Just finished work on a new Neurosis album that is unholy good and has more of the stomach-churning heavy chaos they do better than anybody.
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steve albini ama
Posted 09 May 2012 - 03:24 AM
With the exception of Sloy and Les Thugs, why do you think there is so much shit music coming out of France, what is the problem with their music?
France has a ridiculous 95dB sound limit in performance spaces. Of course the music sucks. You can talk over it. Metal Urbain were a pretty big influence on me as a teenager.
Posted 09 May 2012 - 03:46 AM
Hey Steve, Adam from Manchester, U.K. Love your work etc blah blah...so...the pixies. what five words would you use to sum up your time/work with them?
Five words? That's going to
What's the craziest thing a band has done in the studio?
I saw a guy turn down a beer once.
Posted 09 May 2012 - 03:32 PM
â€“]whatdoiget000 2 points 1 day ago
Any weird stories about working with Leftover Crack? From what I understand those guys can be quite a handful, especially when they're your guest...
[â€“]steve_albini[S] 8 points 13 hours ago
You Leftover Crack question guys should get together with the Buyer's Market question people and go bowling.
seriously though like 10 questions about leftover crack
What is your opinion about music Piracy? Does it hurt you economically? Thanks for your music!
[â€“]steve_albini[S] 259 points 5 hours ago
I reject the term "piracy." It's people listening to music and sharing it with other people, and it's good for musicians because it widens the audience for music. The record industry doesn't like trading music because they see it as lost sales, but that's nonsense. Sales have declined because physical discs are no longer the distribution medium for mass-appeal pop music, and expecting people to treat files as physical objects to be inventoried and bought individually is absurd.
The downtrend in sales has hurt the recording business, obviously, but not us specifically because we never relied on the mainstream record industry for our clientele. Bands are always going to want to record themselves, and there will always be a market among serious music fans for well-made record albums. I'll point to the success of the Chicago label Numero Group as an example.
There won't ever be a mass-market record industry again, and that's fine with me because that industry didn't operate for the benefit of the musicians or the audience, the only classes of people I care about.
Free distribution of music has created a huge growth in the audience for live music performance, where most bands spend most of their time and energy anyway. Ticket prices have risen to the point that even club-level touring bands can earn a middle-class income if they keep their shit together, and every band now has access to a world-wide audience at no cost of acquisition. That's fantastic.
Additionally, places poorly-served by the old-school record business (small or isolate towns, third-world and non-english-speaking countries) now have access to everything instead of a small sampling of music controlled by a hidebound local industry. When my band toured Eastern Europe a couple of years ago we had full houses despite having sold literally no records in most of those countries. Thank you internets.
i like this viewpoint.
and i REALLY like this
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