Just a couple of videos to get things going on a Monday morning:
Streetlight Manifesto, “We Will Fall Together”:
Paramore, “Pressure”:
Both videos are courtesy of Fearless Music, who are good enough to enable embedding on their YouTube channel. Thanks to Fearless, Streetlight Manifesto, and Paramore for letting us share the music.
From Cracked, via Metal Injection and Metal Sucks, with much debate and “OMG GRINDMETAL’S NOT ON THE CHART”, comes the following handy flowchart for identifying Metal subgenres:
It’s no secret that I have a giant crush (musical and otherwise) on Kristin Hersh (of Throwing Muses, 50 Foot Wave, and amazing solo work fame). I ran across this quote and it got me thinking:
“I don’t mind what the market is, but why is it vapid? If they’re such a bunch of idiots, why don’t you show them good music instead? They’re not going to know the difference.” – Kristin Hersh
Found here, via Kristin Hersh’s twitter feed.
Now, she’s right of course. If the reason why modern radio-filling tunes are so watery and weak is because the audience are idiots (or uncultured or what-have-you), then there’s no reason not to prefer good music on the radio. (Or movie soundtracks, TV shows, streaming Internet sites, etc. etc. and what-have-you). This to me strongly indicates one of three possibilities.
1.) The reason this stuff plays and sells is not because people are stupid or uncultured, but for some other, reason.
2.) There’s some appeal in vapid, milquetoast pop music that’s NOT present in better music.
3.) Some admixture of 1. and 2.
I have my definite theories about which is the case. But before I dig out my soapbox and dust it off, I’m curious about what others think. Any responses from my audience listening in at home?
It’s depressing enough that searching for “Whiskey in the Jar” on Grooveshark returns mostly Metallica. That one of them is labeled “Thin Lizzy cover” makes me want to chokeslam someone.
So many of my perceptive readers will know that I’m a fan not only of a lot of Dangerbird Records artists, but also that I’m a fan of the company itself. Quite honestly, Dangerbird is one of the few record labels these days that actually understands the changing landscape of music. They’re hip to new media, socially-driven advertising, and the facts and realities of selling and distributing music in a digital world.
Well, one of Dangerbird’s artists, jangly indie-poppers Dappled Cities, have a new album out. In celebration, Dangerbird and Dappled Cities are giving away the band’s last album totally free! [Link to .zip archive of the freeness!] Isn’t that cool?! Great way to promote an excellent band. Especially considering that Dappled Cities are from Australia which, for whatever reason, is often an indicator of poor performance in American markets. (Think about it. These days Americans love many Canadian bands. TONS of British bands. But bands from the Australian music scene rarely have much success in the US.)
Good on you, Dangerbird! And best of luck to Dappled Cities. Now stop reading my blather and go listen to some free Indie Pop!
Here’s Ryan Adams and the Cardinals performing “I Taught Myself How to Grow Old” (from the album Easy Tiger) live on Letterman:
Siouxsie and the Banshees, “Slow Dive”, off of A Kiss in the Dreamhouse:
Just stumbled upon some of my old Visqueen tracks and the the fit of nostalgia it inspired sent me to YouTube where I found this piece of awesomeness. It’s the music video for the coy, catchy “Crush On Radio”: