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A new model

In which way does writing and reading about music change the way it is perceived by the public?

Music evokes certain feelings that are difficult to capture with words. But it may also paint certain pictures. These I can try and relate to the reader. At times it feels like I'm describing a scene from a movie, while music is quietly playing in the background. At the end, music becomes the soundtrack to my life - and it is my life that I am trying to capture with words, with the help of this music.

Words tend to add unnecessary constraint to a piece of art, be it aural or visual, so sometimes it's better to leave things unsaid. But if a reader connects with a certain passage that triggers a synapse, they may want to reach out for music to find out some more. This catalyst for discovery is the purpose behind my writing. The rest of the perception is up to them.

Whom do you feel your obligation to – the artists, the readers, the publication you're writing for? In how much do you feel is music journalism restricted by external factors?

The good news is that most of my readers are the artists themselves, so this answer becomes a little simpler. I try not to feel guilty about missing out on a particular album. I'm talking especially about guilt towards an artist or a label that's patiently awaiting my review. I can't possibly keep up with all of this music, so I tend to stay centred when it comes to a bias towards specific entities in the music business. This is precisely why I try to be clear of any business associations with them. So my biggest obligation is towards the readers. A continuous flow of content that keeps them excited about developments in sound and the evolution of music. I'm writing music's history as it unfolds.

There are always external factors. A perfect example was Hurricane Sandy that displaced me back in November of 2012. A month later, I still feel off-track from my daily routine. But since the publication that I write for is my own, I don't really feel obligated to stick to a schedule. I feel mostly emptiness for not being engrossed in music writing for the last couple of weeks. And this I know how to fix.

Journalism and writing have changed considerably over the past century. What, do you feel, could – or should - be new forms and formats for music journalism?

If anything, I think it needs to be taken less seriously. On the one hand, I tend to cringe at the word 'blog'. It gives writing a somewhat 'cheap' feeling. It conjures images of a hastily put together copy-and-paste with a slapped image and a download link. On the other hand I don't really like 'professional journalism' either. That just means that writing is your profession - i.e. you get paid to do it. And that in itself has another sort of 'cheap' feeling. Typing out a certain amount of words by a deadline on the latest hottest viral band does not feel exactly right either.

No offense to most journalists - I still have the highest respect for their chosen profession. But I tend to write because I want to, not because I have to. I don't have a hidden agenda behind what I do, and hopefully that can be felt from my words. So what I'm interested in is genuine journalism. I'm not sure if there's a particular format for that.

Music-sharing sites and - blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What's your view on the value of music today?

I believe that the value of any good or service is based on supply and demand. By that formula, if the supply of anything is unlimited, it's value is simply zero. By utilizing digital media to create unlimited flawless copies of itself we have created a devalued commodity. The problem here, however, is the focus on the product. The product shouldn't be the album - it should be the artist. The album is just the artist's portfolio - an archival recording of his work. If the labels begin to really understand this, they should focus on marketing the artist instead.

With that in mind, the music becomes the advertising vehicle. By allowing the album to propagate through the music-sharing sites, the audience is actually working for the label. They are marketing the artist to the world. This particular thought requires a revolutionary overhaul in the current business model. But if the music is freed, piracy disappears. It's an interesting approach, especially because the music was never owned by anyone in the first place.  This is my own theory, something I've been working on realizing in the last couple of years. If you didn't grasp the concept, please read these two paragraphs again.

Please recommend two magazines or journalists to our readers which you feel deserve their attention.

Just two?
There are many online sites that have recently  and inexplicably shut down. To be honest, I try not to frequent and read other people's reviews. It's mostly so that my thought stays original and my views are not skewed by the words that I read. It may be subliminal, but it happens.

That doesn't mean that I don't prowl around the internet when I need some inspiration. I tend to share my taste in music with Cyclic Defrost, Textura, Igloo, Fluid Radio and A Closer Listen. You'll also find me browsing through the latest releases on Boomkat, Experimedia, and Forced Exposure. When it comes to a glossy media, I always carry the latest copy of The Wire in my bag.

Please recommend two artists to our readers which you feel deserve their attention.

There is no way that I could simply choose just two. Honestly. I've spent years recommending music, which is precisely why Headphone Commute exists till this day. Instead, let me point you to my Best of 2012 selections, which I will begin publishing on January 1st, 2013 - these are my favourite works of the year. And yes, you will find a lot more than two... 

Read Headphone Commute at reviews.headphonecommute.com


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