npub1kx88r5fwraryqzcvtnqnv6emncs44azr58w0wsr39qeq38tmrw5sj00sus (npub1kx8…0sus) npub1jtm4dxvu3ccgk60wvvt0uw9j9vz7nuc80f7agrv0vgkkushxk5zq0rrxtn (npub1jtm…rxtn) npub1pvfcwtwjsa7azwm4gkh00zx42mns9n0yqek4zf02trzm4nnm2keqvq093g (npub1pvf…093g) also it depends on leverage to the audience – the trouble with streaming services ‘these days’ is that the audiences are almost one audience per subscriber, whereas with radio, the audience is ‘all the people that listen to that station’, which is a big group
I know the streaming services try to emulate that with playlists and perhaps that is the equiv of a radio station but it also isn’t, in that there’s no commonality, no buzz from the djs getting excited about an upcoming song, no way to get everybody to appreciate a new song all at the same time
With radio you can get in the charts, and it’s a fairly competitive ‘get in, go up, go down, that’s it for that song’ thing (aided by plugging, promotion etc), but with streaming it’s a confused long-tail which works almost like the lottery
My previous two albums were chart-registered for eligibility (with Kantar, PPL, etc) but in the end I decided to delete them (thus increasing their rarity, although nobody noticed)
My latest album back in March I took a different approach and tried to intentionally not promote it, not advertise it, not even talk about it much, so that I’m putting zero effort into promo – it’s not even chart registered this time round (although it’s Atmos so I’m not sure how that would count)
I really think there’s a thing about having an anti-commercial approach whereby an artist produces output that absolutely nobody ever discovers, for me it focuses the effort on whether I made the songs the way I want them, not whether I competed in some sort of expensive willy-measuring waste of energy
Given time there’ll be a large sedimentary layer of songs from many many artists and bands that got released but aren’t promoted and are in effect invisible — intentionally — and I think they’re the true art
Ian Tindale /
npub1dq…y3qj6
2023-07-09 10:28:34
in reply to nevent1q…vtvs
Author Public Key
npub1dqu80n0jlgx7cqz89axtvp7h0h92zegfsyt7vg0andp8yu735p5qly3qj6Published at
2023-07-09 10:28:34Event JSON
{
"id": "0d8ff7dc275fd7ae3138d7fee28d92843765b4811bce52f26061cee6b8666ac9",
"pubkey": "683877cdf2fa0dec00472f4cb607d77dcaa165098117e621fd9b427273d1a068",
"created_at": 1688898514,
"kind": 1,
"tags": [
[
"p",
"b18e71d12e1f46400b0c5cc1366b3b9e215af443a1dcf740712832089d7b1ba9",
"wss://relay.mostr.pub"
],
[
"p",
"92f756999c8e308b69ee6316fe38b22b05e9f3077a7dd40d8f622d6e42e6b504",
"wss://relay.mostr.pub"
],
[
"p",
"0b13872dd2877dd13b7545aef788d556e702cde4066d5125ea58c5bace7b55b2",
"wss://relay.mostr.pub"
],
[
"p",
"122df926bc8ebd263f941c497df96bc47cd909ec35c60f46cfc243b73922858c",
"wss://relay.mostr.pub"
],
[
"p",
"452fa1bb618154a61b5b88d325446577ed6095a21bb29e1049b4acb04d2e61bb",
"wss://relay.mostr.pub"
],
[
"p",
"2220699663609126fc2f4b10d956ca5d031dba5aab7fb77432770798f9c78c0f",
"wss://relay.mostr.pub"
],
[
"e",
"65d9f0cc307b650343597747f4d12fd613bf6dbdb75a42d2a366e163a1b6db91",
"wss://relay.mostr.pub",
"reply"
],
[
"mostr",
"https://functional.cafe/users/u0421793/statuses/110683653070253176"
]
],
"content": "nostr:npub1kx88r5fwraryqzcvtnqnv6emncs44azr58w0wsr39qeq38tmrw5sj00sus nostr:npub1jtm4dxvu3ccgk60wvvt0uw9j9vz7nuc80f7agrv0vgkkushxk5zq0rrxtn nostr:npub1pvfcwtwjsa7azwm4gkh00zx42mns9n0yqek4zf02trzm4nnm2keqvq093g also it depends on leverage to the audience – the trouble with streaming services ‘these days’ is that the audiences are almost one audience per subscriber, whereas with radio, the audience is ‘all the people that listen to that station’, which is a big group\n\nI know the streaming services try to emulate that with playlists and perhaps that is the equiv of a radio station but it also isn’t, in that there’s no commonality, no buzz from the djs getting excited about an upcoming song, no way to get everybody to appreciate a new song all at the same time\n\nWith radio you can get in the charts, and it’s a fairly competitive ‘get in, go up, go down, that’s it for that song’ thing (aided by plugging, promotion etc), but with streaming it’s a confused long-tail which works almost like the lottery\n\nMy previous two albums were chart-registered for eligibility (with Kantar, PPL, etc) but in the end I decided to delete them (thus increasing their rarity, although nobody noticed)\n\nMy latest album back in March I took a different approach and tried to intentionally not promote it, not advertise it, not even talk about it much, so that I’m putting zero effort into promo – it’s not even chart registered this time round (although it’s Atmos so I’m not sure how that would count)\n\nI really think there’s a thing about having an anti-commercial approach whereby an artist produces output that absolutely nobody ever discovers, for me it focuses the effort on whether I made the songs the way I want them, not whether I competed in some sort of expensive willy-measuring waste of energy\n\nGiven time there’ll be a large sedimentary layer of songs from many many artists and bands that got released but aren’t promoted and are in effect invisible — intentionally — and I think they’re the true art",
"sig": "6a8f65d4b6def14ba17cecfdb2bf3b9da2dc2a50e10c49189bdb009d2993dacd94a2633b91e66fb68f8de1981b306a786fd73b1782ad23ee890e3c2a5ae95f4a"
}