"No unit of currency..."

[jkl2000]

I just listened to the interview Thomas did with WNYC yesterday, which was very good, but I was a little disappointed by Thomas' answer to the question of if he is working on another album. He said something about there being "no unit of currency" now, meaning something to the effect that he doesn't need to release a whole album. Rather, he can release a song here or there on his website. Offer remixes, etc. I'm paraphrasing greatly here, so if I miss Thomas' intent at all, I apologize. But what this reminded me of was what Todd Rundgren has done with offering music over his website, and also Neal Morse (formerly from Spock's Beard and Transatlantic) is doing something similar with a subscription to CDs full of odds & ends, although he's prolific with his regular albums as well.

Both of these "plans" have seemed very unsatisfactory to me, and I think the whole idea of of trying to move away from the paradigm of the album of songs is misguided. It wouldn't work with a novelist, or a director, or a playwright, and I don't think it will ever really work with a musician either. Am I the only one who never bought into the whole idea of the E-book? I want to be able to find a book mouldering on my shelves decades from now, long after I thought I'd lost interest in it. I don't want to find out the format is no longer supported. Not that I don't download, rip, and edit like a madman when I need to!

Frankly, whenever I hear a musician mention that there's a live version of a song available for download on his website, or something similar, I immediately assume that if I download the song I'll eventually lose track of where it is on my various PCs, MP3 players, etc. and I think of it as a very transitory proposition. As someone who frequently fetishizes objects (in a good way!), I'm sure Thomas shares this opinion to some degree.

In short, I vote for a full album of songs, or at the very least an EP. But I'd like it be something we can purchase and have shipped to us -- not just a bunch of ones and zeros. If Thomas just doesn't have a full album in him, or if he needs another five years to write all the songs, I can deal with it. Just in case Thomas is reading this.

[ihavesocks]

It's a fair point - no download would ever replace the feeling of purchasing a long awaited album by a fave artist. I've only ever bought one download in my life and that was because I didn't feel like I wanted to buy a whole album - I just liked the song (it was "Do you want to" by Franz Ferdinand). I much prefer to purchase hard copies of music with artwork, credits and the fact that I want to hear album tracks in their correct context but the simple fact is the world has changed. As a thirty-something, like most I expect, I am more comfortable with the way of purchasing music that I grew up with especially as I was for a time a record collector that fell in love with the idea of a collection of tracks as a package (as an aside I think the artwork of GAOW containing the individual photographs representing each track is simply wonderful).

TD is not U2, Britney Spears or Madonna where record companies will be falling over themselves to release an album - if there was no internet it's quite possible we may have never heard another track by him again (he mentioned on the broadcast, like he has mentioned several times, after the release of Astronauts he was thoroughly disillusioned with the music business). He is in the position now to release tracks as he sees fit direct to the people who are most likely to listen and if downloads are the way it's going to be then I will take downloads. If anyone will increase my download purchase count it will be him.

[white city]

As a TMDR completist I know as well as anyone what it feels like to get that desired but oh-so-unobtainable piece of manufactured product in your sweaty little hands... A download is nothing like that. It's like comparing love to sex.
- it's a bit like seeing the vinyl version of Astronauts And Heretics is still on your shelf the morning after you listened to it :->

ihavesocks last comment is the deal clincher though. New music by download after waiting 15 years or nothing...

Where do I sign?!

Being a completist collector is a thankless task but that is only one element for me. I don't collect TMDR for the sake of it. It's not just the collection it is also the true meaning and value of the artistic side of the product. For me Cloudburst at Shingle Street is something that means something to me. Something unique to me. Thomas gave me that unique experience - albeit indirectly and unknowingly, but is is mine and I cherish it every time I listen.
Every time I walk along that shingle on that beach it takes on a new meaning. It's not just a magical place for him but also for me. Maybe for differing fundamental reasons but with similar effects.

I love weightless but I am certain that it means something entirely different to me that Thomas's original interpretation. Does that even matter? If the artist connects does it matter if the connection is 100% true to the original interpretation?
A connection is a connection. Moving someone to the point of questioning themeslves or considering something in a different way is tantamount to performing magic. If I were a performer and achieved that I would be mighty happy.

If the only way that we can get new music from Thomas is via downloads because of the crass short-sightedness of record companies then so be it. If Thomas decides to issue different versions as limited edition downloads to specific user-groups (hint-hint!) then I as a collector will be raising a glass to the satisfaction of owning something that is rare or unique.

I know that he has new material and I know that it will end up on in my CD collection in the fullness of time. Whether it is factory pressed or burnt at home I don't know or care.
Whatever the weather, I take a positive attitude with me. It keeps me drier than any umbrella.

Cheers,
Jon

[Mark Gardner]

I'd like to think that Tom can give (that's not the right word) or "sell" us his output direct so that we can get a greater volume of work, some not so polished maybe, some more personal like interviews & thoughts / information about old songs and collaborations. No record company will do this, they're only after profit, whereas I think most artists are after a connection with their audience, but want to keep control of their music and make a living.
In a way, for a completeness, you need to have the context that lead to it's creation and development. I really value Toms interviews, which add a lot to the music by sharing inspiration behind it. There are plenty of posters here who ask about song lyrics e.g. the truthfullness of the story in "I love you Goodbye", or what the story is behind it. I don't suppose it changes a great song, but it sure adds to the experience of someone whos listened, thougth about it and had questions to ask.
It Tom prefers to sell us output direct then I think we're in for a better experience. After all, I don't think we're really the type of folks looking for the latest dance, are we?

[Retrocanary]

I completely agree with you Mark Gardner. Screen Kiss is one that's mysterious to me. I'd love to know what that's all about.

I would however like to point out that I also love funky tracks such as Science and Hyperactive! and for me I don't think music like that should be ruled out. But don't get me worng, I love the powerful songs too. That's why The Flat Earth is my favourite album, it offers a kind of balance.

[Mark Gardner]

Thanks for kind words BUT - OK I was on a soap box for a few seconds.... some quirky stuff is good - I only saw the video to Dolbys Cube a few days ago and it turned the song around for me. I always loved the beat but didn't go for the lyrics until "visualisation". Songs don't need deep meaning to be good!

[ihavesocks]

Yes, until Golden Age of Video came out I always wondered what the hell "pastry abuse" was supposed to be about.