Month: September 2020

My Nostalgia – 2003

My Nostalgia
Jason Tate

Heading back to reflect on 2003 is going to be a difficult one.

It’s arguably one of the most critical years in my musical journey, but that comes with some scars. This week we continue the trek by exploring the end of my sophomore year of college, that summer, and into the start of my junior year. AbsolutePunk has shed its fan-page skin and become a website for all the music I want to talk about, and it’s starting to see traffic on levels I never expected. I’m running it from my dorm room; I’m getting so much mail I get banned from the college post office, in class I’m sketching new ideas for what I want to do next with the website, between classes I’m updating it from the computer lab with news.

Things are getting a little wild.

And then, in the span of these next couple of years, the scene explodes like a thunderclap.

It’s difficult to properly put this year in context because the albums coming out feel like rapid fire on reflection. There’s so many. And so many of them that had a massive influence on the music scene, and me personally, that it’s virtually impossible to talk about all of them. Albums like Thursday’s War All The Time and Further Seems Forever’s How to Start a Fire could be deconstructed in entire articles. I could tell stories about how I was convinced Matchbook Romance was about to blow up and late-night AIM chats with the band about signing to Epitaph and coming up with their new band name. This is the year of AFI’s Sing the Sorrow and The Ataris’ one dance in the spotlight with So Long, Astoria. It’s the year of Rufio’s inexplicably recorded vocals and MCMLXXV. And it’s the year of Ben Gibbard flexing with Death Cab for Cutie’s Transatlanticism and The Postal Service’s Give Up. I mean, get the fuck out of here with that Ben!

I could write treatises about all of those albums and more. They all had an outsized impact on my life, who I became, and the kind of music I enjoy. But to really deconstruct my musical taste and the music scene’s trajectory as a whole, I need to focus on a specific five.

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Why Spotify Has So Many Bizarre, Generic Artists

Jason Tate

Peter Slattery, writing at OneZero :

While the platform pays only in the neighborhood of a third of a penny per stream if you’re not Drake, it boasts more than a quarter-billion active users. So, if your music ranks highly for a search term, you can accumulate enough listens to steadily make hundreds, in some cases thousands, of dollars a month with minimal effort.

The key to success is to find a phony artist name that Spotify users are likely to type into search. Like Relaxing Music Therapy, some of these “artists” use names inspired by an adjective commonly used to describe music. Others name themselves after popular uses for certain kinds of music, well-known generic tunes like children’s rhymes, or entire music genres. Often, these creators optimize further by titling tracks and albums with related words and reuploading the same songs ad nauseum, which can look especially absurd when filtering to see just a single tune. Relaxing Music Therapy, for instance, has uploaded the track “Stream in the Forest With Rain” 616 times to date.