Hunter Tice (a man after my own heart) writes for Christ and Pop Culture about the importance of physical media in a world that is increasingly detached from the material when engaging with art.

An increasing reliance on digital micro-conveniences results in digitality becoming a powerhouse vehicle of mindless consumption and physical disengagement. As our culture endorses digital consumption in more facets of life, it inherently devalues the significance of physicalness. That has incredible implications on how society functions, including how we perceive the world of media and artistic expression.

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Bandcamp is finally adding a feature that I, and other like-minded enjoyers of music have been wanting for some time. The new ability to create playlists feels like it aligns with the ethics of the service, which is mostly a good thing, but the focus may be a bit too heavy in that area.¹ Bandcamp describes the feature as, “Like digital mixtapes.” There’s not much need to describe how it works, everyone is familiar with the concept of playlists and this feature appears to do exactly what it says on the tin.

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In June, I hope to see long-time indie pop favorites Tennis on their farewell tour. The husband and wife duo of Patrick Riley and Alaina Moore are calling it quits after an impressive run.

The pair made this statement regarding the end of their time as Tennis:

It became clear that we had said everything we wanted to say and achieved everything we wanted to achieve with our band … We are ready to pursue other creative projects and to make space in our lives for new things.

It sounds like a standard, almost corporate-like goodbye message. When they were promoting their just-released 7th album Face Down In The Garden, though, they were a bit more candid about the challenges they had faced.

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Just as I’m starting to get back into vinyl records, one of the format’s proponents, a popular record club called Vinyl Me, Please is shutting down.

Since launching in 2012, Vinyl Me, Please has offered boutique, collectible record pressings to a subscriber base paying as much as $654 a year for the highest-tier membership, as The Denver Post’s John Wenzel reported last month. The article traces the period of instability back to the firing, in March 2024, of three senior staff, whom the board of directors allege had conspired to divert company funds to build a pressing plant. Cameron Schaefer, the company’s former chief executive, said he believed that he and the two others had been fired to save on severance.

At least the accused were (allegedly) trying to do something that would benefit the record industry!

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I hate to feel like I’m just getting old and only able to appreciate music from my youth. I’m still open to new music and find much to enjoy in the output of the current generation of music. However, I suppose like anyone, I do have a soft spot for the soundtracks of my younger days.

Unrest - Perfect Teeth (Bandcamp)

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I tend to place a great deal of emphasis on harmony between the different parts of my life. When there is some sort of discontinuity, it vexes me. This can play out in pretty serious cognitive dissonance.¹ It can also filter down to less consequential choices. One struggle I’ve always had is around media formats for music.

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For this Friday Night Video, we’re going back a way, to the mid-nineties. Smashing Pumpkins had released Mellon Collie And The Infinite Sadness a fittingly grandiose title for an ambitious and widely varied double-album. At the time, I heard the first single, the “rat in a cage” song, and I thought this latest effort wasn’t for me. I actually went out and sold my Smashing Pumpkins CDs, which I had been collecting since shortly after the release of their debut, Gish.

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Not too long ago, I posted about a shoegaze cover of a music charts staple from decades ago and, well, I was sorely tempted to do it again. 

I came across a YouTube channel for a service called Musora which bills itself as “the ultimate music lessons experience.” Musora offers a subscription which will help you learn to play an instrument and your favorite songs. For $20/month (with an annual subscription), you gain access to a suite of interactive practice tools and a community of like-minded students. 

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Madonna’s most well-known album, Like A Virgin just celebrated its 40th anniversary.

Like A Virgin was the first record I owned, given to me by my parents for my 9th birthday. The subject might have been a bit mature for me at that age, but it hardly mattered because I promptly broke the stylus on the family turntable. I couldn’t even listen to my gift. Of course, the hit songs from the record were all over commercial radio, anyway, so it wasn’t like Madonna’s tunes were hiding in obscurity.

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Recently, I had a conversation with a colleague about music. I had gone to see one of my direct reports' bands, and they were really genre-hopping. I told her about the experience and mentioned that they blended such far-flung musical styles as punk, hip-hop, and shoegaze. She said she loved shoegaze, but when I asked her if she was going to the Slowdive show, she confessed that she hadn’t heard of them. I was a bit shocked, since I would consider them just below My Bloody Valentine in the pantheon of shoegaze progenitors. I asked her what shoegaze bands she was into and she mentioned Emma Ruth Rundle, whom she described as metal/shoegaze.

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In Paul Simpson’s review of the new album from the Houston-based Khruangbin (sorry, no link), A La Sala, he acknowledges the fact that they’ve moved past their influences into a sound all their own.

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In many ways, though not in all, it’s gotten much harder to share the music you love with others. I was reminded of this a couple of days ago. For my wife’s birthday, my sister made her a playlist on Apple Music. This was thoughtful and kind, but unfortunately, we don’t have Apple Music. So my wife had to copy down the tracks that made up the list and find the songs to make her own playlist on Qobuz.

Back in the day, when you had a crush on someone, or simply wanted to spread the gospel of superbad tunes for getting down, you made a mixtape. If the recipient of your tape had a cassette player (which everyone did — they were standard government issue), they could listen to your creation until their heart's content. Or until the tape wore out (this is a real thing).

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