“We’ve exchanged an illegal system that paid us nothing for a legal system that pays us nothing.” - Nicolas Boulerice (Le Vent du Nord)
"In a data-driven listening environment, the commodity is no longer music. The commodity is listening. The commodity is users and their moods. The commodity is listening habits as behavioral data." - Liz Pelly
"When we asked one of our informants if he could roughly assess how personal taste, editorial choices, and algorithmic suggestions affected his curatorial work, he answered that his choices were '10% personal taste-driven, 40% editorially-driven, 50% algorithmically-driven'."
~ Tiziano Bonini & Alessandro Gandini
"Bandcamp has become an extremely rare type of company, a profitable startup, by doing nothing more than providing a threadbare platform for the chaotic variables of human experience to interact during economic transactions. This basic model is so effective that it works in spite of every other shortcoming the site suffers from.
Spotify's understanding of humans as economic actors is almost maximally reductive, antiquated, and fundamentally flawed.
Its misconception begins with a straightforward musical misconception: given a listener's mood, Spotify should provide them with music to match that mood.
Spotify will never deliver what its artists endlessly appeal for: Fair remuneration and good-faith avenues for artist development that don't involve payola or the equivalent of musical SEO. It will not do this because the existence of music beyond basic hormonal modulation does not interest it, and therefore, the existence of musicians does not interest it."
~ Components (https://components.one/posts/bandcamp-the-chaos-bazaar)
"Whether or not Bandcamp will ever grow to rival the streaming giants feels somewhat irrelevant. It's a place where you can buy an artist some groceries or a beer or some time to make new art. It's a messy online record store where you can stumble around and, in a roundabout way, find what you like, not what AI guesses you'll be interested in."
~ Matt McDermott (https://www.residentadvisor.net/features/3703)
"It is this pervasiveness of music, both real and perceived, that underwrites the claims platforms make about music streaming’s usefulness for consumer surveillance. Likewise, it is music’s capacity to insinuate itself into every corner of people’s lives that qualifies the data and user commodities fashioned by virtue of this surveillance. At the same time as listeners are induced to use streaming music to maximize the value of the moments that fill each day—to compose, as the cliché goes, the 'soundtrack of one’s life'—advertisers and data harvesters are encouraged to treat this same sound track as a means of tracking users through sound."
“Our demand that all of musical history should be available at the touch of a finger has become gluttonous. It may seem a harmless form of consumer desire, but it leaves real scars on the face of the Earth.”
"There was no predictability—that whole fan/listening experience was engaging and active. If you were in it, you were in it. Whether you were a blogger or a reader, you had to consciously pick and choose where your energy was directed. There was no central hub, like a Spotify today, where all the playlists and means of discovering music are organized neatly within the platform. You had to search, to dig! Even when you grabbed a song directly from an artist’s social media, you almost always wanted to know more because context was the norm."