Let me get this off my chest right now. I love buying new music. While I’ll admit to some of the baser delights– the shiny jewel cases! new liner notes! the hearty “snap” of the first tine, breaking as I remove the disc!– for me, the real reward is simply hearing new sounds. I truly enjoy hearing artists grow from disc to disc, as well as trying to “place” their music in a greater framework of all music.
But now it’s March, and Gizmondo is taking on the blue meanies over at the RIAA, that bizarro world where art and commerce are hopelessly jumbled into an ugly mess. As someone who has long opposed the ridiculous bullying tactics the RIAA has employed to squash file-sharing, and as an informed DJ more than a little familiar with the lopsided (parasitic, unethical, illegal) nature of the music industry, you’d probably assume I’m excited to participate in boycotting the RIAA.
But really, I’m not.
The truth is, I haven’t participated in any of the RIAA’s reindeer games for a long time. I get new music all the time, and none of it has anything to do with the RIAA– and probably never has. The experimental and underground communities are doing just fine without them, thank you. If anything, filesharing is working quite well for us. It’s easy to find out about new artists, new releases, and to try something out with (often) limited funds before committing to any sort of purchase.
For a lot of avant-garde, experimental, difficult, and underground music; distribution is moving away from money entirely. While the music “industry” is arguing about DRM-crippled ringtones, we’ve been busy creating art– happily moving beyond the cliche of keeping the “suits” uneasy, the underground music communities have ignored them completely. Notice was never served, but here’s the takeaway: the traditional industry is obsolete.
If you don’t believe me, here are 12 netlabels that prove it.
If you find something you like, be sure to post about it in the comments section.