Music Recording

Catching Up On The Week (Jan. 30 Edition)

Some #longreads as you scramble for something to do in the hours leading up to the “Big Game”

“Vinyl or CD’s?” is an argument that has raged on for decades, and the shifting fortunes of both formats in the last few years has inspired numerous articles promoting one side over the other.  LA Weekly has an extensive and informative piece on the debate, providing a history of the creation of the technology as well as insights into the music recording process to help support the claim that compact discs do in fact “sound better.”  That should be good news to record companies, who apparently view the recent surge in vinyl sales as “just a fad” even if there are reasons to believe this isn’t the case.*

We mentioned earlier this week that Sundance saw the premiere of the new Kurt Cobain documentary Montage of Heck, and because our love for Nirvana has barely diminished over the years, multiple publications from a variety of  backgrounds have pieces on director Brett Morgen and his film, including Rolling Stone, Vanity Fair, and The Daily Beast.

As a companion to our recent review of the fantastic new Sleater-Kinney album No Cities to Love, you may want to read this extensive feature on Carrie Brownstein for Consequence of Sound’s quarterly literary magazine FACES.

Do not adjust your flickering screen: Rust Is Just Right is recommending that you read an interview with Wes Borland of Limp Bizkit.  Stereogum has a fascinating discussion with the guitarist that shows his good humor and self-awareness of his place in music, and Borland provides an interesting perspective of the business and how bands operate.

And finally, Pitchfork has a couple of worthwhile pieces from “The Pitch”, both relating to leaks: the first analyzes the quest to determine whether or not the SoundCloud leak of unreleased Aphex Twin material was genuine, while the second examines the history of digital album leaks from the past two decades.

Catching Up On The Week (Mar. 21 Edition)

We don’t have any real #longreads for you to scroll through this weekend, but there are a lot of shorter interesting articles that are worth your time.  That’s probably a good thing, because I imagine a lot of people will be focused on the NCAA Tournament this weekend; then again, if you were looking for us a source of distraction, we’re sorry.

First, for the music theory enthusiasts out there, Slate did a piece on one man’s quest to determine the time signature of the theme from The Terminator.  If you’re unfamiliar with the concept of a time signature in music, there’s a quick explanation in the article, so don’t worry.  For the record, my initial guess was 10/8.

Not The Terminator, but frightening nonetheless

Not The Terminator, but frightening nonetheless

I was glad to see that one of the conditions of the settlement between GoldieBlox and the Beastie Boys was a public apology by GoldieBlox.  If the case had gone to litigation, there was a potentially an intriguing fight over how parody in certain contexts should be handled under Fair Use.  Complicating matters for GoldieBlox was the fact that they were using the parody for other commercial purposes.  After all this, I hope everyone learned this lesson: always ask permission, and make sure you get the proper license.

There have been discussions recently on the issue of audio quality and the way that digital technology from both the musician’s and consumer’s perspective has had a significant effect on recording (See “Pono”), this article takes a look at how musicians have attempted to push for greater rights and use of live musicians instead of samples.  The piece makes good points about how difficult it is to actually replicate live sounds, and how musicians (especially string players) are often screwed when it comes to compensation.  However, the article fails to account how some artists take advantage of the more mechanized sound and use it to their advantage (See the entire career of Kraftwerk).  I appreciate their intentions, but it’s not the only pathway.

On a similar note, here’s some more disappointing news for musicians: Late Night with Seth Meyers is booking fewer musical guests than the show did under Jimmy Fallon.  Billboard reports that this is by design, as the show believes that Meyers has other strengths.  Say what you will about Fallon’s ability as a late night host (and believe me, I have), I always appreciated that he would often book underground acts and give them exposure, like Titus Andronicus or Parquet Courts.  Hell, Refused even played Fallon’s show.  Hopefully Fallon will do some similar booking with The Tonight Show in the future.

Record Store Day is coming up in a month, and there are several cool releases to look forward to picking up this year.  But while RSD has provided a lot of good exposure to independent stores in the past few years and have provided a lot of foot traffic, this article explains that the type of product being offered often languishes on the shelves and other such factors mean that the “holiday” may actually hurt several stores.

CNN continues to show that they have little idea about how to do anything right.  Deadspin has a piece on how they used an absolutely awful lede in a story about Kurt Cobain.  The original article has since been altered, but the Deadspin staff had fun in coming up with their own versions of other possibly awful openers that CNN could have opted to use.

Finally, here’s a pleasant song for your weekend: Real Estate recently did a live cover of Neil Young’s “Only Love Can Break Your Heart”, and Pitchfork has the video.  It’s one of my favorite songs, and I appreciate the spirit of the cover.