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Is it Time to QUIT Spotify?

Your Discovery: The music industry needs to reawaken from its slumber.

As we see more and more artists fight for our attention via a new single every week and a drive to their socials, music consumption becomes more competitive as the industry changes hands into the world of the unknown with new and upcoming artists.

With this comes issues. The rates of streaming Spotify take is something ludricous. The rate of 0.00003 per stream means that you have to have a least quarter of million streams to earn £1,000. To musicians, this 1,000 is slim pickings – especially if funds have been driven into social engagement, studio hire and musician hire.

We are consuming more music than ever before and yet … the music artists are not reaping the rewards off of it.

With music artists seemingly changing their perception on driving audiences to their social media as opposed to their actual music, how we consume music in the music industry needs to change. And it starts with us as consumers ourselves.

PERSONAL THOUGHTS.

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For me, I like Spotify to discover new artists, but, when I like an album, I just go buy the LP. Not only is the quality of the music better, but you have a connection with the artist, too. It’s not just me – the music creator – a lot of people my age and even younger, return to vinyl. For the sake of future musicians and providing support to the lesser known musicians … let’s hope it will be a reawakening of the music industry.
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Now, I know actually producing vinyls is a might finance feat in itself and they are not cheap like burning samples on a CD. The convenience of Spotify draws in a godly rate of subscribers – how do we get back into the absorption of music by actually purchasing for the artist?

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Machine Gun Kelly’s Return: ‘Papercuts’

In an apt return to the world of punk, Machine Gun Kelly has come back to the threshold with his latest single, ‘Papercuts.’ Maintaining the status quo, Kelly rightfully rejoins with drumming prodigy, Travis Barker has ‘Papercuts‘ embarks on a new perilous journey into the pop-punk scene. Again.

After the enormity and success of his 2020 affair of Tickets To My Downfall, he’s righteously back with a second helping.

With a cleaner production, and a deeper depth of perception, it portrays a deeper distinction of artist and music.

Although not as prolific as his original singles from TTMD with the likes of Bloody Valentine and Concert For Aliens, with a not-as-prolific catchy chorus equipped with it, it brings a telling sign to Coulson’s approach to his second punky album.

If it brings the same fantastic anarchy as TTMD, then I’m all for it.

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Contemporary Jazz: Reaching the Fantastic

Good evening, folks. I hope you are having a good week so far. I’ve recently invested in some time sharing the art of contemporary jazz. Boy, I love it. A genre that charters unknown territory with its unpredictability and witty beauty, contemporary jazz has become the genre I’ve been listening to for the past couple of weeks. You yourself can share the playlist I’ve been delving into below:

I have mysterious profile selected-by-guerino to thank for this perfectly-put-together-playlist. Cheers folks. Let me know your thoughts on this genre. For me, I’ve been emblazoned with and will surely start to creep in my own customised playlists.

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Glass Animals: DREAMLAND

Diverse, enriching with emotional depth and vision,  Glass Animals are insidiously addictive.

Music of familiarity and family, ample Glass Animals are nurturing into the lores of psyechedlic electronic pop, as they bring music to the new modern age.

With the creation of Dreamland, it is another twist in the tale as their subtle sounds enter uncharted territory. 2014’s ZABA, 2016’s How To Be A Human Being and now we have Dreamland in 2020.

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Billie Eilish – “Happier Than Ever” Album Review

One of the biggest stars of the century is back. Stark in maturity, complexion and musicality, Billie’s “Happier Than Ever.” Her genre-defining sound has been prolific since the debut of ocean eyes, and her first debut, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? with bad guy and when’s the party over. But this time, gone are the baggy clothes, the adolescent catharsis and the unique hair. This time, comes a new Billie. All grown up. Illustrious, sleek and sexy, Billie Eilish comes of age. And with, her first vogue cover. In what seems like a turning of age, she has become the female face of modern diplomacy, charting course for changes not just in an old-fashioned music industry for women, but the restrictions women face in every day-to-day environments.

If the album name goes by anything, safe to say, she is finally happy and comfortable with who she is, out and proud within her music, too.

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Happier Than Ever brings a more wiser, self-reflective approach to Billie’s artistry with Getting Older, which tackles responsibility, sexual harassment and reflecting the distress she has gone through within the music industry. Which to me, after seeing her grown up in such a difficult industry being in the limelight, is quite sad.

“Things I once enjoyed,

Just keep me employed now.”

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Fan pre-favourites, my future, Your Power and Lost Cause are strong contenders within an album fluxed with empowering emotion, undulating electronics and lustful lyrics that are so Billie. GOLDWING and Everybody Dies are my favourites among those already chosen, with the atmospheric space scapes making a return to her sophomore album. It’s a refreshing take on her music, shedding the skin of the angry from her debut and returning to her former modest self on her new and nurturing EP of don’t smile at me.

Worth the listen – even for the status of the artist.