Listened The 2010s: The Rise Of Bandcamp from All Songs Considered

In this episode of All Songs Considered, CEO and co-founder Ethan Diamond says that when an artist succeeds on Bandcamp, Bandcamp succeeds. That philosophy has driven the company since 2008, with over $425 million paid directly to musicians and record labels. Sadie Dupuis says that Bandcamp was instrumental in booking the first tour for her band Speedy Ortiz and that its name-your-price model has not only allowed her some steady income but also an avenue to raise money for causes she cares about.

Listened The 2010s: Queer Goes Mainstream from All Songs Considered

On this episode of All Songs Considered, we look back on the way queer issues moved towards the center of the conversation during the 2010s. We talk about how decades of activism led up to this moment and how social media has helped foster safe spaces and access to information for young people across spectrums of gender and sexuality. We also discuss how LGBTQ musicians are helping reimagine pop sounds โ€” from openly expressing queer desire to cyborgian shapeshifting โ€” and question what the future of “mainstreaming” might hold for queer communities. — Marissa Lorusso

Listened The 2010s: The Globalization Of Music from All Songs Considered

On this episode of All Songs Considered, host Robin Hilton is joined by NPR Music’s Anastasia Tsioulcas and Stephen Thompson, along with reporter, host of NPR’s Future You and founding bureau chief for NPR in Seoul, South Korea Elise Hu as they talk about the ways we’re hearing globalization in music, why it’s happening and some of the complications and questions around this evolution.

It is so easy to consume music these days that it can be easy to forget how significant it was to come upon ‘world music’ in the past. This past is something that Philip Glass highlights in his memoir.
Listened Angel Olsen Breaks Down Every Song on Her New Album, All Mirrors from Pitchfork

The singer-songwriter delves deep into the hard-won life lessons that fueled her most epic music to date.

This album took a few listens to grow on me, but once it did, I was hooked. It was not the Late Night Feelings, but something a little more subdued and more intense.

I also enjoyed Olsen’s interview on All Songs Considered, discussing the process of recording the album. One interesting take-away was that the album was originally recorded as a solo project, only to be transformed with the help of John Congleton, Ben Babbit and arranger Jherek Bischoff.

Place between Beach House and Sarah Blasko.