domingo, 18 de octubre de 2015

Bandcamp: DIY Hustlers

http://blog.bandcamp.com/2015/10/08/diy-hustlers/


DIY Hustlers

Alex G, and Car Seat Headrest
“Don’t put anything out that you’re not 100% sold on. Make sure that you’re recording because you enjoy it and because you really want to. Record it because it’s a need for you…” — Alex G
Not all that long ago, Alex Giannascoli and Will Toledo were passing burned CD-Rs of their music around high schools, hoping to capture the attention of a few fellow teens. They graduated to college, and to releasing music on Bandcamp: Toledo uploaded his first album as Car Seat Headrest in 2010, Giannascoli his first song as Alex G in 2011. Fast-forward a few years and, for each musician, a dozen or so albums. In recent months, both have signed with major indie labels. Today, Alex G releases Beach Musicas his recording debut on Domino Records; on October 30, Matador Records will releaseTeens of Style, Car Seat Headrest’s first album for the label.
These represent perhaps the dream trajectory of the indie musician: from bedroom project to prestigious record label (and, incidentally, the dream trajectory for Bandcamp, as both Matador and Domino are now on the site). Domino is the home of Animal Collective and Dirty Projectors. Matador is known for everyone from Interpol to Yo La Tengo. And in an ideal iteration of this career arc, Giannascoli and Toledo were noticed not for stunt antics or flooding the world with press releases, but for carefully honing their craft and building dedicated online fan bases. Each delves into the personal and confessional in a distinct musical style—Alex G leans toward the trippy and soft-spoken, Car Seat Headrest is distorted and visceral—but both represent DIY success stories in an ever-shifting industry.
I spoke with the musicians independently over the phone in recent weeks; both were naturally enthused about their new opportunities and in the midst of newly busy press junkets and tours. How does an artist toil away and find that kind of success? And what lessons might these unlikely cases offer for all of the other musicians in the midst of their own careers?

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