Archive: Radiohead

Charged debate

A series of posts

  1. Are newspapers ready to charge for online content?
  2. How charging for online content might work

Rupert Murdoch’s decision to experiment with charging for content has ruffled a few feathers. Fair play to Murdoch for being brave enough to put his head above the parapet. If anyone can take the risk, it’s Murdoch — and the rest of the media will have him to thank if the gamble pays off and it reveals the business model that other outlets can follow. Malcolm Coles certainly makes a fairly good case to suggest that Murdoch can get away with it.

Without doubt, monetising content online has been a very tough nut to crack, so much so that many appear almost to have given up. Indeed, the controversy surrounding Murdoch’s decision shows just how much some people now believe that it is impossible to charge for content.

No doubt the advent of the web has changed the game. It is much more difficult to charge for something that doesn’t physically exist, and something which can very easily be distributed for almost zero cost. This more or less means that, if you want to, you can probably get it for free.

I know of one major national newspaper that found that having a paywall was detrimental to their business because they made more money by removing the paywall and instead displaying Google ads to the extra readers. Anyone who has used Google ads will know that we are talking about pretty low amounts here. It is a real demonstration that a simple subscription model will not work for everyone.

But we know that there are plenty of people who are willing to pay for content. As Malcolm Coles points out, there are countless examples of people paying for music, audiobooks and whatever else, when they could have got it for free. That is because, contrary to what many people assume, most humans have a conscience.

For instance, the pay-what-you-like or “honesty box” model actually seems to work. There is the example popularised by Freakonomics about the bagel man. Radiohead seemed to make it work when they released In Rainbows.

Just last week I heard an interview with a taxi driver from Vermont, USA who invites all of his customers to pay what they like. “Nobody has shortchanged me yet,” he says. Even in cases where cash payment was not forthcoming, payment in the form of CDs was.

The problem is, you won’t be able to charge anyone anything if you only serve up a pile of samey crap. Your product needs to be distinctive. The bagel man wouldn’t have done so well if he was trying to sell pens. Radiohead made it work because they are the best band in the world with a loyal fanbase.

But how many media outlets can offer something so attractive? The problem as I see it is not that you cannot monetise any content. The problem is that the content newspapers are producing just now is not the sort of content they can get away with charging for.

Jeff has suggested that there needs to be a sense of duty to buy newspapers, just like there is a sense of duty to vote. But people should only really pay for something that they value, otherwise inefficiencies will result.

If people still value newspapers, they should be willing to pay — and many still are. Most people would feel guilty otherwise, as the honesty box examples suggest. But the problem is that many people just don’t like newspapers any more, as is evident in the comments on Jeff’s post.

It is not as if there is anything wrong with the physical product, despite the jibe about newspapers being “dead trees”. I can imagine a parallel universe where the newspaper was invented after the internet, where the physical paper would be seen as a luxury item. You don’t have to be connected to the internet. You can fold it up and carry it about with you. You can scribble on it if you want to. You can frame it if you love it enough.

But the problem is with the content. With the advent of new technologies, newspapers have become much less useful to consumers. Once, newspapers were almost the only way to find out about the news. Today they are the slowest of many ways to find out the news.

How many times does a major story break late in the day? That story will be all over the breakfast radio and all over the 24 hour news channels. There will be countless reports about it on the internet, and to add insult to injury the bloggers will have had their say too. But if you want to read it in the newspaper, you will have to wait until tomorrow.

Maybe a major story doesn’t break so late very often. But even in these cases, the chances are that you have had ample chance to hear analysis about the front page stories on the radio or the television the night before. In essence, newspapers now do little more than peddle what is literally yesterday’s news.

Like the music industry, the newspaper industry’s mistake was to fail to adapt. They arrogantly assumed that they could carry on with the same template and tinker round the edges, fumbling around for a business model that would work.

Of course, most newspapers have websites these days. But if anything, that has exacerbated the problem. It has led to phenomena like churnalism, with journalists producing more and more content with fewer and fewer resources. As such, much of newspaper websites’ content is watered-down crap. Worse still, much of it is Digg-bait which has been SEOed to death.

That is the crux of the matter. The media is sullied, and journalism as a profession is held in contempt by much of the general public. No wonder people won’t pay for content — it’s not any good, and there is nothing to distinguish it from free alternatives. Why pay to read Telegraph Digg-bait when you can read BBC churnalism for free?

So is there a solution? Keep an eye out for my next article where I will put forward a few suggestions.

Remember cover You wouldn’t expect The Fiery Furnaces to do anything in the conventional way. When their debut album, Gallowsbird’s Bark, was released in 2003, they were seen almost as being part of the same scene as The White Stripes. There was the bluesy-rock element to the thing, then the fact that both bands were a brother–sister partnership (though in the case of The White Stripes, it was actually a desperate publicity-seeking lie).

But come the release of their second album, Blueberry Boat, it was clearer that The Fiery Furnaces weren’t going to play it by the book. The stripped-back bluesy rock took a back seat and was supplanted by a kind of wonky prog, with antique synths, rattling pianos and a ceasless desire to keep the listener alert. Their following album, Rehearsing My Choir, was a concept album about their grandmother, who also provided lead vocals. Enough said.

Staggeringly prolific, the band now has five albums and an EP under its belt (plus a double solo album from Matthew Friedberger) after just a few short years. This year, for the first time since their debut, they have opted not to release a studio album.

Instead, they have released a double live album, Remember. But quite what you should expect from a live album from The Fiery Furnaces? Their live shows (although, regrettably, I’ve not been lucky enough to see them live yet) are famous for the radical reinventions of their songs, setting the words of one song to the melody of another, chopping their songs into little bits and creating one long medley, and so on. This promises the audience something a bit more than the sort of experience you might get by putting the album on a loud stereo and standing among a bunch of sweaty men who are intent on spilling beer all over you. You’ve got to admire a live act for putting a bit of effort into mixing things up a bit.

The only thing predictable about a Fiery Furnaces live album is that they would do something weird. Weird move number one was to eschew a standard tracklisting, instead listing six ‘suites’ and inviting you to guess the tracklisting for yourself and check a website later to see if you were right. I guess that at least replicates the live experience, where you are not sure what the setlist will have in store for you.

But that wasn’t all. When you start listening to the album, it is quickly clear that there is something not quite right. The first track proper, ‘Blueberry Boat’, contains a number of jarring switches in sound quality. It transpires that the “live album” that you hear on the CD has been spliced together from at least four different recordings, even to the point where songs are interrupted in their prime to switch rendition. Quality ranges from song to song and even within songs, from soundboard quality to bootleg without warning. Well, the liner notes do warn, “Please do not attempt to listen to all at once.”

Even though it takes a bit of time to get used to, it is not as annoying as you might think. What the purpose of this experiment was is not clear to me. But the decision to include a number of different recordings does at least mean that the album documents a full overview of the Fiery Furnaces live experience, with tracks spanning the band’s whole career.

As you might expect, not all of the live versions of the tracks sound as good as the studio-recorded album versions. But some of them are. Besides, what is really great about Remember is that it is not just another live album, where you could just add some canned crowd noise onto the studio album you already own. This is almost like hearing 52 brand new songs. Strangely familiar, yet different enough to provide a completely new experience.

Typically, despite the ostensibly painstakingly-created edits, the album keeps some of the band’s live guff-ups in tact. In fact, very near the start of the album we hear singer Eleanor Friedberger forgetting the lyrics and practically holding a committee meeting with her brother as they try to remember what comes next. It fits in with The Fiery Furnaces aesthetic — equal parts grand and shambolic.

Wonky prog, remember? Each of their albums sounds like an attempt to make Kid A with the cheapest, oldest equipment going. It’s all part of the band’s charm, and it’s good for that kind of attitude to continue even in the manner in which Remember has been edited.

So full marks to The Fiery Furnaces. Even though the strange editing has alientated some, I think the album is an excellent document of the band’s capabilities as a live act. It has provided me with a taste of some of their excellent live versions (I especially love ‘Single Again’ and ‘The Garfield El’). I am now eager to see them live whenever they next come near my neck of the woods.

I’ve had a busy week. I’ve not blogged here for a week so I’ll ease into this. No heavy politics stuff. Here goes. Do you listen to the Adam and Joe radio show on BBC 6 Music? If not, you should.

Why? Well, this programme has single-handedly made me do two things I would probably never otherwise do. For one, it has got me listening to 6 Music. But perhaps more significantly, it has made me wake up early on Saturdays. And Saturday morning radio is normally a complete entertainment void and intellectual desert, so it was such a relief to discover that Adam and Joe had got a radio gig at that time around a year ago.

It has always confused me why this pair of funny chaps aren’t just all over the place. About a decade ago they had a late night Channel 4 programme with all kinds of japes and tomfoolery like Quizzlestick and miscellaneous spoofs involving Star Wars figurines.

After that, not much of note happened on the Adam and Joe front for ages. But last year they broke into the Big British Castle and managed to get a radio show. And it’s hilarious! Here’s a clip from the radio show introducing the world to juvenilia superhero ‘STEPHEN!’

The programme is perfect for the Saturday morning vibe. It is a pleasing mix of easy chit-chat, silly voices, amusing observations on pop culture and juvenile toilet humour (all plus points for me). And because the pair have known each other since school, the chemistry is awesome.

If you’re not awake on time on Saturday morning (and I am usually not), the podcast is a great way to catch all the laughs. Over the past year, it has become my favourite podcast. Only yesterday I was on the train laughing like a drain, only to discover when I recovered that the ticket inspector was waiting for me.

The highlight of the show is Song Wars, where Adam and Joe both enter songs on a particular topic for the listeners to vote on. It’s quite incredible, because normally the comedy song genre has a bad whiff around it and is to be avoided. But Adam and Joe avoid all the pitfalls to regularly produce amusing songs that are often silly* and witty in equal measure. Read below the fold so that I can pester you to listen to some of them.

Click for more »

I have been freshly tagged in a meme by Chris. It’s a seven songs meme. Here are the instructions:

“List seven songs you are into right now. No matter what the genre, whether they have words, or even if they’re not any good, but they must be songs you’re really enjoying now, shaping your spring. Post these instructions in your blog along with your 7 songs. Then tag 7 other people to see what they’re listening to.“

First of all, I need to get this pedantry out of the way. If it doesn’t have words, it isn’t a song. Now on to my seven songs and / or other pieces of music.

I’ve placed this ‘below the fold’ because I’ve embedded YouTube videos and Bleep audio. Remember with the Bleep audio you need to press play again after it fades out every 30 seconds.

Click for more »

Yesterday I promised that I would finally get round to posting my top three albums of 2007 today. I almost forgot about it because I was having so much fun writing my dissertation (true story). But a promise is a promise, so I am staying up extra late. I’m sure it won’t take long…

3. Shining — Grindstone

Grindstone artwork This must be the most overlooked album of the year. I should point out, in case you were confused, that I am talking about the Norwegian electro-jazz-prog metal band, not the Swedish suicide-themed death metal band.

I discovered Shining because some of their members used to be in Jaga Jazzist, another Norwegian band that I love. But while Jaga Jazzist are known for their quirky electo-jazz stylings, Shining have increasingly forged a path into the altogether darker territory of progressive metal.

But it’s not just that — it’s a cartoon version of metal. Jazz instruments play as big a role as guitars, and the whole lot is backed by whacked out singing and interspersed with ambient interludes. In short, expect the unexpected.

If it all sounds a little bit overwhelming, as though they have over-egged the pudding, do not fear. Although light moments are mixed with the darkness of metal, it is far from a scatter-gun approach. Everything is meticulously arranged. In fact, it is the multi-layered nature of the tracks and musicianship of the band members that impresses me the most about Grindstone.

I think it is an utter travesty that Shining are not more well-known.

Listen to the album in full at Last.fm

Video: ‘Winterreise’ — not an official video, but it has kind of been endorsed by the band.

2. Radiohead — In Rainbows

In Rainbows artwork So much has been made of this album, but not much of it has been about the music itself. I am a serial offender here as well.

I was disappointed at first. If you have been reading this blog for long, you will know that I quite like exploratory electronic music. I am much more of the Kid A stripe of Radiohead fan than The Bends kind. So I initially found In Rainbows to be a let down. It seemed too safe for a band as good as Radiohead.

It sounded little different to Hail to the Thief. It rather does suggest that Radiohead have found their equilibrium. The post-OK Computer explorations were just that: explorations. Now they have found a happy medium, and every future Radiohead album will pitch its flag in this middle ground.

But that isn’t necessarily a bad thing. It is strange to hear Radiohead sounding so comfortable — but over time I have come to see that as one of the greatest strengths of In Rainbows. Probably for the first time in several years — the first time ever? — Radiohead don’t sound tetchy or fed up or lost. They are at ease. They are just making great music.

In Rainbows makes Kid A sound immature and Hail to the Thief sound downright shambolic. Not that I am announcing that I now dislike Kid A — it is probably still my favourite album. But In Rainbows has a craftsmanship to it. It has been constructed, not thrown together. Kid A had ideas. In Rainbows has songs.

So the experimentation has gone. Or at least it is taking a back seat. So there is nothing aurally exciting like ‘Everything in its Right Place’ or ‘Pulk’. But there is now pure beauty: ‘Nude’, ‘Videotape’ and ‘Reckoner’ are now among my very favourite Radiohead songs.

What makes In Rainbows stand out as a great album is Phil Selway’s drumming. Time and again he has been the essential element in a Radiohead song, most notably in ‘Pyramid Song’. Today he is at the top of his game, providing unusual but immediate drumbeats. He’s obviously had to up his game since the rest of the band started using drum machines!

If I have a complaint, it is about ‘Arpeggi/Weird Fishes’. Not that it’s a bad song, but I much prefer the original ‘Arpeggi’. It doesn’t sound as powerful as the original live version, as the guitars make the arpeggios sound rather muddied.

And great albums don’t have songs as weak as ‘House of Cards’ and ‘Bodysnatchers’. The latter also has a line that has been stolen straight out of Pulp’s ‘The Fear’, right down to the way it’s sung. Not a high crime, but rather off-putting.

Discbox purchasers got a second CD, and amazingly the music is pretty much at the same high standard as on CD1. ‘Bangers + Mash’ in particular is a great, fun song. It should have been on CD1 in place of ‘Bodysnatchers’.

Videos: lots — mostly live performances

1. Battles — Mirrored

Mirrored cover I have been going on all year about how great Battles are, and truth be told I don’t think there’s much else I can really say about Mirrored. Suffice it to say that it is great to hear someone genuinely pushing the boundaries and showing everyone what really can be done with technology when you put your mind to it.

Video: ‘Tonto’

My original review of Mirrored