A great polemic is all about timing and context. Back in 1993, Steve Albini wrote a brilliant, scathing, hard-hitting article called “The Problem With Music” about the major record label infrastructure.
Back then, when major labels had control, the prolific producer and Shellac band leader wrote about what was wrong, nasty and unpalatable in the business of music. Here was the unvarnished truth about the record industry's systems failure, and how the process was propped up with the permanent establishment in mind.
The flaw in “The Problem With Music”, though, was that it was written in 1993 about 1993. It became an essay that was cited again and again in later years, out of time and context. While some things hadn’t changed, a lot had, and Albini’s essay was sadly past its best-before date.
But a man who writes one great piece is always capable of writing another. Albini's 7,000-word keynote address at the Face the Music conference in Melbourne last weekend is a great, meaty piece of thinking. He has watched what's going on around him, has largely kept his own counsel and has now chosen to articulate his views and opinions.
What’s clear about Albini’s piece is that unlike many of his peers, he sees the internet as a force for good. He’s “satisfied and optimistic” about the state of the music scene and he welcomes the “social and technological changes” that have influenced this.
While he acknowledges that these are “rough times” for anyone relying on royalties and record sales, Albini is quick to applaud how the digital revolution has meant an end to “the conditions faced by a band” 20 years ago. It’s now easy and cheap to record, release and distribute music. Fans are winners too – they now “can find the music they like and develop direct relationships with the bands”.
As he goes on, you note Albini’s optimism again and again. Instead of moaning about how the internet has reduced their income, he points to how bands now have control.
“The old system was built by the industry to serve the players inside the industry.
“The new system where music is shared informally was built by the bands and the fans in the manner of the old underground.”
It’s an illuminating read. At a time when you can’t move for ruminations on Taylor Swift and Spotify or bellyaching from rich rock stars about how it was better back in the day, it’s refreshing to read such common sense.
Not all will agree, but it’s great to find someone who can frame the bigger picture and articulate it. Let’s hope his next essay isn’t 20 years in the making.
YOU’VE GOT TO HEAR THIS Tony Allen Film of Life
Jazz Village
Hear the drummer get wicked. Afrobeat kingpin Tony Allen’s 10th solo album is full of dazzle and shine, with astute dig-outs from Damon Albarn, Kuku and Adunni.
ETC It's a good year for new Irish magazines. First, the launch of quarterly We Are Dublin, and now Guts. A bi-monthly magazine of confessional writing and personal essays, edited by Róisín Agnew (a journalist with The Irish Times) and designed by Shane Kenna and Imogen Oh, Guts is currently gathering finance via Kickstarter and goes on sale next month.
