I've been really wanting to delve into the Fugazi catalog this past week. Needless to say, I've heard Repeater numerous times, but have only skimmed through the rest of the catalog here and there. I would really like to sit down and study the damn thing. In fact, sometimes I really want to sit down and study catalogs by a lot of bands.
No time. No patience. No one stop shop to preview. In the wake of Lala's death and wall of a one-time listening party (before it turns back into the 30-second preview-fizzle-of-a-bash), we are too far away from Spotify.
So its 3 a.m. and I've been goofing around with Rdio for the past few hours. How is it you ask? Well, I feel torn by the new system.
Let's talk positive at first. Like Lala, there's a simple search and play here. Where Lala faltered, repeat full listens blossom under this system. It lets you build an unlimited library, or "collection," as it is called. Imagine access to your iTunes from any computer or mobile device. "Hey, you have to check out this song!" Click. Share. Amaze.
There are some great finds searching through some artists that I've never seen before, but then we run into the negative. Like eMusic and other engines before it, we hit the wall of quantity and availability. Depending on your taste in music, this system is great or could contain boundaries for a more eclectic taste by some.
Playing around with the system, it does seem quite interesting and intriguing. It gets me thinking about our accessibility to music in the future. Plugging in, loading and unloading devices and all around "instant access" that our impatience yearns for in the new age of instant gratification may be a thing of the past when it could be this simple.
This system is very interesting, but I'm not convinced that we have a winner just yet. Like all technology, there's room for improvement. That's not to say that Rdio doesn't get off on the right foot. It definitely is going to be a system, and more importantly, an idea, an access and a reason to rethink the industry and consumerism for music in the decade to come.
Last night was a great night of work. See, we are allowed to play whatever (short of vulgar language) through iTunes, Pandora, or where ever.
Last night I introduced my co-workers to Lala.com. Something I've been behind the ball on as of late until a few weeks ago. It's something Pitchfork has incorporated into their reviews, and will hopefully have in ours soon. It may not be the plug in the leak, but it gives us an honest chance with our conscious backing the waiting game.
What Lala.com offers is a free service to listen to full albums and not just 30 second clips. So if Drew tells you the epic build in a new album he is reviewing is the greatest thing all year, you might just be able to preview it, and not feel guilty. The program allows you to not only purchase music, but purchase the idea of which tracks you really want, and what filler you'd rather spend a buck on the value menu at one in the morning.
Today I posted my interview with Chad Johnson, former Tooth and Nail A&R, and current label maker with Come&Live! Records. Spiritual beliefs aside, Johnson's new label is going to offer its music free to the public, a bold move, but one that was once seen with Team Love some years ago, which has since then seen great success.
Does Lala.com and the Come&Live!/Team Love business model support the idea of music being free, or a legal doorway to the response of "Well, I only download to hear the album before I buy it," said by many pirates?
I think the industry is moving in a good direction, but time will still tell if it keeps progressing forward. There's still a lot to be done on the consumer end as well. I'm not living the high life, but my last dime will usually go in the jukebox of good music because it brings an unconditioned joy untouched by the wads of quarters that go into the laundry machine.