- 1j.o.y.s. - dastardly
WSR052-01
•
Edition of 50
"dastardly" is the debut single from j.o.y.s., a project that started as a musical outlet that grew into a meditation on the challenges of trying to put out physical media amidst an ever-growing class divide within the music industry and the world at large.
This theme is ever-present in the song's companion poem:
"maybe he's some kind of oligarch
but you all sure do love his electric cars.
how 'bout a series win for the mets,
or a trip to mars?
union bustin', but not behind bars
billionaire heirs will always get to make art, while the obscure remain starved.
betcha didn't know that strummer was kinda well off from the jump
but go on, wear that ignorance like a scarf
go on,
act like punk rock wasn't already commodified long before we were born,
enough for fat mike to bankroll restaurants in brooklyn,
but please, serve me another farm-to-table power chord"
What may have sparked this newfound agenda? It's that the issues with streaming culture go much deeper than the paltry payout setup. It has exacerbated the scarcity mindset already prevalent throughout society. In some cases, there are heirs of massive wealth running independent record labels not willing to truly meet their artists in the middle through tailored support of their specific needs, all the while expecting all sorts of unpaid labor in return. They continue to pretend to be "artist run" in this world that was handed to them. They'll always have healthcare, they'll always be fed, clothed, and housed times a million. Very similar to how you'll be hard pressed to find mutual aid on a regular basis unless there is some kind of widespread disaster.
On the other hand, major labels own shares in this streaming music machine we have so willfully allowed to give us the illusion of access and connection while perpetuating a class system for artists. People that have benefitted from the music machines of yore will continue to benefit because of how nostalgic everyone seems to be. A very minuscule percentage of new artists will benefit, mostly those not constantly worrying about having their basic needs met in order to create."
The album is presented beautifully. A 16 page companion zine comes with a poem written by Narvaez for each composition. The result is a metacommentary and trenchant observation of being a D.I.Y. artist in the world of celebrity artists, trust fund modular synth bros and A.I. generated ambient music.
This theme is ever-present in the song's companion poem:
"maybe he's some kind of oligarch
but you all sure do love his electric cars.
how 'bout a series win for the mets,
or a trip to mars?
union bustin', but not behind bars
billionaire heirs will always get to make art, while the obscure remain starved.
betcha didn't know that strummer was kinda well off from the jump
but go on, wear that ignorance like a scarf
go on,
act like punk rock wasn't already commodified long before we were born,
enough for fat mike to bankroll restaurants in brooklyn,
but please, serve me another farm-to-table power chord"
What may have sparked this newfound agenda? It's that the issues with streaming culture go much deeper than the paltry payout setup. It has exacerbated the scarcity mindset already prevalent throughout society. In some cases, there are heirs of massive wealth running independent record labels not willing to truly meet their artists in the middle through tailored support of their specific needs, all the while expecting all sorts of unpaid labor in return. They continue to pretend to be "artist run" in this world that was handed to them. They'll always have healthcare, they'll always be fed, clothed, and housed times a million. Very similar to how you'll be hard pressed to find mutual aid on a regular basis unless there is some kind of widespread disaster.
On the other hand, major labels own shares in this streaming music machine we have so willfully allowed to give us the illusion of access and connection while perpetuating a class system for artists. People that have benefitted from the music machines of yore will continue to benefit because of how nostalgic everyone seems to be. A very minuscule percentage of new artists will benefit, mostly those not constantly worrying about having their basic needs met in order to create."
The album is presented beautifully. A 16 page companion zine comes with a poem written by Narvaez for each composition. The result is a metacommentary and trenchant observation of being a D.I.Y. artist in the world of celebrity artists, trust fund modular synth bros and A.I. generated ambient music.
