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Wednesday, 5 October 2022

I Tried Spotify For A Month And....................................

 


Regular observers will have noted my Anti Spotify feelings and I've also been made more than aware of what supporters think of it. Personally I listened on my other half's account the odd time and wasn't impressed with the sound quality. I was essentially aghast at what the artists were paid and living in a village with a poor internet connection in no way suits streaming,  But I don't want to expand on those thoughts as I have said enough in the past.

I also understand the physical media supporters' points of view. People of a certain age have collected music for many years and so they want the latest album to be on a similar format, but sadly those are a dying breed and so everything cannot be released physically due to sales numbers. I have a massive collection but it is dominated by older stuff, but I also can tell you many stories of artists or labels that did limited runs on the promise of people who said they were interested and too many have garages full of unsold copies. 

I never sold my Vinyl, but I rarely play it. I have most of those releases on CD now. In the Nineties and early Noughties, Mail Order was a saviour and so too the better Internet companies that followed them, but the cost of US Postage and now Brexit have made buying from abroad impossible. Labels such as Big Stir have found a way around it, but they are very much in a minority. It costs around 17 dollars to post a 10 dollar CD from the States. What we also have to realise is that Music has usually been driven by youth and today's youth would largely baulk at having to listen to music from a disc.

The younger audience are largely uninterested in albums now, preferring playlists or individual songs. They certainly have little interest in charts or Music on TV. There is also so much more competing for their money. Games Machines, online subscriptions for TV and Film etc. It still amazes me that people will pay £25 a month for Sky and watch old repeat channels, a thing they used to complain about in earlier TV years. The internet has been a fantastic thing for meeting fellow music fans and finding music, but you still have to no where to look or follow.

So I decided to try Spotify for a month and test those reasons for, Firstly, I can understand why consumers like it. They can listen to anything they want to free of charge. This may be with Adverts, but many can tolerate that. For those who want the advanced features and no adverts they can subscribe for a tenner a month. But why should music be free or so cheap? If you will pay £50 or £60 for the latest Game, why would you not be willing be a much lesser amount for an album or a song. No one can doubt the convenience of Spotify, but why should an artist receive so little payment and if they should, why are other trades not doing similar and losing money?

Spotify also suffers from something the whole internet does. You have to know what you are looking for to find it. A search engine cannot allow you to discover much new. So if you are looking for Bryan Adams, you will have ease, if you are looking for any new artist, tough!. For years, there have been If you like this, you may like that, but the recommendations have always been really random to the point of ridiculousness. Spotify seems the worst, pointing to other artists seems really weird with choices that have nothing in common with what you have listened to. 

After a month's use, I became deeply suspicious of the Spotify algorithms, They seemed to point me in a direction that they want me to go, not what I actually thought that the road would lead me to. You could search by genre, but my experience of genre recommendations is not good. The number of albums that I get sent that are described as Punk or Indie Pop or whatever that sound nothing like that. AOR described as Prog and Indie Guitar Pop and Power Pop described as Punk Pop are my personal examples.. 

There are playlists compiled by people, but again how do you find these people? Surely a more useful pointer would be to have links to playlists that also contain the song. I know this is too exhaustive for many artists, but to kick off new Indie artists it would be ideal. I know something like Bandcamp is a streaming site, but it only allows a small amount of listens before requesting payment and so is ideal for revealing the album itself and giving the listener the chance of hearing more back catalogue. All Spotify really does is channel the money to a corporation or at best a major label.

There is also the argument that Spotify is like a Radio Station, but you still have to know what you are looking for. How many people go on and buy the album after hearing songs they like or indeed the song? Most just add it to this to their weekly/monthly playlist. We also used to complain about the sound quality of AM Radio, well what about Spotify? It makes great productions sound like they have been recorded in the toilet next to the studio. 

My biggest concern though is how people listen. Users will listen to a song for 15 - 30 seconds and then move on, making a decision about the artist's career forever. One short listen defines a lifetime's work. Having said that I know a few reviewers who listen for similar periods. So music just becomes disposable. There is too much choice to make anything matter other than finding a song that hooks you straight away. No more long intros, no more faded up lead ins. I imagine many listen to Boston's More Than A Feeling. How many would discover it now if it was new with that gradual lead in? 

Spotify seems to make music background, passive even. No other art is treated like this. Then there are the decline in downloads. When digital kicked in, there was the problem of Piracy, there still is to a lesser extent. Physical Sales were dropping, but downloads could be sold, streaming has killed the download market, particularly with faster internet connections. Downloads were not ideal, but they still built a library, a collection and the artist was paid a reduced amount for their album. That has also largely been removed from the income potential. 

A couple of final personal thoughts. We have become a Headphone society so try listening to a streaming site on your I phone with no headphones, it is Radio Luxembourg 1967. Is this what we have become, listening to music on a phone? Music should be heard in the open. How Soulless does it feel on Spotify, it isn't something to take pleasure in. The appearance is like a black hole of doom. It isn't something that is making music pleasurable, more a chore. I understand why people use and like Spotify, it just isn't for me or the artist. Likes do not pay recording costs or bills. I do direct people to Bandcamp if possible in reviews by embedding three songs. That is simply to allow potential purchasers to buy the album.

How I listen to music :

I very rarely stream, a combination of not having a great internet connection, ditto 4G and the sheer lack of enjoyment in it. Plus my hearing is going. I review largely from downloads due to the poor internet connection and that allows me to listen anywhere, including PC and Macbook. I also am on my second Ipod and have been for 13 or so years, maybe more. It is a really convenient way to listen to downloads of full albums. I have a great Hi Fi System that gets switched on far too infrequently, but is still streets ahead of any other listening method. Bar the odd update that has lasted me for the last 30 years or so. The Amp got smashed in a house move in 2006 and so I replaced it with a second hand purchase of the same amp and that is still going strong. 

I buy CDs for my own use.


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Tuesday, 4 October 2022

IDHAS Ten Songs Mix 39



Number 39 is shorter than usual, coming in at just over 30 minutes. So you would be right in your assumption that this slight brevity is due to this week being that bit more poprocktastic. Maybe a bit more guitar led. Last week's seriously bothered the Mixcloud Global Charts as usual and I'm dure that this one will do more of the same.

The Mixcloud link is below and at the foot of the page is the Mixcloud Player which takes you directly to the music. Thank you for your continued listening. The Mix is certainly more popular than we ever expected. Thank you as always for your support.

Here is the playlist of the ten songs this week :

01 Guilty Party - Baby Bird

02 The Radio Field - Years Ago

03 Edward O'Connell - Golden Light

04 Greg Pope - Words No One Can Say

05 Sparks - Suburban Homeboy

06 Beddy Rays - On My Own

07 The Analogues Sideshow - Goodfoot

08 2nd Grade - Me & My Blue Angels

09 Scruff Myers' Superhands - Kissing For Granted

10 Bryan Estepa - Slip Slowly


IDHAS Ten Songs Mix 39



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Beddy Rays - Beddy Rays

 

The Australian Music scene appears to be revitalised over recent years, particularly Indie wise  and it is an absolute pleasure to witness. Through Pop, Rock, Psych and more, there hardly seems to be a week that passes by without some new discovery.

Beddy Rays are from Reddington Bay in Brisbane, hence the relation to the band name and the quartet specialise in splendid Indie Rock. It is a brand that is delivered at pace in an up and at 'em manner. Their debut album is certainly ear catching.



The band have been labelled Punk a fair bit, which I don't necessarily see, although I do see a little of Green Day in them, particularly in their ability to encompass different genres, the album sounds far more bombastic, much more Rock and if a band like The Killers can take over the world, then there is no reason why Beddy Rays can't. 

This is full on riff assault, loud and proud and unlike many bands of this genre, they thankfully don't want to show their soft side with strategically placed moody ballads. Only Brin's song brings down the pace and that is beautifully done.



Every song just blasts in getting to the big choruses as soon as is humanly possible. Feels Nice is nice and sleezy, close to Power Pop and at times they can get a little Garage Rock. Handful also gets a little Replacements-ish.

At other times, the album feels a little Hair Glam. Some of the Guitar solos are immense. Don't expect to sit back and listen, you'll be shaking your fist, doing air guitar solos and singing along. Beddy Rays have offered up a refreshing change and an album that you don't wear headphones to. 



You can listen to and buy the album everywhere. The full album is also available to listen to on Soundcloud here.


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Monday, 3 October 2022

Sparks - Lil' Beethoven 2022 Remaster

 

Time to return to Sparks and the 21st Century Collection Remasters as we reach the 20th Anniversary of Lil' Beethoven. My previous review of Balls didn't get as many adverse reactions as I expected. I think most fans know it is a clunker and the disappointing reaction led to a complete change of direction. The Mael Brothers felt that a change was needed and in the previous 30 years, they had never been afraid of that. In 2001, Sparks were approached to write a track for an album celebrating German Sports Broadcaster Gunther Koch. The resulting Wunderbar was Koch's ecstatic commentary phrases backed by a Sparks Orchestral arrangement.

Both the reaction and the process led the duo to follow that way and style of recording for their upcoming album having junked what was to be the follow up to Balls. I heard feedback in the lead up to the release and was a little concerned. This was to be an album of piano, synth orchestration and multi tracked vocals based on Repetition. I recalled a conversation with Mike Oldfield in which he declared that there was nothing wrong with repetition and as a Prog fan, I wasn't concerned about that.

What I was confused about was why one of the great lyricists of the past 30 years wasn't writing the wit laden songs that I was used to. But we'd been here before with the two Virgin albums and anything must be better than Balls. So I approached the album release with a little, but not overwhelming reticence. The first couple of listens had me gobsmacked. Repetition was definitely the key word. But it was hypnotic. The Rhythm Thief opened the album and the first spoken line was "I am the rhythm thief, say goodbye to the beat" although it became more au revoir in future years, there was definitely no Rhythm and no drums.

Instead, there was massive synth orchestrated songs that were more Classical in style and layer after layer after layer of vocals. No 1 In Heaven had been minimal, but that was driven by beat, here was something symphonic. Repeated listens revealed an absolute masterpiece. No one was doing something as elaborate and left field as this and calling it Pop. But it was Pop and those repeated lines across the majority of the songs became earworms. Not a chorus in sight.

The song titles revealed the usual humour. How Do I Get To Carnegie Hall?, What Are All These Bands So Angry About, I Married Myself, Your Call's Very Important To Us and Ugly Guys With Beautiful Girls et al. But lyrics were minimal, sometimes just one or two lines. The musical arrangements were fantastic and the vocal arrangements simply wonderful, but this was a very different Sparks and it was to be continued throughout the Noughties. They were to go full circle eventually with the FFS collaboration with Franz Ferdinand and then the two most recent albums which provided a lot of similarities to the Island Years.

The sheer impudence of Lil' Beethoven. Seven of the nine songs are stand alone orchestral masterpieces. The two exceptions being the wonderful Ugly Guys With Beautiful Girls adds Guitar and Drums and is a crazy 7 minutes of controlled noise with a spoken Russell Mael Vocal, lots of words and a nod to Dick Around on the next album. The closer is more traditional Sparks, if there is ever such a thing. Suburban Homeboy is wit and wisdom and sounds like something from a Yankee Doodle Doo show. There are five bonus tracks including the aforementioned Wunderbar from 2001 that kicked off this splendid album.

You can buy and listen to the album everywhere.

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Sunday, 2 October 2022

The Radio Field - The Simple EP

 


Another winner from Darrin Lee's Subjangle label which is on quite a roll. On the Review front, Darrin and I have been criss crossing recently on reviews. I'm not sure if that's me getting dreamier or him getting tougher, let's say waking up to keep the metaphors going.

I have mentioned in the past that we should do something together on the Airwaves and smash the internet. However our busy lives and my general inability to focus on something for more than five minutes holds us back.



So to the subject in hand and Lars Schmidt's The Radio Field. Schmidt's main sphere is the excellent Dusseldorf band Subterfuge, so you do expect quality. That is exactly what you get here. At its heart, it is a jangling joy, but there is more than that.

Years Ago is wonderful Brit Bop-ish jangle with more than a hint of a Peter Buck style jingling riff. Just as great is Clover which is less pacey and allows that jangle to wash over you in a slightly rockier Dream Pop way,



The other half of the EP ventures into different and a more atmospheric way. The Wait is broodingly melancholic, moody and magnificent in a way that edges towards gentle Psych Pop with its hypnotic riff and you realise that there is far more to The Radio Field than initially thought.

Congratulations is similarly a much slower affair. C86, verging on Post Punk, it is hypnotic and just grips you, particularly the instrumental closing. All in all, an outstanding EP that shows two sides of the coin. I can't wait to hear more and more. 



You can listen to and buy the EP here


As a completely irrelevant fact. I have the exact same Lamp in the cover by the side of me here.


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Saturday, 1 October 2022

Uni Boys - Do It All Next Week

 


It was Steve Coulter's recommendation that led me to the Uni Boys. I knew very little about the Los Angeles quartet, but I'm glad that I looked them up. Do It All Next Week is their third album and it is a cracking listen.

There's been real hope recently that Power Pop is being revived by bands who are taking the classic route. The Speedways probably led this revival and they get rightly mentioned for it, but they started off with the intention of a one off Power Pop album that just snowballed and so it is great seeing it start to become a scene.



The Uni Boys specialise in New Wave Power Pop. The default is UK late 70s, through Stiff Records to bands like The Records and The Motors, especially Bram Tchaikovsky. At times it is a bit sleazy and then it becomes more reminiscent of the American wave. 

I hate to compare bands to Big Star, but there is a great similarity in the sound, particularly the Guitar sound. The band seem to revel in their influences and you also get the impression that the production is deliberately a little lo fi to match the times. 



That's not to say they are stuck in Power Pop, there are plenty of hints of Glam Rock and a more Indie sound. Up To You is a wonderful mix of 60s Power Pop with Glam solos. Yet Caroline Kills goes all The Strokes and I Wanna Rock You goes all Lou Reed leading a Canvey Island R&B band.

Daily Dose is a doppelganger for The Records and yet You In My Heart is a fine slice of melodic Post Punk. Downtown even gets a little Psych Pop amongst the Glam Rock. There's is so much here to admire, Uni Boys are another band that are opening the gate.



You can listen to and buy the album here.


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31 Reviews In 31 Days

 

Welcome To October and what is traditionally a 31 Reviews in 31 Days month. I may get ahead of myself or even a bit behind, but the end result is 31 Reviews. I do try to keep up daily, but sometimes real life work gets in the way.

I Don't Hear A Single has never been about comments on the Blog. Blogger is great for a lot of things, particularly being free, but it isn't great at tracking comments. So a lot can be discussed on Social Media and there are various ways. You may have noticed that IDHAS moved away from posting every review on Facebook.

This was because I know how irritating it can be to see the same posts everywhere all the time, so I moved to a weekly summary of reviews largely. This also allowed the artists themselves to promote any review if they wished.

The 31 Days thing does post the review every day, but just one post per day across the three IDHAS Facebook places. The Social Media Links are all at the top of the page, but I give a small description of what each one does.

My own page has a large following and is usually where I am. That is my place and so includes me being the funniest man in the UK, grumbling and family. However I know quite a few musicians and music fans are Facebook Friends. It is mainly music friends. That is private, but all music posts are public and if you want to become a friend for all the other nonsense just friend request.

The I Don't Hear A Single Group does feature I Don't Here A Single Reviews, but is mainly for other musicians, fans, DJ's and labels to post their stuff. The I Don't Hear A Single page is for all things I Don't Hear A Single and has become more popular recently and is always public.

Some people prefer Twitter. I use that more for the regular users IDHAS wise and more for my own catching up with news and sport. One of the most frustrating things about Twitter is the names bands give themselves. They may be hilarious when set up, but try and find them when you are tagging a review. 

Finally Instagram is something I've never really understood. It is all just images and tags to me and following it seems a nightmare, but I know many like it. Finally, the comments on the blog has to be approved by me. It isn't censorship, everything genuine is published. It is just to avoid the porn and trickster links that used to appear when it was public.

Thoroughly bored now? Good, let us have the first review of the month.


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