The album format extinct?

"Last year, digital singles outsold plastic CD’s for the first time. So far this year, sales of digital songs have risen 54 percent, to roughly 189 million units, according to data from Nielsen SoundScan. Digital album sales are rising at a slightly faster pace, but buyers of digital music are purchasing singles over albums by a margin of 19 to 1.

Because of this shift in listener preferences — a trend reflected everywhere from blogs posting select MP3s to reviews of singles in Rolling Stone — record labels are coming to grips with the loss of the album as their main product and chief moneymaker. "

- from this NY Times article

I first saw this article today through the brilliant English mp3 blog, 20 Jazz Funk Greats and I felt one of their writers made a funny, but good point. (It's always funny and well written, by far one of the best mp3 blogs I have come across in terms of writing and content and taste.)

I still don't think albums will die in certain instances; jazz, classical and indie rock, maybe certain electronic. But I do agree that the reason the big labels are suffering is because they have been schilling shit for years. Albums of crap by crap artists with no longevity. I'm not sure how they don't see that after all this time, but I guess if they were smart they wouldn't continued on the path they have been on for so long. We can also blame such an easily entertained, lazy and in my opinion ignorant audience for letting them get away with it.

Lets face it, it's highly doubtful that a major will release many important albums ever again unless they continue to cherry pick indie (Modest Mouse, Decemberists) and electronic (LCD Soundsystem, Hot Chip) acts from the indies and harbor a few token 'important' acts like Radiohead. And even some of those artists, will many of them produce a 'classic' album again or ever? Some of them are past their prime.

I think some of the ideas in the article are actually good for certain genres: country, rap, mainstream pop, and r&b are not really made for the album format. Those have always been primarily singles genres of songs that live in the moment, rarely anything that will be celebrated beyond the few months of its popularity and radio play.

We are still so early into this digital sales thing in music that we won't know what it will be like 2 years from now, much less 5. I think the labels, all of them from the biggest major to the smallest indie, are trying to figure this new game out. And they/we are all watching with interest this wild new market.

Last year was the first year I bought more music online than physical cds. I never thought that would happen, ever. The cds I bought were mostly because they were artists not available on eMusic or sometimes even iTunes. But even my early resistance to buying stuff from iTunes (DRM is the devil and a last vestige of ignorant thinking by the record labels) and other sources (like Beatport and Kompakt) has dropped significantly this year as well. Now I think about an album and wonder, do I really need this on cd? Do I care that much about this thing, the packaging? Some things, like the new Panda Bear, I do because the album is a classic and has beautiful artwork.

One thing I am considering more is buying albums I really love on vinyl instead of cd because there is still some form of fun and discovery in putting on a record these days, compared to cd. With the new record player Kim got me, I can finally hook it up to modern stereos and even my computer so I can rip the vinyl to mp3. For instance the newly released Beach House on white vinyl.

So, yes, I think most physical music will eventually go away and only specific things will still be available on vinyl or cd. I don't think the album format will ever die though.

I don't understand the resistance any longer to subscribing to eMusic and using iTunes and other sources regularly. I still don't support stealing music through Soulseek and other file sharing services though. I think that kind of thing will eventually hurt the whole industry so much that artists and labels won't be able to afford to produce, record and release any albums or songs. The digital age, despite its many unknowns, has made this the best time to be a music fan. So many great mp3 blogs, online music mags, even MySpace and other sources has made music discovery and artist discovery the easiest and most fun it has ever been. I only wish they had all this when I started out with my love of music back when I was young.

Kraftwerk on YouTube

So, I stumbled across these in a very roundabout way. First one is listed as "Truckstop Gondolero" but I have no idea if that is a song or what, played live on a show called Club Beat in Germany in 1971. What is awesome is this features an early lineup of Kraftwerk when featuring Klaus Dinger on drums and Michael Rother on guitar, who very soon after this went on to form Neu! Florian Schneider is playing a flute through some electronics and the sound is more psychedelic and freeform than the robotic and electronic groove of later Kraftwerk. Dig the traffic cones on stage in relation to the covers of Kraftwerk 1 and Kraftwerk 2. It sounds a bit more like what Neu! would be doing later than the Kraftwerk we commonly know.



Next up is a live video, promo thing, of "Autobahn" on the show Midnight Special from 1975. It shows the classic lineup of the band with the full electronic sound in tow, the clean cut image and those really cool homemade drum machines. Just watching the guys play the Moogs is a treat, but those drum machines are so cool.




In other news, I read on Tiny Mix Tapes that Animal Collective were done recording so that should mean a release this year. Could be quite a year for them with Panda Bear and Avey Tare's solo releases too.

Also, according to their MySpace, Liars have started recording in Berlin. Hopefully this means a new one from them soon as well, I'm looking forward to what they cook up next.

Panda Bear

One upcoming release I'm looking forward to this year is the new Panda Bear solo effort, Person Pitch, out in March. It is different enough from his Animal Collective work to warrant attention and from what I have heard of it, it may be nothing short of amazing.

The songs and the melodies I have heard are a bit more straightforward pop than some AC stuff with rousing vocals bathed in cavernous reverb, but the music is still experimental, eschewing much of his earlier folk acoustic approach for the sampling and electronic sounds of the DJ culture. While it is more electronic sounding, it still doesn't lose that joyous organic campfire feel that he and the Collective share.

Some of the songs can be tracked down as they have been released as limited run 12" eps. "Bro's" is available now on iTunes and I cannot recommend it enough that you buy the ep, it is totally worth the 4.99. This 12-minute plus song is awesome as it evolves and builds in cresecendos of echoing vocals and sounds. You can stream the first half of it on Fat Cat's website here.

You can also download the first song, "Comfy In Nautica," here on the Paw Tracks presspage.

All this has been easily available on the blogs so far...

Another 12" ep is out on Jan. 23rd, a split with Excepter, as well as a new AC ep...hopefully out on eMusic. The new AC album could be released this fall... we hope. They are touring this year, hitting TX on May 26th in Dallas and May 27th in Austin.

I may preview some other releases I'm looking forward to as the week/s go on...

The Best of 2006

I'm late again this year, shit happens. Holidays and other things get in the way sometimes. 2006 was a pretty mediocre year for the most part. I spent more time listening to and discovering old stuff than bothering with all of the hyped crap and the constant flow of the same-old boring indie-pop. I rediscovered my love of electronic music and noisy stuff, returning to my roots I guess, and sought out more challenging things to listen to. Not everything was bad, Liars and the Knife especially kept the faith, and even some of the really hyped stuff was great, but I think it is telling that I can't even bear to do a top 20, 15 was the best it gets with a few 'honorable mentions.' This isn't to say that I think these records below aren't good or great, they are, but I didn't get that excited about a lot of things this year.

The good news is that 2006 is over and 2007 is looking very bright especially early on in January-March.

I'll have my traditional best-of mix soon as well.

Here's the list, I tried to make it shorter, more concise, enjoy:

Worth mentioning:

Aloha - Some Echoes
Tussle - Telescope Mind
Clark - Body Riddle
TV On The Radio - Return to Cookie Mountain
The Evangelicals - So Gone
Bishop Allen - the 12 month EP series
Band of Horses - Everything All the Time
Fujiya & Miyagi - Trasparent Things
Ghostland Observatory - Paparazzi Lightning


15. Man Man - Six Demon Bag

This rambunctious album of maddened gypsy-folk is a great time, if a bit weird. Rowdy songs like “Black Mission Goggles” and “Engrish Bwudd” never got old, but the band and singer Honus Honus show their tender, soul and jazz side on “Van Helsing Boombox.” Still haven’t seen them live, much to my disappointment.




14. Indian Jewelry – Invasive Exotics

Psychedelic noise that only Houston could spit out; this band could be the heirs to the Butthole Surfers’ scattershot weirdo-mess. We Shot J.R. and Dusted Mag introduced this to me late in the year but it has gotten quite a bit of play from me since I picked it up. With its echoing vocals, hypnotic bassline, guitar noise and 10 minute length, “Going South” is a delight.




13. Califone – Roots and Crowns

A fantastic marrying of sounds of sparse electronic sounds and laptop production combined with traditional blues and folk music and even Eastern sounds. I got into this album really late, otherwise it would be higher on the list. The cover of Psychic TV’s “The Orchids” was one of the most beautiful songs I heard this year. Thanks to Brett for the recommendation.



12. 120 Days – 120 Days

These Norwegian kids had some buzz behind them along with an excellent epic 8 minute song to lead off with. They combine a krautrock pulse and the sense of the cold Nordic never-ending nights to make an electronic-rock hybrid that at times was compelling. Its hypnotic, driving and buzzing.





11. Nobody & Mystic Chords of Memory – Tree Colored See

This is a collaboration between Chris Gunst of Beachwood Sparks and Nobody, a bay-area psychedelic hip-hop producer. Soft subtle psyche-folk tunes are complemented by drum samples and looped effects, pianos and guitar strums. It makes for a great listen and one of those records that got quite a bit of play. Check out “Broaden a New Sound” for an example of this mix of the old and new with the dubbed-out looped beats and the 60’s psyche-rock feel.

10. Brightblack Morning Light – Brightblack Morning Light

This north Cali freak-folk group hit on something with its slow motion gospel-soul-blues on cough syrup sound. The album is best enjoyed at home, in it’s entirety, as it is hard to pick out a single song and the chill-out quality is not for driving a car. Extra points for including 3-D glasses, printed with marijuana leaves on them no less, to enjoy the album art with and making the album packaging made of completely recycled enviro-friendly materials. Hippies.

9. Midlake – The Trials of Van Occupanther

Some deride this as yacht rock, but I really enjoyed this album, from one of Denton's best. “Roscoe” was definitely one of my favorite songs of the year and it really encompasses what this whole record is about. I think they nailed that warmth and vague fuzziness in production that some of those old 70s records had. I really thought there soft-rock and CSNY-inspired harmonies were great.



8. The Black Angels – Passover

On Passover, Austin’s Black Angels make dark psychedelic drone-rock that touches on legends like the 13th Floor Elevators to the Velvet Underground to Brian Jonestown Massacre. The urgent, epic menace of “The Sniper At the Gates of Heaven” was one of my favorite songs of the year, with it’s guitar squalls, droning buzz and great vocals from Alex Maas.



7. Sunset Rubdown – Shut Up I Am Dreaming

Spencer Krug of Wolf Parade puts out a more emotional, dark and not as immediate album as his other band's work. It got continual play all year long and he has become one of my favorite song writers of late. I think the song that drove it home for me was the powerful anthem “Us Ones In Between.” Lo-fi produciton quality, murky reverb on everything and lots of organ and toy instruments, this record has a dreamy, dense sound.


6. Oneida – Happy New Year

This NY art-rock band has a distinct sound crafted from many elements and genres. Oneida use repetition and noise to great effect, at times creating dense, tight songs with harsh sounds and interesting structure. One thing that stands out immediately is the insistent drumming of Kid Millions, exhibited on songs like “Up With People” or “The Adversary.” The title of the album reflects a new beginning and Oneida’s continuing 60’s style optimism is felt throughout.


5. Grizzly Bear – Yellow House

A gorgeously produced album with so much depth it takes multiple listens to digest. Like Animal Collective, this group has beautiful vocal harmonies that defy description and with the help of studio trickery swirl and hang in space. It has such an inviting feel and warmth in the sound. Songs like “Colorado” and “Knife” are stunners and demand repeated listens.




4. Beach House – Beach House

Don’t let that name fool you, it is not some sunny pop record. I think this one took many people by surprise with its simple, timeless beauty, the warmth of it a perfect fall companion. A duo from Baltimore, they complement each other perfectly: her organs and voice, his slide guitar a gentle accompaniment. The lo-fi production, the simple drum rhythm, the song writing/structure are all key in making this a special record. “Apple Orchard” is the one that got a lot attention, but “Master of None” was a personal favorite. Seeing them live, outside in 40 degree weather at the New Amsterdam was a great experience.

3. Asobi Seksu – Citrus

This was one of my most played records of the year. I just loved it from front to back and singer Yuki Chikudate’s songs wormed their way into my heart. This NY band has a lot of promise with their experimental take on shoegaze noise-pop. The back to back greatness of the songs “New Years” and “Thursday” that opens the album are the obvious highlights. Nothing groundbreaking here just good music that can be enjoyed by anyone at any time


2. Liars – Drum’s Not Dead

Not number one after all my adoration for this album??? Let me not be mistaken here, this is a fantastic album that intrigues me and this really could be a tie for first, they are so close. Drum’s Not Dead’s stripped down percussive assault and droning noise was vital and much needed for me. I love their second album, and this one breaks that no wave sound down into a primitive, tribal feel. Some people dislike this album, but while I think that it is confrontational, it is also refreshing. I think it takes a lot of drive to make an album that is so far off from what is the norm, especially for a band with such huge expectations on them, and after their last album wasn't recieved well. Liars are exploring rhythm and sound and repetition and yet also finding beauty as evidenced by album closer “The Other Side of Mt. Heart Attack.” The space in between the sounds was like another instrument. Certainly something that will be remembered and referenced long after many records of this year are forgotten. As I listen to their catalog more and more, one thing is sure: Liars are one of, if not the single, most important band of this decade.

1. The Knife – Silent Shout

This record really grabbed me from the very beginning and never let me go. I am enamored of this Swedish duo’s dark, stripped down electronic sound here and it really restored my faith that people could still make interesting, and substantial music in this style. It's departure from their earlier work, which was a bit brighter and feaured less vocal manipulation. There is not one weak track on Silent Shout, but there are clear standouts. The title track has the darkness and nightmarish quality that pervades the album and Karin Dreijer's frighteningly distorted vocals. Then there is “We Share Our Mothers’ Health” with the drunken synths swirling about like they are about to break down, a stomping beat, and the eerie vocal duet. It’s a fascinating listen throughout and highly recommended for anyone looking for an electronic record that is not too beholden to current club trends and shows a wide range of influences delving deep into the genre's history.

The End of Freedom Vol. 2

Yep that's right, another mix to foist upon my friends and torture them with music they didn't really want to hear in the first place. I never posted up the first one... I was lazy. This one is mostly made up of tracks from this year all of them in an electronic/post-rock style range. This year definitely saw me regain my love for electronic-type music, so this celebrates some of my favorite tracks of the year in this style.

I got the pic above from google. Someone took it in Philly of where the Freedom trail deadends at some steps. Thought it was pretty cool.

If you want a copy of the cd, I can send you one. Shoot me an email. I'll be finishing the fading and editing with help from Kim this week hopefully. Eventually I'll get these zipped for downloading. Maybe.

The End of Freedom, Vol. 2:

1. "Boy From School" by Hot Chip (from The Warning)
This song, from the DFA's prodigal sons and maybe the best remixers around, has a great groove and a nice hook. The whole album is solid, but this one is the standout with it's great vocal refrain and subtle synth loop. One of my favorite tracks of the year.

2. "Vibrate" by Ghostland Observatory (from Paparazzi Lightning)
These cats from Austin are an amazing and energetic live act and their recorded material successfully transfer that energy as well. This song makes even my lame-ass want to cut a rug with that deep bass and the spooky synths. But what really gets me on this one is singer Aaron Behrens killer vocals and the vocoder chorus.

3. "In The Morning" by Junior Boys (from So This Is Goodbye)
This song is off their very highly regarded album that I never could fully get into, but this song is great example of their brand of electro-new wave-pop. Great beats and synth sounds, good vocals and the production shines.

4. "Heartbeats" by The Knife (from Deep Cuts)
Steel drums! Yeah it takes balls to loop a steel drum line and throw it into an electronic song. This is from 2005, but I didn't get into the Knife until this year and this album was finally issued in the states this year. Probably their most famous and recognizable song, it's beautiful and moody and has a timeless sound. Perfect example of less is more in simplicity of programming. The version they are playing live currently is much darker to fit in with the Silent Shout material.

5. "Dead Shark Eyes" by Clark (from Throttleclark exclusive downloads)
This was one of three tracks previewed on Chris Clark's website before Body Riddle was released. This is a fantastic instrumental track with dark, echoing, rubbery synths and a pounding rhythm. It goes off in several directions, evolvling, devolving but always returning to the core theme. It blows me away everytime I hear it. Chris Clark is cleary one of the best of the electronic producers following in Aphex Twin's steps.

6. "Young Bride (CWL remix)" by Midlake / Cassettes Won't Listen (from CWL Remixes)
Gorilla vs Bear introduced me to this guy's remix work. This is one of the best, it retains the original's important elements: the emotional feel and weight as well as the song's structure. It augments it with cool synths and a drum loop that builds and expands upon the original's already driving beat.

7. "Like Eating Glass (Ladytron Zapatista Mix)" by Bloc Party / Ladytron (from Silent Alarm Remixed)
Ladytron turns one of the better Bloc Party songs into one of their own. Sleek and dark electro-pop with a simple pounding beat and the vocals buried under heavy reverb. I heard this really loud one night when local DJ Wanz Dover played it during his set and it sounded great.

8. "Lazy Eyes" by 120 Days (from 120 Days)
These Norwegian kids infuse their electro-rock hybrid with a great sense for the building and climax of great electronic club tracks. Much of their music is infused with the krautrock motorik pulse of Neu! and this one definitely has that driving beat. Dark synths with a wailing siren-like sound give this one an urgent feel until it builds to a crescendo of saxophone, synth and vocals, then releases. Play this loud.

9. "Second Guessing" by Tussle (from Telescope Mind)
Krautrock meets dub ina funk style. Like Liquid Liquid hooked up with Can, this instrumental quartet from San Francisco hits a groove and then locks down tight. Two drummers provide the backbone as spare electronic sounds swirl and echo about in the space. Yummy.

10. "Skara Brain" by Feathers (from Synchromy)
Who knew Miami had people making post-rock? I thought it was all booty-bass rap shit there. And no, this isn't the hippy granola heads of the same name that make freak folk with Devendra. This track has a hawt groove laid out on live drums and a nice bassline. Then the keys lay in as some dirty electronic sounds echo about. Cool thing is, just as you get used to one thing they switch it up and move on.

11. "Vodiak" by Stereolab (from Fab Four Suture)
Oh that's right, Stereolab is so last decade and you are just too cool for the new stuff. I disagree, this band still produces some top-notch songs. This is the best off this ep collection. I like the analog synths and that reverb-ey drum fill that rolls in on top of the live drums. Stereolab still make the best sounding/produced records in my humble opinion. Check it on headphones as the keys go from channel to channel, it's pretty damn cool.

12. "Ankle Injuries" by Fujiya & Miyagi (from Transparent Things)
This English trio with a Japanese name have the motorik pulse down. They hit that lockgroove sound and don't let go. A throbbing beat and rhythm augmented by simple synths and vocals. This could go on for 10 minutes and I wouldn't get bored.

13. "Way Out" by Ellen Allien & Apparat (from Orchestra of Bubbles)
German micro-house and trance, but not the shitty kind of trance. Two of Germany's finest got together to put out this very nice album. Featuring Allien's vocals, this one is short and sweet with the bubbling analog synths and moving beat. I liked the sound of the drums the best.

14. "The Eraser" by Thom Yorke (from The Eraser)
While this album was a major disapointment, this song however, delivered. Nice glitchy, laptop techno with typically good and eeire vocals of Yorke. I really like the simplicity of the song and how it changes up at the end. Too bad the rest of the album wasn't as impressive.

15. "Colors Shifting" by Christopher Willits (from Surf Boundaries)
Guitar whiz Willits utilizes a glitch laptronica approach to make a very warm and engaging song. Supposedly much of the sounds are made from his guitar which he runs through some custom built equipment to manipulate the sounds into an electronic sound. The vocals remind me of Broken Social Scene. Yes, this song is supposed to sound like it is skipping...

16. "Montezuma" by Shogun Kunitoki (from Tasankokaiku)
More Japanese fakers! These guys are actually from Finland (maybe Finnish-Japanese?), completing my tour of the nordic nations in this mix. Using only analog, old school synths, keyboards, drum machines and effects, they craft stark and elegant compositions. It has such a clear, clean sound the building synths and driving beat on what sounds like live drums to me.



I'll have my year end list ready soon and a mix to accompany that as well. Stay tuned!

The Happy Bullets and Tah-Dahs this weekend

Both bands head out for Austin and San Antonio this weekend. Be sure to get out and see them. Dates below:




December 15th - Austin, TX at the Mohawk. Callithump Showcase featuring Prayer For Animals and Haunting Oboe Music and special guest Laura Palmer. $6.00 at the door.

December 16th - San Antonio, TX at the Limelight. With Big Soy and Pocket Symphonies.


Picture courtesy of Sara Jane Semrad, 2006.

The Theater Fire take their show to Georgia

This upcoming week, The Theater Fire hit the road and head out for Atlanta and Augusta. If you are in the area, check 'em out.


- December 15th - At the Earl w/ Hope For a Golden Summer and Daniel Clay

- December 16th - At the Soul Bar w/ Hope For a Golden Summer

We've heard rumblings that they are working on recording new material.... from the live versions we've heard, they'll be fantastic.