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Last month one of my articles was published in The Cultural Value Initiative. It wasn’t until they got in touch that I realised “Cultural Value” was a subject I’d been writing about regularly since my Keyhole Observations series began in 2010 (I just thought I was venting some spleen). Maybe the reason that particular article was picked up was because I finally found the courage to talk about the internal battle raging (in varying degrees of fury) inside all professional and semi-professional musicians: Art versus Money.

That piece mostly concerned itself with live performance. I’ve been thinking more recently, however, about the recorded side of things, particularly the ever-evolving relationship between consumer and product – the rapidly fading desire to actually buy a band’s release in a world where various online streaming and cloud subscription options are becoming more available, affordable and practical.

This subject is particularly on my mind because next week I’ll be burying myself in a studio for the best part of a month with a bunch of obscenely gifted ruffians to record a “difficult second album”. And though selling an indecently large quantity of the finished product is not my primary motive for making the thing, out of all the reasons for doing so it definitely makes the top ten…

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