It remains to be seen if Bandcamp will save the music business, but one thing is certain: there's a whole lot of music to be found there. It has a lower bar to entry than iTunes or Spotify, giving up and comers an opportunity to make their stuff available for streaming and download. They've also recently added "fan accounts" as a way to build community on the platform. Signing up gives listeners a chance to follow artists and other fans to keep up with what's going on and share information. They also have an app, which lets you listen to anything you've bought on all your devices and discover new music through a customized feed. That low bar to entry does mean that you have to wade through a lot of lo-fi, derivative and frankly amateur stuff to find the gems, but they are there to be found.
Last year, I touted the quirky pleasures of Historian and the rock classicism of Journalism - yes I did make a crack about underused graduate degrees - and I still return to both of them. The latter's latest is not on Bandcamp, but easy to track down on Soundcloud, another bottomless well of sounds. Isadora's EP - a Top 20 record from 2013 - is still available to download for $7 along with their stunning new track, Come On Back. [Correction: Journalism's 1324 EP Recently popped up on Bandcamp]
Finding the good music on Bandcamp isn't always easy. Fortunately, there are guides like Lizzie Plaugic, who picks a few of her discoveries and shares them every Thursday via Letters From Bandcamp on the CMJ site. While I've found a few things thanks to her digging (like the naive charms of Palmz) I'm going to share a couple of my own favorites that came to me via quite different methods.
Debby Schwartz is an old college friend of mine who is a music lifer. She's best known for her time in The Aquanettas, an all-female power-pop band that disbanded in 1995 after some rough treatment from the industry - an old story, except they were on an indie label. Talk about bad luck. Their 1990 album, Love With The Proper Stranger, has aged well - give it a spin on Spotify. So when I heard from Debbie that she had a new EP out, Satan You Brought Me Down, I headed immediately to Bandcamp to check it out.
Debby's contralto has grown deeper and richer in the intervening years but retains that little quaver of vulnerability that makes it so easy to connect with her singing. Accompanying herself on acoustic guitar and working a seam of Americana that is slightly hypnotic and emotionally resonant, she's come up with five winning songs here. Hypnotic turns to haunting on All To Become Somebody, thanks to Pat Gubler's expert work on the hurdy gurdy and a melody that seems as old as time itself. Both the EP and upcoming album were produced by former Voidoid Ivan Julian with a sensitivity to Debbie's voice and live yet dimensional sound. Flashing back to seeing The Aquanettas at Brooklyn Woodstock, I never could have imagined that Debby would be making her strongest music 30 years later. Believe it.
People are coming out of the woodwork at an increasing rate to see if AnEarful will feature their music. Eddie Dixon is one such person and I was glad he did, especially after a couple of listens to what turned out to be his fourth album. Yes, he's been around awhile - besides his own music, Dixon has lent his multi-instrumental talents to a wide variety of music, from Ralph "Soul" Jackson to rapper Serengeti.
Bump Key takes you on a tour through some fractured Americana, with echoes of Wilco, Tom Waits and Michael Chapman. More Bugs Than Birds and In The Morning When It's Late are standouts but the capper is closing track, You Are Not A War. With a groove that gets under your skin and some louche cabaret piano, this song sticks with you. Dixon's dry voice and wry sensibility anchor the project and the production is well thought out but feels organic. Dixon is on to something - climb aboard.
Now, pardon me while I check out Eddie's three other albums - on Bandcamp, of course.