Pitchfork tranches

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby Grumby » Thu Jan 23, 2020 2:08 pm

i just gave that mura masa album a listen out of curiosity for some reason, it's terrible.
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Postby ripersnifle » Thu Jan 23, 2020 2:10 pm

Halsey thing is rly funny
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
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Postby endless dave » Thu Jan 23, 2020 2:22 pm

mego wrote:Fuck I’m a bit pissed off at myself for not taking the time to consider how/if the artists in compilations like these are compensated


Related, the entire concept around Numero has always felt incredibly sleazy, especially when the songs are kicked to Secretly’s licensing arm and placed in wave after wave of mediocre Netflix movies
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Postby jph » Thu Jan 23, 2020 2:38 pm

Image

quite the headline
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Postby auspice » Thu Jan 23, 2020 2:39 pm

jph wrote:Image

quite the headline


eh, she deserves the clickbait headlines if she's really gonna play the role of Artist Mad About Mediocre Pitchfork Review in fucking 2020.
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Postby Drinky » Thu Jan 23, 2020 3:16 pm

endless dave wrote:
mego wrote:Fuck I’m a bit pissed off at myself for not taking the time to consider how/if the artists in compilations like these are compensated


Related, the entire concept around Numero has always felt incredibly sleazy, especially when the songs are kicked to Secretly’s licensing arm and placed in wave after wave of mediocre Netflix movies


Really, "the entire concept"? Do artists on Numero comps not get royalties for stuff like that?
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Postby endless dave » Thu Jan 23, 2020 3:55 pm

I speak with only a small but direct insight on Numero but I remember their model being kind of a "cash for gold" thing where they'd offer usually generous buyouts of these "lost artists" and then own the rights wholesale and then make oodles of money on the backend (which was supercharged when they got connected to Secretly Publishing)

like the label cannot exist releasing what they do, how they package it, and at the clip they put things out without some lever of exploitation (of, it should be noted, a lot of older people of color). I'll also say that I could be wildly wrong in how they did or do it but Secretly Group writ large is not an organization I particularly trust when it comes to the business of side of the music world.
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Postby rich uncle skeleton » Thu Jan 23, 2020 4:23 pm

endless dave wrote:I speak with only a small but direct insight on Numero but I remember their model being kind of a "cash for gold" thing where they'd offer usually generous buyouts of these "lost artists" and then own the rights wholesale and then make oodles of money on the backend (which was supercharged when they got connected to Secretly Publishing)

like the label cannot exist releasing what they do, how they package it, and at the clip they put things out without some lever of exploitation (of, it should be noted, a lot of older people of color). I'll also say that I could be wildly wrong in how they did or do it but Secretly Group writ large is not an organization I particularly trust when it comes to the business of side of the music world.


It's interesting to read yr post in light of this from p4k yesterday about Disco Jazz by Rupa:
https://pitchfork.com/thepitch/how-a-long-lost-indian-disco-record-won-over-crate-diggers-and-cracked-the-youtube-algorithm/
Vrinda Jagota wrote:Now Rupa is receiving proceeds from the Numero Group reissue and corresponding with fans around the world. She’s practicing every day to get her voice in shape and feeling optimistic about her future as a singer. “It’s almost impossible for me to explain why this is happening,” she says. “I think of it as a blessing from God that after so many years, I’m finally getting recognition.”

A much more optimistic read but I get the sense that there is a lot of exploitation involved in these reissues. Sucks cause I really have found so much amazing music from comps and reissues but yeah this whole industry seems fucked. Was this any better in the Mutant Sounds blogspot era when this stuff was all just uploaded for free?
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Postby it's the suspense that gets me » Thu Jan 23, 2020 4:27 pm

the hip hop tape collector scene is incredibly frustrating to me too, and like that's a method of music distribution still largely being maintained on like illegal blogs and vk.com . like so many amazing, obscure tapes that are almost entirely in the possessions of people in germany or russia. insanely inflated worth. artists who have a good chance of still being in poverty.

this record is amazing and it's 95$ price tag is actually pretty low as far as this thing goes. i've found several ones, including ones that contain music that's pretty thoroughly unremarkable going for four digits easy.

https://www.discogs.com/Ill-Messiah-Colder-Than-A-Glacier/release/6934146
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Postby endless dave » Thu Jan 23, 2020 4:37 pm

I have no doubt many artist love their work with Numero and get money or have made more standard deals. I could be overly cynical here or be speaking with a very outdated notion of the label and larger company. the guys who run Numero are nice, genuine people, but I find the broader approach, while a seemingly real labor of love, existing in a form ripe for exploitation as a part of a label group I have lot of major reservations about their licensing and rights and accounting teams, and of course placed in an industry built to steal money from artist. it just sits with me in a funny way and the little crumbs I've picked up over the years haven't helped. and like I said, their model, with the minuscule margins of the music industry, simply cannot exist if they're treating all the artists with fair deals. I'll stand by that (and a general malaise around white dudes gentrifying and commodifying the art of black communities)
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Postby rich uncle skeleton » Thu Jan 23, 2020 4:40 pm

I've always wondered about this i/r/t Sublime Frequencies. Like a quarter of their releases are just recordings of the radio in Southeast Asian countries, no chance any artists are getting compensated there, and the fetishization around the music as ethnographic material and the label as a scholarly project is pretty weird:
Sublime Frequencies is a collective of explorers dedicated to acquiring and exposing obscure sights and sounds from modern and traditional urban and rural frontiers via film and video, field recordings, radio and short wave transmissions, international folk and pop music, sound anomalies, and other forms of human and natural expression not documented sufficiently through all channels of academic research, the modern recording industry, media, or corporate foundations. Sublime Frequencies is focused on an aesthetic of extra-geography and soulful experience inspired by music and culture, world travel, research.

I say this a big fan of SCG/the Bishops, and maybe they're doing it right since they seem to do small releases without licensing (that I'm aware of, could be totally wrong there). I don't know enough about it, but I'm skeptical...
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Postby rich uncle skeleton » Thu Jan 23, 2020 4:42 pm

endless dave wrote:but I find the broader approach, while a seemingly real labor of love, existing in a form ripe for exploitation as a part of a label group I have lot of major reservations about their licensing and rights and accounting teams, and of course placed in an industry built to steal money from artist

Yeah this makes a lot of sense to me
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Postby alaska » Thu Jan 23, 2020 7:00 pm

i liked jace clayton's discussion abt all this in "uproot". he cites a couple of examples of labels/comps/etc that he thinks are doing a good job (i think he talks about the music from saharan cellphones guy?)
i dont remember the details but it comes down to like, yeah, leveraging your power to actually help the artists, trying to stay accountable to them, etc
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Postby broodstar » Thu Jan 23, 2020 11:32 pm

jph wrote:Image

quite the headline

chef's kiss
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Postby mego » Thu Jan 23, 2020 11:53 pm

rich uncle skeleton wrote:I've always wondered about this i/r/t Sublime Frequencies. Like a quarter of their releases are just recordings of the radio in Southeast Asian countries, no chance any artists are getting compensated there, and the fetishization around the music as ethnographic material and the label as a scholarly project is pretty weird:
Sublime Frequencies is a collective of explorers dedicated to acquiring and exposing obscure sights and sounds from modern and traditional urban and rural frontiers via film and video, field recordings, radio and short wave transmissions, international folk and pop music, sound anomalies, and other forms of human and natural expression not documented sufficiently through all channels of academic research, the modern recording industry, media, or corporate foundations. Sublime Frequencies is focused on an aesthetic of extra-geography and soulful experience inspired by music and culture, world travel, research.

I say this a big fan of SCG/the Bishops, and maybe they're doing it right since they seem to do small releases without licensing (that I'm aware of, could be totally wrong there). I don't know enough about it, but I'm skeptical...


yeah sublime frequencies is who immediately came to mind for me. that quote makes me uncomfortable too
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Postby ripersnifle » Sun Jan 26, 2020 12:35 am

https://pitchfork.com/reviews/albums/8116-in-the-fishtank/
This collaboration was written and recorded in a 48-hour period in 1998 as part of Dutch label Konkurrent's In the Fishtank series. I'm not too familiar with the Ex, but I understand them to be hyper-political band from Holland of, I believe, either anarchist or Marxist orientation. Oh, and they rock. This alone makes the pairing with Tortoise-- who seem to be getting colder, slicker and quieter with each album-- a little odd. But the alliance, though strange and probably pointless in the long run, does make for a relatively intriguing listen.
found while perusing Tortoise stuff
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Postby shirts optional » Sun Jan 26, 2020 4:19 am

Wish they would bring back Altered Zones
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Postby Eyeball Kid » Sun Jan 26, 2020 10:07 am

Re: Numero, a lot of those small regional labels the Eccentric Soul comps focused on were exploitive themselves; the recordings were owned outright by the studio/label heads with the artists receiving a pittance (if anything at all) in return. From a legal standpoint, Numero only had to pay whoever owns the rights to the material; yeah, it sucks in many cases the artists aren't seeing a dime, but that's the history of the music industry in general, including now. Acts now receive shit in terms of royalties from various streaming sites. At least with Numero there's evidence they do work directly with once-obscure artists when possible. (See Rupa and the Disco Jazz album for a recent example.)
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Postby cool party » Sun Jan 26, 2020 10:59 am

shirts optional wrote:Wish they would bring back Altered Zones


there is no incentive. they basically acquired it in the first place to cash in on its cultural cachet and consolidate their monopolistic hold on the industry, and once they had picked off all of their readers, left it for dead
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Postby naturemorte » Mon Feb 03, 2020 2:21 am

Image
just an upload error but i thought for a brief moment that dan deacon had achieved an impossible level of album-naming genius
chad wrote:"How can I make this about me and also congratulate myself in some way" - basically every hipinion bro
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Postby it's the suspense that gets me » Mon Feb 03, 2020 2:22 am

yeah i was just about to bump this thread with that and remark how disappointed i was that that wasnt the actual title
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Postby loaf angel » Mon Feb 03, 2020 2:30 am

makes three of us
goldsoundz wrote:i'd bang that moron
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Postby Juno » Mon Feb 03, 2020 11:33 am

Four. Was very disappointed.
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Postby alaska » Mon Feb 03, 2020 11:59 am

actual lol
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Postby la croix » Wed Feb 05, 2020 8:11 pm

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Postby Autarch » Wed Feb 05, 2020 8:22 pm

yeah, that frances quinlan album is sick as hell.
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Postby naturemorte » Fri Feb 14, 2020 2:27 am

Cindy Lee emerged from the ashes of the Calgary quartet Women, which at the end of the aughts put out two workmanlike albums of psych-friendly lo-fi that sailed on the prevailing winds blowing out of Georgia and Montreal.
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Postby loaf angel » Fri Feb 14, 2020 2:35 am

any chance i can never read the word "workmanlike" ever for the rest of my life?
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Postby unscrambled » Fri Feb 14, 2020 2:37 am

Grumby wrote:i just gave that mura masa album a listen out of curiosity for some reason, it's terrible.


it's so bad holy shit. except for that clairo song. idk why they went in this direction .
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Postby Drinky » Fri Feb 14, 2020 7:03 am

naturemorte wrote:
Cindy Lee emerged from the ashes of the Calgary quartet Women, which at the end of the aughts put out two workmanlike albums of psych-friendly lo-fi that sailed on the prevailing winds blowing out of Georgia and Montreal.


I almost posted this same quote in the Women thread.

Guess we can shut that thread down now that this has been established!
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