Listening to Fall Out Boy on the Brink of Collapse

John Bazley, writing at Catapult:

We didn’t yet know exactly how the following year would work its fingernails into our neighborhood and pick it apart, but there was a palpable feeling of impending doom lingering over the roofs in my hometown.

All easy to ignore, of course, when Fall Out Boy would release a new record. I was twelve, living within my CD collection and the narratives it projected upon the world in front of me. I didn’t know about subprime mortgages or Lehman Brothers then. I just counted the days until Infinity On High. There was no other world event that could possibly take precedent over the release of that album. My excitement for Infinity On High may have been an unsustainable motivator, but sustainability itself was a questionable construct in 2007.

This is very well written.

Spotify’s Mood Related Data Lets Advertisers Target by Listeners Emotional State

Liz Pelly, writing for The Baffler:

[A] more careful look into Spotify’s history shows that the decision to define audiences by their moods was part of a strategic push to grow Spotify’s advertising business in the years leading up to its IPO—and today, Spotify’s enormous access to mood-based data is a pillar of its value to brands and advertisers, allowing them to target ads on Spotify by moods and emotions. Further, since 2016, Spotify has shared this mood data directly with the world’s biggest marketing and advertising firms.

This creeps me out.

The Day the Music Burned

The New York Times

The New York Times:

The archive in Building 6197 was UMG’s main West Coast storehouse of masters, the original recordings from which all subsequent copies are derived. A master is a one-of-a-kind artifact, the irreplaceable primary source of a piece of recorded music. According to UMG documents, the vault held analog tape masters dating back as far as the late 1940s, as well as digital masters of more recent vintage. It held multitrack recordings, the raw recorded materials — each part still isolated, the drums and keyboards and strings on separate but adjacent areas of tape — from which mixed or “flat” analog masters are usually assembled. And it held session masters, recordings that were never commercially released. […]

The list of destroyed single and album masters takes in titles by dozens of legendary artists, a genre-spanning who’s who of 20th- and 21st-century popular music. It includes recordings by Benny Goodman, Cab Calloway, the Andrews Sisters, the Ink Spots, the Mills Brothers, Lionel Hampton, Ray Charles, Sister Rosetta Tharpe, Clara Ward, Sammy Davis Jr., Les Paul, Fats Domino, Big Mama Thornton, Burl Ives, the Weavers, Kitty Wells, Ernest Tubb, Lefty Frizzell, Loretta Lynn, George Jones, Merle Haggard, Bobby (Blue) Bland, B.B. King, Ike Turner, the Four Tops, Quincy Jones, Burt Bacharach, Joan Baez, Neil Diamond, Sonny and Cher, the Mamas and the Papas, Joni Mitchell, Captain Beefheart, Cat Stevens, the Carpenters, Gladys Knight and the Pips, Al Green, the Flying Burrito Brothers, Elton John, Lynyrd Skynyrd, Eric Clapton, Jimmy Buffett, the Eagles, Don Henley, Aerosmith, Steely Dan, Iggy Pop, Rufus and Chaka Khan, Barry White, Patti LaBelle, Yoko Ono, Tom Petty and the Heartbreakers, the Police, Sting, George Strait, Steve Earle, R.E.M., Janet Jackson, Eric B. and Rakim, New Edition, Bobby Brown, Guns N’ Roses, Queen Latifah, Mary J. Blige, Sonic Youth, No Doubt, Nine Inch Nails, Snoop Dogg, Nirvana, Soundgarden, Hole, Beck, Sheryl Crow, Tupac Shakur, Eminem, 50 Cent and the Roots.

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Anberlin Talk Reconciliation

Anberlin

Anberlin sat down with Billboard to talk about their “reconciliation:”

Christian is elated to return to Anberlin “with a revived passion.” This is on their terms with nobody breathing down their neck. “This feels so liberating,” he exclaims. “For the first time in probably eight years, I’m actually looking forward to a tour. We have already talked about quality of life. Sometimes you need to walk away and take time out or a break or a vacation so that life can talk to you. I think that money has a way of slaughtering the muse. It’s not just money – it’s responsibilities and mouths to feed. So many different dynamics are such a quick killer to the muse. And once she feels betrayed, it’s not easily accessible for some time. I just feel that sense of energy and electricity back in the air. That’s something that I haven’t felt in a long, long time.”

Thomas Rhett Tops the Charts

Thomas Rhett has the number one album in the country this week:

Thomas Rhett notches his second No. 1 album on the Billboard 200 chart as Center Point Road debuts atop the tally. The album earned 76,000 equivalent album units in the week ending June 6, according to Nielsen Music. Of that sum, 45,000 were in album sales. Both sums represent the biggest weeks of 2019 for any country album.

Silversun Pickups Breakdown New Album

Silversun Pickups

Silversun Pickups have done a track by track breakdown of their new album for Consequence of Sound.

When I brought this song to the band, Joe (keys) asked me what it was called. “Don’t know yet.” I honestly didn’t know and through that exchange realized what it was about. Putting down the controller and jumping into the unknown without any fear. Stay present and don’t let the all the possible scenarios guide you to something low common denominator. Happy accidents like this are pretty much how SSPU functions most of the time.