The rise of artist content intended to replace criticism must be a direct failure on the part of critics and editors, and instead of rising to the challenge, the reaction has been to push it instead of our own work. It cheapens the work of critics and writers to just post directly what the artist is putting out there, especially if they are doing the job we are supposed to be doing. The reaction should be to make better work so that people won’t want the artist-curated content; the reaction should be for better stories, more original ideas, and concepts never before attempted. The reaction should be for better access, because access to the direct thoughts of a musician is pretty hard to beat. The Talkhouse, and similar content, provides the ideal access, except without the filter of journalism. It’s a facade, and we have to see through it as substandard.

A triumph of art over commerce or ruthless, selfish exploitation?

One evening, some 40 years ago, I got lost in time. I was at a performance of Schubert’s String Quintet in C major.

Forget the crystals, the mandalas, the inner sanctum: The much-maligned genre known as new age now appeals to many who once may have identified as punks.

“Isn’t it just so great that you can do everything yourself!” say people who don’t live the reality of having to do everything themselves.

Though the musical components of Sun Kil Moon’s Benji rarely amount to more than Mark Kozelek’s voice and acoustic guitar, its lyrical universe is incomparably vast, spanning countries and decades, populated by dead relatives, high school friends, indie-rock peers, serial killers, and corporate-franchised eateries alike.

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.

People say some bloody silly things about vinyl.

Why You Shouldn't Feel Guilty for Using Spotify

Somewhere along the line, something went wrong. Things fell out of place, or failed to fall into place to begin with. The general assumption is that Johnny Marr’s set went absurdly long, and that nobody forced Kurt Vile to shorten his in order to get things back on schedule. On subsequent days, photographers and others in and out of the backstage scenes will repeat a rumor that the Walkmen bringing their own sound man along contributed to the issues and the confusion, but no one really knows what that means. Whatever the cause, things don’t go right. Having flown in that morning from their various hometowns — New Orleans, Philadelphia, New York — the Walkmen arrive in Austin on Friday, November 8, for a high-billed set at Fun Fun Fun Fest, and are able to play only six songs.

Callahan’s power as a songwriter comes from observation. He finds things that don’t initially seem notable and then puts them under a microscope until we see something new. By imbuing simple objects with symbolic power and laying them out clearly, he can create an image or a feeling that seems closer to the person hearing it.

It’s fairly easy, and indeed tempting, to write M.I.A. off as a faux-radical who relies on the borrowed aesthetics of revolution to sell records. But that superficial reading belies her truest political work: her commitment to self and the exploration of identity in a world and industry that is more comfortable with easily digestible predetermined narratives, particularly when it comes to racialized people.

Those attacking “Bound 2” as crass kitsch employ preestablished taste hierarchies that often exclude people like West. They assume he doesn't know where his work is coming from or what he's doing with his sources.

“‘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.

Just do it! Go and do it! There are no valid excuses [not to]. We see our excuses as real things, but they’re just a barrier you built between you and what you want to do because you are afraid to try it and fail. No one wants to fail, but you will never know if you don’t try it. Maybe the first few times, you’ll have a bad time…but then you won’t.

Kanye’s decade-long solo career has been a struggle between the non-stop ideas running through his brain and his skills at verbalizing them through a variety of communication obstacles, whether self-created or forced upon him.

The fastest way to create a music video from a song. Upload an MP3 to YouTube in HD.

this isnt just about Kimmel and Kanye it's about who gets to be a creative genius in America and who we'd rather see as a clown

We’ve placed the entire onus of changing-with-the-times on musicians, but why can’t the educational, cultural and governmental institutions that support the arts adapt as well, extending the same opportunities to those whose music provides the soundtrack to our lives? If they don’t, Darwinism will probably ensure that only the musical entrepreneurs survive. I can’t say if the world of music will be better or worse off if that happens, but it will certainly be a lot louder.

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’m saying the current model for sharing and more importantly for publicizing music is detrimental. Here’s what happens: young musicians make okay records that show they’ve got something but haven’t yet figured out what. The music industry then sells the shit out of it while the music press hypes it equally to death.

I’d like to think that, once we mentally calm ourselves and remember that reading a lot about an artist for a couple months is not a very big deal, we can imagine and try to foster a music world where a teenager can make a small splash with an interesting new sound and then, perhaps, grow and develop across his or her career until that first record is the footnote or rarity that only hardcore fans seek out. Today’s climate doesn’t foster that sort of thing very well, but I don’t think the answer is for everyone to woodshed longer. The answer might be to place a lot less importance on the marketing cycle around a record’s release, and keep in mind how unimportant it might look a few years down the line. Given enough time, the narrative of the musician is always larger than whatever people said for a month about a single release.

At the risk of sounding insufferable, here’s my own personal God particle theory: Some of the best jams in indie rock sound like the breakdown of Creedence Clearwater Revival’s "Ramble Tamble."

Showcase of designs printed by Stumptown Printers on their signature Arigato Pak.

There’s a certain romance about record stores, an idea that the employees sit around and listen to music they love and meet and have intimate discourse with others who share their passion. Let’s end this horseshit idea.

Within the context of the white twerk trend, the Postal Service fan reaction seems disturbing: We’d like our booty shaking, but when we ask for it, and also when we do it ourselves. An uninvited performance by a raw, aggressive MC like Big Freedia, on white music-goers’ home turf, and not on their own terms, was received as a whole different game: a confrontation.

One of the often overlooked facts about LP reproduction is that some people prefer it because it introduces distortion. The "warmth" that many people associate with LPs can generally be described as a bass sound that is less accurate. Reproducing bass on vinyl is a serious engineering challenge, but the upshot is that there's a lot of filtering and signal processing happening to make the bass on vinyl work. You take some of this signal processing, add additional vibrations and distortions generated by a poorly manufactured turntable, and you end up with bass that sounds "warmer" than a CD, maybe-- but also very different than what the artists were hearing in the control room.

You have to show up for all the annoying hard work kind of stuff and just dig in, network, play shows that no one is at but make sure the four people who saw you remember your name when they leave. You gotta work all your angles and be a dude that people like helping, and that makes it that much easier and more likely opportunity will come to you.

Also, I was under the false impression before they began that it was going to be a Queen cover band, so I was super disappointed with that.