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Goliath vs Goliath: Facebook taking on YouTube

It’s a strange time to be a human being right now. We’re living on a planet that we’ve already damaged irreparably, that could either be torn apart by historic hurricanes or blown to blighty by maniacal men with hilarious hair. I am hoping that this won’t happen. Like most men, I’m increasingly scared of going bald but want to live long enough to find out if I do. If we’re lucky and the humanity does survive the current onslaught of idiocy, the question is what happens next? With corporate entities like Amazon, Google, Apple and Facebook all vying for digital domination, who will emerge, like a glistening scalp, as the true titan of the age?

Recently it’s been Facebook making the most obvious efforts. With their clear dominance of the social media and messaging markets, Facebook is now turning its head towards the cool business – the music business. Reputedly, the social media giant has been offering music rights-holders hundreds of millions of dollars to allow their more than 2 billion users to start using music in their videos without infringing copyright. While any solid details are hard to come by, allegedly Facebook is aiming to have a blanket music licensing deal in place for the launch of its new video hub, ‘Watch’.

Considering this is the same company that recently posted 3 new music licensing job positions on its site, it’s clear that Facebook is making music a central part of its bid to compete as a major video platform. They even sent their VP EMEA, Nicola Mendelsohn, to the annual general meeting of the BPI. There, Mendelsohn highlighted the opportunities that Facebook gives artists to reach their audience and made the bold statement that they “understand and respect the value of all artists“. Facebook’s acquisition of copyright identification platform Source3 in July implies that they intend to take music copyright seriously.

There are some who think that these recent rumblings at Facebook are also part of an effort to supersede Spotify. If they are able to secure large licensing deals, what’s to stop them integrating their own streaming service into Facebook’s platform? The distinction at the moment is that Facebook is entirely free where as access to Spotify’s ad-free, offline-compatible service requires a monthly subscription. However, a look at the numbers shows Facebook has potential here. Facebook has over 2 billion active users to Spotify’s 140 million. Over a third of Spotify users are now paying subscribers. If Facebook was able to match that conversion rate, they’d have over 600 million paying subscribers – something the music industry would no doubt embrace with open arms.

Spotify may not be in immediate danger though. A recent article in Variety claims that Facebook is limbering up to enter the original content arena, competing with the likes of Apple, Amazon and YouTube. They have also been bidding on sports programming deals which can bring in huge revenues. Whilst Spotify has managed to increase revenues for rights-holders and established itself as the clear front-runner in streaming, it is still yet to turn a profit. This means streaming is still a risky area for Facebook to try and dominate.

Video hosting, on the other hand, is already a very lucrative market and Facebook is one of the few companies with the resources and know-how to present a legitimate challenge to YouTube. The music business, in general, is no fan of YouTube as they refuse to get around the table and have a serious discussion about the “value gap” – what they pay verses what they make – which makes this the opportune moment for Facebook to align itself with the industry by promising to be a better partner than their Google-owned competitors.

This could be a good thing for the music industry. If Facebook paid more to rights-holders than YouTube then a seismic user-base shift from the former to the latter could be a positive. But, ultimately both platforms are beholden to shareholders. It may be naive to believe that Facebook’s genuine intention is to give the music industry a better deal long-term. Music may simply serve as the weapon Facebook uses to strike YouTube in the windpipe, to be cast aside when the fight is won.

What we have here is a digital story of Goliath vs Goliath. What we need is a David. Perhaps instead of relying on one corporation to offer a slightly better deal than another, the music industry needs to present its own alternative. One where the aim isn’t digital domination but copyright conservation. That way, artists, writers and rights-holders can stop cowering in the shadows of Goliaths and take control of their own digital destiny.

The End to the Comedown From Hell?

The year is 1997. Everyone is on pills, a computer beat worldwide chess champion Garry Kasparov and Aqua’s ‘Barbie Girl‘ has been at the top of the charts for an entire month – probably because everyone is on pills…
This may sound like a terrible time for music but actually, the music industry was enjoying global revenues of around
$40 billion with label executives earning banker-sized bonuses. HMV and Virgin Megastores populated the high-street, enjoyed double-figure growth and the RIAA introduced the ‘Diamond’ certification for albums that sold more than 10 million copies. It seemed like the party would go on forever. And then ‘piracy’ rocked up, unplugged the speakers and switched on the lights. For the industry, what followed was the kind of awful comedown that would even give Bez the shivers.

Of course, you know all this. Recorded music sales plummeted, as did the value of the industry and even Saint Steve Jobs couldn’t save the industry with his magic iPod, yada yada yada… Then came Spotify, with the answer to ‘How can we beat free?’ – ‘We have to be better than free.’ And so, since Spotify’s inception in 2006 and with the arrival of some big competitors, streaming services provided the industry with some much needed paracetamol (cash, I mean cash) to start bringing it round. After the all-time low of 2014 ($14.97bn) the value of the global music industry has been on a slow but steady increase. According to the IFPI, global recorded music industry revenues increased 5.9% in 2016, up to $15.7bn.

With the arrival of offline-playing, the introduction of windowing and the rising influence of playlists, more and more people are using streaming services, either ad-supported versions or as subscribers, and this has been a major contributor to the recovery of the music business. As major contributors to major label revenue, more power than ever lies with Spotify, Apple Music and other streaming services . At the end of August, Universal Music Group posted their numbers for the first half of the year – more than $1bn from recorded music streaming alone. That’s $6m per day, all from streaming. And that’s just one of the big three.

A quick look at all 3 majors’ figures shows exactly how much streaming platforms are aiding the recovery of the big labels. In the first 6 months of the year, Warners, Sony and UMG generated just under $2.4bn in revenues from streaming platforms – over $90m a week between them – with UMG taking 44% and Sony and Warners taking 28% each.

Goldman Sachs’ recent ‘Music In The Ear’ report predicts that streaming revenues will rise 500% by 2030 pulling in $28bn. The report also alleges that the number of total paid streaming subscribers will hit 847m in the same time-frame – a jump of more than 700m from the end of 2016.

Whilst pretty much everyone in the industry would rejoice at such an upturn in the fortunes of the music business, it may be too soon to hail streaming as the miracle cure. As pointed out in a recent Forbes article, Goldman Sachs will be representing Spotify on the New York Stock Exchange, giving them a vested interest in making a ‘healthy’ prediction for a company that is yet to turn a profit. So, whilst crazier things have happened, growth of that scale would be unprecedented and is far from certain given how many disruptive influences the industry has had to endure in the last decade alone.

And whilst such an increase in the overall value of the music industry would be widely welcomed, there will be concerns that the vast majority of that revenue will go straight to those who are already doing well, namely the three majors, without any real guarantees for artists and songwriters. Unless record deals and the laws surrounding them are regularly revisited for the digital age, these figures may not be quite so awe-inspiring for the music creators themselves.

If these figures are to be believed, then clarity from the labels on the structure of their business and the nature of their deals will be vital for the industry to bounce back to full effect. The big players will need to embrace new technologies that address the disparity between the labels and their artists. Otherwise we may well have another Bez-sized headache to take care of…

 

MonoKrome’s Mercury ‘Shouldabin’ Awards – No.3

For our third ‘Shouldabin’ award, we’re going to have to break a Mercury rule. But that’s fine because, as every GSCE Chemistry student knows, Mercury is a liquid at room temperature so, to our minds, the rules can be somewhat fluid. Mercury Nominees have to either be born in the U.K. or 30% of the band must have British citizenship. But, in a world where talk of erecting borders is everywhere, we at MonoKrome are tearing one down. After all, music can’t be bound by borders. So, with out further ado, our third, approximately 0% British winner…

A Tribe Called QuestWe Got It From Here… Thank You 4 Your Service

(listen here)

Zeitgeist. That’s always been the underbelly of A Tribe Called Quest’s albums; pounding poetic potency. So, in what are, for most of us, terrifying times with actions causing fractions and the infliction of friction, came the call to arms for A Tribe Called Quest. The saying goes “Sometimes it has to get worse to get better”, for Tribe, it had to get worse to get together. And so, with enough source material to shake a Q-Tip at, they set about making ‘We Got It From Here…

Recent events in Charlottesville and the general rise of bigotry in the U.S have given lead single ‘We the People…’ a harrowing pertinence. With a hook that would have a Trump rally swooning, Q-Tip refrains “All you Black folks, you must go/All you Mexicans, you must go/And all you poor folks, you must go/Muslims and gays, boy we hate your ways”.

But, as the ultimate rebuttal of those scornful sentiments ‘We Got It From Here…’ is a testament to togetherness. Jack White, Andre 3000, Elton John, Kayne West, Kendrick Lamar and Andersoon Paak all lent their considerable talents to the album and, crucially, all their contributions were made in Q-Tip’s New Jersey studio (with the exceptions of Elton and Kanye). Jack White’s scratchy guitar and Elton John’s transportive vocals give ‘Solid Wall of Sound’ the credentials to become a hip hop classic. And, with help from André 3000, Q-Tip neatly sums up the exhausting frustration that most millennials feel everyday when they wake up to headlines of Trump, Korea, Brexit etc: “Fuck it, kids, the grown-ups won’t own up”. The album is a funky but terrifying address to the many elephants in the room.

But lurking behind those elephants is a big black dog – namely the passing of founding member Phife Dawg in March of 2016. Whilst his passing at only 45 years-old is a tragedy, it bestows upon the album a poignancy that few hip hop albums obtain. Tracks like ‘Lost Somebody’ and ‘The Donald’ (a reference to Phife Dawg’s moniker ‘Don Juice’, not the pugnacious President) pay heartfelt tribute to the flawless flow of the “Five Foot Assassin”.

For me, it’s the pure musicality and the pertinent wit of this album that set it apart. Whilst hip hop can have a tendency to focus on braggadocio, the darkness-defying deferential undercurrent of ‘We Got It From Here…‘ proves that true brilliance is earned, not claimed.  If only they were British ay…?

MonoKrome’s Mercury ‘Shouldabin’ Awards – No.2

Our second ‘Shouldabin‘ award winner is already a 3 time Mercury nominee. Never one for ground-breaking production or cut-throat lyrics, she calms assesses the world around her and her place in it. But on her sixth album, Laura Marling comes to terms with her femininity, and that of those around her, in all its fragile beauty.

Laura Marling – Semper Femina 

(listen here)

Semper Femina is Latin for “always a woman”, a sentiment that is clearly close to Marling’s heart. We knew femininity was on her mind from her excellent series of podcasts ‘Reversal of the Muse’ in which she spoke to various women of the industry about their experiences. The surprise on this album is that, despite the many casual acts of sexism she and her interviewees have experienced, Marling isn’t seething with bitterness, she’s seeping empathy. With her creamy vocals unashamedly placed right at the front of the songs, you can close your eyes and sit in the room with her, hanging off every syllable.

Characteristically self-aware, Marling often turns the telescope on herself. In ‘Always This Way’, she reveals “lately I’ve been wondering if all my pondering is taking up too much ground“. And on the stunning slow-builder ‘Wild Once’, Marling laments the process of ageing over the gradual approach of strings: “I was wild once/And I can’t forget it/I was wild, chasing stones“. But perhaps it’s precisely because she’s a little more seasoned now that this album stands out from her previous work.

Listening to Semper Femina is like watching a super-8 film of your life at 6am, tucked up on the sofa when you can’t sleep, a mellow reminder of life’s journey.

With 3 Mercury nominations (2008, 2010 and 2013) under her belt, it would be hard to argue that she’s been over-looked. But if any Laura Marling album deserves a prize, it’s this one, for it’s stylish simple beauty.

YouTube vs The Music Business… ding ding ding!

Well, what a weekend. The most-hyped fight in a generation: Mayweather vs McGregor. The underdog put up a good fight, with the will of the people behind him, but in the end, the seasoned pro won the day, hiding behind his gloves and landing the blows he knew would matter.

But whilst that fight is done, a more important brawl is brewing, albeit it with less fanfare, fewer memes and fewer shouty Irishmen. In the red corner… YouTube, backed by the richest company on the planet – Alphabet. In the blue corner… The Music Business and, well, virtually anyone who wants to make a living from music.

The build-up to this fight has been going on for years now and heated up earlier this year when a number of A-list artists, led by legendary producer T Bone Burnett, called on Congress to amend the DMCA. Artists such as Katy Perry, Nile Rodgers and Lionel Richie have railed against the piece of copyright legislation, introduced in 2000 (4 years before YouTube was born), that allows sites like YouTube to earn money from copyrighted content illegally uploaded to their site.

The trouble for the music industry is that YouTube has no reason to get in the ring. This is a fight they don’t need to have. But, with industry heavyweights lining up opposite them, YouTube have sent someone to try and deflect the punches.

Last week, YouTube’s global Head of Music, Lyor Cohen, used a blog post to address “the disconnect between YouTube and the rest of the industry”. He professed that, despite being “late to the party“, YouTube are very serious about their commitment to subscription services and turning their users into paying subscribers.

He also argues that advertising revenue has already given billions to the music industry and that will only increase with time. Citing the industry’s initial scepticism about iTunes and Spotify, Cohen insist that “the growth that the industry is seeing today proves that ads and subscription thrive side by side.”

Well the industry has, unsurprisingly, responded to Cohen’s proclamation. Cary Sherman, Chairman & CEO of the RIAA, wrote an article on Medium that calls out some of Lyor Cohen’s claims. He is understandably irked by Cohen’s claim that “focus on copyright safe harbors is a distraction“, mainly because it is the centrepiece of YouTube’s business model. It is the protection of ‘safe harbor’ that gives YouTube an indisputable advantage over other music platforms like Spotify and Apple Music, that have to pay the copyright of every song in their catalogue.

But, contrary to the picture often painted by Google/YouTube, Sherman believes safe harbours should be preserved in the right circumstances: “But if safe harbors are to drive innovation and fair competition in today’s digital environment, they must be applied as originally intended, not as they are exploited by YouTube for its own competitive advantage.”

In Cohen’s mind, transparency is the main issue for YouTube, with artists confused about how much they are actually earning from adverts compared to subscriptions. YouTube pays over $3 per 1000 streams in the U.S which, according to Cohen, is “more than other ad supported services.” However, according to Sherman, this is an exaggerated figure. YouTube actually pay seven times less than Spotify – a service which also has both subscription and ad-driven models.

Seemingly, this is a debate that will go on until the big labels put their foot down completely and disrupt YouTube’s business model to the point where they start taking things seriously. Earlier this year, Warner Music signed a new deal with YouTube under “very difficult circumstances“. The label made it clear that the deal was signed because it felt it had to, not because it wanted to. CEO Steve Cooper said in a memoThere’s no getting around the fact that, even if YouTube doesn’t have licenses, our music will still be available but not monetized at all.”

In June, Beggars Chairman Martin Mills, penned an article in Music Business Worldwide addressing concerns about safe harbours from an indie labels’s perspective: “The problem remains simple – services such as YouTube have our music, whether we choose to license them or not. And if we don’t, we don’t get access to content management tools, so we have to endure an unlicensed uncontrollable free-for-all.”

Mills also noted his scepticism of YouTube’s many attempts to draw parallels between them and other media platforms: “They say they’re like radio, but of course they’re not at all, because they’re on-demand. They say they bring users into the licensed eco-system, but at such a paltry return that they might as well be in the pirate world.” 

According to Mills, many Beggars artists make more than half their income from audio streaming services like Spotify but less than 2% of their income comes from video streaming platforms like YouTube, which have far more users.

Ultimately, the figures speak for themselves. 82% of YouTube visitors use it to listen to music while 9/10 of the most viewed videos on the platform are music videos. Whilst it may well have paid billions of dollars to the industry, their persistent lack of transparency and their tendency to hide behind carefully constructed statements means YouTube are a long way from being the “better partner” that Sherman and the rest of the music industry believe they could be. And with Facebook reportedly preparing to make forays into the music video business, YouTube’s complacency could be their undoing.

If things are to change then perhaps the music industry will have to learn from McGregor’s defeat: continually landing jabs is all good and well, but without real force and commitment behind them, you’re destined to scrap yourself into exhaustion.

MonoKrome’s Mercury ‘Shouldabin’ Awards – No.1

The Mercury Prize is upon us once again, that coveted award that gives mere mortals a yearly glimpse into the hipster’s coveted iPod Classic. The award is famously diverse with Brazilian café jazz competing with angry, explosive grime.

Perhaps as a consequence of their striving for diversity, we feel some deserving artists are over-looked by the Mercury panel. But not by us. In the coming weeks, we’ll be highlighting some of the luscious LPs that have turned our office inside out this year. So without further ado, our first Shouldabin’:

Mr Jukes – God First 

(Listen here)

‘Mr Jukes’ is the moniker of Bombay Bicycle Club frontman, Jack Steadman, a man whose band, in only four albums, managed to merge vintage folk music, ballsy indie rock and sample-laden sing-a-longs into a signature sound. When the band, nominated for the Mercury Prize in 2014 for ‘So Long, See You Tomorrow’, used the dreaded ‘Hiatus’ word, I and my fellow BBC obsessives were genuinely gutted. Bass player Ed Nash’s project, ‘Toothless’ features a some hints of Bombay Bicycle Club’s influences and a few genuine heartfelt tunes, but in all honesty, it only made us mourn the band further.

So, when Steadman broke his silence with details of his new project, Mr Jukes, and released debut single ‘Tears’, we were probably more nervous than he was. A diluted Bombay Bicycle Club record simply wouldn’t do. Luckily, Steadman shared the same sentiments. What followed was a unique expression of his secret obsession with soul, jazz and funk. The trap beats underpinning the R’n’B tinges of ‘Tears’ proved immediately that this was going to be a very different album indeed.

When seeking collaborators for ‘God First’, it feels like Steadman simply flicked through his vinyl collection, jotted down some names and made a few calls. None are household names but all of them deserve to be. Charles Bradley’s wailing vocals in ‘Grant Green’ are a real stand-out moment. It’s no surprise that he allegedly collapsed after laying them down.

Much of the record was written whilst Steadman was staying aboard a cargo ship crossing the North Pacific Ocean. Perhaps this solitary setting helped him to maintain the raw sensitivity that we’ve come to expect from his vocals on Bombay Bicycle Club records (check out ‘Still’ from 2011’s “A Different Kind Of Fix”). It is this ability to convey deep emotion, even through layers of samples and synths, that makes solo track “Magic” my personal highlight of the album – the placement of the words every bit as beautiful as the content of them.

Whilst his original band’s catalogue will always occupy a special place in my heart, it’s a relief and a delight that Mr Jukes isn’t trying to jostle for that position. Instead, it occupies a place all of it’s own. It may not get the reach of a Bombay Bicycle Club record but it will certainly have the legacy.

The Quiet Inequalities of a Loud Business

Women are at a disadvantage in the music industry. That is a cold, indisputable fact, often shrugged off by the business at large. The PRS Foundation’s recent ‘Women Make Music’ Evaluation found that, unbelievably, only 16% of the UK’s registered songwriters are women. Even worse, according to Women’s Audio Mission “less than 5% of the people creating the sounds, music and media in the daily soundtrack of our lives are women”. With the recent revelations of the eye-watering gender pay gap at the BBC, the reality is finally hitting home in the entertainment industry – we have developed a serious gender imbalance.

Fortunately, some in the industry are stepping up to the plate. Festival Republic and the PRS Foundation have announced the launch of ReBalance, a new initiative set to address the gender imbalance in the music industry.

The Leeds-based project will run for three years and will provide one week’s studio recording to a UK-based female musician, solo artist or female-featuring band each month from 2018 through 2020. Studio and engineering costs will be paid for by Festival Republic, along with accommodation and travel.

At the end of each year, the artists selected will be given slots at a Festival Republic or Live Nation festival. The organisation are defining female as anyone who identifies as a woman, while for bands to be eligible they must include a woman or women who are “fundamental to writing and producing duties.”

There will also be two apprentices chosen for the three year programme, during which they will work with engineers in-house at Old Chapel Music Studio before becoming the lead/co-engineers on the project.

Nearly 80% of the applicants to the Women Make Music programme have said the support they had significantly improved their confidence. This suggests targeted programmes like ‘ReBalance’ may well be the answer to correcting this imbalance.

Vanessa Reed, CEO of PRS Foundation stated: “The evaluation of our Women Make Music fund highlighted the ongoing challenges for female artists whilst also drawing attention to the lack of women working in other industry roles including the recording studio. Low representation of women in these aspects of the creative process is an obstacle for female artists as well young women who are considering a career in music production.”

“I’m delighted that Festival Republic are responding to this by offering new opportunities which will support female artists alongside younger women who want to develop skills in music production and sound engineering. I’m also pleased that this is happening in Leeds, acknowledging the importance of promoting infrastructure and opportunities for talent development outside of London.”

‘Fickle Friends’ singer Natti Shiner, who is part of the selection panel, added: “Let’s face it, guitar music is male-dominated and it seems like the wider music industry is hardwired towards men – even the fact that people often feel they have to refer to our band as being “female-fronted” feels wrong (who ever referred to ‘Arctic Monkeys’ as a “male-fronted band?!)”

“ReBalance is important because it looks to tackle this issue in a long-term way. Rather than just sticking a few female artists on some bills as a token gesture, it will provide support for the things that matter to an emerging artist – studio time, travel, accommodation, practical advice etc.”

MonoKrome Music Director, Rowan Davis, is one of many women working in the industry pleased to see such steps being taken:

“As a woman with a background in business, but being relatively new to the music industry itself, I very much welcome the ReBalance initiative. I’m delighted that an effort is being made to redress the huge imbalance in the industry and support and promote the talent of female artists. Sexism in the music industry feels very much like the dirty secret of the industry; everyone knows it exists and that it’s commonplace, yet it is seldom confronted, or even discussed. Hopefully ReBalance will be the catalyst the industry needs to pick up it’s game and catch up with the 21st century. Lets hope for more initiatives to stamp out sexism, not only for artists, but for employees and fellow industry professionals too.”

In June, Mandy Parnell, award-winning mastering engineer, owner of Black Saloon Mastering and one of the ReBalance selection panel, spoke on the BBC’s Victoria Derbyshire programme in a segment titled ‘Sexism In The Music Industry‘. When addressing the shortage of women in music-tech roles, Parnell intimated that the issue could stem from a lack of hands-on experience in school, when children are young and full of enthusiasm.

Often, girls are encouraged to play classical instruments (piano, flute, violin) while boys are taught electric instruments like guitar and bass which can often spark their interest in the sound production process. Parnell believes that classroom-based encouragement for girls to get more hands on with music would prevent them disregarding it as a career path in later years.

Earlier this year Laura Marling produced an excellent series of podcasts called ‘Reversal of the Muse’ in which she spoke to talented female producers like Catherine Marks (Wolf Alice), experienced engineers like Vanessa Parr (Coldplay) and performers from HAIM to Dolly Parton about how their gender has affected their careers. As well as providing first-hand accounts of sexism in the music business, these podcasts discuss what opportunities there are for addressing this historic problem. They are well worth a listen.

Happily then, the ReBalance programme will be welcomed by Marling, Shiner and our other female peers in the music industry. Whilst it won’t fix the problem overnight, providing talented female artists, writers, producers and engineers with springboard opportunities like this should help to put women on the equal footing they patently deserve.

The Vamps & The Fate of Physical

Well, well, well… The Vamps have saved physical. Where Arcade Fire, Neil Young and Stormzy have all failed, hair-gelled heartthrobs, the Vamps, have stepped up to the plate and single-handedly (well actually octuple-handedly – there is four of them) stopped CDs falling into oblivion. Ok, not quite. Streaming is still by a country mile the most prevalent form of music consumption and CD sales have still been falling year-on-year, off the cliff towards the sea of obsoletion. The Vamps have just provided something of a parachute to slow the descent.

They managed to score a number 1 album, largely off the back of great physical sales in the week of release (chill out, Arcade Fire still got number one!). So good was the quality of The Vamps’ various deluxe CD packages and so frenzied is the nature of their fanbase that nearly all of the people who were going to buy a physical copy of the album did so in the first week.

The upside is that the healthy immediate physical sales pushed them to the top of the UK charts, as physical sales count more towards chart positioning than Spotify streams. The downside is that the rapid drop-off in CD sales after their most obsessive fans had purchased the album meant that they dropped straight down to number 35 the following week – the largest drop from the number 1 spot in British chart history. Oh well boys, at least good looks aren’t fleeting…

There are lessons to be learnt from the chart-topping/chart-dropping boy wonders though. Or perhaps, more specifically, the marketing team from Universal behind them. The key was in the gradation of the offerings. Lightweights could simply purchase the standard 8 track digital edition, middleweights could get the deluxe digital edition with 10 tracks with some videos from their Wake Up World Tour Live DVD whilst the heavyweights had a choice of the ‘Brad edition’, the ‘James edition’, the ‘Connor edition’  or the ‘Tristian edition’ – each with 2 exclusive tracks, a copy of the full live DVD and a poster of the respective band member. Full-on obsessives had the option of the ‘Collectors’ edition – all four versions of the album, signed by each member of the band, and a pre-sale code for the band’s upcoming tour. Why anyone would want to buy four versions of the same Vamps album at the same time is beyond my comprehension but, clearly enough of these uber-fans existed to help the Vamps secure the top spot, even if it was only for a week.

Clearly physical sales are not going to be surpassing streaming any time soon (or indeed, ever) but as George Garner puts forth in MusicWeek, “what these victories highlight is that music fans still want physical products”. He remains convinced that “so long as artists can think of inventive ways to package or complement their art by creating things worth owning, physical will keep on doing the business”.

Clearly then, it’s more vital than ever for artists to have a good distributor on their side; one with a solid understanding of the physical market as well as the streaming and download side. After all, as we saw last week, physical sales can make the difference between clinching the top spot and not. MonoKrome are working with Proper, the UK’s largest independent distributor, to give all our artists that crucial physical edge. We’re also working with pioneering Dutch distributor FUGA to deliver complete online distribution with a playlisting promotion service to make sure our brilliant digital repertoire gets the airplay it deserves. Having both physical and digital distribution handled by MonoKrome means that our artists are able to focus on creating their music and we can focus on putting it into the best formats possible. After all, we can’t leave the fate of physical in the hands of the Vamps!

The Very Real Consequences of “Fake Artists”

Are Spotify slipping “fake artists” into their playlists?

Music News sites have been in quite the furore these last two weeks. Ed Sheeran appeared in ‘Game of Thrones’ in the least subtle cameo since Michael Jackson in ‘Men in Black II’ and the internet was outraged. Perhaps the show’s producers should have taken a lesson in subtlety from much loved/hated streaming-service Spotify, who have been accused of slipping in tracks by “fake artists” into their playlists.

What is a “fake artist” you say? Are Spotify playlisting tracks generated by faceless computers? Have humans become obsolete in music composition? Is this the end of music as we know it? Fear not, these “fake artists” are in fact real people. Reputedly from a company called Epidemic Sound, a royalty-free production company, who in their own words “acquire the financial rights” to the songs they produce. Clients receive a one-time payment for their composition because “payment is never based on usage”, meaning that once that check has been cashed, their music is the property of Epidemic Sound.

Initially one might feel a pang a sympathy for Epidemic’s writers, particularly those whose compositions go on to get millions of Spotify streams as, contractually, they will receive absolutely no additional financial recompense after the initial payment for the track. But to be fair to Epidemic, they are very, very clear about the terms on their website. Anyone who signs up to Epidemic’s contract has done so knowingly. The real consequences are for the “real artists”, particularly those looking to get their first big hit.

The suspicion of sites like Music Business Worldwide is that Spotify are paying considerably less for these “fake” productions than they would for authentic non-production material.

As put by Vick Bain (CEO of BASCA): “The heavy presence of these recordings on extremely popular Spotify playlists invevitably means less consumption of music from the mainstream industry and self-releasing artists. This drives down per-stream income for everyone, while lowering the negotiating power of the labels/publishers/collecting societies“.

At a time where streaming income for artists is already infamously small, the allocation of much sought-after playlist spots to “fake artists” who aren’t relying on play-count is worrying. These developments mean it is important for artists to sign with publishers who are switched on to these developments and have the right people to secure those crucial playlist spots for real artists with real faces and real royalties. Companies such as MonoKrome Music are well-versed in playlist plugging and making sure the royalties for their catalogue are collected from all territories – which is particularly crucial with the covert squeeze on streaming incomes. After all, when times are tough, those pounds down the back of the sofa are more important than ever.

Regardless, the question facing the music business now is this: Will the public be too consumed with anger at The Orange One’s appearance on Game of Thrones to notice they’re listening to artists that don’t exist?

Bucks Music Group partners with monoKrome music

Bucks Music Group has announced a new partnership with label, artist and management services specialist monoKrome music (mKm).

The new agreement will see Buck look to help enhance and expand the publishing service that monoKrome offers its label, artist and management clients. Read more

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