I listen to a lot of dance music, and I've been a fan of mix-CDs for a long time. But I don't listen to as many online-available mixes as I might, or rather I didn't until recently. The logic is simple: the established media from which I largely make my living didn't/doesn't care about these things, for the most part. Not to mention that there are so damn many of them floating around I wouldn't know where to begin or end.
That began to change last year. Along with the single-track MP3s I picked up, I started downloading DJ mixes as well. The obvious turning point here was the Resident Advisor Podcast, which I began paying attention to early in '07 and then started looking around for older and out of print ones. Nothing like a collectible to usher you in, right? Especially an ongoing one. But it helped solidify an approach to MP3 mixes that I still basically follow: I'll happily try it out (or add it to my Word doc for later), but I never go out of my way to find a DJ set. I like them to be good accidents.
And because they're long and because I am honor-bound to play them through--and because it's January and the big thing I'm working on isn't about records, I have time to troll through things at my leisure--I've been listening to more mixes. RA.137 just finished, RA.138 now begun--137 sounded nice, no real bead on it, though. I've played the Joker Purple Wow Sound mix FACT put up (and Philip just mentioned) a few times, no serious bead on that one other than I like it and it's probably definitive for all that weirdo bass stuff I like. (Which is a bead, sure, but that's exactly as far as it goes: I'm talking about the vibe/hype surrounding it. That all feels factual to me. I'd just need to dig deeper into it to figure out the ways it's doing those things, to my ears and to the folks inside that circle.) I've been listening to Grandfather Paradox to review.
And of course, I'm behind: seven minutes into the hourlong Rene Breitbarth RA.138, playing it now out of necessity (though hey, techno sounds good right now). That's because I never got back to those SoulBounce playlists; I could probably guess which songs were the ones I need to hear and play them, but I do enjoy hearing this stuff in groups--I don't know a lot of it, so it helps to hear in sequence. I still have nOvaMatic's and Ro's left. (None of them are complete, by the way. As mentioned, I can't find my Jazmine Sullivan CD.)
I might as well lay out what else I'm behind on. I still have five of those Forced Exposure CDs to play, though the pile they occupied by their lonesome got shuffled around big-time over the past few days. Worse, I requested two more from their most recent promo mailing. An upshot: I realized today that I haven't bought a single CD yet this year. I wonder how long I can keep that up.
Showing posts with label philip sherburne. Show all posts
Showing posts with label philip sherburne. Show all posts
19.1.09
14.1.09
The first two weeks.
Keeping an eye on how you do things will often lead you to alter them, and that's been the case with SLM. For example, as mentioned earlier, I used to downloading tracks off blogs willy-nilly, or from publicist links I've been sent via email. Those would go into a folder labeled "unassimilated," from which I would, when I had the inkling, go through, find singles and EPs, and put into a couple general iTunes folders ("2008 possibilities" for single tracks, "2008 A-B" for two-to-four-song singles/EPs) and then play through them when time permitted--sometimes for hours at a time. I plowed through a lot of stuff that way and discovered a good amount.
But SLM frowns upon such stuff, so what I've done instead is put likely emails into folders ("digital promos") and, with URLs that catch my eye and potentially my ear, simply keep them listed in bullet-point on a simple Word document so I can go back to them when I feel like it. I figured I'd wait a couple weeks to see how many there were. Now, on the 14th of the month, the exact two-week point, I counted. The number of URLs so far--some of which feature multiple MP3s, or DJ-mix sets, or in a couple cases full albums--is 72, an average of over five per day. I think that kind of says everything.
Something I wrote on an earlier post--"SLM isn't really about spending more time with less music"--raised a cocked eyebrow from Philip Sherburne, who found it "odd, because that seems to be precisely one of the pillars of [the] project." Part of the reason I said that was in response to a comment proselytizing for "getting off the grid," opting out of the more sports-like part of music listening, the what's-new-and-now aspect of it, in favor of just diving in wherever and taking what you find where you can. All wonderful things--and the commenter in question has a blog featuring some eloquent mixes. But even if I weren't writing about music for a living (for now, anyway), I'm still fascinated by music-as-sport--who's doing what, which albums are being talked about, the whole sweep of it. Those aren't the only exciting things about following music, but they're a part of it I quite enjoy. You don't have to be first on your block (I rarely am) for that to resonate.
What I've noticed about the project so far is that I've spent less time with music, period. Part of it is professional: without wanting to belabor this any further than I already have, this is a shitty time to try and make a living freelancing about music for money. It's a shitty time to do anything for money, period. So I have fewer assignments than I might have even a year ago, and as a result I've got fewer things I have to listen to. Hence, my listening becomes more scattered, less focused. It also relies less on things I feel I should be listening to, though inevitably some of that sneaks in, too, as with the new Animal Collective--a band I've never liked, whose moment in the sun compels me to pay attention. (The results so far have been mixed, but intriguingly so.)
I've also been cataloguing that listening differently than usual. In 2007 and '08, I put likely new songs in numbered iTunes folders in groups of 10, figuring that way I could make more time for the individual playlists to whittle down further. Instead, I ended up, at the end of the year, with 68 playlists--nearly 700 songs that I liked enough the first time through to investigate further, only I never got to re-investigate most of them because I was too busy adding to their ranks from the aforementioned "2008 possibilities" folders. It never ended--and though I liked a lot of music I heard as a result, often it could feel like make-work.
The major change I wanted to make via SLM was to not second-guess myself so much. If I hear a song or album with a little more clear space around it, chances are my opinion will sharpen; I won't be so inclined to hear things as part of a marathon-listening groove and correspondently let my ears slip a little. I definitely want to find more things I'll go back to--and given how much music is released in a year, and how much of it I hear (still a considerable amount even without grabbing everything in sight by habit), that number is likely to remain high. And I think it's helping me understand when those slippages are in fact helpful--when re-hearing something in context of other pieces of music buoys it, puts it in better focus, shows its facets off better. Not that this has been happening yet much; I realize two weeks in is awfully fucking early to doomsay, but I should say right now that on the evidence (stuff I've heard, stuff I know is coming) I am not gearing up for 2009 to be a great or even good year musically. Nevertheless, I'm enjoying paying attention to it, especially with that attention being a little more focused than usual.
But SLM frowns upon such stuff, so what I've done instead is put likely emails into folders ("digital promos") and, with URLs that catch my eye and potentially my ear, simply keep them listed in bullet-point on a simple Word document so I can go back to them when I feel like it. I figured I'd wait a couple weeks to see how many there were. Now, on the 14th of the month, the exact two-week point, I counted. The number of URLs so far--some of which feature multiple MP3s, or DJ-mix sets, or in a couple cases full albums--is 72, an average of over five per day. I think that kind of says everything.
Something I wrote on an earlier post--"SLM isn't really about spending more time with less music"--raised a cocked eyebrow from Philip Sherburne, who found it "odd, because that seems to be precisely one of the pillars of [the] project." Part of the reason I said that was in response to a comment proselytizing for "getting off the grid," opting out of the more sports-like part of music listening, the what's-new-and-now aspect of it, in favor of just diving in wherever and taking what you find where you can. All wonderful things--and the commenter in question has a blog featuring some eloquent mixes. But even if I weren't writing about music for a living (for now, anyway), I'm still fascinated by music-as-sport--who's doing what, which albums are being talked about, the whole sweep of it. Those aren't the only exciting things about following music, but they're a part of it I quite enjoy. You don't have to be first on your block (I rarely am) for that to resonate.
What I've noticed about the project so far is that I've spent less time with music, period. Part of it is professional: without wanting to belabor this any further than I already have, this is a shitty time to try and make a living freelancing about music for money. It's a shitty time to do anything for money, period. So I have fewer assignments than I might have even a year ago, and as a result I've got fewer things I have to listen to. Hence, my listening becomes more scattered, less focused. It also relies less on things I feel I should be listening to, though inevitably some of that sneaks in, too, as with the new Animal Collective--a band I've never liked, whose moment in the sun compels me to pay attention. (The results so far have been mixed, but intriguingly so.)
I've also been cataloguing that listening differently than usual. In 2007 and '08, I put likely new songs in numbered iTunes folders in groups of 10, figuring that way I could make more time for the individual playlists to whittle down further. Instead, I ended up, at the end of the year, with 68 playlists--nearly 700 songs that I liked enough the first time through to investigate further, only I never got to re-investigate most of them because I was too busy adding to their ranks from the aforementioned "2008 possibilities" folders. It never ended--and though I liked a lot of music I heard as a result, often it could feel like make-work.
The major change I wanted to make via SLM was to not second-guess myself so much. If I hear a song or album with a little more clear space around it, chances are my opinion will sharpen; I won't be so inclined to hear things as part of a marathon-listening groove and correspondently let my ears slip a little. I definitely want to find more things I'll go back to--and given how much music is released in a year, and how much of it I hear (still a considerable amount even without grabbing everything in sight by habit), that number is likely to remain high. And I think it's helping me understand when those slippages are in fact helpful--when re-hearing something in context of other pieces of music buoys it, puts it in better focus, shows its facets off better. Not that this has been happening yet much; I realize two weeks in is awfully fucking early to doomsay, but I should say right now that on the evidence (stuff I've heard, stuff I know is coming) I am not gearing up for 2009 to be a great or even good year musically. Nevertheless, I'm enjoying paying attention to it, especially with that attention being a little more focused than usual.
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