There has been discussion on social media recently about the changing nature of the music discovery process, and the role of the music press. Some expressed nostalgia for the days when the music press created a buzz about major forthcoming releases ahead of the release date to build up anticipation. On the other hand, I liked the way some artists who have embraced the fan-funded pre-order model reward those who’d paid up front months earlier by letting them be the first to hear the record, some weeks or months in advance of the retail release date. A music journalist suggested that made media outlets less likely review the records when bands did that. I’m not entirely convinced.
As I see it, the press aren’t as central as they were 20-25 years ago. They’re not totally irrelevant nor likely to become so in the foreseeable future but neither are they the sole gatekeepers that they used to be. And this is a good thing; it’s not healthy for a small number of gatekeepers to have complete control over what gets exposure. At it’s best, with human nature being what it is, there will be a degree of politics and favouritism. At it’s worst, you can end up with bands who kiss the right arses getting coverage at the expense of those with the most awesome music. And don’t get me started on the London-centric nature of so much of the press.
I was a prog fan in the dark days of the 1990s when the genre was more or less marginalised and ignored by the media. So the internet has always been a major part of the music discovery process for me, going back long before there was Twitter or Facebook or even MySpace. Who else remembers ROCKNET and UKMUSIC on CompuServe back in the mid-90s?
It’s not necessary to be able to hear the music online although there are plenty of bands I’ve discovered via sites like last.fm. I’m one of those people who will buy a record unheard based on recommendations from a trusted source. I think the collective opinions of a significant number of music fans is at least as valid as those of professional music journalists, and less likely to be influenced by music biz politics.
