playtimes of good recording

[FreakAnimalFinland]

Lossless or not lossless wasn't really what I even talked. It was more about:
you open radio and you like it. Listen what it has to offer and the close. Never hear again. But would you pay for it? 20 euro per listen? Perhaps not. So I think format what means cheap price or no price, gives you opportunity to give it a try without any need to enjoy it more than once.
When I actually buy something, I do hope that it's good enough for more than.. hmm, like 10mins for 7" that's 10 euros. I rather hope I can play it 10 times and be satisfied.

And the more interesting question to me is the one nobody yet commented, if they have noticed have the nature of sound nowadays more focused on one time experience. That artist didn't even consider it should be more than that.

[ConcreteMascara]

In regards to the second question, I think its hard to tell the artists intent for sure but when people are releasing CD-rs and tapes on a monthly basis with little to distinguish one from the other I think that one time listening is part of the idea. I remember Mike Connelly talking about the sort of disposable nature of American Tapes. How each release is a quick document of evolution. Or look at the MERZBOW bird series on important. When he's doing an album every month or two for just that series alone I think there is definite question of should this be listened to more than once. Should it even be released in the first place. I think HNW and especially the newer psych-drone type shit wear out there welcome pretty quick. I alot of this stuff sells for pretty cheap, at least when its first sold, so I guess the idea of one-time listening releases is somewhat viable but it just seems like collecting clutter to me.

[Zeno Marx]

It was more about:
you open radio and you like it. Listen what it has to offer and the close. Never hear again. But would you pay for it? 20 euro per listen? Perhaps not. So I think format what means cheap price or no price, gives you opportunity to give it a try without any need to enjoy it more than once.
When I actually buy something, I do hope that it's good enough for more than.. hmm, like 10mins for 7" that's 10 euros. I rather hope I can play it 10 times and be satisfied.

I'm under the impression that anyone who truly loves music is looking for something they can connect with, find interesting, feels intrigue, etc.  Free or paid for, we want to find something of value that resonates with us.  We're on that never-ending search for treasure.  There's lots of good music out there, but I feel there is a real shortage of GREAT music out there.  It makes me fiend to the level that I don't care how these resonators come to me.

I'm finding no correlation, or probability, between free or paid for in regard to how many times I try to like something.  I know it was different years ago when I tape traded.  I would have put much more effort into finding value in the things I actually purchased.  That is no longer the case.  I have a personal policy of listening to something three times before I file it (which is why it sometimes takes me 3 years to get to something).

Now, the question "would you pay for it?" is a good one to ask.  I grabbed a free EyeHateGod show the other day that is good enough that had I heard it before hand, I would have paid for it.  I don't like EyeHateGod enough to own more than a couple split 7"s and a single LP, but this recording was special.

I have to be honest.  I think I understand your questions, but I'm not understanding the spirit of the questions.

[Goat93]

my normal way of listening is pretty easy. If i really like it, i listen to it till i won't like it anymore. Means i play the stuff 10-200 times in repeat. After that i won't listen to it some years normaly and then i start it again listening till my ears bleed. But its only with the stuff i really really like.
For the other stuff, I listen to a CD/TApe/LP so long till there is something i don't like->throw it out. For example the Dissection - Somberlain CD is thrown out cause of one Gay Scream in Track 1 or 2 or such. Or play it some time and then lay it in the collection.
I don't think it has something to do with mp3 in special, its more thats there too much from everthing out. CD/CDR/Tape/LP/DVD ect ect. If i see the buy lists, i don't need mp3 to be "overheard" in a month. I have also not the time to hear all stuff intensive, so i take only the music i like really to listen intensive.

For the Music/artists, it would be much better to listen several times and with concentration, cause many Tracks/Album are not easy listening like some Pop music. You need some time to hear all the elements in the music and you need also time to realize if you like it or not. Some CD's i can hear after years again and find then new music parts i havn't heared before, for example Tiamat - Wildhoney.

[FreakAnimalFinland]

I have to be honest.  I think I understand your questions, but I'm not understanding the spirit of the questions.

Well, these are questions simply to stir some talk, since I don't have the "answers"... so to say. I'd like to just see if there is any relation to my stubborn throughts about "state of noise" compared to its history and my own tastes,..  compared to what others may feel.

To me, the question being for example the amount of proper albums vs. whatever casually published. And what has been intent of artist/label.
I believe there used to be lots of releases where noise is result of talent, skills, vision, perhaps lots of work and such things. And when you received a tape, it was "album". You could listen tape for long time. Technically good quality that could also survive endless playing.
As opposed to many modern day releases, where everything indicates to me, that artists didn't release it to be listened. It is more about his oh so personal process. He wouldn't listen it by himself either. Cheapest and lowest junk, which is more of "demo" or "rehearsal" than "album". AND it shouldn't be taken as simple insult. Often the demo or rehearsal or live is the best material that artists or band can make.

But when you think about how many C-45 & C-60 of well thought and well made tapes there used to be which qualified as "album", opposed to countless 5-20 minute tapes or whatever length CDR's of "pointless blasts", I think ratio now is alarming. I have nothing against any length itself, but only for it's correlation towards mentality, that volume of releases seems more important than what release offers? Of course this is no news. Situation been like this for years. It just makes you wonder if artists or labels consciously favor such material and could it be different? Being my question, if they intentionally produce material that is not meant to be properly listened. They know it, and think it's good idea.
I know that this is to very much related to styles. I won't complain about such experimental genres where nature of sound and whole approach is the spontaneous act and mere documentation of certain moment, where concept of "album" is pretty vague.

One can compare it to visual arts or comics. In comics, it used to be standard that if you bought a comic book, most likely creator attempted to tell a story, draw it most likely as well as he could, have a proper piece of art. And then the new school of artists were disgusted of these "restrictions" and prefer only to capture "mood". Fast scetches with non-existent stories about their boring daily life. Few stoner doodles put as magazine. Of course some of it is good. But still, entering the comic fest or browsing the evergrowing scetchbook sections of bookshops makes you wonder what is the motivation and intent? Simply to publish? Why not finish something? Why not do actual painting, comic book or album. Why are we listening tape after tape of schetches and test tones of unfinished business? Is it good enough? Should one know in advance are you buying "rehearsal"/"jam"/"teaser" or actual "album"? Since in some cases in some styles it does make the difference.

Of course we can always say that only defining factor: is it good/great or is it not? But I would say that some motivation can affect that.
I would rather see ambitious works. Important works. Works that can't be passed by quick browse, half assed listening/discarding etc. I would be very glad to see more labels who would take such approach as conscious mission. To release albums. Good albums. So good, that they can tell band this isn't matching standards. So good that ltd 20 isn't option. But option is to keep them available and make them properly (like tape with decent dubbing), etc.

We see many of such labels, of course. There are those who do for example good tapes, you feel like flipping instantly to new rotation again. But the overall atmosphere to me, seems like utter lack of ambition to make something meaningfull. If even the creator of material hardly cared, can listener? Should be satisfied with leftovers and scraps and not even expect proper "art"?


.
.
.
...Of course, in the end this is more of observation. I'm not bitter at all. Whole this day I listened great noise from morning till now.. almost midnight (apart time when was outdoors). There ain't shortage to choose from! About 70% of material was old stuff from shelves and rest was new releases. And all of them something I know I will listen again.

[heretogo]

This is a very interesting subject. It would be intriguing to find long-term statistics about the amount of noise releases released per year (or month or week!) and then compare this to individual people's perceptions about the evolution of their listening habits. Such statistics are, of course, nigh impossible to compile... I'm convinced, however, that certain correlations and patterns would emerge from such comparisons.
Anyway, I think there is certainly a need for more "masterpieces". Well thought out releases with structure, aim and dedication behind them. I'm sure there are people within the scene who could accomplish these, if only there was more impetus and motivation (from the punters) to do something like this. As opposed to the drive of always looking for the next thing, things forgotten within a week or a month at the latest. I know that I'm personally very much guilty of not giving enough listening attention to even the best of new albums coming out.
But there needs to be a balance. I will always have time and affection for the quickly churned out "jams" and hastily assembled small tape editions. I cannot always give 100% attention to the music I'm listening and at such times it's quite gratifying to put on something that is intrinsically pleasing to the ears but not necessarily very ambitious (to reflect my mood). For example, I have quite a few cd-r's, tapes, 7"'s and 1-sided LPs from the American Tapes discography and many of them fulfill exactly this function. They don't aim high but that's part of the human experience, sometimes one needs to just go with the flow. I have no idea who's behind all these artist-names (General Assurance, Pool Water etc.) and I really don't even care. Anonymity can be soothing, once in a while. I just decide that now it's time for some American Tapes action and grab something from the shelf. The problem is that on the whole the balance at the moment (within the scene) is too skewed to the side of the jams....

[Strömkarlen]

Maybe somebody have already commented on this but here is a little story from me.

I have had records sit for years even a decade before I "get" them. The first time I realised that a record can grow on you was when I bought the first KUKL lp around the time it was released. I was fourteen or fifteen and at the same time I bought a Theatre of Hate lp also. I listen to the Theatre of Hate a lot for a year (yeah, young and stupid I know) and gave the KUKL lp just a spin or two and thought it was pretty ok but not more. Roughly a year later I put it on again. Probably due to the great CRASS fold out cover and I was totally flabbergasted. It was so great! I couldn't believe I hadn't heard the greatness before.

A recording needs to have some appeal for me to keep them but I have a bunch that I keep like vine to mature. Maybe they will give me the same kick as KUKL did...

And, yeah, I sold that Theatre of Hate lp shortly after seeing the greatness of KUKL. Could never really go back after that and still they to this day they are always linked in my mind.