Find Me On:
Haven’t listened to the lyrics that carefully yet, but I’m pretty sure it’s a reference to the “Fresh Pond Cinema” in Cambridge.
Yes, the labels weren’t forced into this, of course there’s no disagreement there.
The current version of the record store though? That is not correct. The distribution is not the same. The labels aren’t selling product to Spotify which it turn sells it to the audience. Spotify is selling the Spotify product to the audience, turning around and sharing it with the labels. It’s a different dynamic.
It’s also a dynamic generating less revenue than the record store model, and probably cannibalizing sales revenue. Like the Internet in general, it’s a value black hole.
“When nobody is willing to buy music any more, whoever builds the biggest streaming service will be king.” And we will value the tech king more than the artists and labels, I suppose.
Spotify is taking 30% of value from artists and labels, is another way to look at it.
It’s not like Spotify is being generous by returning 70% of revenue to rights holders. Spotify is not generating their own value besides creating the architecture for a streaming service (which by the way, they’re riding the coattails of Facebook for user accounts). They do not create (significant) content or value.
Of course, album sales have been declining before Spotify got in the game. I’m not really able to crunch the numbers to say if Spotify has accelerated the decline for sales for artists and labels and rights holders, but I very much doubt that Spotify revenues are more than the expected sales revenue.
Artists and labels should be fighting for better deals or better venues to distribute their music. Why should fans care about a bunch of techies in Sweden looking for their cut?
I demand more militant-ism, of all kinds.
Don’t know if this is worth pointing out, but the “Boston” show is actually a “Mansfield” show… 40 miles South of Boston.
FYI Tom Waits doesn’t perform tonight.
” Arcade Fire have been huge public advocates of aid to Haiti, but their decision to incorporate bits of Haitian music, leaves them very open to the sorts of cultural-appropriation charges that once dogged Vampire Weekend”
Yeah, this is some weird strawman disclaimer. It doesn’t need to be acknowledged, this isn’t Paul Simon breaking apartheid here.
Why are there no comments on this? Great interview.
It’s gotta be “Street Hassle”
Like many Radiohead records, it sounds like the cover art.
I think this is pretty underrated though. I’m perfectly happy about it not being fussed over.
Definitely, it’s all about R.
At least Era Vulgaris had “Turnin’ On The Screw.” Now that’s a sexy song.
Wait, people are going to dislike Bourgeois?
Hey, thanks for this. I’ll see about catching these guys at Great Scott.
Some days I can convince myself that Transference is Spoon’s best album. It has that whole ‘ghost in the machine’ feel on headphones, it’s such a weird deconstructed ambiance. It’s similar to Ga Ga Ga Ga Ga in that way, except they’re not capturing the “studio,” they’re creating the attic in your mind that you’re vaguely aware of.
Ga Ga Ga Ga Ga and Kill The Moonlight are probably better, but how dare you speak ill of Transference!
Very informative list. Thanks for the work. I think you’ll find less argument over it, because how many people have listened to his entire discography?
This has some real vitality to it.
Hm, I dunno. I think services like Spotify are stabilizing the way that people at least consume music. I’m not sure the user end is about to be disrupted.
Higgs Boson Blues is pretty badass, yes.
I actually don’t see how this is like 1901 or Lisztomania. It has keyboards? It’s way louder and (intentional, I’d say) messier than those two tracks, and the melody/”China Girl” keys are pretty different too.
“This may be strawmanning, but their popularity seems to bespeak a deeply problematic white-people longing for a Depression-era simplicity that probably never existed.”
I like this essay, and I’ve got mixed feelings about the band, but I absolutely hate this painting of folk as some white-man nostalgia thing. I don’t enjoy folk because I want to go back before civil rights. Is it wrong to enjoy certain sounds and instruments, or to appreciate nods to history and our culture?
I saw this comment back when Jack White’s “Blunderbuss” came out, and I still hate it.
Well, My Bloody Valentine also happens to create very immediate sounds, I find. I quickly feel emotion while listening to them. It’s not like I’ve got to parse through the lyrics to get what they’re after.
I dunno, I think this mix is all about the speakers. Crank that baby up.
I doubt anyone was able to download it.
Jens Lekman did it. I don’t think he got much criticism for it.