Possible Futures
Critic Liz Pelly on Alternative Music Platforms
Hey everyone!
This week, we had the real pleasure of speaking with Liz Pelly, a music writer and cultural critic who has long been one of our favorite thinkers about technology, the industry, records, recording artists, and how all of them are changing together as we hurdle ever deeper into the 21st century.
You can check that episode here (iTunes) here (Podbean) or here (Spotify)
Our conversation was focused around the idea of “Alternative Platforms” — the topic of a piece that Liz recently released for Montez Press Radio, and something that Saxon and I have become increasing interested in over recent months.
So many things are clearly broken in the modern music economy. Sure, so many things have ALWAYS been broken (that’s part of our historical M.O.), but that doesn’t do much to change the grim moment many artists currently face. Given that—what to do? One option is the kind of broad-based (and often commodity-encompassing) solutions that we’ve discussed in previous episodes (check the end of “Who is #Saveourstages actually saving” for an example of us getting particularly wild-eyed on this theme). But another is to think…not smaller…but maybe more locally? That’s what Liz’s recent work is particularly focused on, and it was a fascinating perspective, both on the kinds of things that people are trying, and as a general way to approach these questions.
DEPARTMENT OF FOLLOW-UPS
The Weeknd released a greatest hits album just before his Super Bowl performance (which, we thought was pretty weird and dystopian for anything appearing on prime prime prime time TV. Definitely one of those artists whose vibe has only gotten more appropriate with time).
It’s support for our belief that, at this point, releasing a greatest hits album has moved from everyone-does-it to a Jack-White-Level-Aesthetic-Statement. For more on this topic, listen to our episode “The Life and Death of Greatest Hits Albums.”
Weirdly enough, this was actually the SECOND greatest hits album from the Weeknd. The first was a Japanese-only release that dropped when he first toured there.
BONUS CONTENT ALERT
Turns out, we couldn’t leave the greatest hits alone. For some bonus content exclusive to newsletter subscribers, Saxon spoke with Allmusic.com’s Stephen Thomas Erlewine. Stephen has probably reviewed as many greatest hits albums as any currently working music critic—along the way, he also left an absolutely indelible stamp on the musical taste of both of us here at Money 4 Nothing. The two talk greatest hits, how streaming has flattened regional releases, and more.
Further Reading
Liz’s piece for Montez Press Radio
The success of streaming has been great for some, but is there a better way? By Paula Mejía.
Tracks Music Library is a new kind of local listening experience. By Will Atkinson.
And that’s it! If you have any questions, comments, complaints, critiques, or bigups, please drop us a line at money4nothingpodcast@gmail.com
Sam Backer & Saxon Baird