MusicTank Newsletter - Apr 08

With talk of Radiohead’s much-publicised thought-experiment into the value of music finally dying down, 2008’s release schedule was in danger of looking somewhat typical by comparison: a status most unbecoming of an industry on the cusp of bloody revolution.  Step up Jack White’s The Raconteurs, who’ve chosen to put a much-needed cat amongst the pigeons with the surprise release of their follow up to their 2006 debut, “Broken Boy Soldiers”. Arriving unheralded by the usual raft of reviews, interviews, banner ads and viral giveaways, “Consolers Of The Lonely” appeared in stores just one week after a Raconteurs press release validated rumours of an imminent release.  The statement – half announcement and half manifesto – was seemingly prompted by a flurry of blogging activity, whereby retail insiders (see nosey record shop kids) offered up suggestive titbits gleaned from retail computer systems and suchlike. So, with the cat out of the bag, the Raconteurs’ pr machine finally rumbled into life, soothing the expectant masses with confirmation of the rumoured release.

The Raconteurs it would seem, disagree somewhat with the ‘conventional wisdom’ on release strategy.  “We wanted to get this record to fans, the press, radio, etc., all at the EXACT SAME TIME so that no one has an upper hand on anyone else regarding its availability, reception or perception” declared the band, eschewing the notion that music journalists have a de facto entitlement to the first listen on any given release.  “The Raconteurs would rather this release not be defined by its first weeks sales, pre-release promotion, or by someone defining it FOR YOU before you get to hear it.”  The band goes on to defend album-as-complete-work, echoing Jay Z’s concerns over iTunes single-track sales policy, as well as recommending vinyl as the audiophile’s format of choice.  That’s not one but FIVE axes being ground, simultaneously, in public.  The Raconteurs certainly know how to get their point across.

Much as Radiohead’s atypical release strategy was deemed an “experiment”, The Raconteurs are simply exploring the possibilities of their own little industry shake-up.  Safe in the knowledge that their surprise release and star value assured widespread media coverage once the stunt actually went public, Jack & Co found themselves in the fortunate position of being able to more widely publicise their views on artistry in popular music, the possible negative effects of music journalism, and the disparity in sound quality between release formats.  Such a move is symptomatic of increasing artist power in the label system (one US blogger suggested White had in fact walked into the label offices with a finished master and demanded it be released within the week) and as such, would probably be open to any established artist looking to avoid the pesky business of pre-release leaks, just as long as they are willing to forego pre-release publicity.

So should music journalists fear for their jobs?  Probably not, but in light of the recent Black Crowes furore, whereby Maxim were forced to issue an apology after one reviewer admitted to slating an album without actually having listened to it, it’s entirely reasonable to question the media’s control over the public perception of an album.  Many albums need time to grow, to sink in – time for the listener to figure out the music and the underlying message – things that all-to-often aren’t possible in the hectic first listen dismissal world of music journalism.  Music critics could, if they wanted to, provide a more considered evaluation.  Once a release is in the shops and on iTunes – it’s not going anywhere – so a review will remain relevant for an almost indefinite period. 

Speaking more commercially, there’s no real reason why other artists can’t replicate The Raconteurs’ model.  Niche genres (e.g. house, techno, drum & bass) have a long tradition of releasing simultaneously to reviewers and fans, with the relevant taste-making publications happily accepting this convention.  Contrast this with the monthly generalist music glossies, many of whom refuse to review anything post-release, and it’s not hard to see why new bands with significant commercial aspirations might be less keen to rock the boat.

Nonetheless, if certain artists (big, niche or just plain subversive) want to circumvent the critics so as to encourage a bit of independent thinking amongst the record-buying masses, then that’s fair enough.  Who knows, if enough big-buck heritage acts and commercial pop titans get sick of being sneered at by the critics, then perhaps change is possible.  Fundamentally, like or dislike of music, as entertainment or art, is prey to rampant subjectivity.  As such, it’s sometimes worth questioning whether you really need a reviewer’s words to validate your musical taste.

Editorial by Jon Ramsay & Sam Shemtob

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OUT & ABOUT: MusicTank Events

JOE POX: Guns N' Roses

INDUSTRY DIARY: Other Music Industry Events

MERRY-GO-ROUND: Industry Announcements

WISE MONKEY: Global Market-Share Stats, 2007

Please remember all MusicTank events MUST be booked and paid for in advance!  Become a member of MusicTank and enjoy priviledged discounts on all MusicTank events...

http://www.musictank.co.uk/about/membership-benefits

BUZZ BUILDING FOR THE DIGITAL TEENAGE GENERATION

Youth Music, in collaboration with Rough Trade, has created a unique opportunity for young musicians aged 14-18 to form a brand new band to play at Glastonbury 2008 in a primetime Sunday slot on it’s biggest undercover stage, The Left Field. The competition, Build A Band, is for individual musicians in any genre who have trouble, due to geographic or sociological reasons, meeting other musicians and forming a band. The band will also get to record a CD which will be on sale at Rough Trade. 

On invitation from Youth Music, MusicTank is producing four free seminars on artist-DiY culture to complement this campaign, which also has the backing of BBC Blast! From development and design through to online marketing and distribution, Buzz Building & The Digital Teenage Generation is an opportunity to learn from digital gurus how to squeeze the most from the web.

24th April - BRISTOL: WATERSHED MEDIA CENTRE

SPEAKERS:  Alfie Dennen (MoBlog); Gareth Dobson (Drowned In Sound); David Harrison (musictowers.com); Ronnie Traynor (Tune Tribe), Curtis Lynch (Necessary Mayhem); others tbc.

More...

http://www.musictank.co.uk/events/copy_of_buzz-building-for-the-digital-teenage-generation

12th May - LONDON: ROUGH TRADE EAST

SPEAKERS:  Rob & Chris (Enter Shikari), Simon Burke-Kennedy (Tune Tribe); Alfie Dennen (MoBlog) ; Gareth Dobson (Drowned In Sound); David Harrison (musictowers.com); Laura Seach (Ninja Tune);

More...

http://www.musictank.co.uk/events/copy2_of_buzz-building-for-the-digital-teenage-generation

19th May - MANCHESTER: URBIS

10TH June - LIVERPOOL: FACT

London, Manchester and Liverpool panels will be hosted by Harry Leckstein (Freeport Records).

ALL of these events are FREE...but you MUST book in advance and space is limited - no walk-up on the day!

More...

http://www.buildaband.org/seminars/

6th May - CELESTIAL JUKEBOX: FREE STREAMS OR PIPE DREAMS?

It may be one of the buzzwords we love to hate, but the celestial jukebox has always represented the natural conclusion of the music industry’s blue sky thinking; a WiFi-liberated paradise where music lovers enjoy what they want, where they want, safe in the knowledge that creators and rights-holders are being compensated.  Well, the end of the rainbow might be closer than you think. Last.fm’s recently announced on-demand streaming service promises full-track unlimited streams, while American social network imeem has quietly broken new ground by striking ad-funded on-demand streaming deals with all four majors and a handful of indies.

Many start-ups are advocating a radical reduction in licence fees in order to facilitate growth in ad-funded, on-demand streaming. Should the music industry offer these businesses discounted licences in the knowledge they may one day overtake all other forms of music consumption?  Or should the start-ups accept they either need to stump up, in cash or kind, or mature their revenue streams before using music to drive their traffic and valuations?

The technology is already upon us, WiMax is becoming a reality and players already exist which stream bespoke stations via WiFi. Will on-demand streaming ever fulfill the celestial jukebox dream of becoming the predominant means of music consumption?

SPEAKERS - Keynote: Ryan Regan (Last.fm); Panel incl: Creative Labs; Charles Caldas (Merlin) and Owen Geddes (The Cloud), others tbc.

DIARY - Date: Tue 06 May '08; Venue: MCPS-PRS Alliance, Berners Street, London; Time: 18.30 - 21.00hrs.

Price: £20 MusicTank Members | £25 Trade Body Discount | £30 Full Price.  Tickets include drinks.

More...

http://www.musictank.co.uk/events/celestial-jukebox-free-streams-or-pipe-dreams

Guns N' Roses – not so much a band as a ginger-haired exercise in procrastination – have been working on their Chinese Democracy album since Winston Churchill was Prime Minster.

In the time since they started work on it, several landmark global events have happened, such as the invention of concrete, toast, fire, the wheel and those funny-looking trainers that turn into rollerskates, so they've really got to go some in a world that barely remembers the opening of 'Sweet Child O' Mine' let alone that weird sideways hips dance Axl Rose used to do.

Now, to spur them on to complete it and to assist Geffen recoup at least some of the millions ploughed into studio time, Dr. Pepper is offering every American a free can of their not-very-nice-unless-you-like-licking-drains soft drink if Axl actually finishes the damn thing this year. Axl himself, showing a sense of humour for what may be the first time in his screeching and pugilistic life, has actually said he 'backs' the idea.

Now the world needs a new Guns N' Roses album like it needs to wear a nappy for a hat and this Dr. Pepper promotion is a gamble that no wise person would bet against. The odds very much suggest that they don't shell out loads of cans of pop and Guns N' Roses don't put out their album this year. And both the teeth and ears of the American public are saved for another year.

28th APR - AIM: MUSIC CONNECTED '08 - 1-DAY DIGITAL TRADE MUSIC FAIR

Tickets are now available for Music Connected, a 1-day event focused on the digital world and independent music companies. Open to all, this event is part of AIM's London Connected project, which will deliver digital music training and support to London businesses over the next 18 months, supported by £650,000 from the London Development Agency.

This is your chance to meet the key players in the digital music world, learn about the latest digital music developments, network and even do some deals.

Previous Music Connected events have seen over 400 attendees from the digital and independent music communities, including iTunes, Napster, Nokia, eMusic and Myspace and labels Beggars/XL, Cooking Vinyl, Ninja Tune and Cherry Red amongst others.

Confirmed participating companies incl. 7 Digital, Audiotube, DA Recordings, Ditto Music, eMusic, Finetunes, IMD Fastrax, IODA, Kodime, London Calling, London Connected, Masterpiece, Mbop Digital, MCPS-PRS Alliance, Merlin, Mobile Streams, Muze,  [PIAS]UK, Pocket Group, PPL, Royaltyshare, Shazam, state51, Vidzone Digital Media, We7, Xpressbeats, Zebralution. More tbc!

DATE/TIME: Monday 28th April 2008 10am-5pm

VENUE: Glaziers Hall, 9 Montague Close, London Bridge, London., SE1 9DD

PRICE:
£20 inc VAT and lunch for members/ Friends of AIM.
£80 inc VAT and lunch to non members.

There is a 50% discount on the full (non members) ticket price for members of MMF, MPA, BPI and other affiliate organisations.

Those interested in exhibiting at or sponsoring this event should contact Lara Baker - mailto:lara(a)musicindie.com

More...

http://www.musicindie.com/242.asp?sub=Events

MPA & MMF TRAINING - JOINT PROFESSIONAL DEVELOPMENT PROGRAMME IN MUSIC PUBLISHING

The Music Publishers Association and MMF Training are pleased to announce that their joint Professional Development Programme in Music Publishing will run again in 2008.

There has never been a more important time for all sectors of the music industry to expand their knowledge and understanding of the music publishing business. This Programme has been developed and refined over time to ensure that all attendees become better equipped to take advantage of the new business opportunities that are central to the development of our industry.

Individuals involved or interested in any aspect of music publishing in 2008 will benefit from the Programme’s varied and comprehensive content. The objective is straightforward: to provide practical information placed in the context of today’s music industry.

Delivery of the Programme is designed to suit the busy lifestyles of those taking part. The course consists of five short, intensive modules. Each module consists of two 2-hour sessions delivered on consecutive evenings, each commencing at 6.30pm and ending at 8.30pm. Reference materials will be supplied for each module.  Law Society, ILEX, ICAEW, AIA, ACCA and AAT accredited.

More...

http://tinyurl.com/2yjo45

UK YOUNG MUSIC ENTREPRENEUR 2008

The British Council in partnership with NESTA are looking for the UK’s young music entrepreneur 2008. From the applications received three winners will be selected and given a specially designed and tailored tour of India's music industry. Applicants should be aged between 25-35, and already working in the UK music sector. Deadline for applications is 6th May.

More...

http://www.creativeconomy.org.uk/ukymE08

BIRMINGHAM MUSIC NETWORK

All those involved in music in Birmingham/West Midlands are invited to join this non-profit, social enterprise organisation on the last Thursday of each month, 4-6pm at The BCU Technology and Innovation Centre (TIC), Millennium Point, Birmingham, B4 7XG. 

This is a music networking organisation, leading the way by working with the local community to stimulate growth, to inspire, and to share knowledge. Established in 2000, it has pulled together a community of independent music organisations based in the West Midlands and is able to offer access to some of the most innovative and exciting new contemporary music being produced today.

The Music Network organises the meeting for the benefit of music related businesses in the West Midlands region. If you have news to report, a presentation to give, an event to promote, any new points for discussion, a pitch to make, business cards or flyers to hand round, an appeal for help, advice or guidance or even if you just want the free tea and biscuits and some quality entertainment...you are all invited.

More...

http://www.birminghammusicnetwork.com

THE BRIGHTON BIBLE

The Brighton Music Bible is an essential resource for local industry and musicians at every level, and as such is an invaluable tool for anyone outside of the area - national/international - who wish to get involved in Brighton's lively and growing music scene.

Compiled to define the companies, individuals and bands that are making the Brighton music industry tick,  it features in-depth interviews and Q&As with Brighton's and the UK's leading industry experts, a twelve-page photo-montage of Brighton Live as well as listings for over 400 of Brighton’s AND a free 21-track CD featuring the region's hottest bands.

With a RRP of £5.99 + p&p, use the link below to save 20%, and buy it for £5.85 incl. p&p

Interested?  More...

mailto:lisa.holloway@brightonmusic.net

Record Label:

Overall, the trade value of physical and digital recorded music sales fell 8.3% in 2007 to $18.9 billion.  Of that, digital sales rose to $2.9 billion (1.5 billion pounds) from $2.1 billion in 2006, equivalent to slightly less than 15% of total sales.

Universal 28.8% (up from 25.7 in 2006); Sony BMG 20.1%, Warner 14.4% and EMI 10.9%.

Publisher:

Universal 22.2%, EMI at 19.8%, Warner Chappell 14.8%, Sony/ATV had 7.4%. Independents comprise 35.8 percent of the market.

Source: Music & Copyright, Informa Telecoms and Media - reproduced by kind permission.

If you have any queries regarding any of our events or activities, please call Jonathan on 020 7915 5412, or e-mail: info@musictank.co.uk

The views and opinions expressed are those of the author and are not necessarily condoned or shared by MusicTank. MusicTank is a non-profit organisation owned and operated by University of Westminster. University of Westminster is a charity and a company limited by guarantee. Reg Number: 977818, England. Registered Office: 309 Regent Street, London, W1. MusicTank is based at University of Westminster, Fifth Floor, Copland Building, 115 New Cavendish Street, London, W1W 6UW.