I can't remember what the hell I wrote about in this thread in the past before my big post deleting spree got the better of me, but I suppose that's almost a proven point in itself regarding the fleeting nature of digital lifespans...
So what's my 2020 perspective on CDrs? Well, I [still?] think they're an ideal format for short-term promotional purposes, but not for permanent releases. Plus sides are they are cheap, quick and easy to buy & burn, they're small/thin/light enough for shipping affordably, they come in different sizes (business card, 3" or 5") that approximate a single, an EP or an LP/album in play length, there's oodles of potential for packaging them to attract the eye/hands/senses, the sound is fine, they still have all the cool technical quirks that glass mastered CDs have (99 tracks max, plus a hidden index tracks and count down lead in tracks) etc... downsides? Well, they scratch pretty easily, have an aura of disposability, the lifespan can be unreliable if you get a shit supermarket brand, they contribute to the landfill, they're not 'proper CDs', they're not trendy in 2020... but compared to tapes or vinyl, these faults are considerably less demanding for both the casual music listener who just relies on their boombox or car stereo to hear music, or the audiophile with gear so precious and demanding that they ultimately spend more time hearing the dust than the ditties.
Anyway, let's get practical: if I was starting a noise project in 2020 and wanted to get my name out there, CDr would be the method I'd use. I'd buy a spindle of discs (25, 50 or 100) and burn said musical release onto them. I'd spend as much effort on designing and packaging them up as I would the music, ideally in a mostly computer-free way using found materials/photos or paper/cardstock (yes, there's an aesthetic dichotomy there regarding digital/analog means of producton, but ultimately it's a boring one so let's move on). I wouldn't put contact details or social media handles on the release - that would go on a separate included sheet. But then, and here's the crucial part: I would give away ALL my copies for FREE (well, nearly all if you want to keep a small amount for yourself). Either individually to people/projects you respect, or in bulk to distros whose catalogues you respect (national and international) with a kind request that they give them away to regular customers buying large orders from them. Don't send them to labels or zines as this isn't an exercise in instant gratification, getting reviews to sell copies or wiggling your way into getting a label to release your next work - instead it's about generosity and basic correspondence. That small network of artists, listeners, collectors, archivists and fanatics around the world who contact you back has more real life potential to it than a simple Like or forum reply could ever do, and the act of offering a free gift to someone new can itself lead to reciprocity in a small or big way, over the course of a lifetime (my final bit of advice: buy a world map and put pins into places where your release has ended up).
And you don't even have to stop there at that one exchange or release - keep doing it again and again, long into your hobby or career. CDrs are still a favoured format in the UK underground where they're handed out at gigs or traded in the pub for a pint, and whether it's a means to test out a running order, share your latest sound experiments with friends or use it as a precursor to a long-delayed 'proper' release, I still enjoy the format both for its cute novelty and for its convenience. And if you don't like the release, just pass it on to the next person who might like it without fretting too much about its precious qualities. It's only a CDr...
