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Reclaiming the Intention of Fandom

May 26, 2019 · 4 Comments

Warren Ellis has been reclaiming his physical media, sorting through collected DVDs and CDs — and sending off for new additions — in defiance of this century’s model of ephemeral, digital distribution of art. Ellis’s re-transition is occurring in public, through his fantastic newsletter — Orbital Operations — and photos appearing on his blog. There’s a touch of paranoia about treasured music becoming unavailable, whether through hard drive failures, platform redundancy, the whims of corporate interests, or technological apocalypse. It’s a calculated “withdrawal from feeds and streams,” he says, meaning the download option is considered a form of ownership. Here’s a section from today’s issue of Orbital Operations:

This is, of course, all part and parcel of my withdrawal from the feeds and streams … also, a continuing personal rejection of Music As A Service. I purchase all my downloads. And if something for sale is offered for free on a streaming site, I try to track the thing down and buy it if I love it. Sampling is fine. That’s what radio was/is for. I use YouTube and other services to sample things, and I think – I hope – it can help artists. But renting a music collection is bullshit and bad for everybody. (As is, of course, acting as if music is free like air. That only works if you don’t let all the trees die.)

(But, I reiterate, personal. Not trying to make you feel bad for streaming here. This is just what works for me, and I am well aware of my personal privilege of having an amount of disposable income for music.)

These thoughts intersect with Darren Hemmings’ piece I mentioned in a previous post, and how many of us are re-evaluating our relationships with the transitory delivery of digital art. Hemmings’ reservations mainly come from wanting to give an artist his or her due — some coin directly in the pocket — and a reasonable suspicion into the goals of a company like Spotify. These feelings also motivate Ellis, but he adds the wild card of wanting to own his music and movies and to enjoy them in a way that’s not dependent on a corporate subscription platform. In other words, something other than a platform that encourages ephemerality and distraction through endless options.

And this dovetails into my preoccupation with the societal effects of music streaming and our perception of ‘music’s place in the 21st century.’ I was a late adopter of music streaming — a casual free-tier Spotify user, the launch of Apple Music is what got me fully on board.1 Know that my late-adopter status wasn’t a Luddite-like resistance — I wasn’t listening to a lot of music in the first half of the 2010s, something I may get into at a later date. I went through multiple stages of the streaming listener: excitement at all my favorite albums at hand; discovering new albums and artists based on reviews in niche blogs; getting seduced by the fun of playlists2I temporarily switched from Apple Music to Spotify as my platform of choice during this stage.; and the realization that an obsession with playlists was turning me into a passive listener rather than an intentional one.

Passive vs. intentional is a recurring theme on this blog and it’s something I think about a lot. One effect of ‘newsfeed culture’ is it creates passivity in our consumption — what we see and hear is determined by an algorithm or a curation, a diet of someone else’s choices. This passivity isn’t always bad. When we listen to the radio, we are listening passively, and there have been times when a random radio experience changed my life. But the erosion of intentionality is a disassembling of personality. This condition can deprive us of the agency of our thoughts.

Fandom requires intention, as we decide the artists worthy of our obsession and adulation. Of course, the fan can discover a new artist through radio or a playlist, but there needs to be a push – an inner encouragement, even — to explore further. Whether by design or not, I find that playlists encourage the opposite. There’s always that new niche playlist — updated regularly! — front-and-center on the platform’s launch page, drawing attention with delightful sonic promise.

Like Hemmings and Ellis, my struggles with this brought me to Bandcamp and my personal library.3Unlike Ellis, I won’t go as far as embracing physical media. I’ve flirted closely with hoarder tendencies when I was ‘collecting,’ and I don’t want to go back there. My practice was independent of their individual screeds. Several months ago, I started building a Bandcamp collection of music for sleeping. I noticed that familiar satisfaction of purchasing a release and knowing the majority of my payment will go to the creator — a much different psychological experience than a monthly subscription payment to a DSP. And I was picky about what I was purchasing, thus committing the music to multiple listens and an attachment to memory. At first, I left these releases to play via Bandcamp but soon downloaded the lossless files, adding them to my iTunes library. More satisfaction; I was creating a walled-garden library of music that I intentionally discovered and considered top notch. Sort of like I did when I was a teenager buying record albums and arranging them in a milk crate.

And now I’m visiting Bandcamp more often than Apple Music or Spotify, and I’m purchasing more than ‘sleep music.’ Admittedly, I’m still experimenting — this whole era of digital music has been a constant experiment — and I’ll continue to document all this on the blog. But behind this post is a fascination that as all things internet have lost their luster other listeners and music fans are arriving at a similar place. There’s a questioning of music’s role among fandom and the artists that wish to cultivate fans. I feel like we’re all at a critical crossroads and I couldn’t be more excited.

Filed Under: Commentary Tagged With: Apple Music, Bandcamp, Collecting, David Hemmings, Fandom, Spotify, Streaming, Thinking About Music, Warren Ellis

Less Radio, More Intention: Streaming at a Crossroads

May 1, 2019 · 1 Comment

This Medium post from Motive Unknown’s Darren Hemmings is getting a lot of attention, and rightly so:

We are constantly being told by the likes of Spotify that they can enhance our music discovery. Algorithms and their own curated playlists should give us no end of music to enjoy. But the sheer volume, coupled with zero friction, results in the much-cited “paradox of choice”. Selecting anything is horribly hard, but equally, with zero friction in accessing it, no emotional investment is made and our own consumption becomes entirely shallow. […]

At every step of the way, streaming services are essentially gaslighting us that this ecosystem is an amazing new development. Just like Silicon Valley in general, there is this mindset that having everything available all the time is a good thing. It isn’t — and it is arguably damaging art and culture as a result. […]

In 2019, artists need meaningful patronage, not a speech about how they could get more streams. That patronage might come from merch or other means, but it should come from music too. As someone who makes his living from the music industry, it also occurred to me that frankly, I owe these people. Without them, I wouldn’t have this job that I love.

The author continues with an opinion that streaming is more of a replacement for radio — rather than for albums or fan-cherished media — than we realize. Like radio, most listeners approach streamed music passively and ephemerally — a song or artist listened to now is forgotten fifteen minutes later. Hemmings feels this is partly due to a lack of listener investment (the purchase of the music) as well as the psychological effect of a seemingly endless amount of content.

I still think that music fans can utilize streaming with intention, but it’s not effortless. Rather than clicking on playlists and random recommendations, listeners can seek out albums and new releases from trusted sources (reviews, online radio shows, friends). And once a great album is discovered, learning more about it and its artist is just a few clicks away. That said, requiring intention won’t easily convert casual listeners to die-hard fans, but the seductive nature of playlists and algorithmic recommendations is turning fans into more passive listeners. Intention used to be inherent in the medium. Gone are the days of merely perusing the CD or LP liner notes (or holding a curiosity-inspiring album cover) and digging further.

The comparison with radio may predict another inevitability: that streaming platforms will become more exclusive rather than aiming to contain every available musical recording. Just as you know to turn to a top 40 radio station to hear that format, or a jazz FM station for be-bop, or the local college station for freeform, esoteric selections, we may see a similar separation in streaming outlets. I believe this could be a good thing, and we’re seeing seeds in the Bandcamp model — that platform isn’t actively courting the new Taylor Swift single.

The ultimate model is for artists to create portals for music through their sites like Neil Young has done with his Archives project. If a fan wanted to hear the music first and in the best quality or format then the artist’s site could be the destination rather than that of a corporate third party. This also gives the artist freedom over presentation, to have ‘liner notes,’ videos, behind-the-scenes documentaries, and such featured alongside the music. The emphasis would be on fan-building as opposed to platform-building. One step further is for artists to be connected and networked, perhaps via an organization like Merlin, so music from similar bands are discovered through the artist’s portal.

There are still many possible directions for the future of the streaming industry. I know it feels like we’re at the end-point, that Spotify and Apple’s dominance and agenda-setting are the way things are and will be. But, as we’re learning with society’s now mainstream skepticism of social media, we’re still at the ‘figuring-it-all-out’ stage with digital media. Expect more than a few forks and unexpected crossroads along the way. And if an independent artist’s future is outside of Spotify — just as independents were rarely included on MTV or commercial radio — then it’s likely that artist will end up stronger for it.

🔗→ Music Streaming Services Are Gaslighting Us

Filed Under: Commentary Tagged With: Bandcamp, Independent Music, Motive Unknown, Spotify, Streaming, The State Of The Music Industry, Thinking About Music

The Counterintuitive Environmental Cost of Digital Streaming

April 9, 2019 · Leave a Comment

File this story under ‘This Is Why We Can’t Have Nice Things,’ via Billboard:

Published on Monday (April 8), the research — a collaboration between the University of Glasgow and the University of Oslo –found that despite a sharp drop in the use of plastics in music production over the last two decades, the “storing and transmitting” of digital music files has actually led to an increase in greenhouse gas emissions (GHGs) by the industry.

“These figures seem to confirm the widespread notion that music digitalised is music dematerialised,” said University of Oslo Associate Professor and lead researcher Dr. Kyle Devine in a statement, referencing statistics citing the decrease in plastics use since the year 2000. “The figures may even suggest that the rises of downloading and streaming are making music more environmentally friendly. But a very different picture emerges when we think about the energy used to power online music listening. Storing and processing music online uses a tremendous amount of resources and energy — which [have] a high impact on the environment.”

More parade-raining from the original report in The Conversation:

Obviously this is not the last word on the matter. To truly compare past and present, if it were even possible, you would have to factor in the emissions involved in making the devices on which we have listened to music in different eras. You would need to look at the fuel burned in distributing LPs or CDs to music stores, plus the costs of distributing music players then and now. There are the emissions from the recording studios and the emissions involved in making the musical instruments used in the recording process. You might even want to compare the emissions in live performances in the past and the present – it starts to look like an almost endless enquiry.

Even if the comparison between different eras ultimately came out looking different, our overriding point would be the same: the price that consumers are willing to pay for listening to recorded music has never been lower than today, yet the hidden environmental impact of that experience is enormous.

I don’t see any mention of the environmental burden of additional landfill created by excess physical media so I wonder if that was a consideration. Regardless, it would seem the solution is not a change in consumption but in the sources and production of energy.

🔗→ Digital Music Consumption Has Led to Increase in Greenhouse Gas Emissions, New Study Finds
🔗→ Music streaming has a far worse carbon footprint than the heyday of records and CDs – new findings

Filed Under: Items of Note Tagged With: Environmental Issues, Research, Streaming

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about

Howdy. I'm Michael Donaldson.

I think and write about music’s place in the 21st century. And I’m fascinated by how technology affects culture, especially in the ways we make and listen to music. I’m the founder of 8DSync, 8D Industries, and 8DPromo. Sometimes I'm a Q-Burns Abstract Message. But mostly I'm just trying to keep these damn cats out of my office.

Michael Donaldson

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