8Sided Blog

a zine about sound, culture, and the punk rock dream

Bandcamp’s ‘Imperialism’

· 10 Comments

There’s a solid profile of Bandcamp in The Guardian with insight into the company and its founder Ethan Diamond. The piece also features quotes from former Galaxie 500 drummer and present digital music critic Damon Krukowski about how an essential element of fandom is the exercising of agency:

The direct connection between fans, artists and labels, whether it’s leaving a positive review or paying an extra few pounds because it’s your favourite artist, is about “being an agent, rather than a passive participant,” [Krukowski] says. “When you have not surrendered your agency, it makes perfectly natural sense to think, ‘What can I do with that agency to take some action?'”

But then the piece strikes a strange note when it reaches for criticism of the Bandcamp platform. There’s so much love for the service — especially right now — that it was probably tough to find someone to give a negative quote or two. In the end, it’s an unnamed ambient artist (not sure if anonymity is warranted here but okay) and his comments are head-scratchers: 

“As a non-American,” he says in an email, “I object to the idea that my music is used by Bandcamp to push what are essentially American political messages, regardless of whether I agree with the spirit of the message. I view it as a form of American cultural imperialism that is ignorant of the international user base.”

I believe it’s a desirable quality for a company to focus concern on where it’s based. It shows that, for one thing, you’re not dealing with a global behemoth (or one currently with those aspirations). And we’re also getting the voice (and, sure, brand) of the people in charge — they’re addressing problems affecting them and their community. Oakland is Bandcamp’s home, and Diamond has Oakland (and American) concerns. I consider that a feature, not a bug.

Many artists donated their Bandcamp sales to charitable causes on June 5th and June 19th. It was good to see some artists pledge to causes addressing their communities — such as M. Sage’s Cattails & Scrap Tactics, which donated to Chicago’s My Block My Hood My City. I have no ties to Chicago, but I was happy for the artist to use the proceeds in this way upon my purchase of the album. And it gives a personal brush-stroke to the artist — knowing what he cares about adds to my appreciation and connection.

Besides, it will do us all good to think locally more often. The internet is good at conditioning us to ignore the things — and injustices — happening right in front of us.

As for imperialism (?), is it the same if a Hungarian company I bought from gave donations to a Hungarian charity? I’m for supporting any company or individual improving their vicinity and encouraging good deeds. The countries that make positive changes influence us all and set examples for others to follow. That’s important, no matter who does it. 

There’s also the Barry Crimmons joke (often recounted by Bill Hicks) about people who ask why, if he’s so critical of the US, he doesn’t move elsewhere: “What, and become a victim of our foreign policy?” That’s a vintage quote but now, more than ever, local change is global.

The mystery artist has more thoughts:

The artist has set up a separate webstore to underline what he sees as an unhealthy dominance of the underground music market. “Bandcamp should be a tool to help artists and labels achieve an end, not the cultural statement in itself. What began as a liberating force is starting to fester into a rigid dead end, stifling the creative freedom of artists by indirectly and facelessly demanding they comply with the cultural standards they dictate to us.”

This opinion sounds like more tiring ‘musicians should just shut up and make music‘ talk. For one thing, Bandcamp’s donations come out of their take, so it’s not like anyone’s forcing the artists to ‘comply.’ And, in my opinion, we should treasure companies that take stands1And, yes, that includes causes that I disagree with. Discerning the owner’s predilections makes it easier to know where to spend my cash. Understandably, this is scary for many companies and their owners, and it’s a form of bravery we should welcome. It tells us they still have a foothold in their communities and aren’t obsessed with scale and the ‘please everyone’ mindset that comes with scale. From a tech company, that’s refreshing. It’s the opposite of Facebook’s refusal to moderate inciting and misleading content for fear of appearing to take sides. Inadvertently, that’s become a ‘stand’ of its own and look where it’s gotten them.

I do agree with one action taken by the unnamed artist. “The artist has set up a separate webstore …” That’s an excellent move. As terrific as Bandcamp is, it’s a mistake to solely rely on the platform — or any third party platform — as an artist’s sole window to her audience and potential fanbase. One should think of Bandcamp as merely a tool and not the hub, the same as Facebook and all the others. An artist’s own website is always the preferable destination.

#Worktones: Ralph Kinsella, epic45, M. Sage

· 2 Comments

It’s been a while since I rounded up some #Worktones that are inhabiting the home office via a pair of strategically placed desk-top speakers. Here are three albums that provide a calming concentration in these frazzling times.

Ralph Kinsella is a Scottish guitarist hailing from Dumfries and Galloway, a region primarily known to some (me) as the filming location of The Wicker Man. He reached out to the blog with a ‘check out my music’ email. I do listen when emailed (unless I’ve been bcc’ed, in which case I don’t), but I rarely receive delightful surprises like what Ralph had in store. His Abstraction EP is a gorgeous 5-tracker filled with soft, layered tones and subtle shoegaze moments. The guitar is front-and-center but awash in reverb and delay and accompanied by electronics and atmospherics. I’d describe Ralph’s EP as bright, gentle, and optimistic — as if Sarah Records released ambient music. I’m especially welcoming this sort of music into my life right now, and I can’t wait to hear Ralph’s future efforts. The Abstraction EP is a free download on Bandcamp, so there’s nothing to stop you from grabbing it. [LINK]

Continuing with more UK-based guitar ambiance, I was happy to discover We Were Never Here, the latest release from epic45. Rob Glover and Benjamin Holton, who make up the core of the band, started this project in 1995 while still in their early teens. epic45’s discography is a dozen-plus strong, and, sadly, I’m not familiar with any of it. But I take it this beatless and vocal-free album is a slight departure. A limited compact disc version of the album came with a booklet of photos of “familiar suburban and semi-rural ‘nowhere places’ that exist between large towns and cities.” The music matches this description, as these songs evoke vast, stumbled-upon locations — not the intended destination but compelling nonetheless. The sound is lush and memory-inducing, and, in addition to the occasional guitar, a menagerie of instruments, textures, and field recordings float from track-to-track. We Were Never Here is music for movies you watch with your eyes closed. [LINK]

M. Sage is a #Worktones veteran, and I previously remarked on the ‘happy accident’ spirit and sense of emergence I picked up from his music. Cattails & Scrap Tactics is his “collection of fragments, sketches, environments, and atmospheres,” compiled for Bandcamp’s June 5 artist-appreciation day, with all proceeds donated to Chicago’s My Block My Hood My City organization. I can hear the sound of an artist experimenting and wandering, but these are hardly rescued discards. It’s an album of thought bursts, welcoming attention and standing still as a complete document of the creative question. And it’s often beautiful and filled with exciting ideas. You’ll spot a guitar here, too, alongside a bevy of unidentifiable and mostly peaceful sounds to tickle the eardrums. If you’d like a download, you might be too late — the album was only available for purchase on June 5 as a special one-off. But it’s still streaming on the site — and that might be only temporary, too, so listen while you can. [LINK]

🔗→ Follow me on Bandcamp

#Worktones: Loscil, M. Sage, Dytomite Starlite Band of Ghana

· 1 Comment

Here’s a trio of excellent musical selections that have been permeating the home office this past week. It’s the latest installment in a series that I’m calling #Worktones.

Before knowing the photographic inspiration behind Equivalents, I mentally described the sound of the album as ’the hum of weightlessness.’ I wasn’t too far off. Those photos are a series of black and white pictures of clouds, captured and decontextualized by artist Alfred Stieglitz in the mid-to-late ‘20s. Some consider this work the first intentionally abstract photo-art statement. Here Loscil (the Vancouver-based musician Scott Morgan) deploys processed piano in sonic washes and layers that can recall an imaginative session of cloud-watching. Many only see uniform clouds in the sky — an everyday occurrence — while the lucky ones stop to pick out distinctive shapes, implications, and gentle reminders. Equivalents welcomes a similar exercise, rewarding the deep listener with soothing impressions of an atmospheric terrain.

Catch a Blessing is an adventurous album, in that it has the feeling of exploring unworn paths and venturing down overgrown trails. The album begins with the lively “Avondale Primer Gray,” hinting at randomness and an embrace of the ‘happy accident.’ But as things in nature experience emergence, the ensuing tracks, though sonically unconnected, appear to gather into themes that are just out of grasp. M. Sage, the artist behind this work, assists the experience with field recordings — such as the nostalgic fireworks of “Polish Triangle” — and guest musicians providing beautiful and exotic strings to “Window Unit + Three Flat.” But it’s the short but moving “Michigan Turquoise” that stands out, a lonely ballad complete with a looped guitar strum, seabird calls, and a mournful crooner transported by magic from a distant time.

It’s not all strange ambient music playing at the workspace. Some days (Monday mornings?) require an uplift, music that’s got some get-up-and-go. And I don’t know about you, but I can’t work alongside songs with words, especially when I’m writing. But there’s an exception for languages I don’t understand, especially when rhythmically sung in mesh with the instrumentation. This reissue of a rare 1982 album from Africa’s mysterious Dytomite Starlite Band of Ghana fits the bill. I say ‘mysterious’ as BBE, the reissuing label, doesn’t have much information on those involved. The songs are wonderful and instantly improve the mood and feature more than a few tight synthesizer riffs. I love listening to this stuff. I’m presently reading Rosewater, a terrific novel set in future Nigeria, so there’s some geographical synergy in my media consumption. FYI: BBE is quickly reissuing decades-old albums from the extensive back catalog of Nigerian label Tabansi Records and this is one of many in that series. The titles I’ve heard so far are consistently worth your time.

🔗→ Follow me on Bandcamp