Where are the lower class and other voices in music? all hyped up artists these days seem to be just more of the same...

where are the lower class and other voices in music? all hyped up artists these days seem to be just more of the same, well off suburbanites with not much interesting to say other than mundane angst
wavves, car seat headrest, alex g, chvrches, mac demarco, etc. they all feel so similar, and so boring

>wavves, car seat headrest, alex g, chvrches, mac demarco
these artists are nothing alike

yeah, only the most pathetic sufferers make art worthy of my entertainment

Costs a lot of money to produce music nowadays. There's plenary of good lo fi songwriters on bandcamp but you'll never hear of them because

1. production is so crude and inaccessible
2. they aren't good looking which is pretty much the number one thing needed to make it

>well off suburbanites with not much interesting to say other than mundane angst

But that describes all those artists pretty well.

well theyre allsuburbanite poseurs so id say thats fairly accurate

they are in a more conceptual level, obviously not in a surface way

I can tell you are VERY new to music.

>Costs a lot of money to produce music nowadays.
People can produce from their homes (e.g. Kevin Parker from Tame Impala). How has the cost of music production increased?

this is true, music production is a lot more accessible than it used to be. but the working class is for the most part too busy trying to survive to make music that reaches a large audience or has refined production. under capitalism, commercial music always has and will be the domain of the comparatively well-off, the people who have enough time for long hours of practice as well as the extensive touring and promotion required to be popular, and aren't being constantly mentally and financially fucked over by their lives

Truly poor people can't afford the internet and are decades behind anyone who have access to musical resources.

because you need pr (good high-priced pr) to be featured in music blogs and spotify playlists and such. all those "artists" have trust funds that they dipped into to purchase pr.

it's very simple and easy to get "discovered" this way.

i don't know many of you even bother in those soundcloud and bandcamp threads when all you need to get noticed is a good pr firm.

it's woefully expensive but if you've got the copious amount of expendable income then dive into.

see you on the front page of bandcamp.

>poor people can't afford the internet
t. middle-class suburbanite

internet is increasingly viewed as a necessity, for better or worse. maybe the rural poor go without but not in the cities for the most part. me and almost all of my friends are well below the poverty line but paying for internet isn't a huge deal compared to rent and utilities, when you have several people in a house sharing the cost it's under $20/month. a decent amount of homeless people I know own smartphones (without data plans) just because they make life so much easier

and even without that, most libraries have free internet access and a halfway-decent music collection. plus spotify is free

people who work from their homes have a lot of time on their hands, which means they aren't working slave labour jobs and they probably have a good bit of start up money

>under capitalism

dubs confirm. having that capital to start with is the key, as well as the free time and a job that doesn't completely wear you out

hiphop and country you stupid fuck

costs way less to produce music than it ever has, friendo

hahahahahahahhah both have been overtaken too, retard. go fuck yourself

production costs are not an issue. what's the real issue is that these trust fund kids already have a network to support them. writers from pitchfork and other sites will of course always pick a chic brooklynite with a similar cultural background over some schmuck from bumfuck, ohio

yeah their roommates from college all write for the big music blogs

plus they can pay for a pr firm like purplepr and be in the same league as taylor swift in terms of potential exposure.

>some schmuck from bumfuck, ohio
It's a little more complicated than that, but close.

#1.You little shits destroyed the music industry, and now record companies aren't taking a risk on a schmuck from Buttfuck, Ohio. Good job. Your Coldplays and Taylor Swifts are dong just fine under the new deal though. Congratulations idiots, you ruined popular music.

#2. It takes time and money to record music worth a fuck. You are *NOT* going to be working a full time job at Fed Ex and writing the next Nevermind. It ain't happening. Nirvanna didn't even do that in 1990, you damn sure ain't doing that in 2017. Oh, you don't have a job at Fed Ex you say? Cool, then you are *NOT* going to be able to afford the recording equipment to record the next Nevermind. Oh, you say you don't have a full time job and you're talented but you don't have the recording equipment? Great, go back and see #1. Ain't nobody paying to record that shit in 2017 except Mommy and Daddy. Ain't no record company taking the financial risk. This leaves room for nothing but trust funders to fill the vacuum left by lower class musicians.

Pitchfork isn't the problem at all, it's the audience. You fucks had a chance to be better than the old system and instead you took a shit on the artists because it was convenient and you'd rather spend that money for an iPhone instead. Millennials are 100% pure unadulterated human garbage, you all CONSCIOUSLY MADE THIS CHOICE.

Next time anyone under 35 wants to complain about modern music being in the shitter remember you all made a personal decision put it there.

show me the lie?