It’s been ten years since Lio and Kay Kanine put out their first release: a compilation of 20 undiscovered bands, most of them from Brooklyn, titled NY: The Next Wave.
Lio Kanine (then known by his real name, Lio Cerezo) had landed a job with the indie distributor Alternative Distribution Alliance not long after moving to New York City. He spent his evenings putting on club shows around the city, DJing and booking bands up to five nights a week. His girlfriend, Kay, found work as a paralegal.
“We mostly gave them away,” Lio Kanine says of that first release. “But we sold enough to break even. And from there it just grew.”
In the very same timeframe that U.S. album sales shrunk by more than 60%, Kanine Records grew from a hobby into a bonafide and sustainable record label. Some of that took a bit of re-imaging what a label can and should do.
“At the end of the day, there’s nothing you can do about that other stuff, and you’ve just got to adjust with the times,” Kanine says. That first release “Showed us that there was an interest in what was going on at the time in New York. That it was a good time to start a label.” The rest they had to figure out for themselves.
No one gets into the music business to get rich. No one with any sense, anyway. And for all of his interest in quirky and unusual music, Lio Kanine comes across as a remarkably sensible guy.
“We have this kind of logic where if we don’t have the money, we’re not going to spend it,” he says over the phone before a flight out to LA for the 2013 F Yeah Fest with a couple of the bands on his roster. “If we don’t have the money to sign a band it’s not going to happen; we’re not going to take on something that we can’t afford.”
“It’s the same way we live our personal lives. We’re not the kinds of people who take on debt. And I think that’s part of the reason we’ve lasted so long. I’ve watched so many labels go under trying to take on projects that are so ambitious they just can’t afford it. They’re like ‘well it’s a gamble, you’ve just got to go for it.’ And I’m like yeah – ‘Well, a lot of people buy houses they can’t afford and they’re out in three years.
“Part of being a successful business, a record label, anything, is lasting. It’s like survival of the fittest,” he says. “If you’re out there the longest time, you’re going to eventually get bigger bands. They’re going to come to you because they’re going to respect you more for it.”
As much as anything, it’s this incremental attitude to growing a label that has kept Kanine moving forward steadily. After figuring out how to make their first compilation work, the Kanines tried their hand at solo releases, beginning with Oxford Collapse, a band that combined sheer noise with a dance sensibility and the aesthetics of Mike Watt-flavored American indie rock. They were eventually picked up by Sub Pop.
Not long after, Kanine began looking for a record he could sell at Other Music – at the time, arguably NYC’s most dominant independent music store. “My records weren’t weird enough for them!” he laughs. “They used to have this ‘In and Out’ section and I’d think to myself, ‘I thought I knew a lot about music and I hardly know anything on these walls.”
Through a friend, he heard about “this mysterious guy” who had “recorded a whole album’s worth of music in his Grandmother’s house out in the woods in Massachusetts” using instruments that were supposedly “made out of kitchen utensils.”
The mystery man turned out to be Ed Droste of nearby Greenpoint, Brooklyn. The project was called Grizzly Bear. Their first release, Horn of Plenty, put the band, and Lio Kanine’s label on the map.
“They fell in love with it instantly. It sold 500 copies in Other Music alone and went everywhere from there. To the UK, through Rough Trade. It was all very organic. People would just write posts. I remember the first show. It was a rainy, snowy Monday night, and it was sold out. People were just so excited.”
Kanine’s next big milestone came in 2008, when he was able to place the band Chairlift‘s song “Bruises” in a commercial for the 4th-gen iPod Nano, before their album had even come out. It was a significant cash windfall for the band and the label and it kept them both moving forward.
Nuts and Bolts
“I don’t think any artist or label nowadays can make money just selling records,” Kanine says. “I mean, it’s just not possible. Most of our bands right now recoup through syncs. And T-shirts. We sell a lot of T-shirts.”
It’s not that album sales are a non-factor. They’ve just become one piece of a larger puzzle; And a less dominant one than in years past.
“It’s just all about price points,” says Kanine. “If you’re smart about your price points, you can get people to buy. CDs should have never been more than $10 in the first place. You had stores selling CDs for $18.99, that was part of the problem. If you give people a good price, they’re going to go for it as long as it’s easy. And you know, a $9.99 CD is fine. People don’t mind paying that. Especially when T-shirts are like $30 now,” he says with a bemused laugh.
“We have a deal with our bands where we get one unique design per record that only the label can sell. The band can do as many other designs as they want, but we get one unique one so we can sell it on our site and other stores. That’s helped a lot.”
For Kanine, as with the rest of the industry, digital sales are growing, while physical albums remain a significant, though dwindling, force:
“It really depends on the band. Different bands have different fan bases. Fans of our more shoegaze bands tend to buy into the physical. Those fans are kind of collectors and they like to have stuff in hand. Our more electronic bands tend to be people who want stuff instantly and aren’t really collectors that way.”
For the more shoegazy and indie rock-focused bands, Kanine says the breakdown is about 60/40 in favor of physical. For the more electronic-tinged artists, fans favor digital sales by about 70/30. In both cases, vinyl is a minor player:
“CD outsells vinyl massively. When you hear otherwise, that’s just the press talking. The reality is, vinyl is only 1/10th of the whole sale. Vinyl is mostly done for cool points because that’s what people hang up in the record store or in pictures. The hipsters may buy the vinyl. Most normal people still buy CDs, because most normal people still have CD players in their cars.”
Digital though, is evolving. “The digital download stuff is going down compared to streaming. And the streaming stuff is really ramping up compared to the way digital downloads used to.” And the results so far have been a mixed bag:
“When Spotify started, they were saying it’s great because we’re eliminating stealing. And yeah, they eliminated stealing because now it’s free on the net. But it’s free on the net for everyone. That also taught people not buy anymore, which is bad. It doesn’t really pay either, which is hurting things a lot. So you have to go back to the artist and say ‘You’re only getting this tiny advance because we’ve got to be realistic and those are the numbers, you know?’ Which makes it harder for labels to sign bigger bands.”
Despite the challenges, Kanine keeps on growing because of hard work, an expanding network of allies, and an insistence on only taking on risks they can afford. Of course even at their modest scale, not every album is going to recoup its costs. But when the costs are low enough, a handful of strong releases can subsidize some of the natural losses that just come with the territory of being in a creative business.
When Lio talks about the realities of the businesses, his tone isn’t cutthroat. It might be best described as gentle, a little nerdy, but unflaggingly practical: “Every band on an indie has really got to pull their own weight and at least break even or make a little bit of money, because otherwise they’re not going to see any royalties. And the reality is that if the records aren’t selling I can’t afford to keep on putting out their band, and I’m going to have to let them go.
“The saddest part is that it’s happened before. And it has nothing to do with good music or bad. Sometimes a record just doesn’t stick. Or this one guy at the blog doesn’t like it and reams it to the world and all of a sudden everyone is like ‘oh this is a terrible band,’ even though their shows are packed. After a while, as much as you love the band, if you can’t afford to keep putting them out you just can’t keep doing it.”
Reality has a way of intruding on dreams. But at least the dream is there: “We’re doing it for love first,” Lio Kanine says. “Because someone’s gotta take a chance on these artists.” And sometimes those dreams last.
Living The Dream
So what makes a Kanine band?
“We mostly look for bands that are trying to do something unique and different, and who are also willing to be hardworking,” says Kanine. “When I first sit down with a new band I ask ‘Is this an art school project or is this a career move?’ Because I want to make career moves.
“I figure if you want to make an art school project, you can get your dad to fund it. I’ve even had bands call me a careerist: ‘You’re lame, you’re just a careerist.’ And I’m like ‘yes I am.’” His voice lilts upwards as he says this, chuckling yet again. “I want to make a future out of this. This is what I want to do. I don’t want to go work for someone else again. I’ve done that most of my whole life. This is a dream and I want to make it happen. But in order for me to do that, I need my bands to want that same dream.”
More than anything, Lio Kanine’s long-term success in music is tied to the success of his bands. “It’s like, Grizzly Bear is probably going to be around forever. Because this is what they want to do. And that just makes my catalog more valuable, because people are going to keep on buying their records for years to come. But if a band just makes one record and quits, it’s just not that viable.”
There’s been a lot of nasty talk about record labels, “middlemen” and “gatekeepers” in recent years from cynical fans and advocates for the tech sector. They can say what they will about record labels, but when they work right, there can be a real symbiosis between labels and musicians. Labels like Kanine Records are never going to do well unless their bands do. And most bands are never going to do well unless someone like Lio Kanine can afford to take a chance on them, and to pay them well enough for them to keep on doing what they do.
It’s true that these days, bands technically can self-release more easily than in the past. But perhaps it’s telling that so few new bands do on a sustainable level.
“The first benefit of having a label is that most artists don’t even know what to do with their record once they make it,” says Kanine. “If you have the knowledge and you have the money, then sure, you can do it. But 90% of them don’t.
“You’re also getting a team behind you, which is big. When I call a booking agent or a blog or a distributor they’re going to answer. After we signed Surfer Blood they told me ‘We emailed a ton of people and no one responded. How did you get them to respond?’ Well, that’s the difference. I’ve developed relationships with these people. They know me, they trust my taste. It’s like when Pitchfork gets a record from Sub Pop. They’re probably going to listen to it. Where if it just comes from some band, it might just get put in the pile somewhere.”
Whether it’s ideal or not, the distribution, promotion and acceptance of music has always been, and most likely, always will be based, around trusting relationships, and real-life social networks.
That’s not a function of capitalism or of corruption, of old models or new ones. It’s not a symbol of an archaic world or of a new internet age. This is simply how humanity works. Music has travled this way since its very beginning, and there’s no reason we should expect that to stop anytime soon.
If you’re cynical, you can call them middlemen or gatekeepers or beancounters. But we need passionate and practical curators like Lio and Kay Kanine. They’ve done the bands on their roster a lot of good, and it’s allowed them to keep growing steadily year after year. And if Lio has his way, Kanine Records will still be there, putting out records worth getting excited about in 2023.
Justin Colletti is a Brooklyn-based producer/engineer, journalist and educator. He records and mixes all over NYC, masters at JLM, teaches at CUNY, is a regular contributor to SonicScoop, and edits the music blog Trust Me, I’m a Scientist.
You want to go see a show.
You peruse the upcoming acts at your local venues and decide that not only is there little in common from one band to the next, but a lot of the bands just don’t seem very good.
So then, how do you go about finding the good bands? It’s taken me years to find a small group of great local rock bands, and I’m heavily entrenched in the industry. Sure, there are sites that showcase independent music, but rarely with a combination of quality control, genre and geographical specifications.
Even if you dedicate an entire evening, do you have the time and energy to filter through garage recordings of mediocre songs to find the band that actually keeps you from incessantly clicking “next?”
Then, if you do happen to stumble upon one, are they playing anywhere worth going to?
How much are the tickets?! Oh, and there’s no parking. Great.
What else is going on? Oh, Seinfeld re-runs. Cool.
While I agree that Seinfeld re-runs are pretty fantastic, a great local rock show is an entirely unique event. Unlike a stadium show (which also has the potential to be amazing), you can get right up to the stage, stand in front of sonic art; musicians that you can talk to and interact with after the show.
The immediacy, the raw emotion, the intimacy and the energy, the bright lights and the searing sounds all aggressively take hold. The thump of the bass in your chest, the tearing guitars, the singers breath, the crushing drums, all in second to second frames; you scream because you can’t contain yourself, you laugh, you jump, you elbow strangers. The night flies by, broken only by the pauses between bands — enough time to get a drink and stand in line for a bathroom that has you contemplating the shrubs you saw outside.
You lose yourself in a sensory waterfall, and come out feeling emotionally and physically drained. If this sounds overly romanticized, then you haven’t seen an amazing local rock show.
If you live in LA, I am not surprised. I have lived here eight years and seen two.
As a hard rock fan and artist, I decided to pull some instruments and intellects together to change that.
Before I get into my insidious plan to shift the stagnating paradigm of LA’s local rock scene, however, let me, and the various other players in this scene, paint the picture of how it looks today, and how it needs to change.
I call it the revolving door.
Joey Flores, artist and founder of LA-based online radio station, Earbits, elaborates.
“Booking agents at your average [LA] clubs will book the first 4 bands that commit to selling a certain amount of tickets while ignoring the synergy of the bands’ styles and doing nothing at all to promote the shows. Each band brings their obligatory 20-50 people…people come, stay for their band’s set, hear completely different music start up after they’re done, and then have absolutely no reason to stick around.”
In a nutshell, that’s the scene. It’s a vicious cycle of ineffective promoters, bands feeding into the broken system and fans leaving after one set, feeling uninspired, ultimately pushing them to do anything but go out to a show the next time the opportunity arises.
As an artist, trying to build a fan base and bolster interest in your music through this revolving door is like trying to hold a meeting on a roller coaster. That said, there’s as much of a need for change from my perspective as a fan’s.
“As a concert goer I hate when I am forced to pay to enter a club and see a variety type lineup of mixed genres with no cross over or logic from one act to the next,” says Brian Marshak, producer and guitarist in my hard rock band, Rooftop Revolutionaries.
Michael Meinhart, founder, writer and singer of the hard rock band, Socionic, agrees, adding that L.A. today is lacking that destination venue where you’re guaranteed a night of good music.
“It used to be the Whisky, or Viper Room, where you could just show up, not knowing the bands on the bill and still know it would be a great show, but now it’s not like that anywhere,” he says. “If there was a venue like that, I would know about it, and I would tell my friends, and they would tell theirs. And we would all hang out there and listen to great music.
“The current approach really puts a ceiling on what a venue could be and stunts the growth of organically grown scenes and nights focused on quality and artistic message.”
Quality – that’s another thing – without trusted local taste-makers, the LA hard rock scene seems to have no quality control.
Under the pay-to-play mentality, if you can pay, or at the very least guarantee a certain amount of heads through the door, you can go up on stage and fart into a flute for half an hour, without complaints from the booker. Simple reality: quantity over quality.
I have seen many a terrible band perform on stage because they managed to drag their friends along, or because their parents paid for that time slot.
Bookers make the claim that they have to worry about the bottom line above all else because people don’t come to shows anymore. The bills have to be paid and fans just aren’t showing up.
Well why should they?! You give them absolutely no reason to!
The revolving door of obligatory friends and family will never equal (monetarily or socially) a night of complementary bands who work together to promote, bringing their fans for an entire night, not a half hour, of good quality music.
“Booking agents fail to see that they are the first gatekeeper, and by allowing shitty bands to pay to earn their way destroys the logic that good bands deserve good time slots and good nights. This in turn forces fans to much indecision and ultimately, a reason to do something other than go out and see local acts,” says Marshak.
So, if booking agents aren’t connecting fans with quality bands, why not go to the source and create the kind of night you want – for your bands, and your fans?
Brian Marshak considered this question a while ago and began booking entire nights for our band, Rooftop Revolutionaries, hand picking other local bands that would fit the bill, creating an entire night of cohesive and good music. He, like many others, saw it as the obvious move.
“Most band leaders could and should replace most booking agents because they know the ’scene‘ better and who would work well with who.”
Josh Buma, founder and guitarist of the hard rock band, Malaki (who we’ve booked on two of our nights) agrees, citing a recent example of his own: “We recently played a [Sunset] Strip venue where bands were booked by the venues. Nothing matched. None of the other bands’ fans would like us, and vice versa. The only way to successfully book local shows is if the bands themselves do it.”
He continues, breaking it down in an LA-friendly step program:
“Step 1, don’t let venues book your band unless you’re opening for a national act. Step 2, whoever books local shows, make sure each band not only draws, but kicks ass. Kicking ass is not as subjective as one might think.”
Michael John Adams, bassist in Opus Dai, puts it another way: “Those of us in bands know a good band when we hear one. And when we find a good band, we want to book shows with them!”
The logic is simple. “With like bands working together, there becomes more of a collective and cohesive resonance to the events. One that exudes energy felt by the bands as well as the fans…” says Meinhart.
In other words, “What is good for one band is good for all bands on the bill. Pack the club. Everybody will win, from the bands, to the club, to most importantly, the fans,” adds Marshak.
Since booking our own shows, Rooftop Revolutionaries, has seen the benefits both online and in person. Even something as simple as creating one event page on Facebook that includes all the bands for the night as opposed to four separate ones, can make a significant difference in turnout and online interaction.
Fans want to be introduced to new good music. They’ve already heard your band, they already like your band. Give them something new, show them where to look for other good music in your genre, and the cross promotion from other bands will bring you more fans as well.
This idea of introducing fans to more good music in my scene (hard rock) served as the foundation for my current scheme with the audio app, Soundrop.
It began as a conversation over a cup of coffee in Downtown LA. My fellow Swede and Spotify tech friend asked me to think of ideas on how Spotify could work better with and for independent bands. I jumped at the chance.
While researching and exploring the digital soundscape of Spotify, I happened upon one of their apps, Soundrop. I was immediately struck by the simplistic yet unique layout of this app. For those of you not familiar, the basic gist is that Soundrop hosts a variety of “rooms” based on artist, genre, and themes (working out, chilling, falling asleep, etc.). Listeners have the ability to create their own rooms as well, or add to existing rooms.
What began as me uploading tracks to the Soundrop “Rock” room gradually became a digital blueprint for pushing the LA hard rock scene out of the dark ages.
This concept also tackles one of my issues with Spotify — that there’s no obvious pathway to “underground” or “unsigned” artists. The homepage is reserved for artists you’ve already heard of and it would take you a week’s supply of espresso red eyes and Mother Theresa style patience to eventually find good quality unsigned bands.
Soundrop had a similar issue. Even though listeners, such as myself, could add whatever music I wanted to the rock channel, so can everyone else. You can see where this is going.
When sitting in a playlist of hundreds of songs, not even categorized by ‘type of rock,’ my uploaded track quickly got lost somewhere between Imagine Dragons and the end of the world. Not to mention that this lack of quality control ups the quantity of disjointed rock far past the point where fans are willing to look for new music.
After spinning off bullet point after bullet point of ideas for Spotify, I decided to dig deeper into Soundrop.
I created the channel, “LA Unsigned Rock,” and uploaded what I felt to be the best local LA hard rock. After sending notices to these bands, posting about the channel and including it in our band’s newsletter, I wasn’t thrilled with the performance of my new creation.
It just sat there at the top of my Soundrop landing page, unbeknownst, it seemed, to anyone but me.
So, I reached out to Soundrop, a Norwegian company with offices in LA.
I connected with their VP of Marketing and Communications, Thomas Ford. And later, at a comfortable little cafe on Fairfax, I poured my ideas out onto the table.
Soundrop is in the process of building and bettering their platform, so Thomas was open to ideas that will not only help local bands (monetarily and socially) but that will direct fans and listeners to their app, knowing that Soundrop has a unique and unusual handle on the local unsigned music scenes.
The next week, he put the LA Unsigned Rock channel on Soundrop’s home page. Within two days, the channel had gone from 11 visits to over 1,000.
I reached out to more friends and bands with this newfound inspiration, adding more listeners, more fans and some new bands I discovered. Now, fans are engaging, listening, suggesting bands and appreciating the new ones. And bands are enjoying the sense of community. Promoters…what promoters?
Even in its short life span, this Soundrop room has proved a useful tool for fixing a broken scene.
“In Opus, we’ve spent so much time in our studio over the last couple years working on new material that we’ve lost touch with the LA scene a bit,” Adams says.
“To amend this, we’ve been refreshing our list of local bands that we feel are a good fit with our sound. The “LA Unsigned Hard Rock” Soundrop channel has allowed us to expand that list quite a bit. As I was listening to the channel, I thought to myself (more than once), ’Why haven’t I heard of these guys before??’”
The channel, as of now, has 23 tracks from local LA hard rock bands.
There is quality control; not just anyone can add tracks as they please. They have to be suggested and confirmed by the room manager.
Thomas and I are working on the monetization of Soundrop: holding Soundrop concerts that feature the bands in that room, adding links to buy music after a certain number of listens, adding PSA-style commercials from the bands themselves to pepper into the channel.
Ideas such as these are moving forward, catalyzing help and input from various other players in the scene, not least of all the response I got for this article.
Musicians want to be part of a scene, and get understandably excited when they see an opportunity to move their music forward. As Meinhart more eloquently put it, “We are more effective and poignant when standing together.”
Adams, from Opus Dai, also inspired by the concept, came forward and offered to help in building a free-standing site for the channel as well.
The site will expand on the idea of the Soundrop room, incorporating band profile pages, an “Angie’s List” type forum of good vs. bad venues and bookers, local music news, a show calendar and more.
Again, it’s a way to allow the Soundrop app onto various platforms (as in, not just Spotify) while continuing to build and push the local scene, bringing it to the attention of fans who want to hear good music but need a guide to ensure they won’t waste time or money on endless playlists or pointless live shows. This platform can be that fan’s guide.
“…a place where fans could trust and go in order to find out about quality bands within a genre that they would be interested in listening to and seeing,” Meinhart envisions.
“Trusted quality aggregators such as this could play a great role in cultivating quality scenes online and eventually in venues.”
It won’t change overnight and there is, as you can see, a lot of work to be done. As a local artist and fan, however, it is easily worth it.
As one final note, I would like to send a challenge to local venues and bookers – not just in LA, but everywhere there is a scene that could use a push.
Here is the challenge: give a shit.
Care about the bands that you put on the bill, spend some time with their music and create a bill that flows, just like we spend time on our set lists and our track listings. Then use the tools you have to promote the hell out of that show in targeted places and to targeted audiences; do your best to make sure the fans stick around between sets.
“Offering a drink discount between bands might make people stick around for the next one,” Flores suggests. Yet he cautions that all your deals and specials “only matter if you book bands that complement the one that played before them.”
Hope to see you all out at the shows. Until then, listen to the playlist here, or check it out below…
Eleanor Goldfield is a Los Angeles-based writer, musician and studio tech. She is lead singer in the hard rock band, Rooftop Revolutionaries, and chief tech at The Village Studios.
Spotify made big news again in mid-July when producer Nigel Godrich and Radiohead’s Thom Yorke pulled their music from the streaming service.
Their move was not without precedent. Just a few months earlier, Jeremy DeVine, head of the indie record label Temporary Residence Ltd, came on to our InputOutput podcast to discuss his plans to withhold new releases from Spotify. Earlier this week, The Huffington Post confirmed that several other independent artists planned to follow suit.
Ever since then, a misleading and hopelessly outdated infographic that I thought I’d never have to see again began resurfacing and making the rounds on social media. It claims that artists would need to rack up over 4,000,000 plays each month – more than 130,00 every day – just to make minimum wage.
How Much Does it Really Pay?
In reality, we’re continuing to see average gross payouts just shy of a half-cent ($.005) per play for ad-supported streams, about three-quarters of a cent ($.0075) for “unlimited” streams, and around one-and-a-half cents ($0.015) for “premium” streams.
This means that if you self-released your music and only attracted listeners on the ad-supported service, you’d need about 230,000 spins each month – about 7,700 plays every day – in order to earn minimum wage for just one person. Bleak, perhaps, but a far cry from 4 million.
On the premium service, you’d need more like 77,000 plays a month – or 2,600 plays each day – to crack that same nut. Not every band in the world is going to attract this much attention, but for many of the good ones, it is an achievable goal.
Although this revenue share is far better than the $0.00 offered by pirate websites, it remains an unworkable replacement for recorded music sales. Even at $.015 per stream, you’d have to listen to your favorite artist’s song 46 times in order for them to earn the same $.70 they would have ended up getting if you had bought that song on iTunes.
(Do me a favor real quick, and check your iTunes library to see just how many songs you’ve listened to that many times! The answer tends to be “not that many”.)
Despite falling technology costs, musicians’ biggest expense in making music remains time. And costs there have not gone down as far as some might expect.
At this point, we haven’t even gotten into factoring in the additional costs faced by artists who have labels, managers or more than one member — Not to mention artists who have the expectation of making more than minimum wage off from one of their primary products!
Just as with iTunes or physical album sales, if you have a record label or management team, chances are you’ll owe them a portion of this revenue. Self-released artists with managers often expect to share 10% or 15% of their income. Traditionally, artists on big indie labels might share 50% of their recording revenue. And if you’re on a major label? Numbers vary widely, but chances are your net take will be significantly less than 50%.
So: How Much is Enough?
The good news is that despite all of this, we’re not too far off. It may take some kicking and screaming and full-throated advocacy, but it’s feasible that in time artists could be looking at fair rates for music streaming – whether it’s from Spotify or an alternative service.
If we could get rates up to just $.02 per play, streaming would start to become a pretty fair deal artists. At that rate, you’d need a bit over 55,000 plays per month to crack minimum wage, or somewhere near 1,900 plays per day.
This sounds pretty reasonable to me – Especially when you account for the fact that even people who don’t like your record still end up kicking you some coin. (If someone listens to your song 10 seconds, hate it to pieces and write the most scathing Facebook review in the history of the universe, you’d still be getting paid.)
Get the rate up to $.03 per play, and streaming arguably becomes a better deal for musicians than iTunes ever was. At this rate, you’d just need 39,000 plays a month or 1,300 plays each day. What’s more, it would take just 23 plays to equal one iTunes download. And once again, even people who hate your song still end up contributing to these play counts.
Is Raising Rates Even Possible?
With high-profile indie artists beginning to pull out of the service? Maybe so. But wait: By now, you’ve probably heard that Spotify isn’t even profitable. How is it supposed to find that extra cash?
Well, the reality is that Spotify isn’t profitable because the company’s CEO, Daniel Ek, doesn’t yet want it to be profitable. “The question of when we’ll be profitable actually feels irrelevant,” he said just last year. “Our focus is all on growth. That is priority one, two, three, four and five.”
(Consider it “The Amazon Approach”: Undercut everybody and become a near-monopolistic behemoth that the competition just can’t touch. Then start worrying about profit.)
With a few minor tweaks, the company could easily pay out higher rates or even become profitable quite soon. They’d just have to give up their goal of growing to a market-dominating size as swiftly as possible.
There is a legitimate question as to whether some artists have a slightly better deal with their labels or with Spotify than others do. (People who have exceptionally great contracts usually don’t like to discuss the details too openly. Such is the nature of leverage.)
But with that aside, the fundamentals of Spotify’s business model aren’t that cryptic at all: Basically, the pay-per-stream is calculated as a percentage of gross revenues, divided by the total number of plays across the service. (This is done separately for the ad-supported and premium streams.)
Spotify actually claims to pay out 70% of gross revenue, which is right on par with iTunes. So the problem isn’t so much the split – rather it’s the company’s income, when compared with the total number of streams.
Fixing this simple problem would require either raising income or lowering the number of steams. To do this, Spotify’s options are: A) Put caps on how much listeners can stream, B) Raise subscription fees, C) Increase advertising rates or the frequency of ads, D) Eliminate or restrict the ad-supported model, or E) Some combination thereof. That’s pretty much it.
If they were smart, Spotify could get creative with these fundamental options. Back in 2012, I suggested that they let artists cap listening on their albums after a certain number of plays. Then, they could allow listeners to “unlock” unlimited listening of an album by “tipping” the artist, say $5.
Not only would this be an immediate source of revenue and a way for fans to directly support their favorite artists, but it would also significantly lower the number of streams in the pool, raising pay rates across the entire service!
If Spotify doesn’t adopt creative ideas like these, some other company will, and not too long from now, and they’ll be the ones to attract all of the best artists.
Does It Pay To Protest?
As a music fan, I love the Spotify service. It’s convenient, it sounds great, it’s an insanely good value for the listener, and if you subscribe to the premium service, its payout rates are fairly ethical (although certainly still too low) at around $.015 per play.
Still, I’m glad to see some of my favorite musicians boycotting the company. In a market economy, valuing your own work enough to say “No, you can’t have it for anything less than a fair rate” is one of the most surefire ways to keep others from devaluing it.
But if you’re going to make demands, it’s a good idea to know what you’re demanding.
If you want my opinion, I’d say hold out for $0.03 per play. Once you account for all the people who’d never buy your album but end up kicking you some coin anyway, that’s arguably as good of a return as music sales ever were – and possibly better.
But if it was me? Honestly, I’d probably settle for an increase to $0.02 on the premium service to start. (So long as I could limit or block listening on the ad-supported service.)
A 30% raise would be a huge step in the right direction, and a potentially easy battle to win: Simply raise basic subscription fees from $9.99 to $13.99. Or, just create a new, slightly more expensive product tier for the highest-frequency users. Do either of those things, and the service is already there. Done. And that’s without implementing a single creative idea.
Artists have subsidized Spotify’s growth for quite a few years now. Perhaps today, with countless legal alternatives to piracy priced cheaper and made more convenient than ever before, it’s about time we took off the training wheels.
Now that legal, convenient and affordable alternatives to piracy exist, why should new artists continue to subsidize Spotify? The only “public assistance” that a huge company like Spotify should get is a concerted effort to crack down on illegal and exploitative pirate sites.
Collectively, pirate sites rake in millions in advertising and pay out $0. Realistically, if we really want legal streaming services to pay well, we’ll all have to work together to clamp down on those kinds of services. This would increase the viability of legal competition to Spotify, giving artists more streaming providers to choose from, and increasing payouts.
We live in a market economy, and it’s about time to let Spotify sink or swim as a real business. If Spotify can be convinced to start putting greater limitations on the free service and begin paying out a fair and sustainable rate to artists, they’d certainly win me as a customer. As it stands now, that’s the only thing holding me back.
Justin Colletti is a Brooklyn-based producer/engineer, journalist and educator. He records and mixes all over NYC, masters at JLM, teaches at CUNY, is a regular contributor to SonicScoop, and edits the music blog Trust Me, I’m a Scientist.
If you’re a musician, a studio geek or a music fan, you’ve probably been hearing a lot of information — and misinformation — about Spotify, royalty rates, streaming services and the modern musical economy. Input Output hosts Geoff and Eli filter out all the noise in this new three-part series on the compensation and creative rights of musicians and producers. Whether you’re angry at “the man” or just wondering what the big deal is, it’s our humble opinion that the following interview may be among the most edifying and grounded conversations you’ll hear on the subject.
This week’s guest, Jeremy deVine, started the indie label Temporary Residence Records while working at a hardware store in Baltimore. He even went without heat in the dead of one winter just to help scrape together the funds for the first Explosions in the Sky album — a release that would put them, and his new label on the map.
Since then, deVine and Temporary Residence have signed countless popular niche bands like Pinback, Mono and Maserati, and have put out new tracks from Low, Mogwai and Will Oldham. Recently, distressed by his labels’ returns from Spotify (about $30,000 for around 18 million plays) deVine sent a well-considered letter to the bands on his roster, asking for their permission to remove the label’s entire catalog from Spotify. His goal: to compare a year’s returns with Spotify, to one without.
Although deVine is optimistic that on-demand streaming could someday become a valuable resource, he’s unconvinced that time is now. Impressed by deVine’s scientific and unemotional approach to the issues, Geoff and Eli ask Jeremy about his experience with Spotify, and about what the service would have to do to help attract and sustain smaller-scale releases in the future.
Plenty of people have opinions about the business of music, but not many are willing to put their money where their mouths are. Jeremy deVine is one of the few, and his edifying take on the issue comes grounded in real-world numbers. We hope you find this interview as insightful and eye-opening as we did.
In this episode of Input\Output, Geoff and Eli talk to David Lowery, the former frontman for Cracker and Camper Van Beethoven, who is now an economics professor at the University of Georgia.
Last summer, Lowrey wrote an open letter to Emily White, an NPR intern who claimed to have had almost 12,000 songs in her personal library, but to only have paid for just over a dozen albums. This letter generated a firestorm of attention, drawing upwards of a half million visits a day to Lowrey’s artists’-rights blog The Trichordist.
As a label-owner, econ professor, a former “quant” for the financial sector, and a platinum-selling musician with indie cred and a cult following, Lowery brings a singular perspective to the business of music.
In this podcast — the first in a 3-part series where Geoff and Eli talk to experts about copyright and intellectual property in the 21st century — Lowery offers some compelling ideas about how we got where we are, and where the industry is headed next.
Listen to the podcast below, or right click here to download.
ONErpm, a global digital music distribution company and social commerce platform with offices in Brooklyn, has announced the addition of 60 new digital stores to their service, while lowering its one-time distribution fee to $1.99 per store.
The stores ONErpm reaches include Rdio, iTunes, eMusic, iHeartRadio, Google Music, Amazon, and Spotify (view the full list at https://onerpm.com/#/home/stores. With this expansion, ONErpm is positioned to provide an extremely comprehensive DIY distribution platform in the industry at the lowest price.
Artists who sign up with ONErpm can access a variety of download and streaming services such as the aforementioned iTunes, Spotify, and Rdio for $1.99 each, as well as specialized DJ, electronic, and mobile services, and expand their reach geographically in emerging markets such as Russia, China, and Brazil. ONErpm already has an established market presence in Brazil (it’s home country) and Latin America, and claims to be the only DIY service currently offering distribution to these growth markets.
Targeted promotional services/support are also part of the ONErpm package, which uses a shared revenue model to partner with its artists.
EAST VILLAGE, MANHATTAN: What would you do if you were given the magical power to hear any song you could think of, at any moment?
While the economic implications of Spotify to artists are a topic certainly worth of debate, I have to say that the goblin-green platform has given me – and all of us – just such alchemic capabilities. As music professionals, Spotify may or may not be a threat, but as music lovers – which all of us started out as – it’s a blessing undisguised.
In light of my starry-eyed affectation, I recently devised a new game called “Stump the Spotify!” and invited a couple of sonically-inclined friends to take part. The objective: sit down in front of a computer, free associate the song each of us want to hear next, then talk it over as the sweet sounds radiate from the speakers.
The rules for song selection? Look into your soul, let a song appear — and forget about what anyone else thinks! Bonus points for naming a song not yet in Spotify’s catalog, followed by a shot of scotch (optional) to dull the disappointing pain.
Not surprisingly, the entrancing NYC singer-songwriter Will Knox accepted the challenge, hot on the heels of his imaginatively-crafted EP release, Lexicon. So did FLUX Studios’ Account Manager Chris Sipes, who arranged for the inspiring Fabulous production/writing room to serve as our host venue for 60 minutes of Stump the Spotify!
Listening to a plethora of songs though Focal monitors in a beautiful mixing/mastering suite, the environment was an incubator for musical insights of all kinds. Here’s what went down (and feel free to pull up these songs yourself and listen along!):
Song 1: David Weiss selects… “Blackest Eyes” by Porcupine Tree, from the 2002 album In Absentia
David: I really like the power of this song. This is one of those songs that I wish I had written.
Will: I haven’t heard this in a while.
David: The drummer is so good in this song, and it has an interesting song structure. The two choruses happen so fast, they’re so satisfying. Then they’re gone and the chorus doesn’t come back again.
Will: My roommate in college used to rock out to this all the time. He had long hair, and he used to be really into metal. He would just crank it and rock out to it. It’s such a strange song, because it starts out so hard. It could be Pantera. But when this soft vocal comes in, there’s a bit of a balance to it. It almost sounds like the guitarist came up with a riff, and the singer also had a song. They said, “We don’t know what to do with this, let’s put it together!” But it works.
Chris: I never heard this song before. I love it.
Song 2: Chris Sipes selects… “How Do You Want It” by 2pac, from the 1996 album All Eyes on Me
Chris: I like this song, because this is why I started listening to Tupac. I was in a hotel room as a child in Orlando, FL, and saw this video.
Will: I love this, I love Tupac. I’m a big fan of ‘90’s rap, don’t ask me why. It’s the opposite of what I write, so I can get some release from something that’s completely off the spectrum. This is what I listen to on the road. Absolutely, it’s stress release – it allows you to relax.
David: The deep funk and gospel groove of this song is crushing. I never heard it before! I really like it.
Will: Good choice, Chris!
Song 3: Will Knox selects… “Pink Moon” by Nick Drake, from the 1972 album Pink Moon
Will: Nick Drake is from England. He died in the ‘70’s, this was his last record, released in 1972. He only released three records, and this was his last solo album.
Chris: He sounds like Bob Dylan…
Will: He was a different case – a tragic case really. He never saw success when he was alive, and he died of an overdose of sorts, passing away when he was very, very young – way before his time.
He’s a phenomenal writer that’s only been heard on the scale he deserves in the last 10 years or so. A song of his was used for a TV commercial, and people said, “Wow, who is this guy?” He still does have a cult following, like Elliot Smith. He’s wonderful. He’s probably my biggest influence.
David: Hey, I was born in 1972! This is from my year.
Will: The tape machine I bought the other night was made in 1972. A TEAC 1230 reel-to-reel, and the most amazing thing about it is that it still works. It came with a couple of reels of ¼” tape. It sounds beautiful, just so warm – just so not like Pro Tools, if that makes sense. It takes away something harsh, and makes everything sound sweeter.
Song 4: David Weiss selects… “Don’t Stop ‘Till You Get Enough” by Michael Jackson, from the 1979 album Off the Wall
STUMPED! The song is not in Spotify.
Will: It’s not there? How can you have a party without it?!
Song 5: David Weiss selects… “Road to Somewhere” by Goldfrapp, from the 2008 album Seventh Three
Chris: I’ve never heard this. It’s very emotional music. I’m usually less on the introspective side of music – I wouldn’t have heard this if you hadn’t pulled it up, but I like it.
Will: I never listened to Goldfrapp, but I got really into this song. You’ve got to be in the right mood for it. And right now, chilling out with nothing else on my mind but listening to music on a great sound system, drinking whiskey, this works absolutely perfectly. I suppose you listen to music for specific occasions, and right now, that’s exactly what I wanted to hear.
But it’s definitely one of those things that, if you heard it in the wrong environment, you might not pay as much attention and give enough appreciation to it as you should. But that’s the same as with any music, isn’t it?
Song 6: Chris Sipes selects… “Come as you Are” by Nirvana, from the 1991 album Nevermind
Will: I think I remember buying this on my 12th birthday…
Chris: I never liked the Foo Fighters, but I like Nirvana. This reminds me of “Where Did You Sleep Last Night?” off of the (1994) MTV Unplugged album, which is about him burning his ex-girlfriend and burying her. It’s a murderous song. You can hear he’s on the heroin in that song.
Song 7: Will Knox selects… “Get In Line” by Ron Sexsmith, from the 2011 album Long Player Late Bloomer
Will: Do you guys know Ron Sexsmith? He’s one of the great songwriters of our generation.
David: I don’t know anything about Ron Sexsmith.
Will: No one knows anything about Ron Sexsmith! Which is the phenomenal thing about him. He works with some very famous songwriters, like Feist’s song “Brandy Alexander” (on her 2007 album The Reminder).
As a lyricist and melody writer, I just think he’s so solid. All of his songs are very catchy, and so well-crafted. His lyrics are so tasteful, so clever. I think he’s one of those writers that doesn’t get enough credit for what he does.
He’s got quite a cult following. If you say you’re a Ron Sexsmith fan, people will come out of the woodwork and say, “Oh, you like him too?” Hopefully he’ll get the recognition he deserves.
Song 8: David Weiss selects… “Synchronicity 1” by The Police, from the 1983 album Synchronicity
David: The Police were a band, that’s what I love about them.
Chris: That’s one of those amped-up songs – you put that in and it changes the room.
Will: You think, how would they produce that song now? Without that keyboard sound, for example – what would you replace? And would the Police be able to get listened to now?
David: Will, what do you think of the Police as songwriters?
Will: Well, I don’t know if you can really fault Sting for much that he’s done in his songwriting career. He’s a very solid songwriter. Even if you don’t like the Police, something’s gotta be said about the hits that they’ve written.
And Sting has had a lot of hits for a lot of reasons. His voice is so distinctive as well – he’s a high tenor, I guess? He wasn’t afraid to be experimental, which was interesting, because a lot of his songs are quite simple at heart. Lyrically and melodically, they’re basic themes.
Song 9: Chris Sipes selects… “Born to Roll” by Masta Ace Incorporated, from the 1993 album SlaughtaHouse
Chris: I had this one tape-recorded off of a radio station. This is a unique song. Its got some classy beats – “Low Rider”-hypnotic and slamming! With really cool lyrics. Very Snoop-sounding.
Will: Its ‘90′s rap. You can’t go wrong!
Song 10: Will Knox selects… “The Day We Caught the Train” by Ocean Colour Scene, from the 1996 album Moseley Shoals
Will: I was excited to see if some of my favorite Britpop ‘90’s bands were here…Oh yeah, they’ve got it!
David: There’s a very “Day in the Life” feel to this song, at least at the start: A two-songs-in-one setup. Hey, it’s got real drums! Real jamming! Real emotion! And I like the fadeout.
Will: They put me in a time and a place that I remember being very happy. They’re one of those bands that comes from such a specific time in your life – Ocean Colour Scene was the soundtrack to everyone’s life in 1996.
Chris: It’s a nostalgic experience.
Will: Don’t you think that a lot of music is just nostalgia? I listen to a lot of songs now that I listened to at that time.
Song 11: David Weiss selects… “Iris Art” by Echobelly, from the 1993 album Lustra
STUMPED! The song is not in Spotify.
David: I’m bummed. I think that’s a powerful rock song, but also very beautiful at the same time.
Song 12: David Weiss selects… “Babelonia” by School of Seven Bells, from the 2010 album Disconnect from Desire
Will: I like it, but there’s so much space in this song without lyrics. This is beautiful music — it’s blasting, I’m dancing, this is great – but I’m a little lost without lyrics. It’s a time-and-place thing again: I wouldn’t want to put my head in the headphones and listen to this. I’d want to dance to this.
Chris: I would watch this band perform. I’ll bet it would be very interesting – the value is in the performance.
David: I saw them live at Le Poisson Rouge.
Will: That’s the thing: So much music sounds better live, and when you buy the CD, the music transports you to that experience. If you hear a recording you wouldn’t understand it, but you see them live, and you want to convince your friends how good they are live.
Chris: Like you had to be there. But this is cool – it makes me want to go dancing with the people in the band.
Song 12: Chris Sipes selects… “MotownPhilly” by Boyz II Men, from the 1991 album Cooleyhighharmony
Chris: I needed to mix it up! When I got a Sony CD/tape player, this was one of five CDs I got at the same time. It was this, Genesis, Tanya Tucker, the Boomerang soundtrack, and I don’t remember what the other one was…Oh! Def Leppard — Adrenaline.
Will: I had Def Leppard’s (1996 album) Slang.
David: And I bought (1983’s) Pyromania!
Will: Isn’t it funny that between us we spent $30 on Def Leppard, but in this new streaming society with Spotify its free, or its $10 a month for Rdio? So for that, all three of us can listen to all the music we want.
Times have changed. If Silicon Valley explodes tomorrow, the next generation is in trouble. They won’t have access to a whole ton of music.
Chris: Yeah, not to mention the CD covers you hung on your wall.
Will: Can we talk about this album cover? Look at their coats! But I almost don’t have an opinion of this song. It just is what it is! (laughs) It’s so dated, that it just sounds like one of those songs you can have a good time to.
Will: I haven’t stumped Spotify, but I think I can: I have a vinyl collection with this live record by Jimi Hendrix, with Jim Morrison on it. The song is “Woke Up This Morning and Found Myself Dead”. If Spotify has this, I won’t say anything else bad about it. I’ll tip my hat.
The Hendrix original is not there, but Spotify delivers a cover by the band The Bollocks Brothers, from their 1986 album 4 Horsemen of the Apocalypse:
Will: What a name for a band! And this sounds just like “You Can’t Touch This”. They must have sampled it. In the original, Jim Morrison is so high, he’s screaming profanities throughout the entire thing. Not just regular curse words – he goes above and beyond.
This actually makes me feel better, that Spotify didn’t have the Hendrix version. Because it’s on vinyl, and its not on Spotify: It means you can collect vinyl, and you’ll have stuff that Spotify won’t.
– David Weiss
LOWER EAST SIDE, MANHATTAN: People parked in front of their TV’s at 1:00 AM, EST on Saturday, July 30th either got a blast from the past or an exciting new music jolt, depending on their carbon date. The spark? None other than “MTV2’s 120 Minutes with Matt Pinfield.”
Now a monthly series, the show marks the return of NJ-home slice Matt Pinfield to a format that connected an entire generation of listeners to the new music that they craved. Originally airing on MTV from 1986-2000 (and on MTV2 from 2001-2003), “120 Minutes” began as an alternative music lifeline, serving as pre-Internet sound discovery for the likes of Jesus & Mary Chain, New Order, Kate Bush, the Smashing Pumpkins, Bad Religion, and scores more. Nirvana’s debut of the “Smells Like Teen Sprit” video there was just one of the revelations for the millions who made it a point to tune in.
A prince of all media himself, Pinfield is now back in the saddle taping the new “120 Minutes” from Arlene’s Grocery on the LES – just as the plug got pulled on his popular radio morning slot with Leslie Fram on WRXP due to the station’s sale in June. Whatever the format, Pinfield’s exhaustive knowledge of rock music never ceases to entertain and educate, delivered at it is in his ultra-high energy style.
Pinfield connected with SonicScoop to give the lowdown on his return to the screen, the ups and downs of radio, and the buzz behind NYC.
Your debut episode is going to feature some pretty diverse interview subjects: Dave Grohl, Lupe Fiasco, PJ Harvey, Sleigh Bells, Das Racist, Dangermouse, to name a few. That’s a pretty wide spread – what’s the common thread between these artists?
Dave Grohl is one of the humblest men in rock and roll. The guy was a DIY guy — the first album Foo Fighters did was on a cassette. Dave started in Scream, going around the country in a station wagon with promoters threatening to shoot him.
The reality is that it doesn’t just have to be new and unknown, up-and-coming artists. I want people there with a history from “120 Minutes,” or who are plugged into the aesthetic or ethos of “120 Minutes.” The Lupe thing relates to the fact that people listen to music now so much differently than they did when the show was originally airing – checking out dubstep on their iPod. Lupe has a punk band, and he picked my favorite Radiohead video to play on the show.
In the next episode, Big Boi from Outkast will be talking about producing the Modest Mouse record. The rapper Theophilus London talks about Morrissey! It all comes back around. There’s so much going on in there.
I thought Arlene’s Grocery was an interesting choice as the host venue for the new “120 Minutes.”
Arlene’s Grocery had a great look to it. The color and look of the background had a similar aesthetic to the original “120 Minutes.” You had a starkness, and it was focused on the music. I like Arlene’s for that reason, and you can’t deny that The Strokes and a ton of other bands did their residency at Arlene’s.
I think Arlene’s represents the Lower East Side. I’ve hung out in every bar on the LES, but we were sold on Arlene’s when we were scouting places. Although we might change it up sometime in the future — there’s always that possibility.
How did you acquire your encyclopeadic knowledge of music? What’s the trick to maintaining and adding to all that knowledge?
I guess my enthusiasm is very child-like. I’ve never lost that youthful thing. From the time I was three years old, I was fixated on the family turntable. I was sitting in front of a record player rocking to the Four Tops, the Beatles, the Rolling Stones – this was something I was focused on.
I retained the musical information because it’s the thing I’m the most excited about. People would laugh when we were taping “120 Minutes” and say, “He’s been talking for a while. How did he get so much information on that cue card?” But all that would be there was the title of the song! I always wanted to know the lyrics, and the inspiration behind them. I cared about stories, and as I met my inspirations, young and old, they told me things that were amazing. I read books and newspapers — the floor of my bathroom has books, magazines, Mojo Uncut. Or I’m online. I’m always reading about music.
There’s people like you and me that have a passion about exposing people to music. But I’m a music enthusiast, not a music idealist. I don’t want to keep my knowledge of music in my back pocket – I want to share that experience I have when music takes me into a passionate place, elevates my mood, makes me feel OK because I’m lonely that day, or makes me feel like I’m in love. That’s how I look at music. I just enjoy it and I’m moved by it.
Have you been using Spotify?
I think Spotify is cool. There’s so many great Websites out there right now. If you have a passion like we have, then any tool you can use to become more aware of the artist you love, or go a little deeper – that’s one of the beautiful things about the Internet.
You talked comprehensively about the June sale of WRXP by Emmis Communications to Randy Michaels and GTCR in a recent “Hollywood Reporter” article. Why, specifically, do you think NYC has a problem keeping a rock radio station going? Isn’t this like LA not having an NFL franchise?
I’ll say this only once: The problem had nothing to do with the format or the music. It had to do with financial issues at the top of the company (Emmis).
There’s an incredible misconception that rock can’t work in NYC. That’s complete bullshit. We sold out five Christmas shows, bringing bands like Spoon, Arcade Fire, Kings of Leon onstage. We were doing a lot of great things and our fans were really receptive. It had nothing to do with what rock could do in NYC. NYC radio at the moment is really lacking, and I think it would be ridiculous for someone to not pick up the torch and run with it.
But there’s so many politics about how people own stations, and how they look at their market share. Rock’s surely not down for the count, but the situation of the radio station being sold was all above our heads. There was nothing that we could have done as a staff for ratings, or whatever, that could have stopped that sale.
I had a great three year run with Emmis. I loved the opportunity, and that they believed in me and the brand of me. But when a company gets acquired, it doesn’t matter what the business is – it could be a shovel-making company – it’s going to change the dynamic.
Finally, where do you sees the NYC music industry headed as a whole. Is this still the place to be involved in music?
NYC is still the greatest city in the world. It always will be. It doesn’t matter the genre, beyond NYC and into the tri-state area, it’s still the place to be. People move here for a reason: There’s an energy about being a band in NYC that’s unmatched anywhere.
Even as things get gentrified or change, you’ll still find more excitement in an NYC area show than anywhere on the planet. And I know that because I’ve hung out everywhere. Artist for artist, venue for venue, it’s stronger here, and there’s a business to support it. It’s a great, proactive area. It’s the city of artists.
New episodes of “MTV2’s 120 Minutes with Matt Pinfield” will air the last Saturday of every month at 1 AM ET/ 10pm PT and will be available online at 120.MTV2.com.
– David Weiss
NYC-based The Harry Fox Agency, Inc. (HFA) has entered into a publishing licensing, administration and management agreement with the digital music service Spotify.
Under the agreement, HFA will clear mechanical publishing rights for Spotify, licensing certain rights in millions of musical works from thousands of publishers. Spotify will utilize HFA’s end-to-end publishing licensing, reporting, and royalty services to support their launch in the U.S.
HFA currently has more than 46,000 affiliated publishers.
Spotify, the streaming music service that’s been hugely popular in Europe, has finally launched stateside, today.
Free access is right now by invitation only — though I signed up via Klout — but Spotify Premium and Unlimited subscriptions are available starting at $4.99/month.
For some broad intel on the service, its U.S. competition and implications to artists and labels, read Ben Sisario’s piece today in the New York Times. Spotify’s main U.S. headquarters are right here in NYC.
Grooveshark‘s been my go-to for streaming, though I’m still very much an iTunes listener. Excited to dig into Spotify!