[PLAY THE PLAYLIST] BEST FUCKING MORNING ☕️

Recently I’ve trying to be more thoughtful with how I start my day. With all of this time in quarantine I’ve taken the opportunity to observe how impactful tiny thoughtful adaptations can be. Not just on a daily basis either, as I’ve found that sometimes the change can be so swift it’s often within an hour or even a matter of minutes, depending on the situation.

We all know music is a major mood shifter. Unfortunately, sometimes it feels like because we’ve gotten so accustomed to the habit of recklessly consuming things to make us feel better that we do this with music a lot more than any of us would like to admit. I know I’ve certainly been guilty of that myself. Additionally, when you’re already not giving too much thought of what you’re consuming, it’s hard for me to believe that it means that all that unused thoughtful energy is shifting to what you’re putting out into the world and any subsequent side effects, either positive or negative.

I intend to take more ownership of how this space factors into this consumption habit equation for everyone, so of course I felt the need to make a fucking playlist about it. 🤪

I took some time thinking about not just what makes me feel good, but exactly what makes me feel my ⚡️fucking best⚡️. IMO, there’s truly nothing better in this life than the opportunity to identify how your talents/strengths can help people, throwing all of your energy into that thing, and then witnessing the magic that comes from those efforts. To be clear, I’m not just talking about ways that earn you money from doing this either. It can also be little things like knowing you’re a good personal cheerleader and being able to notice when someone could need some pom-poms waved in their direction and seeing their reaction. It’s ✨ literally the fucking best✨ ESPECIALLY when all parties involved decide that shit is going both wayyysss.

Community.

Connection.

Intention.

These are the things that BEST FUCKING MORNING☕️ is made of to the best of my ability. Sometimes you’ll get ✨a feeling✨ from the music, but as often as I could, I wanted the words ringing through your ears to make you feel fucking great, too. Additionally, I wholeheartedly believe that it’s equally important that the people making the good vibes you ingest should absolutely coming from good fucking people and I can say with a great level of confidence that these are all really good fucking people. I took a lot of care to make sure that even if one were to treat this playlist like a LoFi Chill Beats To Study To kinda deal where it’s mostly going to be background noise, that the few times that your brain decides to focus in on what’s actually happening that hopefully in that moment you feel empowered to remember that you always have the opportunity to choose happiness in spite of whatever bullshit gets thrown at you.

Let me be very clear that this is not me tryna shove some toxic positivity on your ass. That shit is annoying as fuck and not welcomed in this house. You always are entitled to however you feel, absolutely.

BUT

When you wake up feeling meh and decide you deserve to feel at minimum a little bit better.

Or you wake up feeling fucking great and want to hold onto that feeling as much as you can, possibly even going next level with that shit.

I promise you this shit will take you there, wherever that may be.

Although this collection of vibes was arranged in a way to be uplifting incrementally, feel free to let The Algorithm™ move you and shuffle this shit if you are so inclined. That said, I def invite you to see if you can notice a different if you listen both ways. Additionally, I intend to honor the inspiration behind this playlist and occasionally implement tweaks every now and then, hopefully to further enhance this vibe. Mostly likely additions only, no removals or substitutions.

As long as this playlist is in your life may you never forget that you deserve the fucking best. 💖

[RANT] Finding My Algorhythm

Today I’m happy to report that, somehow in the midst of a global fucking pandemic that I’ve managed to find myself in probably the best mental health state of my life. As much as quarantine has been a nuisance because of being so isolated, it has really allowed me to thoughtfully reflect on things I wasn’t sure I’d ever be ready to address. Throughout this period of healing, I’ve really come to treasure how my whacky, overworked brain, and big ass heart both truly eat, sleep, and breathe music every second of my day.

I'm not sure how many people who write about music can also say they have not only worked in music but that they’ve worn as many hats as I have while working in music. Since moving to NYC I’ve worked in music publishing and at labels (in both marketing and radio). I’ve been an artist manager. I’ve even been a tour manager. In addition to working in music, I’ve also had the opportunity to work in advertising with Fortune 500 brands doing social media. I am realizing more and more that my unique perspective gained from all of these experiences is probably a lot more useful than I had initially thought.

As I float around the internet I observe a lot. For example, I make it a point to take note in which bands cluster together. I also do really nerdy, data driven things like cross-reference number of streams, monthly listeners, and social media following in order to gauge where in their career an artist is likely at, based on my personal experiences with monitoring those numbers for the artists I worked with. While it’s not entirely how I decide who gets covered in this space, it certainly helps me navigate the complexities of attempting to lend the level of support any particular artist may need.

In the past few months, a data point that I have found myself increasingly more fixated on is the impact of the playlists that listeners are discovering these artists through. Furthermore, who is behind these playlists that are helping to drive the larger numbers. 

Are you surprised to hear that normally if 5 out of 5 of the displayed playlists are all owned by Spotify, that their monthly listeners, followers, and streams  are often exponentially larger?

Didn't think so lol. 

As someone who quite often romanticizes The Algorithm™ but keeps a watchful eye on Spotify, in the past few years I’ve become more aware of their editorial playlisting and its increasingly alarming impact on music, specifically from a community standpoint. I genuinely don’t know if anyone else feels this way, but Especially In the midst of a pandemic, observing bands of all shapes and sizes tripping over themselves to laud streaming platforms (but let’s be honest it’s mostly Spotify) for chucking one of their songs on a playlist so as to stay in their good graces is just…. well, it’s just as weird as it is just really fucking depressing. 

This is all while knowing full well that touring off the table for the foreseeable future. Thus it  makes sense that everyone is collectively scrambling to stay afloat. That said, something about witnessing this just makes the future look so…. bleak. I know these kinds of shoutouts are fairly standard for the industry for other formats. For example, it definitely makes more sense to shout out a radio DJ. The space on the airwaves is limited and there’s a lot of vetting that is involved to take a chance playing an artist on the radio. Something like this I think a DJ is more than entitled to being acknowledged for their efforts. 

But with playlists, especially with how limitless they seem to be, are they really generating enough value? It shouldn’t surprise you to hear that I’ve made a fuckload of playlists in my time on this planet so far. I can tell you that once you get the hang of how you want them to flow that they can be assembled fairly quickly and easily. For these platforms to do this it is not a lot of *work* to throw a metaphorical bone to a band by chucking a track into one of the probably thousands of editorial playlists that exist. To be sure, I am not discounting the overall taste or attentiveness to details of making a good mix, I just know that in-tools like Truffle Pig exist (which I imagine by now they have integrated into the tool they use for playlisting submissions). I am saying that there is no scarcity to the number of playlists in the way that there is obvious scarcity in the example of an artist attempting to get radio play. 

The thing that is concerning me the most these days is - what happens after that song hits a playlist? With the sheer volume of genres and mood-related playlists that Spotify’s editorial team can crank out all while knowing that there are algorithms at play tweaking a good number of these to keep you on the platform consuming and accumulate more data for either them to monetize like they apparently do with data on our moods (ps labels have been using Spotify to gather data on us, too). If I give Apple Music shit for being more concerned with being in the device business and Google the data business instead of solely the music business, then I really  simply can’t ignore the very blatant move on Spotify’s part to be more in the audio streaming business than the music business. I know there are a lot of factors at play here and I’m not tryna have a heated debate right now about streaming royalties because FUCK ME that all is so messy, political and honestly out of my jurisdiction (not to mention Mark Mulligan already has some meaningful thoughts on all that anyway).

For this moment I’d mostly just like to pose the following questions:

Is essentially ⚡️being paid in exposure⚡️ from Spotify’s editorial team actually impactful enough for musicians?

Especially right now, is scrapping for a shot at their reach actually worth it in terms of fan conversion? How does quality vs. quantity come into play here? Additionally, in the wake of how clear it’s become that the music community as a whole has some major cleaning up to do to be a truly inclusive and safe space - are we sure this approach to artist discovery is being mindful enough of that?

Look, I know it’s not the job of the massive industry gatekeepers to both exhaustively investigate and nudge every artist they’ve ever given the time of day to a certain level of success every single step of the way. I also know obviously that individual fans should be doing their own level of due diligence as both consumers and community members upon discovering a new favorite artist. But here’s another question to ask - are the majority of Spotify’s users aware of things like the massive housecleaning of sexual predators underway in the industry right now? If so - where are they learning about this and is it always after the fact and not an opportunity to dodge a predatory bullet? 

Meanwhile, it’s no secret that the state of music journalism is just as disheartening to be a part of. Even before the pandemic hit we all helplessly witnessed massive layoffs at a plethora of publications, including but not limited to music. In addition to the majority of the sites that were crucial for discovery during the Music Blogging Boom drying up, we’re now watching some of the most brilliant critical minds in our community pivoting to personal newsletters while they’re unemployed as a means to contribute to the community while also maintaining credibility. As much as I find this to be deeply admirable, I’m just as concerned with how this will play out in the long term as I am with the gap that I feel is widening between an artist’s initial exposure and career longevity.

So….

….. why the fuck am I saying all of this? 🤔

Well for one, I feel like if I didn’t air the above concerns that I wouldn’t be true to myself or to the community I have loved and lived to serve for the majority of my life. More importantly, and it makes me really uncomfortable to be this vulnerable, I’d like to use this opportunity while I have your attention to acknowledge that for the past few years I’ve struggled a lot with knowing how best to contribute to an industry that honestly has made me feel like I was no longer needed while simultaneously having a slew of strangers begging me to devour an onslaught of music both inside and out of my blogger inbox, form quality rapid-fire reviews,  promote, and maintain relationships with either publicists or artists directly.

Y’all, it’s really fucking hard being essentially an editorial staff of one, especially when your standards for artist coverage goes beyond mostly regurgitating the contents of a press release.  Furthermore, it has become increasingly difficult to not let my frustrations of not being respected as such get in the way of wanting to do right by the artists that come into my life in the variety of serendipitous ways they do. I mean fuck, within the confines of my inbox specifically, I am expected to respond to pitches from folks who either have clearly never even looked on my website based on what they send alongside the (let’s be honest) an unnecessary number of frantic follow up emails I get from familiar faces in hopes of coverage. A reminder that, although I am often presumptively pressured to deliver the same output that this specific editorial staff of one is not doing this full time nor am I being compensated for this work. It has taken me literally everything in my being not to rage quit altogether. To be clear, THIS IS ME ✨NOT✨ RAGE QUITTING. In fact, it’s quite the opposite.

I guess this is all to say, if not for the sheer fact that I derive so much joy in sharing music, that I would have stopped throwing money at GoDaddy and Squarespace a long time ago. In my lifetime I’ve found sharing music to be the thing that has allowed me to best articulate my inner world to other people as a means to connect. Even before SKOA, the deep connections I made through music were personally transformative. Still, being afforded this platform has brought people into my life that mean so much to me that I’m in tears at the thought of a life without them. This is my way of making sure it’s known that I intend to continue to honor what music has done for me by doing the work and figuring out in real-time alongside all of you how to best foster a rich community of people who intend to help elevate and champion stories of musicians from various walks of life. I hope to fill in the gaps between that first dopamine hit from a song that grabs you to the second we get back to shows, whenever that may be. With (ugh) no end in sight to quarantine I really have nothing to lose here other than maybe money that could have been spent on records instead of overheard site costs. That said,  If you’re up to indulge me in this endeavor and show support, I’ve created a Patreon which I am open to tweaking to make sure the energy exchange is sufficient. In the meantime, as I find my algorhythm here, please know that I am open to feedback to what you think would be helpful or cool to be a part of.

In the meantime, because it wouldn’t be an update from me without music, please enjoy a collection of a fraction of the songs that helped me get to where we are now.

#diSKOAverweekly: Week of June 17, 2020

Hello it’s your friendly playlist junkie poking her adorable lil head out to say hello. I had all of these lovely things to say about all of these songs but then the entire day just kind of imploded so next update (which will not be in two months sorry sorry sorry but also not sorry) will be thorough and what you deserve. You just really need to hear all of these things because they’re what have been keeping me sane. Maybe I will come back in and edit this up to my standards but for now please enjoy lots of love. 💖

1. Onsen - “Be There”

2. HUMANS - “Beggin”

3. Anthony & Cleopatra - “Why Don’t You Just Call Me”

4. Midnight Pool Party - “Nonchalant”

5. CLYPSO - “D.Y.S. (Defend Your Situation)”

6. James Indigo - “Cxntour”

7. Anoraak - “Between Love (feat. Outside The Disco)”

8. RAC - “Change The Story (feat. Jamie Lidell)

9. Approachable Members Of Your Community - “Only Friend”

10. Miro Shot - “Someone Else’s House”

11. Dumbfounded - “Outside (feat. SATICA)”

12. JR JR - “This Side of Paradise”

13. Duck Sauce - “I Don’t Mind”

14. Le Couleur - “Concorde”

15. JEANA - “808 (How Would You Like It like That)?”

16. Jamie Lane - “Sweet/Bitter”

17. Martin Luke Brown - “J.O.Y.”

18. JMR - “Cheap Happiness”

19. Young & Sick - “CAN I CHANGE”

20. Steve Cousins - “Start Again”

21. Jake Isaac - “10 Steps To Heaven”

22. Day Wave - “Crush”

23. Nana Adjoa - “Love and Death”

24. Poté - “Lonely”

25. Husky Loops - “You Bore Me”

26. Blonder - “Bees In The Sun”

27. Timi Temple - “Fa-Fa-Fading”

28. Bombay Bicycle Club - “I Can Hardly Speak”

29. tiLLie - “The Heart”

30. Genesis Owusu - “Don’t Need You”

31. Vacationer - “Treat”

32. Mark Ronson - “I Want To See The Bright Lights Tonight (feat. Raissa)”

[Album Review] Miro Shot - 'Content'

In the final track, “Boston Dynamic”,  off Miro Shot’s debut EP Servers, recently my mind has casually fixated on a lyric quite frequently as we complete our 2nd month of quarantine in New York,

“As soon as we begin again I’ll restore our fallen friends.”

Since I have been granted the honor of getting albums in advance, I had already been playing their debut full-length, Content, for quite some time before the world ground to a halt. I had also already written something quite lovely about the album, delighted with myself that a cohesive group of words actually came to me that quickly about a record that I was obviously very taken with. However, as it came time to publish those words, the context of how this album would enter the world completely changed. Even so, listening to Content with a totally different perspective of the world, I firmly stand by my stance that Miro Shot is the soundtrack to the future we deserve. I know that in addition to this whole ordeal shining a light on the multitude of societal problems across the globe that  a lot of people have been saying that they’re devoting some portion of their quarantine taking stock in their pre-quarantine lives and thinking about the types of changes they want to make for themselves and their communities. It is my hope that Content be included in a portion of that meditative process.

Opening with, “A World You Made Yourself”, the broody track kicks off the album’s venture into self-exploration, thoughtfully navigating the boundless complexities of our very modern, very online world. Tackling society’s cumbersome relationship with technology and all that it entails, from the rampant online harassment women often face to the way that social media distorts our realities while disguising itself as a way to “connect” to our loved ones and everything in between, Content is essentially that moment when you decide to switch your phone to airplane mode and shift your focus to where you’re at in that very instance, as well as every subsequent screen tap once you switch back for that matter.

Tracks that hit so differently since the world changed: “Joined At The Hip”, album closer “I.R.L.”, with the most dramatic transformation being, “Seven Seas”, featuring Mary Wilson of Supremes fame. I already revered the track as a stunning glitch gospel in its own right, but the imagery that the chorus alone evokes in the current climate is enough to simultaneously warm your heart and send shivers down your spine:

 “When you’re lost but you can’t stand the silence / When your face looks nothing it used to do / When the sand has shifted instead / And that crown was pulled from your head / I’ve got you and you’ve got me.”

Without a doubt the world is going to be a very different place post-pandem. Hopefully it’s a world as full of potential as Miro Shot envisions, mindful of the obstacles we need to address in order to succeed. The cosmic timeliness of this band and the relevancy of Content and the future it stands for, especially right now, is something I sincerely hope folks won’t sleep on.

Content is available now on all DSPs.

Full album stream:

[SONG OF THE DAY] Miro Shot - "Half of Us"

I can’t think of a more perfect excuse to make my triumphant return from my longer-than-anticipated hiatus than to happily update you that my favorite global digital utopian artist collective Miro Shot has unveiled the opening track, “Half Of Us”, from their forthcoming debut full-length album, CONTENT.

As the homey Roman Rappak, de facto frontman of the band told Fame Magazine,”Half of Us” is about a girl gamer the band is friends with who has a huge following on Twitch but had to give up streaming her games because of the rampant amount of sexist and abusive comments she received.

“The song is about the layers of reality technology creates- often leading to people acting in a really unpleasant way- but its also about the way it can bring people together,” he explains, “So much is said about how we are ‘all on our screens’ and how instagram/Twitch influencers are shallow – but there is a really beautiful side to these new ways of communicating that often gets overlooked. The back and forth between the ultra happy female vocal in the song, and the intensity of Tomo’s beats and Jamies distorted bass feels like the audio equivalent of this.”

When last we met our heroes, the Servers EP had just begun to scratch the surface of the immersive world that is Miro Shot. As their widely lauded live show has continued to evolve, so has the band’s sound and subject matter, which mostly means they’ve honed in on their primary mission, which Rappak very succinctly describes CONTENT as an “album is about the end of the world, and the best way to avoid it.”

I hope y’all are ready for what’s next because SHIT IS ABOUT TO GET VERY REAL and in the BEST. POSSIBLE. WAY.

The future we’ve all been dreaming about our entire lives is happening right now as we speak, you guys, and the accompanying soundtrack for living our best possible future drops on May 1st.

[SONG OF THE DAY] Miro Shot - "Lifeforms"

Last week digital utopian darlings Miro Shot released their debut EP Servers, featuring the previously unreleased track, “Lifeforms”. The song, which features the Macedonian Symphonic Orchestra, is rooted in themes around the data that is collected about us, the way it is used to make us feel certain things and act a certain way. As the collective pointed out in a recent Facebook post, it’s important to be aware of the dark parts of technology, there are plenty of reasons to embrace the deluge of technological developments that are being integrated into our lives almost on the daily. As they're quick to point out, for every Cambridge Analytica scandal we have things like Patreon empowering creators with new ways to earn a living.

I don’t usually give homework, but if you have extra time after immersing yourself with Servers for an appropriate amount of time, I invite you to sit with Big Data’s “Business of Emotion” for a sec and then return back to “Lifeforms”. Both approach the themes of data and behavioral targeting, but I find it really interesting how differently the approach to the subject matter is and how they end up informing each other. With “Business of Emotion”, as delivered from the view point of the behavioral targeting algorithm, it’s very quick to point out all that data mining and behavioral targeting there to do is make us feel good so we become addicted to it. With “Lifeforms”, Miro Shot have chosen to insert themselves into the conversation by bringing up personal responsibility. It’s a nuance that you really shouldn’t miss as we continue to shape the future around us. Technology is only “evil” or “bad” because certain humans make it that way, intentionally or not. Starting to realize that Big Data’s not necessarily a pessimist about the future, just not the leader (or Leaders) to point us in the direction of how to ensure we’re gearing up for the brightest and best future possible.

[SONG OF THE DAY] Miro Shot - "Are We Closer"

Last week digital utopian global artist collective Miro Shot shared their latest track, “Are We Closer” taken from their forthcoming debut EP, Servers, which is out on June 28th. Following tracks, “Leaders In A Long Lost World” and “Boston Dynamic”, this new song and its accompanying music video is all rooted around the exploring the way that technology has dramatically transformed how we communicate with one another and how that has also impacted our concept of what we consider to be real.

The music video was intentionally made vertical to further demonstrate the band’s perspective with on our association with technology by encouraging fans to experience it on their mobile devices, which are the very thing that we all seem to currently be in a complicated relationship with. Speaking on the video, frontman Roman Rappak explained, “It’s an attempt to capture the feeling of what being alive in a world with streaming walls of content and images that we are saturated with, and the way it is all thrown together: a cat gif next to rioters, a photo of someones lunch next to a devastated rainforest.” Furthering their reputation for creating a barrage of dazzling mixed media to compliment their genre bending sound, "Are We Closer” leaves viewers completely engrossed to the point where you almost feel exhausted after trying to consume the onslaught of visuals and catch everything on the first play. Which, by the way, isn’t gonna happen lol. I’ve probably watched this 10 times now and I’m still picking up little bits and pieces here and there.

The band has some of their groundbreaking VR performances coming up, starting with their residency during VRHAM Festival in Germany this Friday, before making stops in London and Paris.

Miro Shot - Are We Closer (vertical video, best viewed on mobile) from MIRO SHOT on Vimeo.

[SONG OF THE DAY] Big Data - "Put Me To Work"

Black Mirror popstar Big Data resurfaced with a brand new track from his forthcoming sophomore LP, 3.0. This new song, “Put Me To Work” while in the same vein of his well-known digital dystopian subject matter, is this time from the perspective of the robot rather than his semi-regular human-centric point of view. This is actually a really clever move on project mastermind Alan Wilkis’ part because the observations that we can take away from this perspective are really quite interesting. The robot mostly gushes about how eager it is to be put to work and all the ways it will be beneficial to the human it’s presumably addressing. Then almost in the same breath the robot is singing a different tune, alluding to replacing humanity without any regard of our collective well being. Maybe Mayer Hawthorne should be co-writing with Alan more often if songs like this are the fruits of their collective labor.

Tell you what, I’d love to put Alan Wilkis and Roman Rappak of Miro Shot in a room together and facilitate a lengthy chat about technology. Given how drastically their respective projects envision technology’s impact on society, it certainly wouldn’t be a boring discussion by any means.

PS - still no word on an actual release date or any other details about the elusive 3.0, but you know who will be more than happy to keep you posted once that info is readily available.