A Day to Remember to Release ‘Bad Vibrations’ This Friday

A Day To Remember’s much anticipated new album, Bad Vibrations, will be out this Friday, September 2nd. A Day To Remember (vocalist Jeremy McKinnon, guitarists Kevin Skaff and Neil Westfall, bassist Joshua Woodard and drummer Alex Shelnutt) recorded Bad Vibrations with producers Bill Stevenson (Descendents, Black Flag) and Jason Livermore (Rise Against, NOFX). Released on the band’s own ADTR Records and distributed by Epitaph, the album was mixed by Grammy winner Andy Wallace (Foo Fighters, Slayer) and is the follow-up to 2013’s Common Courtesy.

Fans can get “Bad Vibrations” and “Paranoia” as instant downloads by clicking here to pre-order Bad Vibrations on iTunes. Pre-order bundles are also available on the band’s official site.

A Day To Remember are currently on tour with Blink 182, all of the tour dates are below.

How YouTube Hits Drive Revenue for James Corden

Leo Barraclough, writing for Variety, on the revenue that “Carpool Karaoke” creates:

Digital is central to how the show is funded, primarily through brand integrations. For example, the “Carpool Karaoke” segment with Selena Gomez included a visit to a McDonald’s drive-thru, which was the result of a deal with the fast-food outlet. “That was an integration and it was incredibly profitable for the show,” Winston said, adding that it also generated 45 million views on YouTube. “We made sure it was incredibly subtle so our viewers would not for a second think that this was a sponsored bit. James and I debated it for many hours.”

The emphasis is mine. I really like Corden and his bit, but I really hate deceptive advertising. I’m actually surprised this isn’t a violation of some kind

Spotify Says They’re Not Demoting Songs in Search

Peter Kafka, writing for Recode, reports that Spotify denies that they are demoting songs in search that have been exclusives on other streaming platforms:

Spotify doesn’t like it when big-name acts take their music to Apple or Tidal first.

But it’s not punishing them when they do, by making their stuff harder to find in the music service’s search results, the company says.

That accusation, sourced to anonymous sources in a Bloomberg report out today, is “unequivocally false,” says a Spotify rep.


Spotify Giving Less Promotion to Apple, Tidal Exclusives

Ben Sisario, writing for The New York Times, details a new policy from Spotify where they give less promotion to albums on their service if they’ve been exclusives on other platforms first:

Executives at two major record labels said that in recent weeks Spotify, which has resisted exclusives, had told them that it had instituted a policy that music that had benefited from such deals on other services would not receive the same level of promotion once it arrived on Spotify; such music may not be as prominently featured or included in as many playlists, said these executives, who spoke on the condition of anonymity in order to discuss private negotiations. Spotify declined to comment.

It seems to be getting harder for Spotify to justify any claims that they’re artist friendly. Artists that are doing exclusives with other platforms are doing so because of the massive promotion, and in some cases monetary advantages, of locking in these deals. They’re doing what’s best for them in a world where rates-per-stream are awful (and Spotify wants them to drop even more) and this windowing strategy1 allows them to maximize their income for a small moment in time, and then push the album out broadly everywhere else and gain exposure as they tour. If the reports are true, Spotify’s trying to make that secondary broad push just a little more difficult, and therefore make the windowing strategy less attractive. I’m not a fan.

  1. Sorry for the paywall article, but it really is the best one on this topic.

The Modern Baseball Movement

David Anthony, writing for The A.V. Club, about Modern Baseball:

“We would hear horror stories from fans,” said Lukens. “The easier ones would be like, ‘I got kicked in the face.’ Then there’s the more intense ones like, ‘I put my drink down and now I’m feeling odd,’ or, ‘I was crowdsurfing and guys pulled me down and started groping me.’ We realized that it was as much on us, as it is on everyone else, to make everyone safe and make sure all these venues are safe and accommodating.” These new policies have not only added more work for Lukens and Holt, but they’ve led each member of the band to look inward and find ways to become better allies to the non-white, non-male people at their shows.

This is a really fascinating article, even for someone that’s admittedly not a huge fan of the band. Not sure what’s going on with the typography choices for links though.