Spotify and the death of physical media: What this means for YOU.

By now, you probably use Spotify to listen to music, especially if you have a job that ties you to a computer for most of the day, like me. The model isn't exactly a new one. It's just like iTunes (or similar music libraries) except for the fact that all the music in the world is on it. Well, except for a few artists. 

At this point we're so removed from Lars vs. Napster, and Spotify is packaged so much like an application, it hardly feels criminal. However, there are many articles and blog posts that maintain Spotify is taking money right out of the artists' pockets, or paying them too little for each play their track gets. You can, of course, pay for Spotify Premium, 10 bucks a month, to get unlimited access. What this basically means is no commercials and you can listen on mobile devices. Thing is, half the commercials are for Spotify, so the advertising money sure doesn't seem to be there to pay artists properly. Apparently, Spotify has been footing this bill for a while. 

In addition to this, if you are one of the people who pays for Spotify Premium (I'm not), you're really only borrowing the music while you have a premium account. Once you cancel, you don't own those songs, so in addition to possibly robbing artists, Spotify is also sort of robbing you. After one year, you will have spent $120, but have no physical media to show for it. 

There it is. Physical media. I bought more compact discs and vinyl LP's in 2012 than I had in many years. Spotify was integral in these purchases. I listened to albums on Spotify for free. The albums I liked, I bought, simple as that. In fact, Spotify's founder uses this defense as well. While I certainly recognize that most people probably don't do this, at least I'm somewhat compensating for listening for free all day. When was the last time you were in an actual store to buy music? How about an honest-to-goodness record store?

So, the problem is two-fold. The internet has made it crazy easy to access the world's music for free, and now it's legal and encouraged. There's also less demand for physical versions of that music. This has been driving up the price of physical music, which really sucks.  Digital music is convenient, until that hard drive shits the bed. Of course, my basement could flood and ruin all my vinyl, so what do I know?

Something to consider whilst browsing the Spotify library, I suppose. 

Love is Hell, again.

Mobile Fidelity Sound Lab has quietly repressed Ryan Adams' fabulous 2004 double EP, Love is Hell. This record has become something of a cult classic, despite Lost Highway's alleged apprehension about releasing it. The story goes, Lost Highway didn't see Love is Hell as a marketable album, and wanted Ryan to put out something that was more "rock and roll."

So, Ryan wrote and recorded Rock N Roll which became the promoted album, and Love is Hell was released as separate halves. Ask any Ryan Adams fan which album they prefer, and you'll quickly find that Lost Highway dropped the ball on that play.

Mobile Fidelity cover.

The MFSL release is an expanded, three record set, which includes the entire original double EP, and seven extra tracks that found their way onto a Japanese import version. MFSL have a reputation for meticulous and detailed masters, direct from the original tapes, which are pressed with top quality materials at well-respected pressing plants. Basically, music nerd gold. 

Love is Hell original pressing.

The original pressing has long been out of print, and decent copies are hard to come by. Given that Lost Highway didn't want to release it anyway, it probably wasn't printed in high quantity. Unfortunately, this one looks to be printed in small quantity as well, although it isn't clear what the run amount is quite yet. These will be numbered and limited, much like MFSL's Record Store Day pressing of Beck's Sea Change.

Price is pretty steep, but get it here, while you can. 

New Spins.

Unknown Mortal Orchestra II 
(Jagjaguwar)

Second album from the Portland trio is a smoky and smooth psychedelic record with a vintage pop sound and good tunes. It doesn't reinvent the wheel, but it's a pretty groovy ride. 

Listen to it here or here. 

Happy Jawbone Family Band Tastes the Broom 
(Mexican Summer)

An introduction of sorts, to the crazy world of this well-under-the radar lo-fi group. This is a collection of songs from the past few years, and they have a full length of new material coming in 2013. It's wild!

Listen to it here. 

New Spins.

Jim James Regions of Light and Sound of God
(ATO/RED)

As moody as My Morning Jacket, but as it's a solo affair, Jim sounds alone as he is on the cover. In fact, it sounds exactly like you'd expect a Jim James solo album to sound: dark, funky, urgent, and cool. 

Listen to it here, or here. 

Foxygen We are the 21st Century ambassadors of Peace and Magic
(Jagjaguwar)

California duo follow last year's weird and jarring Take the Kids Off Broadway with a proper album of amazing, cohesive and colorful tunes. One giant step towards becoming a modern version of the Kinks. Bastards. 

Listen to it here and experience here. 

Sound City.

I love music docs. When you can see them at the lovely Tivoli theatre in St. Louis, even better. There has been much praise for Dave Grohl's Sound City documentary, but there's so much to love, and a great deal of detail, it's entertaining from start to finish. The focus is not only on the studio itself, but its loyal employees, its analog process, the custom built Neve 8028 board, and the great records that were made there. 

You'll be left wishing for the days of old, before every greasy dude with a Harmony guitar and a MacBook put out a record. All interviewees praise the analog process Sound City stuck with until the bitter end. And they're right, even though Neil Young may sound like a cranky old man. Everyone from Rick Springfield to Tom Petty, Josh Homme to John Fogerty champion analog, Sound City's unique and mysterious sound qualities, and share stories from recording at the studio. 

A cool addition to the conversation is Trent Reznor, who at first mention seems a bit out of place. Nine Inch Nails after all, is born from the use (and abuse) of computers and synthesizers. He quickly becomes the link to the present, and what he adds about foundation, philosophy, and expression are among the most crucial. 

Sir Paul's entrance into the film seems random, but it's Paul. The Beatle. He has one of the best lines, too. Dave says after a jam of their soundtrack contribution 'Cut Me Some Slack' "Why can't it always be this easy?" and Paul simply replies, "It is."

Sound City is fun to watch, and Dave Grohl is a great, enthusiastic, sometimes goofy host, who cares a great deal about the studio. Rent or buy, for sure. 

The Marantz.

I mostly listen to music on this Marantz 2235B Stereo Receiver (1977). I always wanted one of these, ever since I saw them. Marantz still makes quality modern equipment, but these 1970's receivers are renowned for their warm sound, top-notch tuners, and phono and headphone stages. Plus, they look killer.