For us, this is solely about artists. We’re not here just to break songs. | | | | Phil Elverum, aka Mount Eerie, with Julie Doiron, his collaborator on "Lost Wisdom Pt. 2," out today on P.W. Elverum & Sun.
(Rin San Jeff Miller/Pitch Perfect PR) | | | | |  | “For us, this is solely about artists. We’re not here just to break songs.”
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| | rantnrave:// The end of ERIC SUNDERMANN's run atop two of music journalism's biggest brands began with this tweet last Saturday: "It’s so wild that {redacted} is able to run an entire digital magazine when hes also running people out of the place because he can’t keep his dick in his pants." Quite a few people, it turned out, knew exactly who "redacted" was. People who had worked for him. People he had worked for. Eighteen women who sent direct messages that day to the tweet's author, writer LAUREN NOSTRO, with stories of their own. Nostro un-redacted Sundermann in another tweet minutes later, and on Monday he was fired by the FADER, where he had been head of content for the past year. Fired on Monday following what was said to be an internal investigation triggered by a tweet on Saturday. That didn't leave much time for investigating. Is there any other way to interpret that timeline but to conclude that Sundermann's alleged behavior was as much an open secret within the company as it was within music Twitter? JEZEBEL's devastatingly detailed account of Sundermann's fall, reported and written by EMILY ALFORD, argues exactly that, and says the same was true at VICE, where Sundermann spent the previous five years as editor of NOISEY. There was a whisper network, she reports, through which young women warned each other about an editorial gatekeeper at two major music sites. There were complaints to the human resources department at Vice. The details and arc of Alford's story are distressingly similar to awful ones that have come out of the film and TV industries and elsewhere in recent years. The milieus are different, the patterns the same. There have been other stories in the music business of course, involving artists, executives, publicists and more. This one hits way too close to home for me. I've never to my knowledge met Sundermann (who's yet to comment publicly on any of the accusations), but he's an editor/writer and our circles have plenty of overlap. I've been sharing his writing for years through this newsletter. His accusers aren't rank strangers to me. And they're currently chatting, no longer in whispers, about Sundermann's former boss, Fader co-founder and publisher ANDY COHN, who is also called out in the Jezebel story and reportedly is the subject of an internal review (a Fader rep denied that earlier this week). The end of Eric Sundermann's run shouldn't have started with a tweet last Saturday. And companies like NBC shouldn't be waiting for other media companies to publish stories to start their own investigations. By the time the first story is published or the first tweet is tweeted, it's way too late. To time to call out bad behavior is now, before someone else does your dirty work for you... Farewell, BEAN... It's FRIDAY and that means new music from LUKE COMBS, FKA TWIGS (belated correction: I told you her album MAGDALENE was coming out two weeks ago but nope, it's today, apologies), DOJA CAT, JACQUEES, LIL MOSEY, MOUNT EERIE, MOOR MOTHER, EMOTIONAL ORANGES, DAVE EAST, CLAMS CASINO, ESOTERIC, TERRI LYNE CARRINGTON, DAVE DOUGLAS, the late DAVID S. WARE, JAMAEL DEAN, SOUNDWALK COLLECTIVE WITH PATTI SMITH, LAIMA LEYTON, ALLEN STONE, GIANT SWAN, ANDY STOTT, SEBASTIAN, RROSE, RANDY RAINBOW, BISHOP NEHRU, REESE LAFLARE, WIKI, YUNGEEN ACE, TAYLOR HAWKINS & THE COATTAIL RIDERS and LESLIE ODOM JR. | | | - Matty Karas, curator |
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 | Jezebel |
| Former co-workers say Eric Sundermann’s behavior was an open secret in the industry. | | |
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 | Bloomberg Businessweek |
| A wave of scandals has brought unwanted attention to South Korea’s squeaky-clean music industry. | | |
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 | Rolling Stone |
| In 2006, late South African singer Solomon Linda finally got credit for his part in the smash hit. But with the release of a new ‘Lion King,’ questions still linger | | |
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 | The Ringer |
| In Martin Scorsese’s latest, one song greets you and then hangs over the rest of the film’s 209-minute run time: the Five Satins’ "In the Still of the Night," which once signified youth but, under Scorsese’s direction, comes to capture the passage of time. | | |
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 | Texas Monthly |
| The artist found her musical roots in Texas. It took leaving for her to become a star. | | |
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 | Resident Advisor |
| Brand partnerships and performance royalties come under the microscope in part two of Angus Finlyason's exploration of artists' income streams. | | |
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 | Pitchfork |
| A decade in dance music that changed pop forever, according to Skrillex, Zedd, Boys Noize, and more. | | |
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 | Music Business Worldwide |
| Aaron Bay-Schuck talks history, ambitions, Tom Corson, and future plans for his label. | | |
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 | The Guardian |
| It was the insurrectionist sound of the turbulent 70s -- and now it’s back, thanks to Moor Mother and King Midas Sound. | | |
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 | The New York Times |
| Tina Turner gets the bio-jukebox treatment, with all its lows (emaciated storytelling) and one of its peaks (a star-making performance from Adrienne Warren). | | |
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 | VICE |
| Mix CDs have been innovated out of existence--but nothing has managed to replace how meaningful it was to make and receive them. | | |
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 | Stereogum |
| What constitutes a one-hit wonder? It should be cut and dry, but the designation can be pretty arbitrary, with gut feelings often trumping objective data. | | |
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| VICE |
| How do you narrow an entire decade of genre-breaking music down to a list of 100 albums? It's an impossible task, but we did it. | | |
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 | Reasons to Be Cheerful |
| New moms in difficult situations sometimes find it tough to connect with their babies. Carnegie Hall is helping change that across the continent with one of the simplest, most innate tools in the mothering toolbox: lullabies. | | |
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| The New York Times |
| “I won’t be around for all that,” the 82-year-old master of musical Minimalism said. “It doesn’t matter.” | | |
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 | Billboard |
| Tegan and Sara are pulling the plug on their Warner Records merchandise site, citing a "huge backlog" on orders that they claim is affecting all of the label's other artist stores, with no clear solution in sight. | | |
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 | Paper |
| The LA musician and Grimes collaborator on "HANADRIEL." | | |
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 | Cell |
| Musical pleasure depends on prospective and retrospective states of expectation. A machine-learning model quantified the uncertainty and surprise of pop song chords. Chords with low uncertainty and high surprise, and vice versa, evoked high pleasure. | | |
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 | The New Yorker |
| A few years ago, a friend of mine talked to me about the possibility of my meeting, and maybe writing about, his close friend Leonard Cohen. The two had met one night at a grocery store near Mount Baldy, outside of Los Angeles, and had been boon companions ever since, talking about music, literature, religion, mysticism-an unlimited and ongoing conversation. | | |
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 | DownBeat |
| From his time hitting New York clubs as a kid to his brief stint at Berklee and years spent leading his own bands, David S. Ware pursued a path of unfettered expression, sopping up sounds and emotions as he went along. | | |
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 | YouTube |
| | | | | | "After they come for me, they gonna come for you." From "Analog Fluids of Sonic Black Holes," out today on Don Giovanni Records. |
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