I Switched From Spotify To Apple Music. Was It Worth It?
Spotify is the obvious choice for anyone looking for a music streaming service. However, the company often annoys me despite their undeniably great product. So I tried to switch it up.
About two years ago, I wrote a piece about Spotify and the power of their product regarding design, where I compared the streaming primus with Apple Music. The conclusion then was easy: Spotify has simply the better experience.
However great the product might be, I still dislike the company. The decisions they have made in recent times are at odds with my values as a music enthusiast. Their payout model is abysmal. And yet, as someone writing about music and curating playlists, there is no way around the green goblin.
Also, as a music writer, I already pay for many music subscriptions: Spotify Duo (for my personal and Negative White’s account), Apple Music, and YouTube Music (bundled in with YouTube Premium). They amount to about $60 monthly—not an insignificant amount.
Having this arsenal of streaming services at hand, I once again started the journey of switching my primary service: Goodbye Spotify, hello Apple Music. It has been about a month, and here is what I learned.
Edition #104
Today, we recommend the new songs by Far Coast, Mary Middlefield, Kate Birch, Ziska Staubli, and Gaspard Sommer.
In today's edition you will encounter a purely Swiss line-up of exceptional indie music from across the stylistic board. The dangerous indie-folk-inspired song by Mary Middlefield, the smooth warmth by Ziska Staubli and Far Coast, the experimental excellence of Kate Birch, and the glooming darkness flowing from Walter Frosch.
Mary Middlefield – Heart's Desire
Heart's Desire might sound like a love song but is the opposite. In an impressive composition, the latest release by Swiss singer-songwriter Mary Middlefield tells a haunting story of statutory rape and manipulative relationships. The song sounds astoundingly beautiful but never loses its slightly uncomfortable, dangerous ambiance. A stunning work.
Far Coast – Never Been The Person
Far Coast evokes a warm and smooth feeling with the new single, Never Been The Person, a song about perfection and failure to reach it. While featuring some 90s nostalgia, pumped through the track's veins by the drum machine, Never Been The Person brings a dreamy atmosphere to the table—somewhere between psychedelia and disco.
Kate Birch – Welcome To Paradise
A wonderous indietronica piece by Kate Birch awaits. Welcome To Paradise is an ode to the beauty of nature, the comforting connection it provides. The violin mimics birds chirping, the experimental composition flows and grows to multi-layered density that might overwhelm at first, but shows its beauty after like an opening flower.
Ziska Staubli – time for me
With a funky bassline in her debut single, Swiss producer Ziska Staubli reminds us in the most pleasing way to take time and figure out «who I'm gonna be». The short track sprays out glowing rays of disco beats in slow motion. The song time for me sounds effortlessly cool—and is a tasty appetizer for what we can expect by Staubli.
Walter Frosch – False Prophets
False Prophets might very well be the darkest, most dangerous sounding track by Swiss synthpop duo Walter Frosch. Slowed down, the song creeps yet still builds their signature wall of sound. After NYE, the new single again hints at an exciting development towards almost hip-hop-styled beats while maintaining a goth atmosphere.
You can listen to today's curation on selected streaming services:
Spotify • Apple Music • YouTube Music • Bandcamp
Exploring The Fascination For Moyka
Since her debut single in 2019, the author has repeatedly written about Norwegian pop artist Moyka but has never succeeded in scratching more than the surface.
Almost exactly five years ago, Moyka entered my life and playlists and never really left. In March 2019, the then-21-year-old Monika Engeseth released her debut single, Colder. After that, the Norwegian artist became a frequent subject in Negative White's reporting: eight times I featured one of her tracks in Weekly5—more than any other artists.
But in all those years, I have never been able to accurately capture my fascination for Moyka in words. Rereading the short reviews, they only scratch on the outer layers, unable to crack the code and bust open the door to reveal the answer.
The blame may fall onto the music itself: Moyka produces pop music, and that is precisely the opposite of what I usually love. However, between these addictively catchy melodies, there is a pinch of melancholy, even sadness, and a cinematic quality to her songs, coated with a Nordic frost.
Zurich, 8th of February. The day has finally come: It is Moyka's first concert in Switzerland. Marking the end of her first European tour, she would bring her sophomore album, Movies, Cars & Heartbreak (2023), to the stage.
After writing concert reviews for years, I still struggle, even dislike them—especially if the show was great. I believe people have a lifetime quota for superlatives in writing, and I have already used mine. You try to capture the vibe, and sometimes you succeed. But that is more often pure luck. A writer's happy accident.
And there is this other danger lurking: Anticipation. For months, I have been looking forward to the show; for years, I listened to the songs. What if the concert crumbles under the weight of imaginary expectations?
But I had a mission that night: Find the deeper roots of my fascination for Moyka.
There is something inherently unique about small-scale concerts. Around 30 people found their way to X-Tra Musikcafé that night—a relatively small crowd barely filling half of the already tiny venue. But each and every one wanted to be there.
The show started. Already Gone. Already goosebumps.
The evening defied all challenges: The sound, light, and setlist were exceptional. It lasted an hour, but somehow, Moyka's meandering voice took us into a different dimension where time did not exist. Framed by two men on synthesisers and drums, she delivered a mesmerising, otherworldly vocal performance.
However, it was in between the songs that the pieces finally fell into place. «This evening is a space for big emotions,» Moyka told the audience.
Understanding Moyka means appreciating the duality of music and its inspiration. The Nordic crystalline sound of her ethereal pop creates a reserved distance. These angelic hymns seem larger-than-life, reducing one's existence to a tiny spec of dust in eternity. But underneath this cathedral-sized sound, undiluted emotion builds the foundation and pulls you back into the most profound definition of being human.
Once this connection bridges the gap, it all makes sense: We are capable of fiery love, despairing sadness, and profound gratitude. Moyka sounds large because our feelings are overwhelming. Her music becomes a catalyst for recognising and accepting these moments of emotional excessiveness.
I know you're holding your guard up
And I know that you think you're bad luck
But darling, that's not who you are to me
—Moyka - Rear View
Moyka led by example: There was no filter, no stage persona clouding her authenticity. She not only accepted but invited and embraced vulnerability. She spread pure joy. When two people in the audience kissed, her eyes lit up so bright they could convert the devil to a saint.
And we followed. We danced in tender escalation, closed our eyes and dreamed, revelled in delight, escaped reality and received catharsis.
Exclusive Premiere: The Conformists – Mr. Biron
St. Louis is shouting: The Conformists celebrate the premiere of their new single, «Mr. Biron», and challenge us to answer an age-old question.
What is considered good music? Is it a complex composition or instrumental sophistication? Or an addictive melody? Maybe it is just something that defies expectations and provides a new perspective on sound.
Listening to Mr. Biron ultimately ends up with the question: What is considered good music? Mostly because The Conformists, self-proclaimed «rock failures» from St. Louis, Missouri, sound exactly like that: failures.
On the other hand, the 1996-founded trio simply picks up the pieces left by the punks back in the late 70s and early 80s and follows through to the extreme: rebelling against pop conformity, punching glossy, hyper-produced sound in the balls.
Mr. Biron, the penultimate song on Midwestless—the band's fifth album, coming on April 5—is confusing, even insulting to the close-minded, melody-addicted souls. The track celebrates its Swiss premiere here on Negative White today:
The Conformists are simultaneously overly simplistic and surprisingly intricate. Mr. Biron is angry, aggressive, raw—and often exceptionally weird. It is experimental punk rock jazz. The instruments diverge and converge, completely disconnected, only to collide again in glimpses of brilliance.
So, is Mr. Biron by The Conformists good music? Well, that is up to you. But one thing is sure: It is definitely exciting music for its bold approach to breaking conventions.
m4music Festival 2024: New Acts Announced
The m4music Festival takes place from March 22 to March 23 in Zurich. Here are the new acts confirmed to take the stage.
The m4music Festival is one of the most significant events in Switzerland's music industry. During two days, the festival provides a range of panels, discussions, and workshops and a wide variety of up-and-coming artists from around the globe.
New Artists In The Line-up
Today, the m4music announced additional acts which complement the already communicated line-up. Here are the latest announcements:
Friday, March 22nd
- Aime Simone
- Éna Vera
- Leila
- Mount Jacinto
- Natascha Polké
- Polarbæren
Saturday, March 23rd
- Edb
- Nathalie Fröhlich
- Wa22ermann
- Sam Quealy
On November 29, 2023, m4music announced the first round of acts in their line-up. Here are all the acts you can expect alongside our personal recommendations within the line-up:
Friday, March 22nd
- Noemi Beza
- Mary Middlefield [Negative White recommended]
- Berq
- Deadletter [Negative White recommended]
- Siren of Lesbos
- Bipolar Feminin
- Dave Okumu & The Seven Generations
- Benjamin Amaru
- Yunè Pinku
- Fulmine
- Teezo Touchdown
- Sofia Kourtesis live
- UTO
Saturday, March 23rd
- Moonpools [Negative White recommended]
- Obliecht
- Hannah Jadagu [Negative White recommended]
- Ray Laurél
- BARON.E [Negative White recommended]
- EKKSTACY
- Julia Alexa
- Say She She
- Steintor Herrenchor
- Bibiza
- Barry Can't Swim live
- Nnavy
Edition #103
Today, we recommend the new songs by Moonpools, Evelinn Trouble, Tom Silkman, Chiara Dubey, and Laura Carbone.
Today's Weekly5 coincidentally highlight Switzerland's exceptional indie music landscape—at least for the majority of the selection. Moonpools are back with a breathtaking single, and Evelinn Trouble proves again her sheer talent. Tom Silkman invites us to relax, Chiara Dubey to reflect, and Laura Carbone prompts optimism.
Moonpools – Never Mind
With songs like Damaged Goods or Feel, the Swiss band Moonpools made a splash in the local indie scene. With the announcement of their upcoming EP, Hide and Seek, the quintet also releases a first and exceptional teaser.
Their new single, Never Mind, is an astonishing and densely layered web of guitar work—somehow simultaneously dragging downwards and heavy but also flowing and dreamy. Moonpools perfectly synthesise their dream pop melodies with a shoegaze atmosphere, especially the song's melody floating right in between melancholy and anticipation. What an utterly great track!
Evelinn Trouble – Started A Fire
Switzerland's Evelinn Trouble has evolved over the years to a powerhouse of sophisticated rock songwriting. Her latest single, Started A Fire, is yet another track that underlines this hypothesis.
In Started A Fire, Evelinn Trouble's voice shines as the driving force behind the song. The sombre cellos create a gritty and dark atmosphere that builds from an intimate beginning to an overwhelming finale. Despite the gentler moments, the song packs a punch and showcases Evelinn Trouble's emotive vocal range.
Tom Silkman – Falling On Feathers
With Yet No Yokai, Thomas Seidmann creates intriguing psychedelic rock. Now, the Swiss artist has released a new single with his solo project Tom Silkman. Falling On Feathers still has a slight psychedelic note.
Seidmann's hommage to making music wraps its psych vibe into a sonic two-tone dress of indie-folk and indie-rock. The result sounds warm, comfortable, and even relaxed, perfect for a summer road trip. Falling On Feathers also reminds me a bit of Mr. E's Beautiful Blues by the Eels.
Chiara Dubey – How to Save Myself
«How to Save Myself is about an atoxic place I have been, where I loved beyond my limits, gave all I had to offer to someone who didn’t see me,» explains Chiara Dubey. The song is an eclectic neo-classical pop epos.
Dubey's soft voice is complemented with a vibrant, textured composition, mixing electronic layers and strings. The atmospheric and ambient-like sound also juxtaposes the lyrics' vulnerability. The song displays Dubey's stunning range—a highly intimate but also strange journey to the deepest corners of the self.
Laura Carbone – The Good
With The Good, the German-Italian artist Laura Carbone released a hymn to hope and optimism. And again, Carbone pulls off the perfect blend of down-to-earth indie-folk and opulent composition.
But within Carbone's songs, there always shimmers this sparkle of timelessness. You can feel the passion in every little sound; a sliver of melancholia is present, evoked by her chamber-pop tendencies. The Good is again right down in this sweet spot—a beautifully crafted, flowing song to revel.
You can listen to today's curation on selected streaming services:
Spotify • Apple Music • YouTube Music • Bandcamp
Universal Music Group Pulls Their Music Catalogue From TikTok
The companies failed to come to an agreement as their existing contract ends in January.
The Chinese social media company TikTok published an aggressive-sounding statement: «It is sad and disappointing that Universal Music Group has put their own greed above the interests of their artists and songwriters.»
It is the answer to Universal Music Group's (UMG) announcement that they will pull their entire music catalogue from the platform—including artists like Taylor Swift, Elton John, or Billie Eilish. It is the result of an ending contract with no follow-up agreement between UMG and TikTok
UMG also published an open letter to the artist and songwriter community, revealing their position:
With respect to the issue of artist and songwriter compensation, TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay.
Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue.
Another concern on UMG's part is the rise of AI-generated music on the platform.
UMG also states that TikTok «attempted to bully us into accepting a deal worth less than the previous deal.» According to the major label, TikTok tried to intimitate them by «selectively removing the music of certain of our developing artists, while keeping on the platform our audience-driving global stars.»
Further, UMG continues: «TikTok’s tactics are obvious: use its platform power to hurt vulnerable artists and try to intimidate us into conceding to a bad deal that undervalues music and shortchanges artists and songwriters as well as their fans.»
In response, TikTok argues against what they deem to be «Universal's false narrative and rhetoric» and claim that they have «been able to reach artist-first agreements with every other label and publisher. Clearly, Universal's self-serving actions are not in the best interests of artists, songwriters and fans.»
Exclusive Premiere: Karim G – Moving On
«Moving On», the new single by multi-instrumentalist Karim G celebrates its premiere with Negative White today. It is a stunning track.
From the start, there is an intriguing slowness to Moving On as if Karim G just refuses to accept the inevitable. And yet, there is also a peaceful, almost lovely melody, which indicates quite the opposite: acceptance.
Karim Gandouli is a phenomenon. A multi-instrumentalist who began his project, Karim G, in Spring 2020 during the first wave of the pandemic as an emotional valve. Gandouli writes and records everything independently, yet the band remains a crucial collaborative effort to bring his songs onto the stage. But first and foremost, the only 21-year-old artist sounds as if he has written and performed music for decades by now.
In May 2022, Karim G released 2o, a brooding volcano of creativity, mixing different languages and facets, held together by a raw yet refined sound that takes the best of pop and shoegaze.
This mesmerizing fusion is omnipresent in Moving On, an ambassador for Karim G's upcoming opus, Echoes of Ephemera, which is officially released tomorrow.
I feel like moving on
The past is like a stone
That makes me drown and sink
If I could only think
Of something less absurd
To make sure that I’m heard
For time flies by so fast
Why cannot one thing last?
The song starts simply, and in some sense, remains that way, even if it Karim G builds the composition up to a towering, monumental catharsis towards the end. But simplicity is no insult here, rather it represents a resourcefulness, a cunning effectiveness in the way Moving On operates.
Lyrically, Karim G leaves room for interpretation: Is it a lost love? Or the death of a close person? And he leaves room to contemplate over the song's message; nothing that punches you in the face with explicity, more tranquil invitation to reflect in this eclectic soundscape. And maybe, just maybe, find resolve.
For a while you made me smile
Now I know, you had to go
It is highly refreshing to hear a song like Moving On. A song that takes its time, does not rush to deliver its message, does not stuff its composition with unnecessary frippery. Moving On is a true gem of artistic thought and execution, a triumphant hymn to expression over conformity.
