A happy Bandcamper

Looking back over my previous posts, I can’t help noticing how many have a nostalgic bent – a fondness for things lost or past, and a faint ring of disappointment that the world has to change.

In a way, this isn’t surprising. I’ve always been prone to the odd sentimental flashback. But what confuses me is that I’m definitely more excited than worried about where we are now – at least in terms of technology, and its unravelling possibilities.

I guess the truth is that progress doesn’t really lend itself to binary emotions; it’s rarely so simple as x being sacrificed for y. It’s more dialectical than that. What may appear to have been lost often resurfaces later on, in an improved form, having been ousted by something less satisfactory in the meantime.

Take, for example, the emotional experience of hearing about and acquiring new music.

When I was growing up, hearing about a new release by a favourite artist meant a strange mix of surprise, information overload, and gratification that was neither instant nor massively delayed. With less information at my fingertips, I rarely had any advance warning, so by the time news reached me, not only did the details arrive wholesale, the thing was actually available to buy.Yes, I had to wait until I had enough money, and a way of getting to the shops, but that only filled me with the best kind of anticipation: a few days, maybe a fortnight at most, before the treasure could be obtained.

In the 2000s, some of these emotions fell by the wayside; others were distorted out of all proportion. Powered by the exploding internet, new releases were announced months in advance. Anticipation, not immediacy, became the marketers’ watchword, with promoters devising ever more atomised campaigns in which information – album name, tracklisting, artwork – was revealed with self-defeating sluggishness. As the internet evolved, the moment of musical discovery itself became frustratingly piecemeal. Teaser tracks were leaked – intentionally or otherwise – long in advance, and lead singles were sent to radio months before they were available for purchase. It became increasingly hard to ‘discover’ an album with anything like the same surprise and satisfaction I’d known as a kid.

Even now, in the 2010s, the music industry seems dazed by the internet. The flip-flopping over ‘on-air on-sale’ sits awkwardly beside bands throwing out their releases with almost excessively little fanfare. Having been dazzled by over-experimentation, many still seem unsure what emotions they want to stir in their audiences.

There are, however, notable exceptions, and my favourite is Bandcamp: a versatile online platform for artists to air and sell their music directly to fans, with an elegant emphasis on the power of an immediate digital download to bankroll a later physical release. I’ve bought several albums on this model, and each time the emotional experience has been the perfect blend of ancient and modern – a heady mix of immediacy and anticipation.

I mention it now because one of my favourite artists – the brilliant folk singer Chris Wood – has just signed up, announcing on Twitter last Thursday not only the release but the immediate availability of his new album.

The surprise was sprung. and it was the perfect Easter gift. Granted, I’d known the album was coming – unlike, say, Jim Moray’s Skulk, which I knew nothing about until the moment it was available – but I’d assumed None the Wiser was still several months away, to be announced weeks in advance. But no. The actual release came pretty much out of the blue.

What really makes Bandcamp work, however, is that these immediate emotions – surprise at the news, delight at getting to hear the whole album right away – are followed by anticipation of what’s still to come: a physical release, complete with artwork, liner notes, the whole shebang… On top of which, there’s the investment of dealing directly with the artist, and contributing to the CD that will follow.

It’s a great system, and I’m a big fan. Though not a model that will work for all artists, for whom massive marketing budgets can still be justified, I reckon Bandcamp and its ilk are here to stay. And the reason is simple: because they restore excitement to a process which, by rights, really should be exciting.

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Posted on April 5, 2013, in Folk music, Music, Nostalgia and tagged , , , , . Bookmark the permalink. 4 Comments.

  1. This was exactly my experience! There are few artists who I will immediately (and I mean that literally) drop everything to get a newly released record (Tom Waits, maybe. Billy Bragg?) but Chris is one, and it has been marvelous to be able to bring this into my home so effortlessly.

    • Glad the post resonated, Gary. And totally agree about CW. He’s right up there, as far as I’m concerned. A real magician. And he likes fish finger sandwiches.

  1. Pingback: A river flows through it | TOM BROWN

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