Tag Archives: Eye in the Sky Collective

The Internet: land of opportunity or just a different way for musicians to starve?

Sometimes its good to be challenged, to step back and question if your beliefs still hold water.

I recently read a very thought provoking (but VERY long) article from David Lowery of Camper Van Beethoven and Cracker (I seriously love both bands): Meet the New Boss, Worse Than the Old Boss? I don’t agree with all of his points, but I can see where he’s coming from.

Like I said, it’s quite long, but it’s worth reading when you have time. You can skip around a bit and still get the gist of it, which is that the freedom and opportunity many of us thought the Internet would give musicians is not panning out, that tech industry giants — Apple, Google, Amazon, Spotify, etc. — are simply taking on the role that the music industry giants used to, and controlling the flow of content.

Only they actually appear to care even less about musicians than the cynical record executives did. According to Lowery, the potential for a musician to actually earn a living from what he creates seems to be diminishing, not growing. The new gatekeepers seem to want all content to be dirt cheap or free. Never mind that musicians are human beings who have to eat and pay rent. Lowery makes some good points.

I sometimes think of 2002 as a mini-golden age for rock ‘n’ roll. It was a time of discovery for me. I found so many great bands during that time. In part, it’s because I had recently moved into the orbit of KTSW, the excellent college radio station at Texas State University in San Marcos (formerly Southwest Texas State University).

But I also have a pet theory. I think there was a brief period in the early ’00s when the Internet helped independent artists find their audience and actually helped them. After that, the Internet turned into a drain for content and began hurting them, just like the major label artists.

If you had told me that at the time, I would’ve argued. I totally bought into the whole cyberpunk ethos (see my blog post on the subject). Ideas like: information wants to be free, always yield to the hands-on imperative, the street finds its own uses for things. Those ideas, and the sheer potential of computers and the Internet captivated me.

On some level I still believe those things. I enjoy the freedom of expression the Internet gives us and hamfisted attempts to stop copyright violations such as SOPA put that freedom at serious risk. It’s also not cut-and-dried. If you clamp down too hard on that sort of thing, you will eliminate some very creative works. I’ve blogged on that subject before.

But I’ve come to the conclusion that all that “sharing” I defended so hard for so many years, may indeed have been hurting many of my favorite musicians. As someone who works in journalism, I’m also a content creator, and my industry is also struggling because of the Internet. It would be very hypocritical of me to tell musicians to suck it up, when I am facing many of the same challenges.

That doesn’t mean I think we can or should go back to the old model, but it sometimes seems to me that we’ve raised a generation of people to believe that they should never pay for creative content. It would be nice if people who call themselves music fans would show some appreciation and spend a little money on the musicians they say they love. You can’t really call yourself a music lover if you’re OK with the musicians starving or winding up on the street. If we want artists to keep creating, we should throw a little money their way.

I quit trying to download the Internet years ago and now I pay for music when I can. I’m more likely to buy digital files than CDs, but I do buy them. It’s kind of hard to say after I’ve found some music I love and played it a few dozen times that the artist’s digital album is not worth $10 or $15. I’m pinching pennies too, but I can afford that every once in a while.

There are some signs of hope. As Lowery says in his article, Bandcamp and CD Baby appear to operate with artists in mind. They aren’t huge in the scheme of things, but I believe they are helping. Another interesting development is the rise of entities like Patronism and the Eye and the Sky Collective, which curate good music and create a system for fans who want to support and interact with them to do so.

If we can get musicians and music lovers on the same page maybe we can both get what we want: great music for us and the ability to pay rent and put food on the table for the artists.

I would love to get some comments on this subject, especially from musicians.

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Latest find – Austin singer-songwriter Shakey Graves (This guy’s gonna be huge)

Shakey Graves – an Austin musician with a big future, mark my words.

Every now and then I make a music discovery that is so good and so unexpected it stops me right in my tracks. Last night I was playing the free downloads from the Eye in the Sky Collective and I suddenly heard a song I never heard before that sounded like it might have been around forever – a sure sign of talent and inspiration. “Built to Roam” by Shakey Graves. Just a perfect, perfect song.

And after a bit of digging I got more shocks: Shakey Graves, aka Alejandro Rose-Garcia, is from Austin and has been featured by the Austin Chronicle and on KUT – by other people who were affected the same way by his music. I could have seen him live at South By Southwest if I had known. I will definitely be on the lookout for new chances to see him play.

Furthermore, I listened to his album, Roll the Bones on Bandcamp all the way through, and loved every song. His style is a blend of classic blues, alt country and folk music. Mainly just great songwriting. The picking in some of his songs make me think of blues legends like Bukka White. The songs are available on a “pay what you want” basis. Give it a listen and see if you don’t think it’s worth paying for. We need to keep this man in business. He’s brilliant.

Here is his Tumblr page, which includes dates for upcoming performances. If you’re in the Austin area, you can see him at the Hole in the Wall on Thursday, March 29 and at the White Horse on Saturday, March 31.

Shakey Graves will be performing at the Kohoutek music festival in Claremont CA on April 28 and is looking for other venues in the West – New Mexico, Nevada, Arizona, etc. (E-mail him at shakey.graves@gmail.com if you have any ideas.)

“Like” him on Facebook to find out more.

And check out this video I just found, wherein he tells how he got his stage name and plays a really good song:

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Filed under alt-country, blues, country, folk, indie, music, one to watch, Uncategorized

SXSW 2012 final wrap-up

Finally got some free time to finish talking about the rest of my South By Southwest experience… Lots more interesting music on Friday, March 16 and Saturday, March 17.

Friday, March 18 finds

On Friday I went to the free Eye in the Sky Collective party at Shiner’s Bar at 5th and Congress. I only saw one band there, but it turned out to be pretty impressive. Sorne performed these tribal anthems that really got folks excited. The singer had a high, powerful voice. There were two percussionists in the group. For one song, he got the audience to divide into groups of “Vulcans” vs. “Romulans” and get them to perform a chorus. Sounded pretty cool.

Here’s an example of what they sound like (It’s the song with the Vulcans and Romulans in fact):

By the way, the Eye in the Sky Collective bears looking into. It’s an organization working to establish a new business model that works for both fans and artists. Just off hand, it makes me think of John Pointer’s Patronism. If you give them your e-mail address you can get 28 free tracks. Sounds worth it to me…

After listening to Sorne, I had an inexplicable feeling that I should leave the bar and go wandering outside to see what I could see. (The fact that I had no bars on my cellphone inside Shiner’s may have had something to do with it.) It was a good decision, because I saw the coolest act, playing on the street. Gouda Music – a group featuring Ghanaian xylophone player  Kwame Kponyo Wadada. Apparently there are different lineups, but on this night he was accompanied by a cajon drummer and another guy playing a kind of rasp. They were busking at the corner of 6th and Trinity and had drawn quite a crowd.

Here’s a video I made with my cellphone:

I love surprises like that. It’s part of what I like best about SXSW. There was another world music group on the street Saturday night, playing some kind of Caribbean music, but I didn’t get to stick around and wasn’t able to find out more. If anyone got to see more of them and knows their name, let me know.

Saturday, March 18

We started the day at a free party at The Belmont (305 W. 6th), sponsored by an app called Tabbed Out (you got a better place in line if you had it on your phone – lots of us were downloading it while standing in line. Mine didn’t download all the way, but they let me in nevertheless.)

Best bands I heard there were Bright Light Social Hour and Cuckoo Chaos.

Austin-based Bright Light Social Hour was quite like a throwback to the best music of the ’70s, doing hard rock, funk, and even throwing in some disco. A few times I was reminded of Grand Funk Railroad. Just one of those powerful, balls to the wall rock groups like I grew up with.

Next was a group called Kids These Days from Chicago. They are kind of a jazz-hip hop group, quite young. At first I wasn’t feeling it, but finally they got into a groove and I started digging their sound. They did a song kind of mock-fighting with the crowd, “Shut the Fuck Up,” and put their young female keyboard player on lead vocal for a really kickass blues song. They’re young, but I think they could be going places…

Cuckoo Chaos

Next up was Cuckoo Chaos from San Diego. I actually discovered them while playing a mix on the MySpace music player (might have to give MySpace a second look – they found me some seriously good tunes) and was looking forward to them. They do a kind of African-influenced pop-rock in the same vein as Vampire Weekend. I liked their sound and their tunes. The guitar player had a way of producing harmonics from feedback that reminded me a bit of Gang of Four. Definitely a band to check out further.

Not only did we get to hear free music at The Belmont, we had plenty of free alcohol. I could’ve stayed there all day, but we had another party we wanted to get into later. This was quite a party though. It looked like the party your parents were always afraid you were gonna have whenever they went out of town. Lots of drinking and dancing. And I might as well throw in my bathroom story. By late afternoon, the men’s bathroom looked like it had been hit by a very unsanitary tornado. I went in and there was a very drunk guy standing there with a roll of paper towels, going, “woo, woo,” just swinging it around. He comes up to me and goes, “You think I should get that guy?” pointing to someone taking a leak at a urinal. I said, “That would be totally up to you.” So he went up and wrapped paper towels around the guy’s face. The guy turned around and said “what the fuck?” and drunk guy threw the roll of towels onto the wet floor and left. I decided to use the stall so no one could sneak up on me. I sure feel sorry for the janitor…

Sometimes it’s good to let someone drag you into a place you wouldn’t have gone otherwise, and sometimes it’s good to throw your hands in the air and wave ’em like you just don’t care.

To my surprise, one of the biggest highlights of the evening on March 18 was the Thre3Style show, a free event sponsored by Red Bull including major acts Erykah Badu, DJ Jazzy Jeff and the Crystal Method. It turned out to be mainly DJ music and a lot of hip hop. Not something I would’ve expected to enjoy. But enjoy it I did. I decided to give in and get down. It was a hugely popular event – at one point, security guards had to keep people who didn’t get in from pushing the fence down. (The only real downside to the event was actually the Red Bull itself – I hate energy drinks and the only alcoholic beverage choices were Red Bull & Deep Eddy vodka or beer. Also not a huge beer drinker.)

I enjoyed Erykah Badu and The Crystal Method. (I’m gonna have to dig out my copy of Vegas.) I also enjoyed the DJ sets more than I would’ve expected, especially a DJ who called himself Big Once, Dan the Automator, who at one point was accompanied by an excellent singer (and I believe actress as well) named Mary Elizabeth Winstead.

Badu did an interesting set, accompanied by a host of producers who refer to themselves as the Cannibinoids. The music was a kind of techno-hip hop, with a lot of rich visuals on the LCD screens. Psychedelia was a major theme, and everyone including Badu had names that sounded like names of illegal substances. The highly rebellious theme, along with the trippy visuals, made me think of cyberpunk. Points to Badu for doing something unique, but frankly I enjoyed it better toward the end of the set, when she performed some of her old songs from the ’90s.

In between sets, there was plenty of music to keep people dancing, a beach ball for people to toss around, and at one point, giant eyeballs. It took a while for me to realize there were cameras in them, flashing views of the crowd on the LCD screen. I only managed to graze a ball once, never got a good solid whack on it, but it was fun trying. There was also enough pot smoke in the crowd to nearly give me a contact high. A community joint came through my part of the crowd in fact – I let it pass me by, but still, thanks to whatever generous person it originated with.

We later went down to check out the madhouse that is 6th Street at the height of SXSW. It’s just barely controlled chaos. They close off the street, which fills completely full of people, desperately trying to cram in as much party as possible before everything ends. From the rooftops were laser beams, some of which fanned out and had smoke billowing through them, making interesting patterns. It’s crazy, all those people crammed together, but kind of an impressive sight.

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Filed under funk, indie, indie pop, indie rock, live show, music, one to watch, psych