I'm not a fan of OK Go. That's not backlash against the band's impossible-to-avoid videos from a few years back, but rather a reaction to the band's music, which I find cloying, and it's stage presence, which is annoying. A slot opening for Fountains of Wayne several years back left me aggressively hostile toward the band.

But this week it offers another of those benchmark moments in the shift from tangible plastic to intangible bits in the world of popular music. This might not hit the history books the way Radiohead's pay what you want model did (or even OK Go's viral marketing model did), but it's certainly instructive.

In an open letter on the band's message board, singer Damian Kulash explained why the band's new video for the song "This Too Shall Pass" is not embeddable on blogs and other web sites. At least, why the version on YouTube is not. That's strange, given that the very act of embedding YouTube videos for "A Million Ways" (the backyard dance) and "Here it Goes Again" (the treadmill dance) is what made the band big enough to deserve making a third album in the first place.

It comes down to money, of course. The band's label, EMI, has a deal with YouTube, as do other labels, to pay a fee each time one of its videos is played. The catch? The plays aren't tabulated on embeds, so EMI wants everyone to watch on YouTube. Kulash understands, enumerating the various ways the label has funded his band's efforts, but also is frustrated because its success is largely predicated on the band's own actions and the way fans spread those actions around the globe.

Kulash finds a workable solution that does undercut YouTube and EMI, but adheres in principle to what both parties want: He sends fans to Vimeo, where they can find a legit embed code. So, they end up with a higher-res version that cuts YouTube out all together, and the whole thing might just help the band to duplicate -- on a much smaller scale -- its success with the previous two videos.

You can see the video below. The song is catchy, showing the band making some real strides (literally, as you'll see, and figuratively). The problem is that the video version of the song is altered to mesh with the marching band theme, and that version is significantly better than what the band came up with for its album. The marching band drums, the swelling horn section... it's an inventive tune. On record, it feels like the same old thing.

Labels: label woes, music, video

I had been wondering when Margot & the Nuclear So and Sos would resurface to follow up their brilliant debut, The Dust of Retreat. So, I was happy to hear the follow up, Not Animal, was due Oct. 7. Then things got a bit strange.

It seems the band's new label, Epic Records, didn't like what the band turned in as it's sophomore outing, Animal, and so, after months of wrangling, the two parties came to a compromise: Epic would issue Animal on vinyl on Sept. 30, and Not Animal, a disc containing the songs the label likes, the next week. The upshot is that the band will release 19 songs -- 12 each on the albums, with overlap of five songs. The vinyl disc also will be available via digital download, meaning those of us no longer keen on dragging out the turntable can buy the label-sanctioned Not Animal, grab the seven Animal songs found only on that release and curse both parties for the trouble.

As a teaser, the band is offering another confusing batch of songs. It recorded a Daytrotter session featuring four tracks from Animal/Not Animal. It also is selling a Daytrotter Sessions EP that includes two tracks on available for free at Daytrotter, and three that are.

Regardless, the music is worth tracking down. Richard Edwards' songs are consistently compelling, blending simple folk strumming with a competent, confident ensemble that flesh out and color those songs to create alternately fragile and muscular tunes full of smart hooks.

Labels: label woes, music