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“It was Billboard versus Hype Machine: the mainstream press covered them, the blogs covered us,” said Chromeo’s Dave 1. But blogs provided an alternative to the Ne-Yos and Maroon 5s on the radio. The new online media landscape was rendering mainstream music magazines and their alternative counterparts - even ones that had managed to launch an online vertical - a dying breed by the time an artist was featured in print, they’d been old news for months.
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With 80 gigabytes of space, the iPod advanced what many called “shuffle culture,” a shift towards playlist-style listening that prioritized individual songs instead of playing full albums straight through.ĭespite the cool-guy pointy shoes and leather jackets as far as the eye could see in the club’s playing the music, bloghouse music discovery and distribution was as nerdy as it gets. To jog your memory: in 2007, the first generation iPhone was released into a world where Blackberrys and T-Mobile Sidekicks dominated the palms of twenty-somethings and the iPod was on its sixth model since its release in 2001. Census, by 2003, nearly sixty percent of Americans had not only a computer at home, but internet access, compared to forty percent in 2000.Īnd while more Americans had internet access than ever before, compared to now, the scope of the internet felt drastically smaller a loose network of niche communities that had yet to be flattened by corporate interests. And who better to trust?Īccessibility to computers and the internet in the mid-2000s and our blossoming relationship to both bred a cultural landscape that allowed bloghouse to thrive.
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Tastemakers traversing the blogosphere’s wild west with no skin in the game, no payola tactics, just passion.
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The party where a promoter had booked an artist based on hype from blogs written by kids in dorm rooms. The mode of discovery shifted away from finding your new favorite song on the radio, at the record store, or even hearing it at a club now you knew everything about an artist before you even got to the party. (And maybe for the glitter of Z-list celebrity status from a regular position on the Hype Machine charts.) With a blog-based distribution strategy as its unifying factor rather than a cohesive sound, bloghouse’s closest existing analogue is the already archaic sounding “SoundCloud rap”– a name that specifies how you found the music but reveals very little as to how it actually sounds.īut where SoundCloud currently functions as a well-oiled cog in the major label machine, landing Top 40 hits and launching careers overnight, music blogs in the second half of the ’00s were completely autonomous, uploading a constant stream of new tracks for not much more than the love of the game.
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Here, we excerpt the book’s “Blogger, Faster, Stronger” chapter, which looks at how bloghouse reached fans through the internet during a moment when digital musical distribution was still largely unregulated. Never Be Alone Again features interviews with more than 50 sources - including Aoki, MSTRKRFT, Girl Talk, Spank Rock, Chromeo, bloghouse party photographer The Cobrasnake - along with a forward penned by scene pillar A-Trak. Because it says a lot about where culture went, both musically as well as technologically.” “Sounds corny, but the memories around this sound and this era and the people involved are some of my favorites - so I wanted to honor that, and really create a piece of work that not only celebrates and dives deeper into the music, but also contextualizes how this moment came to be.
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“I am nostalgic and precious about this moment, because this was the music of my coming of age for lack of a better term,” Abascal says of writing Never Be Alone Again, which took her three and a half years. When she moved to San Francisco for college, she dove deep into the scene there, becoming a regular at SF’s seminal bloghouse party BLOW UP, writing for the blog GrooveEffect, ultimately becoming such a fixture that Steve Aoki‘s label Dim Mak hosted her 21st birthday party at its San Francisco event, Obey the Kitty. “I woke up, had to take the SAT, and immediately after mobbed to a two-stage festival called DeTour in Downtown LA in 2007 with headliners Justice and Bloc Party. “I’ll never forget the day of my 17th birthday,” Abascal tells Billboard. The Los Angeles-born writer first dipped her toes in the scene by digging for new music on MySpace, with the dance-oriented indie rock she was into leading her to music by key bloghouse artists like Chromeo, The Bloody Beetroots and Justice.