Listen Twice

Back earlier in the summer I made a post about eMusic selling out and at the time considered quitting the service entirely as some sort of a boycott. Like any hardcore addict however, I was not able to simply discard my paraphernalia and be done with the whole scene. While the changes eMusic made this past summer were almost entirely deplorable (album-purchase-only tracks and full-download-only albums being prime among them) the service remains an excellent source of indie downloads. The main reason I had initially considered a boycott was that my downloads were reduced from 65 a month to 37 for my $15 subscription. This was a change in pricing structure that seems obviously made to appease eMusic’s latest catalogue addition (Sony) who like all major labels are reluctant to sell their music for less than a certain amount even though it really doesn’t mean less money for them.  Since the change was made however it seems that eMusic has been going out of their way to fix the PR problem they created, especially for long time users such as myself with “grandfathered” subscription plans that gave us more downloads at our price point than newer users and who because of this fact obviously lost out on more monthly downloads than others. What eMusic has been doing is giving us ways to get more free downloads. It started in August/September when they gave users with older accounts 50 free downloads. The catch (like the monthly downloads) is that these downloads had to be used before the beginning of my next subscription period, ie. within a month. The next bonus was to give 10 free downloads for rating 10 albums, a virtual freebie. One would think that I couldn’t argue against such a wealth of music downloads, but it would seem that I can.

Over the last year specifically I’ve decided to adopt a more regimented listening procedure for new music. I have two iTunes playlists that aid me in this task. The first is my “never listened ‘09″ list, which contains anything I added to iTunes this year that I have not listened to yet. The second list is “listened once ‘09″, which contains tracks downloaded this year that have only been listened to once so far. The idea of these lists is to ensure that I listen to everything at least twice. To most this might seem like unnecessary organization, but the fact is that when I started monitoring what I had downloaded but failed to listen to at all (let alone twice) late last year, I came up with a surprising amount. The simple fact of the matter is that I acquire an enormous amount of new music every year.

Now let me make a quick aside here and say that I realize that in this age of digital downloads it is not uncommon for most people to acquire a ton of music at once, but in my experience the average person tends to download (or acquire from friends) a number of tracks that they never plan to listen to. This often manifests itself when Person A looks at Person B’s iPod and sees a bunch of tracks that they don’t have by an artist that they are marginally aware of. Rather than pick and choose (because they don’t know the name of the song or songs they like to begin with) they transfer all the tracks to their own iPod and have all of a sudden have acquired several hundred new songs 90% of which they will never nor have the intention of ever listening to.

I’m a music lover, I acquire music in order to listen to it and due to the fact that I only acquire music legally (that is to say I pay money for it) I have more of an incentive to give it a listen, thus the two playlist system I mentioned above. At this point in 2009 I have acquired 1236 new tracks. Over the last month I’ve probably acquired somewhere in the neighborhood 160 new tracks between my 87 (37 + 50 bonus) eMusic tracks in September and the purchase of several CD’s. My “listened once” play list has about 180 tracks in it at the moment, with some tracks going back as far as this past July. I’d say that only half of that 180 are tracks from this past month.

Anyway, the problem I’m running into is that my two playlist system was designed to alert me to un-listened or under-listened tracks and force me to give them a spin. The problem is that the more tracks that pile up, the less likely I am to give them a quality listen and the more likely I am to just play them without really getting what I’m hearing. This of course leads me to my point. Reducing my monthly downloads from 65 to 37 was almost a godsend, giving me less to listen to and more to spend quality time with. And now that I live near two decent record stores and have access to physical media of catalogues not available on eMusic, there’s even more music to discover and I always prefer physical media to digital. If eMusic insists to giving me free downloads though then I’m going to have to use them and the problem that arrises is that I’m not downloading quality music, I’m downloading things on a whim, which works out sometimes, but more often than not winds up flat. The result is that I’ve listened to a lot of mediocre music lately and I almost want to quit eMusic in order to reduce my music intake to only what I can find physically, thus focussing my listening (ideally) on music I’m going to like more often than not. Ultimately I wish that eMusic had a per download pricing plan with the same low per track pricing as their monthly subscriptions, because there’s going to be stuff I’ll only be able to find on eMusic and I don’t want to miss out on it. The question I guess is whether the frequency of good finds on eMusic is worth the glut of mediocre picks I force myself to make in order to satisfy my subscription purchase?

eMusic Sells Out

I used to be proud to be an eMusic member, but starting July 18th that’s not going to be possible anymore.

Back in 2004, my friend Scott turned me onto something called eMusic, a service that would allow me to download 65 tracks for only $15 a month. Now you have to realize that this is back when the iPod was only a year old and before everyone and their grandmother had cell phones capable of holding multiple gigs of music. Back then the only places you were going to get MP3’s were iTunes for .99 a song or illegitimately. The only other options were the places that would let you stream but not own. EMusic not only provided DRM free downloads, but focused on independent artists. Needless to say, this place was ahead of it’s time.

A couple years after that, eMusic changed it’s pricing plan so that $15 only bought 50 tracks a month, but members with existing plans (including mine) did not change and for $15 I still got my 65 tracks. As if I didn’t have enough reason already (eMusic having introduced me to dozens of bands whose music I would never have found otherwise) this made me want to champion eMusic even more and until now I’ve always told people of all listening habits that this is simply the best place to get music for a decent price.

I can understand why many tracks on iTunes sell for .99 because the fact of the matter is that so much popular music isn’t worth buying an entire album. Given a model where artists produce 2-3 good songs out of every 12 and a public that only consumes what they’ve already heard or what someone else has told them to buy, selling single tracks at a cost designed to make up for lagging album sales makes sense. It isn’t the same with many independent artists and the people who listen to them however. We’re overwhelmingly a group of people who care about albums, as we’re accustomed to seeking out good music and not just consuming what we’re told is “cool” by the RIAA, MTV, and others who would see the soul sucked out of music in pursuit of dollar signs and not artistic expression.

EMusic made a deal with Sony recently to offer downloads of their back catalogue of songs older than 2 years. One can only assume that the deal has a hefty price tag or that Sony won’t stand for it’s tracks to be offered at the lower price offered by eMusic because starting in July the number of tracks being offered per month for existing plans (including grandfathered plans like my own) will be dropping, effectively passing on the price of courting Sony to every single member of eMusic. The biggest slap in the face however comes to peope like myself whose grandfathered 65 track plans will be cut nearly in half to only 35 tracks a month for $15.

EMusic is attempting to sell this change as a boon to everyone, a win-win situation that allows eMusic not only to increase it’s own revenue, but provide a larger catalogue to it’s users. While I can’t argue with eMusic wanting to make more money and increase it’s catalogue, I take issue with the manner in which it manifests itself. The question to ask is whether eMusic’s existing members really want Sony’s back catalogue? There’s no doubt that eMusic stands to make more money even knowing that they will likely lose existing subscribers over this deal, but where’s the loyalty to those of us who have been dedicated downloaders for over 5 years? Where before eMusic was a company and a site that I could feel confident in supporting, they have now resorted to the same empty tactics of greed that seem to drive all capitalistic pursuits. I suppose it shouldn’t surprise me, but for a company that has done so much to bring independent music to the ears of so many people – music that is nearly impossible to track down in a physical form in so many locations throughout the country – to make a decision so obviously based on satisfying the masses and the status quo is disappointing to say the least.

I used to go to eMusic to take a chance on things that were new as well as download artists that were difficult to find in my area. With the halving of my monthly downloads I don’t know that it makes sense to continue my subscription, but above the cost is the principal. I’d gladly pay more money for more independent music, but Sony and their major label ilk are part of a dying system doing everything in their power to wring money from consumers without providing anything more of value. For eMusic to support this is contrary to what I believed the spirit of such a site was and while the sad truth is that this deal is likely irreversible, I don’t have to see my money go to support it. When my subscription to eMusic goes to renew in July, I have to recourse but to cancel. It may not be convenient, but given the choice I’d rather support independent music directly instead.

Stupid (good) Music

There needs to be some kind of name for people like me because Music Snob just doesn’t cut it. We’re really more like vegetarians or people who only buy organic food. We prefer independent music, the harder to find the better. So imagine my surprise when My Chemical Romance released a really kick ass Glam Rock album. Now this is a band that I would never listen to and have expressly tried to avoid, but last year The Black Parade came out and for whatever reason my Dad (obviously having heard good things) picked it up for himself and had me listen to it on our way home from the airport last Thanksgiving. I’ve listened to it several times since then and every time it infuriates me simply because it’s really good, but from a band that has done about as much to sully the good name of Punk music as anyone has. I suppose I can take some solace in the fact that it’s a Glam Rock album and about as left field as you could expect a Pop Punk band to go. If they were going to make a decent album, at least they defied convention to do it and that I can support. Still though, it infuriates me!

Indie Chicks

I need to stop being attracted to cute indie chicks. Cute indie chicks are always either way too energetic for me or have tons of baggage. But they’re cute, hence the problem. On the internet dating sites I list Eternal Sunshine of the Spotless Mind as one of my favorite movies, because it is. It’s also a great conversation starter, because I think something like 9 out 10 women I would consider dating also like this movie. I like the movie not only because of the excellent acting, direction, writing, and production, but also because I can extremely identify with the main character. I am that guy, the introvert indie guy who falls in love with any woman who pays attention to him. I’m never gonna be the one to suggest we do something exciting and adventurous, but I’ll come along for the ride.

The problem with my last indie chick realtionship was that she wanted someone who was going to show her a good time…actually she wanted someone who was going to do all the work period. Old-fashioned in a modern way. Maybe I’m just too comfortable doing nothing. Maybe I’m tired after making decisions for other people all day at work and don’t want to do it on my off time. Who knows. I’m just tired of being attracted to all the wrong women in hopes that some day I’ll find that one indie chick who wants someone as opposite from them as I can be.

In Rainbows

Still waiting for Radiohead to tell me that I can download their new album. Just the fact that Radiohead left EMI and is publishing themselves now is awesome, but add to that the fact that the new album is only available online through them and it’s ten times more awesome. Why? People are going to have to work to get the album. Granted, they can get it for free, but they can’t just walk into a store and get it. I just hope that there are people who won’t end up getting this album because it’s only available online. I’ve been to Radiohead shows and one thing a real Radiohead fan knows is that more than half the people there, don’t deserve to listen to Radiohead. They don’t get it, they’re just there because they’re followers, they’re part of the flock. Radiohead has been mainstream since day 1, but they do things they’re own way and you never get the feeling that they sacrifice their integrity in order to sell records. If that were case then the last three albums would have sounded just like OK Computer. Radiohead is a mainstream band with an indie attitude and it’s nice to see them doing their own thing now and spitting in the eye of conformity once again.

Now if I could just get the email telling me I can download the new album…

Movie Season

It’s easy to forget that I have a degree in film making. I don’t really use it in my everyday life, though I assume the lessons I’ve learned during my education have helped me in other ways. Starting around September every year I start to remember that BFA in film though.

For most people, the big summer blockbuster season is what they would think of when they hear a term like “movie season”. For the people like me, we live between the end of summer and the beginning of spring, that period of time when the studios release their Oscar contenders and niche films. You can usually count on movie season beginning around november and lasting until the middle of February, but this year movie season is starting early.

I’ve already mentioned The Darjeeling Limited, Wes Anderson’s new film and the harbinger of this years movie season on Sept. 29th. Soon after we’ve got Grace is Gone, starring John Cusack. We’ve got a Ridley Scott movie in November and the latest from the Coen Bros. as well. I’m sure there are also a few decent non name films in the mix as well, but the point is that starting Sept. 29th I can go to the movies and see something genuine again.

Don’t get me wrong, I like the summer blockbusters as much as the next guy, but I live for the movies of substance. These are the kind of movies I consider to be date movies, because if you’re going to go out with me you have to be ready to deal with my love of bittersweet drama and indie-pseudo-romantic-comedies. The movies are coming…now I need a date.

Big Budget Indie Filmmaker

I just took a look at the trailer for the upcoming Wes Anderson film “The Darjeeling Limited” and I came to the realization that Anderson really kind of sits alone as a big budget indie film maker. He’s at a point in his career where he’s enough of a safe bet for studios to spend money on him, has top talent lining up to work with him, but still makes movies that feel like the work of an indie filmmaker.

The other thing I realized is how much more interesting life would be with a Wes Anderson movie soundtrack playing in the background. Wes Anderson does for indie singer-songwriters what Tarantino does for 70’s R&B. I desperately want to peruse Wes Anderson’s music collection.

I’m heading out to see The Simpsons movie tonight. Granted, award-wining cinema it may not be, but there’s something about a Wes Anderson trailer that makes me want to sit alone in a dark theatre surrounded by strangers. Regardless of what the film is, there’s something magical about the big screen.

I want, I want, I want

I want to be 18. I want to 18 and in DC. I want to be 18 and in DC and in college. I want to have friends who like to go out and do things. I want to explore the city. I want to be taken new places. I want to figure out what is fun to do here. I have no repertoire of “fun” in this area. I have no idea what there is to do for fun except the national mall and museums and that’s not really what I call fun.

If I was in Boston with the kind of free time I now find myself with then I would know exactly what to do. More importantly, I’d know what to do on dates. I have no idea where to take someone on a good date around here. If I was in Boston I could suggest going to Harvard Square, Fanuel Hall, Newbury Street. I could suggest going for drinks and James’ Gate, Flann’s, The Cask and Flagon, The Other Side Cafe, or any number of other places. There are places to get dinner that are out of the way and different. There are places to walk, trendy shops, indie shops, record stores, galleries, old neighborhoods, new developments, places that I know.

I lived in Boston for the better part of 10 years. I went to college in Boston and I explored the city to the point where I can give directions to Fenway park from any point in the city. I don’t know DC. When I meet someone new I don’t know where to take them. I don’t know what’s cool and what’s lame. I don’t know what’s fun and what’s boring. I don’t know this place and I don’t know how to know it. I’m alone exploring an alien landscape, but not even exploring because I don’t know where to begin.

At first I tried, within my own city, but there’s nothing here. DC may hold more, but where to begin. Where is the good and the bad. Where should I avoid, where should I explore. How can I be fun and exciting, and confident and interesting if I don’t know where to go? I’m drowning here and I don’t remember how to swim. It may not even be the city, perhaps I’d be like this anywhere. I think maybe I spent so long trying to attain my career that I forgot how to have fun. I don’t know where to begin.

h8 teh wax

I may be elitist when it comes to music, but I’m not so elitist that I’m into vinyl. I don’t listen to music at home anymore. I listen to music in the car and at work and gone are the days of my carrying around a binder of 60+ CDs to choose from when I’m out and about. I take my collection of MP3’s wherever I go; 7500+ tracks that represent at least 90% of my total music collection. When I buy a new CD it goes right onto the computer and from the computer to the MP3 player. Analog media is dead to me! Physical media in general would probably be dead to me as well if I didn’t enjoy hunting for music so much. But why, in this day and age of direct downloads are bands releasing on vinyl only. It’s a level of snobbery that I can respect, but when said band is really good and the only way I’ll ever get to own their music is to order their archaic grooved disc I get a bit miffed. Not to mention that were I to acquire said disc I would also have to acquire a turntable, find a way to feed it into the computer, and spend time painstakingly separating one giant recording into individual tracks with Audacity. My hats go off to the likes of Damezumari. I love your music, but it’s obvious you didn’t have people like me in mind when you recorded it. I both respect and loathe that.

RIP Punk Planet

So I decided to log onto punkplanet.com to find out if the new issue was out yet only to discover that it is indeed out…and it’s the last issue ever. There’s so many bands out there in the world of indie music and while I didn’t always agree with Punk Planet’s reviews, it was nice to have a place that at the very least sorted the truly indie from the mainstream and poser indie scene. That’s gone now, and come two months from now (when the next issue of Punk Planet would have been available) I’ll find myself in the usual situation: awash in a sea of lame bands all vying for my attention. I rarely listen to anything unless I hear about it via word of mouth, via Punk Planet, or if a track comes on Pandora and I dig it. With Punk Planet gone and Pandora (and all internet radio) in jeopardy, I’m back to word of mouth only. I guess it’s not any different than before I started picking up Punk Planet, but making a list of bands to be on the look out for every 2 months gave me something to do for a while. It gave me a reason to get out of the house and hunt for CD’s. Now I’m back to eMusic as my main source of new music and while I love the service, the number and ease of the DRM-free downloads, I like hunting for new music in stores.

People sometimes wonder why I go out of my way to listen to non-mainstream music. I do it because there’s plenty of good stuff out there that no one ever notices. Granted there are mainstream bands who really work hard and make good music, I’m not complaining about them, but the cast majority of the mainstream is about money. If most mainstream bands had to defend their bland, overproduced, formulaic music they wouldn’t be able to to. The real bands, the hard-working indie bands, the people who are making music because they love it and who struggle everyday to continue doing what they love, those are the real musicians. Most people don’t care, but intent is important to me when it comes to art, I think it’s why I don’t like Andy Warhol. All Warhol ever did was spend money to make art that he knew people would fawn over. He played the mainstream game for money and fame and laughs. He didn’t care about his work, he cared about his image. Real art comes from the soul, it’s what you’d be doing even if the whole world was standing in your way. That’s an ideology I can get behind because it’s something I’ve done and I think that people who are like that, musicians, artists, etc. should get the support they deserve instead of the posers who strive for mediocrity because they know it will sell.

Punk Planet is just another drop in the bucket of the indie world, another symptom of a society that glorifies the most advertised things as opposed to the true works of genius.