Cyclic Defrost

An Australian magazine focusing on interesting music

Last.fm & Reynolds on emotional investment

I just got off the phone to Dale talking about Cyclic #13. We got on to the topic of Last.fm. Cyclic has a group on Last.fm (join us!) and my profile is there now too.

Last.fm tracks everything you listen to on your computer and logs it. Then it hooks you up with other people who listen to similar things. It makes recommendations and all the rest. Typical social networking software – its particularly cool because it is so seamless and painless. (yes, I know some mega corporation is going to buy all this ‘profile data’).

The latter seemingly proved by all the recent articles about how downloading creates apathy, that ennui of abundance syndrome… I’m not sure if the polar thing’s gone away completely: I seem to remember reading a few years about how in the UK the bashment/grime hated nu-metallers and vice versa. But far more common, encouraged by iPod/downloading, is a sort of mild omnivorousness (Burchill’s “rock’s rich tapestry”, except it extends way beyond rock now), liking a little bit of this and that, with the fan losing its fanaticism and becoming more like the generalist critic who doles out praise evenhandedly across a broad spectrum, emotional investments distributed judiciously across a portfolio of pleasures. [from Reynolds]

Dale and I started looking up Dale’s band The Herd. On last.fm we could see exactly who had listened to The Herd, which songs of theirs they liked the best. But most amusing/interstingly, we could also find out the other music that peoople who listened to The Herd also played.

We went a did a few more experiments . . . . people have VERY diverse tastes, even scary ones.

The fan IS losing its fanatacism.

If you don’t believe me, check it for yourself. (Here is someone who likes Jethro Tull but also has The Herd in his top 10 played artists and is rated by Last.fm as their current biggest fan/biggest player)

Remember Last.fm logs only things that are actually played . . . it logs once you get about 75% through a track. This isn’t background music, this is foregrounded conscious listener choices – or at least what is on their iPod.

It reminded me of Andrew Chuter talking to me a few months ago about the feeling he got when he picked up one of his high school students’ iPods and checked the contents – a whole heap of diverse music, seemingly almost random in selection to people our age.

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  • http://www.iamfauxpas.com tim

    there’s nothing wrong with liking both jethro tull and the herd

  • http://www.cyclicdefrost.com Seb

    heh heh.

  • Andrew Chuter

    GEMM shop just recently released a list of the top 100 searches on their database. An interesting mix of the sublime to the ridiculous and all bases in between.
    http://www.gemm.com/browse/popular/

  • Lyndon

    Very interested to hear more about the high school kid’s ipod selection. I know my listening habits have been bolstered by my ipod, but then I was always into a fucked up spectrum of diverse sounds (including many horrifyingly “uncool” choices, many of which i still stand by today).
    However, the current young generation of ipod/itunes users who were brought up with this technology and it blows my mind to try to fathom what dictates their selective processes. I remember, as will many, reading about a new o/s release in the NME or similar and then waiting some weeks before it hit our shores. The whole process now holds romantic notions to me and seems the folly of nostalgia (not to mention making me feel kinda old). How are the kids “getting down” today? What inspires the musical choices they make? Is it a case of “suck it & see”? Could make for a good Cyclic/Thermostat article.
    If you are in this age group (13-17)or have any brothers or sisters, drop a line here as i’d love to know more about this topic).

  • HokeyWhiteBoy

    I blame free music. Youngsters these days can take (and give) music to each other in practically no time, and at little or no cost. Just like when books first became affordable, people are being exposed to ideas (artists/styles) that they would never have put the effort into perusing even a few short years ago.

    I think it is good for musicians (especially non-mainstream) in that their work gets exposed to many more people… but it is bad if they never get paid for their work, of course.

  • http://www.iamfauxpas.com tim

    actually i have a few younger siblings who are all in high school, and whilst they don’t have ipods they are definitely down with mp3s and downloading music (what self-respecting teenager these days isn’t?) and they are into what i would consider kind of standard teenager fare – my sister likes fox fm, my brothers are into things like system of a down, green day, other ‘heavy rock’… the funny/interesting part for me is that the same computer that they use to download music is the one that my mum uses to download music, and she’s downloading all this stuff from the 70s that she was into when she was younger. because they use the same computer, they listen to each others files and share stuff across each others playlists and mix cds, so now my mum listens to system of a down and my brothers listen to things like jethro tull, slade, the moody blues…

    but then i guess the same kind of musical cross-pollination has been going on between parents and children since long before the advent of mp3s and p2p

  • http://www.cyclicdefrost.com Seb

    It definitely is the ease of access.

    What Reynolds is arguing is there this eclecticism is the bane of fanatacism. And fanatacism has histroically been the driving force behind musical movements and change. Mods fighting rockers, punks against hippies, etc.

    Maybe these are just hadny myths, but I do think that something is lost when everything just becomes equally valid/important.

  • Lyndon

    That’s a good point. To much freedom of access has taken away a magical part of discovering music. It will be interesting to see how this shapes musical trends in the next 10 years, as the avenues people use now to hear music can only change further and further.

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