8Sided Blog

the scene celebrates itself

Streaming’s Elephant In The Room

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Music Business World:

If you missed it, video music streams – YouTube with a bit of Vevo, essentially – were bigger and grew faster than audio streaming services in 2015 {according to recent Nielson data}. That’s all audio streaming services combined – including AOL, Beats Music (RIP), Cricket, Google Play Music, Medianet, Rdio (RIP), Rhapsody, Slacker and Spotify.



In 2016, then, the music business’s quest to restrict YouTube’s dominance of ‘free’ music looks like a bigger challenge than ever before. “This is absolutely the legacy Lucian {Grainge} is determined to leave,” one ally of the UMG boss recently told MBW – referring to Grainge’s recently-inked new contract with Vivendi. “Getting ‘free’ under control and dealing with the YouTube problem is his No.1 business priority.”



Yet there might be one more ace up the sleeve of Grainge and his old mentor Doug Morris. Sony and UMG are both major shareholders in Vevo – a platform that’s part-rival, part-partner, part-moneymaker and part-irritant to YouTube.



As many have pointed out, if Vevo’s YouTube relationship fell apart, it would be a in a world of pain. Lots of people can’t even distinguish between the two brands. But what’s often overlooked is that the Vevo/YouTube balance is more reciprocal than many appreciate. According to ComScore, Vevo uploads bring in around 38% of YouTube’s monthly traffic. (Videos from Warner Music, which isn’t an investor in Vevo, independently attract another 20%.) Messing with Vevo means messing with a significant chunk of YouTube’s existing $9bn annual revenue.



With all this talk of Spotify and publishing lawsuits, YouTube’s dominance in the free arena remains the hulking elephant in the room. Personally, I’m much more eager to see them reined in than Spotify.

Total Music Streams Doubled In 2015

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Digital Music News:

Song downloads plunged another 12.5 percent last year, and a depressing 23.4 percent since 2013, according to preliminary US-based stats from Nielsen Music. Indeed, downloading is plunging downward, but streaming is absolutely soaring: according to the same dataset, the total number of streams doubled in just one year. As in, gained 100 percent, in 365 days.



Also from Digital Music News:

Accordingly, the music world will witness a more dramatic download plunge in 2016, with 12.5 percent shifting towards 18 percent, according to conservative DMN estimates. The decline will subsequently accelerate to 25 percent in 2017, with a 40 percent drop anticipated in 2019.



The reasons for this aren’t mysterious: last year, the number of music streams doubled to 317.2 billion streams in the US alone, thanks to explosive growth across Spotify, YouTube, and Apple Music, among others. That is directly assassinating paid downloads, with Apple accelerating the plunge by aggressively pushing consumers towards Apple Music streaming accounts.



The rest, as they say, will be history, with downloads occupying a niche space in music listening experience, alongside CDs and other marginalized formats.



The tone of these articles is a little gloomy, which is interesting from a site called Digital Music News. I see the download decline as inevitable by nature of the technology (just wait until the wireless / streaming CDJ is invented for the club DJs), and the rapid acceptance of streaming as a good outcome. Those numbers will get higher and higher as download numbers plummet. It changes the game, but I’m confident fleet-footed independent labels will adapt and succeed.

8D Projects: E1sbar’s “Du Jour” In Nude Nite Video (NSFW)

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Now here’s a spicy music license from our 8DSync agency. Nude Nite is a annual event held in Orlando and Tampa that focuses on artistic nudes and it’s the largest event of its kind in the country. Nude Nite brings together hundreds of artists for three evenings of visual art, performance, and a cast of characters both in costume and out. Before each new show a video teaser is created with highlights from the past year’s event. This latest video features the lovely sound of E1sbar’s “Du Jour” to accompany footage from the sensual festivity. As may be obvious, this video is probably not safe for work. You can listen to more tracks from E1sbar HERE and you can find info about Nude Nite HERE.

Watch on YouTube

Rhymes With ‘Naughty’?

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The Daily Beast:

While music might be intended to inform or incite, it is also designed to entertain. And as a glance at bestsellers lists can attest, conspiracy sells. The search for hidden meaning and coded symbols adds another level on which a product can be enjoyed. Which might explain why Jay Z keeps putting occult references in his songs and videos, even while he explicitly denies being part of the Illuminati. “Great rap should have all kinds of unresolved layers that you don’t necessarily figure out the first time you listen to it. Instead it plants dissonance in your head,” Jay wrote in his 2010 book Decoded. And what better way to plant dissonance than canny use of subversive imagery. Hip-hop was predicated on sampling and remixing older ideas into something new and relevant, and Illuminati myths and symbols can be sampled the same way a drumbeat can.



Then again, there might be a more pragmatic reason why hip-hop latched on to the idea of the Illuminati. As Rakaa Iriscience of the trio Dilated Peoples pointed out in a 2014 interview with Hiphopdx.com, “There were a lot of organizations that existed. That one [the Illuminati] just happened to rhyme with body, party, naughty and a lot of other things. It sounds cooler than some of the other ones do.”

Remastered, You Say?

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If labels are seriously seeking to make streaming a more organic, listener-friendly experience then an easy first step would be to eliminate this practice:

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(click image to expand)

All that is accomplished by appending technical ‘remaster’ information to the song title is it makes things more clinical and distracting. Not only does this show up in the album list but also on the single song title as it plays. I can assure you that no one cares about this information … I’m a big fan of both Talk Talk and Wire and I just want to hear the songs, no matter the version. I may seem nit-picky here, but this is the kind of stuff that subtly clouds the whole. Having technical notes added to the title of a favorite song reminds us that we’re participating in a digital process when we just want to get lost in the music.

If the services (and labels) really want this information out there then they could add it to the liner notes on the album’s page in the streaming app. Oh, what’s that? Liner notes aren’t available on album pages? There’s a good second step.

Note: The screenshots are from Apple Music as that’s what I use, but it is the same on Spotify (I checked) and, I assume, all the other services (I didn’t check). Thus this technical data added to song titles comes from the labels submitting album metadata across the board. It would still be nice for the streaming gods to demand this ‘remaster’ stuff be filtered out or provide the liner note option.

2015: This Is A Recap

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I admit, I do like end-of-year ‘best of’ lists.

I’ve used my work – and being immersed in client music – as an excuse not to listen to much new music. I’d bashfully tell people “I’m actually a bit out of touch” when a new release or band was mentioned. These past few months I’ve aimed to change this, in part by training myself to listen to music while working (for me, it’s a practiced skill to not get distracted by music). Then, armed with a handful of ‘Best of 2015’ album lists and an Apple Music subscription I made a truncated journey through the year in album releases. And I’ve been loving it. Here are some of the lists I’ve been consulting:

FACT’s 50 Best Albums of 2015
The Quietus Albums Of 2015
Bleep’s Best of 2015 (good re-issues + compilations sections here, too)
NPR Music’s 10 Favorite Electronic Albums Of 2015

There are other lists bookmarked that I’ll be hitting, but this is what I have covered so far. What have I found? That I really like these albums:

Colleen – Captain of None (Thrill Jockey)
– My most exciting discovery. This album is fantastic and otherworldly.
Floating Points – Elaenia (Luaka Bop)
– I think I’m a little late on Floating Points but this album was an impressive introduction. The 10+ minute “Silhouettes (I, II & III)” is a stunner.
Four Tet – Morning/Evening (Text Records)
– Fout Tet has obviously been on my radar, but not much of his output has grabbed me quite like this two song album.
Cliff Martinez – The Knick, Season 2 (Original Series Soundtrack) (Milan Entertainment)
– I actually haven’t seen this on any ‘best of’ lists yet, but Martinez’s work on The Knick (also recommended) is among his most compelling. My current favorite ‘gotta focus on this tedious computer task’ soundtrack.
Shye Ben Tzur, Jonny Greenwood, and the Rajasthan Express – Junun (Nonesuch Records)
– There’s not a whole lot on this to differentiate it from purely an Indian / world music album, but it’s still a great one. Greenwood’s input isn’t always obvious, but when his influence is apparent – like on the rapturous “Roked” – it’s the kind of fusion that really piques my attention.

As you may have noticed, spacey and somewhat laid-back electronic music is what’s turning me on at the time of making this list. Though, on the grungy shoegaze tip, “Firehead” by Infinity Girl rocked my boat repeatedly since its release a few months back. Their album’s not bad, either, though I’m not sold on the band name.

I’m continuing this adventure of listening to new music and going through ‘best of’ lists so mine above is hardly complete. I’ll continue to practice my ‘listen while working’ skill in 2016 so next year’s list should be more of a corker.

When it comes to movies, it is interesting that my two favorite films of 2015 were not movies per se, but are in fact BBC produced documentaries. Adam Curtis’s Bitter Lake blew my mind in January and continues to do so … I watched it for the fourth or fifth time last week. Its content is eye-opening and incendiary, but Curtis’s use of visuals (the bulk being found footage, mostly discarded, from BBC News’s Afghanistan coverage) and music is revolutionary. And then there’s Atomic – Living In Dread And Promise, commissioned as part of BBC’s Storyville series. With help from a moody soundtrack by Mogwai, Mark Cousins (known for his expansive and essential The Story of Film: An Odyssey) has crafted a sort of meditation on life in the nuclear age. Like Bitter Lake, this film is made up of found footage juxtaposed to give additional meaning and emotion, and is narration-free, at least verbally.

Of the handful of ‘real’ movies I saw in 2015, I loved Paul Thomas Anderson’s divisive Inherent Vice most of all, and I discovered profound meaning where I know many others found complete nonsense. I can dig it. Mad Max: Fury Road is the only other movie I saw multiple times, which puts it in odd company with Bitter Lake. If I’m feeling down I just imagine I’m the guy whose job it was to mash up all those automobiles. Ex Machina was fine stuff, though I wasn’t as nuts about it as others were. Fantastic score by Portishead’s Geoff Barrow and composer Ben Salisbury, too. The End Of The Tour gave me a lot to think about and used Eno’s “The Big Ship” in a wonderful way. And I believe Mommy is technically a 2014 film, but it opened in the US in January and it’s a definite favorite. 26 year old director Xavier Dolan is responsible for one of the most moving and heartbreaking sequences I’ve ever seen in a narrative film … that one towards the end, and you definitely know what I’m talking about if you’ve seen Mommy.

Unlike music, which I listened to more of this year (though mainly in the past couple months), I usually watch a whole lot of movies. But this year I consumed a lot less – as I worked a whole lot more – so I’m sure there’s a bunch left out, and a bunch of 2015 winners I’ll see later on that would’ve made it up there. But I know that’s everyone’s story.

As for me, 2015 brought on a lot of professional changes that don’t feel confined to this year as they are ongoing. I’m in the middle of planning a new creative project that I’m quite excited about, but it probably won’t see a launch until the middle of 2016. I’m also opening up 8D Industries a bit more to provide ‘virtual assistant for the music industry’ services, helping with things like contract management, music publishing organization, royalty calculation, web site administration, and so on. More news on this soon. 8DPromo continues to develop into an increasingly efficient promotions machine with a fine group of labels on board. 8DSync looks to expand with new catalog and site features added early in the new year. It seems my plate is full.

So, indeed, here’s to 2016. {glass clink} I’m anti-resolution, but making new friends and connections is paramount in this coming year. If there’s a way you think we might be able to work together, or if you just want to reach out with a ‘hello’, question, and/or comment then please do so. Let’s make things happen.

Hitting The Links

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Tom Wilson, Record Producer For The Velvet Underground and Bob Dylan

As monumental as were those Dylan and Simon & Garfunkel albums {he produced}, Wilson’s most challenging work in the recording booth came after Columbia, when he became a staff producer at MGM/Verve in 1966 and helmed the debut albums by both Frank Zappa and the Mothers of Invention and the Velvet Underground within a two-month period (March-May 1966). You couldn’t get too weird for Wilson, who released cosmic freejazz philosopher Sun Ra’s first album in 1956. Jazz By Sun Ra came out on Transition, the label Wilson started in 1955, right after he graduated from Harvard with a degree in economics.



Vintage Drum Kits From The 1920s And 1930s

I am fascinated by the early drum kits: they were very creative assemblages that generally included Chinese tack head tom toms, wood blocks, China-type cymbals, the “low boys” or “sock cymbals” that preceded the modern hi-hat. And of course the big bass drums and snare drums on their spindly little stands. To me these first American forays into multi-percussion setups are things of sculptural beauty.



Brian Eno And Peter Schmidt’s ‘Oblique Strategies,’ The Original Handwritten Cards

The Oblique Strategies cards were idea-generating tools and tactics designed to break routine thinking patterns. While born of a studio context, Oblique Strategies translated equally well to the music studio. For Eno, the instructions provided an antidote in high-pressure situations in which impulse might lead one to default quickly to a proven solution rather than continue to explore untested possibilities: “Oblique Strategies evolved from me being in a number of working situations when the panic of the situation—particularly in studios—tended to make me quickly forget that there were other ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach.”



The Neuroscience Of Musical Perception, Bass Guitars And Drake

How humans perceive music is, of course, far more complicated than simply tuning in to tempo. Music draws up — and draws from — memories, emotions and pleasure and reward activity in the brain. Other acoustic qualities like melody, harmony and timbre also play important roles. And our conscious ability to apply symbolic meaning to sounds, lyrics and song — and to recognize when listening to music that what we’re listening to is supposed to be music — also certainly influences human musical perception.



Secrets to Long Haul Creativity

Being creative over a career involves a whole subset of nearly invisible skills, a great many of which conflict with most people’s general ideas about what it means to be creative. What’s more, being creative is different than the business of being creative, and most people who learn how to be good at the first, are often really terrible at the second. Finally, emotionally, creativity just takes a toll. Decade after decade, that toll adds up. So here are eight of my favorite lessons on the hard fight of long-haul creativity. A few are my own. Most are things I learned from others. All have managed to keep me saner along the way.

Blowing Up The Vinyl Boom

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Here’s a fascinating article from FACT on where the real problems lie in modern record manufacturing … to paraphrase James Carville, it’s the electroplating, stupid:

Electroplating, a process which involves coating the master lacquer in a metal layer to produce stampers, is time-intensive and requires highly trained personnel. Those who have learned electroplating are still a long way from being able to prepare the lacquer – the lengthy process requires a great deal of experience and expertise. Only then can it be guaranteed that the music sounds how it is supposed to sound. And all this has to happen quickly – when the music is cut to the lacquer, it can’t be stored indefinitely. A time period of over two weeks is considered to be problematic.

{Silke Maurer of Handle with Care, one of the largest production agencies for records:} “In the last four years, vinyl production has almost doubled here. That sounds super, but you have to take a closer look at how the numbers come together. In the same timeframe, the first run of a title has reduced nearly by half. That means more work for the press. The machines have to be reconfigured more often, which takes a lot of time. But the real problem is not in the pressing – the bottleneck is in the electroplating.”

Thus, having to constantly create new lacquers for short runs (as records – especially in the dance realm – don’t sell close to the numbers they did twenty years ago) in a process that is time consuming and takes expertise creates real headaches. Pain also comes from the constant recalibrating and readjusting of the pressing machinery to handle each new short run project. These machines are all over thirty years old, remember, with new models only now appearing in limited form.

And then, here come are those mustache-twirling major labels:

There was a gold rush at Sony and the other majors, and it’s hard to shake the feeling that the labels are trying to sell their archive a third time, this time to middle-aged buyers who can remember buying vinyl, naturally switched over to the CD, sold or threw away their old vinyl and aren’t completely happy with streaming today. A look at the vinyl section of a large Berlin store proves the shelves are full of reissues of old titles, mostly from major labels. Record players can be purchased right at the checkout. There’s nothing wrong with that – music should be sold in the formats that meet customer demand. But there are indicators that the majors are actively trying to secure substantial vinyl production capacity at the remaining pressing plants. How? By paying in advance. There might even be presses completely reserved for certain companies. That techno EP can wait – Led Zeppelin can’t. In the course of researching this article, we received emails that confirm such requests by the majors.

If this is the case – and the pressing plants are denying it – it would mean that the majors are attempting to buy their way into an industry that they played a significant role in destroying. And they are attempting once again to starve the indie labels, the very labels that never gave up on vinyl. On Record Store Day, when the shops are full of specially-made vinyl records and customers wait in line for these limited editions, the pressing plants have already had many hard weeks of work leading up to it. Who knows how many machines were quickly patched-up in lieu of a proper repair? Nobody has time to take a breath. The next releases are already on standby, and the machines continue to run at a furious pace.

Related: Columbia House To Relaunch With Vinyl

Spotify Hit With $150 Million Class Action Over Unpaid Royalties

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Camper Van Beethoven and Cracker frontman David Lowery, retaining the law firm of Michelman & Robinson, LLP, has filed a class action lawsuit seeking at least $150 million in damages against Spotify, alleging it knowingly, willingly, and unlawfully reproduces and distributes copyrighted compositions without obtaining mechanical licenses.

The lawsuit comes amidst ongoing settlement negotiations between Spotify and the National Music Publishers Assn. over the alleged use of allowing users to play music that hasn’t been properly licensed, and also without making mechanical royalty payments to music publishers and songwriters. According to sources, Spotify has created a $17 million to $25 million reserve fund to pay royalties for pending and unmatched song use.

The complaint states that Spotify has “publicly” admitted its failure to obtain licenses and created a reserve fund of millions of dollars for royalty payments which have been “wrongfully withheld from artists.” The complaint further notes that statutory penalties allow for judgments between $750-30,000 for each infringed work, and up to $150,000 per song for willful infringement.


I admit I’m not the biggest David Lowrey fan in this sphere, but any eyeglass pointed at artist royalty in these early days of streaming is important as it may help interpret and set future policy. If Spotify is knowingly withholding royalty that can be remitted then most certainly they should pay up. However, I’ve heard of reserve funds being held by other services until rightsholders can be identified, most notably by SoundExchange (though they aren’t actually transmiting the compositions themselves), so the practice may not be as outlandish as the suit implies. One can also assume that if Spotify is doing this with regards to mechanical licensing then Apple Music, Tidal, etc. are probably doing the same … ?

Update:

Spotify is currently in the middle of a settlement with the National Music Publishers Association, after being sued for failing to accurately keep track of royalty payments. In a blog post last week Spotify admitted that it had a problem managing royalties, and that it would work with the NMPA to build a “comprehensive publishing administration system” to ensure artists and publishers are properly compensated.

If the NMPA opts into the settlement, which allows publishers to request royalty payments in exchange for dropping legal claims over licensing fees, it will likely weaken Lowery’s case.

Copyright Not Intended / Everything Is A Remix

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I decided to listen to some older installments of the highly entertaining Hello Internet podcast over the weekend. I quickly ran across the second episode which revolves around an excellent discussion / debate on copyright:

Watch on YouTube

The web documentary Everything Is A Remix is referenced, and is worth a view:



Update: via Hollywood Reporter, this news item ties in with the themes in the podcast and video above:

{Regarding the proposed film Axanar} Paramount and CBS, represented by attorneys at Loeb & Loeb, are now demanding an injunction as well as damages for direct, contributory and vicarious copyright infringement. Although the plaintiffs have allowed ample cosplaying over the years and even permitted other derivatives like amateur Star Trek shows to circulate, the lawsuit illustrates that there is a place where no man has gone before, where the entertainment studios are not willing to let be occupied: crowdfunded, professional-quality films that use copyrighted “elements” like Vulcans and Klingons, Federation starships, phasers and stuff like the “look and feel of the planet, the characters’ costumes, their pointy ears and their distinctive hairstyle.”