Idlewild - Post Electric Blues

So Idlewild's great experiment ended for me yesterday when I received an envelope, customs declaration and all, containing the record that I preordered eons ago, and the poster with my name, and everyone else's (image of someone else's) that preordered the thing.

Also in the package was a note, asking very politely that I not give away for free that which I paid for months ago, and alerting me that each cd has been individually watermarked to track uploads. I don't know if that's true or not, but my Google search for an image of the cover revealed that it doesn't seem to have deterred a fair number of people from sharing away anyway. Sad, really.

Anyway, this has been an interesting journey for me, because it's the first time that I've participated in something like this and felt, pretty much all the way through, that the band bit off just slightly more than it could chew. Here's a recap of what was originally promised (from Myspace) with markups to reflect my experience:

By going to idlewildmusic.com you will get details on how to pre-order and what you will receive. [The order process was...sketchy? A secure purchase is a secure purchase, I guess, but make it look like something I can trust.]

These include a limited edition CD album (with free download version [Never happened.]) in exclusive packaging & including at least one bonus track. This will be shipped within weeks of completion & before any standard release.

You can get your name to appear in the CD booklet with the album and on a roll-call on the web site. [No roll call yet, not that this was a huge selling point.]

Access to download 15 free tracks from live recordings at the King Tuts "album by album" shows [Except the shows for Warnings/Promises and Make Another World. This process was riddled with bugs and caused a bit of a tempest in the WordPress teapot.] In December '08 & access to a members only section of the web site [Users needed to remember completely nonsensical passwords generated by WordPress (mine was ur2EsFuz32s@) that weren't changeable.] with album progress updates, exclusive photo and video content from the recording and preproduction process with diaries/blogs by individual band members and lots more.

Signing up will also automatically enter you into draws for special prizes.

So here's the thing: the record is really good. A joy to listen to. And while it's too fresh still for me to rank it in the Idlewild pantheon, I'm already confident that when the dust settles I'll still like it much more than at least Make Another World, and I'll take great pride in recommending it to people, and maybe once in a while showing a friend my name in on the enclosed poster.

I like it so much, really, that I feel a bit shitty even pointing out the bumps in the road along the preorder process, because it's not like the band itself hasn't acknowledged them, and been pretty up front about most of them. Still, a little more preparation in this era of bands shrugging label support and handling distro themselves would have gone a long way. Here's to hoping Idlewild tries something like this again for the next record, and that it works a little better.

**Update** I spent some time talking to my friend Andy about this on his podcast last night, which is now posted here.

Max Bemis will Say Anything you want him to.

In the days of knights and maidens, it wasn't an uncommon thing for a nobleman to glorify himself by commissioning a minstrel to write a song. I think. So while some may call Max Bemis's latest idea innovative, and more will call it downright batshit, I'm choosing to nod approvingly at the notion of kicking it really old school.

Read more about how for $150 and for a limited time only, Max will write a song for you and only you, your highness. Just like in medieval times, only with more overt references to masturbation.

Art vs. Commerce

My friend (and old boss) Seth Resler posted a meditation on art and commerce yesterday, and it inspired me to sit down and write for the first time since...gosh, February? Really? Anyway, here's a quote:

The trick, of course, is to play tons of Nickelback, but make people think you’re playing Radiohead a lot more than you really are. So you “image” yourself with Radiohead by finding excuses to say their name without playing their music. Contests and specialty features are a great way to do this. I was the king of this kind of smoke and mirrors. During my time at BRU, the playlist was all Green Day, Linkin Park and the Chili Peppers, but the contests were all about Deathcab for Cutie, Modest Mouse and the Dropkick Murphys. Few people fake indie cred as well as I do.

And this never bothered me, because I knew that the only reason people would ever be able to hear the cool indie bands was because I played mass-appeal bands like Nickelback. Nickelback records pay the bills. And while the true music lovers may hate the band, they fail to realize that without Nickelback, their favorite bands would never get any airplay at all.

[Read the whole thing here.]

So, I got all fired up and started to leave a comment. And it just kinda went for a while. So, I figured, since I haven't posted on my own bloviation centerg for a million years, why not take this opportunity to inch Marvin Gaye down the page a bit? So then I was all like:

Hey Seth,

In spite of myself, I agree with a lot of what you're saying here. Especially the bit about the Nickelbacks of the world indirectly making life easier for the indie band du jour. I don't think Radiohead a very good example because I'd argue they're propelled by a loyal mainstream fanbase that they accumulated long before Kid A, and that if Sr. Kroeger ever wrote a song as crunchy, gritty, or mainstream-sensible as "Creep," a lot of his detractors would just shut the fuck up and find something else to gripe about. But still, a rising tide lifts all boats and all that. I'm with you.

But I have to be picayune for a moment and take issue with what I know isn't your main point: I wouldn't be so quick to pat myself on the back for faking indie cred on the radio. That's only good enough when there's absolutely no alternative, and it breeds resentment more than loyalty. Anyone who cares about indie cred can see right through the smoke and mirrors, and will gladly "make the switch" (remember that shit?) if something more authentic comes along.

These days, I don't know a single person who really cares about indie cred that turns the radio on and listens to anything other than news, sports, or public radio. "Faking" it has chased all but the Luddites (and there aren't many indie-craving Luddites around) away from terrestrial music radio broadcast, to either their iPods, or the plethora of narrowcast options available to them via the Internet that cater more directly to their tastes.

Now, As you said, that's a pretty small fraction of the population, and I do know plenty of people who still listen to the radio. They like Nickelback. They like American Idol, too. But they don't like fake indie cred either, albeit for different reasons. To them, it's just an inconvenience. They reach for the dial when a band they don't know comes on and it doesn't sound like a hit in the first 5 seconds.

I guess what I'm surprised to find myself arguing is that faking indie cred has already cost radio one small subset of listeners, and is chafing at another, larger one. Maybe, from the radio station's perspective, it's time to cut the act, stop trying to be everything to everyone, and just play exactly what brings the ratings.

Did I really just write that?

Get it on.

This is hokey, but let it never be said that, even when I'm posting as infrequently as I have been, I make careful editorial decisions with regards to the content on this site. From now until Valentine's Day, Amazon.com has decided to give away an .mp3 of Marvin Gaye's "Let's Get It On" for free. If you don't already own this (HOW COULD YOU NOT ALREADY OWN THIS?!) you now officially have no excuse. Click here, this ish is FREE.

Don't cross The Boss

Bruce Springsteen will provide your company email address to the entire frothy, biley Internet. The following pretty much speaks for itself.

(As posted at MySpace)
A Letter to Our Fans:

We know there was much confusion regarding Ticketmaster and TicketsNow during last Monday's on-sale dates. We were as confused as you were, as we were given no advance notice of the major changes in the Ticketmaster-TicketsNow world. (Bear in mind that we are not clients of any ticketing company, and that all those arrangements are between venues and ticketing companies.)

Last Monday, we were informed that Ticketmaster was redirecting your log-in requests for tickets at face value, to their secondary site TicketsNow, which specializes in up-selling tickets at above face value. They did this even when other seats remained available at face value. We condemn this practice.

We perceive this as a pure conflict of interest. Ticketmaster is there to ensure that we have a good, fair sale of our tickets at their face value plus normal ticketing charges. TicketsNow is supposed to be a secondary site where people who already have tickets may exchange, trade, and, unfortunately, speculate with them. We have asked this redirection from Ticketmaster to TicketsNow cease and desist immediately and Ticketmaster has agreed to do so in the future and has removed its unwanted material from their and our site.

We know the many cynical arguments some make in favor of the Ticketmaster system: There are rumors that some artists or managers participate in Ticketmaster charges--we do not. There are rumors that some artists or managers are receiving a percentage of the amount above face value at secondary outlets like TicketsNow--we do not. Some artists or managers may not perceive there to be a conflict between having the distributor of their tickets in effect "scalping" those same tickets through a secondary company like TicketsNow--we do.

While many of you have sent notes to us and your local promoters, you may also send accurate informational letters to Albert Lopez of Ticketmaster [Albert.Lopez@ticketmaster.com] and he will try to address your questions.

A final point for now: the one thing that would make the current ticket situation even worse for the fan than it is now would be Ticketmaster and Live Nation coming up with a single system, thereby returning us to a near monopoly situation in music ticketing. Several newspapers are reporting on this story right now. If you, like us, oppose that idea, you should make it known to your representatives.

The abuse of our fans and our trust by Ticketmaster has made us as furious as it has made many of you. We will continue to do our utmost now and in the future to make sure that these practices are permanently curtailed on our tours.

Bruce Springsteen, Jon Landau and the entire Springsteen Tour Team

[I found the animated .gif at Kissing Suzy Kolber, who say they found it at Texas Gal's twitter feed, so I guess maybe that's where it came from. KSK, by the way, had the best post-SuperBowl Springsteen post that I saw. Read that here.]

I scooped Kanye.

Kanye West (or a nameless minion thereof) has apparently taken notice of Providence's Triangle Forest. Sure, the copy underneath the picture is nothing more than an exact rip of the band's Wikipedia page, but still. At least it's not a direct rip of the "About Triangle Forest" section of the band's own MySpace page (see for yourself, lazybones).

For what it's worth, I was one of the judges at the WBRU Rock Hunt these guys won, and they are the realest of real deals. And I said as much way back in April of 2007. Booyah.

Kanye: 282763458264, Mike: 0 1

Lily Allen - Straight To Hell

Straight To Hell has always been my favorite favourite Clash song, so it's a pretty sure thing that if someone covers it, I'm going to listen. Lily's version is...fine I guess. It's from a charity album put together by an organization called War Child, which is a pretty good name for a group that aims to protect children living in war zones. I can get behind that.