Back in 2010, I would quote and link media articles here because I felt there was a minimal value in “discovering” this information scattered across many news sites and archives. Everything was easily reachable via Google, but there was no context to all this stuff. Now it is quite different. Media REDEF, Quartz newsletters, Medium and the entire Twitter ‘ecosystem’ (Nuzzle, anyone?) exist to recommend us to stuff, so there is something redundant in highlighting articles featured everywhere already. Like this one. But I keep, for the record, literally.
So what exactly did Clap Your Hands Say Yeah do here? In retrospect, Clap Your Hands Say Yeah was the record that felt most proprietary to blogs—early tracks generated praise on mp3 sites and culminated with a 9.0 Best New Music in this very publication, which I recall most people still referred to as a blog back then (hey, it sure as shit got me to buy it). They did not emerge from any kind of scene. They had not developed a passionate fanbase based on their live performances, David Byrne and David Bowie showed up to their gigs because that was how bands were knighted back in 2005. There was no single that started to circulate until it broke through into the mainstream. They did not represent some kind of innovative new sound. However, the trajectory of Clap Your Hands Say Yeah provided a clear-cut, linear example of how music blogs could provide a version of farm-to-table service for music listeners—they could serve as talent scouts, PR companies, and the distribution wing.