Welcome to the Free Music Archive (Beta)

In '79, the Handgrenades issued what would become the best UK DIY punk single not actually from the UK: their "Demo to London" b/w "Coma Dos" 45, self-released in an undetermined quantity on the band's unnamed imprint.

The single is a killer.  It was also once a source of profound mystery -- to collectors and wayward punk geeks, at least.  Omitted on the sleeve are the band's roster, their location and where they recorded their material, and the only nuggets of information profferred are a production credit attributed to Bob Levitan and the word "phonographix." Given this anonymity, and in light of the title and subject of "Demo to London" -- not to mention the otherworldly cut-up cover art, production, vocals, and musicianship (or lack thereof) -- many took the band's provenance to be London, or perhaps the outskirts of Manchester.  The flip's manic "Coma Dos" sheds even less light on the single's origin, and the listener's left with a clang-punk artifact of the highest random order, reminiscent of contemporaries like Swell Maps, the Petticoats, Desperate Bicycles, so on, so forth.

The day after last week's inspiring protest against overreaching anti-piracy laws, the US Department of Justice demonstrated that they don't need those laws, anyway.  They just went ahead and unilaterally shut down Megaupload, the world's most popular cyberlocker.  Rumor has it that similar sites like MediaFire and 4shared are under investigation and have been deleting files, while FileSonic preemptively disabled all sharing features.

As a result, much of the history of recorded sound has been made inaccessible to the public.  I'm talking, of course, about the music blogosphere.  The best music blogs aren't pirates.  They are libraries, sound archivists and music preservationists sharing recordings that would not otherwise be available.  And now sites like Global Groove, Mutant Sounds, and Holy Warbles have lost large swaths of the material they'd salvaged from obscurity.

Fortunately not all of the music on Mutant Sounds has been lost. They didn't use Megaupload exclusively.  This Karen Cooper Complex album comes out of the vibrant Richmond VA experimental scene from the late 70s/early 80s, and it was never even released until it appeared on the Free Music Archive (previously featured here, and on Mutant Sounds here).  These are the types of genuine "Artyfacts" I would love to host more of, but since we do things by the book here at the FMA, it's often difficult to track down rightsholders to get official permission.

It always bothered me to discover artists sharing their own original work via an untrustworthy website like Megaupload.  I never liked their approach of charging for quicker access to files, and their advertisements (including the Mega Song) always felt kinda icky.  The Mega Conspiracy alleges that Megaupload was actually designed to profit from media piracy through tactics like a reward for users who pirated films before their release date.  Paramount Pictures claimed that Mega sites made as much as $300 million a year in large part by selling ads and charging for access to copyrighted work.  That figure is from a great SSRC article titled "Meganomics."  Author Joe Karaganis describes how most cyberlockers and torrent sites don't profit nearly that much if at all, and he proposes that we factor this in to a clearer definition of what it means to infringe on a "commercial scale."

Back to the site that tipped that scale: even if they were just the new sleazy middleman in the distribution chain, millions of users had come to rely on Megaupload for very legitimate uses.  Now their files are gone.  But they are not lost, thanks to the nature of online sharing which necessitates the creation of new copies.  It is inspiring to see the Mutant Sounds community come together along these lines, re-upping files from their personal collections to restore the communal archive (link).

Long live the blogosphere!

All these tracks have a tenuous connection to France, whether they were published by a French netlabel or composed by a pianist living there. They are also dark, mysterious, and weird. Perfect for intensifying the feelings associated with the weather phenomenon "wintry mix!"

Fine Steps started out as a solo recording project from Julian Elorduy, drummer of the Mayyors and leader of the Standard Tribesmen.  We had the chance to witness Mayyors tear the roof off WFMU's SXSW showcase a couple years back (listen here).  Standard Tribesmen took a slightly more traditional approach to their blown-out garage-punk judging by the lone 7" on Mt St Mtn released before the group splintered.

The early Fine Steps home recordings sound a bit like John Dwyer's pre Oh Sees experiments, some sort of west coat OCS transitional moment on the porch.  I picked out a couple tracks below.  "Our Love is Strange" comes from Muff On Both Sides.  If it was in fact run through two Big Muff distortion pedals, those pedals must have had the gain knob turned down low.  "I Know This is Crazy" off Crutches echoes the Pacific Northwest sounds of Karl Blau.

Hopefully all of these sketches will get fleshed out more in future times.  For now, "Tomorrow for All of Today" hits that spot.  It's off a forthcoming LP (label TBA) recorded with a 5-piece Fine Steps band featuring two members of harmonizing phased-out garage melters Ganglians.  I haven't heard the rest of the album, but I have heard that it was mixed by Robbie Moncrieff, which bodes well; he's also collaborated with the likes of Marnie Stern, and his production for Dirty Projectors's Bitte Orca fueled some of his own fantastic releases as Raleigh Moncrief.