How Discogs built — and broke — a community of diehard music fans and sellers.

In our new recurring series, we look at the good, the bad, and the straight-up bizarre songs spreading across TikTok via dances and memes. --- TikTok’s trend-setting prowess has given famous people an even greater incentive to dip their toes into the mortal world. A little song and dance comes with the possibility of a handsome reward, at least for the musicians: hits that soundtrack TikTok memes clobber their way to the top of Spotify’s Viral 50 with the rapaciousness of King Kong scaling the Empire State Building. It usually works like this: some impossibly cool teenager with above-average rhythm choreographs a dance; said dance must be rudimentary enough for anyone to learn—give or take a few hours and several YouTube tutorials—but dynamic enough for you to look impressive if you put in the work. Like a fast-casual burrito, TikTok dances are customized from the same basic ingredients, but adding something new and spicy to the mix can work wonders. Particularly fresh choreo—or at least moves backed by the right influencer—can single-handedly rocket a song to the top of the viral charts.

We're a playlist platform that directly supports independent music, built on our streaming integrations and powerful curation tools. The closest analogy for what we are would be Patreon for music or Substack for playlists. We enable artists to create a space to elevate the music and artists that they enjoy for their fans and accept tips from supporters. You can think of it as a newsletter of music, featuring thoughts alongside selections for fans to listen to. We enable fans to have a closer connection to their favorite artists via curated playlists, personal thoughts, and early previews of their work.

Featuring Patricia Wolf’s new project that turns any device with a web browser and speakers into a piece of a larger sound art. Every time you invoke the Cellular Chorus page, a random audio file will be set as the browser’s default. (There are currently 64 different audio files in all.) Then let them play, all of them at once. Move the devices around the room. Don’t let any single device take prominence. Adjust the volume accordingly. Use the pulldown menu or the forward/back buttons to alternate between tracks. Note how the same file will sound different on your rattly old tablet than it does on your brand new laptop, how your humble kitchen speaker can’t hold a candle to your bleeding-edge smartphone.

Boucher has recently seemed at a loss to regain control over her career, and naive about her role in its dissolution. But Miss Anthropocene reveals an astute understanding – evidently well honed – of humanity’s worst impulses and how to appeal to them. […] Against all odds, Miss Anthropocene is a beautiful and emotionally complex album: Boucher’s continuing personal testament to creativity as resistance against destruction, and an unlikely optimistic gesture that still believes art can be a powerful force for social good. It also finally finds Boucher reconciled to her relationship with the public. On Miss Anthropocene, she is a mirror, inviting us to examine the source of our bad faith.

A fascinating story! Rupa’s Disco Jazz is nearly 40 years old and more relevant than ever.

As some of the pro-user-centric arguments hint, which option you prefer is partly a decision about cultural values, not economic cost. When you buy an album, no matter how many times you play it, you are making a conscious choice that it’s worth your hard-earned cash. With the existing streaming model, your money is not a direct investment—it is at the mercy of collective listening habits. Whether we want a system that rewards the conscious choices of individuals—versus, say, algorithms piping in modern-day muzak 24/7—is a question about more than dollars and (fractions of) cents.

In the latest “Diary of a Song” episode, Lil Nas X is joined by the producer YoungKio — who didn’t even know he was a part of “Old Town Road” until he heard it in a video meme — and Billy Ray Cyrus, who lent the song another layer of novelty and outlaw credibility. The video also features cameos by the influencers @nicemichael and @elitelife_kd, who were crucial to the track’s early rise.

Through listening to the album and all of the posts everyone has been making here, I put together a comprehensive list of all the differences between the original leak and the new version. Please let me know if I missed something! All songs are less compressed and have a much better mix.

Fantano is not unaware of his detractors, who range from viewers who think he doesn’t know what he’s talking about to fellow critics who think he doesn’t know what he’s talking about. The things that make him a successful vlogger—his speed, his unpretentious humor, his willingness to review everything regardless of his genre fluency, his refusal to assume a deep understanding of an artist’s politics or feelings—are at odds with traditional print and online criticism. He brought up an interaction with a Pitchfork writer who eagerly introduced himself at South by Southwest. The writer told Fantano he was only joking when he previously wrote on Twitter, “Anthony Fantano makes me want to quit my job.” Every music writer we spoke to is at least aware of Fantano’s work—some of them find it dumb, and at any rate, don’t want to talk about it on the record. It doesn’t bother Fantano too much, but it does bother him. “It obviously took time and took a lot of effort,” he says of his work. “I would at least like to be treated with the same amount of legitimacy. That’s all.”

Move from (Spotify, Rdio, Google Music, Deezer, YouTube, Apple Music) to Apple Music, Spotify or Google Music!

In this edition of his monthly column, the premier writer on new, emergent, underground music addresses how the framing of music can radically redefine it. I love vaporwave and ‘internet music’, I really do. At its best it’s a provocative, complex and highly modern statement—but can you imagine it getting stupider, then more commonplace, then sticking around for more or less a decade? And towards the end of the decade, a well-meaning ebook gets published called Internet Music: The Weird and Wonderful World of Online Sounds, its title all spelled out in unicode characters and a naked 3D virtual woman floating above a blue watery backdrop on the cover? Wouldn’t you want a more exciting decade?

Welcome to the land of musical serendipity, where you can get from Nazis to an album of Kurt Vonnegut reading Slaughterhouse-Five in a few clicks.

Thanks to Twitter, the hashtag has become an important linguistic shortcut. But while everyone from Robin Thicke to Beyoncé has used the symbol as part of their art, only a few have truly taken advantage of its culture-jamming possibilities.

Beyoncé seized the powers of a medium characterized by its short attention span to force the world to pay attention. Leave it to the posterchild of convention to brush convention aside and leave both sides feeling victorious.

Why You Shouldn't Feel Guilty for Using Spotify

“‘Archives are not just places people go for information; they can and do change our approach to, and determine the questions we ask of, music, the music industry and musical scenes.’”

"PBR&B" spread because lots of people were talking about these particular artists, but the artists themselves were left out of such conversations. That's how it usually happens: Their work is left to be sorted like cereal boxes, independent of their own agency. Artists are sometimes asked by fans and inexperienced journalists to describe the "type of music" they make, and they’re often rightfully itchy about making these distinctions themselves. It’s not so much that there’s a right or wrong to genres, but it’s more the case that genres are power moves, able to define music far beyond any artist’s own wishes.

Love is a dog from hell, as it's said, and real emotion is ugly and uncomfortable, and it’s why some people giggle when they see a man keening or screaming or crying -- but Drake knows that all this has to be tempered and digestible to be disseminated and reach as many people as possible.

I endured repeated listens of a record I could not understand or stand because I had nothing else to do but work out why it mattered to someone I worshiped and not to me. That will never happen again, not the way we’re set up. You will click away the second a song loses you, and you’ll never learn anything about yourself. I mean it: you will never unlock or awaken new neural paths in your brain if you continue to gravitate toward music that satisfies your expectations. That is Easy Listening.

Rap Genius is the newest example in a long tradition of black music explained for whites, now with a neoliberal twist.

as a listener, and as a fan of music, i feel like my experience is also being fucked up by the way the industry is right now.

Again, if you simply prefer the music of the early ’90′s, or more likely, that just happens to be the period in which you had a moment self of discovery (musical and otherwise) before real world circumstances beat it out of you, no problem. But blogs in general (or Pitchfork in particular) are a pretty convenient boogeyman compared to the public’s rotten taste and/or lazy music fans who’ve just fucking given up.

Paul is the perfect artist for a time when breathlessly reporting every step of a promotional campaign is prioritised over - or conflated with - actually assessing the art. Sure, most sites technically keep their news and reviews sections separate - but in the grand scheme of promo, this matters not a jot. The Paris Hiltonesque maxim that all that matters is that people are talking about you, not what they're actually saying, holds true across the board: in a crowded musical marketplace, repeated neutral mentions of an artist from a trusted source may not be an explicit recommendation, but they're more valuable than an averagely complimentary three-star review.

Looking expectantly at the rest of the world to validate your interests, hobbies or art is a set-up to feel bad, to brood and be jaded that you are not understood. You need to reprogram your relationship with money as a creative person, because the one you have is like a hex. You need to grow-up your success dream and stop this focus on how it'll make you feel better.

Detective work regarding the mysterious Bandcamp-released ‘Jai Paul’. To me, it sounds like a collection of demos, the majority unreleased. The record was rumoured to be called Rayners Lane, which wouldn’t fit in with the self-titling of this album. It doesn’t sound like a huge budget XL album release, and would appear to be a mixtape, rather than a fully formed album. Despite Paul’s unusual way of approaching promotion, it would be very unlike XL to allow any artist to put out a record in such a colossally understated manner.The bitrates are hugely variable, particularly on the skits of which many seem to cut short (track 8), which wouldn’t fit with it being a proper album release.

There are all kinds of files. A song is just a file, as is a book, and so is a movie. People have been pointing this out for years, usually to explain piracy. For a long time, folks were gnashing their teeth and wailing that no one would pay for anything on the Internet ever; it was just too easy to steal. They went from renting their garments to renting out music. As solutions emerge, and marketplaces for licenses emerge, you have to wonder if new kinds of media will remain part of the free, “remix” culture of the Internet, or if they’ll want to participate in a for-pay market. Maybe the reason so much great creative work on the Internet is free is that it’s been too hard to charge. A Pandora, but for podcasts! A Spotify for funny animal videos! Once the framework is in place, the pitches will come. Then the licensing can start. After all, they’re just files.

Up until very recently, I'd recount my online experiences with some degree of shame or sheepishness, but in this apocalyptic year of 2012, that embarrassment is beginning to fall by the wayside. I've been having more and more conversations with people grappling with what is gained and lost by how some of our most meaningful musical discoveries-- not to mention life experiences-- have happened in front of, or facilitated by, screens. We're starting to come to terms with the fact that modern life is a constant, awkward/elegant oscillation between the digital and physical, faces and FaceTime, and we're starting to hear music that reflects this reality, the beginnings of a new ordinary.

Without some sort of personal framework for approaching music, and expectations for what you think music should and shouldn’t be doing, there wouldn’t be much point in engaging it. And as pop and indie and hip-hop and R&B and metal all currently share a pretty close-knit territory, defining what you stand for might be the best preparation for the looming fallout from those who too often let us know what they are against.

YouTube crushing everything does seem like a concern. I love novelty songs, I ride hard for novelty songs—but if, suddenly, all our big hits are goofy YouTube-incubated one-offs, the novelty song will cease to be novel.