As a precursor to the documentary, here’s an extended interview with Greg Wilson. In it Greg discusses digital listening habits, his own musical experiences and much more
Something you may have missed over the Christmas break, a very interesting article in the Guardian regarding the rise of vinyl sales, slow culture and the various different studies on the way the internet is affecting our brain:
“We await conclusive British figures for 2012, but last year there was a quantum leap in sales of new vinyl albums, which were 44% up on the figures for 2010. Anecdotal evidence suggests the consumers responsible are not just hard-bitten types – men, usually – of a certain age, but much younger people. And the phenomenon extends across the industrialised world: the same pattern is evident in the UK, the US, Australia, Germany – and even cash-strapped Spain.
This piece was written at a desk around 2ft away from a turntable I now use every day. When the grimmer aspects of daily life – deadlines, flooding, Danny Alexander – start to get a bit much, I reach for a record, and take 40 minutes or so to give it my undivided attention. So as to be kept in its original condition, it must be carefully played as its creators intended, and also divided by the lovely pause for reflection in between sides one and two. The sound quality is way better than anything digital; there is an obvious Proustian thrill to the deep click from the stylus that begins the listening experience.
Now, compare all this to the easy delights of music either streamed or downloaded. No one was ever going to miss the charmless compact disc, and when the iPod era ended with the arrival of the streaming service Spotify, the infinite jukebox of millions of dreams was made real
Here, though, is the problem: as I distractedly jump from song to song, am I actually listening, or merely hearing? And if most of us now listen to music in a state of twitchy impatience, what happens when that feeds back into the art itself? We already know the answer: modern pop has little time for delayed gratification, so intros must be quickened, choruses brought forward, and the most banal buttons pushed.
All this stokes a quiet anti-digital rebellion, and reflects an impulse that is growing, not just in the culture, but in everyday life”
Sound familiar? Read the full article here.
Interesting article from Steve Guttenburg (not that one) on our 21st century listening habits:
“Think about it: the people who made the music sweated the details, agonized over the sound, the mix, and the performance for weeks or months. The composer tweaked the work to the nth degree, and still, very, very few “listeners” ever give music their undivided attention. They only hear the surface, the most obvious elements of the music. Multitask all you want, but can you just focus on the music? Let it really get to you”
Read the full article here.
“In order to stop this gradual erosion of my knowledge of the contemporary repertoire, I’ve embarked on a new listening project. Each week, I try to carve out blocks within my schedule during which I concentrate on experiencing a piece that is either new to me or that I’ve only heard in less than ideal circumstances. I’m trying to force myself to move beyond the paralysis that can set in as I face the infinite variety of sounds available to me at all times in order to choose one or two works on which I will focus during each session. I’m hoping that this venture might work over time to stem the deterioration of my listening skills, and that it will allow me to remain more current in my awareness of the wealth of music available to listeners today”
You can read the full article here.
As part of my documentary I’ve asked people to describe a memorable listening moment. This clip features Jeff Thompson and James Michie talking through some formative listening experiences.