Relics

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

Still Paying for the Naughties

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!

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.

Pirate Rantings

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.

Sony Gets Some Tail

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.

MaJiKer - Flesh & Bone

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!

Deal With God - Number 1!

"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.

We're Shopping

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.

Division Kent - Melnyk is Behind the Wheel

The enigmatic duo of Division Kent came to my attention in the spring. I was approached by a visionary guy that works with them (and has subsequently introduced me to quite a few great artists, including the talents of Keenhouse) with a request to do a remix.

DK are from Switzerland (bestowing them with immediate interest on my part ... always been fascinated by the Swiss!). They are comprised of the breathy visceral vocals of Andrea B, backed up with the sound of Sky Antinori. Theirs is a dark electropop - with smatterings of Curve and Eurythmics. They've created an atmospheric world - what I expect to find if I were to catch a glimpse behind David Lynch's giant red velvet Twin Peaks curtain ...

I'm not doing many remixes right now - only selecting those that I feel are going to give me some level of creative satisfaction. I was really excited to be able to choose any track from their latest LP - Gravity - to remix. It was simple - "In The Headlights" was undeniably inspirational. A perfect synth line with which to build upon. 

I've recently discovered that "In The Headlights" is one of several tracks on the LP produced by Gareth Jones - a true genius, responsible for some of Depeche Mode and Erasure's finest work. 

You can download the remix for the next few weeks FREE from here:

Division Kent - In The Headlights (Melnyk Is Behind The Wheel Remix)

Gravity is out now. Download it from iTunes.

Painting A Vulgar Picture

"Re-issue, repackage, repackage

Re-evaluate the songs

Double pack with a photograph

Extra track and a tacky badge"

A vulgar picture indeed. Morrissey warned against the ills of label control of artists in his epic ode from The Smiths' final studio album - Strangeways, Here We Come.

How bizarre then that Mozzer and Marr have gotten together to endorse the new mega-compilation - The Sound of the Smiths (out next week). Or is it? The Smiths are no strangers to the re-issue. We've already had the Best ... collection.

In fact my first indoctrination of the band was via the odd but utterly marvelous Louder Than Bombs. Odd in that it was a North American creation - released not long after The World Won't Listen - the European selection which was comprised of almost an identical track listing.

No doubt the new cherry-picked-by-the-gods-themselves collection has been slotted in to the release schedule just in time for xmas, and to introduce more of the catalogue to the download market. 

But why not just re-issue the collection of albums? The Smiths were a fantastic album band - The Queen Is Dead sitting very high on my own list of admired perfection. I worry that a new generation of disciples will grow up not knowing of the great song books the band created.

As for the re-mastering, this is a futile and ridiculous effort. Smiths LPs were well produced - Strangeways being a particularly marvelous studio achievement. We know, however, that music is getting louder - people are starting to expect a certain level of oomph from their purchases, which sadly is not from better production methods, but simply from digital mastering. Perhaps the folks at Warner feel that Mozzer just isn't moping loud enough - and have to have him turned up. Does re-mastering actually add value - or is it simply "earbrushing" history - changing the way we may have been meant to hear the music?

When I saw the advert for this new release today, I did get quite nostalgic. I have every Smiths LP and 12" single on vinyl - so glorious, these pieces of plastic have provided infinite inspiration ... not only for the music they hold, but the majesty of their artwork. Detail such as the hidden etchings on the vinyl's inner label ("ARE YOU LOATHESOME TONIGHT?") or simply the minimalist layout over the iconic sleeve - these moments of pop history are destined to be lost forever as we move into the digital age.  

Sadly this was your life.

OurSpace

While I waxed on yesterday about MySpace losing its mojo, the BBC confirms that only 25% of people polled in a recent survey find the networking site to be their favourite place on the web for music.

That is a shocking statistic - considering I would hazard a guess that most people see the brand as being geared towards bands and their fans. But it backs up my thoughts that the platform isn't really working anymore.

The headline of the article is equally perturbing:

"Almost 75% of music pirates would stop if told to by their ISP"

Two points here:

1.) The poll was conducted in a survey of 1500 people. Who out of the sample have NEVER downloaded music without paying? And out of those, who would admit to it? I'm not sure I know anyone in the 20-35 category that haven't downloaded music (or perhaps even a film) for free - whether they would admit to it, is another point. Those in the "pirate" group must then be quite a high percentage.

2.) The fact that it would take a third party company - even one with no legal authority, such as your ISP (in my opinion they are merely a conduit of information - the crime is between the end user and the copyright holder) - to deter the theft, is very interesting. It says a lot about our society's acceptance of being monitored vs. our value for copyright.

Psychologically we do not process the act of downloading music without paying for it as theft - UNTIL we are caught doing it by someone else. Those polled might confess to the illegal download - and thus they recognise that it is "wrong" to do so, but this knowledge alone is not enough to have them change their behaviour. It is too easy to get away with the act, so morally we do not consider it wrong. Much like speeding - if no one is there to see it happen, is it really a crime?

Image by asboluv

Late Night Music

Our television sets have become burdened with late night music television.  Now and again you might catch a great exclusive video on Channel 4 - but by and large the programming tends to be self indulgent rubbish (cue Jo Whiley/Zoe Ball/Mikita Oliver/Steve Jones et al. fawning over disinterested sweaty greasy arrogant nouveau guitar icon wannabe).

Last night I had the extreme displeasure of catching the tail end of the BT Digital Music Awards. Because we really need another music awards show.  How the nominees - never mind the winners - were chosen has yet to be revealed to me, but the real cringeworthiness of the affair was the blatant propaganda of the inter-award vox pops, where selected artists waxed lyrical about the importance of downloading legally.  Although the message was important, the sheer boredom exhibited by the talent forced - no doubt by their worried record label - to express their supposed thoughts on the matter (clearly from an autocue) detracted somewhat from the impact.

Throw Ferne Cotton's presenting skills into the mix, and I had every reason required to reach for the remote.

Crazy P - Stop Space Return

It's been a long, long time since I got excited about an album. It seems like people aren't focusing on the format at all right now (and if Bill Drummond, oh wise sage, has anything to do with it, the LP is on its way to the grave ... )

A few weeks ago I was sent the new Crazy P album "Stop Space Return" (having dropped the "penis" in some sort of bizarre symbolic castration ...). They've moved from one classic label (Paper) to another (2020 Vision) but they are still fantastic.  And this new album does not disappoint.

What I look for in an album is continuity - both in sound and in form. I want to be guided by the music from track to track - just as a novel guides you from chapter to chapter. The version I received was via MP3 and the tracks were out of order - I could tell from the first listen (and the fact that the last track has a huge space to lead you to the ubiquitous bonus track). Once rearranged the genius was revealed.

A collection of fantastic discopop ("Love On The Line"), with even a smattering of dark deep house ("Caught Up"). Though they tread somewhat on the line of commercial house, what I love about them is their ability to create their own take on disco that is fresh and relevant. "Lie Lost" could have been made for heavy rotation at the Loft - with its comped piano chords and delicious strings. Check out the Maurice Fulton mix for even more nostalgia ...

It really is the summer of the return of disco.  Fantastic.

Go to 2020 Vision's page to get a free download of Lenny Annex's equally brilliant mix of "Laid Lost"

Long Tail Epiphany Pt 2: Sharing Lessons Learned

I've been constructing this post in my head for several months now - longer than I've been blogging actually. Reading The Long Tail - and recent experience of our music being shared across the blogosphere - has helped me to finally come to some sort of position.

People always ask me how I feel about the apparent death of the music industry and people downloading music for free. I've always had the same response - copyright needs to be respected. And I still firmly believe that.

I have a friend named Duncan who is constantly making mix CDs for his friends.  Every time you see Duncs, he is sure to have some new tunes to share by some esoteric artist that he has plucked from the net. He is a true maven - getting delight from sharing his discoveries. The same goes for bloggers like Mark and Raj. What these guys have in common is their respect and love for the music they shout about. 

That support and acknowledgment of respect - to me - is worth so much more than the loss of 37p net revenue for an iTunes download. I think most artists who battle constantly to get their music heard would agree with this.

The internet has changed consumption. It is now easier to get what we want, when we want it. Instant gratification. Without mavens in this world of infinite choice, most people wouldn't be exposed to all the fantastic music that is being made that might be considered niche or leftfield. Sharing has always been part of the culture of alternative music - technology has now just made that more of a global possibility, and I find that quite exciting.

In a fitting post script, I've heard Muxtape has been shut down ...

Image by beta product on Flickr

Taxman

Everyone is talking about the proposed £30 annual “licence fee” for internet users to mitigate illegal downloading of music (and possibly films). The money generated from this scheme – which would be charged via your ISP subscription – would then be distributed to labels and publishers to help fill the void in sales revenue. Users would then be free to download and P2P share as much music as they wanted.

There are several fundamental flaws in this “solution”:

1.) It does not tackle the behaviour change required by consumers of music. The message this sends to people that are illegally downloading is that it is now ok to do so – for the paltry sum of £30 a year. 

2.) There will therefore be no reason for anyone to legitimately buy music – shops like iTunes and Beatport will inevitably be forced to close. These stores help artists to grow by profiling them, giving them editorial space and helping people to discover new music.

3.) Those that have never downloaded music before will have to pay what is essentially a tax. ISPs would have to administer the charge – why would anyone agree to pay this if they objected to what they saw as an unfair tax? 

4.) The revenue will be distributed based on popularity. Therefore the labels with the most popular artists (presumably “most popular” will based on actual sales) will receive a larger slice of the pie, regardless of whether or not they should be due compensation for loss of sales.

Clearly the big labels will opt for this as it will be additional revenue in their pocket. But it will not address the cultural problem that we are creating in de-valuing music and the people that work very hard to create it. The music industry needs to consider behaviour change tactics for its customers and seriously reconsider the value it is providing to the consumer in its product. We need more innovation, and less intimidation!

Sigur Rós - Gobbledigook

My inbox held a little treat today.  The new Sigur Rós single - available for free download.

It is difficult to write about the work of the icelandic foursome - they are one of my favourite groups, and being a lover of all things scandinavian I have followed them from the moment I was first blasted with their emotional soundscape.  Their success has been incredible - surely one of the most inspiring pop (alt.pop?) groups of our generation (who sing in a language no one really understands).

The new single is a break from tradition.  The frenetic pace and changing time signature carries a childlike quality - which, like most of their music, people will either love or hate.  An like the rest of their catalogue, the accompanying video is a perfect vision of their music ... certainly inspired by Lars von Trier's The Idiots.

The album is produced by Flood - very much looking forward to the results.

It will be interesting to follow the marketing behind the free download. Sigur Rós have a huge fanbase - word will spread quickly of the freebie amongst their audience who are collectors of their work, and will pay to see them live.  In comparison with other artist's recent giveaway stunts, this feels more genuine - more of a thank you and a try-before-you-buy than an attempt at gaining additional PR mileage.

Scrobble Me This

I love readers' letters.  What inspires someone to take precious time out of their day to write to the editor of a newspaper to comment?  (probably the same part of our brains that motivates us to blog.  Touché.)

Somewhere between following the exploits of Lilly Allen's tits and Amy Winebar's ever increasing slide into zero self respect, The London Lite carried a story last week about illegal downloads.  A few days later they had a selection of reader's comments.  Jane from London had some strong views about how great things were in communist Russia when bands were only paid when they performed live.  Chris from Perivale brags that from borrowing from friends and illegally downloading he has amassed over 10,000 songs.  

My favourite was Jerry from West Ham:

It is time for music companies to reap what they sow.  The industry ripped consumers off for something that should be free or at least cheaper.  Finally the consumer controls the market.

How Jerry has come to the conclusion that music should be free is not clear.  However, I'm quite certain he hasn't walked into Selfridge's and taken a few shirts and a pair of jeans just because he feels that clothing is too expensive these days.

The consumer does not control the market.  Artists do.  There will be no music for Jerry and Chris to enjoy if their favourite artists quit and go get a day job because they can't afford to pay their rent.  

Illegally downloading is theft.  Sharing is great though.  It is based on mutual respect - a great trait that the world needs more of.  Last FM is getting better and better at this.  When they first kicked off I found the site kinda clunky and wasn't quite sure how it was going to materialise into something user friendly.  With some investment, they have built a brilliant networking site and radio station.  And they pay artists for the songs that are streamed - just like radio does.