Three months ago, Christian Holden, vocalist/bassist of The Hotelier, posted on the band’s Tumblr a very personal essay reflecting on how their last album, Home, Like NoPlace Is There, affected the band’s lives and how they were going to proceed in the future. The essay also featured Holden coming to terms with being a public figure and exploring trust, art, and “realness.” Somewhere in the middle of the post Holden writes, “And I think this is what bums me out about the wishy-washiness of rock music and performance. Realness is a treasure in life. I don’t want to see uncritical postured realness. I want transparency.” And, well, you can use that declaration as the thesis statement for The Hotelier’s stunning new album, Goodness.
Well, this is one hell of a great day for music. We’ve got Thrice, The Hotelier, and PUP releasing new albums and I think that they’re all great in different ways. Take your time with each, dive in, and let them dominate your ears for the next few months. If you hit read more you can see all the releases we have in our calendar for the week. Hit the quote bubble to access our forums and talk about what came out today, what albums you picked up, and to make mention of anything we may have missed.
I had the pleasure of joining Deanna on the Missaligned podcast this week to talk about the history of AbsolutePunk and Chorus.fm, different apps and tech stuff we like to use, comic books, and a variety of other topics. I had a really great time and can’t thank Deanna enough for having me.
“This is definitely an unprecedented situation,” Clarke told The A.V. Club. “We’ve never had to actually recall an album from retail before.” And while the physical loss is huge, as no part of these recalled products are salvageable—which pushes the album’s physical release to July—fans that pre-ordered digital copies were also put out. “We’d had it up for pre-order since March, so it had accrued a fair number of pre-orders at iTunes and Amazon and Google Play,” says Clarke. “We were able to switch out the audio that the artist re-recorded and we had mastered in a 48-hour turnaround, which was kind of amazing… but we had to redeliver it elsewhere. That means that we lost our pre-orders. So that was a little bit sad, too. And, of course, it’s not a great customer experience for those people who had pre-orders. Now they’ll be essentially confused as to why they’re not getting their album delivered.”
The second path, surprisingly, was that of Brand New. Not in the sense that the Hotelier had become a band welcomed at any variation of Emo Night or that they’d even one day headline Madison Square Garden. Here was my friend’s explanation of the Brand New model: “They’ll make every wrong move that turns out to be the right move.”
Yes, the artwork is at the top.
Live On Lacquer preserves music in a way that is timeless and genuine. Much like the way records were made in the mid-20th century, these songs are captured live and cut in real-time onto lacquer discs with our 1940’s Scully vinyl lathe. Once cut, the lacquer masters are immediately sent off for plating and pressing. Each song is recorded in one take with no editing, allowing for the truest expression of the artist’s performance to be captured. The recording method used here is 100% analog and retains a level of humanity and imperfection often lost in modern digital productions.
I’m here on a campaign of positivity and love and to contribute what I can to music. I create songs people go to sleep and wake up to, songs that they fall in love to. For me, being Muslim and being somebody that appreciates my access here in America, I love the fact that I’m able to be here. To play my part in this business is a privilege and a beautiful thing. The fact that I could lose that ability through the actions of someone such as Donald Trump isn’t right to me. At all.
Good for them.
You have to pick one: an album you enjoy or an album that the artist is happy with.
I’m not here to say either answer is correct or to call those who don’t enjoy Thrice’s long-awaited comeback, and ninth studio album, To Be Everywhere Is To Be Nowhere, selfish or wrong. But let’s be honest and say that rarely does artistic growth and vision mesh completely with fan expectation. Essentially, I’m arguing that there are going to be some fans who are disappointed with Thrice’s new album. As unfortunate as that is, the band should take solace in knowing they’ve crafted their best work in years.
One of the more interesting stories in the journalism space over the past week has been the revelation that billionaire Peter Thiel has been secretly funding Hulk Hogan’s lawsuit against Gawker. I think, not surprisingly, I agree most with John Gruber’s take:
It’s free speech on both sides. Thiel was free to secretly back (and apparently strategically steer) Hogan’s case against Gawker. But Gawker founder Nick Denton was free to air his suspicion that Hogan had a billionaire Silicon Valley backer, and Forbes was free to out Thiel as said backer. And now commentators who are appalled are free to express their outrage at Thiel, perhaps embarrassing him and making it less likely that he or others of similar super-wealth will do this in the future.
You’re free to do stupid shit under the banner of free speech, and I’m free to say so.
Miles Raymer, writing for MTV, looks at some ideas on fixing copyright law in how it relates to musicians and clearing samples:
Menell’s solution is to apply something called a compulsory license to sampling, remixing, and other derivative works. Compulsory licenses replace the process of gaining a copyright holder’s permission to make use of their original work with a flat royalty structure and a set of rules for how the work can be reinterpreted. We already have this kind of setup for cover songs: Under U.S. copyright law, anyone can perform and record any song that anyone else has written and recorded without getting their prior permission, as long as they pay a royalty to the copyright owner. This is why pop-punk bands can cover Top 40 songs, why iTunes is full of sound-alike cover versions of hit songs by artists it doesn’t have deals with, and why hip-hop producers often hire instrumentalists to play “interpolations” of musical passages they want to sample but can’t clear.