October 8, 2011
Two deaths loom large this week. The first is of a seminal figure in the history of the acoustic steel string guitar, folk innovator Bert Jansch. First coming to widespread attention as a part of folk/ jazz fusion pioneers Pentangle, his playing was influential on more than one generation of guitarists, starting with his contemporaries such as Jimmy Page. Here’s his obit in the Guardian: http://www.guardian.co.uk/music/2011/oct/05/bert-jansch and here’s one from The Quietus: http://thequietus.com/articles/07121-bert-jansch-obituary
October 1, 2011
Previously on Saturday Summary, Carmen is becoming suspicious of Raoul’s friendship with Anneka, while Jackson is paranoid that The Beast suspects him of involvement in Algernon’s disappearance… And also, I didn’t post any how-tos or regular bloggery, because I just got carried away with all the exciting Facebook news (yawn). So here’s a more balanced selection of links in the absence of any Major Events.
September 24, 2011
This week your intrepid investigative correspondent has conducted a great deal of painstaking and potentially dangerous research, to discover that the main story around the new music industries is the f8 Facebook conference. Frankly I find the whole thing rather tedious, as my personal interest is in the varied, individuated, customized and hackable, rather than the monolithic and conventional, but it’s moderately likely that the announcements have some real implications for people’s listening and sharing habits in the near to middling distance.
September 10, 2011
As far as I’m concerned, extending the copyright in sound recordings to seventy years is a depressingly retrograde step. The argument usually advanced is that royalties on recordings represent an important income source for aging session musicians who failed to make any provision for their old age. Well, I also have failed to make any provision for my old age, but when I’m old I won’t be asking anyone to carry on paying me for work I did in my 20s and 30s.
August 13, 2011
The big news this week is the return of the legendary Oliver Arditi to the world of regular music news posting. Okay, that’s bollocks. I don’t know what the big news is, because I haven’t been paying much attention, but here’s some links I found what you might find interesting.
July 16, 2011
The big news this week is Spotify’s North American launch, but there’s really nothing to say about that so far. It will have some kind of an impact, but exactly how much of one remains to be seen. I don’t know what the end user deal looks like at launch, but here in Europe it’s gone very crappy for those on the free version. It’s certainly true that listeners don’t really care whether or not they ‘own’ a sound, as long as they have access to it, but whether Spotify offers the most attractive means of access for Americans I don’t know.
July 9, 2011
A few scattered shots in the long range artillery duel over free music this week, but nothing dramatic. Lots of interesting articles though, on various topics. http://dj.dancecult.net/index.php/journal/article/view/81/134 This is a really interesting and in depth article on the role of militarist imagery in industrial music, but its observations are clearly applicable to other musics that utilise similar visuals. There’s often a deliberate conflict between the associations of imagery and the use to which it is put, but often it is a less aware appropriation, as made clear by the musician in this article who seems to think that saying he uses military uniforms because he finds them sexy is the end of the debate…
People send me music faster than I can write about it, so I write about the submissions I like the most. I no longer actively solicit review materials, even if I absolutely love something. If you don't send it to me, I won't review it. If I pay for it, I won't review it. If it isn't (and won't be) available to my readers as a download or physical media, I won't review it. I enjoy listening to, and will review, music in any style whatsoever.
If you have a physical package for your release, contact me for my address, as that's my preference, but if it's a download, just send me the link. When you submit digitally, I need the files on my hard disc: I won't review a stream, and I won't listen to a stream and tell you whether or not to submit. If you want me to consider your release for review, then submit it. Digital submissions need to arrive in a single folder with all of their metadata (ID3 tags) correctly set – track, artist and album names typed as you want me to see them – and with the artwork attached. If the release doesn't archive in my iTunes library as a single album, or I need to type in any of the info myself, I'll just bin it. I don't review music I've paid for, so if you send me a link to a paid download, I'll ignore it. If you don't understand any of this, ask someone before you submit. Don't ask me. I will review your release based on the information you give me (a link to your website is fine), so if you want me to list the correct price, release date, label, catalogue number etc., that's down to you. I make no promises about whether or when I'll review your work, and I won't discuss my decisions about what I do and don't review. I give preferential consideration to physical submissions, but I receive too much music in all formats to make any guarantees. The very best music I receive, and that I can think of the most to say about, will get a feature review, but if I review it at all it still means it's among the cream of the submissions, so don't be disappointed if it's a short write-up in a post with a lot of other releases.