Brömmes Anspieltipps für graue Herbsttage
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| Eröffnet am: | 06.11.03 22:10 | von: Dr.UdoBroem. | Anzahl Beiträge: | 91 |
| Neuester Beitrag: | 09.11.22 22:01 | von: elementarteil. | Leser gesamt: | 15.420 |
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Wahrscheinlich widmet sie sich wieder mehr der Schauspielerei..
Never argue with an idiot -- they drag you down to their level, then beat you with experience.
Zudem arbeiten Indie-Labels mit einer komplett unterschiedlichen Marketingstrategie als die vier Großen.
Hier reichen schon 25.000 verkaufte Alben, damit eine Produktion profitabel ist, bei den Majors wird dagegen z.T. erst ab dem 500.000ten Album die Gewinnzone erreicht.
Die Strategie der Majors, hauptsächlich auf Topseller zu setzen, scheint überholt zu sein - Gott sei Dank!
Je weniger Marktmacht sie haben, umso schwieriger wird es für sie, jeden Dreck über ihr Marketing und gekauften Airplay durchzusetzen.
Die Musikwelt scheint sich etwas zu demokratisieren.
The Net Is a Boon for Indie Labels
By JEFF LEEDS
Even as the recording industry staggers through another year of declining sales over all, there are new signs that a democratization of music made possible by the Internet is shifting the industry's balance of power.
Exploiting online message boards, music blogs and social networks, independent music companies are making big advances at the expense of the four global music conglomerates, whose established business model of blockbuster hits promoted through radio airplay now looks increasingly outdated.
CD and digital album sales so far this year are down 8 percent compared with the same period a year ago, according to Nielsen SoundScan data. And while sales of digital tracks through services like iTunes have risen 150 percent, to well over 320 million songs this year, that rise is not enough to offset the plunge in album sales. Overall sales are down less than 5 percent if the digital singles are bundled into units of 10 and counted as albums, according to estimates by Billboard magazine.
Still, despite the slide, dozens of independent labels are faring well with steady-selling releases by, among others, the Miami rapper Pitbull and the indie bands Hawthorne Heights, Bright Eyes, Interpol and the Arcade Fire. Independent labels account for more than 18 percent of album sales this year - their biggest share of the market in at least five years, according to Nielsen SoundScan data. (If several big independent companies whose music is marketed by the major music labels distribution units are included, the figure exceeds 27 percent.)
The surge by independents comes as the four dominant music conglomerates - Universal Music Group, Sony BMG Music Entertainment, Warner Music Group and EMI Group - find themselves hamstrung in their traditional ways of doing business by an array of forces, including a crackdown on payola (undisclosed payments made to broadcasters in exchange for airplay).
In a world of broadband connections, 60-gigabyte MP3 players and custom playlists, consumers have perhaps more power than ever to indulge their curiosities beyond the music that is presented through the industry's established outlets, primarily radio stations and MTV.
"Fans are dictating," said John Janick, co-founder of Fueled by Ramen, the independent label in Tampa, Fla., whose roster includes underground acts like Panic! At the Disco and Cute Is What We Aim For. "It's not as easy to shove something down people's throats anymore and make them buy it. It's not even that they are smarter; they just have everything at their fingertips. They can go find something that's cool and different. They go tell people about it and it just starts spreading."
There are several signs that as more consumers develop the habit of exploring music online they are drawn to other musical choices besides hitmakers at the top of the Billboard chart - a trend that suggests more of the independent labels' repertory will find an audience.
On the Rhapsody subscription music service, for example, the 100 most popular artists account for only about 24 percent of the music that consumers chose to play from its catalog last month, said Tim Quirk, Rhapsody's executive editor. In the brick-and-mortar world, he estimates, the 100 most popular acts might account for more than 48 percent of a mass retailer's sales.
"It's no longer about a big behemoth beaming something at a mass audience," Mr. Quirk said. "It's about a mass of niche audiences picking and selecting what they want at any given time."
The independent sector as a whole already outsells two of the big four companies, Warner Music and EMI. And the more ambitious of the independent labels' managers have set their sights on seizing even more terrain. This year they formed a new trade organization to establish a unified front when striking deals with online music services, among other priorities.
At the major labels, many executives privately dismiss the independents' quick expansion as a blip that has more to do with consolidation of the big companies - Sony and Bertelsmann merged their music divisions last year - than it does with savvier marketing by the small labels themselves. In fact, the independent labels collectively are selling fewer albums than they did five years ago, too - they just aren't sliding as quickly as their bigger rivals.
But the big music companies have also embraced many vehicles that had primarily showcased independent material. Many labels buy advertising space on blogs that post free music files, and this year Interscope Records, a division of Universal, struck a deal to distribute music from a new label created in partnership with MySpace, the popular social networking site that claims 40 million members.
Even so, the gains of independent labels appear to stem from more than online buzz: the small labels have also found themselves the darlings of television and film music supervisors looking for out-of-the-mainstream sounds; and the labels are placing their albums on the shelves of big-box retailers like Best Buy, often with the help of a distribution company owned by one of the four music giants, like Warner Music.
But no factor is more significant than the Internet, which has shaken up industry sales patterns and, perhaps more important, upended the traditional hierarchy of outlets that can promote music. Buzz about an underground act can spread like a virus, allowing a band to capture national acclaim before it even has a recording contract, as was the case this year with Clap Your Hands Say Yeah, an indie rock band.
Yet the independent sector has felt the sting of the industry's slump, which began more than five years ago. Many small labels complain that widespread CD burning and trading of songs on unauthorized file-swapping networks has dampened their sales the same way it has those of the major record companies.
In addition, the music specialty shops and small retailers that once provided an anchor for independent label sales are being squeezed out by mass merchants who heavily discount new releases, and the broader problems of piracy and competition from other products like DVD's and video games. Still, the sense of foreboding that sends chills through the hallways in certain major-label office suites does not pervade the independent labels.
For many independent entrepreneurs, there is a degree of confidence that comes from running leaner operations while aiming for more modest sales levels. Unlike the majors, independent labels typically do not allocate money to producing slick videos or marketing songs to radio stations. An established independent like Matador Records - home to acts including Pretty Girls Make Graves and Belle and Sebastian - can turn a profit after selling roughly 25,000 copies of an album; success on a major label release sometimes doesn't kick in until sales of half a million.
"No one's trying to sell six million records; we're trying to sell as many as we can," said Chris Lombardi, Matador's founder. "We're working with realistic success."
The market slide, coupled with the pressure on the big companies to meet quarterly financial targets, plays directly into the hands of small labels that have the patience to attract new fans over time, independent entrepreneurs say.
"They're all terribly under the gun to justify every investment and tie it to an immediate return," said Steve Gottlieb, chief of TVT Records, which is home to acts like Lil Jon and Ying Yang Twins, two of a handful of independent acts to secure placement on major radio playlists. "That type of discipline doesn't allow for the extra time or the extra album it took to break a U2 or a Bruce Springsteen. The majors are really just focusing on platinum artists and no longer have an appetite for artist development except in the rarest instances."
Britt Daniel, the singer and songwriter who leads the Austin, Tex., band Spoon, agrees, and counts himself among the beneficiaries. After the band was dropped from the major label Elektra in 1998, Mr. Daniel found his way to a new contract with the independent label Merge, and Spoon's third album for the company, "Gimme Fiction," has racked up sales of nearly 100,000 copies, outstripping the previous two and ranking as one of the year's best-reviewed releases.
"There are great bands on major labels and bad bands on independent labels, but it seems like the records made on independent labels are more about real creativity and more heartfelt stuff," Mr. Daniel said. "It may just be a three-, four-, five-year cycle where indie music is cool. Sometimes I get cynical, but people tell me, 'No, this is the way things are going to be from now on.' "
* Copyright 2005The New York Times Company
Never argue with an idiot -- they drag you down to their level, then beat you with experience.
Zunächst wäre da Leslie Feist, die erste Schritte im Musikbusiness als Tourmusikerin für Peaches und Gonzales unternahm und danach eines der Gründungsmitglieder des kanadischen Musiker-Kollektivs Broken Social Scene (dem weitere empfehlenswerte Bands wie Stars oder Metric entstammen) war. 2004 erschien ihre Soloplatte "Let It Die", auf dem sie in wunderschönem Singer/Songwriter-Folk mit leicht jazzigem Touch 5 eigene Lieder und 6 Cover-Versionen darbot. Die neue Platte wird für nächstes Jahr erwartet.
Offizielle Homepage von Feist
Der nächste Kandidat Au Revoir Simone, und läßt sich recht einfach wie folgt charakterisieren: Drei Damen, drei Stimmen, drei Keyboards. Die New Yorkerinnen machen Synthie-Pop, der va durch seine mehrstimmigen Gesangsharmonien besonders wird, ihre Debüt-CD "Verses Of Comfort, Assurance And Salvation" erschien Anfang des Jahres.
Through The Backyards.mp3 (5,4 MB)
Offizielle Homepage von Au Revoir Simone
Last but not least wäre da noch die Waliserin Jem, bei der es mich stark wundert, daß sie nicht schon längst die Charts gestürmt hat. Denn der von ihr dargebotene Pop ist meiner Meinung nach absolut massenkompatibel, aber trotzdem nicht langweilig. Das bisher einzige Album "Finally Woken" bietet einige Hits (They, Just A Ride, Wish I, Finally Woken), denen es zu gönnen wäre, nicht nur Geheimtips zu bleiben.
Offizielle Homepage von Jem
Grüße Max
Keine Melody A.M. II, 1. Juli 2005
Rezensentin/Rezensent: christiankazempour (Mehr über mich) aus Heidelberg
Nach dem legendären Erstlingswerk waren drei Jahre vergangen, eine Zeitspanne, in der sich Röyksopp nicht unwesentlich musikalisch weiterentwickelt haben. Verspielte Melodien wie "so easy" oder verträumte Stücke wie "sparks" sucht man auf "the Understanding" vergebens, was jedoch nicht bedeutet, dass es sich vorliegend um eine schlechte Platte handelt.
"The Understanding" ist im Vergleich zu ihrem Vorgänger progressiver geworden, die Singleauskopplung "only this moment" sowie andere Vokalstücke wie "what else is there?" oder "circuit breaker" zeichnen sich durch pulsierende Beats und ausdrucksvolle Vocals aus und fallen deshalb meiner Meinung nach nicht mehr unter das Lounge Genre. Man fühlt sich beim ersten Hören der CD an Depeche Mode oder Camuflage und überhaupt an den Electronic der frühen 90er erinnert, wobei die Stücke durchweg komplexer arrangiert sind . Im Gegensatz zu der vor sich hin plätschernden Melody A.M. ist "The Understanding" weniger zum Chill-Out geeignet, "The Understanding" will bewusst gehört werden.
So many people are just listening to the tracks without applying their minds. I recommend you play this CD over and over to get a real feel of each song and the album as a whole. Only then can your opinion be valid. Aside from it's overall more dancey, lyrical and dark tone, in 'The Understading' Royksopp have managed to create a collection ethereal electronic masterpieces yet again.
Helix, Derby
Something really lives in these tunes like I have never heard. Dawn on a fjord or maybe starlings twisting in the city sky are all I can say about this record.
Billy Torme, Oslo
I have been listening to the song "What Else Is There" for the past 3 or so hours, each time it is the same, i really love it. Heads up for the Radio 1 guys who played it and got me interested. Its had pretty mixed reviews, but if the songs are like this one then I will buy the whole album!
Peter, Leicester
Optionen
Auf ihrer Seite gibts auch einige Lieder zum reinhören.
-----Ane Brun----
und "The Tiny" die gerade diese Tage ihr zweites Album herausbringen.
Aus der taz:
Dann kam die schwedische Band The Tiny auf die Bühne, die Männer traten zu Cello und Kontrabass, die Sängerin und Songwriterin Ellekari Larsson's setzte sich ans Piano. Mit ihren Ohrringen aus grünem Blattwerk, den zum Haarkranz geflochtenen Zöpfen und ihrem braun gemustertes Kleid hätte sie hervorragend eine schrullige Dorfschullehrerin aus dem schwedischen Hintertupfingen in einem schwedischen Independentfilm darstellen können.
Schenkt man der Biografie auf myspace.com Glauben, so war Ellekari Larsson in jungen Jahren dazu bestimmt, professionelle Eiskunstläuferin zu werden, ein verhängnisvoller Eisunfall aber beendete die Karriere im Alter von 14 Jahren. So lernte sie Posaune, spielte in Punkrock-und Skabands, 2004 erschien ihre erste CD auf dem eigenen Label. The Tiny vollführten mit Kontrabass, Cello und Klavier, singender Säge und Orgel eine ganz eigene Musik, die man unter Weird Folk verorten könnte, die aber auch etwas gediegen Kammermusikalisches hat. Larssons überirdischer Stimme hört man die Musikhochschule und Free-Jazz-Klasse an, eine Stimme in der Tradition großer Stimmexzentrikerinnen wie Björk und Kate Bush. Wobei sich Larsson aber nie in der tonalen Verstiegenheit verliert, sondern immer noch den Dreh zurück zur Popmelodie findet, so wie ihre Texte nicht nur surreal, sondern auch soziologisch, poetisch und humorvoll sind.
I would never die for my believes, because I might be wrong
Amazon Marketplace Zusammenfassung Ihrer Bestellung
Bestellnummer: 736-1668620-3028xxx
Angebotsnummer: 0407R559xxx
1 x Spending Time With Morgan [Audio CD] Brun,Ane, EUR 8,37
0407R559875 5033197237725
1 x A Temporary Dive [Audio CD] Brun,Ane, EUR 8,37
0207L162749 5033197311920
Never argue with an idiot -- they drag you down to their level, then beat you with experience.
I would never die for my believes, because I might be wrong
Tolle, klare und kraftvolle Stimme,schöne ruhige Instrumentierung ohne irgendwie kitschig zu klingen.
Hörbeispiele(z.T. auch zum Download) gibts auf ihrer Myspace-Seite:
http://www.myspace.com/hearhope
Never argue with an idiot -- they drag you down to their level, then beat you with experience.
Live Concerts
Neko Case
Martha Wainwright
Yeah Yeah Yeahs
Arctic Monkeys
Clap Your Hands Say Yeah
Belle and Sebastian
The New Pornographers
Black Rebel Motorcycle Club
Colin Meloy
Laura Veirs
James Brown
Sinead O'Connor
Iron and Wine
Calexico
Son Volt
Death Cab for Cutie
My Morning Jacket
The White Stripes
The Shins
M. Ward
Sigur Ros
Secret Machines
Kings of Leon
Lucinda Williams
David Gray
Bloc Party
The Decemberists
Interpol
Bright Eyes
NPR(National PublicRadio)
Außerdem geplant diesen Monat: Konzertmitschnitte von Bela Fleck und Toots and the Maytals
Auch sonst sehr informativ und empfehlenswert die Seite.
Never argue with an idiot -- they drag you down to their level, then beat you with experience.
Live Concerts
Neko Case
Martha Wainwright
Yeah Yeah Yeahs
Arctic Monkeys
Clap Your Hands Say Yeah
Belle and Sebastian
The New Pornographers
Black Rebel Motorcycle Club
Colin Meloy
Laura Veirs
James Brown
Sinead O'Connor
Iron and Wine
Calexico
Son Volt
Death Cab for Cutie
My Morning Jacket
The White Stripes
The Shins
M. Ward
Sigur Ros
Secret Machines
Kings of Leon
Lucinda Williams
David Gray
Bloc Party
The Decemberists
Interpol
Bright Eyes
NPR(National PublicRadio)
Außerdem geplant diesen Monat: Konzertmitschnitte von Bela Fleck und Toots and the Maytals
Auch sonst sehr informativ und empfehlenswert die Seite.
Never argue with an idiot -- they drag you down to their level, then beat you with experience.
Eine ziemlich einmalige Verbindung von elektronischer Verfremdung/Sampling und klassischem Cellospiel.
Hörbeispiele gibts u.a. auf ihrer Myspace-Seite
Es genügt nicht, keine Gedanken zu haben, man muss auch unfähig sein, sie auszudrücken.
http://www.diehappy.de/
www.kittierocks.com
__________________________________________________VIVA ARIVA!
Optionen
Es genügt nicht, keine Gedanken zu haben, man muss auch unfähig sein, sie auszudrücken.
Es genügt nicht, keine Gedanken zu haben, man muss auch unfähig sein, sie auszudrücken.
ähhh, Noir désir nennt sich der Spaßverein
Optionen
©Es genügt nicht, keine Gedanken zu haben, man muss auch unfähig sein, sie auszudrücken.