Although many of today’s groundbreaking artists don’t seem to be more than a click away Pixie A group that feels untouchable. After setting the mold for alternative rock in the late S0s and breaking up in 1993, it was almost as if the band had been incorporated into the DNA of music. And when they reunited in 2004, they would simply become legends. But last year, fans were given an unprecedented opportunity to enter the world of the band This is a Pixies podcast, Which documents their 2019 album making Under the iris Upstate within a month at a live-in studio in New York.
The project again turned Pixie into an inventor-the first podcast documentary we’ve ever heard of making their album. We’ve seen the Spotify original launch ever since 21 days with Mxmtoon, Which captures the creative process using a diary-style audio format. But the Pixies project was and still is, a kind of opportunity and ambition: the production team occupied more than 300 hours of material Spotify for podcasters. We spoke with Pixies manager Richard Jones to see if other artists should follow in Pixie’s footsteps again.
Spotify for Artists: Tell us how this idea was born.
Richard Jones: Pixies have a well-known, respected catalog that they can happily travel around the world for many years. But as we’ve always found, like a lot of artists in this generation, it takes some time to appreciate and enjoy new music in the same way. So when we went to this record, I thought, “How can we enable people to engage with music for a long time, and therefore have more to do with it and their memories at different times in their lives, before the record actually came out, almost as if it Did they know in advance? “
In other words, you’re basically canonizing it ahead of time.
Yes. I spent a lot of time talking about how our fans talk about social interactions and music in the fan group – the way they analyze and discuss music they were deeply into, so I thought, “What’s a podcast like? Why don’t we record everything we do?” , And put it in such a large part that people can listen to the songs a few times to build their own relationship with the songs? “
Photo by Paz Lenchantin, Simon Foster
What about the idea that something changes when you observe it?
The fear of the way we did it was really relieved – microphones were always there. There were no people around us in the studio, or podcast producers. For the most part, I think the band forgot about it. And the good thing about working in a residential studio is that they are there all the time. Often during the recording process, you do things separately – people are doing their part, going out for a walk, or reading something while sitting. Tony could easily pop up, walk around, who was free, and just say, “How are you today?” One of its real successes is that those conversations became very normal.
Was there any hesitation in front of this band?
They took the idea completely and it took a lot of faith. They knew we weren’t going to make them look ridiculous, but we weren’t doing it through rose-colored glasses. It’s actually a very honest recording and a reminder of what happened in the studio. A big part of Pixie’s appeal is that they’re very blue-collar artists, so we weren’t trying to turn it into a reality TV show. We had to bring in the audience, take them on a journey, and engage them with new music, while we made sure we didn’t stir up the band or what they were doing.
Photo by David Lovering, Simon Foster
You helped the bands create albums, but what was it like to be transformed into this form of audio storytelling? This thing is in the service of the album, but must be alone.
That’s right. When you create an album, ideally, you’re doing it for yourself. You come in, write the songs that come out, record the way you do it and have it. And, of course, this podcast isn’t that at all. At the end of the day, it’s a promotional tool for the album, but a pure promotional tool won’t be very interesting. We knew that we would have to spend most of our time editing to run a group of narratives through the series. I remember it was very difficult to get the balance without the patronage of the fans while sharing the history of the band and the details of the process were revealed without spoiling the mystery.
So what kind of response did you see from the fans?
Superfans on forums and Facebook groups loved it. They affected everything and literally disconnected each episode. Casual fans really liked the idea of it and started to understand the band a bit more and started making a connection outside of the song. We didn’t even have a fan interest যারা those who worked in studios or media or podcasts were fascinated by the whole process. Honestly, we had no qualms about it.
And what happened when you took new music to the streets?
What happens in the first month or so of travel is that people know the focus tracks, while the rest get less feedback. This time they already knew all the new songs. The response to seeing the house full of people, there was more appreciation and connection to this album than the last two we’ve done since the band renovation. So, yes, it actually worked!
– Chris Martins