It Don’t Feel Like Sinnin’ to Me
Try Me Again
When Can We Do this Again
Plain Old Fashioned Cheatin’
From Sylvain Leroux’s debut record on my label, Engine Studios, to be released on July 26, 2012.
Sylvain Leroux: tambin, flute, alto sax, khaen, dozon ngoni
Karl Berger: Piano, vibraphone
Sergo Decius: Congas, percussions
Matt Pavolka: Contrabass
YTD recordings listened to: 317
Good music, not recommended for purchase: 172
Not good music:133
Buys: 12 (not all 2012 releases)
My main spiel these days focuses on the listener. It would not matter how crappy and deceptive the music business and its marketing arm are if listeners were more active in searching out the music they like instead of passively consuming what’s put on the plate in front of them.
I listened to 2 Bandcamp recordings and didn’t love either one, but I don’t wail on Bandcampers.
@@@ The Bamboos: Medicine Man. I’ve never seen a funk/soul record with multiple singers. I could be totally wrong about this. To me a cohesive soul/funk non-compilation record requires that one singer to last the collection of songs together. It is soul music after all — I don’t need to hear the souls of ten five different singers, I want to get deep with one. The band is good but not groundbreaking, but here’s a clip of tune I dug all right.
@@@ DZ Deathrays: Bloodstreams. A little glammy/dancefloor, a little metallic, a bit of punk. My guess is these guys come out of Los Angeles — it has that nihilistic oh yeah feel. Not really my cup of tea.
@@@ Bap Kennedy: Sailor’s Revenge. I would call this baroque folk with a Bob Dylan-y voice and a good helping of fiddle. Pretty, but does not grab you and pull you in and keep you there.
@@@ The Hives: Lex Hives. Points for high energy, all the points come off in the second tune where they rip the riff from ELO’s ‘Don’t Bring Me Down’. Musical plagiarism should not be tolerated.
I started this blog on January 2nd of this year. I want to keep a running total of bands listened to on this blog to calculate a hit ratio, i.e. records I will buy or feel comfortable telling other folks to buy vs. total bands listened to.
This is my calculation thus far.
I’ve posted 78 times so far this year and I estimate I’ve listened to 3.5 bands per post for a total of 234 records checked out.
And I’ve found approximately 9 records – 3 records I added to my best of 2011 list, 4 thus far this year, and a couple of West African reissues I just found out about this week.
That’s a 4.2% hit rate for the year — 9 for 234.
@@@ Devin: Romancin. I checked this recording out for shits and giggles as it’s featured on Spotify’s front page and I have never dug anything featured there. The band sounds like the Strokes with more chops and a touch of Elvis Costello’s Attractions. I’m very picky about singers, but this guy has a really fresh flow on the microphone and he sounds like he’s enjoying himself. They sound like a band with some spark.
@@@ Steve Lehman Trio: Dialect Flourescent (Pi, 2012) I love how high the drums and bass are mixed on this record. That’s the shit. The drummer steals this session, and while I liked the horn player I did not feel super connected to his playing. What kind of musicians you like is a matter of personal taste and other folks might totally dig him.
@@@ I wanted to listen to Baloji Kinshasha Succursale (Crammed) It’s on Spotify but not available in the U.S.A which drives me batshit. You can stream a couple of tunes over here on an NPR profile piece.
@@@ White Hills: Frying on this Rock (Thrill Jockey). I like the drummer and the guitar sound. I did not think the songs were anything special and the vocals didn’t work for me.
@@@ I know it’s tres unhip to purchase cds or even talk about them, but I did purchase some discs last week.
I bought Thelonious Monk’s Big Band and Quartet in Concert (Columbia, 1963) It’s a five star double disc live recording from the early ’60s and I got it for $7. I have most of the major Monk recordings — Brilliant Corners, Monk’s Dream, etc and this record stands right there with his greatest records.
Something about the Monk’s sense of rhythm and way he could play that way with other people will keep folks listening to him for hundreds of years.
@@@ I like this track off Matthew Shipp’s new record Elastic Aspects. I haven’t loved a lot of Shipp’s music but I like what I’ve heard with this release.
@@@ I checked out M. Ward‘s new record Wasteland Companion. I really like some of his early sparse unadorned music, and then I thought he kinda popped out and was side mousing towards the cheese (as mike watt would spiel) and this music seems to be in the middle of those two perceptions.
It’s a bit breezy for my taste, I like the stripped down music of misery and despair.
@@@ Amadou & Mariam: Folila. Watering down a great act to get them to cross over to a larger audience is almost criminal. In my world.
The good news is that they’ve made a ton of great African music where they are the focus of the record.
There is clear path for the music industry to follow — the idea of buying organic, or locally produced or fair trade food can easily be replicated in music. Supporting folks who nurture the music scene instead of exploiting it for short term sales, buying from small producers, and not buying from unethical producers would make for a big change in the music industry would really shake things up.
Of course, this would require changing our behavior and that might cost someone some money so it’s an uphill battle, but it is possible.
From the Aquarius weekly list which you can get here:
@@@ Mirroring: Foreign Body (Kranky). A drone duo. I like the drone arrangement, the reverb soaked vocals not so much.
@@@ Pete Swanson: Man With Potential (Type, 2011). As a recording engineer, these are some of my least favorite frequencies. I can see how folks might dig the extremeness of this, but it doesn’t work for me.
From the AMG (All Music Guide) weeky email:
@@@ Black Breath: Sentenced to Life (Southern Lord). Razor sharp guitars and the caveman stomp vocals. The drummer has this band under control and I dig that ornate guitar riff, it’s quite disturbing. Not super black or sludgy, it’s pretty relentless and pretty listenable.
@@@ Carter Tutti Void: Transverse (Mute). Not in the typical ecstasy BPM range, it still might be best if you’re drunk or high to get with this. Minimalist throbbing beat, wambly sonic drippings heaped on top. Not much in the way of melody, but you get some twisted mangled voices. It clicks apart at the end, not a bad tune
Warning: This plan does not involve the use of the words units or paradigms or digital content strategy or platform.
1. The use of mp3s will be for streaming and marketing only.
2. The default format for the music business will be 88.2/24 bit .wav files or above.
3. Music listeners will preview all purchases online.
4. When they want to own a recording, they purchase the files and the files are deposited in their cloud account from the server of their online store.
4a. Listeners will own those recordings even if they drop their streaming membership.
4b. Listeners are able to do with those files as they see fit — resale is not permitted. If some sort of embedded id number is put into the files to track ridiculous anti-artist file sharing, so be it.
5. There will be a minimal monthly charge to stream and file purchases should be $5-7 per recording.
6. If music listeners consume more music, the price they pay will drop or the perks they receive will increase.
7. New bands with new recordings can sell at lower prices and older, more established acts that have paid their dues are free to sell their recordings at higher prices. Prices for recordings can move up or down as demand moves up or down. Dynamic pricing will be a part of the music business.
8. Some sort of equipment subsidy should be adopted so that listeners are listening on equipment that makes their listening experience better, not worse. Maybe increased consumption entitles listeners to upgraded music gear.
9. A non-PR oriented music filter should be built into these stores so that new recording artists are able to develop organically. The filter should not be centered either around paid publicity or fan voting — neither one currently works.
10. Artists and music labels will put their 88.2 .wav files in one location that all stores will use to move files to customers. They will received detailed but not invasive information regarding who is streaming/listening to their music and who has purchased it. They will be able to get enough information to establish relationships with listeners outside of the store.
Listeners will be able to preview music and not be ripped off.
Listeners will be encouraged to consume more music as they consume more music.
Listeners will have a great sounding format that is easy to purchase online.
Listeners will be able to bring back the music business.
You heard it here first.
No inspirational thoughts about how great the music business is today.
@@@ Duke of Straw has this Neal Casal as his favorite song of the week. Nothing ground breaking but a strong voice.
@@@ Check out some ambient tape lo-fi from Russia’s Curd Lake over here at Russian Adults. I dig the third tune, kinda haunting like that Mike Watt answering machine message on Sonic Youth’s Daydream Nation.
@@@ Over here at Abeano Music you can read about and check out the band Virginia Wing. It reminds me of the Mamas and the Papas, I think the chord progression is similar.
@@@ I don’t know why a blog that features acoustic music almost exclusively would be KickKickSnare, but it’s a whacky world.
Here’s a pretty straightforward indie ballad by St. Lucia. He’s got a good voice, I don’t care that much for the song but check it out.
@@@ We’ll wrap up this week’s listening with a tune off Vijay Iyer‘s new record Accelerando. I could have sworn I heard a riff from Michael Jackson’s tune ‘Human Nature’ tucked into this tune. I shit you not.