Bjork is driving me crazy

So, I went out and got the new Bjork today. Of course, being me, I've read a few things and heard a few things (an NPR All Songs Podcast among others) about this particular release. I haven't heard all of the album yet but with it being Bjork, I'm sure it will be great (or at the very least interesting because one thing Bjork is not is boring). And, also being me, I had to figure out which version to get and ended up with the "Deluxe Edition" which just means I got a couple of bonus tracks on the CD. This time there is no surround version, there was a limited edition box set that had to be pre-ordered and cost way too much. But the version I'd like, the one that Bjork would most want me to have, is the interactive "app album" version for various Apple devices (iPod touch, iPad, iPhone), none of which I own, because well, I don't really need or want them. Until now. But buying a device like that, at a price like that, seems ridiculous just to get one album. The problem lies in the fact that the app version sounds so cool but I really resent that Bjork chose to release it this way. It is extremely elitist to suggest that "anyone" can access it (which she did in that NPR interview). She couldn't release it on interactive CD ROM? Have an interactive website? Again only a very small proportion of Bjork fans or music fans generally, can or will get that version. If you happen to be in that select small group - can I have a look?

REM RIP

So, the news is now out, REM have broken up. I can't say I'm particularly heartbroken because in the past few years I have been losing interest in their work. I will still defend the first couple of Bill Berry-less albums and think Around the Sun is unfairly criticized but to be honest I haven't listened much to Accelerate or Collapse Into Now despite their return to form status. But I am happy they were around and want to express some appreciation. I'm glad I saw them perform live, both with and without Bill Berry, and also really happy that they picked Sonic Youth to open that Monster Tour. They put on a great show both times with an original and clever stage design. I am really appreciative that several of their albums are (or were) available on DVD-Audio. They sound amazing in this format and I hope other REM fans get to experience them this way. I like that they continue to be involved in lots of projects (most recently to my awareness is Peter Buck's great playing on the most recent Decembrists album, which you should own if you like REM). That kind of involvement tells me that they actually enjoy doing music, something which they, and others, should hold onto when there is so much whining about the fall of the record industry.

The Weeknd

One of the most buzzed artists this year is The Weeknd. They are a mysterious Toronto group who have created a tremendous amount of buzz in a short time. They have played live rarely - just announced their first date outside Toronto - are supposedly working with Drake, and have released two mixtapes in less than six months. Thing is, both of those mixtapes were released for free on their website. I have downloaded both and think they are good - at least worth checking out. The thing I find most interesting is that except for the couple of live dates and maybe working with Drake, these guys have yet to get paid. There is no talk of a record deal and they have given away their music. So despite being critically acclaimed, relatively popular and hyped like crazy, they haven't actually turned this into an occupation. AND this fact is rarely mentioned in the press they get. This is how much the music industry has changed. I guess the upside is that the acclaim, acceptance of peers and actual music made have become the criteria for success. Rather than say, the money.

70s vs. 80s

Awhile ago I mentioned the amazing production on those classic INXS albums from the 80s. Now, of course it is an especially 80s sound: the huge drums, the slick keyboards, the sax solos, the reverb and compression heavy sound. Reading Perfecting Sound Forever recently, this 80s sound was contrasted with the dry, natural, present sound of the 70s best exemplified by Steely Dan - a sound where you can actually picture (an especially practised and slick) band playing real instruments. Now, listening to Hall and Oates, I can say that they really straddle the line - some of the sounds are really dry and unprocessed - the vocals even sometimes - where other sounds have those 80s touchstones. After thinking about and listening for the contrast between the two eras of "perfect" sound, it is a little jarring to hear it in the same song.