Where do all the good unknown bands go?
I recently discovered the band ‘Parallel Dance Ensemble’. Reminiscent of The Tom Tom Club, featuring the strong female tones of Kiwi emcee Coco Solid and supported by Denmark hip-hop producer Robin Hannibal, I had ‘Graffiti Girls‘, ‘Weight Watchers‘ and ‘Shopping Cart’ on a constant loop for 3 days. I was in love, and was ready to get obsessed.
Imagine my disappointment when on beginning my cyber research I found that they hadn’t released anything for 5 years. My now-necrophilic obsession had nowhere to go; I was plunged into a grief which resulted in my taking yet another tour on the aural loop of their back catalogue (and accompanying remixes).
As with many failed relationships, this is part of a pattern. This is not the first time I have fallen for a band that failed to hit the big-time; I’ve flogged dead horses before. A 3-piece female R&B group called ‘JUCE’ became my soundtrack to December 2015, only to find that they hadn’t released a song since August 2014, and the closest I was going to get was the Juce C++ platform.
You could argue that this is just the nature of time, and that often people love bands from the past, not needing to know that they are still releasing. The next generation has been discovering Queen and The Beatles with no hope of a full live performance or new track for years. My issue? The recency of these bands – I am falling in love with subversive (slightly questionable but I’m trying to seem cool here) no-hopers; the ones who didn’t have what it takes; the musical runts in the litter. And what’s worse? They still exist. They could be writing music but for one reason or another it has anti-climatically ‘not worked out’.
Why do all these great song-makers not make it to the big time? Do I have horrendous taste in music? Do I just love unattainable love?
I think there is an element of the above, but also the fact that the music business is hard for those who are different. If you don’t fit a One Direction, X Factor mould, gaining a following, and let’s be honest that’s what makes the music business lucrative, is difficult. Often the most discerning ears listen from the shadows from a less fanatical stance, and will probably stream your music without spending a penny.
That brings me to the digital element – the unavoidable elephant in the room. For the industries that have benefited from the Internet revolution, there are as many that have suffered and whilst the Spotify/Soundcloud consumer wins, many musicians are now flailing their arms as they drown amongst the millions of other Internet-savvy voices also offering their music online.
It may be easier to record (at home in you bedroom with a microphone is enough) and share than ever, but it’s also harder to stick, and sticking is where it’s at.