While discussing new album “Boys Talking,” Will Dailey hit on something nobody is talking about but so many are feeling.

“Spotify is kind of irrelevant,” Dailey said.

Once exciting and new, Spotify feels like YouTube, or Facebook, or Twitter, or any number of deeply impersonal tech machines churning out “content.” Sure, streaming platforms provide wonderful access to music. But nothing about the platforms feels vital or visceral.

So if you want to hear “Boys Talking” on the streaming platforms you can, if you’re willing to wait. If you want to hear it now, you can buy the album, CD, or download it from Bandcamp.

“Spotify isn’t the beginning of my story, or it isn’t part of my story,” Dailey told the Herald. “It’s not going to be the measurement of my music. The people are.”

Dailey has built a career out of learning and re-learning how to build a career. The Boston singer-songwriter-guitarist-all-around-rock-guy started as indie success, signed with a major label, broke with it, and became an indie success again.

A year ago, he (sort of) released “Boys Talking” by selling physical copies from house shows to club dates to festival bills. Along the way, fans have picked what the next single should be, Dailey made kooky, joyful videos (look up “After Your Love” to see Patrick Swayze roller skating to the Dailey tune), and there have been shows upon shows — the next one is Dec. 13 at the Paradise. But there has been no definitive release date and no end to the “album cycle.”

“I wish I could start again knowing what I know now,” he said of the process. “It’s been 13 months of working on this record and trying to explain to people what I’m doing. However, the benefits are that the songs are finding time.”

Dailey says that slow release, or long release, or whatever this might be called, has let the friends and fans who love him most sit with the music.

Often a unique release strategy can overshadow the actual music. So let’s take time to get at that music because it’s Dailey’s best.

Produced by Dailey and his longtime collaborator, drummer Dave Brophy, “Boys Talking” has the crackling energy of a record made by artists standing next to each other — Dailey, Brophy, and some combination of local aces Fabiola Mendéz, Cody Nilsen, Juliana Hatfield, Jeremy Moses Curtis, Andrew Stern, Abbie Barrett, Kevin Barry, Alisa Amador, and James Rohr recorded together in one room. Overdubs were used very sparingly.

“There’s ten songs, there’s ten days in the studio, people would show up and the commitment was you had to be there by 10 in the morning and you couldn’t leave before 10 (at night),” Dailey said.

The chemistry can be felt in the raw, dirty rock swagger of “Hell of A Drug.” It can be felt in the fragile grief he meditates on through the folky “Tremble On.” It’s everywhere on the lonely, cathartic ballad “Sometimes the Night.”

The release strategy mirrors the recording process, the recording process mirrors the song writing. Nothing has been rushed. Emotions and melodies get the room to unfold. So many of the songs are midtempo and yet buzz with humanity, with life.

Everything about “Boys Talking” is algorithm free — not surprisingly a few songs deal with the modern technologies’ implications. You can (eventually) listen to the album on Spotify. But it’s not for Spotify. It’s for Dailey and his friends and fans, for the people.

To buy the album, go to willdailey.com.