Popular US industrial music has always tended less Throbbing Gristle and more alternative buttrock.
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Popular US industrial music has always tended less Throbbing Gristle and more alternative buttrock.
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I’ve moved house! And oh my goodness, the backlog …
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I can kazoo this on my own.
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1980s New Wave on ukulele and occasional kazoo, on a grainy old webcam in 4:3. Bow to the viewer, play.
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An excuse to get Perth bands into a published record chart, so they’d get some publicity and could use it in their marketing. And to propagandise Australian indie to the masses. Includes THE HITS OF 1989!
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A party that everyone’s been looking forward to for weeks. They seem to be having a wonderful time.
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Post-punk albums in the style of 1960s Penguin nonfiction paperbacks.
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Writing about music is the most ridiculous notion, and the review pile is only getting larger. So I’ll give just embedding players and mumbling something a go. This works for me, and that’s the important thing.
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Twenty deadly diseases.
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The Rolling Stones piece certainly answers for me the question “why could I never get into this stuff?”
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Yes, I finally got Vortex #3 cleaned up and online.
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Yeah, putting a Bandcamp embed into reviews is clearly the right thing.
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Welcome to the music industry! Here’s your accordion.
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eMusic’s plan: 1. Collect a large pile of money. 2. Write an all-new music platform that does everything! 3. Pay people in eMusic magic beans.
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I blame the delay on blockchain. Taking a while between confirmations.
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A brilliant five-track indie pop EP. And my first musician interview in a couple of decades.
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And foreshadowing of Monday’s long-form post.
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“If there’s one group who can capture the spirit of bitter infighting that typifies being in a World Cup squad …”
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Excellent fare for people who really enjoy Tolkein. A supernatural tone and a solid pounding that most anyone who likes heavy prog will appreciate.
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Here’s to cdparanoia and EAC, to turn the music trapped in the silver abominations back into the pure data they were meant to be.
Read MoreDid you know that Frankfurt School philosopher Theodor Adorno wrote all the Beatles songs? I sure didn’t! In fact, I still don’t.
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Good thing I eventually got that Spotify article done, hey.
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“We’ll save music on the blockchain!” Ethereum can’t scale up to cat pictures.
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I actively try to use Spotify, because I like the idea that the artist will get at least a penny shaving. So why do I keep just using YouTube? Because it’s not a goddamn pain in the arse.
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First-hand tales from the people down in the engine room.
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In which I go on a podcast and talk about why blockchains are still trash, particularly for music. Don’t fall for resentment-based marketing!
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A document of anarchopunk of the late 1970s and early 1980. It’s short, but it’s cheap and a great read.
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At least Twitter reaps a bountiful harvest these days.
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The record industry is being blustering idiots about piracy again.
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It looks like eMusic’s attempt at a comeback last year didn’t work out so well. Behold: the eMusic Blockchain Platform! … a Kodak moment indeed.
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