I think we're talking about different things now. My point is that it is easier than ever before for new bands to reach fans, and easier for fans to discover new music. Seems like you're talking specifically about the quality of pop music, which I agree is a mass-produced shame these days where marketability matters a lot more than actual talent. To make it in any variety of rock, you still need to know how to play the instruments like always, and there are still new bands coming out and putting out good music.
I do miss the social aspect of those days, but I still prefer the unlimited accessibility of music today. Record stores couldn't stock EVERYTHING, so you were limited to what they had, and you couldn't really check out a band you haven't heard from before without having to buy an album first. I remember giving and receiving recommendations to and from strangers in the store, but not everyone has the same tastes so sometimes it was a swing and a miss, which made me more hesitant to spend money on newer bands going forward. Now, I get into new bands much more frequently because that obstacle is gone, and that's a great thing for the bands too.
Good points from both you and
@TM94goRU . While I enjoyed the experience of going to the record/CD store, there are a lot of positive aspects to digital music.
I get introduced to a lot of new music from listening to various radio stations such as Brookdale's altrok station, and several internet radio stations such as hard radio (
www.hardradio.com ) and crucial velocity (crucialvelocity.ca ). Then, going to YouTube to check out something new, I have found some interesting new (and old bands) in the YouTube feed.
The lead singer of a mostly disbanded hardcore band out of Buffalo called Snapcase has some interesting thoughts that are in line with mine on how the music listening/purchasing landscape has changed for the better in the digital age. Things evolve.
"Streaming services and the Internet in general h
ave given today’s young music fans a much more complete view of music history than any generation before, and that, he says, has made the era a band was active almost unimportant.
“
It's not always about what's the most current thing, the latest thing,” he says. “Younger people have access to so much more music and so quickly. A lot of younger kids want to know where everything came from and listen to the roots.
Of course, whenever you listen to music from some source online, it will recommend other things you might like, and I think that's another thing that leads kids to different music. I’m always surprised that there are younger kids who come to the shows and sing along. That's always a cool thing.”
Taberski, a confessed late adopter of social media, says he, too, has had his eyes opened by the myriad ways the Internet has changed the music landscape.
“I never really got into it,” he says, “but I did pick up on Instagram a few years ago, and I really enjoy it, actually, seeing a lot of bands that I was acquainted with over the years, to see what they're up to and see all these bands that are still playing, whether it's Gorilla Biscuits, Shelter, Youth of Today or Sick of It All.
But also, you learn about so many new bands and see that not only are these old bands reuniting and playing, but they're having current bands playing as well. I have to tell you, it's like the most positive experience I've had in years.” "
A lot has changed in the nearly thirty years since Buffalo, New York’s Snapcase released its debut album, Lookinglasself.
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