Archive for the ‘Music Biz’ Category

Sounds Like Clouds

Wednesday, July 8th, 2009

If you’re seeing this in a browser, I would also like to direct your attention to the little box in my sidebar that requests sharing music.

Music sharing–in the literal sense and not the elusive incarnation that the music industry can’t seem to figure out how to harness–just got a lot more social, which is the direction I have so desperately wanted it to move for such a long time. I am particularly interested in how SoundCloud offers listeners a chance to be a part of it and lets them COMMENT on the SONG ITSELF. Just mouse over my track above and you’ll see what I’m talking about.

Where before it was kind of a pain to try to get people to listen to each others’ music, I think this SoundCloud contraption can really help to change the game. They’re not a game-changer in and of themselves, but they will definitely help move it along if enough musicians catch on.

But at this point I can’t help but feel there is one perplexing thing about me blogging this just now. The company has existed since 2007 so why hadn’t anyone told me about this earlier? Or even linked me to the SoundCloud blog which is chock full of links to useful web-based music tools? Or that SoundCloud hooks up into my other favorite social networking sites pretty easily?

In any case, it’s encouraging to see that collaboration among musicians has been getting the attention of people who are building tools to facilitate music-making. Being able to give each other listens and peer advice from all over the planet is more important than we give it credit. Sure, we’ve had YouTube musicians (which, let’s face it, are 92.4% comprised of acoustic guitars), music software message board communities, and MySpace for a long time, but I like seeing web-based tools go up in the name of music community as the primary interest and not just the after-thought. Drawing attention directly to the music makes the site feel like it has a point and a purpose instead of being just a digital web playground where artists and labels and management and venues litter flyers all over the place.

Neglecting the obvious social networks for music or musical sectors of existing social networks, I think that moving forward I’m definitely going to be using SoundCloud for musicianship and ReverbNation for promoting.

Pretty excited about this. Perhaps excited enough to be motivated to finally getting around to writing some new music.

Now, the next task is to find the right listeners.

Jump In.

Thursday, October 23rd, 2008

Wow, I haven’t posted anything all week.

This is a short one, but I just wanted to plug the music magazine industry and the video game industry are having one steamy affair lately, and like any good networker, a handful of friends, coworkers, and I are heading out to mingle at this event:

Is anyone else going?

If you’re going, meet me at the bar.  I’ll be the drunk guy with the glasses and long black hair.

To Here Knows When

Friday, October 3rd, 2008

Audio [aw-dee-oh] n. – of, pertaining to, or employed in the transmission, reception, or reproduction of sound.

-mancy [man-see] suff. – a combining form meaning “divination,” of the kind specified by the initial element: necromancy. [Origin: ME -manci(e), -mancy(e) < OF -mancie < L -mantīa < Gk manteía divination. See mantic, -cy]

I saw My Bloody Valentine last night and if I’ve ever been convinced that someone has magical powers it isn’t that tool David Blaine.  Kevin Shields may very well be an audiomancer. To take a guitar and run it through enough guitar effects so that an entire venue and every molecule in it begins to shake violently — that is no ordinary feat.

To be honest, there really aren’t any words to describe this experience.  Which is a shame, because description is the expressed duty that words have.  And it’s not because I’ve loved this band for a long time and shit a brick when I found out they would be reuniting; not because I’ve learned so much about guitars from reading about and listening to this band; not because they are officially the loudest goddam thing I’ve ever heard in my entire concert life which consists of 200+ shows where a sizeable chunk of those are straight up noise

It’s just… well, you had to be there.

If you Google the band, or Twitter search, all you’ll see about My Bloody Valentine (or alternatively, MBV) are about how loud they were and the ensuing euphoria that came from it.

Granted, a lot of people I know who simply can’t handle loud volumes would have just gotten their asses kicked from the show.  People who can’t handle washes of noise wouldn’t have been able to handle the show closer.  You kind of have to “get it”, but when you’re in it, I don’t think it’s really all that hard to “get it”.

Kevin Shields isn’t a god, because that’s a cliché.  Godhood is reserved for people like Thurston Moore, the number 7 according to Black Francis, and apparently Clapton.

But he must have figured out that he is some sort of superhero, or has figured out some kind of divination via guitar.

It’s the only explanation.

OMFBV!!!!!11!!

Thursday, October 2nd, 2008

My favorite* band is playing tonight.

:)

*This is a hard thing to decide, but I’m pretty sure it’s accurate.

Music Consumer Guerrilla Ethics

Monday, August 4th, 2008

Everyone’s a music expert these days.  I’ve found that musicians and music afficionados have a particular conviction on how and why they consume others’ music.

So in a post less wordy and completely not as self-indulgent as my usual blogginz, I’m going to present a flow-chart on what I think should be the new ethics for music consumption.  And I want your opinion!

Granted, this chart may incite deliberation on what qualifies making a label “major”, but this is a work in progress.  This is, however, based on the fact that musicians signed to a label make no money and that finally, the industry is getting its just rewards for exploiting musicians.

Knowing how real music fans treat music could lead us to a better way for the industry to stop doing the dance with obsolescence – and will hopefully lend some insight as to how to get artists paid, and how then we, as consumers, can get a better product.

So tell me: How do you support music?

Another Weekend Behind Me

Tuesday, March 18th, 2008

In chronological order:

Friday can mostly be attributed to musical at the Pasadena Playhouse that Stuart treated us (us = Fred, Evan, me) to see called Mask, which was originally a 1985 movie. Would I recommend it? Meh. No complex conflicts between any characters or ideas, over-the-top and grandiose songs written exclusively in the major scale, and more so than anything else: cheezy cheezy cheezy. I particularly enjoyed Stuart’s later described train of thought during the opening number: Oh crap. My friends are going to kill me. All in all it was enjoyable escapism, but nothing as intellectually or even emotionally stimulating as what Stuart usually takes us to see at the Playhouse.

Saturday gave me a night at work I’m going to remember for a while, because not only was the music my particular cup of tea, but was another night that helped to restore my faith in underground music in Los Angeles. When only one local band is able to support a bill almost entirely made up of touring acts, and is able to generate enough money at the door so that all five touring bands were able to take some gas money on their way out.

Men of the group Beware of Safety, I raise my goblet to the gods of rock that guide your path. May you slay many a dragon.

For those of you interested in the bands that played that night, or are even just interested in ENORMOUS crescendos, I recommend taking a listen to the following acts:

If it helps, all of the guys in these bands are nice people who are also good drinking company.

And yes, there were six bands in our tiny little bar on Saturday. That meant that after cleaning up after the show, dropping my brother off, and then driving back to my apartment, I got to bed around 5 AM. And I wonder how my circadian cycle is always messed up…

Sunday was spent mostly doing catch-up freelance and laundry. The only other thing of note was going out for sushi.

And now the work week is in mid-flight, and this week has been particularly intense. How do I have time to blog? Well, this what I do when I watch progress bars.

10%…. 30%…… 35%……………….

…38%……

…38.6%…

Screw this, I’m getting a coffee.

Airplanes

Tuesday, March 4th, 2008

Okay! Thanks to some really rly rly good criticism based on what Fred and Karmen said about the original draft, here’s the full instrumentals for the newest draft of the song from last month, airplanes:

    Liner Notes

  • I still need lyrics. I wonder what this song will be about? Since I named the save file as “airplanes” I can only assume it will be about exactly that… but what to say about them? Lyrical content ideas encouraged; ideas for melodies gladly accepted into consideration.
  • Quiet (verse?) part extended
  • A real drum set added! Okay, well the samples are from a real drum set, but I think it sounds close to a real drummer.
  • Rhythm guitar and real bass added, for fleshing out the bottom end
  • In lieu of a piano, I used a clean guitar for twinkle-y sounds. Not too overbearing, I think. Maybe one day I’ll get a hold of a real piano – but I can’t stand not using a Grand (or even a baby grand) because that’s the only piano tone I really really like. So possibly that will be in the next revision.
  • Ditched! The song ends the same way it did before, only with a lot more thrown in to it before it all cuts off. Now, with even more ditching.

Burst and Bloom

Tuesday, February 12th, 2008

I was editing some recorded rehearsal audio when I came upon something neat.

Oh wait, I have to set this up: You see, some musicians feel it is necessary to “jam” in order to bring out something spontaneous and also to generate solid ideas and fodder for structuring songs later on. “Jam” is actually a technical term, and not just for fruit preserves.

Having some nice little tools that let us record our gatherings on the fly, the musicians of the newest project I’ve joined had decided to record said jam. This is so that we would be able to revisit the recording during our regular work weeks; so that we could pick out the pieces we liked to construct into a song later. I’ve done this before with other musicians, too, but of course with different personality dynamics come different jamming dynamics. The interesting thing about this group’s dynamics probably has something to do with the fact I’ve known for a while now (and one of them I’ve known for 23 years). I believe that this group has the ability to “read” each other. I don’t know if “reading” other musicians is also technical term (thus the quotes), but for me, it’s that non-verbal connection you have with other musicians that communicates upcoming changes in mood to the music. It’s when everyone is improvising and at the same time keeping up with each other. If you’ve ever seen improvisational jazz or any band of the eponymous jam band genre, you know exactly what this is.

If you’re a musician, I highly recommend honing your jamming skills if you haven’t already. Being a part of this lilting motion hits you at the core of your very being. It is actually pretty intensely spiritual being part of a group of musicians who can read each other. And this is probably the reason I’ll never love a lady as much as I love my guitar.

Ooh… unless she could read me as a musician. Any girl who could do that would own me.

In any case, here’s what I was talking about at the top of this post:

I’ve never actually heard it before because I’ve never been on the audience side of it, but there is this entity that occurs in jams that are solid shifts that sound planned. Noting that this is a “jam” and that no arrangements were made, I found one segment of our rehearsal that moved very quickly from aimless noodling to a solid theme — and I think it’s pretty neat!

I like to think that it’s the sound of an idea being born.

And because this is my blog and I have no problem shamelessly putting you through demo hell*, here’s that moment:

*Demo Hell: [noun] Term used to describe the state of being forced to observe another’s self-employed demonstrations of often amateur efforts in the creative and/or performing arts.

Squarepusher is yr fking daddy.

Tuesday, January 29th, 2008

Who says drum machines have no soul?

I have evidence to the contrary:

(thanks, ernesthenders, your work is great)

Wolves and Mice

Tuesday, January 8th, 2008

I don’t care how good your band is, please don’t name your band after anything wolf or mouse based as I am having one hell of a time distinguishing between them all. Imagine the dilemma I am in discerning the difference between these bands while engaging with music aficionados:

Wolf Based Artists:
Wolf
The Wolf
The Wolves
We Are Wolves
Wolves in the Throne Room
Wolf Parade
Wolfsbane
Wolfsblood
Wolfson
Wolfspider
Wolfstone
Wolfman
Wolfmother
Wolf & Cub
Wolf Eyes
Wolfsheim
Cry Wolf
Wolfgang
Mouse Based Artists:
Mouse
Mousetrap
Modest Mouse
Mouse on Mars
Soft Mouse
Mouse Fire
Mouse Head
Danger Mouse
Mice
The Mice
White Mice
Pink Mice
Ghost Mice
Bats & Mice
Mice Parade

Keeping in mind these are only a few of the wolf/mouse bands with which I’m familiar, imagine my frustration (despite actually liking the music) upon discovering this band:

Wolves and Mice

As if the confusion between* Wolf Parade / Mice Parade wasn’t bad, now we have Wolves and Mice. Fucking assholes.

*edit. thanks, katana!