AlexH.

Huh. Seems a bit anachronistic for an active band to put out a greatest hits collection in this day & age, especially for a band with such a big, consistent catalog like Spoon. And you're never going to make everyone happy with just 12 tracks - no Written in Reverse? The Beast and Dragon Adored? Sister Jack?

Links to both editions for North America/Europe/Australia here: https://wilsunsrc.bigcartel.com/sheer-mag-a-distant-call-pre-order-info

Oof, a $10 premium for the colored vinyl? I am excited for this album, although it sucks that we've basically heard half of it already.

Hmm, hard to imagine this holding up as a cohesive unit so this is probably something I'll just get digitally and cherry pick the good tracks. Cool that this is happening though!

https://www.mergerecords.com/terms-of-surrender https://hissgoldenmessenger.bandcamp.com/album/terms-of-surrender Peak Vinyl usually makes it to retail, so probably no real rush to buy, but always exciting to get new Hiss.

Also it is definitely illegal to own, my recommendation is to stage a fatal car wreck and start a new life out west

Looks like it could be worth as much as five dollars: https://www.discogs.com/Smokey-Robinson-Smoke-Signals/release/7727762

Love this band, and the new song is... totally fine, but I gotta wonder why bands of this size sign to major labels, especially coming from a seemingly awesome supportive label like Polyvinyl. What more can Elektra offer? A few sync placements in a CBS prime-time drama? Preferred placement in the "hot indie" Spotify playlist? Is it worth not owning your own music and having all your edges sanded down when your next album doesn't do big enough numbers to cover the cost of your new expensive management team? I know some indie labels have distasteful business practices too, but is there a single band that's not at least like Black Keys level that, 10 years later, has said "I'm glad we signed to a major"?

This is a long time coming, and after taking all the pictures and putting everything away I realized I put albums 2 & 3 out of order, because that's how they were on my shelf. Not gonna let that ruin my day! This is 100% complete other than a Black-Eyed Snakes 7" that may or may not have ever been sold to the public. LOW 1994 - I Could Live in Hope - 2011 Plain Recordings reissue (only vinyl pressing) 1996 - The Curtain Hits the Cast - original Vernon Yard pressing 1995 - Long Division - original Genius pressing 1999 - Secret Name - standard Kranky pressing 2001 - Things We Lost in the Fire - standard Kranky pressing 2002 - Trust - standard Kranky pressing 2004 - The Great Destroyer - 2017 Newbury Comics pressing 2007 - Drums and Guns - standard Sub Pop pressing 2011 - C'mon - standard Sub Pop pressing 2013 - The Invisible Way - Sub Pop Loser Edition 2015 - Ones and Sixes - Sub Pop Loser Edition 2018 - Double Negative - Electric Fetus exclusive pressing (signed) 1997 - Songs for a Dead Pilot - standard Kranky pressing 1998 - owL Remix 12" - standard Vernon Yard pressing 1999 - Christmas - Kranky first pressing (2010) 2000 - The Exit Papers - Temporary Residence Ltd. first pressing (2016) 2000 - Bombscare collaborative EP w/ Spring Heel Jack - Tugboat first pressing 2001 - In the Fishtank 7 collaborative EP w/ The Dirty Three - Konkurrent first pressing 2003 - Murderer 10" - Vinyl Films 10" box set exclusive color 2004 - Tonight 12" - Buzzin' Fly first pressing 2016 - split 10" w/ S. Carey - Sub Pop 1995 - Indie-Rock Flea Market Part 2 compilation 7" - Flip 1996 - Over the Ocean - Vernon Yard 1997 - The Paper compilation 7" ‎- Papercut 1997 - Venus - Sub Pop 1997 - If You Were Born Today (Song For Little Baby Jesus) - Wurlitzer Jukebox 1998 - split w/ Piano Magic & Transient Waves - Rocket Girl 1998 - Joan of Arc - Tugboat 1999 - Immune - Tugboat 2000 - Dinosaur Act - Tugboat 2001 - split w/ k. - Tiger Style 2002 - split w/ Vibracathedral Orchestra - Misplaced Music 2002 - Canada - Rough Trade 2005 - California - Rough Trade 2007 - Hatchet (Optimimi Version) b/w Breaker (Dub Plate) ‎- Sub Pop 2008 - Santa's Coming Over - Sub Pop 2013 - split w/ Shearwater - Sub Pop Retribution Gospel Choir - Retribution Gospel Choir - Caldo Verde first pressing Retribution Gospel Choir - 2 - Sub Pop Loser Edition Retribution Gospel Choir - 3 - Chaperone first pressing Zak Sally - Fear of Song - Nero's Neptune first pressing The Black-Eyed Snakes - Seven Horses - Chairkickers first pressing Alan Sparhawk + Charles Atlas - Sleep Song b/w Pondcup - Star Star Stereo Jessica Bailiff & Alan Sparhawk - Crush, Version 2 b/w Highwire - Ypsilanti Retribution Gospel Choir - The Revolution EP - Sub Pop Hospital People - Untitled - Duck Suit Zak Sally - Fear of Song - Sub Pop

You can probably find a decorative plate holder at a thrift store for 99 cents. That's what I use.

Is this a common thing nowadays, to like design a logo and make a big push to launch an... Instagram account? That fuckin sucks! Putting Wikipedia text over shit you found on Google image search contributes nothing but noise to an Internet landscape already clogged with worthless pablum, and drives traffic to platforms that make the world worse and funnel money to the richest 10 dudes on earth! Go learn how to play drums or build a table or read a book or something! Fuck!

Only in that it's a direct indicator of streams, sales, and radio play. For all the talk of how artists need to find different revenue sources these days, it seems the biggest artists still make monster amounts of money from their music [thinking emoji]: https://www.musicbusinessworldwide.com/drake-is-the-biggest-artist-of-all-time-on-apple-music-and-spotify-generating-over-50m/

As if there weren't enough reasons to love this song - it stopped that fucking awful Taylor Swift song from hitting #1: https://www.stereogum.com/2042659/even-taylor-swift-cant-knock-old-town-road-from-1/news/

The real question is what Earwolf 'tent will get a vinyl release next. Personally I'm pulling for a box set of the complete Santaman & Moriarty saga.

If a Taylor Swift pinball machine or Taylor Swift coffin were put up for sale in the next 10 hours, I would not blink an eye to see the people in this thread asking if they charge when you order or when it ships.

Not a bad concept. Total bummer that it's through Pirates Press. I don't know if they'll do drop-shipping, but if not the logistics involve so much waste - if a European band does this, will their records have to get shipped from the Czech Republic to California back to Europe? Maybe this program will eventually grow big enough that they can work with GZ directly, but ideally I'd love to see people stop using GZ altogether since their fancy splatters/splits that everyone loves sound like ass 100% of the time, and a lot of their solid colors are still pretty noisy. Why not go through a reliable US-based plant like Gotta Groove, or maybe even Third Man since their label just started putting their releases on Bandcamp. Think of the synergy!

Added a lotta good stuff here: The Format - Interventions + Lullabies (2014 pressing - black) - $90 The Format - Dog Problems (2014 pressing - black) - $70 Fucked Up - Couple Tracks - $8 Headphones - s/t (2012 pressing - red /1000) - $15 Hiss Golden Messenger - Bad Debt (2014 Paradise of Bachelors pressing) - $15 Javelin - EP 1 & 2 - $10 each The Littlest Viking - Labor and Lust - $12 The Littlest Viking - s/t - $12 Low - The Great Destroyer - $12 Memory Map - The Sky As Well As Space (black) - $5 Slingshot Dakota - Break (Clear w/Violet and Pink Splatter /100) - $10 Tancred - s/t (clear /100) - $12 Torche - s/t (2nd press green /250) - $15 Derek Webb - Stockholm Syndrome - $15 White Stripes - s/t (2010 Third Man pressing) - $12 v/a - Our Lips Are Sealed: A Tribute To The Go Go's (Masked Intruder, Cobra Skulls, Dan Vapid, etc.) (pink /100) - $25

I think in Bandcamp's FAQs, they recommend something like $7 as a sweet spot for albums. I am the same way though, I used to pay $15.99 for CDs at Best Buy and I currently pay over $20 for records I usually don't need but paying $10 for a download gives me pause. I love How Music Works! Really illuminating in regards to the machinations of the industry, and I love how deep he gets into the songwriting process and how things like DAWs can influence song structure. Assuming this is the article you're referring to, I will definitely have to check out How Music Got Free.

Obscure is sorely underselling it - there is a vast world of music that is not on streaming. All of Drag City is not on Spotify. Neither is Jay-Z. Lots of indie releases or albums on defunct labels that have fallen through the cracks - most independent music from the pre-internet era is not represented. Not to mention B-sides, live recordings, promos, mixtapes, box sets, alternate pressings and masterings, region- or retailer-exclusive bonus tracks, "illegal art" like Girl Talk or the Grey Album... Streaming services are not a viable source of income for musicians that don't already tour stadiums. The royalty rate is shit and Spotify still loses money. I would have to listen to a song over 100 times on Spotify to equal the royalty they would make from an iTunes purchase of that song. There's not a single song in my music library with a play count close to 100, and yet the artists I listen to have made money from me listening to their music, because I paid for it. Not to mention the way that Spotify's payouts work, most of your subscription fee is going to the most popular artists on the platform, not the artists you listen to. Streaming is fake. As we move away from people owning their own media libraries and become increasingly dependent on subscription services to fill those needs, our fates become tied to the whims of the companies that operate these platforms. People have probably experienced this phenomenon most directly with Netflix: the contract expires with a copyright holder and suddenly a beloved show or movie is "gone". Of course, as it stands stuff very rarely gets pulled from music streaming services (although there have been a few high-profile exceptions), but what about in the future? Maybe they'll get into a royalty dispute with a label group and they'll freeze them out, like when Dish Network drops Food Network or whatever and they have to run ads begging people to call and demand Food Network. Or maybe someday they'll look at the fact that 99% of all plays on their platforms are by 10% of all artists, and reconsider the headache of administrating that bottom 90% of dead weight. Spotify and Apple are quickly becoming the only game in town for getting people to hear your music, which gives them an unprecedented amount of leverage and normalizes people to the idea that they have no control over what music they have access to. That fucking sucks! I won't even get into the corrosive effect their algorithms and playlists have already had on music itself, which Liz Pelly has written brilliantly about. Finally, there's the archival aspect. Labels cannot be trusted to take good care of their back catalogs (see this infuriating piece), and streaming services only care about music so long as it makes them money. Every time we make the leap to a new format there is music that is left behind because it's been deemed not commercially viable for it to be reissued, but that music is still of cultural worth and should be preserved. I just read this great book about 78rpm record collectors. Sometimes only 1 or 2 copies of a record still exist in the world, and it's only because of collectors who comb through antique fairs and fill their basements with old brittle shellac records in the face of new formats and technologies that these works have survived. As more people purge their physical and digital collections in exchange for conditional access to a limited library, I see torrent sites as torchbearers of that invaluable tradition.

Louder Now, at least, appears to be out of print. Given that these are coming out on a different label, it may just be an issue of rights changing hands and the new owners getting the albums back in print.

I'm not sure when this happened, but it looks like Secretly Canadian has quietly repressed all 3 Richard Swift albums, and also put up a preorder for the Ground Trouble Jaw & Walt Wolfman EPs combined on one 12". This stuff was all out of print and went for $30+ regularly, so these are much-needed reissues. https://www.secretlystore.com/store/richard-swift?page=1 https://www.secretlystore.com/ground-trouble-jaw-walt-wolfman-richard-swift

It sounds to me (and this is probably why people are reacting so strongly) like you're looking to get into the speculative vinyl market, and I've gotta say beyond the ick factor of straight-up asking which records will be out of print soonest, it's just not a great idea in general. Collecting "limited" records for their "value" is a big gamble, and unless you're already knowledgeable and immersed in the hobby, the odds are good that you'll end up stuck with a bunch of records you don't want that you'll eventually dump for a loss. If you want to make easy money flipping stuff, there are probably safer bets out there. Now, if you're asking because you just want to own something, anything, as long as it's limited: I would honestly just take a step back and ask whether possessing rare items will actually make you happy, or if you're just passively following messages you (and all of us! since birth!) are receiving from our western capitalist society that are telling you that consumption is the highest form of cultural participation. Maybe just think about what music connects with you, and seek out a copy of that music on a format that you think is cool. Some of my favorite and most treasured records are monetarily worthless, yet they bring me more joy than records worth $100+ that I bought to fill out a collection.

Someone uploaded the studio version to youtube:

I'm not gonna buy an LP of it, but this is a really well done chiptune arrangement. The love for and familiarity with the source material is evident. So uh, good job