5 posts tagged “substream”
- Author: Rick and Tom from ListentoManchester.co.uk
- Published on: Monday, 26 Oct 2009
Last weekend, I finally entered the digital age by buying an ipod. I must admit, had it not been over £500 (shock! horror!) I might have even taken the plunge and bought an iphone. But the salesman had to pick me up off the floor when he told me the price, and I wasn’t the only one in the Apple shop looking a little pale! However, I’m now the proud owner of an “ipod touch” and its fair to say, I have been consumed by the excitement of being able to sit on the bus holding every track I’ve ever owned in the palm of my hand.
So as I trundle to work on another piss-wet morning, a extend a stray finger and I’m back to the glory days of 1996 listening to “Parklife”. Another flick of the wrist and I’m dabbling in new bands, no longer a slave to genre or convention. And again, and suddenly I’m on planet techno reliving the HAVOK years. Yes, dear reader, I have been set free from the musical shackles of the physical format. No longer will I be a CD snob, I am enthralled to the utter convenience of being able to instantly pop a digital Damon or Bjork right into my lughole at a moments notice.
OK, ok, I’m waxing lyrical about old news. Ipods are not exactly new anymore. Clearly, I’m showing the first signs of middle age by not jumping on the bandwagon quite as quickly as the hipsters and townies. Well, I don’t apologise - I guess I just got familiar with my CDs, the same way that someone might get very attached to their old 45s, or mixtapes, or whatever. To get philosophical for a moment, Marxist theorist Theodor Adorno summed it up when he observed: "The familiarity of a piece is a surrogate for the quality ascribed to it. To like it is almost the same thing as to recognise it." So I guess I stuck with CD’s for so long, believing them to be of higher quality, simply due to my own familiarity with the format. (And that’s quite enough cultural theory for one today, boy)
One of the prompts behind this move is the imminent digital release of my own efforts – the debut album from This Morning Call which will be entitled “All Quiet at 4AM”, and for which we do not yet have a release date, which will in itself depend on when I finally finish it, which will depend on me getting over myself and actually doing some work. Could be some time yet! Here's the cover done for the first single, anyway!! -

So I’m making the necessary preparations to reassure myself that a digital release is a proper release. It’s a kind of therapy. Well, I guess most of you will be buying it digitally, wont you? I need to get onboard with this. Have you been in HMV recently? Well, let’s just say the fixtures and fittings leave a little to be desired these days. No longer the plush Mecca of my youth, the place feels stripped back, bare, and rows upon rows of endless “sale” stock. Are we witnessing the end of high street media retail? Actually, did Fopp go under too? I’m sure I read that somewhere. I quite liked Fopp. Everything was labeled £5 or £6, and not £4.99 in an annoying bid to make you think it’s actually a pound cheaper. And they had a coffee shop.
Irony of ironies, however, we are now back in a world where the “single” is the most consumed form of music. Itunes and ipods and shuffle buttons are really all about buying single tracks rather than albums. And who can argue with 79p for a quick fix of Dizzee, for example, where I am unlikely to buy the album but love the odd tune. Compare that to a visit to a record shop, I’m spending £3+ on the bus to get to town, and probably the same again for the single which also includes 3 other tracks I either don’t like or don’t want.
So the new model for discovering stuff is this – suck it and see on MySpace, download a track you like from itunes, enjoy it on your ipod, bring it up on Sportify when you next have a party (don’t bother paying the fee, just go and pour another drink when the ads come on) and, for really special stuff, mail order a limited edition CD with booklet and free poster with extra tracks through Amazon.
I’m afraid the high street just doesn’t feature in that equation anymore.
Well, we are approaching the release of our debut digital EP on Substream and I thought I would share with you the artwork! The EP will feature the tracks "Tides", "Clockworks" and "Whistle", hence the "seaside town going to seed" idea for this rather bleak image created and designed by local designer Alex Dixon:
Ben
Its awards time again. Oscars, Baftas, Grammys and of course, Brits. For two decades now, the Brits has been one of the events of the pop calendar here in the UK, known as much for its industry backslapping as its rock and roll antics. Who could forget Jarvis Cocker’s hilariously unplanned appearance during Michael Jackson’s set in 1996? Or the excruitating pairing of presenters Sam Fox and Mike Fleetwood?
In truth, we only remember these examples because since 1996, nothing really exciting has actually happened. Sure, a few awards are handed about, and no doubt the Arctic Monkeys or Coldplay will feature in some capacity, but what made the Brits really fun was the capacity for silly drunken antics of the sort that embarrasses music industry executives and makes the front pages of your morning Metro.
So it was with a slight air of disappointment that this year’s awards passed without incident. In fact, not only were they were so completely bland and predictable that they have become instantly forgettable, their credibility was finally stretched to breaking point. The pairing of Matthew Horne and James Cordon (from “Gavin and Stacey”) was a shocker and their pitiful attempts at unscripted humour served only to embarrass co-presenter Kylie Minogue or undermine those presenting awards who mostly seemed to be playing it straight. The performances varied from the sublime to the ridiculous. Where Take That succeeded in spectacle, flying in on a giant spaceship, they failed musically with appallingly obvious miming, despite a great song. Where Duffy succeeded in hitting the high notes, with expert phrasing and a “bang on in tune” melody, she only served to remind us that, for all intents and purposes, she is a Dusty Springfield tribute act, a sub-Winehouse pastiche, and not really deserving of 3 separate awards. I think “best breakthrough act” would have seen her right.
Coldplay confounded the critics by delivering their best song for ages with ridiculous posturing from Chris Martin who needs to learn when to stand still and just sing. Coldplay, the band everybody loves to hate, not really helping themselves there. The less said about Lady GaGa the better, she really needs to f*ck off, and what the hell was she wearing. Quite liked the Pet Shop Boys though, although whether they deserve a special award for having a few decent songs in the charts twenty years ago is another matter.
Thank god, then, for Elbow. Predicable it may have been following their triumph at the Mercury’s, at least a band with real talent, commitment and an awesome back catalogue won through. Also, Iron Maiden winning the best live show award was cool and totally deserved. Good to see British Metal being represented, finally. How many other of these artists can tour the world in a jet aircraft and fill stadiums at the drop of a hat? None. Yet the cynic in me (which is working overtime right now) thinks: “what the hell do these bands have to do to get a regular look in?” Glad to see the Kings of Leon getting involved, another good band, I prefer them with beards.
And then we come to my personal favourites, The Ting Tings, who, quite rightly, won nothing, and who shouted their way through another tedious performance. Sorry but they are really getting on my nerves at the moment. Finally, claws out once again to Girls Aloud who demonstrated that they may have a few good electro songs, pretty faces and great outfits, but will always be a sub-Spice Girls knock off. Still, the gays seem to like them. I’m afraid I missed the new U2 song, so I can’t comment on that.
So another year, and yet more hype. I predict a big year for electronic pop this year, but then, I would do, wouldn’t I!
PS. We have now concluded negotiations with Substream records and things should get moving very soon. Stay tuned.
Ben

