The Hippodrome

A federal court judge ruled on Friday that selling promotional CDs, even when they’re marked “not for resale” by the label, is legal. The judge rightly affirmed the fact that a company can’t throw a restriction on a product to prevent the first-sale doctrine; that is, that once one assumes ownership of a product, that person may do with it what they please.

Obviously a big victory for the consumer, it’s hard to ignore what this means for the future of the CD. Selling CDs has already become a joke… last year, Wired pointed out that to sell CDs in states like Florida and Utah, you now need to be fingerprinted and present your driver’s license. Why? Because the RIAA’s boiler is slowly exploding.

I’m curious to see how CD stores react to this. Everyone sees promos on ebay and used bins anyway, but can I really sell all these promos at the record store counter now? Is it even worth the gas money I spend driving there? I’m guessing that it’s probably not, but nonetheless, this is a good piece of news for the music industry.

Lady Lovelace and the Calculator Death Machine, the duo now turned three piece, are about to release their new album Music for Two Musicians. David Kant, singer and multi-instrumentalist, tells me that the new project is “one large piece. So, in that sense, it’s not really an album at all. The album is divided into sections where new ideas emerge and where we thought track breaks would be convenient.”

Performing live, Lady Lovelace is a surprisingly dense experience, showcasing Charysse Redwood’s hard hitting drum beats and percussion behind Kant’s frantic sampling, saxophone playing, and guitar noise. Echoes of free jazz and folk rock are the biggest underlying themes, at least to most ears.

These new recordings are surprisingly similar to the live sound, and they no doubt show a rare attention to detail, which is especially impressive considering the improvisatory nature of the compositions’ formation. The whole album can be streamed on their MySpace, but Parts V and VI can be downloaded here, and only here my friends.

Audio: Part V
Audio: Part VI

What a shame this is so short! But I bet it’ll whet your appetite as much as it whets mine.

After rejecting yet another talented and unheard band because that little box on their MySpace profile had a label name in it, The Hippodrome will now officially accept musicians for feature consideration who are signed to a label. Before you file The Hippodrome under the “generic mp3 blog” header in your reader, consider this: even though we’re now accepting “signed” bands, the focus on unknown and previously unpromoted musicians will now by stronger than ever.

This is because, as many of you have pointed out, being “signed” means almost nothing in this day and age. We feel that by not considering artists on unknown labels with little or no commercial backing, this blog was perpetuating an aspect of the music industry that it had (at least nominally) disparaged. Truly independent labels can be a wonderful community and resource for fledgling musicians, and The Hippodrome, of all blogs, doesn’t want to discourage this.

So while this change in operating procedure may take a few weeks to hammer out, we’re all looking forward to hearing music that we had previously forbade ourselves from considering. As always, email editor[at]thehippodrome.org with music to be considered. If you have any questions or suggestions about this, please also don’t hesitate to get in touch. And of course, artists with no label association will still be treated with the respect and consideration of those who are signed.

Rarely in indie-pop do you see an artist using their name as the band. That appears to have disappeared long ago in the early to mid 1990s. But, with artists like Shawn Fogel rising up, it may be making a comeback. But wait! Jeremy Sparrow is not in the band. Is it a made-up name? Or is it a moniker taken from a novel, as that of Harper Lee?

Jeremy Sparrow is a made up name and a fairly new discovery. The band messaged me several… err… months ago about writing a little feature on them, but I never got around to it other than sticking it on my “things to do” list. When I finally checked them out, I found their music to be the hefty style of pop I tend to associate with countries like Denmark (their home) and titles like “experimental” (well… slightly experimental).

While it’s nowhere near as monumental as fellow Denmark cohorts Mew, or not nearly as experimental as The LK side-project Fredrik, Jeremy Sparrow does know a thing or two about crafting a good pop tune. There’s an 80s element to the music, often found in the guitar riffs, bass lines, and jumpy percussion. Just listen to “The Rent’s Due” and you’ll hear it.

Audio: The Rent’s Due
Audio: Outrunning Paper Tigers
Audio: Suburb