Monday, August 29, 2016

The musicmarket is not a straight sale

When you are in your lokal grocery store its a straight purchase. You give them money and they give you the thing.

Well what many have to learn that in the music its not always that simple.

Music to an audience can be also given them a experience, a feeling, a expression.  It can be so much more then just a transaction.

Same when you do b2b in the music-industry. Its almost never just a straight buy. It many parameter like what are you bringing to the table. Is it long turné and so on.

Right now i have been meeting so many new people that goes straight for the sale. Then i have been in meetings with very exopeienced people and really felt the diffrance.

Friday, August 26, 2016

Don't hide your music

Many musicians hide their music. They think it’s better to be totally ready when the record label or the audience should hear it. It’s actually pretty wrong.

I don’t know how many times I have got totally produced records, sometimes even printed. Listen to them and yes it was good but needed some changes, since it’s already finished, let it be. Instead it becomes a no instead of ayes to put money and time on their career.

One time I had a band that did a really good EP. Everybody was cheering about it and was waiting for the album to come. The band then hide in a cottage in the woods for over six months and then came up to the office with and album. Well during these six months they had taken a totally new direction and the magic from the EP was totally gone. They just has heard a new American band and they had broken through during the six months they were hidden. The record was just a pale shadow of that American band.

Of course if we had been let in the process we had probably would give them advice. But I guess many musicians think they know their music best. The proof at so many cases is that they are probably the one who knows the least about their music. Rod Stewart thought “Do you think I’m sexy” was nothing for him. Boy George didn’t want to release “Do you really want to hurt me”.

Yes it’s attractive myth to just sit in a dark cellar and create a masterpiece. The share truth is that those masterpieces usually are a team working together.  And no they won’t take off the glory from you as a songwriter. They just want a better product to sell.

Wednesday, August 24, 2016

Contract whores!

I just hate when I talk to people that are still in the old record business. And climb on to the old standards like a child to their lollipop.

You can just hear it when they start to sell an act to you on how much progress they really had. I was talking to a manger that really are in the old world a couple days ago.

First mistake, they namedrop stuff that is not a namedrop.  Sounds like this:
You know the guitarist played in Lonely wolf before. And the drummer is from Nuclear boys. And the producer has produced Sator.

Just mention Sator (witch is the only of these bands that are semifamous) makes me go off. Sator is like the most useless band to namedrop ever!  So really it’s nothing to namedrop! Don’t namedrop something that is not a household name. And if it is a household name make sure it’s not a lousy one like Accept, Scorpions, Europe or Running Wild. Let it at least be Gun ‘n’ Roses, Motorhead or Kiss. Or don’t even mention it.

Then they do the second mistake. And usually a bigger mistake. They tell you how much the critics loves the band. Kerrang! said that the band is god’s gift to mankind.

Really! First is Karrang! still given out? In paperform? Second yes I just looked on the figures on Spotify the album doesn’t have over 1000 streams. So what the bloody hell does it matter that (if they did, it seems like I’s never on the bands homepages a copy of these reviews) if Kerrang! wrote that the audience doesn’t care what Kerrang! writes. Really no one. Actually the 13 year old neighbor’s kid has more views on his Youtube channel then Kerrang! has readers.

These two sales methods is in the past. Before when really you couldn’t read the figures, and the record labels manipulated them quite much. Today is just worthless. I can read a bands status on my phone in less than 10 seconds. You don’t need to boost if the figures is not there. Just tell me like it is. This is a new band that just released an album and we haven’t got it out to a bigger audience.

Then comes the killing line of the sales pictch: We just need a good recordlabel.

Here is also a kind of bad thing. I mean the bands has released things and yes when I look on their pages on Spotify I see the names of the labels. Yes if the label is run by some old dud with a hairline that are down in the neck and grow a ponytail and gives out records from a small village in Sweden. That just tells me that the band is just suckers for signing contacts, any contract would do. Can be even worse the dude with a long back hairline can have lederhosen and live in a small German village that I just want to punch you in the face. Really hard since you such a contract whore!

Why is these people still around. Yes I know they are still populate Midem. They have nothing to do in today’s music industry, really nothing. It’s like the band that signed with the guy who signed U2 as a manager, they still haven’t found what they are looking for.

Tuesday, August 23, 2016

All commercial is good commercial?

I usually say that to artists that I work with. But yesterday I actually found a way that was not that clever and maybe just pure stupid. A Swedish pretty unknown hardrock band called Truckfighters released a video that was a copy of the story of a very famous murder on a girl a year ago.

Of the reaction was that is totally crazy to do that. Even the parents to the girl and lawyers was disgusted. Then the band tried to tell that the story was not about her. Well they used her name in the video so that was not true. Then they tried to say that it was a protest against violence against women. Well there is ways to protest that better than just do a stupid video.

In the end the band has to crawl to the cross and say that they would give the revenues to the murded girl’s trust.

Okey they got commercial out of it. But it was pure negative. I guess many bookers is not that keen on having the band for a couple of years. The story just went to Sweden though and this band is more abroad so the damage is kind of local. I checked the gossip pages and it seems they didn’t care. Still I think this is probably one of the worst ways of trying to get publicity.

Saturday, August 20, 2016

Här är svaret på Rockbjörnen

Det är många som frågade varför Takida fick årets metal hårdrock på Rockbjörnen.  Jag la ju ut innan dess att oftast vinner man genom en tjänst. Idag kom beviset varför Håkan Helstöld fick flera priser. Jomenvisst har inte Aftonbladet fått fina äran att förhandlyssna exklusivt på hans nya platta.

Ja toppen av en dag fullt med möten med folk som är inkompetenta att jobba i musikbranschen.

Friday, August 19, 2016

Video logg over the week

Yes we try to do more video loggs now and we start to do one about this week. Hope we are able to do one every week in some way.

Thursday, August 18, 2016

Old music sells out new music

Hypebot had an article that old music sells out new music. You can read the whole article here:

Now how to disect this kind of senastional media.

First they only measure the physical market. No has Nielsen (who did the research) or Hypebot (who wrote about it) has really no knowledge how the industry has changed. And especially how the consumer has changed. They just want to sell copies/views.

Of course on the old market, yes the people buying CD/Vinyl is people old enough to know what it is. I look on my nephew he is 12 years old. He would never buy a CD or Vinyl. He knows what it is, but it doesn’t attract his generation. Of course the generation it attracts well they won’t buy the new stuff since they don’t understand the new music. This is not something new. This happens in all generations.

There is through a point into this. Yes the new generation is more exposed to the old music. Go back to the same nephew. When he was 7 years old he came home to me wearing a KISS t-shirt and proclaimed he loved that band. So I guessed that his parents (read father) has put that on him. But that was not logical. His father was really into electronic music. It would have been much more likely that the kid would have had an Indochine t-shirt. No this came from something else. Yes he was exposed to it from people around him.

In the 80:s and 90:s music disappeared. If you didn’t buy a certain album it was gone. I mean I hunted Misfits vinyl’s in the early 90:s. The band was not that popular in Sweden and had stopped to exist. To get this album you really had to dig down on record fairs. Today…well on click on Spotify / Youtube/ Itunes yes it’s really easy to find what I dug so hard to get. The chances then to be exposed to it is much higher and not so much work either. That is why my Nephew suddenly liked Kiss (he got over it)

Of course that will explain some of it. But the biggest explanation is the consumer’s pattern. Suddenly Nielsen doesn’t know how to measure things. Before it was easy, just look on the sale charts, look on the radio chart. How many units, how many spins. Today it can be oh so different.
Let’s go back to my nephew. Where does he find music? Not Spotify. Youtube is a big channel for him. Specially the program that does pranks and shows failures.  And there is music in the background. But I will say the biggest channel he got is … He is a freak on videogames. He plays the games looks on e-sports and are exposed to that music. And if you took how much the music Hypebot talks about and make comparison how much that music is actually used (listen to) then it will be a kind of low fraction if you compare how many times the intro song of the latest Assasins Creed has been played. The problem here is that right now there is no good way to measure it. So the stupid conclusion from Nielsen and Hypebot is: OHHH we stopped listen to new music.

No we listen more than ever. It’s not just the measurement, it’s also the channels. When I was a kid (yes looong time ago) Sweden only had two TV channel. Yes only two. If a song was played on a popular TV program back then. Yes everyone knew it the next day. It was an instant hit. The mainstream market was hit as soon the song was played on that channel.

Today the channels are bigger. Pew Die Pie has more watchers each day than two channels had on a week. And Pew Die Pie has the world as a market. Those two channels just Sweden. So the people that looks on Pew Die Pie they discuss with each other online of what he did, done etc. But the mainstream audience will probably not even know his name.

And here it is. The viral today only takes it to a certain point. No to the masses like in the old days. At the same time it reach so much more people in ways that is much harder to control and give a value to.

Many idiots comes out and says that the music produced today is badly done etc. No that argument have you heard from every damn new generation. No it’s just consumed in a totally new way that is harder to measure.

So what I’m seeing right now is a change that will kill many of the old players. Yes record labels has already been through the crusher. My opinion is the next ones are the live industry. I have seen several programs that many live stages has disappeared over the years. And when I was on festivals this summer I was kind of amazed that most of the audience was in my age or older. There was not that many kid there. Where are they?

Well they consume music bot not on rock bars or festivals. They consume things on Cosplay or DreamHack. This generation will not be cool to hang on a filthy rock bar drinking beer and see sleeze rock. That is over. But I guess if you took a symphony orchestra and a famous DJ and play music from games you will sell out an arena. Why? Because they recognize that music. They have their social attachment to music online. Not on the disco lite in the 80:s not in the barn dance like in the 50:s. The thing is that they will listen to music, just in another way.

So back to the article on Hypebot:
But how bright is the future of any industry that generates more revenue from old products instead of new ones?

It’s a shift in the movement right now. Yes we need to get money from these new ways. We already have some good tools, but they need to be better. We also have to change they we think about marketing and opportunities for artists. And also how an artist today should be developed. My artists nags on me to play on these rock bars and festivals. Even though we all know that there is no interesting people there. Actually no people at all. We have to find the new highways of people to expose our new music to.

We need to get rid of old farts like record labels and old working publishers. We need to get money to people that needs to try new ways to put in music where the listeners are. It will happen but it will be a try and error part for a couple of years.