Are Britain’s bands overexposed in a YouTube universe?

From The Guardian:

The decline in record sales in recent years means record companies are less inclined to put long-term investment into bands, which means the days of huge advances are long gone, and the pressure on those bands who do sign a deal with a major label to deliver a return quickly is increased. The insatiable demand from media and blogs to be the first to uncover the latest new thing only accelerates that pace. With little money to be made for most bands from record sales, there is also a pressure to create a profile as soon as possible that will help them sell tickets for live gigs, the increasingly important revenue stream.

If the reporting of Wu Lyf’s split is disproportionate to the sole album they recorded, that’s also reflective of an unfilled desire from music fans for a band with an air of mystery in an age where everything is available at the click of a button. There is, for some, too much information. Many of us want our musicians to be distant and retain an air of mystery. In the halcyon days of Factory Records, Rob Gretton and Tony Wilson encouraged New Order to remain aloof; better to be slightly abstruse and allow the music to speak for itself. The less you said, the more people would talk, went the reasoning. With Bramley, Wu Lyf adopted a similar tactic of deliberate obsfucation, and in an age where most other bands make themselves only too available to public and press, it worked well. The name Wu Lyf stood for World Unite Lucifer Youth Foundation and they weren’t so much a band as a movement, they insisted, although some critics questioned whether the substance behind the subterfuge warranted the hype. Guardian journalist Sean Michaels voiced these concerns last year when he pointed out last year that Wu Lyf are “so good at being a band that nobody’s asked about their music yet”.

Continue reading the rest of the story on The Guardian