8Sided Blog

thoughts about music’s place in the 21st century

Dream Songs

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Here’s a bit of fun to close out this Xmas weekend. This video, by British comedian (and accomplished Bowie impressionist) Adam Buxton, imagines the recording session for “Warszawa,” a track from David Bowie’s 1977 album Low. Buxton’s video isn’t new, and you’ve probably seen it before. But this is one of those rare things that gives me a chuckle and brightens my mood every time I watch it. I’m probably responsible for at least one hundred of its 600k+ views.

Adam Buxton also interviewed Brian Eno on the former’s excellent podcast. A good sport, Eno refers to this video as “one of the funniest things I’ve seen on the internet” but, “unfortunately, I keep meeting people who think it’s a real depiction of how things were between us in the studio.” Don’t make the same mistake, dear reader. 

The interview, in two parts, is casual and fun. Here it is on SoundCloud:

I also ran across Tony Barrell’s history of Brian Eno’s solo song “The True Wheel,” from 1974’s Taking Tiger Mountain by Strategy. (I love in-depth articles that break down the origins of individual songs and recordings.) It turns out that the song is a reenactment of a mescaline-fueled dream. Even some of the exact lyrics appeared to Eno in his fevered slumber:

[Brian] had a surreal dream about a bunch of girls, which included his friend Randi, serenading some sailors who had just come into port. The men weren’t exactly regular sailors: “They were sort of astronauts,” he clarified later, “but with all the psychological aspects of sailors.” […] The girls in the dream were singing: “We are the 801 / We are the central shaft.” When he returned to the real world, Eno jotted the phrases down and realised he had something interesting (to use one of his favourite words). It sounded meaningful, though he didn’t understand it, and it used the first-person plural. “I woke up absolutely jubilant, because this was the first bit of lyric I’d written in this new style.”

Barrell touches on other songs and lyrics written while asleep, including when Paul McCartney famously had a dream that bestowed “Yesterday.” Have you ever had a song, or anything, given to you in a dream? 

When I was in my early 20s, I dreamed that I was in the passenger seat of a car that was speeding precariously down a dirt road. It was night, and I could only see the road and the surrounding forest in headlights, kind of like in a David Lynch movie. I was frightened and looked over to the driver’s side to see who was at the wheel. It was Lou Reed. 

Lou noticed that I was scared, so he looked at me reassuringly (while still driving) and sang a song to calm my nerves. The song went, “You’re so evil, oh Macbeth … you’re so wicked, oh Macbeth …” 

I woke up and hit smartly hit ‘record’ on the boombox next to my bed. I sang the fresh song and then fell back to sleep. In the morning, I looked at the boombox and wondered if that really happened. I hit ‘play,’ and there’s half-asleep me singing the lyrics and melody for this dream song. It wasn’t bad. A few years later, the first band I joined in Orlando played the song (with me singing). I have a recording of it somewhere in that box of 4-track tapes I mentioned in the previous post.

From the clandestine processes in the studio to the shadowy visions in our heads, music (and music-making) remains a delightful mystery.

Update: Adam Buxton has released a delightful follow-up to his video above to commemorate David Bowie’s 74th birthday, almost five years after his death. Check out the “Ashes to Ashes” Clown Suit Story.

First Exposure

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Sandinista! at 40 → The Clash’s ambitious triple album Sandinista! was released 40 years ago this month. It was the first vinyl record I ever bought. I remember wandering into the mall record store thinking, “I should get something by this band The Clash I’m hearing about.” Looking through the bins, I see that Sandinista! packages three records filled with music for the price of one.1The Clash reportedly agreed to a cut in royalties to keep the price low on this album. So, that’s the one I picked over London Calling or the two others. 

As I told Lawrence Peryer at the end of my interview on the Spot Lyte On podcast, Sandinista! probably wasn’t the best first exposure to The Clash. The album was difficult to latch on to — there was so much music, and the styles varied wildly from track-to-track. I remember liking “Magnificent Seven” and “Police On My Back,” but I didn’t get it overall. Maybe I chose the wrong intro album, making The Clash a band I’d merely appreciate through the years. 

Simon Reynolds recently wrote about Sandinista! on his Blissblog, calling it a “fan-perplexing triple – which must be their least-listened record (well, apart from Cut the Crap) but which makes for a surprisingly listenable listen for streaming-era ears.” A vintage album best suited for streaming, then? Simon explains, “It’s not a record that can be listened to in a single sitting, especially in those days of vinyl — all that getting up and removing another disc from the sleeve, or flipping over the platter.”

When we first dip into a catalog, I wonder about the effect of that first record we listen to from a band. It can make the difference between becoming a fan or “meh.” Catalog dipping is a lot surer with streaming. You’re not really taking a chance anymore. And it’s easy to know which albums are the favorites, the most listened to, or the critically lauded ones. Before digital music, we were often guiding our chance-taking by album price. Three albums for the price of one was tempting. Also, there was the cut-out bin. Those $3-and-under records were often our intro albums, but, usually, only a band’s least popular records ended up as cut-outs.2Though I did discover Eno via the cut-out bin. It was Before And After Science, I believe.

Of course, I now enjoy Sandinista! quite a bit. And I see “Magnificent Seven” (and much of the album) as an ’80s milestone, ahead of its time. Here’s a fascinating oral history of that song from Consequence of Sound. And there’s a new music video for “Magnificent Seven.” The legendary Don Letts edited it from footage from The Clash’s time in NYC and their 1981 Bond’s residency. So good, so nostalgic. 

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Library Music → I’m intrigued by Tracks Music Library, a streaming platform set up by the Chapel Hill Public Library. Tracks is an online music site solely focused on artists from the ‘The Triangle’ (Chapel Hill, Raleigh, and Durham). Via Indyweek:

[Local artists] are compensated for their submissions and given full ownership of their tracks. Upon visiting the website, you can search curated music from more than 70 musicians and bands; if you have a Chapel Hill library card, you can also download music.

It turns out Tracks uses a streaming engine called MUSICat, allowing libraries to create an “affordably priced” platform for “music streams and optional downloads to library users.” Libraries across the country are implementing this (here’s a list), with most focusing on local music. I assume payments for streams and downloads are paid to the artists through the grant pools and public funding given to libraries. 

I love the idea of streaming platforms based on local music and regional scenes. It’s a welcome antithesis to the temptation to always think globally on the internet. The rights are easy to secure as the platforms are dealing directly with the artists, most unsigned. And I see that Tracks is working with Durham’s Merge Records, so prominent local labels can also get involved. This is how you foster a community, which is an essential exercise in fractured times. 

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Monta At Odds – A Great Conjunction → Kansas City’s Monta At Odds are a spacey band, both in sound and obsessions. Science fiction literature had a heavy influence on their Argentum Dreams album (released in 2018 on my 8D Industries label). And the band’s recent single “When Stars Grow Old” is inspired by a vision of a future culture remembering its past on a distant world. So it’s no surprise that December 21st’s ‘great conjunction’ of Saturn and Jupiter would inspire the band to summon a new set of cosmic tunes. These five songs are Monta At Odds at their Oddsiest — a crafty mix of soaring space-rock, frantic jazz drumming, fluttering sine waves, and post-rock echoes. “The Gods Are Conspiring” is the highlight, a rousing instrumental sound-piece that imagines an agitated Popol Vuh blissfully rocking out. Along with the other tunes on this EP, it’s a fitting soundtrack for watching heavenly bodies appear to collide in space.

Enthusiastic About the Fringe

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Liz Pelly’s Podcast Overlords → Pelly delivers another scathing, must-read broadside for The Baffler, this time focusing on the potential fall-out of Spotify’s love affair with the podcasting world. She sees musicians as the “canaries in the coalmine,” foretelling that only the biggest podcasting names will find success on the platform. The others will face diminished identities and fanbases in favor of Spotify’s platform branding and emphasis on ‘star’ playlists. And, unlike the music content, most exclusive podcast IP becomes the property of Spotify. 

Many Spotify-focused musicians tailor their music to accommodate the platform, and Pelly sees podcasts similarly affected. She believes we already see shortened podcasts, such as Parcast’s three-minute Daily Quote, intended to fit automated personalized playlists like The Daily Drive and Daily Wellness. There’s also a real danger of producers optimizing their podcasts — a positive reframing of appeasing algorithms that encourage milquetoast and unchallenging content. 

Writes Pelly:

… as much as Daniel Ek wants to continue doing interviews pushing the same talking points about the democratizing force that streaming has been, it ultimately just reproduces and exacerbates the exploitative status quo, where those without the numbers are treated as disposable. The fact that podcasting staff are unionizing is of particular importance in this regard. Solidarity amongst podcasters and musicians could be useful in imagining new systems and practices that work for everyone. 

As I’ve said re: music on Spotify, it’s not a game anyone has to play. Think of this as an opportunity to create (and strengthen) communities for podcasts existing outside of Spotify’s ecosystem. My often repeated analogy of ’80s commercial radio vs. college radio applies — there were many listeners satisfied with hearing the top 40. But there were also plenty of people enthusiastic about the fringe offered on college stations. What’s important is to embrace your lane. Let Spotify be Spotify (i.e., commercial radio) and instead reach out to the communities of listeners that reject ‘optimized’ content. [LINK]

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A Documentary Called Eno → What’s this? It’s Brian Eno in 1973’s flamboyant “I wear make-up because I look better” glory. A 24-minute documentary called Eno popped up online this week, filmed during the recording of Here Come The Warm Jets. The opening scene sums up Brian’s modus operandi — he’s playing the piano well enough that for a second, you think, “he can actually play the piano.” But then you realize he’s not that good at all. It’s his enthusiasm and concentration that’s making it work. And, unless it’s buried in the mix, that piano part never makes it into “The Paw-Paw Negro Blowtorch” anyway (kind of like the sitar solo we hear seconds later — huh, what?). Says Eno, “I have attempted to replace the element of skill considered necessary in music with the element of judgment.” What a find, what a gem. Hat tip to Jon Curtis at Poke In The Ear. [LINK]

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Chicha Libre & La Sonora Mazurén – “Caminito de mi Pueblo” → I’m in love with this song, a collaboration between NYC’s Chicha Libre and Colombia’s La Sonora Mazurén. Translated as “Little Paths of My Town,” it’s a cover of a tune originally recorded in 1976 by Ecuadorian accordionist, poet, and Moog pioneer Polibio Mayorga. This rousing single is a tribute to indigenous leader Cristina Bautista, heard speaking on the track, and was released on October 29, 2020, the first anniversary of her assassination. “Caminito de mi Pueblo” has an uplifting, rebellious feel that we can all appreciate — proof that resistance doesn’t have to feel angry. It also features some cool synth riffs amidst the layers of traditional instrumentation and bouncing percussion. Read more about this single here. [LINK]

Anchor Drop: Add Music To Your Spotify Shows

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I’m usually critical of Spotify, as I was yesterday, but I’m also happy to give credit when it’s due. Utilizing the company’s 2019 purchase of Anchor and its podcast-creation tools, Spotify now allows users to create podcast-like audio programs around the streaming music available on the platform. I say “podcast-like” because these aren’t what we know as podcasts — these aren’t stand-alone shows that play outside of the Spotify ecosystem, nor can one talk over the music or only include music snippets. The new feature, accessible through the Anchor app, allows users to insert their own audio content — assumed, in most cases, to be spoken commentary or conversations — within their shows (i.e., playlists). In other words, you can create a ‘podcast-like’ playlist that contains your song selections with the sound of you chatting about the songs in-between. These playlists are published to Spotify as a ‘show.’

I’ve spoken about the frustrating issues with licensing music for podcasts before. Those problems persist for podcasts, but Spotify’s work-around is a smart option for those who don’t mind their content getting locked to the platform. The pre-existing music licenses already in place with Spotify apply since users are merely adding music to ‘playlists.’ Technically and legally, it’s nothing new for the platform.

This tool opens up many possibilities for music-oriented programs such as Song Exploder-style dissections or celebrity ‘desert island disc’ spotlights. Anchor’s feature has launched with some interesting examples of it in action, such as this program on murder ballads and The Ringer-associated 60 Songs That Explain The ’90s. 

Of course, artists will have no control over where their songs appear, so thick skins are necessary for the inevitable ‘These Songs Suck’ shows. Spotify may also have to deal with commentary of its platform, as I’d like to see the tool used to highlight and explain ‘fake artists‘ and other efforts by labels and production studios that exploit the streamer for quick bucks. 

Here’s a Twitter thread where Anchor co-founder Michael Mignano announces and describes the new tool: 

🔗→ Introducing a brand new way to create in Anchor, with all the music you love
🔗→ Spotify Now Lets You Add Music Tracks to Podcast Shows

Put the Blueprint Down

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Season 3 of KCRW’s Lost Notes → This week, I spent 30 minutes each morning listening to the third season of KCRW’s Lost Notes podcast series. The other two seasons are terrific, but this latest particularly grabbed me. This time, each episode focuses on a prominent event or artist from 1980. The host is poet and cultural critic Hanif Abdurraqib, approaching his subjects with an engaging language. The series suggests 1980 as a pivotal year, setting the tone for the next decade and reverberating into the present.

If you’re me, the temptation is to skip to the end and listen to the fantastic Grace Jones episode (which also throws in a short history of Chicago’s Disco Demolition, occurring the previous year). But roll through them all, in order, to get a grander picture of the influence that year had on music and culture. Stevie Wonder, Ian Curtis, John Lennon and Darby Crash (together), Minnie Ripperton, The Sugarhill Gang, Hugh Masekela and Miriam Makeba — each topic is fascinating and offers something to learn. 

You can also read each episode online via KCRW’s site (click on the artist’s names above). But Hanif Abdurraqib’s personable narration, peppered with audio and musical examples, is the way to go. It’s a compelling production.

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Throwback on a Comeback: The Last Cassette Tape Factory → I enjoyed this mini-doc on ‘The Last Cassette Factory‘ — though I’m wondering if any tape manufacturers have popped up since the video’s release four years ago. As noted in the video, there’s a resurgence of cassette releases. This growth is partly thanks to Bandcamp and a need to give fans a limited, physical version of a release without breaking the bank for vinyl pressings. It’s an excellent idea for emerging bands to offer cassettes, especially when personalized with homespun artwork and packaging. Just don’t believe that your fans are listening to your cassettes. For one thing, as the first commenter on the video’s page notes, “The problem is I don’t see any quality cassette players being made today.” As for this video, we’ve all seen footage of the whirring machinery found in record pressing plants. It might be surprising to see that a cassette factory’s inner workings are also fascinating and highly technical. 

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A Guide to Sun Ra on Film → A useful list of long-form Sun Ra footage found on YouTube and elsewhere. Some of this I hadn’t seen before. The Magic Sun film, intended as a projection behind the Arkestra as they performed at Carnegie Hall, is particularly wild. And I think the writer of this piece somewhat downplays Space Is The Place — it’s a great movie, low-budget or not. 

As a proponent of focusing influence on one’s own ‘world,’ I like this quote from Ra in the listed French television interview: “You want a better world, put the blueprint down.”

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Ralph Kinsella – Lessening → My 8D Industries label released a new album today on Bandcamp. Titled Lessening, it’s the debut album from Scottish guitarist and ambient producer Ralph Kinsella. I’ve written about Ralph before — I discovered him after he reached out to this blog with his music. A few months ago, he sent the demo for this album, and I haven’t stopped listening. An antidote to lockdown — this is travel in a small room.

The last paragraph of the press release does a great job of describing Ralph’s music:

Kinsella’s guitar is the even thread, sometimes bare and then often processed, awash in texture and synthetic glares. Tracks like “In the In-Between Light” use the guitar to express enormity — of space and emotion — before the song is gently brought close by calming lines and reassuring synth patches. There’s also a soft tension in songs like “Lung Noises,” sharing the masterful slow build of the shoegaze genre’s finest practitioners. Lessening‘s closer, “Born on the Cusp,” offers a resolution — chiming guitars and reverberant tones signaling both loss and promise. This is the sound of an uncertain present feeling its way to that better world.

I hope you’ll check it out. Lessening is available now exclusively on Bandcamp and, like all 8D Industries releases, is set to ‘name your price.’ 

Bandcamp’s Roots in Fandom

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Bandcamp’s Ethan Diamond doesn’t do a lot of podcast interviews. So his conversation with Andrew Dubber on the MTF Podcast is a good find. Recorded sometime last April, the Bandcamp CEO gives personal insight into the platform and its philosophy. He also talks about the introduction of Bandcamp Fridays to help artists struggling without tour income. The interview happened after the first one took place. 

Bandcamp

And it’s fun to hear of Diamond’s music fandom, including a story about ordering an obscure vinyl LP from a Norwegian band called Koppen — “one of my favorite records.” The creation story of Bandcamp comes out of fandom, too. Diamond was inspired when he bought a digital download directly from the site of a band he liked. The profound technical issues he experienced — this was the web of the mid-00s — put him on a mission to serve the music community by making something better. In other words, Bandcamp is a platform sparked by fandom and in service to musicians. Compare that with whatever inspired Daniel Ek’s recent remarks about Spotify’s artist community — he seems to feel artists should serve him.

But there’s no animosity or sense of competition. Diamond explains that Bandcamp can coexist with Spotify. He rightly believes the two platforms each appeal to different tiers of listeners:

The way I think about it is when I was growing up — so listening to music in the late ’70s and the early ’80s — there were lots of people who exclusively interacted with music through the radio. And then there were the people who bought tapes and bought vinyl records. Not everybody needed to do that. There were a lot of people who were totally happy listening to stuff on the radio. They like music so they turn on the radio. They have this channel that’s kind of the style of music they like. I feel like that’s exactly what’s happening now. The streaming services are a lot like radio. And playlists are a lot like radio. And then there’s this different kind of person who wants to go deep and interact with the artist and own the music. That’s a subset and I’m happy to cater to that subset.

This is spot on. We forget that, in the pre-digital era, the vast majority of people didn’t buy music. The radio or background listening in stores or on TV was sufficient.

Spotify — or any mass audience streaming service — has the goal of monetizing casual listeners’ listening habits. That’s great — there are many paying $9.99 per year who would never buy music otherwise — and the more prominent labels are certainly profiting. But the danger is in pushing listeners who qualify as ‘fans’ to passive listening habits. Labels and artists need to do the opposite: motivate listeners away from radio (Spotify) and into fandom (Bandcamp and their own websites).

An In-Store Music Mystery

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Last month, an episode of the podcast Reply All aired that included a music mystery. Brian, the protagonist, recorded a jazzy version of a Christmas song with his friends, burned a few CDs, and uploaded it to YouTube. After views (and listens) never broke double-digits, he forgot about the song. And then, months later, he hears his song playing over the speakers as he shops in a major grocery store chain.

It’s a fun episode, and you should listen to it before reading any further into this post. I’ll end up spoiling it for you. Here you go:

Interesting, eh? The mystery is unsolved. The first question is: how would anyone get ahold of the song? It’s verified that Brian or his friends did not distribute the song through a service like CD Baby. Someone would need the CD or, more likely, the ability to rip music from YouTube. Next: How did the song get into the grocery store? At first, it’s naïvely thought that an employee played the music, but major stores all use music services like Mood Media (who now own Muzak, which you’ve heard of). This is mostly for licensing and rights purposes — it saves the stores from having to individually clear the rights to play music in a commercial establishment.1This leads to a fascinating discussion in the podcast about how the services select music for in-store play. For example, a song’s tempo should resemble the rate a shopper is pushing a cart down an aisle. Seriously, listen to the podcast if you haven’t. But a service like Mood Media would only acquire music submitted to them. This submission could happen directly or through a distributor like CD Baby.

There’s also an Occam’s razor theory that Brian misheard the music in the store and mistook it for his song. He’s given some entertaining tests to find out how well he can identify music. Brian passes with flying colors — he’s got an exceptional ear.

There are other theories thrown about, like the unlikely idea that the music service is pirating Christmas songs to avoid paying royalties. When you think about it, that’s more trouble than it’s worth — a large company isn’t going to spend time trawling YouTube and ripping songs, and if caught, the penalties and reputational harm would be enormous.

The episode ends with a big shrug. The case of the errant Christmas song remains a mystery. The hosts thought through every possible theory, and each is flat-out wrong or unverifiable. 

But I have a theory. It’s a theory that’s not touched on in the episode. And, if Brian did hear his song, I bet I’m on to something. I wrote the Reply All team to let them know my idea. Here’s what I told them:

My guess is the song was indeed unscrupulously downloaded and put into circulation. But it wasn’t the music supplier who did this. The clue was when the representative asked if the song could be available from an aggregator like CD Baby.

Let me now give you two examples that will help illustrate my theory:

Check out this article about a ‘music artist’ grabbing songs that don’t have many plays, downloading them, and then releasing them as his own (via 5 Magazine). 

And on my blog, I wrote about Kevin MacLeod, who makes music and lets people use it for free in their YouTube videos in exchange for credit. But then someone downloaded his songs and, claiming to be him, registered them with YouTube’s Content ID. This unsavory person was able to monetize the videos that are using Kevin’s music.

So, here’s my theory: Someone is searching YouTube looking for Xmas songs with very low play counts. I’m sure there’s a lot of unreleased, amateur Christmas music on YouTube. And, the lower the play count, the less likely anyone uncovers this scheme. This individual then downloads the songs using a stream-ripper and then collects them into a Christmas ‘album.’ Then this ‘album’ is sent to a service like CD Baby or directly to an in-store music service. The ‘album’ is released under this individual’s name — not Brian’s — to get royalties and payments from places like major grocery store chains for plays.

That said, two factors do *not* support this theory. First, I played the song off the YouTube video for Shazam. A distributor like CD Baby would usually give the music to Shazam’s database. When I tried Shazam, it either could not identify the song or misidentified it. (There was one version of the same song that Shazam suggested that had a very similar piano style, but no drums or sax.)

Another factor is YouTube’s Content ID, as mentioned above. Like Shazam, most distributors would make their aggregated music available to Content ID. If that were the case, Brian’s original video would get flagged.

But we could be dealing with someone who does this kind of thing *a lot* and knows what they are doing. Some distributors will let the artist tell them which outlets to supply music to and which to exclude. I would guess CD Baby and Distrokid offer this option. So, if the individual who ripped this music is explicitly targeting in-store play outlets and the royalties from those, the distributor could be told only to give the music to in-store play music suppliers. In other words, no Spotify, no Shazam, no Content ID. Thus, there’s even less chance to discover this scheme.

The individual could also have a direct account with the in-store music supplier, bypassing normal distribution channels (and thus also Shazam and Content ID). If that’s the case, this person does this a lot — the in-store music services will only deal directly with labels and artists submitting content regularly. 

This secret person could be a ‘professional’ — supplying lots of unreleased holiday music ripped from YouTube, repeatedly played over the season (which, as noted in the podcast episode, is getting longer and longer), and collecting royalties. 

That’s my theory, but I suppose we’ll never know. ¯\_(ツ)_/¯

Incendiary and Extraordinary

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• Tomorrow is Juneteenth, and it’s the first Juneteenth that Bandcamp is donating all of its 15% sales take to the NAACP Legal Defense Fund. They’ll also allocate “an additional $30,000 per year to partner with organizations that fight for racial justice and create opportunities for people of color.” I say it’s the first as Bandcamp pledges to make this an annual thing. Many artists and labels are following suit, promising their sales shares to civil rights organizations, too. So, hey — let’s grab some music. This event is an excellent opportunity to revisit this Reddit discussion on Black ambient and experimental artists to support and this searchable site of Bandcamp’s Black-owned labels and artists. 

• Here are a couple of quick links to incendiary and extraordinary examples of Black art: the 1986 film Handsworth Songs is experimental documentary filmmaking at its best, via John Akomfrah and the Black Audio Film Collective; and this NY Times article from Marcus J. Moore compiling ’15 Essential Black Liberation Jazz Tracks.’ [LINK] + [LINK]

• Twenty Thousand Hertz is an informative podcast that delves into the “world’s most recognizable and interesting sounds.” The latest episode is about a topic near-and-dear to my heart: music copyright lawsuits. The host, Dallas Taylor, examines the ‘theft or inspiration?’ dilemma and lucidly explains the legalities. The podcast episode serves as a good explainer for those who want to know more about the topic and has a few interesting new perspectives for been-down-that-road folks like me. For what it’s worth, I don’t think any of the cases brought up in the episode should have gone to court. I do understand the potential dangers of broadly loosening our parameters on copyright, but letting experts decide on music theft disputes rather than a jury is a better idea. I wrote more about this topic here. [LINK]

• As you know from previous ramblings, I’m thinking a lot these days about how I use the online medium and the digital footprint I’m leaving. I’m playing around more with micro.blog and this site’s connected ‘micro-8sided’ blog. I’m trying out an idea of the microsite as an idea repository — a placeholder for things I’m reading, listening to, and thinking. It looks like this: short ideas and notes jotted down in the microblog, longer and better thought-out pieces on this ‘main’ blog and the email newsletter. I can use the micro to access things that grabbed my interest, expanding on some of those topics here and in the newsletter. That means the microblog provides a peek at what I’m thinking about as a preview to topics appearing here. At least, that’s how it works in theory. I may chuck it all later this week, depending on how time-consuming a labyrinth of thought this turns out to be. Oh, and as I’m lessening my presence on targeted-ad-fueled social media, micro.blog now crossposts to Twitter, and I’ll aim to visit that place less and less. Bye-bye to Facebook, too.

• Here’s a gorgeous ambient track from Dedekind Cut, an artist (and song) recommended in the Reddit thread I mentioned above.

• Lake Holden held a surprise this morning at dawn. Spot the moon. [LINK]

Getting Nostalgic with the Spot Lyte On Podcast

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I had an enjoyable conversation with Lyte’s Lawrence Peryer last week. We got nostalgic about learning about new music in our formative years — especially challenging for me as a teenager in the middle of Louisiana. I told him about hanging an electric antenna out of my bedroom window and how crappy equipment made me a better DJ. Then, we talked about why there should be niche streaming services, how people are forgetting Frank Zappa, and that Sandinista! isn’t the best Clash record to start with. I used the word “fascinating” a lot.

Oh, and we recorded this sprawling conversation. It’s the latest episode of the Spot Lyte On… podcast, and you should give it a listen. It’s fun.

At one point, on the subject of indie music discovery in the mid-80s, I mention a fanzine called The Bob1Sadly, I can’t find a history online to link to, but contributor Fred Mills talks about it in this interview.. I call it my ‘music bible at the time.’ I can’t express enough how vital this mag was for me. It brought this sixteen-year-old punk rocker to The Velvet Underground, after all. Anyway, after we spoke, Lawrence sent me this link on Etsy. Someone is selling four vintage issues of The Bob. I remember all of these — I read them cover-to-cover, and probably more than once, when they were brand new. Seeing these mags in this photo delivered that melancholy pang of remembering that youthful period of discovering that music means something. You know the pang I’m talking about. Sigh.

For someone who professes to avoid nostalgia, there’s a lot of nostalgia in this podcast. I hope you enjoy the conversation.

Shine a Light

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First off, as previously mentioned, today is ‘Bandcamp Friday’ — the platform is waiving its cut of revenue with 100% going to the artists. Here are some suggestions where you can throw your support today:

  • Pitchfork’s list of labels and artists directing Bandcamp revenue to Black Lives Matter organizations [LINK]
  • A list of black artists, producers, and black-owned labels on Bandcamp [LINK]
  • Resident Advisor’s list compiling both, with an emphasis on electronic music [LINK]
  • If you’re into ambient music, here’s a Reddit thread listing ambient artists of color that could use your support (h/t Terry Grant) [LINK]

Like most of you, I was feeling dispirited and down yesterday. The constant barrage of evidence that this country is falling apart weighs heavily. And the gray skies and rain weren’t helping. I had an interview scheduled in the early afternoon and didn’t know if I was up for it. I was looking for some good news, and anything would do.

Unexpectedly, Warren Ellis provided that bright spot with a shout out on his blog, perhaps in response to my shout-out to his blog on Tuesday. It’s a nice boost to get mentioned under the ‘Isles of Blogging’ tag. I’m proud to inhabit my little beach-side hut.

One thing I learned: Ellis has a lot of readers. There are a lot of new eyes peering at this speck on the web (hello), and I picked up a healthy amount of newsletter subscribers. Shining a light on a fellow toiling soul is one of the best parts of operating in an independent space, whether you’re a band or a novelist or a painter or a blogger. It’s a lovely feeling when you’re the recipient.

I mentioned Ellis’s newsletter — Orbital Operations — only a couple of days ago. It’s something I look forward to each Sunday. One of its regular highlights is the heartfelt words of encouragement closing each email, a needed end-of-week reminder that things eventually will be cool. I’ll shine a little light back by urging you to subscribe.

My interview was with Lawrence Peryer for the Spot Lyte On podcast. I talked about growing up in Central Louisiana, the challenges of finding underground music there, the historical threads of influence that connects musical artists, utopian streaming models, Kraftwerk (of course), and lots of other things. It was freewheeling and fun. Though I think we intended to include music industry shop-talk, there was very little of that. The podcast hits the pod-ways next week. I’ll give you a preview by linking to a record from 1981 that comes up at the end of the discussion: the mind-blowing “Outside Broadcast.”

Side-note: I enjoy gabbing on podcasts. If you’re interested in having me gab on yours then please get in touch.

I also mentioned a podcast interview with Derek Sivers. It’s an episode of Yo Podcast — an uplifting listen that will give your brain a break from the world-on-fire for an hour. Specifically, I mentioned and clumsily explained this part where Derek answers the question: Hendrix or Bowie?

Jimi Hendrix is like Charles Darwin. Darwin, he presents “The Origin of Species” to the world and it blows everybody’s mind. But now the theory of evolution is common knowledge, so to read the book, “The Origin of Species” now, is not so impressive. So Hendrix presents the “Star-Spangled Banner,” full of feedback and more sounds from a guitar than anyone had heard before, and it blows everybody’s mind. But now, every kid in the guitar store can do the same thing. So to hear the original, is not so impressive. I think it’s kind of the same with Stravinsky and the “Rite of Spring,” it’s actually kind of unfair that they’re revolutionary contribution is diminished with time.

But David Bowie is like Josephine Baker, exotic and desirable in their time, and exotic and desirable now. And same thing with Claude Debussy’s music. Like, David Bowie, Josephine Baker, and Claude Debussy, all of them stood outside of the culture. Their art didn’t infiltrate the culture and culture didn’t assimilate or adopt it. And so time doesn’t diminish their allure.

The podcast audio and the transcription are on Derek’s site.

Once again, dawn brings a bluish-gray over Lake Holden this morning = [LINK]