In which Beeso and the Doc review classic Rocket Science, new Goldfrapp and Black Joe Lewis & the Honeybears, and get into how Oils ain't oils, politics isn't worth a half eaten bag of chips, vale John Clarke, things that are about 100 metres, Daggumentaries, farnarkling, Goldeneyeing, homeopathy, Beats Mode, spaced jams, the official rapper of white thinkpiece writers on twitter, comeback acts, colour and movement and stupidity. Next week: Spoon, Damien Cowell's Disco Machine and mid-'90s Dave Graney and the Coral Snakes. This, next and last week's albums are on our Spotify playlist (note to self: it's your last week to go back and listen to last week's albums) with our faves of 2017 repping on the After Dark Mixtape.
The Battle Of The 'The' Bands (c. 2002), having a stadium rock attitude on a pub rock budget, writing for clubs, dissecting the Splendour lineup and designing festivals for washed-up Gen X parents. This week we review new albums by Satan Takes A Holiday and Pulled Apart By Horses and a 2001 classic by Groove Armada. Next week: Goldfrapp, Black Joe Lewis & the Honeybears and Contact High by Rocket Science (2001). This, last and next week's albums are all on our Spotify playlist.
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In which Beeso and the Doc discuss why they even have a music podcast, is [genre] dead, the beauty of being Beeso, doing all of the things, making movies, incidental things are incidental, Mashed Banana off your 'nana, action aplenty at the Mr Whippy Grand Prix, double (J) edged swords, unexpected comebacks, no more pop culture for you, contractually obliged mentions of our new podcast feeds, how Discover Weekly's magic algorithm works, music-based social siloing, Jake Hole and the children are our future. This week we reviewed new albums from All Them Witches and Crystal Fairy, with Beeso nominating Decoder Ring's '02 debut as his classic. Next week: Tosca, The Shins and Turbonegro's own After After Dark from 2012. This, next and last week's albums are all on the BALLS After Dark Spotify playlist. Check out our favourite tracks of the year so far on the After Dark Mixtape for 2017. Please subscribe and review us on the pod platform of your choice as we got kicked off iTunes for swearing too much and had to start again. You can listen here as well.
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John Seabrook’s book “The Song Machine: Inside the Hit Factory” delved into the 21st-century pop that resulted from concentrating on single tracks: We got songs that were fabricated as masterpieces of instant gratification, full of technological sizzle and concocted by a surprisingly small clique of professionals for a highly competitive A-list of pop stars, who added some small personal garnish to the committee efforts. The same people write for (and with) Taylor Swift, the Weeknd and Adele; they knew the secrets of radio play, which is still seen as the best guarantee of mass success despite the occasional online breakout.
Streaming, instead, encourages curiosity. With streaming rather than downloads, access replaces ownership and the commitment is of time, not money. That’s still significant, but it doesn’t feel so irrevocable. Where downloads and playlists favored the lone song, streaming gives the artist and the album a fighting chance again. Anyone interested in a particular artist, from die-hard fans to novelty seekers, can listen to a whole album repeatedly — not just song samples, not just YouTube choices — and let subtler material sink in. Musicians don’t need to think so exclusively about what sounds, beats and structures the radio gatekeepers will allow; they can get poetic, political, sonically weird or all of the above. While big and glossy still works, it’s just possible that odd and heartfelt will, too.
Couldn't agree more with the argument that 'streaming encourages curiosity.' After years, probably decades of stagnating taste, I've got dozens of new artists and groups in my playlists now. And sure, they tend to be alternative rock acts, or hip hop, which I've always listened to. But I would never have found them in the download era. Because after a while you just stop trying. But with streaming you don't have to try. The platform serves it all up for you, no matter which service you use.
One interesting factoid from the article. It takes 1500 plays of an album to match the income from one paid download. That looks bad, but then I was never going to download any of the albums I've been listening to since getting Apple Music, and Rdio before that. And with some albums I would come close to 1500 plays after a couple of years.
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Separating music from its time and place (and why it's futile), share house stories, Melbourne hipsters, rubber masks, classic Black Keys and new Rival Sons and BadBadNotGood.
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The Doc and Beeso review the new DJ Shadow, wondering if the Doc's high school knob twiddling really gives him the insight needed for the new album, before Beeso can't make up his mind (again!) about Band of Skulls. We also talk about the slowly growing #BallsPodcastMixtape where we are collecting our favourite songs of the year. Then we agree on Doc's classic from The Stalkers. You can also hear the albums for this week and next on The Balls Podcast Playlist.
Next week we review the new sparkly favourite thing by The Avalanches and also Yung's new record as well as the CLASSIC Pornland album In the Nude.