The unflattening of music[This post builds on two other recent MIDiA posts: Background music and What got you here]

At the half way point of the decade it is a good time to reflect on how the business of music is reshaping the culture of music – and where this is heading. 

Streaming – and the ecosystems it feeds / feeds from ≠ has done as much to music culture in ten years as the phonograph and record player each did in half centuries. Of course, streaming would not have been possible without those prior inventions, but it has reached far more people, with more music, more frequently, and with more listening time. 

Most importantly, by pulling consumption, creation, and monetisation closer together than ever before, streaming has transformed the tense but often distant relationship between business and culture into one that now resembles a single entity. People make, and are encouraged to make, music that feeds the machine. This has resulted in what is often referred to as the flattening of music, which is most visible in the rise of ‘functional music’ and of the song over the artist. It is a process that can feel both inevitable and unstoppable. 

At the start of the year I posted a remarkably evergreen quote from Jaques Attali’s 1985 book Noise:

“Fetishized as a commodity, music is illustrative of the evolution of our entire society: deritualize a social form, repress an activity of the body, specialize its practice, sell it as a spectacle, generalize its consumption, then see to it that it is stockpiled until it loses its meaning.”

The fact that this was written long before the internet and music collided illustrates that streaming’s effect is not an isolated phenomenon  but part of a much longer continuum. The 1980s was the decade in which the CD supercharged the commercialisation of music and the Walkman kick-started today’s dominant ‘always on, everywhere’ paradigm. While streaming is massively accentuating trends, it is not creating them. Indeed, the whole idea of music as background filler is at least centuries old. For example,  800 years ago Eleanor of Acquitaine hired minstrels to soundtrack her daily court life. More recently, French composer Eric Satie wrote three pieces of music in 1917 that he called ‘furniture music’ specifically designed to be background music.

However, music has never been shunted so far into the background as it is now, including music that was intended for the foreground. It is driven by a vicious / virtual circle of influence of consumer behaviour and the algorithm. As Jeffrey Antony puts it in his 2024 piece ‘The Great Flattening’:

“These algorithms are designed to keep users engaged with the platform, ensuring that music remains a background experience rather than a foreground focus.”

 Spotify shifted its business model and user experience in pursuit of this paradigm, further fueling it with lower-cost production music (often termed as ‘fake artists’). Antony argues that this has moved music from being “deeply personal” to “commodified [and] disposable”. 

Meanwhile Daniel Ek mused that some music has a short shelf life and other music a long one. But music has always been both highly personal and commodified. Before streaming, radio was the main way most people heard music most of the time. Radio listening was often commodified background filler but the exact same songs could be deeply personal when listened to in a different way. 

The difference is that today, streaming is catering for both the deeply personal and commodified in the same platform while the behaviour / algorithm circle is nudging the needle ever further away from personal. As one writer puts it in The Mighty Pluck: “This is the blurred scenery of my life.” 

There are very clear and obvious commercial rationales at play (lowering rights costs, fragmenting rightsholder power, increasing platform power, etc.). Howevever,  it would be wrong to assume that this is all about the “fuelling the global circulation of capital”. It is also part of a much wider trend of digital platforms being terrified of losing users and their time in the saturated attention economy. In a digital economy defined by convenience, everyone wants to remove friction, which often means making decisions on users’ behalf. 

It results in a strategy of seeking not to offend rather than to delight. Nowhere is this better seen than Elon Musk’s suggestion that the most important metric of all is “Unregretted user minutes”. If one statement summarises the path towards the absolute reduction of culture, it is that.

Generative AI threatens to accelerate the trend even further. However, the seeming inevitability of all of this is only possible because of streaming’s fusing of business and culture. It is possible that algorithmically charged, functional, and generative music will become most (even all) of music in the future. But it is not yet. And it would only be able to get to that point because everyone else (labels, artists, publishers, songwriters) is, to some degree or another, playing by the new rules, terrified of missing out on audience and revenue / income. They play by these rules because the system is defined by being optimised for monetisation.

But what happens when monetisation stops working? The whole edifice comes tumbling down. It is incumbent on the system to manage the transition, so that by the time monetisation is completely broken, it is too late for a withdrawal of creative labour to break it, because the traditional creator’s role is no longer crucial or at least decisive. It might just be that the cracks in the monetisation machine are appearing early enough to change the trajectory.

With streaming growth slowing, larger rightsholders are doing everything they can to optimise including making it harder for longer tail creators and rightsholders to earn from their work. This adds to the already-growing difficulty many mid and long-tail creators have making streaming’s fractionalised royalties add up. Streaming services may not yet realise it, but they are breaking music’s 21st century social contract. Creative labour has thus far been given despite deteriorating conditions because value was returned. As value diminishes, more artists are beginning to question why they should give their labour any longer. 

We are already seeing more artists going non-DSP (e.g,. Ricky Tinexz, SEIDS, Mary Spender), triggering the start of the bifurcation of the music business, with an emerging generation of creators bypassing streaming entirely. Meaning that the foundations of tomorrow’s music culture are being laid elsewhere. It may only be a trickle for now, but already, one of the most critically acclaimed albums of 2024, Cindy Lee’s Diamond Jubilee, was pointedly not released onto streaming. How long before the trickle of streaming exiles becomes a flood?

What makes the non-DSP world so important for the unflattening of music is not the absence of algorithm (because there are plenty of those there too) but: a) the diversity of models (bandcamp, TikTok, SoundCloud) and b) being different and distinct is a feature not a bug.

Music business and culture are flattening, no doubt. The tide can be turned but it will not happen on its own. It will take both commercial and creative bravery. It will require a new social contract for music and it will be a long, tough fight. Not least because consumers (the actual people doing the listening) are not exactly throwing their hands up in dismay at having music that soundtracks the mundanity of their daily lives.

Yet, streaming may also hold the key to reversing the trend. Today’s music creators have a far bigger and more diverse musical canon to call upon than in any previous generation. Yesterday’s artists’ influences stemmed from inherently limited sources (their parents’ and friends’ record collections, their local record store, etc.). Today’s can listen to virtually every song ever written. The history of music is a steady evolution, with each generation of genres imitating and innovating the previous one. Now, creators can pull from over a hundred years’ worth of popular music, thousands of genres and millions of artists to create their own, unique take on just what music is. 

Streaming may have made itself the (flattened) establishment – but the thing about the establishment is that culture almost always rebels against it.

Arturia launches Pigments 6, the sixth iteration of its powerful sound design softwareArturia has kicked off 2025 with a bang by launching the sixth iteration of its powerful sound design software Pigments.
Front and center in the lineup of new features is a new Vocoder, which enables producers to get truly creative with voice modulation. There’s also a new Modal engine, new filters and modulators, and an improved user interface.

READ MORE: Spotify paid out $10 billion to the music industry in 2024: “Where we are now is only the beginning”

The aforementioned Modal engine, which features a host of “physically-inspired” sounds – in Arturia’s words – like collisions or friction-based sounds. There’s a bunch of sounds to get started with, too, including string plucks and lush pad sounds.
There’s also been improvements to Pigments’ Granular engine, which enables users to scan through samples mid-playback for time-stretching atmospheres, randomise grain playback for each note, and continuously adjust grain size for “fluid, evolving textures”.

Pigments 6 also features new filters – an analog-focused Multimmode V2, Cluster filter and LoFi – and new modulators. As Arturia says, “elevate expression by assigning different modulation values per voice, adding deeper randomness, triggering audio-driven envelope followers, and sculpting curves with the revamped Function V2.
Pigments 6 is available now at a launch price of £82/$103. If you’re an existing Pigments user, you can download the update totally free.
For more information, head to Arturia.
The post Arturia launches Pigments 6, the sixth iteration of its powerful sound design software appeared first on MusicTech.

Hans Zimmer concert film coming to cinemas to offer “peek behind the curtain” at his workA Hans Zimmer concert film is coming to cinemas across The Americas, Europe, Asia, and United Arab Emirates this year.
The film, titled Hans Zimmer & Friends: Diamond In The Desert, includes conversations with stars such as Zendaya, Timothée Chalamet, Taylor Swift, Billie Eilish, Finneas, and more, as well as live and intimate performances. Legendary filmmakers Christopher Nolan and Denis Villeneuve are also featured, and limited screenings will begin from 19 March.

READ MORE: “It let us play the music of an imaginary future”: Why Hans Zimmer worked with the Expressive E Osmose on Dune 2

Diamond In The Desert is directed by Paul Dugdale, who has made concert films for the likes of Swift and Coldplay, and is executive produced by Jerry Bruckheimer, who worked alongside Zimmer on hit films such as Top Gun: Maverick.
“Decades of cinematic masterpieces are brought to life by his band and a world-class orchestra at Dubai’s iconic Coca-Cola Arena, the star-studded Al Wasl Plaza dome at Expo City Dubai and beyond,” reads a press release (via NME). “From the dunes of the Arabian Desert to the heights of Jumeirah Burj Al Arab, these performances deliver an intimate and unique experience of Zimmer’s most beloved and renowned movie soundtracks.”
Zimmer himself comments, “The Hans Zimmer Live tour has been one of the most exciting experiences of my career, and I’m thrilled to bring it to an audience in cinemas globally with Diamond in the Desert. Seeing these compositions transform from their big-screen origins to the live show then back to the big screen is a delightful full-circle moment. I hope audiences enjoy this peek behind the curtain as much as we enjoyed making it.”

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Tickets for Hans Zimmer & Friends: Diamond In The Desert go on sale on Wednesday 5 February 5 at 9 am ET/2 pm GMT. You can sign up for more information now. 
The post Hans Zimmer concert film coming to cinemas to offer “peek behind the curtain” at his work appeared first on MusicTech.

The Crow Hill Company Tina Guo - Storm CelloBring Tina's approach to blockbuster recordings into your work. This meeting of minds in collaboration with Steve Mazzaro & The Crow Hill Company combines traditional electric cello multi-samples... Read More

Beetlecrab Tempera receives major update Beetlecrab introduce new granular processing live effects along with more improvements to their flagship synthesizer.

Elon Musk claims Tesla will launch a self-driving service in Austin in JuneTesla CEO Elon Musk said Wednesday that his company will launch a paid ride-hailing robotaxi service in Austin, Texas this coming June, the latest in a long line of sky-high promises he has yet to meet about autonomy. Musk was unsurprisingly light on details. He said that there will be no people in the cars, […]
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Texas Lt. Governor announces ‘Bitcoin Reserve’ as priority bill for 2025Texas Lieutenant Governor Dan Patrick revealed that establishing a Bitcoin reserve in the state will be among 2025’s legislative priorities.

Taylorator Makes Mischief on the Airwaves[Stephen] recently wrote in to share his experiments with using the LimeSDR mini to conduct a bit of piracy on the airwaves, and though we can’t immediately think of a legitimate application for spamming the full FM broadcast band simultaneously, we can’t help but be fascinated by the technique. Called the Taylorator, as it was originally intended to carpet bomb the dial with the collected works of Taylor Swift on every channel, the code makes for some interesting reading if you’re interested in the transmission-side of software defined radio (SDR).
The write-up talks about the logistics of FM modulation, and how quickly the computational demands stack up when you’re trying to push out 100 different audio streams at once. It takes a desktop-class CPU to pull it off in real-time, and eats up nearly 4 GB of RAM.
You could use this project to play a different episode of the Hackaday Podcast on every FM channel at once, but we wouldn’t recommend it. As [Stephen] touches on at the end of the post, this is almost certainly illegal no matter where you happen to live. That said, if you keep the power low enough so as not to broadcast anything beyond your home lab, it’s unlikely anyone will ever find out.

Concord acquires publishing catalog of Ed Sheeran collaborator Johnny McDaidMcDaid has also written for the likes of P!nk, Lewis Capaldi, Keith Urban, Shawn Mendes, Zara Larsson, Alicia Keys, and Jung Kook, amongst many others
Source

OpenAI, valued at $157bn and facing multiple copyright infringement lawsuits, says China’s DeepSeek may have used its data to train rival AI model without permissionDeepSeek spent far less money on developing a chatbot than US AI companies, but it may have done so by stealing OpenAI's IP
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MySeat Media Hires Former Bandzoogle CRO Dave Cool as PresidentArtist branded app platform MySeat Media announced that it has hired longtime Bandzoogle executive Dave Cool as its new President.Cool has over two decades of music industry experience, including the past 13 years at musician website platform Bandzoogle. As Chief Relationship Officer, he oversaw all departments at Bandzoogle related to growth and retention, including business development, marketing & communications, and customer support.“Having known Dave for years and watching his work at Bandzoogle, we knew he would be the right person to help take MySeat to the next level,” says Steve Shelton, MySeat’s Co-Founder and CEO. “He brings to MySeat Media a wealth of business development and marketing experience in the music tech space, and a passion for helping the artist community succeed.”“With artists needing to find ways to bypass algorithms and engage their fans directly, hearing some of the success stories on MySeat’s platform was really inspiring,” says Cool. “To be named President of this fast-growing platform is an honor, and I look forward to not only helping them continue on that growth path, but also helping musicians succeed by directly engaging with their superfans and generating more revenues for their career.”MySeat empowers artists and creators to own their data, build their communities, and connect directly with superfans. They can generate multiple revenue streams, including subscriptions, merchandise, exclusive music, live and virtual meet-and-greets, livestreams, memorabilia, and collectibles.Last month Chicago based rapper G Herbo released an exclusive mixtape through his MySeat-powered app, which generated over 7M streams and resulted in a 262%+ increase in paid subscriptions, a 30%+ increase in merch sales, and 70,000 app downloads, where it charted #3 among all music apps after Spotify and YouTube.The post MySeat Media Hires Former Bandzoogle CRO Dave Cool as President first appeared on Music Connection Magazine.

FLOSS Weekly Episode 818: I Don’t Care About the Roman EmpireThis week, Jonathan Bennett, Doc Searls, and Jeff Massie talk about Deepseek, technical solutions to Terms of Service abuse, and more!

Did you know you can watch the live recording of the show right on our YouTube Channel? Have someone you’d like us to interview? Let us know, or contact the guest and have them contact us! Take a look at the schedule here.

Direct Download in DRM-free MP3.
If you’d rather read along, here’s the transcript for this week’s episode.
Places to follow the FLOSS Weekly Podcast:

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Theme music: “Newer Wave” Kevin MacLeod (incompetech.com)
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MLC Spotify lawsuit dismissed, bundled royalties unchangedThe court has the MLC Spotify lawsuit over mechanical royalties paid to songwriters and music publishers on subscription tiers bundled with audiobooks.
The post MLC Spotify lawsuit dismissed, bundled royalties unchanged appeared first on Hypebot.

Waves announce eMotion LV1 Classic mixer The LV1 Classic combines 64 stereo channels, 44 stereo buses and 16 Waves Signature Preamps into a robust yet compact console.

Bandzoogle’s Dave Cool named President of MySeat artist app platformLongtime Bandzoogle executive Dave Cool has been named President of MySeat Media, the artist branded app platform.
The post Bandzoogle’s Dave Cool named President of MySeat artist app platform appeared first on Hypebot.