Revolutions

X Factor: Power For Good?

2011-11-20T18:17:00.001Z

Imagine if X Factor used its power of influence and ability to reach mass audiences for social good.

I've had the opportunity of recently paying a visit to the X Factor studio. It came at a time when I had just been researching the influence gays have had on western culture, so I was sensitive to what I now clearly see as discrimination on the programme.

X Factor has over 10 million viewers per week in the UK. In terms of creating and reflecting social norms, the programme is a potential force. And with the franchise in the US and beyond, it's reach is extensive.

Now in its eighth year, X Factor continues to skirt around and often hide the sexuality of its contestants and judges. Apprehension of losing viewers to a conservative audience, or of turning off teen girls who are meant to fancy the young attractive contestants, is apparent. It is a fear that has plagued the entertainment industry for decades, keeping actors, musicians and TV personalities in the closet.

Young male contestants, like The Risk and Frankie Cocozza, are clearly encouraged each week to discuss their exploits with female fans. This sends the message that straight youth is normal - while at the same time being gay is not to be discussed.

The often cited argument is that sexuality is private and no one else's business. I don't agree with this, and find strong contradiction within the music industry where heterosexuality is openly encouraged. Young stars should either make the nation fall in love with them, or date each other to create tabloid headlines.

The issue here, however, is that until homosexuality is normalised in society, gays will continue to be seen as different and something to be hidden.

A result of this is teen bullying - which is often believed to be the cause of suicide attempts amongst youth. The UK charity Stonewall reports that two out of three gay teens are bullied in school. Alongside this is the fact that suicide is the third leading cause of death among 15-24 year olds in the US - with gay youth attempting suicide up to four times more than heterosexuals in this age group.

Lady Gaga has just been celebrated with an appearance on X Factor. Its safe to say that her fans include a large percentage of the gay audience. She campaigns against bullying, and has been part of the brilliant "It Gets Better" viral campaign. Gaga is the biggest force in pop music, and her recognition of this issue could have a significant impact in encouraging young gays to come out with confidence.

Shows like X Factor provide an opportunity for establishing social norms due to their popularity. By continuing to whitewash issues in an outdated belief that doing so will save ratings they are contributing to discrimination and homophobia. Think of the potential message a show like XFactor could send to young kids growing up gay who feel ashamed to be who they are. It's tragic that Simon Cowell has yet to discover the real power of his empire.

Learning From Our Elders

2011-11-05T14:21:00.000Z

Pete Townshend chose to use the honour of the BBC John Peel lecture this week to deliver a rant. Essentially without any central thesis, his speech went over the same well-trodden ground that old industry giants find themselves covering - piracy, publishing, copyright, etc etc etc. Definitely not very Manifesto.

Townshend falls into the trap of many of our industry elders who feel that change is happening, but cannot recognise what a new industry offers to artists. Rather than adding a positive vision with their experience of being a creator, they respond from a place of resistance. It stems from the fear of seeing the foundations of how their own careers were shaped being torn apart and rebuilt.

We have much to learn from the forefathers of pop. They developed a blueprint of a creative form that we love, and the new industry is still celebrating. Townshend is apologetic throughout the lecture of speaking about music as art. But this is the area where he should own the platform. I want to know his genius and learn from his ability as a creator, not hear him riff about the price of downloads.

I'm not dismissing the old guard as being irrelevant to building the new industry. There are many who are active in pushing change forward. Brian Eno spoke recently on Channel 4 news about his new project involving crowd sourced creativity. These types of visionaries add immensely to finding solutions. They are using their abilities as creatives to offer something new - not attach to the past and complain that things are different.

The very act of being an artist means you create change. I often think of music as a mathematical problem that I must resolve - like sonic sudoku. Perhaps pop music has made us too comfortable. Even though we now live in the most exciting and productive era for artists, we seem to not all be able to rise to the challenge. For artists like Pete Townshend, it's just too much to let go of the past and embrace what we now have.

Image by Zio Zeta on Flickr

A Tribute to Think Different

2011-10-24T20:50:00.000+01:00

With the recent passing of Steve Jobs comes also the ten year anniversary of the iPod, and therefore more reflection on Apple and the impact the brand has had on our lives.

The blogosphere does not need another tribute to Jobs. However, I'd like the chance to acknowledge the role that Apple has played within the music industry. For without them, I don't know how we could have progressed so far in a decade.

It's not so much what Apple made, though we have to appreciate the tools they gave us. Every Gaymonkey album was produced on an Apple product - most creatives even beyond the music industry will have used one of the company's machines to generate their work. The hardware allowed us all to be producers and stretch the boundaries of our talents.

And the innovation that Jobs and his team drove through wasn't confined to the products themselves. With the iPod came iTunes - disrupting the fabric of the traditional distribution model of the industry. Now everyone could release their material and gain unlimited shelf space to sell their work. And do it internationally. The platform allowed our own label to have top 20 albums across Europe.

But what stands above this all is what sits at the heart of Jobs and Apple itself. The intention of the brand to think and do things differently.

It's this driving force that attracts the cult of Apple. The outsiders who want to identify themselves with a product that is like them. Who see themselves reflected in the vision of a business.

Gaymonkey was founded on the same principles. We believed that anything creative could be possible through the motivation of the artist. That to make it happen we could use the resources at our fingertips. That by thinking differently we could reach the goals we set ourselves - not the ones dictated to us by an industry that lacked the foresight of the new exciting digital era.

And as Gaymonkey shifts - to enable artists to achieve - the ethos we share with Apple still remains. Think different and make it happen. That's all we need to wake us up and keep us going.

Image from bangdoll on Flickr.

Online Community Building - The Basics

2011-05-24T21:22:00.001+01:00

Building your community takes planning, attention, and patience. Here's three key things artists should keep in mind when making connections:

Do Your Research

The fatal failure of any strategy is to get down to work without understanding the landscape - and that goes for social media as well. The tendency is to think that your potential audience is EVERYONE - in order to make the most of your efforts and resources, you need to focus. And a little research goes a long way.

Your research brief should include:

- which artists do you compare yourself to? Pick ones in similar situations to yourself (local artists, with the same musical profile in a similar stage to your career - don't put yourself in the Lady GaGa league!) Choose five favourites to focus on and dig deep into.

- build a profile of their fanbase. What type of people do they attract? Look across the usual channels - MySpace, Twitter, Last.fm, Facebook.

- what does this audience care about? Examine how they react to engagement with the artist. Do they like new tracks? Live shows? Videos? Exclusive interviews?

- look at their tastemaker champions - which blogs have written about them? what radio shows support them?

Putting all this together will give you valuable insight to create a profile of your potential online community.

Construct Your Content

Now that you know the community you could attract, make a plan of the content you to engage them with. This is key - you need to plan this out in advance to be proactive.

Think about this as you build online tools, like your website or Facebook fan page - and how it links to the other social media channels you could use (like your own blog, SoundCloud page, YouTube channel etc).

Check out this great post about Lady Gaga's social media success - which points out how she used great content strategically across various online channels.

Start Conversations

Twitter is the best place to keep the engagement going. Remember that your community isn't just an audience - it's bloggers to support you, potential people to collaborate with, and other artists to form connections with.

Find a tone of voice and topics to chat about that relate to your content (and avoid talking about what you ate/what your cat ate!). Follow people, listen to their conversations, and retweet the things you like. And above all, make a contribution.

This is jus the start. Eventually the community will build, and will become the megaphone of your voice. Communities support each other. It's about being authentic, and getting involved - and about making a quality - not quantity - connection.

Image from Flickr by alles-schlumpf

Manifesto Fundamental: Artists Connect Communities

2011-04-23T10:27:00.004+01:00

Community is the next fundamental of the Manifesto. One of the major differentiating factors of the new industry is the ability of artists to interact with others on a global scale. MySpace was a turning point for this - suddenly musicians had the ability to connect with their audience on a daily basis, build a fan base, and make contact with other artists. Free, simple and easy.

Artists have always been at the centre of networks, and their work has often found a key place within subcultures (think disco, goth, trance etc). The difference now is that artists are connectors on an even greater scale. The rise of social media has put artists at the heart of online communities - where their own participation is crucial to the establishment of their audience.

And audiences are developing an expectation that their participation and interaction with the artist will be valued. In the old industry, where fans would make contact hoping for a response from the band they admired, the artist had the ability to remain removed from their audience - connecting primarily through live performances. Contact was essentially one way, with the artist kept at a distance from direct interaction.

Over the past few years we have seen a dramatic shift in media from passive communication to one where anyone can be active and interact. Social media is based on communities of people involved in conversation. Some in the creative industries, such as Stephen Fry, understand this and invest heavily in building strong communities.

The new industry directly connects artists to their community. It's a powerful way of increasing feedback and building loyalty; for new artists, this power is priceless. Simon Curtis is a prime example of this - building up a community via social media alone that has resulted in tens of thousands of downloads of his material from people around the world. Hard to imagine that only a few years ago that level of exposure would have cost a label serious cash investment.

The fundamental of Community works in conjunction with the first of the Manifesto. If music is art, and artists connect communities, the key principle here is that an artist is defined by their ability to deliver their work to the world.

With creative production democratised, anyone can now make music. Technology makes it easier to output creativity - but this act of creation does not make an individual an artist. Only those with the bravery to ship their work to a community that respects what they have created can be termed an artist.

The ease of production and distribution means a high volume of music is being made - a fact that many musicians bemoan. Their fear is that more music on the shelf means their own work will not be heard or recognised. The Manifesto's fundamental of Community addresses this. Artists that make their own connections - with an audience, partners, and other musicians - and nurture them over time, will benefit. The days of the recluse artist reliant on big label marketing spend are over - the Community is critical to supporting an artist's work.

Manifesto Fundamental: Music is Art

2011-04-20T09:46:00.002+01:00

The first of the six fundamentals of the Manifesto for a 21st Century Music Industry holds the central idea of the entire work. If we believe that "music is art" then we will be able to build an industry that is more exciting than the old one that has been crumbling over the past decade.

Music is art.

On the surface this seems obvious and irrefutable. Yet we tend not to think about music in this way. The industry has been working for decades to position music as a retail object.

What is art? It was Seth Godin's book Linchpin which helped me to finally develop clarity. His idea is that we can all be artists, indispensable creators, no matter what we do - and that as artists we create gifts. In the music industry, this is now more important than ever. Music has existed longer than capitalism. Human beings have always been inspired to express themselves through rhythm and sound. It is almost a basic need, found in every culture. Music is universal to the human condition.

Yet music has become a commodity. It's now a product, made by others, for purchase. There is no issue with the idea that creators of art should be rewarded for their work financially, but the intention of music's creation seems to now be focused around how much money can be made - not on the gift it brings to our society.

Something I often hear from musicians is that they are concerned about music being "devalued". This usually comes up when discussing giving away their music for free, streaming services, or people downloading tracks without paying for them.

My response is that value cannot be derived from a price tag. Music is so much more than a retail object. It creates change, inspires, makes us dance and cry. How can we then only feel validated as artists by the receipt of cash - by making what we have created into a product with a price point lower than a tube of toothpaste?

Music is art. You create it, and you give it value. It is not solely a commodity for your own commercial gain. A fundamental of the new music industry.

Manifesto for a 21st Century Music Industry

2011-04-11T23:11:00.001+01:00

Here's something new from Gaymonkey. Something we're very pleased to be able to ship to the world ...

Over the past few years it has become clear that the biggest issue facing the music industry is not piracy. It's not the collapse of major labels, or the recession damaging retail sales. And it certainly isn't the public devaluing music.

The biggest issue facing the new music industry is that artists do not believe that they can make their careers happen.

We know they can.

That is why we have put together the Manifesto for a 21st Century Music Industry. It outlines a vision for a direction for the new industry, and a way for artists to have ultimate control of their own careers.

The Manifesto sets out the Fundamentals of this new industry - the foundation of what must change to reposition the relationships within the business. We set out three key steps for artists to help them take control. And we bust some myths that pinpoint areas that are blocking artists from reaching their new potential.

The Manifesto is an ebook that is free for everyone to download. I'll use this blog to further delve into the key points that make up the book. And I'd love to hear your feedback - so please download, enjoy, share it - and let me know what you think.

The new industry is exciting, and our potential is now limitless. We just need to make it happen.

Do What Radiohead Does - Four Artists Who Make It Work

2011-03-09T22:07:00.004Z

So Radiohead have done something quite different in releasing their latest album without a mainstream above-the-line ad campaign, and by distributing via their own website. Which they can do - because they are big already, right?

The new industry is preparing itself for any artist to do what Radiohead does. All the means to create, distribute and connect are available to anyone. The problem rests in our own belief as artists that it's not enough - that we need to rely on others to build our success for us.

Yes Radiohead have benefited from mainstream support. However, the last five years of their career has shown them breaking from the status quo to take more and more control of their work. Their confidence must stem from the fact that they are supported by a great community of fans that shows no sign of dissipating. A community that with which they have always had a relationship of mutual respect.

To demonstrate that this is happening across the industry, here are a few examples of individuals who are brave enough to step ahead, build their communities, and try out a different perspective:

Robyn

The Swedish electropop queen has been making music since she was a teenager, but her biggest success did not happen until she packed in the major labels and went on her own. Her top album Robyn was released in 2005 on her own Konichiwa imprint, which she tirelessly promoted and used to build an international fan base - in fact it took several years for the record to stick in markets outside Sweden. She followed it up with a triple album - Body Talk - released across several months. Her strategy is to work hard, create, and give back to her fans. And it's paying off. Yes she has support from the big players now - but she's in control. Inspirational.

@robynkonichiwa

MaJiKer

An artists' goal does not always have to be based around global stardom. Matthew Ker's debut album Body-Piano-Machine was released after his career as a producer took off via collaboration with French artist Camille. MaJiKer and I worked together with the aim of increasing his solo profile amongst key tastemakers in the industry. Since then he has played at London's iconic ICA, remixed Fever Ray, and earned the praise of Janice Long, Ken Russell and Nico Muhly. Tracks from new album The House of Bones was recently featured on David Byrne's podcast. Proof that targeting your PR pays off.

@MaJiKer

Simon Curtis

This electro pop robot boy has become an internet success story by using the free model to build his community. With over a million downloads of his debut album from his site, Simon has tapped in to social media to capture a fan base of tens of thousands via Twitter and Facebook. What happens next is up to him - but with that level of support he is certain to move forward confidently to the next stage of his career. His community will follow him and amplify his intention.

@simoncurtis

Raj Rudolph

The maestro behind top pop blog Electroqueer continues to build his empire with devotion that shows no sign of letting up. Although not a musician, Raj and other bloggers like him who are serious about what they do embody the spirit of the new industry. They focus on their craft, remain independent, and create communities of support. And they innovate; Raj's EQ London live nights hold sought after slots for emerging acts keen to gain their own audience.

@electroqueer

While none of these artists are yet at the stratosphere of Thom Yorke and friends, each are working within the very same playing field as Radiohead. In the new industry, the game is up to you. Take a chance, poke the box, and see what happens. The only thing stopping you is your belief that it can't be done. Artists now have the ability to take control of their own careers. It's liberating - and it works.

Radiohead image from Flickr by Ben Ward

Radiohead's Surprise Idea

2011-03-07T08:05:00.000Z

They changed the game with their proposition of pay-what-u-want for In Rainbows.

This time round, Radiohead have set the price, but The King of Limbs still remains remarkable in it's distribution. No warning, no hype, no marketing - just music. Worldwide, on their site, downloadable at a reasonable price. Available instantly.

It seems incredible, doesn't it. Yet the methodology is simple. Make something, then make it available. Any artist could do this, but few do. We are conditioned to thinking that only bands like Radiohead have the power to be brave because they already have the fan base to do so. The lesson is still the same for every artist - focus energy on building your community. And then give them great ideas to experience.

The album is great, and the band continue to inspire a new industry with a new way of thinking. Thank you.

If you don't have it already - The King of Limbs is yours by visiting http://www.thekingoflimbs.com/

Selling Ideas in Seconds

2011-02-06T17:34:00.003Z

When we talk about selling within the music industry, we always think of the relationship between the artist and their fans or community. There is, of course, another level - the B2B connection with the various partners that artists must work with: from PR to distribution, other musicians, venues, bookers, etc. Often both sides must pitch to each other to establish the relationship. Its an important sales job, and often a complete disaster.

Check out this clip from Mad Men. Besides being one of the best moments in television that I have seen in a very long time, Don Draper's pitch to Kodak is a lesson in how to deliver a concept in under two minutes. His approach is grounded in what the product is, but at the heart sits the real reason to believe; the emotional hook that draws you in, puts you at the centre of the story, and makes it impossible for you to not want what is being sold.

I once sat through a long meeting with a PR team who were pitching for business with Gaymonkey. They spent the majority of their time talking about themselves, who they were and what they have achieved. After 90 minutes I was no clearer on why they did what they did, what they were offering me, or why they wanted to work with us at all. It was all about them - unremarkable, ineffective, and a waste of time.

A simple rule: the best ideas are sold within seconds, not hour-long presentations.

Marina's Big Failure

2011-01-08T15:48:00.001Z

For too long we've defined success in the music industry by popularity and sales. Neither of these are values that are inherent to art, so its not difficult to see why artists get discouraged at points throughout their careers. With constant pressure to be the next big thing, ride out trends, fill stadiums and shift units, we can't be successful unless we are the biggest and the best. Right?

Marina Diamandis is angry, feeling "more like a failure than a success". This is despite the launch of her career as Marina and the Diamonds with an album applauded by many, nominated for a plethora of accolades and winning an MTV Europe award. Her debut peaked at number 5 in the UK and made a splash in charts around the world. To many, this would be an achievement. But to Marina, she's a flop.

According to her interview on Australian radio, Marina's ambition is "to be one of the best artists of her generation". Great - but what does this mean? How does she define this success?

In the new industry, with decreased volume of sales, meaningless charts and more and more choice along the long tail, artists need to be able to articulate what success means to them personally. They must establish a vision for their work, with milestones to achieve along the way. For many this will continue to be money, fame, popularity. These artists will inevitably find their work unfulfilling with each missed goal. Only so many can reach the superstardom of The Beatles, Madonna, GaGa - this doesn't mean that other artists should just pack up their kit and go home.

A sustainable career, that allows the artist to continue to stay self-motivated, needs to have more than just goals. The vision must be supported by the artist's own understanding of what success looks like. In doing this they must get to know the feeling of success to them personally - not just create a list of achievements.

Marina wants to be the best of her generation - this may take decades to fulfil. Will she be miserable throughout her career until she is informed that yes, indeed, she is now the best artist of her generation? It sounds like she has a destination she wants to achieve, but still does not know how she wants to feel.

We become deluded into believing that our success is measured by criteria established by others. Its not your parents, your boss, your label, or your fans that give you success. Only you can define and ultimately recognise it.

The biggest failure is to not take the time to set out what success means to you up front - if you can't establish that, how will you ever feel successful?

His Master's Voice

2011-01-05T21:16:00.002Z

2011 starts with the news that HMV have announced their intention to shut 40 branch locations this year.

The alarm bells are not only the poor Christmas trading - but the rumour that the company was having trouble meeting their bank loans.

Over the past few years, it's been clear that record retail - in the form of physical sales - has been shrinking; not only the amount of HMV's shelf space devoted to CDs, but the disappearance of chains such as Fopp and Virgin Megastore. In the case of HMV, I'm neither surprised nor disappointed.

From an artist and a label perspective, HMV's approach to retail is in no one's favour but their own. Their margins are massive and yet they demand one of the highest discounts on PPD than any of the other retailers. This is the set rate that a distributor sells CDs at to stores. HMV then request a discount of 20% or more, depending on the relationship they have with the retailer. Independent stores would get this discount, but because of the size of HMV, the discount is granted.

Distributors love HMV because they buy in bulk volume. HMV has over 250 locations - so each album release could get a hefty minimum order. The problem for the label is that distributors make their commission up front - labels pay around 20% for every unit shipped. If HMV don't sell your album in a few weeks, they return them. And the distributor keeps the commission.

It gets worse. HMV orders weekly, with each store putting a separate order in to the distributor. So even though you may have returns from the Glasgow branch, the next week might see orders from Bristol. The same CD returned to your distributor could be resold to HMV, and then even returned again.

As an artist having your CD in HMV once gave you credibility. But once the discount was applied, you weren't making much in revenue from your sales. Then taking into the account returns - well, you could find yourself losing money on a release.

This distribution-retail relationship has always been one of my biggest issues with the record industry. Digital music has none of these problems - music is shipped and sold on demand. With this in place and available to all, there is no need for physical product or record stores like HMV.

If you're one of those who still insist on buying a physical album, there are great independent stores and Amazon who you can go to. For artists, get your CDs out of HMV now - there's no prestige in seeing your work sink with the ship.

Image from Flickr by Max Sparber

How Great Brands Begin

2010-12-01T22:46:00.000Z

The greatest brands often have humble beginnings that start as the spark of an idea.

Ikea's founder wanted to bring the things people need direct to them at low prices - he started out selling stationery before the flatpack revolution began. The first Apple computer was built from scrounged parts financed by promises that a single shop would stock them. Innocent smoothies launched as an experiment at a stand at a music festival.

These stories are inspirational. Anyone can build an empire from their dreams. All it takes is a great idea, a strong intention to drive you, and investment of time and resource. Along with a plan to get others to believe they need you in their lives. Basically - its hard work.

Great brands have strong leaders driving them. Individuals who won't let obstacles get in the way of their goals. These brands inspire us because the people who started them were inspirational.

None of the great brands I mentioned earned their place in the market by winning a popularity contest on television, or by sending random unsolicited samples to other brands in hopes they might join their product line. They bootstrapped themselves and worked their way into our lives.

Why do artists think that the way they enter the game should be different?

The Volume Issue

2010-11-27T12:55:00.003Z

Having the capability like never before to produce, distribute and market your music comes with a catch - too much volume.

The democratisation that allows anyone to get in the game and release their work means that more people will take advantage of the opportunity. More releases = a greater volume of choice.

And with this wave of availability comes an even greater volume issue. Shouting.

Artists and labels still believe that the louder you shout about your work, the more it's likely to be noticed. The problem is - you can't outshout the big guys. Major labels with more manpower, access to the mainstream media and advertising spend are great at shouting. We've suddenly realised they are all yelling at us about the same thing:

LOOK AT THIS NEW ARTIST AREN'T THEY THE BEST EVERYONE LIKES THEM SO SHOULD YOU.

For the rest of us, the temptation is to shout along - especially as there are more voices vying for attention. With this much noise going on - not only from the music industry, but in every consumer market - people just stop listening.

The only way around this is to start a conversation amongst your community with a great story. Its not good enough to be a fresh new artist and next big thing. You and your art must speak to a community that wants to engage because they get something out of the connection.

This is why social media has become such a powerful tool for musicians. Those that use it well will be able to form strong ties with their fan base - and keep it alive. Those that use it simply to keep shouting will fail to see the benefits.

Amazing photograph of Žilvinas Kempinas' work - www.transmediale.de/en/white-noise - by weexinsitu on Flickr

What Next for Goldfrapp?

2010-11-22T21:05:00.000Z

Alison Goldfrapp made an announcement last week that the band has ended their contract with EMI. This news does not come with any concrete detail - simply that their "time with EMI has come to a contractual end". Speaking on 6Music (according to popinstereo.com) Alison stated that the split is exciting - a new chapter with an "endless world of opportunity".

Goldfrapp are in an enviable position, and I certainly hope they use this transition zone to do something revolutionary. They are one of those groups who have built a strong community globally - through creating a diverse catalogue and a fantastic live show. Despite the relative lack of critical acclaim of the latest album Head First, their popularity has not significantly waned over the past decade (for the record - I thought the album was great). Which makes them an attractive proposition for any label or investor.

But will they go down this route? What stops them from setting out on their own - using their experience to establish their own business, record a new album, and embark on another tour. Or will they simply head off on the tried and tested route and find another big label? And if so, what would stop that relationship from going the way of their dealings with EMI?

My hope is that it is the former. I want a group like Goldfrapp to take control of their next step and set an example of a new model for the artist within the music industry. The band has every asset at their disposal - distribution, marketing, and a community that is waiting for their next move. Establishing their own strategy for this new phase of their career would demonstrate to others that this can be done - in fact, anyone can do it right now. Artists dont need to be discovered or fight for their place on a label roster - they simply need to understand what they want to get out of their careers, and take the right steps to achieving that vision.

My suspicion is that the band got out of a sinking ship and is now looking for the next one. Alison's statement of "what will we do and will anyone want us" is not suggesting the fans will turn their backs, but betrays a fear that the group feels it may not find another label home.

It may seem easier to put your career in the hands of someone else, but will it achieve your vision of success - or will you be fighting to realise theirs?

Sean Parker on Spotify: Convenience Rules

2010-10-27T22:29:00.003+01:00

Sean Parker must be enjoying the remaissance of his own personal brand thanks to the portrayal of his character in The Social Network. His name and place in the history of changing media has been reinforced thanks to the film.

This week he spoke about Spotify and it's role on the digital revolution.

Parker's key point here is that the majority of people consuming media today want one thing: accessibility. Although "piracy" has enabled the download/swapping of "4-10 trillion songs" (his estimate - interesting stat?), the fact is that everyone just wants to be able to get the music that they love.

So - out of the pillars of consumer choice: price, convenience, quality and pleasure - the main factor for people consuming music right now is CONVENIENCE. For some, this is iTunes. They can search, access and purchase at the click of a button. For others - this is still the CD because it is familiar and habitual. And others - the "pirates" - know where to search for torrents and can obtain what they need as quickly as the iTunes crowd.

Parker understands this - and that Spotify delivers convenience on an unprecedented level. For an American audience who do not yet have the service, the potential acesss to a vast catalogue must be mind boggling. And so scary for the industry used to controlling access to choice.

Whether or not this puts Spotify in the potential position to have the consumer "by the balls" is another issue. The market is defined by choice - and the consumer is the driving force. With the price point low, and need for access high, Spotify is in a strong position to differentiate and lead on service. If it wants to carve out it's place in the market, it must be the best at giving us access to the greatest selection of music at our fingertips. That will keep us coming back, and keep Spotify in the game.

Sayonara Sony Walkman

2010-10-26T22:34:00.002+01:00

Music critics in the broadsheets rejoiced today with the opportunity to write about their childhood musical memories as Sony announced that the Walkman would no longer be in production.

Reading this news today, I actually thought I'd discovered a copy of the paper from ten years ago. Can you believe that after the changes in music distribution we have been involved in over the last decade that people have still been listening to cassettes? Really??

The tragedy here - besides being subjected to tales of broadsheet journos' teenage mix tapes - is actually the story of Sony. Once revered for quality - having given us two iconic forms of media in Betamax and the Walkman - the business has struggled to maintain its dominance in a fast moving digital marketplace. Sony had every opportunity to seize the digital revolution and evolve the Walkman into the position now occupied by Apple with the iPod. However, its attachment to the physical form of media - be it the Beta cassette or the MiniDisc - has been its ultimate downfall.

As nostalgic as the Walkman makes us feel, we cannot mourn its loss. The landscape we now inhabit offers us liberation from the physicality of music. What we have in front of us is infinitely better than the past. Lets remember briefly the joy the Walkman gave us, and move on.

MaJiKer: Bonuses-Performances-Mixes

2010-10-25T20:45:00.000+01:00

We're very pleased to announce the release today of MaJiKer's new collection - Bonuses-Performances-Mixes.

The compilation includes 15 new tracks - five brand new songs, five live recordings taken from last year's shows in Paris, and five remixes (including one by yours truly!).

This is the eighth album out on Gaymonkey amongst our various singles and EPs. Although we're moving into a time where recorded music is more of an artist's business card than a lucrative revenue stream, I'm still very proud of every release we put out. For me it symbolises our dedication to finding a new path within this ever changing and exciting industry.

Never mind the fact that this is a brilliant selection of music from MaJiKer. You can download the album from all great MP3 stores - including, of course, iTunes.

The new video for "Strings & Wires (Wagner Remix)" is also a triumph. Directed by Raphael Neal.

Mark Zuckerberg vs. Eckhart Tolle

2010-10-24T19:12:00.001+01:00

What does the most popular social network on the internet and a spiritual movement have in common?

Yesterday I went to see The Social Network, the movie about the ambition, friendships and betrayal that went in to creating Facebook. This is an absolutely amazing piece of cinema - based on the book “The Accidental Billionaires” by Ben Mezrich - that tells the story of how Mark Zuckerberg became the youngest billiionaire on the planet. I followed the film by attending a talk by Eckhart Tolle, author of The Power of Now and A New Earth - two must-reads that explore how a shift in human consciousness is possible through awareness of the ego that drives our behaviour.

I was struck by two things:

Its not good enough to just have a great idea

Everyone has great ideas. We are all full of them. And rarely are they original - we combine, mashup and steal from others all the time. Zuckerberg did not invent the first ever social network site - we had Friends Reunited and MySpace long before Facebook. Eckhart Tolle is not the first to explain the ego or champion awareness - the Buddha and many other spirutual thinkers got there centuries before him.

What both of these leaders have done is take great ideas, enhance them and make them relevant. Chris Cox - Facebook's VP of product - stated in The New Yorker that "Getting there first is not what its all about. What matters always is execution." I couldn't agree more - its not what you do, its how and why you do it.

The best executed ideas spread and connect communities

Facebook took very little marketing to make its way across the planet. Eckhart Tolle has sold millions of books without masses of PR and advertising.

A New Earth became a best seller with a bit of help from Oprah Winfrey, but this was simply as a result of her recommendation of the book. Facebook attracts new users via recommendation between friends. In both examples, community is at the heart of the concept. Marketing is based on inspiration, rather than mass manipulation by shouting at a target audience.

Both of these gurus have created change in our world through the way they have developed and delivered their big ideas to us. Something for every artist to consider.

The image is a Friend Wheel of my own inner circle Facebook connections.

Bret Easton Ellis and the Literary Salon

2010-10-11T20:28:00.003+01:00

Despite having all the tools we need to create and distribute our work, as artists we still have to make that connection with our community in order to be heard. Promotion becomes our biggest battle.

I was in Berlin last weekend at the fantastic new Soho House to see Bret Easton Ellis speak on his tour for the latest novel - Imperial Bedrooms. The event was hosted by the uber talented Damian Barr - host of the Shoreditch House Literary Salon. The insights gleaned by Barr from Easton Ellis' mind via interview were fantastic - the author is dry, witty and charming in his own sardonic way. It was apparent, however, that promoting his work can be torture to him. Tales of late night hotel food and endless carbon copy moments of fan adoration revealed his lack of enthusiasm for selling himself to his readers.

Anyone who has been on tour knows that there is little glamour in being wheeled into a city for a few hours before jetting off to the next. That overwhelming feeling that you are but a cog in the marketing machine - the travelling salesman. Without this effort, however, it becomes even more difficult to develop a connection with your audience. It's no surprise that bands that tour extensively find more favour with fans - as social animals we like to experience art outside of the solitary experience.

For writers it must be frustrating though. Reading is a much more private affair and does not offer the mass promotion opportunities on the level of music. Barr's creation of the Literary Salon format allows authors to be themselves and discuss their life and their work comfortably. The books come second to understanding and interacting with the artist at the Salon in a social atmosphere, giving literature the same promotional potential as an intimate gig.

When the audience were asked what they wanted to hear from Easton Ellis, one Berlin native shouted "won't you just read from the book?". Barr simply muttered a response on behalf of us all - "go buy the podcast". Genius.

MaJiKer - Keep The Streets Empty For Me

2010-10-11T19:54:00.004+01:00

We had a fantastic time at The Workshop in Hoxton last week for a very intimate show from MaJiKer. The new venue is tucked away in the Roadtrip Bar on Old Street - and is a fantastic spot for new artists or if you are looking to host in a small venue.

MaJiKer performed tracks from Body-Piano-Machine alongside new tracks from the collection Bonuses-Performances-Mixes (out 26th October) - and his remix of Fever Ray's "Keep The Streets Empty For Me". A fantastic night.

The Art of Procrastination

2010-09-25T13:07:00.001+01:00

This is an absolutely brilliant piece of animation by Michael and John Kelly - and a giant kick in the ass for all of us to just stop all the excuses and get stuff done! I'm using it today to reignite my blogging habit - after the August holiday, is too easy to procrastinate about shipping.

Time = Money?

2010-08-20T00:21:00.000+01:00

A common complaint from artists is that they don't have enough time to create, and support themselves. Its a frustration that stems from the expectation that they have a right to make money from their art.

Our society has perpetuated the belief that our "career" is something that pays the bills, and everything else is a hobby. While career in the accepted sense denotes expertise, hobby is thus for the amateur. Therefore to be a successful musician, you must be making the majority of your money from music.

Consider Einstein's story for perspective. He wrote most of his influential early work while employed as a clerk in a patent office. Einstein didn't use time as an excuse to not write - he had the determination to create because he was driven by his desire to understand the universe, to develop ideas, to solve problems. His intention was strong enough to reward him and keep him moving forward. And although his "career" was as a clerk, he was still very much a scientist.

You define what success is for your art - and the only barrier to that is any belief that you hold that stops you from delivering. The driver is your intention - if you're struggling with barriers, look at your reasons for creating in the first place. Time and money are not variables that are beyond anyone's control.

Flow - The Ultimate Reward?

2010-08-10T21:34:00.001+01:00

A state of ecstasy. Of happiness.

This is flow - found in activities of creation. Most musicians will probably recognise this place - getting lost in pure concentration, of time standing still yet passing so quickly that it seems to disappear, of satisfaction and achievement. Mihaly Czikszentmihalyi has spent his career understanding this state of being, and how it contributes to our happiness. His research - found in his book and on this brilliant classic Ted talk - points out that despite our material culture, wealth alone cannot give us fulfillment. His interviews with artists, musicians, poets, athletes, and CEOs revealed that those who can enter flow find meaning and happiness.

Czikszentmihalyi attributes several qualitative states to flow. One of them has always stood out for me:

"A sense of serenity - no worries about oneself, and a feeling of growing beyond the ego."

To me, this is flow. Where the world simply melts away, and all that matters is the act of creation.

It strikes me now how contradictory this is to commerical music. What happens when we leave the state of flow, and come back into the material world - how is it that the ego returns so quickly, and suddenly demands that vast sums of money be immediately forced from the hands of our listeners into our pockets as a just reward for what we have created?

"If" Isn't a Strategy

2010-08-09T13:42:00.001+01:00

If we only had a bigger budget.
If only people didn't steal music.
If things were like they were before.
If only we had better PR.
If only we had their contacts.
If only we had a major label deal.

It's easy to get stuck in this spiral, but "if" will never be a catalyst for achieving goals - no matter what industry you're in. The blame involved establishes you as the victim - the only way to move your music career forward is to take responsibility and create a full strategy for your work that puts you in control.

Artists involved in the piracy debate often fall into the downward spiral of "if". Major labels have tried their best to convince us; if only the evil pirates could be stopped, then the music industry would be saved, and all would be as it was before.

The fact is - file sharing is a reality. Blaming piracy for any lack of your own success is useless - artists themselves cannot stop file sharing from happening.

Instead of "if only" - what are you doing to take responsibility for a strategy where you have outlined what you want to achieve, and the steps to making it happen?

Image from Flickr by Martin Deutsch

Letter to The Sunday Times: Clare Balding

2010-07-31T14:14:00.001+01:00

The following letter has been sent to John Witherow - the editor of The Sunday Times.

Dear sir

I'm writing to express my extreme shock at the comments you have made to Clare Balding in response to her complaint to your newspaper.

The Sunday Times is heralded as one of Britain's finest papers, yet your disregard for the reality of how homosexuals are treated in Britain today is inexcusable.

There is no possible way you can justify suggesting that gay men and women should allow themselves to be the "butt of jokes". The result of this attitude is a society who believes it is acceptable to bully, tease and ultimately discriminate against another individual. It forces many to hide their sexuality out of fear - or in the extreme, lose their lives via abuse or even suicide.

Your position within the media is to respect this and encourage an open British society. Through your response to Clare Balding it is clear you do not accept the responsibility of your position.

I urge you to issue a full apology. Ideally The Sunday Times should devote significant content over the coming weeks to inform it's readers of how it intends to encourage writers and the editorial team to behave more responsibly. Organisations like Stonewall can help you and your team to better understand the issues facing homosexuals so that these incidents do not occur in future.

I shall also be forwarding my comments regarding this matter to the Press Complaints Commission.

Yours

Jeff Melnyk

Preparing Artists For The Next Recession

2010-07-29T20:53:00.000+01:00

It's been hard to measure the impact of the recession on music since our industry has been in a state of change for the past decade.

I had the pleasure of meeting Darren Shirlaw last week. Apart from the amazing coaching business he has established, he's a bit of a mathematician with an eye on the economy. He predicted our recent recession, and is quite convincing in his argument that we are heading for a double dip.

This isn't great news for independent artists or labels. If you thought it was difficult to keep afloat in the past 18 months, consider how tough this will be when the shock hits pockets for a second time. Even though consumer spending is unpredictable during a recession, no one can guarantee what would happen in the case of a second subsequent market crash.

Shirlaw recommends three areas of focus for any business to ensure you not only stay strong during the dip, but come out fighting. Here they are framed through a new music industry lens:

Risk Management

Something smart businesses do at any stage of operation, risk management means you understand the potential risks facing you mapped against their likely impact. To many artists - especially those that just focus on the creative output of their career, this process is probably a completely foreign concept.

From personal experience, had Gaymonkey conceived of the possibility our physical distributor was going to go bankrupt 2 years ago it may have stopped us putting all our eggs in one basket, and allowed us to bounce back faster.

Artists should look at their business and consider the risks ahead for the next 18 months. The threat to revenue, live shows scheduled, partnerships in development. Get them out on paper, and categorise them into low/medium/high risk. Then make strategies to minimise the risk, and as alternate plans, or even appropriate insurance, for when things don't quite work to plan. Write it all down down - you might need them sooner than you think.

Capability

On the surface this sounds like something that only big business would have to deal with. It centres around how capable your business is at output - ie, does the business have the ability, skills and talent to deliver. Those that do can upskill their workforce, or keep the infrastructure working to weather any storm.

An artist might believe that their capability rests in their ability to deliver great music. Thats true - but that is a given - if you cant produce amazing music, you won't be in business. Capability here means do you have the skills to carry you through the challenges of a downturn? Are you able to manage all aspects of your business - even your finances or legal arrangements - if the market turns and you need to cut costs? Do you have the skills to negotiate in tough market conditions?

The great thing about capability is that its up to you to learn and take responsibility. And once you have those skills, they are yours - not matter what the economic conditions are.

Innovation

The best of the bunch, innovation is something that no musician can argue against. All creatives are great at innovation - and within the music industry these days, innovation is what we need more of. Its not just innovation around your music, but across all areas of your business - from how you market, distribute, connect with your community, and perform.

Critically it is about not wasting resources - finding new methods that cost less but have higher value (and lower impact on the environment, of course). The recession teaches us about attracting loyal customers and then keeping them. Innovative artists will be the ones that do this in the most remarkable ways.

Three areas for all artists to consider. What is clear - and as I have argued time and time again - is that artists need to prepare by thinking like smart businesses. Having a sustainable career in volatile times is possible - it just involves developing your strategy now.

Image by Banksy, of course.

Simon Cowell: Bad Influence, or Inspiration?

2010-07-18T20:58:00.001+01:00

X Factor, Pop Idol and American Idol. They've all been responsible for taking talent, sucking any originality out, and spitting people to their destiny as bland manufactured pop stars.

There are arguments that these shows are creating a generation who believe that fame is instantaneous and that being famous is a desirable career choice. Simon Cowell is the svengali at the centre of the phenomenon, and has made his fortune creating pop success. So are the programmes a bad influence - or an inspiration?

Not long ago I was ready to call for the end of X Factor due to the negative effect it has on people's aspirations. But wise words from my coach has steered me in another direction. She pointed out that Simon Cowell's talent actually lies in building up people's belief in themselves. He understands that the key to achieving anything is a firm vision of success. Those contestants that do not have 100% confidence in what they do inevitably do not make it through to the final stages.

Strong visions are not to be confused with cocky arrogance. Last year's contestant Olly Murs is case and point - he frequently stated how much had to win the competition. But his belief in himself was not supported with a clear understanding of why he wanted it - simply put, he just wanted to win.

What is interesting is that the audience understands this subtle clue. The contestants that they are most supportive of are not necessarily the ones that have the best voices - but the ones that are most beliveable in their determination to progress. This is where Cowell's production genius comes through - his ability to reinforce the story of the artist and their dream. These are the moments that have the critical emotional impact that keep viewers tuned in - rather than the performances themselves. The likability factor is built around how genuine the audience feels the intentions of the artists are.

What Cowell can teach us all is how powerful these visions are, and how critical they become to earning success. No matter how talented you are, and whatever your business, career goal, or aspiration is - without the firm belief supported by your intention, your chances of achieving your dreams are limited.

Image by skip-rat from Flickr

Prince and the New Giveaway Generation

2010-07-10T17:58:00.001+01:00

Prince repeats his album giveaway strategy by offering up new LP 20TEN to readers of The Mirror.

Meanwhile, the purple one has declared the "Internet is over" - and though he wants to continue to find new ways to distribute his music, if he dosen't get an advance, it's not worth it.

Clearly not every artist can make deals with major newspapers to circulate their work. And in a few years when we're all reading the news off portable devices (or getting it via our peers on Twitter) those opportunities may not offer the kind of return that Prince expects for his genius.

The biggest issue with forcing newspaper readers to take your cd home is that the vast majority are not going to listen to it. Are Mirror readers all Prince fans? The potential reach of hundreds of thousands of ears is desirable, but the sad fact is most of those albums will end up in the bin. A waste of time and resources - not to mention a terrible brand alignment with a tacky media company.

Last time round Prince also gave his new album away to those that attended his residency at the O2. That concert was brilliant, but the album sits in a pile in my studio, unlistened.

From the fans' perspective, buying a newspaper they would never normally consider is not supporting the artist they love. The deal is already done - Prince gets his million or so no matter how many copies of the paper are sold. You may as well download a copy from your favourite torrent site or borrow it from your grandmother's bingo buddy (her generation loves the Mirror).

We need to earn our audience's attention. Prince's attitude stems from a bygone era. His search for new ways of distribution is admirable, but in reality he must accept that the game has changed. If his intention is simply to continue to rake in cash, he should be getting the tour bus back on the road.

Label vs. Enable

2010-07-05T23:17:00.003+01:00

Despite the fact that I in fact am in charge of a record label, I find it difficult to understand why artists feel the need to get involved with a label at all these days.

Sadly the intention to "get signed" appears to come down to cash. Artists have created something and/or want to increase their profile, so they seek out someone to fund, manage, distribute and market their product. All of which costs money - so essentially they need an investor. Enter the label.

I'm still astonished at how labels behave as majority shareholders in thier artist's careers. With high expectations, if the investment dosen't perform within its first year, the funds are pulled.

But creating music is different than making your average product. It is art - and it needs to be developed over time. Getting all your financial and strategic support from a label may seem like you have been awarded a fast track to success - however, this is increasingly not the case.

All businesses need investment, but the great opportunities of our new industry mean that any artist can actually ship their work themselves - and market it to a global audience. This hurdle that had necessitated both the network and the financial muscle of a label (never mind recording costs - which have also shrunk) is now lifted. Artists must realise that they have to invest more of themselves into their careers than simply making the music.

There are plenty of great examples of success by independent artists who have had the courage to step out on their own from the very beginning. Temposhark are a prime example - releasing both of their albums on their own imprint Paper & Glue. They bootstrapped their way into many a fan's heart with sheer determination - and some clever use of social media. Their latest album Threads was funded via Slice the Pie - the crowd funding site that allows fans to invest in an artist and even collect dividends.

Yes it is hard work - but the fact is it can work. Gaymonkey was set up under a similar premise - we simply couldn't bear the thought of working so hard under the constraints a major label would place on us. For us a record label is more than just injecting cash to take a share in an artist's success - we want to enable the artist to achieve their vision, whatever that might be. That involves working as a team, and each party taking responsibility for areas of the artist's unique business plan.

With the objective being to make great music, its a different business model to most - and one we're still perfecting. But I hope other artists will be inspired to do the same - rather than just look for a quick win from the men in suits.

Image by TheTruthAbout on Flickr

Twittersheep

2010-06-19T11:03:00.000+01:00

There are so many tools out to help you to understand the power of your community online. Like Twittersheep - it analyses the bios of your Twitter followers to give you a tag cloud, demonstrating the interests of your "flock". My @Gaymonkey account analysis is above.

This tool reinforces the importance of matching your community with you as an artist/label. Having a quantity of followers who don't care to join in on your conversation is not only ineffective, but misleading when it comes to mobilising them. Here the adage is true - its all about quality, not quantity.

How Free Has A Greater Value

2010-06-10T22:37:00.004+01:00

Chris Anderson's latest Free (which finally came out in paperback in the UK) is an essential read for anyone involved in the new music industry. He positions the psychology of the £0 price tag in the digital economy, dissecting the reasons why media has rushed towards a free price.

The tension that exists between the artist and free is often not based on the gross margin of their material. In fact very few discuss (or even understand) the full potential earnings from making music. It is complex - with a myriad of revenue streams, collection agencies and stakeholders, all of whom are usually managed by someone else (the label). The primary concern of the artist is that free "de-values" their work.

Anderson explores many arguments that counter this perception of free. Primarily he points out that an artist's true intention should be to deliver their work to as many people as possible - and that free, if used correctly, offers the best strategy to acheiving this. If this is the case, free holds a very high value.

I've held this belief for quite some time (here's something I wrote in March 2009), which has lead to another question that I don't think many people have gotten to grips with - how do we measure success in a free economy? Our belief of an artists stature has been related to chart position and sales - this seems no longer relevant.

I noticed a recent Independent article stating that Microsoft's share value has slumped below Apple's - prompting Microsoft CEO Steve Ballmer to state that despite this his company will "make more money than Apple". It strikes me that this mark of success - the total amount of cash you bring in - is now less important. The need to "win" by selling more is not a building block of a great 21st century business. Apple has value because it is a brand that is loved passionately within it's community - and that community is growing bigger. I don't think I've ever met someone that was a zealot of a Windows product.

The lesson here is not that artists need to sell more, or accumulate more fans. They must set their own measures of success and work towards building a strong community that will support them. The liberation and opportunity that "free" can offer, along with the potential of the Internet to connect artists with millions of fans around the world, should be welcomed as a foundation of a new start for the industry.

Image on Flickr by : : w i n t e r t w i n e d : :

What Röyksopp Should Do With "Senior"

2010-05-26T12:03:00.004+01:00

Röyksopp announced yesterday that the companion album to 2009's Junior would suffer further delays in release. The statement, posted on their site, gives reasons for the delay and uses pointed yet mitigating language - reading between the lines, they have either been dropped from their label (criminally unbelievable) or are frustrated with their current arrangements.

Considering the group's fan base and credibility, it is rather shocking that any label would argue with the artist's desire to ship their work. This collection has been complete since Junior was released - in today's market of limitless choice there is rarely an excuse for holding back material.

The group's statement reads:

All in all, even though the extra wait is boring/ bad/ painful, this should be seen as good news. Senior is a very special release to us, and we would never release it without making sure it was in the best possible hands, when it comes to record companies and distribution.

It seems to me that Röyksopp have the answer to their dilemma already. Rather than wait, here's what they should be doing:

Use the power

You want this release to be in the "best possible hands" for release and distribution. You are a globally recognised artist with your own website. The Internet is the best distributor the industry has ever known - use it to release the album yourself.

Give something back

This release is "special" to you, but what benefit is there in waiting to release it to those who are anticipating it? You have a free members site on your home page. Bundle up Senior and give it away to registered members now. The gift says thank you to the loyal fans who have supported you.

Create buzz and demand

You're probably arguing with your current label on marketing Senior. A major artist giving this gift result in a volume of ego PR, whilst rewarding the community that supports you. Let the fans spread the word - have them invite new members to join your site. The attention of your community is worth so much more than the pennies you would make off the commercial release.

Three small steps for Röyksopp that send a big message. If you're frustrated with how your art is being shared, take control of it. The new industry is about self-responsibility, not blaming someone else for creating barriers for you to acheiving your goal.

What's stopping any musician from doing the same thing?

The Gaymonkey Survey - Part 2: Join Our Club

2010-05-18T22:10:00.011+01:00

We've been thinking about how to thank our community through a membership site. We've imagined this would be a place where our fans and followers could get access to exclusive material - from new tracks, to videos and concert performances. Getting your opinion on how to set this up was a crucial part of the Gaymonkey survey.

Only a fifth of the respondents to our questionnaire currently belong to an artist or label membership site - from Madonna, to Röyksopp and the Bedroom Community pages. Just under 40% replied that they did not like membership sites - could this be that labels are not offering the right kind of benefits to keep their audience engaged?

One respondent put it simply: "To be honest, I sign up for them and usually immediately forget about them"

We asked what types of features would entice people to join an artist/label membership site. 48% of people would join a members area if they were offered the promise of free music. But equally, access to buy music before it is officially released is also a strong draw (42% of respondents). Here's where the power of free comes back to the debate.

However, 25% stated that getting exclusive videos would not be incentive to join. With YouTube reaching its fifth year - and getting up to 2 billion views per day - perhaps we are satisfying our need for video content on our new favourite mainstream platform?

So what do they really want from a members site?

The Wordle above paints a picture of what our community expects from a new club. Clearly exclusive stuff - from getting new music first to priority gig tickets - is attractive, as well as access to free swag.

Membership should have its privileges.

The Gaymonkey Survey - Part 1: Shopping

2010-05-16T20:10:00.006+01:00

A few months ago we opened up a survey with a couple of simple questions. We wanted to get an idea of how our community prefers to find out about new music, to give us some insight to support the next phase of Gaymonkey's development.

This blog has been useful in hammering out new ideas on the music business. It is clear that the entire industry is in a transition phase, but it seems to me that the consumer/fan gets the brunt of the blame, rather than being involved in the shaping of something new. An artist or label's community is more important than ever - getting feedback on what you want, and how you want it, is essential. This simple survey was just the start of getting our own community's opinion, and we thank everyone who took the time to complete it.

For these questions we focused on MaJiKer's followers on Twitter and Facebook, but also pushed the survey out to fans on Last.fm and members of the EQ Facebook group. We received responses from all over the world, and it should be noted that this data is reflective of MaJiKer's audience, and therefore not music fans as a whole. All respondents received a Gaymonkey MP3 sampler and the chance to get a copy of the limited edition CD of Revolutions by Melnyk.

I'm happy to share the insight over the next few posts - if you have any questions on the responses, please feel free to get in touch!

We're S-H-O-P-P-I-N-G

We asked where people usually get their music from, allowing survey respondents to choose multiple options from a list - including iTunes, CD stores, MP3 blogs and more. Immediately it is clear that we are gleaning our sounds from more than one place; where a decade ago we would have relied on our local record shop, we now pick and mix from online, offline, and direct from third parties.

Surprisingly, the CD store still comes up tops - however, online shops are more popular (49%) than the high street (43%). This is followed up very closely by the digital format - with 47% getting their music from iTunes, and 32% from other online shops. While iTunes remains a leader in digital distribution, 43% of respondents are also accessing tracks from MP3 blogs.

It would have been beneficial to have these responses rank ordered via preference, but I suspect that choice is not necessarily based on our favourite place to shop. With the fragmentation of distribution comes the necessity of convenience - we are getting used to wanting music fast and available at our fingertips. Though this data may suggest an even split between the physical and digital formats, it is possible that people are still picking and choosing between the two depending on convenience.

Pricing has often been cited as a barrier to people purchasing music in the past few years. Why buy when you can get it for free? When given the choice, our community opted for £8 (10€) as the price that artists/labels should charge for an album (54%).

Only one respondent ticked the box that stated "music should be free".

Perhaps choice and availability are more valued to our community than the ability to get what they want for free?

Independent Record Store Day

2010-04-14T22:21:00.005+01:00

Johnny Marr blogged this week regarding record stores in support of Independent Record Store Day. His opinion is quite different to what I posted earlier this week. On two levels ...

Firstly he argues that the record store has been forced off the high street by major retailers. I've always felt this is difficult to defend. Consumers make choices based on what they want. Great record stores - like Rough Trade - still exist and are doing just fine. They have built a strong business with clients who keep returning. Other stores - like Pure Groove - have decimated their retail stock in favour of a bar and performance space. I'm not sure many people wander past the meat markets into Clerkenwell to browse their selection, but they have a place in the community through the great free live shows they put on.

It seems to me that no one in this debate - like many other discussions about the music industry - is listening to the consumer. When we get nostalgic about record stores, we are thinking primarily of the experience that shaped our youth. Kids are clever - they don't need a high street to find great stores. Simply put, their high street is becoming digital and they choose where they shop.

Marr's second argument is that records are a great piece of art. We really need to move away from this mindset. Music is art, and the musician is an artist - who often works with great visual artists to create a beautiful experience. The CD you purchase in Tesco is not art - it is a commodity, just like the cereal and pizza you also put in your basket. Downloading an MP3 of music that creates a change inside of you - gives something back to you - is still art. We don't need a physical form with a store/label/distribution network attached to it in order to experience the art of music.

Tracey Thorn made a great comment in yesterday's Guardian. She reflected on the influence record stores have had in our lives, but then noted that we mustn't look back. Today's celebration should be less nostalgia, and more a vision of where we are going.

But in respect of today's observance, I'd like to give thanks to South Side Sound and Sound Connection in Edmonton, along with all the amazing shops on Seymour Street in Vancouver. And to the Music & Video Exchange on Berwick Street in London. But I'd like to give a giant thank you to the internet, my new independent musical universe, for connecting me to so many brilliant people and musicians over the past decade. I can't wait to see what's in store for our future!

Observing the End of Record Retail

2010-04-11T20:35:00.006+01:00

This week marks the arrival of the so-called "Independent Record Store Day". The observance hopes to highlight the demise of the shops which for so many of us formed a key building block of our youth and musical upbringing.

This is in light of the fact that the number of independent record stores has fallen since 2005 from 734 to 305. The Independent on Sunday reports the decline is due to the recession, downloads and major retailers taking their piece of the pie.

This misses the point entirely. People are now choosing not to go into record stores. The internet has created a new experience for music fans who can now get what they previously needed from indie stores in a much more rewarding way.

While some of us may have marvelled at the encyclopedic knowledge of the boffin behind the indie store counter, the musical resource that the wikiuniverse provides is infinitely more accessible. This comes with the added benefit of the intimidation removed. I can count on one hand the number of times where I haven't been insulted by the fool on the other side of the counter (invariably male, in a band or a DJ themselves) who felt the need to gratify himself by mocking my requests for information on an artist or release.

The web can get us the info faster and whenever we need it - often direct from the artist themselves - thereby removing the barrier provided by record shop guy's ego. Bloggers have also contributed to keeping us informed - and should they suffer from their own opinions, readers can choose to simply click away.

While shuffling through new releases has always satisfied our hunter gatherer instincts, getting musical tips from biased self-declared experts has never been rewarding. In fact our recent Gaymonkey poll revealed that most of us (75%) still prefer to get musical recommendations from friends. We don't need four walls full of dusty plastic to find new music.

Nick Hornby comments in the IoS that the indie store was a great place to meet like minded musical souls. And while we owe so many important musical unions of the past to this, the web has been allowing us to make lasting connections on a global scale. People are forming their own creative communities online, resulting in brilliant collaborations.

We needed record stores in the old industry to help us develop our musical knowledge and connections. It is a shame that their time is fading - but what replaces their function in our lives is a deeper, more tailored and rewarding experience. Sadly, the days of Duckie crashing into Trax to serenade Andie are over.

Relics

2010-04-05T16:22:00.001+01:00

I had a request this week for some of our music on vinyl.

We pressed only six of the Gaymonkey singles/EPs to vinyl. Each was a labour of love - carefully designed cover sleeve, selecting high quality paper stock and finish. Choosing the tracks to be included that would work best on the format.

Not many remain from the pressing - most that weren't sold initally were lost when our distributor went bankrupt. As I found the requested copies from our archive, it felt great to hold them again - memories of achievement.

It also reinforced the reasons why I have become opposed to the physical format. These relics reminded me of the past, but not so much the music contained on them.

Primarily, they are unsustainable, taking up resources and energy to produce that exceed their value. The investment in vinyl and CDs for an artist/label is massive, and a huge barrier to getting your art to the world. Digital formats have revolutionised this.

Physical formats also take control away from the artist. They dictate the use of distributors who retain stock and mark up the retail cost for the consumer. With this in mind, the format actually becomes a barrier between the creator of art and the listener.

And in the digital age, where our music collections are accessed instantly, these relics simply collect dust. Vinyl may look impressive, but CDs lack any aesthetic charm. Vinyl may be recycled and collected, but unwanted CDs tend to end up in landfill. It is sickening to think of the millions of unwanted records that have become waste.

The industry must take responsibility for this - while vinyl has found a niche, the time has come to move away from the CD format altogether. Not only for sustainability reasons, but as part of a journey to align how we see music in our lives - from commodities and things we consume to art made to enhance our lives.

If you don't want to spend the time reselling your old CDs, its good to know that they can be recycled - this is a good resource for facilities in the UK.

Image on Flickr by swanksalot

Ricky Martin's Revelation

2010-04-02T17:39:00.006+01:00

It's quite shocking how Ricky Martin's "coming out" announcement this week has been handled. Along with the support was indifference and criticism for taking so long to tell the truth. It demonstrates how little we really understand about the pressure of coming out - and how far we still have to go before being gay is accepted in our society.

Most fail to see the music industry for the beast that it is - one that strives to shift as many units to as wide an audience as possible. It seems rational to argue the poplarity of Elton John, George Michael or Michael Stipe - which should appease any fears that the industry may have about gay popstars. But we forget that these individuals also hid their sexuality for years until their fanbase was sufficient enough to protect their ability to continue to have a career.

You may think times have changed, and so the pressure or fear on artists coming out should be minimised. However, George Michael started as a teen idol, and so did Ricky Martin. His sense of self - and indeed the brand created around him as sex symbol - is positioned within this market. Those that dismiss Martin's actions this week as cowardice due to coming out so late in his career neglect this fact.

We like to believe we exist in a liberal, tolerant world, and using the handful of mainstream artists who are open about their sexuality to support this is purely confirmation bias. It is the equivalent of assuming there is universal racial equality because there is finally a black President in the White House. In fact we know that prejudice continues to exist - and while society has moved significantly, equality is still not the norm. Indeed one only needs to look at Ricky Martin's primary audience - North/Latin America - to see that being gay is not accepted by the majority.

The industry also does little to stamp out prejudice. Radio One DJ Chris Moyles can hold a primetime position on the air despite re-introducing "gay" as derogatory playground slang. From personal experience I can assure you having a label named "Gaymonkey" within a heterosexual male dominated industry has rarely won us favours.

However, any artist could choose to rise above these obstacles, to put fear of retribution aside and ignore the prejudice that still exists in society. There are still two main reasons why a new artist today would choose to hide their sexuality:

To avoid being labelled as niche

If your ego - and the industry - expects you to be instantly huge, it will not be satisfied with a niche audience. A "gay artist" has traditionally found themselves building their career within the gay community. Greedy egos and labels strive to bypass this step and aim straight for the mainstream.

This pressure will continue until long tail thinking is encouraged and major labels discontinue the practice of dropping artists who fail to reach the top ten with their first release. Until then, no level of perceived acceptance will satisfy an artist whose intention is to be an instant superbrand.

To have your art accepted for what it is

For those that can quell the ego, a further barrier exists. While they themselves may have no apparent problem with being labelled as gay, they believe their art stands outside this and wish their creation to be judged on merit without bias on either side to their sexuality.

Aside from the blatant prejudice that continues to be rife within the sports community, athletes must also consider this factor to be one that stops them from coming out. No one with dreams of being a top footballer would like to be remembered as a "gay footballer". Our visions of our legacy shape our present reality - and for the ambitious the choice to come out will be influenced by this factor.

Until every musician, athlete, actress, teacher, politician and parent feels that their opportunities in life will not be threatened by how society perceives and labels them, we must only be proud of everyone who has the courage to step forward despite whatever makes them different. Each individual that takes that leap makes it easier for the next. Ricky Martin is a leader - and should be applauded as such.

Survey: How do you find new music?

2010-03-28T12:22:00.003+01:00

We've been busy planning some new ways to keep in touch with our community. But in order to see how effective we might be, we thought we'd do a bit of research.

The community for MaJiKer has been growing nicely in Paris and London, and we'd like to expand that to the wider interweb universe by creating a membership site. This would be a place for MaJiKer to interact directly with the community and allow them to experience the new Lab format - and to introduce them to new music that he has produced alongside the music of people he has been working with.

We'd love to know a bit more about how you like to find new music, and what you think about membership sites in general. So we've created a quick survey.

To thank you for taking part, we've got some new music to give away!

Access the survey via Survey Monkey.

And thanks for your time!

Why Did We Break Up With MySpace?

2010-02-18T21:52:00.006Z

Unless you are a musician, you probably aren't maintaining a page or connecting with others like you used to on MySpace.

A spot poll of your nearest and dearest will no doubt give you the following insight: no one is using MySpace any more. In fact our own research last autumn found that about 20% of friends connected to our artists had inactive profiles - with around the same figure not having logged in for 6 months. Add in the huge volume of band profiles, and you aren't left with many punters.

But we all used to cherish our love of MySpace. So what happened to the relationship?

You Stopped Making Me Feel Special

When it started, being friends really meant something. Those early years of social networking saw us collecting friends like they were badges of honour. But then everyone wanted to be your friend, including christain metal bands from Utah and a folk singer in Croydon. Suddenly being popular wasn't so special anymore. Proof that quantity alienates and that really, all we want is to feel like a special part of a community - no matter how big our digital universe gets.

You Just Weren't Yourself Anymore

Bands started using MySpace to connect directly with fans and build audiences. But once it got too much, the labels and PR took over. Soon an intern was posting comments and answering the post. With Twitter we can usually tell it's the real person behind the tweets (note: I suspect that @iamjonsi isn't really our favourite Icelandic boy...). Twitter works on this instant gratification principle. Being genuine and investing time in the community is crucial.

You Were a Lazy Lover ...

It all felt so subversive and fresh and new. But then everyone started to do it all a bit better. And Facebook came along and did the simple things with more whizz-bang and MySpace was (and is still) left playing catchup on functionality.

... And then you slept with Murdoch

MySpace showed us we could all have our own little place on the web and connect - and even use our space to be something fabulous. Then our world was sold to the media equivalent of Darth Vader. No surprise that trust was eroded - and when the 'space started to feel more like the Death Star every day, we knew it was time to leave.

It's a shame really. We had fun.

Image on Flickr by WebRanking Pictures

Streaming: Limitless Choice or Ultimate Connection?

2010-02-16T14:09:00.006Z

The great streaming debate is not an argument over how long these types of music services will continue to exist. The discussion that is worthy of your 140 characters is around what functionality of the streaming genre will win over in the end? What does the listener want - limitless choice, or connection to the artist?

The front runners in streaming operate primarily as giant jukeboxes and customised radio stations. But some have greater potential to connect communities. So how do they measure up from the artist's perspective?

Spotify (5 million users) has come out as the media's favourite to hype. With major label catalogue from launch (and 6 million tracks in total), most of what the masses want to hear can be found on the service - unless you are on a small indie whose catalogue is part of the millions of tracks waiting to be uploaded (frustratingly our own work is still mostly absent). Perhaps this is being rectified before Spotify launches in the US this year.

Spotify remains, however, a one-way tool primarily for labels and distributors. Certainly artists get exposure by having their entire catalogue on the service. But there is no interaction between artist and music fan. Crucially, Spotify has no reporting tool - so the artist never knows who has been listening to their work.

Essentially Spotify is a bespoke radio channel - offering the seemingly limitless choice we have become accustomed to in the digital age.

Last.fm - who have been on the scene longer and boast 30 million users - offer a more personalised service - giving you the ability to not only play your favourite tracks, but also to scan your iTunes and deliver your own music collection when on the go or when working away from your computer.

Last.fm has also better captured the social aspect of listening by including networking capacity, and the "scrobbler" - which satisfies the desire to show off one's listening habits by measuring and displaying plays in your collection.

For the artist, Last.fm offers significantly more potential to reach your community. Artists have control to upload material instantly, give away tracks, advertise gigs, connect with listeners. There is no need to get a digital distributor involved - which allows small artists and labels to come and play. There are also statistics, including demographics so that artists can build a profile of who their audience is. And the service even measures who is listening when listeners aren't streaming - as the scrobbler captures iPod and iTunes offline data. This gives artists and labels hugely valuable insight into their audience.

Soundcloud is a dark horse that might become the niche label's bestfriend (with 100,000 users as at August 2009). More PR tool than streaming service, the site is a sublime Flash experience with embeddable players and instant track distribution. Every DJ, music blogger and maven should be on SoundCloud, connecting directly and getting fresh tracks from the artists they want to hear from - rather than relying on pluggers and PR companies.

SoundCloud's potential is still being realised - but the new mobile app is quite exciting. The opportunity to have a mini FTP on your iPhone with this functionality is revolutionary.

Of course there are other services operating but the three here capture the features that are currently available to the audience and artist. Spotify may be taking all the limelight right now, but is it over offering on catalogue and under performing on the extras that actually help artists to reach their listeners? Perhaps if these services hone what they are really good at we will actually have a handful of great resources to use.

Image from Flickr by Mark Heard

Can the Industry Change Its Spots?

2010-02-11T17:10:00.000Z

This is a syndication of an article written today for the ever brilliant musicOMH

As an artist and owner of an independent music label, my intention and focus has been in making brilliant electronic pop music. We welcome any opportunity to help not only the creation, but also the promotion of our work. Over the years the internet has been a complete revolution for what we try to achieve – in fact many milestones in our success has been due to the web. It is no surprise then that I completely disagree with Warner Music's statement this week that services like Spotify are "not positive for the industry".

The "controversy" over music streaming services has very little to do with the two most important components in the debate - the artist or the music fan. In fact this argument, driven by the major labels, has rarely involved these two stakeholders at all; the recent missive from Warner indicating it may remove their catalogue from services like Spotify is testimony to this. Note that the consumer is not mentioned once in the rationale over music streaming, which is clearly becoming increasingly popular. What other business would get away with ignoring what the customer wants?

The central issue here is an industry resisting change, which is not about music piracy or the often cited devaluing of art - but rather a transition from commodity to experience.

Music enriches lives - this is experiential. Owning a piece of plastic does not fulfil this primary need. The desire for music in our lives has not decreased, and a new generation of listeners has arrived hungry for great tunes. It is simply the physical medium that has become irrelevant. Technology has allowed us this freedom and this realisation.

Music fans are continuously wanting greater access to musical experience. The internet offers this on a global scale. Like all content across the web, we habitually want it - and want it now. And in return, like never before, the artist is able to express themselves to a mass audience almost instantly. Music streaming - be it via MySpace, YouTube, or Spotify - has played an important role in allowing us to sample almost any artist's material, whereas previously we were restricted to hearing whatever the industry decided was worth marketing. With the massively increased bandwidth offered by the internet, every artist can find an audience. Not to mention the connections that artists can now make with each other! For an industry supposedly built upon creativity, this can only be seen as a positive asset.

In fact this democratisation of access is what scares the big labels the most. In the old industry he who shouted the loudest - via buying popularity through advertising spend - often reaped the greatest reward. Now anyone can broadcast their talent via services like Spotify. And the consumer has the reciprocal benefit of ultimate choice - no longer subject to being force fed content by the majors. When Warner restricts the audience access to their artists, which they have also previously done for content on YouTube, they are creating a massive competitive disadvantage. It is beyond belief how they could justify this decision to their artists.

Those leading the debate continue to stress that they are losing money and that giving away their content for free will bring the weakened industry to its knees. In fact streaming music is not given away for free - artists receive royalties per play. It might not amount to much for a single play, but it is a quantifiable and fair system. And as for the dying physical format, music revenue is not confined to the sale of a single product. There is licensing to advertising, games, film, live performances, clubbing, radio & TV broadcast royalties, publishing, merchandising ... all offering the potential exploitation of the artist and their craft.

Warner may not feel that "ad supported free services are a sustainable business model" - but there is clearly nothing sustainable about creating a business around a commodity that your customers are not interested in. Deserting new media because it has challenged your strategy is not a failure of the consumer - but of your own inability to adapt to the changing needs of your audience. It has become increasingly clear that sustainability in the new industry will involve nurturing talent and finding the best opportunity to connect it to an audience, not through the manufacture and sale of plastic discs.

If Unilever Ran the Music Business

2010-02-07T20:33:00.010Z

So what would happen if the music industry had been run like other businesses? What if music was considered to be a FMCG product? If you consider heritage, recorded music was established on similar principles - a low priced consumable that was desired - and ultimately required - by the masses. Labels produced singles at an affordable price for kids to buy with their pocket money every week. Shelf life was limited to a few weeks before the item was out of fashion and replaced.

FMCGs have been popular for as long as our capitalist system has existed - many of the same brands exist today. So what do they know that the music industry has forgotten?

What if Unilever ran EMI - what advice would they give?

Invest in R&D

Unilever products are consistent - but also made progressively better (well, so we're led to believe!). Products are incubated and developed until they are ready for market. Today artists are expected to be shipped immediately from their bedroom studios to the top ten - failure to do so means you will be dropped, and with it goes the investment in your potential. There are rarely surprises in the launch of FMCG products. I'm not suggesting labels manufacture their artists - but a little less A&R and a bit more R&D to nurture talent (a la Kate Bush's career) can go a long way.

Innovate

Do we need several variations on a theme of James Blunt/James Morrison/Jack Johnson, released by various labels? Why do you think Unilever dosen't try to make ketchup? If Heinz does it the best, why bother? The duplication strategy worked in the 60s but popular music has moved on. Redefining is critical, especially as technology has forced the industry to completely reinvent itself. If you can't innovate, you won't be in the game much longer.

Find Your Market

Unilever knows that young men will wear Lynx - not because it is the most effective anti-perspirant, but because there is a social status attached to it. Young people need music in a similar fashion. And young people have disposable income. So why does the record industry insist on alienating them rather than seeing them as their greatest consumer - and instead make them brand loyal for life?

Believe in What You Do

People who work for Unilever firmly get behind the missions of their brand family. They believe that deodorant fulfils a social need for people to feel confident. And that soup stock holds a family together by making meal times an event. It might sound like a pile of marketing bullshit, but to employees at Unilever it works. Do people in the recorded music industry believe they helping to produce brilliant music - and in doing so, entertain and make the world a better place through what they release?

Establish a Trusted Family

Unilever has realised that it is actually a family of great household brands. They are creating a connection between their products and helping the consumer to identify them under the parent label of Unilever. They do this to capitalise on trust - if I trust that Lipton tea is the best, in time I will show favour towards Dove soap. Major labels have no glue to hold their catalogue together. Niche labels (and mid-weight labels such as Def Jam) have always used this to help connect their community of listeners. What could be said, if anything, of the EMI family?

Unilever don't know anything about making music. But then rarely is this talent exhibited by major labels these days either. In the end this issue isn't about the music - its about an ever changing industry that appears to be unable to adapt. Which is a shame as there is plenty of inspiration from great, thriving businesses all around us.

( E )ven ( M )ore ( I )nvestment?

2010-02-07T19:56:00.007Z

If I was a shareholder in EMI, the big question I'd be keen to hear answered this week would be - what exactly are you planning to use my £100 million for?

As the home to some of the world's biggest artists - who continue to be as popular as ever, despite the company's insistence that the massive defecit is due to the recession and the "continuing rapid decline of the physical market" - one would think EMI would be able to maintain a strong position in the industry. The analysis this week of the company's position hints towards continued mismanagement and bad deals.

Like many sectors, the music industry is beginning to fall foul of lack of trust and transparency. Music fans are turning away from physical products and refusing to pay what they now believe to be too high a price for compact discs - which have for most become obsolete anways. Fans don't respect big record labels. But they are still investing time and money in the music and artists that they love. The superbrands under EMI - Kylie, Coldplay, Pet Shop Boys, The Beatles - all have huge asset potential beyond recorded music.

Its the equivalent of Unilever somehow suddenly failing to release that people still need deodorant.

EMI has stated that it will be producing a new business strategy in return for continued investment. Surely this is too late - especially if the business plan is just "more of the same but with emphasis of digital and less on physical products". They are going to have to come up with something remarkable, and fast. It is no wonder that the big players continue to get left behind, with faulty strategy resulting in both artists and music fans turning their backs. If they havent been paying attention, everything is changing. Keep up and stay ahead, or the banks will take control. And if that happens, another formerly great British business will certainly be over.

Why - How - What

2010-02-03T21:52:00.006Z

Here's a bit of a different way of explaining the concept of intention.

Simon Sinek's simple and brilliant "why" is where I was going with the principle of understanding what you get out of your art. From a coaching persepective we try to avoid the question of "why" - as it usually does not result in an answer that is rooted in one's values, and can often leave someone to be defensive of their actions. Or you get the answer "because" - which is a complete deadend. But Sinek's forumla of WHY - HOW - WHAT is spot on ... and something many artists never get close to resolving.

Your audience is your customer, and you as an artist are a brand. Figuring out your golden circle will give you the internal confidence that so often is sought from external validation . All you have to do is start with your intention.

What is the Point?

2010-01-30T14:54:00.008Z

When making her acceptance speech in todays Australian Open, Serena Williams commented that she had "reached her goal."

The context of her remark was not that winning the tournament was her goal - there was something more behind it. It made me think further about the goal of the artist. The questions of "why" you make music or produce art is irrelevant - and inevitably you always get the same sort of answer - "I just have to ... its inside of me and I just need to let it out ... to express myself etc etc".

A better question is "what do you want to get out of doing what you are doing?" This helps to actually focus the output of your creativity, and to clarify the intention of your work. MaJiKer and I use this technique constantly to keep his project on track. He is highly motivated to achieve, but with so many possible directions to pursue, how do you focus your energy and resources? Setting clear goals reinforced with an understanding of what you want to get out of it at the end is crucial to moving to the next stage of your career.

High performing athletes clearly know this - they do not achieve in their careers simply by setting out to beat someone, or win tournament money. The best are constantly striving to hone their talent, to reach milestones along the way and then stretch themselves even further.

The majority of XFactor hopefuls quickly demonstrate that fame is all they want to get out of what they are doing. Unfortuantely fame is a goal that rarely results in remarkable talent.

Image from Flickr by John of Dublin

And now ... 2010

2010-01-24T13:50:00.007Z

And after a much needed extended holiday, which took up the most of December, I think I've finally returned to a normal routine. 2010 had a bumpy start with the UK being covered in snow - we simply can't cope with the elements in this country.

2009 was busy - but ended on a high with MaJiKer's "Laboratoire BPM" on the 11th December at L'Espace B in Paris. A perfect hidden gem in the 19th arondissement which is completely suited to this fantastic new format curated by our favourite Gaymonkey maestro. With special guests including Camille, Maya Barsony, Indi Kaur (and of course, Benedicte Le Lay) the packed out performance was easily the best show I have seen in years.

Along with the brilliant Kraftwerk cover - "Les Robots" - the medley of "Flesh & Bone" with "Home Is Where It Hurts" was definitely a highlight.

The Lab format was such an innovative live concept and success that we are planning more in Paris (next one - 10th April) and to bring the show to the UK and beyond, with MaJiKer curating more exclusive guest performances. Add this to an exclusive mixes and bonus track compilation (out very soon on Gaymonkey) we can expect quite a bit from MaJiKer this year. So watch this space - 2010 will be bringing us much joy indeed.

Buying Robbie Williams

2009-11-23T22:32:00.004Z

Robbie might be onto something by selling himself off to private investors. While the recent publicity around his proposed intentions might be a bargaining chip / cry for help from EMI, his manager is correct in saying that Robbie dosent really require a label anymore to co-ordinate his career. Marketing, touring, distribution - all could be outsourced to various third parties.

As Robbie Williams is now an established brand, he no longer needs the umbrella of a label to nurture his career. And his brand has strong investment potential - with a proven track record and fan base.

I guess what is missing is the trajectory - where is his career going? Whilst Madonna could guarantee Live Nation that she could generate returns on her mega-tours (even despite any potential flagging album sales) - and Bowie's "bond" strategy was aligned to his constant innovation (although they faired as well as his subsequent material ...) - Robbie has been a bit hit and miss lately.

Certainly the prospect of him reuniting with Take That would send the price of Robbie shares rocketing - but without this carrot venture captialists might be wondering how they will recoup their investment. Still it poses food for thought - with artists increasingly in control of their own catalogue, finding good business partners could be more lucrative than being tied into contracts with unsupportive labels.

Image from Flickr by fortyseven

The New Public Relations

2009-11-07T16:57:00.004Z

I noticed a copy of NME sitting on the shelf at Tesco the other day. I was actually quite shocked that it was even still in print. Do music fans still read these magazines?

For the past few decades, the only way to find out about new music was through the radio, tv or newspapers and magazines. Of course there was word of mouth - the most powerful of all mediums - but this was largely unquantifiable - labels couldn't measure effectiveness or spend their budgets on it as easily as they could on the trusty stalwart of PR. As a young pup I was a devout reader of NME, Spin, Melody Maker, Select and Rolling Stone. I consumed the stories in these bibles without fail, every week/month. It was how I kept in touch with artists - the only way I could access information about them. Those stories wouldnt have been there without the industry's PR gurus.

The music industry has always relied heavily on PR. If you didnt have a good PR, you didnt have a career. But what was this magical power that these PR people weilded?

PR as "public relations" is essentially the manipulation of public perception through story telling via media. The PR professional creates the story - sells it to the press by convincing them that the story is worth telling - and voilà, a story appears. The story is used to sell the various media, so the more fantastic the tale, the more likely it is to be spun.

The power of public relations was therefore in the ability of the PR to spin a big hype-filled ball of yarn, alongside the relationship they had with the hack who was responsible for getting the story to press. Labels still spend oodles for this service. The tactic relies on the premise that winning over the press will result in an endorsement of your artist, and the public will follow.

In reality today, the service is media relations, not public relations. The relationship that the public has now with press is quite a different beast. The internet has allowed us to discover music in an entirely different way. Artists can create their own PR and build a community of fans without a journalist ever hearing about them. In fact these days, the journos are most often the last to write about new acts. Magazines and newspapers are struggling to survive. TV no longer has a captivated audience, and radio is being revolutionised by services like Spotify and Last.fm. Media relations has become the ego PR that rarely results in any audience connection.

"Public Relations" - real PR - is now something totally different. It is the relationship that an artist or label has with its audience. It is how an artist tweets back to a fan, or the comments it places on its Facebook group page. It is interacting with bloggers who become tastemakers for the life of a project, rather than just writing a story once to fill column inches. It is speaking directly to the people that are interested in their work, rather than relying on a salesman to force it into a journalists intray. Finally public relations is becoming a genuine interaction between the makers of music and the listener.

Still Paying for the Naughties

2009-11-01T22:05:00.004Z

The piracy debate took an interesting twist today when the Independent on Sunday revealed that those that spend the most money buying music are, in fact, the same individuals who are most likely to download music illegally.

It's not really rocket science to think that people that are very passionate about music would use the convenience of the internet to gain access to what they wanted to hear. Analysis of the survey finds that those that file share do so as a "discovery mechanism"; something that most artists and labels have come to rely on in order to spread the word about their work.

After my blog on the proposed new anti-piracy legislation earlier this week, I thought I would research any current studies on the psychology behind file sharing. For me part of the answer to this issue lies in the reasons behind why people genuinely do not seem to have a problem with downloading and sharing music. I didn't get far before discovering this article from Esquire from last year.

Author Chuck Klosterman raises one of the most intriguing perspectives I have heard in the debate. By raising the question of where the billions not being spent on the music industry have gone from the economy since file sharing became a norm, he has come to a simple conclusion.

We're still paying for the music we bought over the past decade.

It's true. Think of all that cash you slammed onto your credit cards during the boom at the turn of the millenium. I used to spend £100 a week on vinyl alone, some of it which still sits unplayed in my record boxes. The reality for many is a big fat balance on credit cards - only now they choose to pay off their debt rather than rack up more CDs.

We were addicted to music consumption. Getting the last single by a new or favourite band was a symbol of status and part of a shared cultural experience. We needed to acquire music as much as we wanted to actually listen to it.

That passion hasn't died - music is just as popular as ever - but with the digital era crossing over to a new generation, the need to consume has begun to vanish. The physical relic of the plastic medium no longer required for a new audience that has access to digital content. Downloading is fast, convenient and readily available - even accessible on-the-go through mobile devices. So why wouldn't a music fan take advantage of the best resource that gives them access to what they love?

Lord Mandelson Declares War!

2009-10-28T21:31:00.005Z

Interesting piece on Channel 4 news tonight about Lord Mandelson's anti-piracy proposals.

And my first introduction to the Featured Artists Coalition - a lobbying group set up by musicians (such as Ed O'Brien from Radiohead - featured in the interview) who are campaigning for changes to copyright.

While most of their argument centres around the way royalties are controlled and split between labels and artists, O'Brien was on hand to face Jon Snow's questions regarding the government's proposed legislation, which involves threatening those that upload files for sharing. Three nasty letters, and you could be barred from the net.

O'Brien spoke with clarity when he admitted that new artists rely on the internet to get noticed, and "build their profile". I wonder how Lord Mandelson would classify bloggers who have become our new broadcasters - spreading the word through their recommendations, and helping to launch the careers of many artists? Are they criminals, or an essential element to a new industry?

The report is below. Thanks to the internet, I can share the film clip with you. If you enjoy it, you must just watch Channel 4 again. Or tell a friend about it.

That's the joy of new media.

The Artist - Customer Relationship

2009-10-25T19:16:00.004Z

You - the listener - are being blamed for the death of the music industry.

Every time you download something for free, a big giant finger is pointed directly at you. You are stealing - taking the hard earned pennies straight from the hands of the artists who slaved away to create what you selfishly devalue. Your activity should be monitored and any infringement noted and penalised.

How about another perspective?

You are the customer, and the musicians are working for you. You are the saviour of music.

In days of yore, music was not a commodity. It had no physical form, so it could not be bought and sold in the same way. Composers had patrons - the wealthy lovers of the arts who sponsored the creation of new works. It was very much a B2C relationship - with the composer selling directly to a customer.

This worked for centuries, until we discovered that you could capture sound and package it up in plastic.

The music industry was born, and suddenly the relationship changed. Composers needed companies to make the plastic that would carry their works. And those companies wanted big returns on their investments. They saw that they could create a whole network of money making opportunities. They needed distribution to ship the plastic all around the world. And they needed shops to sell the plastic to customers.

The relationship changed from B2C - to B2B. Composers now had no business relationship with their listeners. The plastic was all that mattered - pressing it up, shipping it around, selling it in stores.

Fast forward again. A digital world realises it dosent need the plastic anymore. Suddenly the entire network is under threat. The business relationship that relied heavily on the physical manfiestation of the music no longer has context.

Its time we went back to the B2C relationship.

Artists are working for the listener. They make their art for a global patron - their community - which they must build, get to know and demonstrate a commitment to. In return they are supported for their efforts by their community. This is the key - like any business, the artist must find out what their customer wants to pay for. Some communities might still want a plastic souvenir to take home and own - which they will create demand for. As (thankfully) the joy of experiencing music has not changed over the centuries, the artist will always have something else to sell - the live experience of their music. And now that we have a global method of broadcasting - the internet - with a more reliable way of keeping track of what is being performed, the artist can continue to expect royalties for how their work enriches the experience of other businesses - the element of a healthy B2B relationship that still remains.

So in the end, it is the plastic that not only created the music industry, but lead to its downfall. And as you - the customer - now have the power back, you should be respected for the part you play in helping musicians to bring their art to life.

Deal With God - A Video

2009-10-17T09:36:00.005+01:00

More proof of why the internet has revolutionised music.

Last year Buffetlibre DJs contacted us about doing a cover version for their REWIND2 project. They found us via MySpace (I think ... or maybe it was through our email newsletter via Gaymonkeyrecords.com). They are based in Spain - we've never met, but we're virtual mates.

We of course covered "Running Up That Hill" by Kate Bush. The Buffet boys then create a fantastic site with the rest of the cover versions - essentially a digital album.

It is offered free to anyone. They promote it, gaining the kudos of cool, and we get some promotion to a new audience. We are introduced to their community.

Months later, a guy named Martin in Peru (!) gets inspired and makes his own music video for the track. He posts it up on YouTube, and a new community of Kate lovers is introduced to us.

A decade ago this would have been impossible.

REM - Green Again

2009-10-12T19:11:00.004+01:00

It's nice to see the penny dropping for other bloggers on the music industry's environmental impact.

Drowned in Sound ran some editorial on the campaign this weekend by REM, who have released their latest material as a giveaway with The Times. This isn't new - the weekend press is usually littered with freebies. Precisely the point - the free CDs and DVDs have a disposability that inevitably see them ending up in the bin.

Labels have been increasing this practice - recall that Prince launched his last album in a high profile deal with the Mail on Sunday two years ago. The idea was panned by many as contributing to the downfall of the industry. The question remains over it's effectiveness - does it attract new listeners to the artist, and in fact is anyone listening to the material at all? If we can't measure the intention of the consumer, do we assume they have purchased the paper for the music, or the news?

REMs campaign is different. Rather than offloading a CD, it involves a code for downloading the new material. It's not rocket science, but here's why it's smart:

Less Waste - and less production!

Lower costs for the label and newspaper - and the unwanted CDs won't be consigned to the landfill. Can you believe this campaign is the "first of its kind" in the UK?

Targeted Marketing

Putting CDs in the paper is the same as loading them into a shotgun - not targeted at all. By asking the listener to download, you are opting them into the campaign. It's permission marketing with the reciprocity of the free music.

Retention

REM - and presumably the newspaper - now have valuable info on the listener. What if instead of just new material, the listener was opting in to a whole new space with merchandise, exclusive info and ways to interact with other fans? Building in a way to continue to engage after the initial download is potential worth investing in.

Affiliate Revenue

Music revenue through album sales are in decline. So let the advertiser pay. Not disruptively (like the Spotify model) but through the paper and via the download portal. This is a win for all parties - the artist/label gets royalties, the paper gets ad sales, and the advertiser gets access to a target demograph.

This is the type of thinking we need to see more of across the media industry. The assets are there - the business just isn't using them wisely. And when a viable opportunity to benefit the industry and the environment are presented, we need to make it happen.

Image by zeusface on Flickr

Fragmentation

2009-10-07T20:01:00.002+01:00

A digital world of infinite choice has resulted in many of the things we've known and love breaking up. Some have even disappeared altogether.

The best example of this is the news. For generations now we have relied on a trusted voice to bring us stories of what is going on around us. Newspapers - then joined by television - became the authority on the news. But even this is changing in the digital world.

We don't need a single voice to bring us the news anymore. RSS feeds can filter in stories from multiple sources from around the globe. Even Twitter breaks news faster than a traditional paper, or waiting for the ten o'clock edition (look how the story of Michael Jackson's death spread ...)

What I find most exciting is that my news is personalised. I pick what feeds I want, who I follow on Twitter, and what volume of information I receive. The authoritative voice - which particularly in the UK is frequently clouded in bias - is gone. In fact my world feels lighter without the burden of the doom spun by mainstream media. We might question who the "trusted" voice is - where do we go to find the facts. Wikipedia has demonstrated that collectively we have the ability to piece the fragments together, to build the facts ourselves.

Whilst newspapers and tv stations struggle - and some close shop altogether - surely we benefit from fragmentation. What it gives us is the ability to personalise our media.

For the music industry, this has been perceived as a threat. Consumption has changed as people move away from buying whole albums in favour of downloading single tracks. Mainstream radio faces competiton from bespoke services like Last.fm.

The threat of fragmentation is an opportunity for any artist - who can realise that they too have a chance to have their work heard. And most of all for the audience - who now have unlimited choice to access what they want to hear.

Image by Rick Heath on Flickr.

"Tongue" by MaJiKer

2009-10-06T20:15:00.005+01:00

The new video by MaJiKer - "Tongue" - is out today. And it is fantastic.

This is the type of thing that makes me very proud to be involved in music - to be able to work with very talented people to realise a creative goal. The video is a true achievement in storytelling and direction - by the fantastic Raphael Neal - and embodies the brilliance of MaJiKer's work.

Let us know what you think of it.

MaJiKer - Tongue (OFFICIAL MUSIC VIDEO) from MaJiKer on Vimeo.

Pirate Rantings

2009-09-22T22:15:00.003+01:00

The past week saw a handful of artists join the outspoken ranks to rant about piracy. In addition to Lilly Allen gobbing off, Darren Hayes used his MySpace page to say a few words on how illegal downloading was destroying the industry before our very eyes. Judging by the comments on his page from his loyal fans, his words were hitting home - even enlightening those who hadn't realised the consequences of their actions.

Hayes suggests that ISPs should be ultimately responsible for coming down hard on illegal downloading. Not a new argument - we've been having this debate for months now and it simply isn't going to change behaviour.

The simple fact is that the industry cannot blame illegal downloading for it's "collapse". Everything about the industry is fundamentally changing. When Hayes was in Savage Garden he would have relied on the old machine - major label, traditional media relations, the touring mafia, compact discs sold in massive chain record stores. The digital revolution has turned that entire world upside down.

If we value the freedom that the Internet has given us, we cannot blame it for change. The artist can now publish, release, promote and interact with more automomy than ever before. Hayes uses social media to connect himself directly to his fan base - something that would have been impossible in the old regime. He has effectively been running his own career - thanks to the independence of the digital world. Would a major label still be supporting his solo career? How would he continue to reach an audience without the benefits of the net?

The business model of music needs to evolve. But if money is all that an artist cares about - indeed if that is all any individual cares about - they need to reconsider their priorities. The new industry offers any artist the opportunity, for the first time, to connect with a global audience. Surely that is reward in itself.

A New Revolution

2009-09-18T20:13:00.002+01:00

I've been away from this blog for a few weeks. A much needed holiday back home to Canada gave me some time to reflect on wisdom from my business partner and good friend on where this particular channel was headed.

I've been writing for over 18 months now - over one hundred posts. Even in that small time the blogosphere landscape has changed massively with the disruption of Twitter. Despite this blogs remain a critical companion. As writers, the need to find one's own voice is more important than ever.

That's the hard part really, and it has taken me this long to recognise my focus for writing this. While I started as a means of just commenting on anything, I've realised I do have a unique voice on the music industry. I'm an artist / (semi retired) DJ / producer / manager / booker / marketer / digital media officiando / long tail rider / independent label boss / publisher / leader in the music industry's climate change debate. I'm not sure there is anyone else that can offer this perspective, and I hope it can help others who are passionate about creating a new music industry.

So thank you to @shamsandhu for your words of wisdom. And to the other gurus - Seth Godin, Chris Anderson, Daniel Priestley, et al. (not forgetting Gladwell, of course). Here's to a new chapter of revolutions.

Music Saying Nothing

2009-08-19T22:14:00.002+01:00

No bands have anything to say right now

- Adam Ficek, Babyshambles

This evenings' London Lite carries a quote from the Babyshambles' drummer. I'm sure he is probably reflecting on what he perceives to be lacking in inspiration in the current indie music scene. But he has a point - artists don't seem to have much to say for themselves. Unless you are Bono - of course.

Which is odd considering the level of interaction and airtime that any artist can have thanks to the Internet. They no longer need to call a press conference or stage a bed-in to get attention. But rather than use this brilliant tool to discuss the merits of their music, most mainstream performers tend to rant about their media profile (see Lilly Allen or Calvin Harris for Twittertips).

When it comes to social issues, the silence is almost deafening. At a time when companies are under increasing pressure to be more transparent on their stance on the environment, and are even using the challenge to improve their offering, artists seem to have nothing to say. In the last issue of the PRS members magazine, the spokesperson for Julies Bicycle (the industry body on climate change) revealed her frustration on finding a UK artist to publicly comment on the issue. Perhaps they are afraid to make a statement because they are realising the impact they have. Or maybe they just don't realise they have a responsibility - or the opportunity - to affect change?

It seems like music with comment is as taboo as an artist with conscience.

Image by kozumel on Flickr.

Twisted Words of Free

2009-08-17T20:16:00.005+01:00

Radiohead have made some recent revelations: a "leak" of their new track (and subsequent official free release on their website), and the possibility they might not do "albums" anymore.

The intentional distribution of the "These Are My Twisted Words" isn't a big surprise. Why not follow up the pay-what-you-want concept of In Rainbows by trying out free? The hype of the "leak" made little difference - a bolder initial statement would have had more impact than a transparent gimmick. The band have set the bar for innovative distribution - we now expect them to continue the trend.

Turning their back on the album format is more shocking. Radiohead have always been an album band - that is to say, the body of a period of work aligns comfortably into a collection. The single isn't really their format. Thom Yorke alludes to a series of EPs - which could be an interesting strategy for the group.

Albums are like books. Sometimes a chapter works on it's own, and sometimes they feel more like a collection of short stories. But for great artists they provide the listener with an amazing experience. Despite the industry struggling to find a model to move quantities, the album remains a valid way of packaging music for those that want more than just a three minute fix.

Incidentally I recall reading that Calvin Harris wanted to shun the album in favour of a string of singles. "I'm Not Alone" was to be a stop gap track to keep fans happy in the meantime. Clearly too much of a risk for Sony - the single appears on the new album in traditional style along with his collaboration with Dizzee Rascal. No doubt the cost/benefit analysis by the men in suits of trying something new was simply too daunting (though apparently pressing to double vinyl was warranted ... )

The Icons

2009-08-16T20:41:00.005+01:00

The National Portrait Gallery is exhibiting a Gay Icons series - ten prominent gay "selectors" are asked to each name six individuals whom they regard as inspirational. The icons are not required to be gay, but rather the show provides insight into who - and what characteristics of an icon - influence the lives of todays prominent gay figures. The portraits themselves are secondary to the stories behind the inspiration.

You couldn't see the exhibition without questioning who has been instrumental in your own life. Here are a few of my own ...

Neil Tennant

Stylish, ground breaking, and with seemingly endless stamina. Neil Tennant has always provided musical inspiration via the Pet Shop Boys - but beyond that obvious link he has been a pop culture icon on every front. Where he stands above so many of his contemporaries is through his inimitable dignity. He is a trusted and respected voice of British culture and the world is a better place because of the joy he has brought through his career.

James Dean

Those who leave the world prematurely often have iconic status thrust upon them. James Dean was a pop star in his own right. His skill as an actor was evident despite appearing in only three films. What would he achieved if his time had not been cut so short? Though we must decipher his true life story from the legend it appears he was an outlier in every aspect - it is no surprise that he continues to inspire new generations.

David Bowie

Bowie is a true genius. His songwriting skill is unparalleled, as is his talent for invention of all aspects of his world. He takes risks and in doing so has been an influence on probably anyone making music today.

John Cage

For some reason I have been fascinated by Cage from the moment I became aware of him. Odd considering my love for pop music and melody! He was a many of layers of complexity - philosopher, composer, artist, activist, Buddhist. Yet everything he did was with consistency and conviction. He gave me silence and for that I will be forever grateful.

Barrack Obama

Because very few individuals actually give hope to the world. It's a gift that we should never take for granted. Obama has only been with us for a short while but already he has achieved so much - the simple act of his rise to the top is overwhelming. He is the only politician I have ever believed in - he can actually change the world.

You Have No Right To Someone's Attention

2009-08-02T10:11:00.010+01:00

Marketing used to be about shouting at the masses. In a music context, this was a blitzkrieg involving above the line advertising and buying oneself to the top of the charts. This is no longer effective - nor is it acceptable. In fact it can be a complete waste of time.

The best communication now involves an invitation to join into a dialogue (with a gentle nudge now and then). Permission is key. Most important of all, to get an audience for your message you need to have one that compells them to listen in the first place.

What we're seeing lately, however, is that just asking for permission to grab someone's attention isn't enough. This is evident in what has happened with MySpace. By sending someone a friend request, bands thought they then had permission to engage them as often as necessary. They also assumed that the "friend" would take some responsibility for keeping the relationship going.

Once MySpace started to take off, a deluge of bands masquerading as wanna-be friends started to bombard music fans. The result was a population of people who just stopped listening. The MySpace principle of quantity of fans over quality seems to still be in place. I wonder now how many "friends" of bands are actually still active users of MySpace - or indeed, have any interaction with the artist once the initial contact has been made?

Three things are required for permission now:

1. What's the glue?

Why should the audience care? What do you have in common? This is the glue that connects you. I personally don't give a toss about Cambodian gabba folk - which is pretty obvious if you took the time to find out a bit about me. Also - I don't live in Texas so I'm probably not interested in your gig. You've just wasted your time and I'm not listening.

2. What's in it for them?

This is crucial - the basic principle of reciprocity. All relationships have give and take. If you want to take up some of their time and attention, what do they get out of it? If you are letting them into your world, make sure you are giving something back. And make those actions visible so new audiences can see that you will respect their attention. I'm not suggesting you give your back catalogue away for free - for starters, a simple thank-you will suffice.

3. What do you want them to do?

What is the ask, and how can they get involved. Passive relationships are pretty dull - how does their attention make a contribution? Facebook groups are great for this, allowing a high level of "fan" interaction. But avoid tokenism - keep it genuine, and respect the time that the fans give you.

We are all bombarded with thousands of brand messages daily. To make an impact you have to do more than just stand out - you have to give the audience a reason to listen in the first place. And if you don't respect the time they are giving you, you might find that they stop listening altogether.

EQ: Mogul in the Making

2009-07-28T20:22:00.008+01:00

Clubbing in London has reached the bottom of its dip. A pattern I have noticed over the past few years, the fickle tastes of Londoners - and recently, the redevelopment of areas where clubs have been located, have seen many of the best nights shut down. Add that to the generational shift, and you have a displaced audience who wants to go out, but are left with very few options.

Enter EQ - the electronic pop night hosted by Raj and crew. A sideline to his blog, the monthly event features new talent offered up in the bucket loads.

What's refreshing here is the smorgasbord of acts presented. The night revolves around the performances of multiple acts (this month - no less than nine!) - it's the equivalent of a mini festival. Never mind the fact that it's free.

Its surprising then, at a time when people are starting to value live performance more, there isn't more nights like EQ. Raj is on to a winner with a perfect extension to the EQ brand. The success lies in his very obvious love and devotion to the music. Each act is handpicked from his treasure trove of demos and MySpace discoveries (with the odd major label audition thrown in for good measure).

Refreshing to have such a genuine figure emerging on the UK scene.

The next EQ night is this Friday 31st July at Underbelly in Hoxton Square, N1.

Visit the EQ blog here.

And join the Facebook group here.

Worry and Fear

2009-07-27T23:41:00.005+01:00

Worry pretends to be necessary. It serves no purpose.

My tweet today was inspiration - as always - from Eckhart Tolle. Sound advice. I try to live without worry as I have come to realise that it is truly one of life's most useless emotions. Worrying about something has never helped me to resolve a situation - it has only ever made things worse.

Certainly there are some things that cause me concern; climate change, paying that outstanding invoice, whether or not we'll sell all that stock in my studio, etc. But as soon as it moves into worry stage, ie that incessant noise in your head that stops you from seeing things clearly, I push the thoughts aside. Only then can you come to a creative, rational solution.

It seems so simple, yet for some reason society has become obsessed with worry - to the point where worry turns to fear. Some even capitalise off of it: drug companies, Republicans, and most of all, the media. Nothing sells more than fear, terror or the latest pandemic.

Dan Gardner has done a fantastic job of dissecting the politics of fear in his book Risk. He examines the reasoning behind our minds' ability to succomb to worry and fear, and dispells some common myths with rational argument based on simple statistics. One of the most compelling being an analysis of Americans post-9/11 fear of flying, which resulted in a shift of people driving long distances rather than taking a flight. The result was over 1500 people being killed in car accidents as a direct result of not taking that flight that they would have booked.

Its just one example that makes you shake your head and wonder why we can't see through the fog of our own irrational fear.

Both Tolle and Gardner are highly recommended reads. Just think how much more creative and productive we would all be if we stopped giving away precious time to useless thought?

Brand Madonna

2009-07-20T21:08:00.005+01:00

The 2009 Superbrands have been announced, with the likes of Microsoft and Google (not surprisingly) leading the pack again this year. Skimming through the list my suspicion was confirmed - not a single position given to anyone in the music industry.

This is perhaps a reflection of why the industry struggles. In days of yore, labels operated more like a traditional consumer brand. Buy a Motown record, and you knew what you were getting. Trust was established, and an expectation of the Motown experience was assured. The music industry seems to have turned its back on this strategy. In comparison, the gaming world is lapping it up - with Nintendo and Playstation holding positions in this years' top 100.

None of the major labels today exhibit characteristics of a strong brand. Rosters are sporadic, constantly changing and have no glue connecting the artists they release together. But most of all the labels fail to create any emotional ties with the consumer - in fact most music fans probably couldn't tell you what label their favourite artists are on. There are a few mid-weight labels - like Warp or Modular - who have managed to achieve brand status (though sadly not to the level of the Superbrand ... yet!).

Where the big labels fail, many artists have certainly risen to become brands in their own right. The best example of this is of course Madonna. What lets her down on the Superbrand scale is inconsistency - her policy of reinvention and desire to court controversy means she loses trust. And though she maintains a loyal following she has struggled to attract new consumers to brand Madonna.

A consistent experience is what has lead Depeche Mode and Pet Shop Boys to become successful. Quality, strong image, believable - they are certainly groups that have used their brand to maintain an audience where their contemporaries have failed to do so.

Some people would argue that music shouldn't be tarred with the brand brush, but I believe that artists and labels can create powerful brand loyalty and use this to thrive. Brands are about creating a lasting positive experience which form an emotional bond with a community of ambasadors who spread the message. Music is already a powerful medium, it is made even more addictive when artists are able to capitalise on their brand potential.

Chatting about brands yesterday a friend of mine asked which was my favourite. Without even thinking I responded - Apple (number 9 on this years Superbrands list). I have used their products consistently for over 15 years and am fiercely loyal to them - to the point where I defend any criticism of their work. They are fantastic at creating emotional bonds with their customers, through their customer service and image. And their shit works - I've never had an issue with anything they have ever made. A fascinating, innovative company who have been a true inspiration.

Image by dadawan on Flickr.

Bono's Big Bad Clawprint

2009-07-15T20:17:00.003+01:00

It was only a matter of time before U2 were attacked for their latest tour. Even more offensive than the giant claw that adorns their stage is the estimate of the carbon footprint of the 44 date worldwide show.

Bono fans will no doubt let this fact slide - the rare opportunity to see their pint sized messiah in the flesh will be too important to miss. It seems entirely hypocritical for a man who has campaigned to rid the world of poverty not to at least address the impact that his career is having on those he cares so much to save. We know that climate change will have the greatest effect on poorer nations (in fact Bono's primary area of campaign concern - Africa - is already the most effected - see DFID for more info) - does he not consider this before jetting off on a carbon intensive tour? He has acknowledged the issue of climate change in contributing to global poverty when he took to the stage at Davos last year. Perhaps he's becoming forgetful in his elder years.

I'm not expecting Bono or any artist to be a saint. But walking the talk is essential to credibility, and it shouldn't be surprising that the mantra of campaigners like him fall on deaf ears. It is also worth noting that as the business model of the old industry falls away artists will be under increasing pressure to tour to make up revenue. More touring equals a bigger footprint - not only of the artists themselves, but for every fan that travels to see their shows.

I do expect artists who are role models - like U2 - to be innovators and leaders. They should be establishing the blue print for not only a new music industry, but a new way for the world to behave and interact. Bono demanded we make poverty history - I'd like to see him step up and show us how its done.

Who's Zooming Who?

2009-07-11T18:09:00.003+01:00

In the old industry, the roles of artist and label were quite well defined. The artist performed, and the label controlled. While the artist may have been responsible for the music element of the product, jurisdiction for all others fell to the label. How it was packaged, sold and presented - and in some cases, even how it finally sounded - was all down to the men in suits.

The new industry is fundamentally different. The label's role now centres around co-ordination. Ensuring that all the pieces of the puzzle fall into place, from administration of the artists rights, to planning the strategy of getting the artist connected to it's community.

The artists role has changed as well. They are learning more about how important it is to market themselves, and actively participating with their fans. Social media - like Twitter - is changing the relationship between artist and fan, to the point where fans have started to expect a much higher level of instant interaction. This marketing falls to the artist themselves - something relatively unheardof in the old industry.

The new industry has given power back to the artist. Effectively they can create, market, and distribute themselves. They now have more responsibility, but in a way that gives them greater connection to what they are creating. Finding the right label can give them access to skills and support which can help them reach their community. It's an equal relationship based on collaboration rather than control.

Sony Gets Some Tail

2009-07-08T23:24:00.003+01:00

I was invited to attend the launch of Chris Anderson's new book - Free - last week. Alas at the last minute I found that the one thing that was lacking in my life, was free time. Anyways, I'm quite certain that he wasn't about to be giving his latest manifesto away gratis. After the grilling he was given by his peers perhaps this latest endeavour won't be as favourable received as The Long Tail.

One other thing nearly slipped my attention this week. As I was cleaning out my inbox I caught sight of a slice of Music Week spam with news that Sony had bought a slice of IODA - who just so happen to be the digital distributor of choice for Gaymonkey.

Could this be? A frantic Google search led me to an article at Wired (the fabulous periodical edited by noneother than Mr Long Tail himself) confirming that indeed the major label is now involved with a digital distribution arm set up as an alliance of independent labels - with the belief of the long tail at the forefront of their business strategy.

A threat to our indie integrity - or a giant 'told you so' ... perhaps both. Still its an interesting sign of the times considering the last decade has been primarily about the majors protecting their assets and shunning anything that wouldn't draw what they considered to be a commercial audience. Provided IODA don't forgo their own intentions, perhaps we should all just be flattered that the big boys want to come play on our patch for a change.

Lessons in Hype: The Next Big Thing

2009-06-14T10:25:00.004+01:00

"Get your hands on the album everyone has been talking about."

This is the strapline from a recent TV ad campaign for a brand new artist. It is running in conjunction with an album launch, nationwide print ad campaign (including billboards and tube posters) and bit of a tour.

Sound familiar? We hear this all the time from the music industry - in fact, its pretty much a standard campaign and message kit. But is it relevant anymore?

The old way of marketing involved creating The Next Big Thing, with a big splash of hype. Drive the kids to the shops, get them to buy the record FAST - and watch it sail to the top of the charts.

But now, none of those things matter anymore. The charts are irrelevant, and the kids aren't consuming in the same way they used to. So why do the big guns continue to play this game, and why are they so shocked to see this strategy is no longer working?

The Next Big Thing is now about taking small steps, and building slowly with commitment and belief. Its about building up the artist and community together and nurturing a relationship. One step and a time. Small really is the new Big.

How many times have we seen an artist thrust into the status of Next Big Thing only to fall away without a trace months (even weeks) later? We only need to look at the various Pop Idol/XFactor winners to see that unsupported hype doesn't equal success.

Seth puts it perfectly in his blog this week:

"A few brands pick out tiny dominos instead. And topple them. And they do it again. They do it so often they create noise, momentum and most important, a sense of inevitability. That's how you win."

Image by Likemindedstudio.com

Taking Care of Your Genius

2009-06-13T12:57:00.003+01:00

Great Ted talk from Elizabeth Gilbert (author of Eat Pray Love) exploring the need for all of us to nurture our genius - and how to avoid the crippling fear of the creative process.

I remember trying to express to someone how difficult writing can be. For me the whole process is incredibly private - I go and lock myself away, and when something has taken shape I can begin to talk about it. The bit before - when you are wrestling with what you are trying to express - can be tough. The bit after - when you have thrown this thing you've just given birth to out into the world, opening yourself and this new creature for criticism - can be particularly hideous.

In trying to explain this, I recall being asked why I even bothered if I hated those aspects of it that much?

Simply put - it is that space in between, when you are totally present with the process of creative thought, that is truly the most beautiful and rewarding thing in the world.

Nine Inch Wails

2009-06-11T16:03:00.004+01:00

The Quietus has a great story today on Trent Reznor's withdrawl from the 2.0 universe after encountering "too many idiots".

Is this a case of biting the hand that feeds you? Our new virtual world has allowed unprecedented interaction between artist and fan. How you use that power is up to you - but throwing your toys out of the pram if you don't like how you are being perceived isn't doing yourself any favours.

Musicians have always created a story around them to make them seem more interesting. Liam Gallagher is a tough northern prat. Lilly Allen hates everything and hits people. And James Blunt - well, he's mainly boring. But these are just roles they play.

The internet is simply a medium for people to connect. The "idiots" on the web are the same fools that come to Reznor's concerts and buy his music. Only now they can get that little bit closer to him - albeit virtually. His fear is insecurity - maybe they'll see that he's not such a dark gloomy goth afterall.

EgoPR

2009-06-08T20:57:00.003+01:00

One of the biggest issues in the music industry is this tension between niche and mainstream. For the niche to work - and it can work, for both the artist and the label - the players involved must consciously accept that it the niche does not require the mainstream, full stop. In fact, denial of the mainstream is almost key to psychologically getting over this hurdle.

To grow within the niche means nurturing a community that does not look to the outside for validation. The artist must trust that their community will grow organically, through peer-to-peer interaction, and make appropriate steps to make this happen.

Where the tension becomes disruptive is when we seek to fast track this growth through mainstream channels; by traditional media exposure, for example. Often this is simply what I call "egoPR" - seeing ourselves in press which has high status, but translates to little exposure of community expansion, and thus a limited impact for the artist overall. If the community does not require validation, then the artist/label must also accept this premise.

We saw this in the swedish campaign for Sara Berg. Huge mainstream exposure with a successful traditional PR campaign , for a sound that wasn't mainstream in the ears of the swedish public. So it didn't work. Outside Sweden her community of loyal fans continues to grow, oblivious to the previous PR. Was the investment in traditional PR worth it?

I'm not suggesting that mainstream PR be shunned altogether. But use it wisely - and not just to satisfy that overactive ego. And not at the expense of the community which matter most.

Image by redxdress on Flickr.

A Favourite Musical Maven

2009-05-28T19:32:00.004+01:00

I've been away in the sun for a bit celebrating the nuptials of one of my dear friends. She is the glue that holds our group together - so it was apt that we all got together to spend a week partying - and perhaps pontificating this next phase of our lives.

One of our group is a mate who has a knack for finding great new music. In fact I would wager that hunting down new sounds takes up a large part of his day. He likes to share too - always making us all CDs with esoteric MP3s derived from various hidden depths of the web. Not all of it is good - he loves a comedy novelty track, or a country & western cover song of 90s rave classics, but you are guaranteed a considered collection of something truly unique.

I asked him when the last time he bought music was - he couldn't recall, although he admits to buying a CD from time to time to give as a gift for birthdays, xmas etc. Largely though he uses HypeMachine and his network of favourite blogs to share new music.

He is reliable, consistent and considered by everyone he knows as an expert in music. He is a maven, one who shares his knowledge with his network. For now this has been confined to his friends and colleagues, but he is considering a blog - where others like him have been able to extend their network around the world.

Though the music industry would label them thieves, mavens are highly valuable. They transcend the tired role of the music critic (whose opinions will remain rooted in the mainstream). In our increasingly fragmented, niche-oriented landscape, the maven can find a voice and and willing audience eager to use them to find their next greatest hit.

Baby, Baby, Baby

2009-05-22T08:05:00.004+01:00

A new take on Kylie's "Come Into My World" - though on this occasion its simply down the rue in Paris - and Kylie would never be seen with her baps out! ... If you squint you can see MaJiKer and I having lunch (at 1'33").

BPM Encore - featuring Camille, Maya Barsony and Benedicte Le Lay

2009-05-12T10:54:00.002+01:00

A great little video filmed during the encore of MaJiKer at Nouveau Casino.

MaJiKer - Live at Nouveau Casino

2009-05-05T21:32:00.004+01:00

29th April 2009

Nouveau Casino

Paris, France

I have just returned from a great trip to Paris to celebrate the release of Body-Piano-Machine.

It was a fitting city for us to hold an event for the release of MaJiKer's album. It is not only the home of the artist, but a backdrop for his soundtrack. When I first experienced his live show last year (at his residency at Sentier des Halles) I was instantly transported into his world - which to me seemed to merge with the sounds of the whole city. Bodies, machines, the occasional piano ...

The Nouveau Casino was a sufficient step from the basement theatre of Sentier des Halles, but MaJiKer demonstrated that his magnificent show can maintain its intimacy. Performing the album nearly in its entirety, the live versions of the songs carry their own mystery - enhanced by the fantastic Bénédicte Le Lay, who contributes vocals, theatre and movement.

Highlights for me have to be "Wall of Sound" - which has risen to being one of my favourites on the album, along with "The Chase". This was the first track that MaJiKer sent to us last year - and the live version does not disappoint. Building on layers of body percussion the track is the definitive climax of the show.

A final encore saw very special guests Camille and Maya Barsony take to the stage to join Le Lay for a reprise of "BPMantra" - in which they created a medley of their own BPM tracks ("The Pink Piano" and "Le Femme Androide" along with "Flesh & Bone"). Pure bliss.

Body-Piano-Machine is out now on CD and Download.

Get it at the Gaymonkey Shop (with free shipping worldwide) for only £8

or order it at Amazon.co.uk

Image by Sandrine Cellard on Flickr

MaJiKer - Flesh & Bone

2009-04-14T08:01:00.004+01:00

This week Gaymonkey releases the first single from the debut solo album by MaJiKer.

"Flesh & Bone" is a stunning piece of music - a mournful love song between a musician and his art. The story within builds on several levels - the metaphor of the piano interspersed with artists introspection of his own mortality. And finally the introduction of the ghostly angel (played by MaJiKer's on-stage collaborator - the fabulous Bénédicte Le Lay).

MaJiKer had already completed the video for the song by the time he approached us to join the label last year. I was instantly impressed - a perfect visual interpretation of the music. The song remains one of my favourites from the album, demonstrating his genius and always leaving me wanting another listen.

You can download "Flesh & Bone" from your favourite MP3 store. It comes with a remix by french electro maestro Leapstick and an exclusive live performance of "Wall of Sound".

MaJiKer is performing in Paris on the 29th of April - visit www.majiker.com for details!

Community Building

2009-04-10T14:12:00.009+01:00

I've spent the better part of two weeks trying to sort out some marketing support for MaJiKer. We've been trawling the networks to find someone in France who can compliment the work we are doing to build his fanbase.

It seems that most people working in music PR are still trying to do things the old way. They think working for an artist means they simply need to send volumes of press releases and albums out to lazy journalists. We know that this is no longer the case - we know how important it is to form a loyal community, and how to nurture it.

Thankfully Seth gave us further wisdom this week to support the approach. And even more thankfully it looks like we have found some energetic, fantastic individuals to help us with our french campaign.

The new approach to marketing is, of course, a hot topic for the music industry - as demonstrated by an email I received from Music Week announcing their latest conference: Making Online Music Pay. For a mere £199 you can attend to hear the experts pass down their wisdom on areas such as "identifying possible uses of social media channels".

One way to make online music pay is to whip together a panel and charge tickets to talk about it. Someone isn't learning their lesson (or alternatively, we're all in the wrong business!). Save your cash - here's some tips:

THE ARTIST IS AT THE CENTRE OF THE COMMUNITY

Work with them - involve them in the marketing strategy. Get them interacting with their fans. Genuinely. Ebb has always written back to the fans that take the time to email him. And MaJiKer is starting to develop an addiction to Twitter. Its easy to interact so just do it.

STOP THROWING AWAY CASH AND INVEST TIME

Advertising to the masses is like drift net fishing - its a waste of money and you have no control over what you'll catch. Spend the time instead - build a targeted community and earn loyalty.

GET CLOSER TO THE COMMUNITY

Stop relying on a cast of misfits to work for you. The music industry has always put up barriers between the artist/label and the fan/customer. Distribution companies, record stores, managers, PR agencies. Remove the middle man.

THE POWER OF THE LOYAL FEW

Calvin Harris was whinging the other day that Mike Skinner had more Twitter friends than him. Quantity means nothing if your intention is simply to rack up numbers. If you've got volume, are you investing the adequate resource to nurture the community?

GIVE SOMETHING BACK

Your community deserves thanks. So give it to them.

Image by Pete Fletch on Flickr

Added Value (and a Free Drumkit)

2009-03-28T08:48:00.008Z

Its all about added value these days. The recession makes things tough - and a music industry losing its identity and touch with its "product" makes the situation even worse. If people can get what they want for free, what are the triggers that will make them reach for their wallets?

Simple - give a little bit more back and watch what happens ...

Like what Josh Freese is doing with his new album - where he has created a scaled value approach to his package. It starts with a digital download of the album at $7 ...

Upgrade to the CD/DVD package at $15. Climb up from there to $50, where Freese will call you himself to discuss the album for 5 minutes. I have no real interest in his music (yet) - but even this prospect entices me. A fantastic, personal - even affordable! - way to give back to his fans. Why stop there when for $75,000 you can get the top of the line limited edition package - which includes, amongst other things, Freese's drum kit and a limo ride to Tijuana.

Fresh, inventive - and as a marketing concept, so much more exciting than a million pound poster campaign. Apparently the $20,000 limited edition package (which includes any 3 items from his closet) is already sold out ...

Image from ianinhertford on Flickr

Measuring Success

2009-03-23T21:10:00.003Z

The Guardian ran a story a few weeks back on measuring success in the music industry, pondering the question: how we will be able to judge achievement if people won't pay for music?

The piece is actually an exploration of the various revenue streams in the business, focussing on the lucrative (yet unpredictable) synchronisation in TV and video games. The theory is that these deals can stimulate artist popularity, which drives album sales.

So ultimately their premise is still that success should be measured in sterling. Advertisers will pay six figures to license music - does this mean the track or artist is superior to one that has not been synched? If we are moving into an era where music could actually be free to the listener, surely this method is no longer valid?

Technology affords us the possibility of measuring success differently - the passion index. Last.fm demonstrates this perfectly - counting track plays from listeners around the world - even allowing the user to mark which tracks they love the most. With music, the more you love it, the more you listen - so isn't this the ideal indicator for success?

In an industry at the tipping point of change, its time the entire rule book was thrown out the window.

Entertainment

2009-03-21T21:04:00.003Z

Been (yet another) really busy couple of weeks, and little time to keep up with all the things that bring one joy. I seem to be amassing quite a backlog of blog worthy tidbits (everything from the Age of Stupid release, to the Guardian's analysis of measures of musical success - more on both later). Thankfully quite a bit of new music has also found its way onto my pod ...

I've been anticipating new albums from both Fischerspooner and Röyksopp for ages now. Its a quandry when you get a double hit of fresh music at once. It only took one listen of each for the dominant album to become apparent.

Hands down my scrobbles have gone to Entertainment by Fischerspooner. I found their last album - Odyssey - to be highly underrated. So fresh and minimal, such clean, perfect electropop. But with an edge of sophistication and experimentation clearly lacking from the contemporaries that beat them to the chart positions.

Where some may have initially criticised the group as an indulgence in theatre-turned-pop, or flavour of the month electroclash, Fischerspooner have demonstrated their resilience. Having split from their major label I wondered if we would see more of them - and thankfully they return with an album that is instantly delicious and difficult to switch off.

Entertainment follows on where their last effort left off. Its a logical progression, but one that builds on their songwriting craft. Echoes of early Depeche Mode ("In A Modern World") and OMD ("To The Moon") give a nostalgic edge to the work, but the sublime, crisp production keeps it firmly grounded in the now. Perfect pop like previous Kitsuné single "The Best Revenge" only affirms their pop sensibility, while the pseudo-shoegazer tones of "We Are Electric" demonstrate that they continue to push the boundaries of the niche.

There are hints of recycled themes here (including what I am convinced is the slowed down riff from "Emerge" in "Money Can't Dance") and politics disguised within the musings of Casey Spooner. And though his vocals are at times veiled in production the entire package works tirelessly.

As for Röyksopp's Junior - an initial disappointment that will stay on the shelf for awhile longer I'm afraid.

Introducing the Pet Shop Boys ... for Every Daily Mail Reader ...

2009-03-08T10:44:00.003Z

I caught a TV ad yesterday afternoon for what appeared to be a Pet Shop Boys greatest hits compilation - featuring a bonus new track. The resolution of the videos seemed rather cheap and the track selection obvious - but this was not directing us to follow up the Pets' Brit Award by picking up Pop Art or Discography. We simply need to buy today's Mail on Sunday to collect our free CD.

Clearly someone has lost the plot.

We know that Middle England loves the gays. Well, as long as they remain a safe distance, aren't having sex, stay away from our children, and camp it up in the style of Graham Norton or Michael Barrymore. But how hypocritical is it for The Mail unleash their vile homophobia throughout the week, only to reward readers with a free gift on the weekend from openly gay artists?

And what is Parlophone's strategy? How much have they spent on the cover mount deal (not to mention the prime time TV ad slots) to promote their celebrated act to the conservative middle class? If the intention is to market the artist to the widest group possible in advance of the Pets' new album, then I propose that the team at Parlophone go back to marketing school.

Partnership deals between the press and labels are now the norm - you almost expect your complimentary CD or DVD with the weekend papers now. But like any brand association, if the two products don't relate, the consumer will fail to develop trust with either brand - and the marketing is therefore ineffective.

I can't imagine that the Pet Shop Boys sanctioned this relationship. I hope heads will roll at Parlophone on Monday morning.

Disco Not Disco (1974-1986)

2009-03-04T23:49:00.006Z

Stumbled across a great little release on the resurrected home of rare grove Strut records ... Disco Not Disco (1974-1986).

Every track on the compilation is an influential classic - including tracks from Shriekback and Gina X. What really took me back was "Sharevari" by A Number of Names - which was a staple of Miss Kittin's sets and one of my first ever Gigolo twelves (of course that was decades after it was initially released). Some rare gems here - compulsive listening.

Deal With God - Number 1!

2009-02-26T22:39:00.003Z

"Deal With God" - our version of Kate Bush's classic "Running Up That Hill" - has gone to number one on the EQ blog chart. Thanks very much!! We're really pleased and excited and all those giddy things that come with recognition ...

If you haven't downloaded it already, here's a nudge ... its free as part of the Rewind 2 project from Buffet Libre DJs.

Depeche Mode - "Wrong"

2009-02-22T21:51:00.002Z

Apart from the occasional Mick Jagger elbow angling, this is, well ... just right.

Looking forward to much, much more.

What Have I Done To Deserve This?

2009-02-17T21:22:00.005Z

Four simple reasons why the Pet Shop Boys will be receiving the "Outstanding Contribution to Music" award at the BRITs tomorrow:

1. CONSISTENCY

50 million records sold and four number ones, their integrity remains intact by building upon their trademark sound - rather through zeitgeisty reinvention.

2. CRAFT

The duo of Tennant/Lowe are fantastic songwriters, with a panache for melody and creating both pop and art out of their music. One only needs to marvel at the genius of "Being Boring" to see how perfection can be manifested when sound meets poetry.

3. COLLABORATIONS

From day one PSB have selected incredible people to work with, when Neil Tennant tracked Bobby Orlando down to help bring "West End Girls" to life. From then they have hand picked a host of great talent to become part of their contribution to pop - be it Dusty Springfield, Harold Faltermeyer, Trevor Horn (may I include yours truly as well?). They have also brought great vision to their works through their involvement with designer Mark Farrow.

but most of all

4. CLASS

Sophisticated, intelligent, perfect.

MaJiKer - Tongue (The Tastebud Edit)

2009-02-14T13:58:00.003Z

With pleasure we are offering a very special edit of Tongue by MaJiKer ... a small taste of his album Body-Piano-Machine - soon to be released on Gaymonkey.

You can download it here.

Let us know what you think.

Less Industry, More Music

2009-02-14T13:33:00.004Z

"The music industry is really focused on the ‘industry’ part and not so much on the ‘music’ part. This is the greatest moment in the history of music if your dream is to distribute as much music as possible to as many people as possible, or if your goal is to make it as easy as possible to become heard as a musician.

There’s never been a time like this before. So if your focus is on music, it’s great. If your focus is on the industry part and the limos, the advances, the lawyers, polycarbonate and vinyl, it’s horrible." -- Seth Godin

Seth often chooses to look at the music industry as an example of how the world we live in is changing - and how the challenges presented are actually vast opportunities. I couldn't agree with him more. At Gaymonkey, we have always been about making brilliant electronic pop music. Of course we like to make some money - but only so that we can make more music.

And we like to share that opportunity with new people we love - like Ebb or MaJiKer. Or the boys from the Feed collective.

One of the greatest lessons I have learned on this journey was summed up on day in Amato's board room, when our account manager asked why we couldn't just get a "really good remixer to fuck up a track so that you can sell some records". A year later they went out of business. We're still making music.

Image by bdesign.be

Irrational

2009-02-08T19:58:00.003Z

Yesterday's Independent carried a tiny story on the government's exploration into the possibility of rationing individual's flights as part of its carbon reduction strategy. (I would reference this story properly, however I left my copy of the paper on the floor of the Harcourt Arms following the kick off to this year's Melodifestivalen heats - that is another tale to a completely bizarre experience altogether!).

Enter the latest mixed message. Amidst insistence on a new runway for Heathrow, and after years of encouraging the population to travel with cut price airlines, the strategy to reverse the mass consumption our society has created is apparently through rationing.

We know that aviation is responsible for a sizable chunk of our carbon emissions. But we also know that the biggest area of concern is domestic and business energy consumption. So will enforcing travel restrictions make a difference?

I now make conscious decisions on when and how to travel. And with family on the other side of the world, it is very difficult to not keep in touch without flying. A decision like rationing will never be supported or enforceable - if people need to fly, they will find a way. If we are to meet our reduction targets it will have to be done by changing people's behaviour to take responsibility for their overall consumption. And the government needs to support this by investing in technology, renewable energy, and encouraging more sustainable behaviour through making better choices - not through force.

The City's Taking a Day Off

2009-02-03T16:36:00.006Z

I wanted so to have you

and I wanted you to know

I wanted to write songs about

how we're walking in the snow

-- Stina Nordenstam

London in the snow is pure perfection. And a reminder that we all need to slow down - if only mother nature can bring this giant beast of a city to a halt, then respect to her.

Rum, Sodomy & the Lash

2009-01-29T22:17:00.007Z

January is a weird month. So grey, so many opportunities to drop your ill fated resolutions, so little time to maintain the space in your life. Thankfully we have Twitter in our world now - so much easier to just maintain a status of 140 characters.

Spotted on the cover of last weeks Marketing mag was a report of Barcadi's plans for their new signing - Groove Armada. They intend to encourage fans to spread Groove Armada's EP virally - with a reward of additional material for those that share the most.

This is interesting on two levels:

1. Encouraging viral marketing through reward based on involvement. Other digital media uses the same premise - for example, news groups and fan sites will often give enhanced status for those who contribute the most on forums, wikis etc. But will this work with the true sneezers - those trusted tastemakers who spread the word? Will they really spam others just to get more music?

2. Barcardi using Groove Armada to build brand value. They want music fans to draw a connection between dance music and a big rum party. What better way to get that level of endorsement, but to effectively buy the band itself.

Groove Armada wanted out of their arrangements with Sony BMG. But by getting in bed with Barcardi have they gotten a better deal? Did this give them cash stability at a time of industry uncertainty, but at the expense of their integrity?

Thank You, Clone Records

2009-01-23T01:15:00.007Z

It is with deep regret that I read today about the closure of Clone Records.

Around the time we started to release our own records, I really began to admire Clone. Here was a label releasing brilliant electronic music, often beyond the radar of the status quo - but always consistent within their vision. They are what I have always admired a label to be.

Their press release states:

"Now we do understand the tricks and formulas of dance music and the different users. However using these tricks and formulas just to ensure maximum effect would be betrayal to our own musical ethics because our goal with Clone records is to entertain ourself with the music we release (and to be clear... with the music...and not the side effects)."

Their goal was to release quality music, not generic throwaway trash for the dancefloor. It is the most marvelous of ambitions - one which we have always held as a Gaymonkey value.

Perhaps in this dying age of vinyl they have suffered from not increasing the frequency of their releases. But I applaud their integrity - and most of all, I thank them for discovering Putsch '79 - one of my favourite electrodisco acts. For my second single I asked them to remix "Strut" and was very honoured when they said yes - out of respect I offer it here for download.

DOWNLOAD MELNYK - "Strut (Putsch '79 Discoblaster Mix)"

Leaders of Men

2009-01-20T21:12:00.004Z

It would be impossible to blog today and not mention the inauguration of Obama. Walking through London just before the ceremony I was amazed by the number TVs and PCs tuned to the coverage. I can't remember a time when a political event commanded such an audience, and certainly couldn't imagine the swearing-in of a British Prime Minister ever capturing the attention of so many.

But this is a different event. Obama has become a symbol of hope and change. The whole world is watching - expecting him to usher in a new era. And amidst the economic gloom, the apocalyptic climate crisis, war after war in the Middle East, this glimmer of dynamic leadership is worthy of everyone's applause.

Welcome, Mr President.

Give Me Time - To Realise My Crime

2009-01-18T16:59:00.006Z

The weekend's papers are all carrying the verdict in Boy George's latest trial for false imprisonment. Most feature the image of the now bloated and sullen pop star as he arrived in court on Friday. His story, from 80s icon through to reinvention as a club DJ, is marred with drug abuse - a rollercoaster of highs and lows, comebacks and downfall.

Perhaps it is no surprise that Boy George finds himself in this situation. He was barely into his twenties when Culture Club exploded worldwide, with George thrust into megastardom. What must it be like to suddenly find yourself the centre of the universe? Especially at this time in a decade known for its excess - it is understandable that many stars of this time ended up trapped in drug addiction. Thats part of rock'n'roll, isn't it? an essential element to becoming a pop brand. The problem is, when the fame fades, who is there to help them pick up the pieces?

In no way should Boy George be summarily excused for his downward spiral - responsibility ultimately lies with him. But I also wonder how record labels get away without fingers being pointed at them. Big corporations have a duty of care towards their employees. Unfortunately artists are not seen as employees (the artists ego would never allow that) - rather they are commodities that labels exploit - but surely the label should play a part in guaranteeing their well-being. For each tabloid column inch reporting Amy Winehouse's perpetual deterioration, seldom do you see a comment from her label detailing what they are doing to help the singer get back on the straight and narrow. Is it because cleaning up her life would detract from the PR she receives for her lifestyle (forcing newspapers to actually talk about her music for a change?).

A court attendant at Boy George's trial was reportedly underwhelmed, muttering over "all this fuss about a has-been". Boy George was an iconic, flamboyant, colourful star that helped to shape British pop music - but ultimately he is as vulnerable to abuse as anyone. In an industry that does little to protect their assets, every artist is destined to become a "has-been". Lets hope that as the music industry starts to reinvent itself it will make more of an effort to take care of its most precious resource.

Just Say No, Lilly Allen

2009-01-08T23:44:00.006Z

"The only [newspaper] story is that drugs are bad and they will kill you - I know lots of people that take cocaine three nights a week and get up and go to work every day, no problem. But we never hear that side of the story." - Lilly Allen

No Lilly, it won't kill YOU. But as cocaine is possibly the most harmful drug on the planet when one considers its lifecycle impact - responsible for ruining the lives of many people who are enslaved to its production and distribution by cartels in the South American countries where it is made, just so that your mates in Punk can do a line to help make conversation flow more freely with their bottle of Cristal - maybe you might want to look outside your West London bubble before you enlight us with your insight.

But then you do have a new album out, don't you?

Deal With God

2009-01-06T20:17:00.006Z

Our version of "Running Up That Hill" by Kate Bush is out now as part of the Rewind 2 project from BuffetLibre DJs.

Marc from BuffetLibre approached me a few months ago via MySpace, asking if we wanted to contribute a song to this - the second incarnation of their cover song project. It was right at the time I was putting together the live set for the Revolutions album launch party - and I was considering what cover song we could include that Sara could sing. And as I had been listening to a lot of Kate Bush at the time, the choice was clear.

"Running Up That Hill" is one of the most covered songs on the planet (apparently!) - most notoriously via Placebo. But I thought we could put our own mark on the track - with a very sympathetic nod to Kate Bush, of course.

We also wanted to call it "Deal With God", which was the original title for the track (EMI were afraid the title would equal less airplay, especially in the US). The thought that a label should restrict an artist in this way is, of course, completely against what we believe in. Alas the BuffetLibre boys have left it as "Running Up That Hill" on their site - I can only presume this is in case people were unfamiliar with the original title.

There are plans in the works to make a video for the track ... more on that later!

Thanks to Marc for the great opportunity and nudge to create the track. And to Popjustice for making it today's SONG OF THE DAY.

Download it - along with the rest of the collection - for FREE at BuffetLibreDJs.net

We're Shopping

2009-01-05T22:02:00.005Z

Back from a great xmas trip to the US - with some mild jet lag that sees me up at 5am. But more on that later ...

On my marathon journey home I noticed an article in The Times on music sales revenue, which is reportedly down 32% from five years ago. This is mainly attributed to deflation, as bigger retailers (like supermarkets) discount their product. According to the report, the volume of music has actually increased - although album sales are down 5.6%, single sales are up 36% due to the availability of solitary track downloads.

So despite the industry's insistence that piracy is killing music sales, it is clear that people are still buying - they are just being more selective with their choices, possibly by shopping down the long tail.

This comes with the news that hideous UK retailer Zavvi (or what-ever-happened-to-Virgin?) has gone into administration. We'll have to see if they find a buyer and bounce back - but it doesn't bode well for high street music retail. We're left with HMV and a handful of Fopp locations ...

The question remains - why shop in these stores? With the internet making infinite choice available - in best case scenario, direct from the artist or label, thus bypassing the tedious middle man - why bother with high street stores at all? Bargain bins, limited choice, having to sift through Akon albums - surely we have evolved passed all this?

Image by roughdrft on Flickr.