Quella vecchia rubrica che una volta si chiamava "Polaroids From The Web" [*]
► «Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. [...] But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape»: stupendo saggio di Ben Ratliff sul sito della NPR a proposito di come, tra la cultura delle ristampe e il feed infinito dei social network, sia cambiato il nostro modo di interagire con il passato della musica, "Within The Context Of All Contexts: The Rewiring Of Our Relationship To Music".
► «It’s strange to think now that in 2002, you could still pick up a magazine and it would be the first place you’d read about a new band, or know if someone was releasing new music. In 2002, it was still possible to break news and surprise people in a weekly magazine»: "NME Created an Indie Scene Out of Thin Air in 2002 and Made It Stick" - VICE un po' se la canta e se la suona con la scusa di ricordare l'ultima age d'or di NME a inizio secolo, tra Strokes, Libertines e Bloc Party.
► Ancora a proposito di NME, la distopia del mondo fatto di fake news e personaggi grotteschi che sembrano disegnati peggio dei cattivi di un film Marvel si insinua sempre di più anche nella nostra bolla: "NME and Uncut acquired in deal funded by controversial Republican billionaires" (ulteriori approfondimenti qui).
► "BBC Music Sound of 2018: Will these artists define the year?": conosco cinque nomi su sedici, credo sia il mio recordo personale in questo genere di liste.
► "The Expansive Catalogue of DFA Records": sul Daily di Bandcamp, Joe Muggs passa in rassegna le più recenti uscite della label di James Murphy. Prendetevi un po' di tempo per perdervi tra questi link: non si vive di soli LCD Soundsystem!
► «A larger number of major label tracks are taken at face value and added quickly while indie tracks are more likely to have to prove their own worth with organic plays before being added. Indeed, 55% of indie tracks have to wait more than a month before being added to Todays Top Hits, compared to 49% of major label tracks. Yet despite the relative double disadvantage, indie tracks stay on Today’s Top Hits 12 days longer than major label tracks»: "Majors Get The Tracks But Not The Longevity On Today’s Top Hits", un articolo bello denso di cifre per capire come le classifiche stanno riflettendo il mutamento del mercato musicale.
► «Sticky Fingers may sell on the basis of its ample and sometimes ridiculous rock-world lore — Mick Jagger and Paul McCartney eagerly avail themselves for score-settling — but this is all incidental to the book’s grander purposes. Hagan’s most enviable feat is that he makes this harsh history readable not by portraying Wenner as a redeemable figure (there’s no goblin with a heart of gold here), but instead by centralizing the very ambitious women who made Wenner’s path-blazing possible»: Jessica Hopper recensisce la biografia del fondatore di Rolling Stone, Jann Wenner, scritta da Joe Hagan.
► Ma la notizia del giorno per me è che l'anno prossimo arriveranno in Italia gli Hater! (qui la mia rece del loro album di debutto su PNKSLM.) Ho comprato un'agenda del 2018 in anticipo solo per poter segnare col pennarello rosso la data del 3 febbraio.
► «Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. [...] But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape»: stupendo saggio di Ben Ratliff sul sito della NPR a proposito di come, tra la cultura delle ristampe e il feed infinito dei social network, sia cambiato il nostro modo di interagire con il passato della musica, "Within The Context Of All Contexts: The Rewiring Of Our Relationship To Music".
► «It’s strange to think now that in 2002, you could still pick up a magazine and it would be the first place you’d read about a new band, or know if someone was releasing new music. In 2002, it was still possible to break news and surprise people in a weekly magazine»: "NME Created an Indie Scene Out of Thin Air in 2002 and Made It Stick" - VICE un po' se la canta e se la suona con la scusa di ricordare l'ultima age d'or di NME a inizio secolo, tra Strokes, Libertines e Bloc Party.
► Ancora a proposito di NME, la distopia del mondo fatto di fake news e personaggi grotteschi che sembrano disegnati peggio dei cattivi di un film Marvel si insinua sempre di più anche nella nostra bolla: "NME and Uncut acquired in deal funded by controversial Republican billionaires" (ulteriori approfondimenti qui).
► "BBC Music Sound of 2018: Will these artists define the year?": conosco cinque nomi su sedici, credo sia il mio recordo personale in questo genere di liste.
► "The Expansive Catalogue of DFA Records": sul Daily di Bandcamp, Joe Muggs passa in rassegna le più recenti uscite della label di James Murphy. Prendetevi un po' di tempo per perdervi tra questi link: non si vive di soli LCD Soundsystem!
► «A larger number of major label tracks are taken at face value and added quickly while indie tracks are more likely to have to prove their own worth with organic plays before being added. Indeed, 55% of indie tracks have to wait more than a month before being added to Todays Top Hits, compared to 49% of major label tracks. Yet despite the relative double disadvantage, indie tracks stay on Today’s Top Hits 12 days longer than major label tracks»: "Majors Get The Tracks But Not The Longevity On Today’s Top Hits", un articolo bello denso di cifre per capire come le classifiche stanno riflettendo il mutamento del mercato musicale.
► «Sticky Fingers may sell on the basis of its ample and sometimes ridiculous rock-world lore — Mick Jagger and Paul McCartney eagerly avail themselves for score-settling — but this is all incidental to the book’s grander purposes. Hagan’s most enviable feat is that he makes this harsh history readable not by portraying Wenner as a redeemable figure (there’s no goblin with a heart of gold here), but instead by centralizing the very ambitious women who made Wenner’s path-blazing possible»: Jessica Hopper recensisce la biografia del fondatore di Rolling Stone, Jann Wenner, scritta da Joe Hagan.
► Ma la notizia del giorno per me è che l'anno prossimo arriveranno in Italia gli Hater! (qui la mia rece del loro album di debutto su PNKSLM.) Ho comprato un'agenda del 2018 in anticipo solo per poter segnare col pennarello rosso la data del 3 febbraio.
Commenti