Turning your Spotify playlist into a record collection, and why that could be really disruptive

Quick summary

I’ve long wanted to make it easy to buy the music of artists I like, not least because they get better £pay on physical, but when (not if) online services de-list things and hard drives break, they don’t vanish forever.

So, here’s a first experiment: pulling out one of my annual playlists into a ‘catalogue/shop window’ that links to various retailers, CD and Vinyl, and Bandcamp if that exists for the artist.

This is only 2025 for now, while I work out some of the bugs. https://dgen.net/w/playlists/2025.html

Update: now live at https://secondpress.club/p/5lx398

Some reflections (over the past three decades)

This is an example of shifting power dynamics in consumption, engagement and how we can help deliver open markets that work for everyone. I’ve also noticed that the music sector is often an early adopter/trailblazer for broader societal shifts.

Music streaming has solved discovery: a near-infinite library at your fingertips, finding new artists, forgotten classics and new connections has never been easier.

However, there’s an issue buried in that convenience: you don’t really ‘have’ any of it. If a label dispute pulls an album, or you cancel your subscription, your carefully curated listening history evaporates. This can also apply to your ‘downloads’ (even with good hard drives and cloud services, we still lose our digital stuff).

I’ve long thought about what it actually means to have a music collection. Back in the day (1998!) I put Virgin Megastores online: all 60,000 products (which is how may CDs were in a typical store), and designed a service with a colleague, Rick Glanville, where we could sell a subscription to digital downloads and give away a tiny MP3 player as part of the package. We even got Cambridge Electronics to make a little postage-stamp sized player. [yes, these pre-dated the iPod, iPod Shuffle and Spotify by many, many years].

While on that journey it struck me that we were in the process of reducing ‘music’ to a search box, killing most of the actual experience outside of listening, destroying record stores, and as humans we were likely to eventually push back on something so techno-reductionist.

Many of the things we enjoy about music listening are physical: this has played out in the long-term success of stores like Rough Trade, and the resurgence of vinyl (even cassettes are back!). At the time, as a bit of rebellion, I also released my own music as a 19kg solid granite MP3 player and radio transmitter.

In one of my many roles as CEO of Consolidated Independent, we helped get over 20% of the world’s music online: millions of tracks from thousands of labels distributed to hundreds of retailers and services. Some of the labels were terrified of the web destroying their business due to piracy, but the whole system had to embrace it, including sorting out commercial realities. Sadly some of those realities massively skewed market value to ‘the big guys’, including ludicrous statements from some (let’s say ‘commercial’) CEOs that if artists wanted more money they should increase their output (as if art and soup cans are the same thing ).

Don’t get me wrong, I love the fact we have vast access to new music, and listen to a very diverse range of music. And, it creates different challenges for us as consumers and music fans. Now we can have more agency in balancing out the way the music market works – the cathedrals are not going anywhere, but the bazaar has some new spaces.

What we can now do

One of the things I missed when listening was album art, and a few years back I made a 12″ sized screen to pull down and display whatever I’m playing on Spotify (AI helped me code this, and I would never have got around to it without that help).

Building things just for me is fun, and…

Interestingly, with just a few AI prompts and some lightweight code, I created a tool that takes my Spotify playlist, cross-references every album against Discogs, and produced a personalised catalogue.

Based on the individual tracks I’d added to my annual playlist (which I have going back 8 years now), it looks up the album that it was on. It then works out which are available on CD and Vinyl (or digital–only), where to find them, and who sells them. And, not ‘just Amazon’, but others: Rough Trade, HMV and directly linking back to the artist’s Bandcamp. This is just the start of and idea, and took less than half a day to create it as a prototype.

This makes me wonder about a quiet promise of AI that doesn’t get talked about so much: enabling each of us to build the world we’d like. This will disrupt the big platforms (Spotify, Amazon, Apple) who have invested billions in making their aggregated experience frictionless and hard to leave. They’re using AI to make them more personalised and ‘sticky’. We can do the same for ourselves.

The same AI tools they’re racing to build are equally available to you and me. We can now spin up personalised services—in an afternoon—that would have taken a dedicated development team a decade ago.

So, this is a prototype of a custom, personalised catalogue and record-buying assistant that can be built around your taste, routing money to your preferred retailers that you can share with your friends. It is a small but real act of reclaiming your relationship with artists, and their music, from the big platforms.

We can help bridge the gaps and connect the smaller services together (back to the original vision of the web).

And, looking forward, we can start blending, sharing, cross-connecting using federated services like Mastodon and then connecting people, places, gigs, merch, in a way that could actually help everyone.

Isn’t that exciting!?

Constellator Anna Versteeg has launched her new project: https://bbookproject.com

“a collaboration between medics, scientists, researchers, writers, artists, designers and the general public, exploring science and culture, the empirical and the human, to compile a people centered piece of work to create public awareness & debate around the breast, to question beliefs and prejudices, to share information, promote diversity (no breast is the same), encourage confidence and a positive change to the many troubling perceptions towards breasts.”

I’ve joined the Advisory Board of DECODE, which is exploring tools that put individuals in control of whether they keep their personal data private or share it for the public good.

https://www.decodeproject.eu/

ROYAL ASTRONOMICAL SOCIETY PRESS RELEASE

RAS PR 17/30 (NAM 13)

3^rd July 2017

A project that explores whether there is a musical equivalent to the curvature of spacetime will be presented on Thursday 6^th July by Gavin Starks at the National Astronomy Meeting at the University of Hull.

Starks, who has a background in radio astronomy and electronic music, been working on developing an ‘acoustic cosmology’ for more than 20 years in collaboration with Prof Andy Newsam of Liverpool John Moores University. Their aim is to test whether mathematical relationships that describe cosmology and quantum mechanics can be applied to a sonic universe, or ‘soniverse’.

Starks explains: “If we look at the way that music has evolved from mediaeval plainsong to the algorithms that generate current chart-hits, we can see parallels developing in the way we describe music and descriptions of our perception of the universe. We can now create new types of sound from scratch – electronic sounds that simply couldn’t have existed before. It leads us to think about a digital sound world that we can’t enter, because it physically doesn’t exist. The question is – what next? 

“We are starting to develop completely new forms of manipulating the microstructure of sound, as well as the macroenvironment in which we experience it. This raises questions about whether we can create a soniverse based on a set of fundamental equations, in the same way that we can create mathematical models of the universe.”

Starting with a single wavelength ‘sonon’, a fundamental particle in the soniverse equivalent to a photon, Starks has attempted to define its properties and the physics that may apply to it. The project’s initial model of ‘wave-time’ has three independent dimensions: the individual sonon wavelength, instrument time (the duration that an individual instrument plays) and performance time (duration equal to the length of an individual piece).

Some of the relationships explored to date are causal (i.e. the physics is consistent within the soniverse) and some are aesthetic (i.e. they describe a subjective musical construct). Many have direct parallels in the physical universe. For example, the listener in the soniverse is analogous to the observer in quantum mechanics: a sonon is only rendered musical or not when it is heard.  A temporal gravity allows the clustering of sonons to create rhythms or musical phrases. Wave-time can be bent by clusters of sonons, in the same way that gravity distorts space-time in the universe.

Starks believes that bringing together cutting-edge science and understanding of musical structure creates the opportunity for discovery: “There’s a long common history between physics and music, for instance people built columns in cathedrals at a height linked to the resonant frequency, even before they understood the nature of pressure dynamics. It’s a relatively recent phenomenon that art and science are treated as different disciplines. By bringing them back together, and creating a common language, we can find different ways of interpreting and thinking about both music and cosmology.”

Newsam adds: “As astronomers, our experience of the universe is essentially visual – images, graphs, and so on. With the soniverse, we hope to create a new way to appreciate the cosmos, using our instinctive grasp of music and tone to explore relationships between different objects and cosmological models.”

Media contacts

NAM press office

Robert Massey, Royal Astronomical Society, rm@ras.org.uk

Anita Heward, Royal Astronomical Society, anitaheward@btinternet.com

Morgan Hollis, Royal Astronomical Society, mh@ras.org.uk

Science contacts

Gavin Starks, Dgen, binarydust.org, gavin@dgen.net, @agentGav

Andy Newsam, Professor of Astronomy Education and Engagement, Director of the National Schools’ Observatory, Liverpool John Moores University, andy@schoolsobservatory.org.uk

Multimedia

Blog post with embedded player, video and more information: http://www.binarydust.org/2017/05/18/listen-to-the-radio-cube-of-the-antennae-galaxies/ 

This data-cube is based on an optical image of the “Antennae Galaxies” colliding, as taken by the Hubble Space Telescope and a radio-image taken by ALMA. Each pixel actually represents a spectrum of frequencies across the electromagnetic radio spectrum

The data-cube works in two ways.

• Firstly, the radio frequencies have been transformed into visible colours, so you can see a slice of the cube.
• Secondly, the electromagnetic spectrum has been transformed into an acoustic spectrum. Remember light≠sound: the frequency of electromagnetic radiation (‘light’) has been transformed into a frequency of pressure wave (sound).

By clicking the image and moving your cursor around you can “play” a spectrum of the colliding galaxies. Underneath, you can see a visual representation of the frequency spectrum. Spend some time moving slowly around the red(redshifted) areas – there is a surprising richness to the harmonics for such a simple sonification.

Note: the data-cube is 8MB and could take between 20 seconds to several minutes to appear if you are on a slow connection.

Audio

Inspired by the discovery of the first double-pulsar system (ranked as the 6th most important scientific discovery of 2004), and specially written to celebrate the 10th anniversary of RT32 – a reclaimed 32m Radio Telescope in the middle of the Latvian forests (the VIRAC Radio Telescope in Irbene) brought to life over a decade, after being trashed by the Soviet military, as the only radio telescope in the world that is dedicated to both science and art. 

The full name of the piece is ds² – series 1 (PSR J0737-3039B) http://www.binarydust.org/2010/01/04/ds2-series-1/ 

Further information:

Further information on the project can be found at: http://www.binarydust.org/2017/01/27/escape-into-the-multiverse/

Notes for editors

Running from 2 to 7 July, the RAS National Astronomy Meeting 2017 (NAM 2017, http://nam2017.org) takes place this year at the University of Hull. NAM 2017 will bring together around 500 space scientists and astronomers to discuss the latest research in their respective fields. The conference is principally sponsored by the Royal Astronomical Society and the Science and Technology Facilities Council.

T: http://twitter.com/rasnam2017

The Royal Astronomical Society (RAS, www.ras.org.uk), founded in 1820, encourages and promotes the study of astronomy, solar-system science, geophysics and closely related branches of science. The RAS organises scientific meetings, publishes international research and review journals, recognises outstanding achievements by the award of medals and prizes, maintains an extensive library, supports education through grants and outreach activities and represents UK astronomy nationally and internationally. Its more than 4000 members (Fellows), a third based overseas, include scientific researchers in universities, observatories and laboratories as well as historians of astronomy and others.

T: https://twitter.com/royalastrosoc

F: https://facebook.com/royalastrosoc

The Science and Technology Facilities Council (STFC, www.stfc.ac.uk) is keeping the UK at the forefront of international science and has a broad science portfolio and works with the academic and industrial communities to share its expertise in materials science, space and ground-based astronomy technologies, laser science, microelectronics, wafer scale manufacturing, particle and nuclear physics, alternative energy production, radio communications and radar.

STFC’s Astronomy and Space Science programme provides support for a wide range of facilities, research groups and individuals in order to investigate some of the highest priority questions in astrophysics, cosmology and solar system science. STFC’s astronomy and space science programme is delivered through grant funding for research activities, and also through support of technical activities at STFC’s UK Astronomy Technology Centre and RAL Space at the Rutherford Appleton Laboratory. STFC also supports UK astronomy through the international European Southern Observatory.

T: https://twitter.com/stfc_matters 

Thinking about the sea

• http://www.nytimes.com/2015/08/02/sunday-review/protecting-the-untamed-seas.html

and webcasting

• https://dgen.net/blog/ms-hans

and music

• http://rinse.fm
• http://store.darkclover.ro/album/sabo
• http://tidal.lurk.org
• http://lysuc888.blogspot.co.uk
• http://www.aec.at/aeblog/en/2015/08/03/rhythmus-als-dna-der-musik

and long playing things

• http://longplayer.org/about/

and cosmology/topology

• http://www.binarydust.org/2012/09/21/evolving-language
• http://www.nersc.gov/news-publications/nersc-news/science-news/2014/simulations-reveal-unusual-death-for-ancient-stars

and data

• http://theodi.org/who-owns-our-data-infrastructure

Some interesting Venn diagrams emerging.

Well, it’s been a while since I posted here (Twitter still winning), but here’s a long overdue synopsis of some of the things my first startup, Tornado, created. I’ll be adding to this from time-to-time as I get in touch with some of the old team.

Well, it’s taken a little while to pull together, but Binary Dust is now live. Hope you enjoy.

wow. we did it. we built and launched it on time. to the minute, as they walked off stage…

It finally (soft/beta) launched with a couple of “people of fame” (Orlando Bloom and Kate Bosworth). After years of planning, we ended up getting the funding “weeks” ago and built everything online in 4 weeks from scratch.

http://www.global-cool.com/

So, the 20 hour days will now cease and my time will now be occupied with marginally less (or more) busy days dealing with the ongoing development of the project.

A huge thanks to everyone on the web development team, who have proved (again) that we can actually achieve impossible tasks.

Special thank you to;

Diggory, Chris, Joel, Francis, Anna, Andy, Andrew, Peter, Enrico, AdrianP, Phil, LeeA, Joanna, Gage, LeeM, Rakesh, Matt, Dan, PaulH, PaulM, David, Richard, John, Athol, Steve, Ashley, Marc, Ben, Tom, Chris, Tara, Laura, Fahaad, AdrianH, Matt, MySociety.org (Pledgebank.com), VTR, Jerelang, Makeni, Counting Thoughts.

I’m absolutely delighted that we’ve been able to implement Creative Commons and GPL licensing as a core part of the project, integrate with Pledgebank (which is superb!)

I’ve got the responsibility of being “head of internet” which seems to translate into more and more every time, so if you have any ideas about what you think we should add, tell me.

I want to build this into The Place where you manage your carbon lifestyle and make a difference to the world.

I’ll write up some more about *how the hell we did that* soon … but first, sleep….

Oh, but did I mention we launched in English and Japanese?