Tuesday, August 30, 2016
Yes Takida sell much in Sweden but it’s one of these bands that are just not good enough to get out of this market. Same is it for Håkan Helstöld and KENT they were just not good enough. Some artist is made for one market and that market alone. The band hasn’t done a good song in 10 years.
This will just be one of those horrible trying’s to enter a market. This band is too old too bad to make it. And that they got a Rockbjörn for best Hardrock was a quite big outcry from the establishment. Well I guess with Trump on the move maybe there is enough rednecks to listen to the shit.
Monday, August 29, 2016
Friday, August 26, 2016
Wednesday, August 24, 2016
Tuesday, August 23, 2016
Saturday, August 20, 2016
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
Thursday, August 18, 2016
Now how to disect this kind of senastional media.
First they only measure the physical market. Not has Nielsen (who did the research) or Hypebot (who wrote about it) really not 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 …..games. 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 kids there. Where are they?
Well they consume music but 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.
Wednesday, August 17, 2016
If i go outside and just take a handfull of mud. It really dosen't have any value. It would if that mud is a part of a building in africa. Yes mud have can have a value. But here in my village the mud is everywhere so it dosen't have any value. So i have to get the mud to a place where it has value. Or make a pottery of it to make value.
Problem today is that many artists is trying to sell the mud as it is in my village. There is to many of the same artist and they haven't developed the mud to a pottery with PR.
And this makes it alla weird when you give a artist like that a chance. Suddenly they want the treatment like they are the upscale mud. They really don't know their value.
I have seen so many artist beeing fooled by these orgnisations telling them that yes they should demand certain things. When their value is not in the range of these demands. So why are these organisations doing this? Well mostly since it's their job. It's like lawyers. they always fins errors in contracts just to get paid some more houers. And to the worst lawyers it's almost always time to sue someone, even if it's just hot coffe on Mc Donalds.
So how to go around it. Well know your value in diffrent situations.
Tuesday, August 16, 2016
Först ska väl sägas att kalla Aftonbladets journalister för musikjournalister är som att Michelinguide skulle sätta 3 stjärnor på Mc Donalds i Södertälje. Fast det är väl publiken som väljer?
Nja för några år sedan hade vi en artist som hade gjort stora saker med sitt album. Då ringde det från Aftonbladet och undrade om vi ville ha en Rockbjörn. Jag var lite frågande,ha en rockbjörn? Jo det skulle gå bra att vår artist vann men vi behövde flytta lite saker i släpp schemat så albumet kom innanför gränsen. Tyvärr ville vi inte göra det så det blev ingen Rockbjörn.
Så att publiken röstar...nja tro inte så mycket på det där.
Samma sak när NRJ hade ett pris i början av 2000-talet. Jag satt som redaktör på en publikation och de ringde in att Artist 1 hade vunnit. jag skulle just lägga ut det när de ringde och stoppade mig. Artist 1 kunde inte komma och nu var det Artist 2 som hade vunnit. Okey. Hann bara lägga på så kom det in att Artist 3 vann för att den kunde hämta upp priset. Så mycket om folkets röst.
Det går också lätt att se på de olika prisen hur de delas ut också och vilka bolag man smörjer, tex Grammis delar ut saker i de mest konstigaste kategorier (Sahara Hotnights på hårdrock, andra året på Pop) det för att blidka olika intressen. E-type sågade till och med sönder sin Grammis för att de delade ut mer på coolhetsfaktor än försäljning osv.
Dock är det klart bättre på Grammis än vad det är på Rockbjörnen. Rockbjörnen är verkligen det lägsta som går att få i musiksammanhang. Mer att du ska komma på Aftonbladets scen och spela för deras reklamjippo. Här artisterna kan man kalla något för sellout. Riktigt sellout.
I just got a call from someone that pushed it too far. An artist that somehow got a hold of my phonenumber (that is not hard, still a email could have been better). The artist had some questions that i answerd just to be nice. Yes i helped so that the artist saved some money on not to do some mistakes that could have cost a lot.
Fine by that. But here several artists push it too far. Suddenly the day after i was in a important Skype meeting my phone starts ringning. Well you know when you are on Skype your call you are on gets disrupted. So what i did was just to hang up to get back to Skype. Then the caller calls again, i push them off. In total of 30 minutes call it happens five times. A bit embarrsing that gets disrupted from the conference like that.
So after i call up the number that was so frantically calling me. It was the artist that just had a question. And it happens to be almost the same question that I answerd the day before.
Right now the artist has called me three days out of five with questions, even on a Sunday. Yes its to push it to far.
Yes i know many in the buissness don't even answer on calls just because of the pushers. I don't wanna be like that. Unfortunly also they only take don't give. Okey this buissness is kind of narcisstic but you know where the limit is.
So i put her number down as a "don't answer" on my phone. Then the artist Call me again frantically like five times in an houer. Of course i don't answer. And to be honest i was busy with a legal paper that had to be finished so it didn't matter who called.
Then it comes up on our Facebook wall on the support on our distribution company that we should call the artist since we are so hard to reach. This is just rude. The artist is not even a customer in that company. The message could have been sent as a message. But no, put it on the wall so everybody ses it.
The support asked me what to do. I just told them to answer that the artist could send a mail with the "important" question.
Later i got a mail in my inbox from the artist saying:
Hello, i have a question can you call me on *the number i blocked in my phone*.
I wrote back:
I'm a bit busy now. Can you write the question here in the email.
The answer was:
Its much easier on the phone. Call me
As soon as possible.
Here you might think this must be a lose cannon. But to be honest its rather common. I get several cases like this a year. Well i called the artist after a couple of houers.
First the artist was a bit angry because i was hard to get a hold of and demanded to get a direct number to my personal phone (the truth is that was the number the artist got). I managed to get out the question that was so important.
It was the same question that i got on the first call.
This is also kind of usual. They don't like the answer so they try to ask the question again in another angel to get the answer they want. It should fit their expectaition not be the right answer.
Monday, August 15, 2016
Friday, August 12, 2016
Yes Indigo Gils in not unknown in USA. But here in Sweden they are totally unknown. Still this is one of my favourite songs. The line " she says you know me and Jesus we're of the same heart
The only thing that keeps us distant is that I keep fuckin up"
"There'll be blue lights flashin down the long dirt road when they ask me to step out
They say we be looking for illegal immigrants can we check your car
I say you know it's funny I think we were on the same boat back in 1694 I said oo la la shame on you"
Thursday, August 11, 2016
Todays artist is Danzig,...also one of my childhood heros.
Wednesday, August 10, 2016
Okey Toad The Weyt Sprocket is not unknown in USA. Still in europe they are. I listened much to this in late 1990:s
Tuesday, August 9, 2016
Today is Jeremiah. Yes it's one my own bands. Still they deserve to have a bigger audience.
Monday, August 8, 2016
Everyday I try to introduce a new artist (or old). I get so much good music in my system and I can't react on all. Still it is nice to share music so other also can find it out.
Todyas artist is not so unknown The Misfits. This is the band that brought me into the music industry.
Thursday, August 4, 2016
I just saw a email from a booking company (big one) that actually has acts (that really no one has heard of) that dont have more then 30 minutes to show. So the showcase has to be shorter then 30 minutes. For fuck sake what is this.
Yes i have been wondering what the booking agencys actually achive these days. The word seems to be NOTHING. The bands i have myself on booking agencys im really consider to withdrawn. Today (at least in sweden) these companies is totally useless, all of them. They would probably fuck up to book a simple thing like U2.
Its no wonder that kids today seeks music outside the live venues. The traditionell live scene is really dying.
Well artists you really dont need a booking agency.