The Narrative Return

The Narrative

The Narrative, on Medium:

After enough time, both of us started to feel the burden of not making music, ultimately realizing that it’s something that is core to our identity, and so we’re trying to get back at it as much as we can.

I actually have about a dozen or so songs I’ve written over the last few years (most of them the year right before my daughter was born), and Suzie & I fleshed one of those out recently and plan to release it soon. We also started working on a few other things and are trying to find our way towards a cadence of consistent new music creation.

And so. We’re back. We think…

Rod Wave Tops the Charts

Rod Wave has the number one album in the country this week:

Rod Wave earns his first No. 1 album on the Billboard 200 chart, as SoulFly opens with 130,000 equivalent album units earned in the U.S. in the week ending April 1, according to MRC Data. With the arrival, SoulFlyalso notches the biggest week for an R&B/hip-hop album in 2021 in terms of units earned.

Is the Deluxe Album Trend Bad For Music?

I found this conversation over at Complex, talking about the “deluxe album” trend, interesting:

Whenever an artist released a deluxe album last year, there were usually comments like “no one asked for this.” And in theory, I can agree with the perspective that less is more. Artists like Kendrick Lamar and Frank Ocean have built incredible legacies by being selective with the music they’ve decided to share with the world. But complaining about new music has always been a ridiculous concept to me. No one is forcing you to listen to these deluxe albums if you don’t want to. They serve a purpose. Hardcore fans will be happy to hear new music, and casual listeners can pick through and save their favorite songs to playlists. We always hear stories about rappers like Future and Thug making eight songs in a night, so why not share some of those with fans? During a pandemic when artists were scrambling for ways to make money, this trend makes sense. I will admit one downside, though, is it opens the door for fans to start pressuring artists into dropping more music just moments after the release of a new project. Watching fans hound Playboi Carti to release a deluxe album full of leaks within hours of Whole Lotta Red dropping was a low point. Let him live for a minute. He finally dropped the album!

Personally, I’m more a fan of deluxe albums than I am the “new” EP re-packaging for streaming services technique. (Or just releasing only singles.) I’m always down for more music from the artists I love, but I think letting the album breathe after its release, for fans to sit with and digest, is also important.

Apple Invests $50M Into Music Distributor UnitedMasters

Apple

Matthew Panzarino, writing for TechCrunch:

Independent music distribution platform and tool factory UnitedMasters has raised a $50M series B round led by Apple. A16z and Alphabet are participating again in this raise. United Masters is also entering a strategic partnership with Apple alongside this investment. 

If you’re unfamiliar with UnitedMasters, it’s a distribution company launched in 2017 by Steve Stoute, a former Interscope and Sony Music executive. The focus of UnitedMasters is to provide artists with a direct pipeline to data around the way that fans are interacting with their content and community, allowing them to connect more directly to offer tickets, merchandise and other commercial efforts. UnitedMasters also generally allows artists to retain control of their own masters.

Spotify Acquires Live Audio App Locker Room

The Verge:

Spotify has invested heavily in prerecorded podcast content, and now, the company is looking to host live audio conversations. The platform announced today that it’s acquiring Betty Labs, the company behind the live sports audio app Locker Room. Spotify didn’t disclose how much it spent on the purchase. 

As a result of the acquisition, Locker Room will stay live in the App Store but will be rebranded with a different name in the future on iOS and, eventually, Android with a broader focus on music, culture, and sports content. Spotify says it sees live audio as ideal for creators who want to connect with audiences in real time, whether that’s to premiere an album, host a question and answer session, or possibly even perform.

Songwriters Sign Open Letter “Pact”

Mark Savage, writing for BBC:

In an open letter, the writers behind songs like Dua Lipa’s “New Rules” and Ariana Grande’s “7 Rings” said “a growing number of artists” were demanding a share of publishing royalties, even if they had contributed nothing to a song.

”These artists will go on to collect revenue from touring, merchandise [and] brand partnerships,” they said, but “songwriters have only their publishing revenue as a means of income”.

They added that composers were often subjected to “bully tactics and threats” by artists and executives who wanted to take a share of the songwriting royalties.

You can read the open letter at The-Pact.org.

Streaming Saved Music. Artists Hate It.

The New York Times

Ben Sisario of the New York Times talks with Shira Ovide about the economics of streaming music:

Haven’t many musicians always felt exploited and underpaid?

Yes, but the streaming model has exacerbated the divide between superstars and everybody else. It’s also a fallacy to dismiss musicians’ complaints. Economic inequality has been around a long time, but it still should be addressed.

What’s the solution? Can streaming ever work for everyone?

There is talk of changing the payments systems to a “user-centric model” that would allocate payments based on what people listen to. If I listen only to Herbie Hancock on Spotify, my subscription fee goes only to him, after the service takes its cut. Proponents say this system would be more fair, especially to artists in niche genres. But there have been studies that say it’s not that simple. And I wonder if it’s too late to change.

Clickbait-y title aside, that study that shows switching to a payout model based on individual listening habits sure is depressing for indie musicians.

Seven More Women Accuse Mark Kozelek of Sexual Misconduct

Sun Kil Moon

Pitchfork:

In the seven months since Pitchfork published an article detailing claims of sexual misconduct against Mark Kozelek, seven more women have come forward with similar allegations about the Sun Kil Moon and Red House Painters singer-songwriter. These new allegations include nonconsensual nudity and masturbation, unwanted touching, and one claim of nonconsensual intercourse. They span two decades, from Kozelek’s beginnings as a professional musician in the early 1990s with Red House Painters to the peak of Sun Kil Moon’s popularity in the 2010s.

Fuckin Whatever Talks with Alt Press

Alternative Press

Mala Mortensa, writing at Alt. Press:

It’s been nearly five years since Adam Lazzara, John Nolan, Anthony Green and Ben Homola took to privately closing out their summer tour stops with improvised, instrument-less displays of their far-reaching creative talents. Now, the Taking Back Sunday, Circa Survive, and Grouplove supergroup, Fuckin Whatever, are actively collaborating for the first time ever.

Geoff Rickly Shares Recovery Story

Thursday

Geoff Rickly of Thursday talks to The Ties That Bind Us about recovering from addiction:

Until he got clean in 2016, shortly before Thursday returned after a five-year hiatus, Rickly spent the last several years of his addiction trying desperately to salvage his personal life while putting on a professional front that still managed to move forward. He joined No Devotion, a Welsh alternative bound formed from the ashes of Lostprophets, in 2014 and signed the band to his Collect Records label. Whatever success he enjoyed, however, was eclipsed by the growing realization that his drug problem was slowly consuming everything.

“The last few years of using heroin, of course I wanted to stop, but it was literally impossible,” he said. “They tell you (in recovery) to take it a day at a time, and I remember thinking, ‘I don’t know how I’m going to make it another 10 minutes. What are you talking about?’ It was so hard to imagine having to be without the thing that made me feel like a person, because unless I got really high, I didn’t really feel connected to people. If I wasn’t high, every sensation, every thought, was another expression of unbearable pain. Spiritually, I was so empty.”

Spotify Launches New Pay “Transparency” Website

Wren Graves, writing at Consequence of Sound:

Spotify has announced a new pay transparency initiative, Loud & Clear, which is certainly one of those two things. This comes just days after the “Justice at Spotify” campaign organized worldwide protests outside of the streamer’s offices demanding one cent per stream, transparent contracts, a user-centric payment model, an end to payola, a switch to crediting all labor in recordings, and an end to lawsuits against artists.

Coachella Music Festival Moving to 2022

Coachella

Variety:

The Coachella Valley Music and Arts Festival is moving from October 2021 to April of 2022, two industry sources with knowledge of the situation tell Variety. It is expected that the country-music themed Stagecoach festival, which takes place the weekend after Coachella’s two weekends, will move as well.

Reps for Goldenvoice, the event’s promoter, and AEG Presents, its parent company, either declined or did not respond to Variety’s requests for comment.

Grammys Ratings … Not Great, Bob!

Grammys

Variety:

This year’s telecast was the lowest-rated in Grammys history in the early numbers.

Per Nielsen Live+Same Day official national numbers, Music’s Biggest Night delivered an average of 8.8 million viewers for the network during the ceremony’s broadcast on Sunday night at 8 p.m. ET with a 2.1 rating in the key, adults ages 18-49 demographic. […]

Nevertheless, this year’s telecast was still the highest-rated broadcast of the night, and it was the most-streamed Grammy show ever with 83% more live streams compared to 2020. In addition to cable, the show could be accessed on the CBS website and app as well as the network’s recently rebranded and debuted video-on-demand and over-the-top media streaming service Paramount Plus.