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The Guardian
6 days ago
- Entertainment
- The Guardian
Khruangbin, again? I quit Spotify for a month to escape samey algorithms – this is what I learned
If you use music to set or fix your mood, Spotify is a tantalising tool. Feeling sad? Cry to your personalised 'Depress Sesh Mix'. In a romantic crisis? Stew in your own 'Situationship Mix'. As I write this, I'm listening to Spotify's Daylist, a mix that refreshes every few hours based on my own listening habits. Today's vibe is 'funky beats roller skating tuesday early morning mix'. At 120bpm, the algorithm knows I need some energetic house to roll from my bed to my desk. The problem with this listening experience isn't just the creepy AI-driven intimacy of it all, more that the same songs are recycled in a predictable loop. Spotify's algorithm has anaesthetised artists I once enjoyed. Every time I hear the slippery psychedelic bass of Khruangbin slinking into one of my playlists, or flow in seamlessly from another artist's radio, I violently hit skip. A decade ago, Spotify favoured human-curated playlists made by artists, celebrities and music aficionados. But in 2021 the streaming company pivoted towards machine learning, feeding 'nearly half a trillion events' into computer models every day. Now, user data – chiefly our listening history, interactions with Spotify's user interface and the time of day – is packaged into a mixtape for every micro-occasion. Advocates argue this is a chance to democratise music promotion, neatly matching artists with their audiences. Critics suggest this ultra-subjective experience limits musical discovery to the already familiar – and the less it's challenged, the more my music taste narrows. So as a test, I quit Spotify for a month, to bring some soul back into the way I find music. First, I consulted people who had never used streaming services, like my dad, who grew up in 1970s London in the heyday of punk and glam rock. Hunched in a booth in his local record shop, he would listen to a sample and take a punt on what vinyl to buy. Some albums apparently missed the mark, and others, like Pink Floyd's Dark Side of the Moon, transported him to a different universe. He insisted I start with my favourite artists and listen to every album front to back, as if reading a story. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Inspired, I bought a $30 record player in an op-shop and hunted for vinyls. Late to the record renaissance, it was slim pickings – Australian pub classics, Christian country or Christmas hits. But when a friend pointed out my new turntable was missing a needle, it became a dusty but decorative addition to my living room. My 20-year-old neighbour had another suggestion: a diamante-encrusted iPod, which she produced in a ziplock bag like a hallowed artefact. Found for $200 on Facebook Marketplace, plugging in wired earplugs and hitting shuffle was a nostalgic throwback. But this romance was short-lived: the iPod was incompatible with my Bluetooth speaker and demanded hours of admin to upload music. The biggest challenge came when driving my old silver Subaru, as I was stranded with only a single CD, a flimsy aux cord and my thoughts. Stuck with silence, I wondered what the new grinding noise was – until I discovered my local community broadcaster, Vox FM 106.9. More than 5 million Australians listen to community radio every week, for 17 hours on average – and now, I can see why. The station prides itself on 'real music' and even has the tagline 'You never know what you like until you try it'. Just what I needed! And it's true, I had forgotten how good it feels to wind down the windows and blast Push the Button by the Sugababes, and then to roll them up again when a classical German song, a mystery even to Shazam, comes on. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion I contacted Justin Moon, who runs a popular underground radio station and record shop in Newcastle. He sources music from record fairs, friends and Bandcamp – distributing interesting sounds as a conduit, or Hermes figure, to lay (or lazy) people like me. Moon is noticing that his customers are searching for a more 'active' listening experience. 'It's not this kind of passive wash-over-you rubbish that you make your two-minute noodles to and forget all about 10 seconds later,' he says. Music – like film, TV, and food – is now served to us effortlessly, instantly. But this has caused the way we consume music to be more siloed. Spending a month hunting for new music myself, rather than relying on an algorithm, made me feel more connected to my parents, friends, radio presenters and even complete strangers. Their recommendations – whether to my taste or not – came with a part of themselves, a memory or a shared interest. After my month's Spotify hiatus, my algorithm hasn't been cleansed. Over the course of writing this piece, my daylist has evolved into 'french indietronica swimming pool tuesday afternoon', whatever that means. There are two Khruangbin songs on there. It's safe to say I would rather play roulette with the radio.
The Sun
11-07-2025
- Entertainment
- The Sun
Pink Floyd's 1971 Pompeii gig finally gets vinyl release
PINK Floyd at Pompeii is truly a historic musical document - capturing as it did a band on the cusp of superstardom. Originally filmed in the ruins of Pompeii in 1971, it was released as a concert movie the following year which saw the band take its first step towards global domination with the release of the seminal Dark Side of the Moon album. This gig was unusual simply because it involved the band jamming in the ruins of the Coliseum sans crowd. So there is none of the irritating whoops and over-enthusiastic cheers that colour many a live recording. This is a band spreading its wing, marking its shift from psychedelic upstarts to progressive-rock colossus; this performance highlighting an outfit brimming with ideas and concepts. The early psych workouts such as Set the Controls for the Heart of the Sun and Careful with that Axe, Eugene are perfect accompaniments to the eerily deserted surroundings of the Italian ruins. Interspersed with shots of bubbling volcanic lava and steaming tar pits, the visuals were the perfect accompaniment for the haunting music. After the master tapes to the film were discovered in a vault by a Floyd legacy curator (yes, they employ such staff), plans were put in place to update the motion picture and the touched up version got a theatrical release on April 24 on IMAX screens worldwide. Meanwhile, the audio tracks got an upgrade as well courtesy of a Steve Wilson (of Porcupine Tree fame) mix. It was released on vinyl for the first time on May 2 and given that it has been on Discogs 'Most Wanted' vinyl releases of 2025 list since that date, it has taken some time to arrive on these shores. For Floyd fanatics, the wait would have been worthwhile as this double vinyl set is lovingly presented. From the poster, gatefold sleeve and most importantly, the mastering has been done to a pleasingly exacting standard. This is not a some half-hearted cash grab as everyone knows the surviving members of Floyd are all mega-rich. They had agreed to sell their recorded output, name and likeness to Sony in a deal reportedly worth US$400 million (RM1.6 billion) in October last year. The production is pleasingly crystal clear and full-bodied, especially Nick Mason's drums. Listen to the extended percussion workout on One of These Days and that almost elusive PRAT (pace, rhythm, and timing) that audiophiles hanker after is present and audible. The far-out instrumental jams that were early Floyd staples are present in the form of Echoes and Saucerful of Secrets, the former setting the tone for this album with its famous sonar ping that invites listeners to immerse themselves completely in proceedings. Make no mistake, there will always be a demand for Floyd music hence Sony's eye-watering investment in the brand. This is a worthy addition to the band's canon and it is not just for Floyd aficionados but fans of psych- and prog-rock will have plenty to pique their interest. Vinyl copies are available on back order from Teenage Head Records and are currently retailing at RM220 each. Expect prices to go upwards significantly once the scarcity factor kicks in. It may be pricey but it is well worth the investment, especially if one has a predilection for all things Pink Floyd. Casual fans may want to consider alternative formats such as compact disc or even Blue-Ray, the latter having the additional benefit of having the concert footage as well as interviews and bonus material. But do note this vinyl pressing is quite possibly the best audio edition available. That alone makes it supremely worthwhile.
The Sun
11-07-2025
- Entertainment
- The Sun
Pink Floyd's 1971 Pompeii set finally gets vinyl release
PINK Floyd at Pompeii is truly a historic musical document - capturing as it did a band on the cusp of superstardom. Originally filmed in the ruins of Pompeii in 1971, it was released as a concert movie the following year which saw the band take its first step towards global domination with the release of the seminal Dark Side of the Moon album. This gig was unusual simply because it involved the band jamming in the ruins of the Coliseum sans crowd. So there is none of the irritating whoops and over-enthusiastic cheers that colour many a live recording. This is a band spreading its wing, marking its shift from psychedelic upstarts to progressive-rock colossus; this performance highlighting an outfit brimming with ideas and concepts. The early psych workouts such as Set the Controls for the Heart of the Sun and Careful with that Axe, Eugene are perfect accompaniments to the eerily deserted surroundings of the Italian ruins. Interspersed with shots of bubbling volcanic lava and steaming tar pits, the visuals were the perfect accompaniment for the haunting music. After the master tapes to the film were discovered in a vault by a Floyd legacy curator (yes, they employ such staff), plans were put in place to update the motion picture and the touched up version got a theatrical release on April 24 on IMAX screens worldwide. Meanwhile, the audio tracks got an upgrade as well courtesy of a Steve Wilson (of Porcupine Tree fame) mix. It was released on vinyl for the first time on May 2 and given that it has been on Discogs 'Most Wanted' vinyl releases of 2025 list since that date, it has taken some time to arrive on these shores. For Floyd fanatics, the wait would have been worthwhile as this double vinyl set is lovingly presented. From the poster, gatefold sleeve and most importantly, the mastering has been done to a pleasingly exacting standard. This is not a some half-hearted cash grab as everyone knows the surviving members of Floyd are all mega-rich. They had agreed to sell their recorded output, name and likeness to Sony in a deal reportedly worth US$400 million (RM1.6 billion) in October last year. The production is pleasingly crystal clear and full-bodied, especially Nick Mason's drums. Listen to the extended percussion workout on One of These Days and that almost elusive PRAT (pace, rhythm, and timing) that audiophiles hanker after is present and audible. The far-out instrumental jams that were early Floyd staples are present in the form of Echoes and Saucerful of Secrets, the former setting the tone for this album with its famous sonar ping that invites listeners to immerse themselves completely in proceedings. Make no mistake, there will always be a demand for Floyd music hence Sony's eye-watering investment in the brand. This is a worthy addition to the band's canon and it is not just for Floyd aficionados but fans of psych- and prog-rock will have plenty to pique their interest. Vinyl copies are available on back order from Teenage Head Records and are currently retailing at RM220 each. Expect prices to go upwards significantly once the scarcity factor kicks in. It may be pricey but it is well worth the investment, especially if one has a predilection for all things Pink Floyd. Casual fans may want to consider alternative formats such as compact disc or even Blue-Ray, the latter having the additional benefit of having the concert footage as well as interviews and bonus material. But do note this vinyl pressing is quite possibly the best audio edition available. That alone makes it supremely worthwhile.
Hamilton Spectator
27-06-2025
- Entertainment
- Hamilton Spectator
Who's playing at Fallsview Casino Resort in Niagara Falls in July?
Niagara Fallsview Casino Resort has a month of music, musicals and comedy coming up. Here's who's on tap to play at OLG Stage at Fallsview Casino and Avalon Theatre during July. Pink Floyd Niagara has performed the music of Pink Floyd to thousands of fans since 2007. This performance will feature the music of 'Dark Side of the Moon,' 'Wish You Were Here,' 'The Division Bell,' 'A Momentary Lapse of Reason,' 'The Wall' and more. Grammy Award-nominated American country singer-songwriter Lee Brice recently hit No. 1 on country radio charts with his single 'Memory I Don't Mess With,' following three recent No. 1s. Fourteen-time Juno Award-nominated singer-songwriter Charlotte Cardin cleaned up at the 2022 Junos when the pop musician picked up four awards. Terry Fator, an 'America's Got Talent' winner, entertains with a show that combines ventriloquism, singing, comedy and celebrity impressions. This musical about four women at Bloomingdale's who have little in common and lots to share is staged with classic hits from the '60s to the '80s. The Gin Blossoms rock band blossomed in the late '80s and hasn't stopped since, selling more than 10 million records over the years. Jerry Seinfeld is a writer, director, producer, actor and comedian best known for his hit NBC sitcom 'Seinfeld,' which TV Guide in 2009 named the greatest television show of all time. Country music chart-topper Jake Owen, who has had 10 No. 1 singles, will perform with special guest Uncle Kracker, who performs a fusion of rock, country and rap. American country music singer-songwriter Randy Houser has released multiple No. 1 hits and his music has been streamed more than a billion times. See the full schedule and buy your tickets on the Niagara Fallsview Casino Resort website .
Spectator
11-06-2025
- Entertainment
- Spectator
The pretentiousness of the pop critics
Pop music criticism, said Frank Zappa, was the work of people who can't write, about people who can't talk, for people who can't read. Half a century later and he's still right. Although pop is essentially a juvenile art form – its clearest strength and most obvious weakness – that doesn't stop reviewers pumping up performers as though Johann Sebastian Bach had decided to form an all-star band with Beethoven and Brahms. The Three Bs! Sign 'em up! The current pop reviewers for the Times and the Telegraph, Will Hodgkinson and Neil McCormick, clearly think they bear witness to giants. Like Pinky and Perky, these mature teenagers can trill 'we belong together', batting balls over the net in a contest of perfumed superlatives. Should Hodgkinson open with a 'sublime', his oppo will almost certainly return serve with an 'achingly beautiful'. 'Perfectly formed'. 'Apocalyptic opus'. 'Emotional depth'. 'Kaleidoscopic riches'. It can be difficult for readers to swivel their heads swiftly enough to follow these rallies. Pity the poor umpire, longing for a change of ends – and a restorative glass of Robinson's Barley Water. In recent years, the tousle-haired Hodgkinson has delivered his share of forehand smashes. He's fond of 'art music', which less credulous listeners call 'pretentious drivel', but it never hurts to take the folk they write about at their own estimation. McCormick can certainly smack 'em back from the baseline. Selecting 25 'albums that rocked the world' – those long-players which 'shaped the soundtrack of our times' – he came up with some scorching winners. 'New template… transformative power… cynical political epic… profoundly sincere… creative synergy… towering, symphonic wonder… new vistas of self-expression'. As weary copy-takers used to ask journalists in the good old days: 'Much more of this?' Plenty. McCormick can keep it up for five sets – without a banana. Nevermind by Nirvana, he said, 'recalibrated a genre that had become fatuous and overblown'. How they love their genres – and oh, the recalibration! Dark Side of the Moon, meanwhile, Pink Floyd's multi-million copy seller, offers 'perhaps the most epic conclusion to any album in rock history'. What, pray, is that history? Sixty years, tops. Pop became rock in the summer of 1966, when Eric Clapton, Jack Bruce and Ginger Baker formed Cream, Jeff Beck left the Yardbirds, and Chas Chandler persuaded Jimi Hendrix to leave New York for London. Beck, Clapton and Hendrix changed the sound of the electric guitar – and what has followed is essentially a footnote. There is a paradox here. Although pop writers care little for longer-established forms, like opera and orchestral music – which are deemed to be snooty – they love to coat the music they like with a patina of significance, if only to convince themselves they are not wasting their time. Hence those empty words. The list of 'essentials' is bog-standard: Michael Jackson, Fleetwood Mac, U2 McCormick's attachment to jargon is truly impressive, so it was no surprise to see 'template' appearing once more in his choice of the No. 1 album, Abbey Road. There was also a 'sublime summation' – the sort of alliterative guff Leonard Sachs gave punters as he banged his gavel on The Good Old Days. Abbey Road at No. 1, and Rubber Soul nowhere! What kind of judge is that? If a critic can't get the Beatles lined up properly, he ought to find a kitchen that needs a pot washer. Nor did McCormick find room for Pet Sounds by the Beach Boys – though there was space for the ghastly Bitches Brew by Miles Davis, which is not a pop record at all. As for Joni Mitchell, the Alpha and Omega of Californian self-absorption, she is 'lyrically… on a plane where Bob Dylan and Leonard Cohen are her only serious rivals'. Clearly this chronicler of popular music has never heard of Lorenz Hart, Cole Porter, Ira Gershwin, Johnny Mercer, Dorothy Fields, Johnny Burke, Frank Loesser, Stephen Sondheim and Hal David. Paul Simon should also be there. To borrow from the late football writer Brian Glanville: 'Mitchell, me no Mitchell. Simon towers above her in sheer class.' The list of 'essentials' is bog-standard: Michael Jackson, Fleetwood Mac, U2. There is (gulp) no Pet Sounds or Music from Big Pink – and Revolver limps in at No. 11. Even the dogs in the street know that was the best record the Fab Four made. You may not be surprised to learn, however, that Revolver established yet another 'template'. So it's game, set and match to Master McCormick. The centre court rises.
