008 Word article on the recording process for mainstream radio-targeted music: how to record music literally targeted at people who don’t actually like music. It is every bit as processed as you can imagine, and possibly more so. I recently listened to all of the top 100 US chart hits for 2014, and by crikey you can hear this process.
You will also enjoy these videos setting out country hits of 2013 and 2014 and how they are literally the same song. Yep, there’s still no reason to pay attention to mainstream popular culture.
Steve Albini’s 1993 classic “The Problem with Music”, written at the height of the grunge era, when post-hardcore punk bands were getting gobbled up by majors, summarised precisely how bad a deal things were at the time. “Some of your friends are already this fucked.”
In November 2014, Albini gave the keynote speech at the 2014 Face the Music conference in Melbourne, updating how things have changed in the past twenty years.
tl;dr everything is incomparably better for bands and audiences in 2014 than in 1994, entirely because of the Internet. If you think you have it hard now, it’s because you don’t know how badly it sucked then.
That’s quite a claim, of course, and musicians reading this may be sceptical. But Albini sets it out in considerable detail. This piece is every bit as important as the first piece and should be heeded as closely.
So there is a tacit assumption that this money, lost money, needs to be replaced and a lot of energy has been spent arguing from where that money will come. Bitchiness about this abounds, with everybody insisting that somebody else should be paying him, but that he shouldn’t have to pay for anybody else. I would like to see an end to this dissatisfaction. It’s worthwhile to remember from where we’ve come.
You may have noticed that in my description of the mass market music scene and the industry as it was pre-internet I made little mention of the audience or the bands. Those two ends of the spectrum were hardly considered by the rest of the business.
If we’ve learned anything over the past 30 years it’s that left to its own devices bands and their audiences can get along fine: the bands can figure out how to get their music out in front of an audience and the audience will figure out how to reward them. The internet has facilitated the most direct and efficient, compact relationship ever between band and audience. And I do not mourn the loss of the offices of inefficiencies that died in the process.
Statistically, very few musicians make a living at it — or ever have. Successful musicians of the pre-Internet era were 1% of 1%. I was most surprised that Albini not only thinks it’s possible, he’s optimistic.
Pity the poor cash-strapped billionaires! Oprah Winfrey’s Live The Life You Want tour, with tickets priced from $99 to $999, has “no budget” to pay performers. The theme of the tour is “realizing self-worth”. Obviously the performer needed to project her wishes into the universe more strongly, and not be so spiritually lazy as to require tawdry currency.
The Sony hack revealed that even the execs are sick of the latest Adam Sandler vehicle. Mark Harris at Grantland sets out the next five cookie-cutter years in detailed historical perspective. Terry Gilliam gives the view from the gutted midlist. It’s no wonder takings continue to drop.
Oh, and Sony tried to use the DMCA to suppress leaked emails concerning financial malfeasance. I’m sure that’ll work out just fine.
- There’s a new Rowland S. Howard career collection, Six Strings That Drew Blood. Here’s an excellent review and history from the Quietus.
- I didn’t realise until a few months ago that Karl Bartos, ex-Kraftwerk, had remixed “Planet Rock.” Full circle indeed.
- And speaking of early ’80s New York black music, why don’t you search YouTube for New York KISS FM mix tapes. People’s old off-air cassettes of Shep Pettibone’s mixes as a radio DJ.
At a special screening at The Astor, the Nick Cave documentary 20 000 Days on Earth was screened, with Nick present for a Q&A session afterwards. The film, directed by Iain Forsyth and Jane Pollard, loosely depicts the lead up to the production and performance of Push the Sky Away, the fifteenth studio album of Nick Cave and the Bad Seeds, who had just completed an Australia and New Zealand sixteen venue tour, with several shows added to cater for excessive demand.
- THE LOUDEST SOUND SYSTEM IN THE WORLD. (It’s used for rocket science, of course.)
- Why you can’t get 4K Netflix on a Mac or PC. Because even though you’re giving them money now, they’re so afraid you’ll PIRATE their preciousss that they make piracy the only way to get what you are in fact paying for.
- Spanish newspaper publishers got a law passed requiring anyone, i.e. Google, putting up even the smallest excerpt on the web — i.e., Google News headlines linking directly to the publisher’s site — to pay a royalty. (Mostly to exclude the smaller and more Government-critical news sites.) Google stopped, per the law. Now the newspaper publishers want the government to force them to start again. Well done.
That’s what makes this 2007 interview with their Chief Information Officer such a delicious and tasty slice of schadenfreude pie.
“I sincerely believe that if we left it all up to the auditors to tell us what works, we wouldn’t have a business at the end of the day,” Spaltro says.
The hack has left film shoots stopped because Sony can’t process payments.
There’s also the most injured victims, the random low-level employees who just got fucked over by their upper management’s wilful negligence and incompetence. Your first reaction should be to wonder how competent your own bosses are in this respect.
Recently I gave a presentation on The Philosophy of Music. Putting aside the definitional and ontological questions for a moment, perhaps the most troubling from a reviewer’s point of view was an epistemological one; what sort of knowledge does musical and lyrical content give us?. Without being able to answer that, qualitative musical criticism becomes extremely difficult beyond mere evaluation of relative competence of the performers, industry sycophancy, or expressive bitterness on the part of the reviewer. This is not to suggest that that such elements in a review aren’t important, let alone the non-musical elements (venue, visual presentation, crowd behaviour), but rather to identify aesthetically good music from that which is not. Why is it that a reviewer can say, with grounded justification, that the lyric snippet from New Order‘s ‘Crystal’ (“Here comes love, it’s like honey, you can’t buy it with money”) has the same sort of credibility as Stephenie Meyer in Twilight when the protagonist is asked whether they are hungry and responds; “No.” I didn’t feel like mentioning that my stomach was already full – of butterflies.
The estimable PopBitch details how UK labels refuse to actually make songs with massive demand available for purchase — deliberately missing the Christmas binge period for Nicki Minaj “Anaconda”, Gwen Stefani “Baby Don’t Lie” and Mark Ronson’s superlative “Uptown Funk” (which you should definitely play right now).
They’re all on YouTube, making fractional pennies per view, but the actual locally-chartable sales aren’t happening because the labels refuse to release them in that territory, as if the Internet never happened. The only vaguely plausible reason anyone can come up with is that the people running the PR campaign are attempting to make that campaign look good, and never mind the bit where the business is supposed to pick up all the free money lying around.
(“Uptown Funk” is finally being released before Christmas, with talk of intra-Sony shenanigans to achieve this.)
As perhaps the most important industrial band of the 1980s, Skinny Puppy developed a loyal following with their harsh instrumentation, samples, and politically blunt messages, especially with their opposition to vivisection. Albums such as ‘VIVIsectVI’, ‘Rabies’, and ‘Too Dark Park’ whilst far too challenging for mainstream popularity, appealed greatly to a select audience. An cascading set of disasters and a change in musical direction however plagued the band in the early 1990s; they changed labels, moved, had recording sessions interrupted by an earthquake, sacked the producer for the upcoming album, and faced increasing tension between band members, eventually leading to one member leaving, and another dying of of a heroin overdose shortly afterwards. The concept album, ‘The Process’, was not entirely well received and represented somewhat of a change in musical direction, which disappointed some fans.
- Sure, there were these four character names, but they were played by different people over the course of the band’s existence. (Look at the teeth!.) ‘Cos cloning was really big in the ’60s.
- Or how about only Paul lived, all the others died and were replaced early on.
- Or indeed the Beatles never broke up in the first place, as proven by this, er, cassette the guy got in the post.
MusicBrainz, the database of everything music-related, has launched AcousticBrainz, a database of song characteristics in the manner of Soundhound or Shazam, but with the data freely available to anyone, and a really horrible name. Nobody’s built a Shazam-like frontend for it as yet, but no doubt that will come. Here’s a sample of the sort of data they collect, which is more extensive than MusicBrainz’ existing AcoustID fingerprint database.
Formed in 1968, “Yes” is fairly much the iconic example of the crossover point of progressive and art rock. Whilst the line-up has seen many changes of the decades, with brief splits and reconstitutions, they’ve produced an epic 21 studio albums, 10 live albums, 32 compilation albums, 34 singles and 19 videos. With a total of at least thirty million album sales, two of the albums made their way to UK number one, and one of their singles did so as well in the US.
With a journey of that length, there is more than a few tales to tell. The following is but a small selection of oddities as a potted history in the “Yes” story, some of which are well known to aficionados, but nevertheless will give all a taste of the flights of these starship troopers..
It’s a cute fashion for the originators of subcultures to declare its ‘death’ just as it is starting; thus the hippies of Haight-Ashbury declared a “death of hippie” march in 1968, the punk band Crass sung “Punk Is Dead” on their first album in 1978, and so too that marvellous contemporary style of music where progressive and alternative meet in complex rhythmic structures, math rock, would face the claim of the “fall of math” by genre-exemplars 65daysofstatic likewise in their ground-breaking first album in 2004. Since then they’ve brought out a further four studio albums and a soundtrack with their complex and experimental sounds.
Courtesy of our friends at The Dwarf your author had the opportunity to see the legendary Radio Birdman as long as finger was put to keyboard in review. This iconic founding band of Australian independent rock and punk from the 1970s announced a reunion tour and concurrent with this was the release of an extraordinary CD boxed set consisting of all three early studio albums, a previously unreleased live album of the notorious Paddington Town Hall gigs, a DVD of various videos, three bonus discs of unreleased material, and a forty page booklet of images with an essay about the band from their earliest days by Toby Creswell, all packaged in a solid black box with the red Radio Birdman logo.