5.12.13

THIS IS WINNIPEG NOT BOSTON



Chris Ott has been a contributor to major-indie publications (wait wut) like ye olde Pitchfork and Village Voice. Lately, he's gone rogue, making a series of videos titled Shallow Rewards, uncovering undertold narratives in the music industry.

Above is the most incendiary one yet--tackling advertisements in indie publications, and writers who are totally complacent to support that system which benefits so few people. This affected me because (as you've probably noticed) I've started writing about music again, fueled solely by my own passion to write a dialogue that I'm seeing completely unrepresented. When Ott starts to talk about "compounding the complicity between advertisers and massive websites," it reminds me of my own very recent tangents.

And if you want (nay, *need*) more kindling for your eternal fire-y passion, here's an interview with Ott on the video. Fittingly, I got this via Paul Lawton of infamous blog Slagging Off (and a leader of the unrelated, but relevant bubblegum pop band The Ketamines).

Be sure to check out Ott's other videos too. "Your Mother Should Know" nearly made me tear up. And he talks at length about Spacemen 3, so that's a bonus.

REPOSTAGE: New Canadiana :: Solar Coffin – Ambisinistrous



Though Fletcher Pratt's new drone duo release is up on Weird Canada, it's already sold out!! I'm sorry! There were only 20 anyway. Stay tuned for their larger release on Dub Ditch Picnic.

3.12.13

IRL/URL: Hudson Alexander


His following: 430+ followers on SoundCloud /// 170+ followers on Twitter /// 270+ followers on Instagram /// 230+ fans on Facebook
His most played artifact: 2,970+ plays for "Iris"



As music’s existential struggle between the physical and digital continues, so does our conversation with the musicians who choose to participate online.

Last time on IRL/URL, I chatted with Kindest Cuts, a dark synthpop band that, despite being online for a relatively short time online, has a uniform aesthetic matched to their dark tales. When that post went up, they were gearing up to release their music physically on cassette.

This week’s interviewee, Hudson Alexander Fedun, has released more of his dubstep-informed tunes digitally than he has physically. For a couple years, he's been creating handfuls of digital singles and working hard to earn hundreds of followers. He goes by Hudson Alexander, but up until recently, he used to be "FMSea." It's a name that he got tired of spelling out and would often see spelled wrong. (#protip number three: keep your avatars easy to spell.)

Fedun is a big catalyst for this series—his digital releases (usually grouped as two or four songs) are evocative and diverse under the scope of electronic music. He's put out releases alongside locals Beauchamp, JPEG (who's been Khraken lately), and Matthew Wilkinson. His only physical solo release came very early in 2012, distributed by Woven Records, a label which has since gone under. They released his EP Static, four songs of sublime, headphone-ready post-dubstep. However, these arrived without much fanfare. At least, there was little fanfare at home. Instead, Fedun has been actively searching out cultural systems that are accepting and adapting to the changes we're discussing. And for it, he's been receiving the nods from bloggers far and wide, who have no reservations embedding a track.

26.11.13

Enter Nivel Uno

Straight from 'Christmas Island,' The Ineffable is nothing but secrecy. Since they've reached out and I dig, I'll leave these tunes here without much comment. (My only comment: they're somewhere between post-rock and twee. Srsly, wut!?)



Though, most of these are downloadable, so snap 'em up while you can.

19.11.13

IRL/URL: Kindest Cuts


Their following: 370+ fans on Facebook /// 130+ followers on SoundCloud /// Tumblr /// Bandcamp
Their most played artifact: “Handsome Killer” 900+ plays


Everyone can agree on the writing on the wall: the digital world has irrevocably changed things for independent musicians. What worked to promote yourself ten years ago is now pretty much useless. (Sorry, Indie Band Bible.)

On what we might not agree is where we go next. How do we, the upstarts, pick up the pieces? Well, many people have already started, using every digital and physical tool possible to get their art out, en masse.

This is a new feature to ask artists from across the prairies how they view their digital media presence and the personas they're creating. How does someone relate their personal life to their online one? And especially of musicians, how much of their online presence is a utilitarian effort to sell their product, and how much is expression itself?

Generally, I'm interested in chatting with electronic musicians who are committing to social media—though I find it no less intriguing to see how bands are adapting to digital cultures to push out their message.

My first guest on IRL/URL has some experience doing both, but is much newer to digital culture.

AddThis Sharestuff