Liner Notes (July 31st, 2020)

Sunflower

This week’s newsletter shares my favorite pop-punk album of the year so far. Gasp! Pop-punk in 2020? I also go through some thoughts on music and entertainment I enjoyed over the past week, and share a playlist and pizza toppings. This week’s supporter Q&A post can be found here.

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Review: Neon Trees – I Can Feel You Forgetting Me

Neon Trees - I Can Feel You

There was a time when we all really didn’t know if we would ever get another Neon Trees album. After the release of their excellent third studio album in 2014, Pop Psychology, the band took a lengthy hiatus. Front-man Tyler Glenn released a solo album in 2016 that detailed his internal struggle with religion and his sexuality called Excommunication. There were a few teasers of new music from the band in the form of one-off singles such as “Feel Good” and “Songs I Can’t Listen To,” but no further announcements of them working towards anything concrete. The song “Used To Like” made its appearance out of nowhere in the middle of November, and that sparked a newfound interest in the band after so much time away. As shitty as a year as 2020 has been, we give our thanks to Neon Trees for making a brilliant comeback album called I Can Feel You Forgetting Me. This album is a collection of songs detailing the heartbreak in Tyler Glenn’s personal life and possibly a dual meaning of making their longtime fans remember the band they fell in love with in the first place. The vibes set forth on this LP teeter on the verge of a nighttime summer album, and the songs lend themselves well to the lofty expectations placed upon themselves in the legacy of their discography.

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Spotify CEO Talks Future of Music Releases

Spotify’s CEO, Daniel Ek, talked with Music Ally about how he sees the music industry going forward:

“There is a narrative fallacy here, combined with the fact that, obviously, some artists that used to do well in the past may not do well in this future landscape, where you can’t record music once every three to four years and think that’s going to be enough,” said Ek

“The artists today that are making it realise that it’s about creating a continuous engagement with their fans. It is about putting the work in, about the storytelling around the album, and about keeping a continuous dialogue with your fans.”

Ek cited Taylor Swift’s activity around her new album ‘Folklore’ as just one recent example of an artist benefitting from that kind of effort.

“I feel, really, that the ones that aren’t doing well in streaming are predominantly people who want to release music the way it used to be released,” he said, as the interview ended.

Couple thoughts:

  • As someone that loves the album experience, I hate this. I barely remember to listen to singles when they’re released and then forget they ever came out. Fine, I’m getting old, but shouldn’t the next “model” for releasing music actually be one where artists can release music in various ways, that they think best suits their art, and make a living doing it?
  • Taylor Swift, and artists of her size, are usually the exception, not the rule.
  • Spotify is worth $50 billion and barely, if at all, making money. That’s not sustainable. There’s a reason they’re spending so much money on premium podcasts and other content that’s not related to music.
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