Comments on: GÃ¶tterdÃ¤mmerung for the Major Record Labels

By: Michael

Michael — Mon, 08 Mar 2010 21:24:40 +0000

While prog rock is not my usual scene musically, the point raised here is very valid.

I was listening to a composer speaking on Radio 4 this morning as I drove to work and he mentioned that a classical piece he wrote for an orchestra to use as its theme tune was rejected because “there was no discernable melody in the first two seconds” – which is apparently the maximum attention span of a US you-tube browser.

By: beth

beth — Wed, 17 Feb 2010 19:52:03 +0000

you’ve not only made a very good point, but also introduced me to a new word. Result!
A lot of the bands I like aren’t on a major label, but self release to a modest and loyal fanbase. Most of them have day jobs too, it’s a labour of love rather than a way of making a living which is a pity. I’d certainly consider paying a subscription or something to my favourite ones to allow them to get back in the recording studio again and produce more of their wonderful music. New models will have to be made, who knows which direction it will go in?

By: Tim Hall

Tim Hall — Tue, 16 Feb 2010 19:08:35 +0000

@Abahachi – That’s something we’ll have to ask Panic Room and Karnataka – You coming to Panic Room at The Peel in Kingston on Saturday 27 March?

@BeastiePsy – Absolutely. Mainstream music over the past 15-20 years has been dominated by marketing, not art. All too often the image has been far, far more important than the actual music. Get a sycophantic music press to give their mediocre albums favourable reviews, if there’s better music out there make sure the general public doesn’t get to hear it. Look at the way it’s almost impossible for anything not on a major to get playlisted on daytime BBC radio, for instance.

By: Greg

Greg — Tue, 16 Feb 2010 13:04:25 +0000

Quite a few indie prog bands are making their music available on Spotify or Last FM (or from their own sites.) On balance, I think that if your music is strong enough, people are more likely to buy it if they can get to hear it first.

It’s possible to achieve a reasonable amount of income (or rather, turnover, as so much money goes into recording) by doing things independently. But making your living solely out of it…

We may end up with many more bands who are part-timers or ‘hobbyists’. If they’re good enough, that doesn’t matter at all.

By: BeastiePsy

BeastiePsy — Tue, 16 Feb 2010 12:33:41 +0000

What the music industry had been doing until the advent of Spotify etc, is the opposite of the ’30 day money-back guarantee’ concept. Don’t try before you buy, if you will. OK, you sometimes had a couple of singles or a bit of radio play to go on, but as radio has such a limited playlist anyway, then magazine reviews were often the best we could hope for in terms of road-testing the product.
Perhaps the downside (for the music industry and the artist) is that with the ability to hear the complete album without purchase, it has become all too clear that 90% of what I hear, I’m damned glad I didn’t commit money to. At least I can make my own mind up now, as to what is rubbish and what deserves attention, whereas it was up to the music moguls previously. The music industry has slowly become as redundant as estate agents would be if everyone opened their eyes.

By: Abahachi

Abahachi — Tue, 16 Feb 2010 11:58:53 +0000

No, not too ranty at all. My main complaint is that you can’t get Karnataka (or Panic Room) on Spotify – does that imply that the streaming model doesn’t work for self-financed bands either?

By: Matt Stevens

Matt Stevens — Mon, 15 Feb 2010 10:54:13 +0000

I completely agree – loads of artists are making great records with no record company – tools like twitter and facebook have created a direct link between artists and fans.

In fact its better to be niche and do what you want musically because people tend to respect your honesty.

No middle man required!!!