All posts tagged q-song

  • The Music Network story: ‘For The Record: An Album Retrospective Part 5’, August 2009

    In the final piece of a five-part puzzle, Andrew McMillen examines the digitally-inspired shift in consumer habits away from the long-established album format. After speaking to passionate Australian artists like Hungry Kids Of Hungary, Urthboy and Eleventh He Reaches London last week, Andrew verbally prods two innovative Brisbane-based acts who have turned the album-release expectation on its head.

    Were this album-centric article series an actual album, we’d have since bypassed the hit singles, the forgettable middle filler, and the surprising experimental freak-outs. This’d be track twelve; the last gasp that’s strategically-placed to reward the attentive hard-core of fans. Luckily, reader, track twelve is this metaphorical album’s hidden gem: it describes two Queensland acts who’re subverting the traditional cycle in favour of a flexibility that benefits both artist and fan. Press play and get comfortable, won’t you?

    Drawn From Bees: animal loversBrisbane natives Drawn From Bees [pictured right] are riding a healthy buzz following their recent national tour and more than a few nods of approval from Triple J. The art-rock four-piece have self-imposed an interesting alternative release strategy: a new record every six months. Explains bassist Stew Riddle: “Over a few drinks after our first rehearsal last year, we decided to use the fact that we’re a band of four songwriters to our advantage, and aim for a prolific introduction to the band. We felt that it would be interesting to break from the new-band cycle of ‘release an EP, tour for 6-12 months, release another EP’, and instead try to put something out every six months.” But the Bees are in a unique situation that encourages frequent releases; Riddle admits: “Dan, our singer, is also a producer, so we can afford to record very cheaply. If we had to hire studio and producer time, it might be a very different story.”

    Two EPs into their two-year experiment, Riddle contemplates the band’s feeling toward the album format: “I tend not to think about what we’re doing in terms of working towards an album, as to me, the length is largely irrelevant. I feel that each record needs to make a statement, and to be a snapshot of where the band is at that particular time. Our third release is looking to be an 8 or 9 track record that has a more melancholy flavour. Is it an album or an EP? We don’t know, so we’ll just call it a record and let other people decide!”

    When asked where he thinks the album format belongs in the future of music, Riddle is sceptical. “It’s a hard one to judge. It seems that while the physical single is dead, the digital single is now king. No one buys albums anymore, but if you look on my friends’ mp3 player, they tend to collect not just full records, but full catalogues of acts that they love. I think that the album will live on. Certainly, at least in the sense of releasing bodies of music that make various statements at different points in an act’s career. Does it mean that the length of an album will remain between 30 and 70 minutes? Maybe not. Musicians aren’t constrained by the format anymore; vinyl and plastic don’t dictate the length.” With a fourth release due around Christmas to bring the four-EP commitment to a close, what’s next for Drawn From Bees? “We’ll probably do an album. Or a greatest hits box collection, who knows?” laughs Riddle.

    From a regular-release ideal to a staggered album: meet Brisbane indie rock band 26 [pictured below left], who’re midway through an ambitious project to release a twelve-track album in three-song installments every three months. After releasing two albums in the standard manner since their 2005 debut The King Must Die, singer/guitarist Nick O’Donnell explains the genesis of the concept dubbed 26×365: “We don’t sell all that many hard copies anymore, so we decided to release the next album in small portions. We were finding that people were buying singular songs rather than the whole albums off of iTunes.”

    Each of the four parts to 26×365 is priced at $3.39. O’Donnell continues: “We thought maybe we could package a couple of songs together at a lower price point and you could get people buying them because they think they’re getting a bargain, as they’re getting three songs for the price of two. By April next year we’ll have the twelve songs that you can buy as a whole product, but our true fans can get the songs every three months. This allows us to introduce the songs gradually into our live set; in terms of the record, it’s like our fans are coming along for the ride.”

    26: averse to smiling

    With the new release, the band are aiming to reduce the comparative tedium that they’ve experienced with past releases. “It’s not like the situation where the band records the whole album and they’re already already kind of over the songs; you know, you’ve already been playing the songs for a year or so. As an artist, you get to the end of the album process and the songs aren’t fresh for you, but they are for the public. So you’re pretending that they’re new to you, but they’re not.”

    The band’s website further addresses the reasoning behind the project. Perhaps unwittingly, 26 have put their heads together and specified a bold manifesto for independent artists the world over. 26 state:

    Unless you’re Coldplay, Metallica or Andre Rieu, the one thing a band must do is maintain momentum. Peoples’ attention span is becoming shorter and shorter, so we want to be attracting CONSISTENT attention.

    The 26×365 release process will allow:

    1. New material to the audience, but not so quickly that it will lose its impact.
    2. Offer a time-based point of interest for the band
    3. Allow the audience to see how we are progressing as a band
    4. New content for an entire year, including pictures, videos, blogs, and give aways
    5. New gig material for an entire year and having it ready for consumption on iTunes. No waiting for the whole album to be released.

    The purpose of this article series is not to eulogise the demise of the album, or to bemoan the recording industry’s omissions. Instead, it’s to highlight that right now is a better time than ever to consider the ideal manner in which to distribute music to an artist’s fanbase. For independent artists, a direct artist-fan (one-to-one) connection may be the most appropriate business avenue. For bigger artists – the aforementioned Coldplays and Andre Rieus – a one-to-many, traditional distribution method may still be the ideal outcome. The keyword in this discussion is choice. Not only do customers now have the ability to choose how they consume music with more freedom than ever before; now, artists are privy to a wealth of release strategies, business models, digital distributors, while still retaining the option to engage in traditional physical product manufacturing and distribution.

    “A lot of purists tend to complain now that an album’s artwork is gone. I think it’s really great, because what has gone is all the shit surrounding the music. You can still get the music itself, so you’re getting the purest version of the art, because it’s just the music. It’s nothing else.” – Nick O’Donnell, 26.

    Brisbane-based Andrew McMillen writes for several Australian music publications. He can be found on Twitter (@NiteShok) and online at http://andrewmcmillen.com/

    (Note: This is part five of an article series that first appeared in weekly Australian music industry magazine The Music Network issue #748, July 27th 2009. Read the rest of the series: part one, part two, part three, and part four)

  • The Music Network story: “For The Record: An Album Retrospective Part 4”, August 2009

    In the fourth piece of a five-part puzzle, Andrew McMillen examines the digitally-inspired shift in consumer habits away from the long-established album format. This week, Andrew quits hypothesising, and instead speaks to those responsible for history’s loved and loathed albums: musicians!

    In the last three weeks, we’ve indulged in much reminiscing and theorising on the value of the album format in an era of unparalleled consumer choice. “The track has been disengaged from the album!” “Artists shouldn’t automatically sprint toward the album endpoint as a result of historical programming!” “It’s easier to choose to part with around a dollar for a song you’ll love, rather than $15-20 for an unfamiliar collection!” You’re familiar with these arguments, professed from this writer’s listener/critic position. But, er – what about the artists themselves? The ones who make music? Where do they think the album belongs in 2009?

    Hungry Kids Of Hungary: Bigger fish to fryBrisbane’s Hungry Kids Of Hungary [pictured right] write hook-heavy songs that’re informed by a studious observation of the pop legends of generations past. Their two EPs have attracted radio attention, festival slots and, most recently, a Q Song award nomination. Are they treading down the pop-proven album release path? “We sure are!” replies singer/keyboardist Kane Mazlin. “We’re currently demoing and writing songs for a debut album. Like most independent bands, it’s a matter of balancing time and finance as to when we will record and release, but we’re certainly hoping to be in a studio within three months. I think it’s just a natural progression for us to put our ideas down on a long player. It will give us more scope to present ourselves more accurately, which is something we’ve only been able to touch on when creating EPs.”

    No surprise, then, that the Hungry Kids are album purists. Drummer Ryan Strathie explains: “Artists put a lot into creating an album as an entire piece – a single song is only one part of the album puzzle. I think it’s crucial for an album to be experienced in full, artwork and all. For me, its just not the same without the whole package.” Strathie cautions, however: “Artists – big or small – need to take responsibility for the quality they put out. If you can’t put out 10 great songs, then don’t do an album! It’s obvious that people will still buy a record if it’s any good; too many artists maximise on a single song or a hit and put out an entire album, even if it’s not good enough.” He concludes: “People aren’t stupid, they have been burnt!”

    From young upcomers to an established act: Perth’s Eleventh He Reaches London [pictured below left] have forged a respectable name for themselves at the intersection of the nation’s hard-rock, metal and hardcore communities. Their 2005 debut album The Good Fight For Harmony preceded 2009’s Hollow Be My Name, for which the five-piece received a $13,000 recording grant from the Western Australian Department Of Culture And Arts. Drummer Mark Donaldson rationalises the decision to release music in this manner: “We never really gave any thought to releasing an EP or singles, because we believe that you can get more enjoyment out of our band across an album. We wanted to release something that was quite cohesive, and had some continuity, with a good hour-long running time.”

    Eleventh He Reaches London: simply red“I’m still a huge fan of putting on an album and listening to it all the way through. It’s very rare to experience an album that you can listen to from start to finish, and not get bored. It’s very rare to experience that, and it’s one of the things you look forward to in life, as a music fan – that next band that you’ll become completely obsessed with.” When questioned about the free MP3 downloads offered on the band’s Last.FM profile, Donaldson continues: “It’s still good for people to be able to download a song in reasonable quality, just in case they are thinking about downloading the full album. Because we’ve basically arrived at the situation where you can download a song for free, get a feel for the quality of it, and then decide whether you want to waste your bandwidth on it!”

    We laugh at the madness of trying to explain the rationing of 60-100 megabytes to a music fan fifteen years ago. But how does he feel about fans of the band who purport to love their music, but who’ve never bought anything from the band? “There’s no ill feelings toward those who don’t pay. What I don’t like is when people download the album, love it, but then don’t attend a show when we’re near them. That really cheeses me off, because touring is such a massive effort. You look forward to sharing the music with the audience, and that’s what playing live is all about. Being able to share your love of your songs with others.”

    As co-founder of the Elefant Traks label and a renowned hip-hop artist in his own right, Sydney’s Urthboy [pictured below right] understands the record business better than most. Born Tim Levinson, his third album Spitshine is due in August 2009. He reasons: “I love the idea of the album because it allows an artist to make a little book, rather than a short chapter. I completely respect that people receive music in their preferred form, but as an artist I think the whole LP is worth holding onto. The album allows the artist to stretch out a bit, and from that perspective you’re able to tell a better story.”

    Urthboy: both dapper and chipperIt’s a valid comment, given that hip-hop song structures are perhaps more reliant on narrative than their rock counterparts. When asked about digital distribution’s effect on the album format, Levinson concedes: “It’s slowly changing people’s attitudes and expectations toward consumption of music. We’re in a transition period where albums retain a huge significance – but some signs suggest it’s disappearing. Stranger things have happened and trends don’t always result in their predicted outcome, though.”

    Levinson’s position at the helm of Elefant Traks informs his optimistic wisdom. When asked whether Elefant Traks have adopted alternative release strategies to album delivery, he responds: “We’ve discussed it a lot; I want to keep open-minded about it. One of our key methods of promotion is bundling as many activities into the one ad spend. Usually this is simple: the album and the tour. We’re a record label, but we’re also a default management company – we spend money to invest in the artist who hopefully invests in themselves, and in turn helps us sell their records. Touring is not lucrative across the board – that’s an industry myth – but it forms part of the overall picture. The point I’m getting at, is that not every artist can simply put out a few songs regularly, sling ’em to radio, excite the public’s imagination and wait for the money to roll in. There are significant costs associated with any release, whether EP or album. The public may like the freedom of picking and choosing but I don’t believe they’ve fallen out of love with the album yet. Singles aren’t for everybody, but our music industry is; there’s no use writing eulogies at this point in time.”

    It’s worth reinforcing that the purpose of this column series is not to eulogise the album as a whole. Rather, it’s to highlight that digital distribution has allowed listeners to choose how they consume music, and musicians to choose how to deliver their creations to listeners. Next week, we’ll meet some artists who’re rejecting the album-release expectation in favour of innovation, and look to a bright future where musical expression isn’t necessarily confined to 10-12 tracks.

    Brisbane-based Andrew McMillen writes for several Australian music publications. He can be found on Twitter (@NiteShok) and online at http://andrewmcmillen.com/

    (Note: This is part four of an article series that first appeared in weekly Australian music industry magazine The Music Network issue #747, July 20th 2009. Read the rest of the series: part one, part two, part three, and part five)