Made another Bandcamp Roulette. Still messing up (note the right side screen clip doesn’t take up its full space), but that’s how we learn, right? Also need to figure out an audio ducking solution. Right now all the audio gets recorded into ScreenFlow, while the video of me is recorded using an iPhone. Separating those two channels of audio is easy, but its getting them in sync in post production that’s the hard part.
My first Bandcamp Roulette in awhile. My roomie watched the series for the first time recently, and said she thought it was great, and of course that was the kick in the pants I needed to make a new episode. OUTSIDE VALIDATION. I need to remember to make these things for me, and to keep discovering fun new music.
Still trying to fine tune my process. I used to sync iPhone video (w/ audio) with screen capture of the Bandcamp slider for the first part of the video, then make another video using the same set up, but screen capturing a different section of the Bandcamp website. As you can imagine that got a bit tedious, more moving parts, more room for error.
Now I just capture the full Bandcamp website and zoom in on relevant sections during post production. More editing, but I like being able to shoot it all in one take, which I think keeps thing more spontaneous.
My video editor of choice is Telestream’s Screen Flow, which I’ve been using since my Skull Toaster days, as you can see in this post from 2018:
2352: MOMENT OF METAL #262: Thinking I should start a HEAVY METAL HELPLINE, but then remembered it'd just be this 24/7. pic.twitter.com/1JsMVGhgNA
At the time iMovie just wasn’t working for me, and though I’ve used Final Cut Pro before, it seemed like overkill for what I was trying to do (as you can see above). I stumbled upon Screen Flow from a software bundle pack and I’ve been using it ever since. There’s a learning curve for sure, but once you figure it out you’ll be making videos in no time.
Busy week, so didn’t get to spend much time on Bandcamp this week as I liked. A colleague turned me onto Phoxjaw, though. A bit of swanky rock, dripping with sass from the UK. Sign me up.
For those times you need some music running in the background while slamming through some work that you’d rather not have on your plate, but it’s gotta get done? Yeah, this is a nice compilation in any capacity.
Another week, another few albums of note, starting with Maggot Heart.
I’ve come back to ‘Used To’ from Wilma Laverne Miner, which came out earlier this year. Without road trips and new experiences because of the COVID-19 pandemic, this has been pretty much the last album that’s become an “album in time” for me.
The album art work grabbed me, and then I clicked play. Not usually into this darker, moody stuff, but I like this from Ropes of Night, which came out a few months ago.
A slow week of Bandcamp digging. The weather has been brutal, so I’ve been doing my work first thing in the AM and doing my best to get outside.
I’ve known Ed Guida since the 90s, when he used to play in Bedford, and I played in a ska band called the Unmarked Cars. Oh, what a wild time that is. Now, 20 years later, we reconnected via Instagram (of course) and our love of running (he’s a big inspiration for me). So now that An Albatross has a new album out, holy shit, I had to devour it in a heart beat.
Noveller is Sarah Lipstate, creating some great cinematic sonic landscapes.
I busted out the iPad and Procreate and decided to finally make some “branding” for my Bandcamp Roulette videos (you can see the evolution of those in this YouTube Playlist). I’m super happy with how it turned out, and stoked to be getting back to creating and producing more.
Since I dig through Bandcamp quite a bit, some gems don’t make it into these videos, so here’s some goodies from the past week.
This is from a video game soundtrack from back in 2018 apparently. While I’m not much of a gamer these days, I’ve always appreciated the soundtracks to the games, even the ones I’ve never heard of.
I’m always a fan of heavy, dark, and pissed off music, and this fantastically works.
Sometimes I’m in the mood for something loose and free, and this 2018 release fits the bill. The menacing bass tones and vibe kill me every step of the way.
I wrote this in a recent Metal Bandcamp Gift Club newsletter:
I don’t know when I’ll be able to thumb through any used CD bins, or be surprised by an opening band on a Tuesday night. At the moment everything is laid out in front of our face. There’s no surprises.
That’s why each birthday wishlist is hidden, a mystery! No mention in the subject of the email of whose birthday it is, and you can’t mouse-over to find out who it is, either. Do you dare click?!
When can we dig through a friend’s record collection again? Well, not today, probably. But today you can scroll through someone’s Bandcamp wishlist (today’s has over 800 releases), or their collection, and probably find something new, or a release you forgot about.
It’s not the same, but it’s the best we can do for now, I guess. Thank you for clicking.
In those newsletters, the link to someone’s wishlist doesn’t mention their name, and mousing over the link only reveals a Mailchimp-created tracking link (at least in your inbox, on your desktop), so you still don’t know who it is. You have to click.
In this world of click bait headlines, it’s hard to trust any link. Thankfully the Metal Bandcamp Gift Club newsletter has a click-per-unique open of like 60%.
Build trust by giving, serving, filling.
Metal Bandcamp Gift Club exists to funnel traffic direct to people’s Bandcamp wishlists, where people buy albums as gifts for their birthday. In 2020. This is driving album sales, and putting money into the pockets of artists. It’s a wonderful thing.