Jack White, World Famous Asshole, Tries A New Way

Tuesday, March 18, 2008

Before I even begin to talk about the following musical news item, I feel like I have to clarify a few points so that you understand my largely unbiased point of view.

1.) Although I consider myself to be a general appreciator of Jack White as a human being, I've never been a White Stripes fan. I've heard their singles, but was never interested enough to buy an album or see them live. There are a lot of reasons for this, none of which have to do with their mainstream popularity. Don't mistake me for a hater- I'm pumped that the White Stripes get played on the radio, if for no other reason than I get a little thrill from the kinds of the stuff they manage to get on the airwaves next to all the mediocre and uninspired bullshit that radio has the balls to call music. Does anyone else remember the shrewish, drawn out synth parts in Icky Thump? Who else could possibly get something that amazing played on contemporary radio if not everyone's favorite control freak/total douchebag Jack White?

2.) I've never heard (or even heard of) this alleged "supergroup," the Raconteurs. I discover and consume music in my own, stubborn personal way (aka: I refuse to read Pitchfork) and because of that I sometimes completely miss new music that I therefore don't end up hearing about for months or years after the rest of the world, if at all. I think this is a totally fair price to pay in exchange for thinking for myself, since my disdain for Pitchfork and it's most rabid fans could be a whole other entry unto itself.

So the record "industry" is changing, that much anyone can tell. The (still somewhat) free nature of the internet, the unstoppable juggernaut of peer to peer downloading, and an increasing dissatisfaction among artists is leading to a (much anticipated and welcomed) disintegration of the old school label model. New artists are finding it's easier to find fans globally by simply putting their music out on the internet themselves (I first discovered Beirut after Sam Dolnick messaged me about his music on Myspace; I just paid a self set price online for the MP3 version of the new Lickets album), and already well established bands like Radiohead and NIN are dropping their labels like hot potatoes to release their albums online themselves. Not too many artists seem to give too much thought or concern to radio airplay anymore either, and for good reason- no one who truly loves music wants anything to do with modern radio anyway. You don't need to be signed to a major label to "make it" anymore, rendering major labels in general completely obsolete, thank Deity.

But there's one thing that's lost in all of this awesome technological overhauling, and that's the physicality of actually *owning* a record. Does anyone else remember, like I do, the thrill they used to get bringing home a new cd and laying on the floor listening to it, reading through the lyrics and the liner notes? An album used to be an event. Now, for better or worse, you download an album, load it to itunes and listen to it, but there's something missing from the experience. Or you download so many albums at one time that you don't devote the time and attention to each record as a singular entity the way that you used to. Maybe most people don't mind losing that physicality of record ownership, but I do- and apparently so does Jack White, who (along with the rest of the Raconteurs) somehow found a way to release their album everywhere, in every format, at exactly the same time.

"The Raconteurs are happy to announce that in one week's time their second album, entitled Consolers Of The Lonely, will be available EVERYWHERE Tuesday, March 25th.

"Album" meaning: full length vinyl, CD and digital formats; and "everywhere" meaning: local mom and pop Indie retailers, corporate superstores, supermarkets, iTunes, Amazon, the band's own website and any other location that could get the record up and going this quickly (some places couldn't move this fast, so they will join in as soon as they can).

The album was mastered and completed in the first week of March. It was then taken immediately to a vinyl pressing plant. Then to a CD pressing plant. Then preparations to sell it digitally began. March 25th became the soonest date to have it available in EVERY FORMAT AT ONCE. The band have done no interviews or advertisements for this record before this announcement.

The purpose: to get the album to the fans as soon as possible and as we promised. We wanted to get this record to fans, the press, radio, etc., all at the EXACT SAME TIME so that no one has an upper hand on anyone else regarding it's availability, reception or perception."

Pushy Meanies Get Things Done!

You could easily say (and this is why I felt the need to mention the reasons for my unbiased opinion) that this move was a way to get people to buy the album before critics could warn them not to, or a way to prevent leaks and consequently make more money, but I see a different motivation behind this. Why SHOULD people be basing how they spend their money on a Pitchfork review that was probably written by a silver spoon-fed grad student who's bitter about the lukewarm reception his own mediocre band receives? Why SHOULD superfans be forced to download an album in order to hear it ASAP, therefore eliminating any motivation or desire they might have had to buy the album once it's finally released on their favorite format? I don't see any reason why this shouldn't be common practice. I whole heartedly believe that if you give people options, they'll exercise them; and that's something the old school label model doesn't seem to understand about people who truly love music.

I also dig the little statement about the album having been created to be listened to as a singular entity, not in bits and pieces, which is something I've been noticing more and more is lost in the downloading of albums digitally. Singles are singles for a reason- they're meant to draw you in to the rest of the album. The temptation is HUGE for people to attach themselves steadfastly to singles without exploring the rest of an artist's creation. Roll your eyes and call me corny if you want, and maybe I am a bloodthirsty purist, but I truly feel that music should be heard the way the musicians who create it mean it to be. If a band or artist doesn't mind having their album broken up and sold in pieces, fine, but let them decide. One of my favorite records of all time, Parenthetical Girls' flawlessly produced Safe as Houses (which I own in three different formats), is probably 1000% less magical taken in bits and pieces. The songs not only flow into each other musically, but tell a story as well. The same can be said for Neutral Milk Hotel's "Areoplane Over the Sea"- that album is one singular, epic, musical EVENT. If you consider music to be art, which I think a lot of people do, how can you take it in any other way but completely? How pointless would a painting be if you only looked at certain parts of it, never knowing what it's true, complete point is?

Regardless of suspicion over the Raconteurs' motivations for doing this, I think this is a great step toward adapting the release & consumption of music to the digital age. As much as I'm almost positive I won't like it, a part of me wants to buy the album as an act of solidarity and thanks. A growing majority of consumers (heh) are eager for and enthusiastic about change in this industry, and that in and of itself is just another glaringly obvious reason why the complete elimination of the RIAA (and even- a girl can dream- the itunes-esque option to purchase tracks singularly) could someday hand music back to artists and fans.

Thanks to my old friend Matt at Collar City Records for the link!

Raconteurs Release Surprise Album
Is Jack White Trying to Kill Music Journalism?
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