R.E.M. fans (like me!) and music-biz folks interested in exploring new ways to use the Web should check out the two-part series on Hypebot.com about the band's online campaign for its latest album, Accelerate.
The posts are written by Ethan Kaplan, the Warner Bros. vice president of technology who worked with the band to design a technology-intensive publicity campaign.
Highlights include:
• Ninetynights.com, which included exclusive short videos of the recording process.
• REMDublin.com, which evolved into a wiki-style collaboration between fans and resulted in fan-created videos scoring top-popularity spots on YouTube.
• Two dedicated URLs for the band's first two videos from the album.
• Sites devoted to meticulously tracking news about the album and the progress of the tour.
All good stuff, and the Ninetynights.com site did spark my awareness that a new R.E.M. album was coming out. But Kaplan failed to answer the main question. As he wrote, "After a string of disappointing releases (one artistically, all three commercially), the band decided to regroup and refocus...."
So did the Web campaign help sales?
Well, Accelerate did sell 115,500 copies in the U.S. during its debut week in April. And by July 30, it was up more than 300,000, according to SoundScan. That's already more than the 232,000 U.S. sales of its execrable last album, Around the Sun, and close to the 415,000 of its underrated 2001 album, Reveal.
But how much of that has been due to the Web campaign, and how much of that is due to the fact that Accelerate didn't totally suck?
On a related note, I read a long but excellent blog posting from a longtime musician that basically says: forget about the business; music's power has nothing to do with unit sales and marketing models.
It's required reading if you're spent more time thinking about In Rainbows pay-what-you-like download model than listening to the actual record.
I have a theory about indie rock hipsters: you can tell how old they are by which R.E.M. album they say was "the last good one." Specifically, it was the last R.E.M. album that came out before they turned 22, the age at which most four-year college students graduate.
Will that be CD, CD+DVD, or CD+45 rpm double LP?
That puts me squarely in the Green camp. And in fact, while their next two albums made R.E.M. a household name, with songs like "Losing My Religion" (from Out of Time) and "Man on the Moon" (from Automatic for the People), I didn't like them. I don't really know why, except that Michael Stipe was no longer mumbling and his voice was mixed above the guitars, and MTV played them too much.
But I'm not a real hipster because I've bought and liked a few R.E.M. albums since then, and I love their 2001 studio album, Reveal, which places me in a very select group. (The album sold about 415,000 copies in the U.S. as of early 2007, according to Soundscan figures reported by U.S.A. Today--a great figure for most bands, but well off R.E.M.'s multiplatinum peak.) The trick was buying it on vinyl: when I heard the CD, I was lukewarm about it, but the record was on sale for $10 at a local Tower (remember those?) and so I bought it, figuring it would go nicely with all my other R.E.M. LPs. One night I couldn't sleep, so I played it for the first time at low volume at 4 a.m. It sounded completely different, with more solid bass and much better stereo separation, allowing to hear some interesting sounds buried in the mix.
This weekend, I went record shopping. I knew I was going to buy the new R.E.M. album, Accelerate. Being smart digital-age capitalists, the band (or Warner Bros.) is offering the new album in several formats, knowing that longtime fans might be willing to shell out a few bucks extra for something beyond the standard CD. The record store where I shop had the CD for $18--expensive for any new release, especially one I was buying mostly on spec. (I'd only heard the first song, and liked the loud guitars.) They also had a CD/DVD pack--the DVD includes a 46-minute film and extra music--for only $30. And, like Wilco and some other bands, they had a vinyl version with the entire CD included for downloading purposes, and this package also cost $30.
Remembering my past experience, I picked up the LP. Then I read the label closely and saw that it was to be played at 45 rpm, not 33 1/3 like most of the 12" LPs out there. According to a sticky label, the band did this "because sound quality matters." This was the first time I'd ever heard that 45 rpm LPs are supposed to sound better, but apparently it's old news in jazz, as record labels have re-released tons of classic jazz records on 45 rpm 180-gram vinyl. I haven't found a good technical explanation for why this is the case, but apparently spreading the same music over a longer curve makes the stylus track more accurately.
Unfortunately, my turntable has no button to switch speeds. Instead, I have to remove the platter, which is about 3/4" thick and made of heavy glass, and manually move the belt to a different setting. Then repeat the process before I play my other records, which are nearly all at 33 1/3 rpm. I'm too lazy--heck, I don't even like the fact that most LP sides are only two or three songs long nowadays, meaning that I have to bounce up and down every 10 minutes or so to flip the record. So I put it back and sprung for the CD instead.
Of course, if R.E.M. had been really finicky about sound, they should have released Accelerate as a 45 rpm LP with a blank underside, as apparently the flat surface adheres to the turntable better, eliminating certain unwanted vinyl resonances.
The album? So far, I've only listened to a few tracks, but I like what I've heard. It's loud and aggressive with lots of guitar, like 1994's Monster but more punk. But I haven't given it the 4 a.m. test.
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