8Sided Blog

thoughts about music’s place in the 21st century

What Am I Doing Now? (New Year Edition)

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This month seems like the beginning of a year of transition but, when you think about it, every new year is a year of transition. The flick-of-a-switch from one numbered timeline to the next is arbitrary, but the anticipation of flicking does inspire reflection and taking of stock. This one’s more potent as it’s the start of a new decade. The self-examination was particularly intense this time.

2019 felt like an ‘in-between’ year — like I spent it preparing for something. There were accomplishments and significant moments (like marriage!), but looking back, I see a lot of things getting set up for the future.

What am I setting up? Well, this is the year of 8DSync and going all-in on music publishing and licensing. It’s an area I’ve worked in for two decades but as a side-gig to other endeavors. Now with the help of my colleagues Miguel Bustamante and Craig Snyder, I have brought 8DSync to the forefront. The move makes sense — I am more knowledgable in music publishing than any other music business field, and it’s what I do best. Time to lean in.

Beginning the year, I’m in the process of redesigning the 8DSync website from scratch. Not understanding what I was getting into, I decided to do this redesign myself. The site is looking great, but it’s a work in progress as well as a time-consuming one. I’m adding many artist and release pages over the next few months.

Some of those artists represent new signings to the 8DSync roster. We start the year with these exciting additions: Kingston, New York’s psychedelic Shana Falana, the UK roots-rock act Swampmeat Family Band, Jonathan Brodeur and his power-poptastic Bird Streets project, and a lovely downtempo label out of Ireland called WeGrowWax. There’s also a new album from Scotland’s The Little Kicks on the horizon. That’s a lot of fantastic music to look forward to straight away.

Another of my projects due for a refresh is the 8D Industries label. We took a hiatus as the artists concocted releases, but now it seems likely we’ll have new music from Monta At Odds, San Mateo, and More Ghost Than Man before next summer.

But what about Q-Burns Abstract Message, you ask? I’m working on a new batch of songs, too. It’s all quite different, and I debate even using the Q-BAM moniker, though I probably will. I’d like to have a consistent slate of releases this year — perhaps a series or 3 or 4 song EPs — which will be a challenge. I must remind myself that we make the time, we don’t find the time.

And there’s a ton of writing in my future. The 8sided blog is an integral part of my life, and I enjoy working on it. I’m meeting cool new people through it, too (drop me a line anytime). I have internal debates over what this blog is exactly — is it a place for music industry commentary, or reviews and notes on the culture, or can I get personal, or can I get silly? I’m leaning towards it being all these things. But one thing I plan to examine repeatedly is how we’ve grown to rely on the biggest corporations in history for the dissemination of our art. How do we maintain our independence as the tech-giants chip it away? That’s the theme of the blog if there is one.

For over a year, I’ve been threatening to start a newsletter. All the cool kids are doing it, and I want to hang with the cool kids. Well, it’s ready to launch, and it has a name: Ringo Dreams of Lawn Care. What’s that about, right? Just bear with me. The newsletter will be different than the blog though I’m not sure how yet. The first few ideas for issues are more personal, more story-oriented. I’ll base it on my experiences juggling all these things — the publishing company, the label, Q-BAM — and the trials of working in the music industry from outside of the music industry. I’m sure I’ll also write about interesting things I’m reading and watching and hearing, too. It will be good, and I’m setting the first issue free in a few weeks. Please sign up here.

What am I looking for in 2020? Well, besides the replacement of some of our world leaders (omg plz), I’d like more excuses to travel. I already have flights booked for returns to SXSW and MusicBiz, but would enjoy several more chances to ride on airplanes. I’d also like to pick up a couple more consultancy clients this year, whether artists or labels needing help with branding, positioning, and release strategies or companies looking for assistance with music publishing and rights management. And I’d love to advise and collaborate with a cool outsider artist, band, or label — one dedicated to a musical niche with no mainstream aspiration and struggling with being seen in 2020’s ephemeral information whirlpool. If that’s you and you’re willing to do the work, then feel free to get in touch.

One last tidbit: I mentioned SXSW above. I’m thrilled to announce that there will be an 8DSync showcase at the festival this March, featuring many of the artists mentioned above. I’ll have the details soon. I played SXSW a few times as Q-BAM in the past, but I’ve never been on the organizing side of a showcase. So that’s exciting.

OK, you didn’t ask for it, but now you’re up to date on my activities. And, as a byproduct of this ramble, I have a clearer idea of what I’d like to do over the next few months. 2020 is the year when all that table-setting in 2019 pays off. Now I’d like to hear from you. What are your big plans? Is there an opportunity for us to work together, or bounce around some ideas? I’m game. I have the feeling this could be our year.

What Am I Doing Now? (May 2019 Recap)

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  • I’m gearing up for a few days at MusicBiz 2019 in Nashville, starting on May 5. I’m expecting terrific panels, productive meetings, new contacts, seeing some old friends, and perhaps an announcement or two from my camp. If you are in Nashville for this conference, then feel free to drop me a line and let’s meet up.
  • The first Q-Burns Abstract Message release since 2011’s “Balearic Chainsaw” is out now on 8D Industries and it’s called AUDIOTOTEMPOLE. This is a special release, and it closes a loop of sorts. These are songs spanning the years. The one with ‘1997’ in the title is that old, and I completed the newest track three months ago. I think that I can now move on to new pastures, new sounds, new — and more frequent — Q-BAM releases.
  • Additionally, on the Q-Burns Abstract Message front, I’m breaking my DJ retirement for one night to play at the Phat N’ Jazzy 25th anniversary party. There are only a few things that would get me to DJ again and this party qualifies. Twenty-five years ago I had a weekly gig playing spacey trip hop records in the backroom of Phat N’ Jazzy at The Beach Club. It was my first residency, and it’s where I honed my DJ craft. I’d probably be in a different place today if the P’n’J crew didn’t trust me to command the backroom vibe. For the May 11 anniversary party I’ll be playing the tunes from that classic era, or at least the ones I still have on vinyl.
  • Consultancy: I’m currently working with Reza of Vexillary, Deepak of Hidden Recordings, and I’ll be advising Snax once again starting next week. A big thanks to my clients for being on board and receptive to some crazy (but effective!) ideas. I’m expanding the consultancy into special one-on-one workshops over the next couple months.
  • Soon you’ll hear me blabbing about music industry stuff on the This Is Orlando and Scotch and Good Conversation podcasts. I also did a long interview with the site MyMusicMoments that I feel good about. I’ll post links to all of these in the blog once they’re online.

Listening (music):

• Simon Scott – Below Sea Level
• Khotin – Beautiful You
• Mary Lattimore & Mac McCaughan – New Rain Duets
• Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
• Helado Negro – This Is How You Smile
• The 180 Gs – Commercial Album
• Revisited Sonic Youth’s Sister and Mission of Burma’s Vs. in a big way.

Listening (podcasts):

• Cherie Hu’s relatively new Water & Music podcast is great. Stellar music industry commentary. Check out the episode with Amber Horsburgh for starters.
• On Russell Brand’s Under The Skin, I enjoyed the conversations with Douglas Rushkoff and Derren Brown.
• Bob Lefsetz’s podcast is back, and the episode with Billy Bragg is a lot of fun. I especially enjoyed the history lesson on skiffle.
• John Livesay’s appearance on Big Questions With Cal Fussman was super-insightful on the topics of marketing and developing stories.

Watching:

• Cold War
• Free Solo (inspirational)
• Silent Light
• We finished The Americans. I was unsure for the first couple of seasons but we hung in there which paid off … the show got really good (as I’m sure you’ve heard).
• And, sure, we’re watching Game of Thrones. And Gay of Thrones.

Reading:

• Finished Bobby Fischer Goes To War which was fantastic, though it did wind down a bit mid-match (and 3/4 into the book) once it became apparent that Fischer would win. I wholeheartedly recommend it, though. One big complaint: the book mentions throughout that Bobby Fischer often listened to ‘rock n’ roll’ while preparing and practicing, but there’s no mention or clue as to the records of bands he liked. I want to know!
• I’m now halfway through Neal Stephenson’s Snow Crash after multiple people coincidentally recommended it to me over the same few weeks. Confession: this is the first fiction book I’ve read since 2001. No idea why I gave up on fiction, but I’ve meant to get back into it. So far so good — I’m enjoying Snow Crash, though I still am not sure what it is about the book (or me) that inspired various friends to point me to it.

Misc:

• I started using Focusmate over the past few weeks. I’m using it right now. It’s a game-changer — expect a blog post about this soon. In the meantime, here’s the article that convinced me to give Focusmate a try.
• Civic Minded 5, my favorite concert promoters, hosted the trio of Nels Cline/Larry Ochs/Gerald Cleaver a couple of weeks back. A mind-blowing show. There were two sets — the second half of set one was explosive and set two was at times drone-y and Krautrock-y. So good. Again, I’ve never been disappointed by a Civic Minded 5 show and am grateful they are here in Orlando. Your city should be jealous.

An Indefinite Break: When Artists Step Away

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Popjustice editor Peter Robinson in Music Business Worldwide:

Last month’s articles following the death of Talk Talk’s Mark Hollis each discussed his extraordinary music and the impact it made both in its own right and on the music of others. But there was blanket recognition, too, for the way Hollis called time on Talk Talk and pretty much retired. As the Guardian put it in one headline: ‘He disappeared into the fog.’ […]

If we permit a band to split up, it’s not long before we demand a reunion. Solo artists who turn their back on the whole thing are regarded as fools or mad recluses. Someone might not want to tour again, or make more music, might feel they’ve said everything they ever needed to say, might know themselves well enough to know this lifestyle isn’t for them? Inconceivable. Not to mention inconvenient, if the purchase of your next property relies on squeezing 20% out of another album. […]

Many of us have had musicians and creatives tell us literally to our faces that they just cannot do this any more. Given how sceptically we view artists who in our heart of hearts we know can’t do it any more, it’s no wonder there’s no orthodox way of dealing with popstars who just don’t want to.

We’re disappointed because there’s a story we tell ourselves about our favorite artists: that they live and breathe music with every fiber, and to stop would be their inevitable demise. Or, at the least, a betrayal of their divine nature. I know that sounds highfalutin’ and impossible, but I think, deep down, we believe it.

As a recording and touring artist who gave up the lifestyle and, for the most part, the creation I completely understand the stresses and the eventuality of feeling spent. People ask me for the next record — or the next DJ set — all the time and I appreciate the compliment. But it’s hard to explain to a ‘fan’ that I need an indefinite break because the artistic process isn’t compelling at the moment. And I — and your favorite artists — need to be compelled. Otherwise, the best I can promise is ‘half-ass.’ That’s not for me to deliver.

And I’m small potatoes. I can’t even imagine the pressure placed upon prominent artists that choose to step away. Mark Hollis or Scott Walker do come to mind, along with other missing-in-action artists given the recluse or ‘gone crazy’ tag. Here’s a tweet I saw the other day that got a ‘hear hear’ from me.

P.S. OK, I’m still occasionally compelled to create, and I’m called to it more-and-more these days. And I’ll have a new EP out soon to show for it.

🔗→ Sometimes, artists turn their back on the music business for good reason

A Punk-Rock Gut Punch

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Another dispatch from out in the sticks. Howdy. Proverbial country road pictured above.

There’s a fantastic photo in NPR’s In Memoriam 2018: The Musicians We Lost. An emotive Glenn Branca is pictured in the center, and this is one of the best concert photos I’ve seen in a while. There’s so much energy there, like a jolt of Jolt. I assume Glenn is pictured in the midst of conducting his guitar-based ‘orchestra.’ 

The In Memoriam piece is striking, as these tend to be. There are a lot of special music folks we’ll be missing in 2019. For me, in addition to Branca, losing Mark E. Smith and Pete Shelley in one year is a punk rock gut-punch.

I don’t need another ‘favorite albums of 2018’ list — going through the ones I have bookmarked already could last well into next summer. I should be listening to 2019 music! But Austin Kleon, via his amazing blog (another inspiration for what I’m trying to do here), turned me onto a tantalizingly diverse ‘best of 2018’ list from music writer Ted Gioia.

Kleon titles his post ‘The Agony of List-Making’ and expresses a frustration with making public recommendations under the scrutiny of the internet mob. Gioia eases his own misgivings by presenting his list alphabetically, not allowing any title to receive a crown above any other. Kleon highlights this quote from Gioia’s list post:

Like any music lover, I enjoy sharing my favorite music with others. But in the last few years, a different motivation has spurred me. I believe that the system of music discovery is broken in the current day. There is more music recorded than ever before, but it is almost impossible for listeners to find the best new recordings …

I believe we are entering another era of music discovery, as listeners experience playlist fatigue and blogs continue to lose sway. These personalized lists, from close friends and selected ones from respected total strangers — chefs, movie directors, music writers, etc. — will hold the real power. Recommendations like these have always been the truest source of discovery. But we — as music fans rather than casual listeners — lost our way for a bit as streaming took hold, fascinated by algorithmic playlists and unlimited access.

Optimistically, these personal interactions of recommendation foster more intimate relationships with our music. On the other hand, this could all be my imagination as friends have been recommending music online since those early-90s message boards. But I do feel like there’s a dissatisfaction with playlist culture and how it’s pushed on us by certain platforms. This is a reason I switched from Spotify to Apple Music, something I’ll write about in the future. And this dissatisfaction will grow as playlists and platform features bow further to corporate influence. I used to wonder why Bandcamp didn’t have a playlisting feature — now I get it.

In other news, Big Shot Magazine kindly asked for a 2018 recap and I delivered a few reflections. I mainly talk about the launch of 8D Industries but I also touch on curbing the news diet, a recurring topic around these parts. The Ryan Holiday quote in the piece should be mentally taped above every screen at home, whether it’s a TV or a laptop:

Perhaps it’s time we realize that consuming more news about the world around us is not the way to improve it (or ourselves), personally or politically.

Holiday has written a few articles on why we should abstain from breaking news. They’re all worth a read. 

I’d also like to point out that I meant to refer to the long album version of “Bunny’s Dream” as a favorite song of the year. The video edit embedded in the article doesn’t quite have the majesty or the sprawl and, like many unsuccessful edits, feels rushed in comparison to the original. 

A question I posed to my social media friends: will people be playing Paul Hardcastle like they were playing Prince on NYE 1998? Of course, this is meant as a joke but I know I gave some DJs an idea for a midnight song on Monday. Please report back if you took the bait.

“Shine” Swirls Again on Colour and Pitch

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I’ve recorded dozens of remixes in my production career, and there are a few that are particularly special to me. A remix I created of the track “Shine,” for the Brighton-based SumSuch and vocalist Will Brock, is one of those special ones. At the time I was abandoning the four-on-the-floor and experimenting with breakbeats again. I was also rediscovering that creative period of ‘ambient’ drum n’ bass in the mid-90s and realizing how much I missed the early simplicity of those swirly, bass-heavy sounds. This remix is the result.

“Shine (Q-Burns Abstract Message Remix)” was released on SumSuch’s brilliant Color and Pitch label in 2015. SumSuch, ever the mensch, has repeatedly expressed his love of this remix to me, which was reassuring as my path as a producer was finally veering away from the dance floor.

SumSuch has some connection with the esteemed label BBE Music, and the label released an album from SumSuch’s proper ‘band’ project with Will Brock, Mega Jawns. Now BBE Music has issued a ‘best of’ compilation spotlight on the Colour and Pitch label, and I’m honored that my “Shine” remix is included.

Have a listen to the remix:

You can find more information on the lovely collection Colour and Pitch V1 on BBE Music’s site, and it’s available on all the snazzy streaming services. There’s also an hour-long continuous DJ mix from SumSuch of the compilation’s tracks. I submit this album and mix as the soundtrack to your weekend.