Welcome to the latest issue of Late Night Wallflower’s newest column, Record (Re)Collection. This feature is about sharing the stories that you love, connected to the records that got you through those times. First kisses, road trips, fist fights, best friends, all that jazz. Being as into music as we all are, there’s always a soundtrack going.

We have a contribution from Tessa, a writer for movie review site Spill.com and friend of the Late Night Wallflower. She shares some thoughts on Fugazi’s last full-length The Argument. Check it out, and remember, if you’ve got an opinion or story on your favorite record and the memories it represents to you, let us know!

Check it after the jump.

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Wired.com has an interesting story listing some of the most elaborate and infamous attempts by the major labels at preventing music piracy over the years.  Some of the tactics are quite inventive but ultimately pretty laughable.  If I had to do some of that shit for a CD to review, I’d probably pirate it just out of spite.  Although, I feel bad that some poor intern probably had to sit there and superglue a dozen or more Discmans closed after putting a copy in and then ship them out.  

Gawker had an interesting article up the other day regarding singer-songwriter Greg Laswell. He identifies himself as an “indie artist” even though he uses a variety of major corporations to get his music out to the masses. After all is said and done, can he really call himself “indie?”

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Word on the street is that major label group EMI is planning to cut its connections to both the IFPI (International Federation of the Phonographic Industry) as well as record-industry mainstay the RIAA (Recording Industry Association of America) over what it’s seeing as nothing more than a massive drain of money in a loosing battle against downloading and music piracy.

The IFPI and RIAA are, for those of you who don’t know, essentially the enforcing arm of the Big 4 in the recording industry (such as EMI) though they both officially claim to be representing the music industry in the US in general. Both groups receive about $130 million apiece a year from the labels in funding, and of course, that gets us results like the RIAA suing children, comatose patients, and the elderly who let their kids use their computers.

It’s an interesting industry event because it represents, among other things, an admission in the total fuckup-ery (yes, that is a real word…at least for now) of the state of the music industry by EMI, who incidentally were recently the first label to release music digitally through iTunes without DRM (Digital Rights Management, software and other lovelies built into the music file to prevent it being shared once you download it, or being transferred somewhere else like onto a blank CD-R).

So what exactly does this all mean? Well, it’s a step. You have to wonder what the face of buying music in the US (and frankly, the world in general thanks to the internet) is now going to look like. The issues over the RIAA suing people for up to $1,000 a downloaded song and people simply not buying music because of the effects that new DRM software will have on their computers at home are now far more flexible than they were four or five years ago when the RIAA began its legal crusade against individual users. Reuters is pointing out that the answer is plain and simple.

Money. FAT CASH! Besides the obvious public relations nightmares that these sorts of individual cases bring onto the major-label record industry, they quite frankly, are literally not worth it. Jennifer Pariser, Sony BMG’s head of litigation recently admitted during a court case (Capitol Records v. Jammie Thomas) going on in Duluth, Minnesota that these sorts of suits cost the industry money because lawsuits are not income. They are not meant to reap literal repayment, but rather serve as punitive damage to the person sued.

Which basically means that it’s the RIAA trying to hurt you rather than get back what it “lost. ” Classy, right? I know, I can  barely contain my admiration either, its’ just overflowing here.

Thanks to Reuters, Punknews.org, and ARS Technica.

Ever get the feeling you’re in a dream and everyone can see you standing there in your underwear as you munch on smelts and banana ice cream? No? OK then, neither do I, forget I mentioned anything.

One of the oddest dichotomies of independent music is “I saw them back in the day” syndrome. It’s a highly unstable contagion that generally first hits you when you realize that your friends’ band is more than just say, a shitty 7 Seconds or Bikini Kill tribute like everything else in your dead-end local music scene. They might actually have something there. You stumble across an unknown opening band at a show or in a bar one night when your initial interest in the evening is drinking until your face melts off. And they’re good. Like, real good. You can’t believe it, even though you don’t know the words you’re still tapping your foot or, in some cases, throwing yourself around on the floor, slamming around like crazy over how great this band is.
You get a copy of their demo. Maybe a shirt as well. See them whenever you can, whenever they play. It’s your band; they’ve got that one song that you totally know what it’s about because hey, you guys run in similar circles or whatever, how can you not? Regardless, they slowly become the best band you’ve heard in ages. And quite frankly, there’s nowhere to go but up. And this, mes amis, is where the problems start.

You know what I mean, and don’t deny that you haven’t done it either.

Too often you’ll see it. He or she is the person at the back of the room or at the bar loudly proclaiming to anyone who’s stupid enough to listen that (s)he remembers them BACK IN THE DAY WHEN THEY WERE GOOD. “You mean back in the day when only you knew about them, right?”

Exactly.

Has the dream started yet? No? Never mind then, forget I mentioned that, OK?

Nowadays with the almost overflow of reunions that seem to be moving in as the “cool” thing to do (some of which I do approve of, by the way, like Lifetime and American Steel), there are even more of these assholes around. And of course, who can forget the Internet? Any message board worth it’s salt will have at least one long-time poster who will insistently remind anyone who bothers to read about “seeing Rage Against The Machine before they went corporate and sold out, man” or “hanging out and seeing the Bouncing Souls play in a basement in Jersey when they were starting out.”

God, I fucking hate that sort of shit.

Anyway, like I said, it’s a dichotomy. Why, you might ask? After all, punks have always been a fickle and shallow bunch. Same with indie kids, except they’re just not as angry about being called on it like punk kids. Why should I be surprised?

First off, I’m not surprised, so back off. Secondly, it makes me think. When I was younger all I ever wanted was to have friends who understood me, who had the same tastes in books and movies and MUSIC. And every time I had a chance I’d try to explain my favorite bands to other people. The impression that I’ve always gotten from the truly honest and true believer is that music you encounter and know is meant to be shared.

What good is a band that’s done so much for you and could possibly do the same thing for someone else, when they’re in the same town playing the same basements to the same group of people? What good is keeping something like that contained against its will? That’s not to say that there aren’t bands out there content to simply play and have fun in their own communities, not really wanting to become part of a larger industry because they feel content with where they currently are. But that’s not everyone, which is something that I don’t think people realize. With their perverted and twisted definitions of “community,” instead you get whole tracts of people decrying even an ounce of success simply because they feel left out.

It generally baffles me. Community, at least in 2007, should have absconded from the definitions of physical boundaries within a geographic area a long time ago. I encounter new bands all the time, a lot of them up-and-coming. If I like them, I’ll mention them any chance I get. To my friends, my family (who don’t really care), to total strangers on the streets, at shows, and on the Internet over distances I can’t cover on the subway.

Now, I’d like to clarify that I’m not advocating the mindless acceptance of every band that’s out there. I’ll be the first to admit that I’m a bit of prick in terms of what I like and what I’ll insult to within an inch of sanity. There are a lot of bands out there that, sad to admit, would take advantage of the “reunion” craze for a quick cash buzz or an attempt to try and “solidify” their so-called legacy of having been just one of many shit bands out there. Of course not to mention all those bands that’ll blow off their original fan base the instant they smell an inkling of success.

But these aren’t enough reasons to totally give up hope. To cast aside your idealism and revel in the cynicism of “back in the day” syndrome. Trust me, I’ve seen some bad cases and the treatment for curing it isn’t pretty.

It involves lots of sing-alongs and sitting in a chair getting electroshock while wearing headphones. And no one wants that, no matter how much fun you had as a kid sticking your finger in a wall socket.