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Comments
Many artists do this already by releasing remixes. This is nothing new at all.
I guess one difference might be if you think of a remix as parallel to the original. Whereas if the original is constantly update or replaced..
Yeah I suppose that is true, but hardly groundbreaking like the article suggests. And you could keep 'backups' of the originals if you wanted to keep them.
I think that Kanye is either very lucky or very clever, and am undecided as to which it is. He has created a mystique that means everything he does or says comes under massive scrutiny. What better exposure could you want ?
Totally! I was just imagining a screen hanging up in someone's futuristic house, that is showing a painting, that an artist is continually painting on, and the people in the house like it because it keeps changing.
People like when they see their favorite band and they do stuff that wasn't on the album. It shows the artist is really there, and alive. It's a really weird idea, right, that an album could be doing that too, that it is in motion, rather than being static?
It is like returning to a time before audio recording existed
How does this kind of release get a UPC and ISRC and Musicbrainz coding, and how can it be included for chart registration eligibility and fingerprinting?
No, - and, Kayne who? ?!?
Ah! I see what’s happening.
Up to now, a record was literally a “record” or storage of a specific performance, unlike the sheet music that preceded records.
Today, streaming is a way of making records available, yet like live broadcasting, it is also a way of decoupling a specific performance from a venue, unlike the records that preceded streaming.
What’s occurring is the breakdown of the distinction between a “record” of an individual performance, and the idea of ongoing gigging.
It is a weird idea but one that some listeners will enjoy. I'm curious about how we cope with such a massive amount of content.
I had to put that story on my Twitter earlier, glad to see the discussion here too. This a very important issue and I think it goes to the heart of the matter of why music doesn't connect with people like it did decades ago.
I think mschenkel is correct in saying that constant reworking happens in other art forms as well, but I believe it goes deeper. Many artistic genres and popular culture in general is so transitory and disposable today. The lack of attention spans is part of it, but there's also so much shit being thrown at us in every media form that a true, personal connection to anything is rare. It's a constant "oh that sounds nice, oh that looks cool" and boom onto the next. Retention is seriously low.
So when Kanye makes like a video game developer patching their game or sharpening the experience but with music it muddles up the water even further. First, as much as I dig iOS music production and the Auria DAW, these powerful tools can so easily be overused. It is not at all like the analog cassette PortaStudios I grew up on. Decisions on a particular sound can waver and change countless times when we have the power to pull up a synth app with 100 voices which can be auditioned and then repeat the process again with one of the 20+ synth apps on the iPad. Just making a decision and sticking to it can easily be lost in the fog.
I think this article taps into this a bit but as music makers we know how incredible modern day recording is and how easy it is to manipulate every little detail in a track JUST SO. It's bad enough if as the deadline for mastering an album approaches the artist/producer are still in limbo about final mixes or parts of the recording. It is another very dangerous world if AFTER the "final" mixes are mastered and released that an artist/producer go back and start doing George Lucas style changes and overhauls to "completed" work.
What does the music buying public do if their favorite act releases an album, they buy it online, save it to their PC, phone or whatever but then the next month there's an "improved" Producers Cut with added material to the released songs? Will it be like a video game purchase when the new patches come out they're made available for free or will these album "updates" become another commodity that is monetized by the artist, label, etc.?
The music business has already taken massive hits with the advent of digital file sharing. Streaming has now signaled the death knell to CD's and physical mediums once and for all and is now encroaching on MP3 type file download delivery. New artists face a crowded landscape with a litany of entertainment options; to rise above the collective din and make an impact is harder than ever before. This latest 'development' is certainly not the direction that popular music and the music business need to head to.
We all play, write and record music for our own reasons and if forced we would all probably admit money or "the business" is NOT the main reason that made us pick up an instrument and continue on with it through life's ups and downs. It's part of our souls and there's a need to do music that's there, as hokey as they may be.
But we also have all at one time or another dreamed of success with music and many have worked in bands, as teachers or quit jobs and thrown all economic security to the wind in order to pursue a career in music. Things like this story and its effects just make it harder for those dreams and aspirations to be fulfilled. For f**** sake keep recordings of songs and albums as the time capsules they are. If an artist wants changes in a song that's been put out, play it different live or record ANOTHER version. Art should begat more art and the progression is the artists legacy. If you stay on a record forever, diddling with it endlessly, to me you're missing the point.
Just like we do now I suppose, by not listening to most of it.
Yeah I feel I'm more or less unaffected by anything Kanye West is/does, but of course I live on the fringes with a population in the negatives.
When I was a kid, I loved to read.
The books I read most were the "you decide what happens" genre.
For instance, it is WWII and you are living in the Ghettos, you are being chased by someone, and you decide whether to keep running or turn around and confront them.
Depending what choice you make, you are given a page to turn to.
The story is filled with such instances. It allowed me to read the book multiple times.
I suppose we will see film and music with this format as things evolve. The cost to consumers will be based on what "tools" you can use to alter each piece of work from the artist.
Similar to the Fx packs on the Launchpad App or Auria F/x plug ins.
See how I brought that back in a loop..................................... ;-)
This is a very good point. If i've read a book I won't read it again, if I watch a film or TV program, I won't watch them again. If I play a story based video game I won't play it again. Once I have seen a photo or painting I don't have a desire to see it again.
The only medium I will 'redo' is music, replaying the same stuff many many times. If these change each time I listen I think that appeal may go away, but then again it may not.
Yes, it's unfortunate that he is the poster boy for this conversation, because it's an interesting conversation.
The music industry is still in a state of upendedness, and the artists who figure out how to monetize the new normal will win. I suspect those who try to sell CDs will ultimately fail (vinyl probably has a better chance).
Not to mention the even longer historical precedent of wandering minstrels, spirituals, etc. (IE, music as recording is an artificial construct).
There are parallels between this thread and the last two pages of that AUM thread, in which live performances (perhaps many of them) are hailed over timeline perfection.
I imagine that in the early days of miming and lip syncing on Top of the Pops that very similar conversations took place.
I love live music, I love the atmosphere, the loudness......but there have been times when watching a live performance that a song didn't sound how I expected it to from hearing a recording, and that I was a little disappointed (not for long though), the opposite happens more often though .
Actually, there’s a precedent. Web sites. Anyone who has ever worked on a web site knows how easily they progressively refine and improve in their appearance and behaviour.
One significant problem that this throws up is that there’s often no occasion to make a “record” of the site as it stands at a specific point — why bother, it’ll be the same or better in a few minutes, or tomorrow. Websites have no “deadline” or “on-shelf date” or “release date”. As a result, there’s a huge history of site evolution that’s forever lost, with no record. There’s only how it is as you see it today.
As ever (perhaps) it depends upon which end of the stick most of us are chewing; the artist or the consumer of the art. It's a large and onion-like subject (and a very appropriate one for this point in -especially digital- history).
Ima fix wolves.
I think having a record of 'what was then' is important, how else would we know and be able to teach to avoid many of those 80's hairdo's and clothes
Incomplete I know. But there is the wayback machine: https://web.archive.org/web/20121213235734/http://forum.audiob.us/
I don't get a book deep into my brain & marrow until the second or third reading, you might want to try it out.
kanye west is a complete joke. imo of course.
Too dumb, did not read
I am not a massive literary reader anyway so that may be why, there are only two books that captured my imagination and they are The Lord of the Rings and The Bible, not sure I'd have the time to read them both 2 times each again lol
btw I am not religious
I'd rather hear endless Hartlepool Bra men loops rather than this self acclaimed 'genius'
Interesting perspective, thanks for the article @Jocphone
Ha, I'm imaging Michelangelo walking into the Sistine Chapel years after its completion and randomly start painting more on top of it. In response he'd reply "I am a God....
Hurry up with my damn massage.
Hurry up with my damn ménage.
Get the Porsche out the damn garage."
Luckily there's something for everyone. I always enjoyed Donald and Davey Stott.
The entrainment industry is already there with videogames which have a much deeper story, hence a bigger captivating skill and the actual chance to explore every aspect and 'if' of the story, despite a full featured movies production, the bigger the worse, planning millionaire budgets for less than mediocre films just to appeal a secure market.
@u0421793
If I don't get fooled by my memory some is taking care of this issue with a archive of abandoned web sites.
http://www.internetarchaeology.org
(Not exactly what I was looking for but quite near)
Now, figuring out what the "new normal" is going to be is a really really interesting question. Not least because one of the possible answers is that there ain't going to be any new normal any more, and that there's just too much dissipation and variety in what is left of the music business for there to be a single dominant model for delivering and monetising music.