I didn’t pay to download Cloud Control‘s album, Bliss Release. I received a newsletter from The Bootleg Theater that the band from Australia would be playing there in August, which reminded me I wanted to check them out.
I went to Cloud Control’s website and was pleased to see they have full streams of their songs available so we can listen to them. I listened for about as long as I could stand to be indoors, on the computer, during a beautiful summer day. Then, I reached out to a friend of mine who also writes about music to ask if he had heard of Cloud Control and find out whether he had any of their music.
Within an hour, the album awaited me in the cloud. I imported it into my iTunes, transferred it to my iPod, and took a walk down to the beach. It felt good to be discovering music again and Cloud Control’s upbeat vibe reinforced that feeling.
I was really enjoying the album, so I Tweeted about it to my 32,000+ followers, who share my passion for music.
I also emailed, called, and texted some other friends I thought would appreciate Cloud Control. Then, I sent the band a Tweet, letting them know their album was contributing to the enjoyment of my day.
That began a conversation with the band. Which alerted me that they have at least one person on their team who is adept at building relationships.
That led to a Direct Message from Jeremy, who plays bass and sings in the band. We transitioned from Direct Message to email and now I’m hooked. I like the music, I care about the band personally, I’m going to see their shows, and I will purchase whatever merchandise they have available on the road – vinyl, a hoodie… something that will put more money in the band’s pocket than an album download.
Jeremy took the time to see who I am, what I write about, what part of the world I’m in, before he responded to me. “You’re LA, yeah?” he confirmed, as he invited me to the band’s LA shows. That’s more than 97% of publicists who reach out to me, on behalf of bands that are paying them, do.
He then went on to talk about the evolution of Cloud Control’s music from their previous album to their forthcoming one. “It’ll be interesting to hear your take on it,” he wrote. Well, I haven’t heard it yet, but I’m predisposed to like it simply based on the current experience I’m having with this band and their music.
Jeremy gave me contact info for the label, so that I can request an advance copy of the new album. Dear VOTIV: you’re lucky – you’ve got a smart band that’s really working for it and doesn’t take for granted that anyone else is going to do it for them.
If they’d like the $7.99 for the album I didn’t pay for, I’ll give it to them. I’ll buy a copy and gift it to a friend. Now that they’ve engaged me, artistically, personally, and professionally, I’ll spend money on Cloud Control, no problem. During the course of any given band’s career, I have easily spent upwards of $1,000 on tickets, merchandise, and music. I’ll also make sure everyone I know knows about the band.
It doesn’t happen often, but when I do tap into the cloud for new music, it’s to achieve one of two objectives: to truly listen to – and hopefully discover – new music I enjoy; or to get an album I’d purchase anyway, 8-10 weeks prior to its scheduled release. In the case of music discovery, if I like the music, if I connect with the band, I’ll spend a significant amount of money supporting them, throughout their career.
In the case of early access to music, I’d pay for early access to new music. Which, actually would be real-time access. I’d pay to download a song or an album when it’s complete, but that’s not how it typically works. Instead, an album is completed and sits on desks, shelves, hard drives, and inboxes, while all the teams coordinate and execute some semblance of a “launch plan”.
This year, among others, I had the new albums from The National, Sigur Ros, and Atoms For Peace, well in advance of their advance release. I listened to them in the car, during my morning runs, while working, and falling asleep. I spent a lot of time with the albums and recommended people purchase them when they were released. I’ve since bought tickets to see each of those bands two or more times during their tours this year.
Why should we have to wait for music while the label gets their marketing plan together? Marketing is nothing without engagement. You should have been talking to us all along. That’s what Cloud Control is doing. They’re doing whatever it takes, and as much as they’re able.
If you’re putting out quality music, something people can truly connect with, file sharing could be your greatest asset. Your “marketing team” is then comprised of your fans and they know how to promote your music and your shows better than anyone.
If, on the other hand, you’re afraid once people hear the music, they wouldn’t find it worth $7.99 or $9.99, then you have a bigger problem – you don’t have a product nor experience you can stand behind. That is what you should be worried about.
Cloud Control: I wish you all the best. I’ve been listening to the album a lot (my neighbors can attest to that) and enjoying it. Thank you for making your art and yourselves accessible. I can’t wait to see you play in August and look forward to the new album. If there’s anything else I can do, let me know.
Listen to “Ghost Story” from Cloud Control’s album Bliss Release:
Their new album will be out September 17 in the U.S.
I’ve been seeing live music, almost every night, around the world, for the better part of 15 years (including many Radiohead shows), and I’ve never experienced what occurred last night at The Fox Theater in Oakland. If there’s something beyond “music,” then it happened last night and I, along with 2,799 of the most energetic and dedicated music fans, witnessed it.
Thom Yorke, Joey Waronker, Flea, Nigel Godrich, and Mauro Refosco make up Atoms For Peace (formerly known as “??????” or “The Thom Yorke Band“). Before they had a name, the band debuted and played three rehearsal shows in Los Angeles. Having been to all 3 shows, I had high expectations for last night, but I didn’t expect that the Thom Yorke Band could get much better than the phenomenal group they were in October 2009. They announced their new name, Atoms For Peace, on March 1st and along with the name, they became something else. They have transcended music.
I’m going to share something with you that nobody else who reviews the show will. If you want to understand what’s happening to you, or the people who swear by Radiohead/Thom Yorke/Atoms For Peace, when you’re at one of their shows, close your eyes. Each song transmits a different and definitive directional vibration. You can feel it moving through your body – sometimes pulsing down, through your feet, to the earth; sometimes swaying, rocking, or pounding side to side; sometimes spiraling from the core out, literally taking you outside yourself; and often times straight up from the earth, through your feet, up your body, and beyond the sky. Sound is vibration, and it’s healing. Thom Yorke has an understanding of how to articulate that vibration in an exceptionally powerful way, which is why people are so passionate about the music — you feel it, it physiologically moves you. Many musicians write songs. Thom Yorke is a composer. He’s precise and intentional. When you consciously experience it, you realize that it’s beyond music, it’s Channeled. Downloaded. Shared. When people talk about it as a “religious experience” that’s what they mean.
It’s so powerful that at one point last night, Yorke got so caught up in the sound and dancing, that he forgot to start his part. The music kicked in, Yorke felt it, and got lost in the dance. Next thing everybody knows, he’s forgotten to actually start singing. “Oh, that was me. . .” he said with a laugh as the band stopped and restarted.
Atoms For Peace
Be sure to open your eyes again and watch Mauro Refosco and the instruments he plays, from around the world, that contribute greatly to that vibration. Refosco is among the best percussionists in the world and Atoms For Peace teams him up with the also-brilliant, Joey Waronker on drums. You need to really watch them in order to constantly remind yourself that there’s no drum machine making this happen, these guys are creating those beats live. Observe how the vibration moves through Flea – sometimes it appears as if he has to reign it in in order to hit the next note on the bass. Then, there’s Nigel Godrich, who has produced Radiohead, Beck, and Travis to name a few. Seeing him on stage, watching the countless smiles that cross his face while he plays, you begin to understand how Godrich creates what he does, in collaboration, with these bands.
I’m not the only one who felt that way after last night’s show. Following the 2nd encore (or “third bit” as Yorke likes to call it), the lights came on, the house music came on, the mics came off, equipment was removed. The stage was well on its way to being broken down (as much as it would be considering they’re playing there again tonight). The crowd cheered for at least 20 minutes. The roar, clapping, and chanting was intense. At times, some people would feel defeat (as more and more equipment was removed from stage, and the house music seemed to get louder). But as that happened and you looked around, you felt the collective consciousness of the people in the room reminding you not to give up. “Do not stop until we bring them back,” was the overwhelming sentiment. Then, another surge of applause, stomping, and cheers would erupt. As this happened, you couldn’t help but feel life at its most perfect manifestation – a community of people, making things happen, not allowing others to give up or admit defeat, supportive, encouraging, enduring, with passion and fervor, to achieve a shared vision. This was communicated first through the music, embodied by the audience, and then reflected back to the band. That’s how you say, “thank you!”
Then, the mics were replaced, the equipment was moved back to position, and Thom returned to the stage, signaling, with deep gratitude, that we were crazy. And he’s right. Until the majority realize and embody the power of collective positive intention, we will be the “crazy” ones. That’s okay because we were also the exceptionally happy ones and the first audience to experience a third encore on this tour. Shrieks of “We did it!!”, thunderous applause, and high fives circulated among the audience and then Atoms For Peace played a few more “bits.”
If at any point in life you encounter somebody who was at *that* show, you will know it. You will feel something different emanating from them.
I only captured “3 bits” of this, but it’ll give you a better idea of what that moment felt like: