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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Damala Nop Nop, Kasi, Dibtu, Airomat Of Bengal, Bledstylee Yok, Militant 2 Justify, Foumben (feat. Amin Wayne), Chobisara, and 17 more. , and , . Purchasable with gift card Buy Digital Discography $46.40 USD or more (20% OFF) Send as Gift about Bamun-Tribe Afropop from West Cameroon, feat. Amin Wayne $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released October 28, 2021 license all rights reserved tags Tags african afrobeat afropop cameroon electronic moroccan morocco dance dub trip hop world music Marrakesh Shopping cart total USD Check out about Kasbah Rockers Marrakesh, Morocco
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Words and Silences, Many Hands - The Complete Collection, Forest Listening Rooms, Many Hands (Volume Two), Many Hands (Volume One), Shawnee, Ohio, Wayne National Forest, The Star-Faced One, and 3 more. , and , . Purchasable with gift card Buy Digital Discography $64.80 USD or more (20% OFF) Send as Gift credits from Many Hands (Volume One), released October 18, 2019 license all rights reserved tags Tags experimental ambient contemporary classical experimental folk piano Columbus Shopping cart total USD Check out about Brian Harnetty Columbus, Ohio
Greg Kot\u2019s 2009 book Ripped gives numerous examples of enterprising artists (The Beastie Boys, Tom Petty, Radiohead, Prince, Wilco) harnessing the power of the internet. In many cases, this meant using free downloads (or inventive pay models, as Radiohead did in pre-figuring Bandcamp) to galvanize fan activity, press conversation, and, perhaps most importantly, economic activity in other verticals relating to an artist's public persona (ticket sales, merch sales, brand deals etc).
This labor could have served as payment in kind (or eventual payment after a certain point) for tracked songs and bodies of work. Complete enough metadata over enough time, help enforce community standards, you get free downloads. Share that music illegally, you get banned from the community and charged with a commensurate real-world penalty (not slapped with an injurious criminal case\u2014at least not for small infractions). I\u2019m spitballing, but the idea of gamified work and self-regulating communities takes loose shape on sites like Wikipedia. From here, you can also imagine how streaming platforms and storefronts like Bandcamp could be built atop this \u201Cpirate\u201D foundation.
There is, undoubtedly, a level of implicit fealty to the recorded music business in Chatterley\u2019s vision that seems to ignore the full scope of piracy\u2019s capacity to help drive attention and profit elsewhere. It\u2019s not so difficult to imagine a gqom producer using WhatsApp or any artist starting a Discord channel, for example, to plant a musical seed that draws considerable press or social engagement. Some might remember The XX\u2019s campaign for their sophomore album Coexist. The band gave one fan a free copy of the album eight days before its release with the instruction to share the album with whomever they pleased. The spread of the album from one hard drive to the next was tracked on The XX\u2019s website, where fans could also eventually stream songs from the album and pre-order it while they watched it spread across the globe on a mesmerizing map (pictured below). Coexist spawned one of the band\u2019s biggest songs (\u201CAngels\u201D) while helping to push them towards prime festival billing and sold out arena shows.
Now more than ever, music serves as a gateway towards other monetized aspects of an artist's existence. Proper cataloging and certain forms of free, incentivized exchange could build new artists in the way it helped The XX (and in ways that free music more broadly helped build a generation of stars such as Billie Eilish, Travis Scott, The Weeknd, and Tyler The Creator). OiNK, gqom WhatsApp groups, The XX sharing their album: All show the potential inherent in the social energy of supposed piracy and the digital cataloging of information. Do they all undercut traditional label profit centers? Yes. In so doing, however, they promote a different vision of \u201Cfree\u201D music listening, not the sort of selfish, asymmetrical exchange major labels used to vilify a generation of supposed pirates (mostly kids who didn't understand the full implications of their actions on Napster and KaZaa). OiNK envisioned a world in which \"free\" music comes at the cost of ideological and collective commitment, for which payment can come in the form of service and utility. The logical outgrowth forms systems that drive super fans towards artists whom they can monetarily support in other ways.
Man Overboard was founded in 2008 by vocalist/bassist Nik Bruzzese and lead guitarist Wayne Wildrick[3] when the pair were writing songs at Bruzzese's Small Hill Studio.[4] Wildrick brought in The Front Page member Zac Eisenstein[4] to play on vocals and guitar,[3] and Bangarang! member Justin Mondshcein to play drums.[4] The group then went to work on what would be their first release, Hung Up on Nothing.[3] The group shut themselves off in the studio and demoed close to 60 songs.[4] The band went to record Hung Up on Nothing in August with producer Jesse Cannon.[4] The EP was released on August 26,[5] as a free download.[1] The band soon toured across the U.S.[3] In late 2009 the band signed to Run for Cover.[3] The EP was pressed physically for the first time since its first release in May 2014 on vinyl and cassette. 2ff7e9595c
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