2018: A Year in Review

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Back in January, I set a list of goals for myself this year.

It may have been a bit lofty, but I am nonetheless proud of what I got done this year. I achieved some of them, and some of them I’m reinstating for next year. But life is about more than just work goals — here are some of the highlights of my 2018. 👍

January

I opened January with a slew of great projects. I continued writing for Crunchbase News, writing more on Spotify as they approached this April direct listing. My dad then proceeded to make a joke about the direct listing — I’m still laughing. 😂

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A week later, I followed that with some interesting editing work on Andy Sparks’ new Holloway project.

January capped with a great talk from Arlan Hamilton here in Atlanta, which of course I enjoyed attending. It was great to see Arlan again and hear her backstory — “inspiring” barely begins to appropriately describe it. 🙌

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Though I didn’t publish too many Minimum Viable Network pieces this year, one of the ones I’m most proud of drew heavily on my experience during Arlan’s talk. I begin to think a lot more about the power of ubiquity.

I finally said goodbye to my iPhone 4S. 📱

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Remember that time at the Product Hunt party last year that Eric Willis was poking fun at me for still being the only person in tech with one? 😂😱

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I snagged an invite to the Atlanta Jewish Film festival — they made me wear a tie. 😱 👔

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February & March

February was slow, but in March, I took a break from Atlanta for a few days to fly up to D.C. for the gun reform march — the March for Our Lives speakers were amazing to hear in person.

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My college friend and I caught some culture at the Smithsonian.

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A week later, March ended on a high note when I had the pleasure of meeting Randi Zuckerberg following her talk at Georgia State. 👏

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April

In April, I started becoming much more vocal about harassment, diversity, inclusivity, and accessibility. I’ve been a huge supporter of Backstage Capital since I learned about their mission, and I believe equally as much in the work being done by Aileen Lee, Jenny Lefcourt, and others at AllRaise.org. I’m happy to be an ally in whatever way I can and will continue to be loud about changes which need to be made. I’m similarly inspired by and have become an ardent supporter of the work that Melinda Epler & Wayne Sutton are doing with Change Catalysts (plus their partnership with Backstage is fantastic!). 🤔

I saw some of my closest college friends in New Jersey and considered leaving tech for a future in modeling. Then reality set in. 😂

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I published my last piece on time & money before taking a long, well-deserved break from writing.

I made a meme.

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May

Right around mid-May, I hit a wall. I was having a hard time fighting past some anxiety and depression. I was having constant conversations with some of my closest friends and supporters, to whom I will always be grateful. But I realized that conversations may not be enough, and perhaps some fresh air was in order. So I took a break from Atlanta and worked on changing my perspective.

June

I flew out to the Bay Area and got to see Kiki Schirr again (she also hosted me, which means she’s a special kind of saint lol). Day 1, I had lunch with my super-patient editor Alex Wilhelm and he gave me a tour of the Crunchbase offices! 👍

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I finally got to meet Ken Yeung in person after many months of snarky Twitter comments. He’s just as snarky in person. 😱

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I drank a lot of Philz Coffee. A lot. ☕

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Coffee with Barrett Daniels, who’s become a close friend and confidant, and with Rei Wang, someone whom I think is doing fantastic work with new founders. Then got to drop by and finally meet Ruben Harris in person! 🚀

Lunch again with Adam Singer, and got to hit up his album release party! It ended up making my list of new albums this year (see below). There was a lot of snark and even more discussion about music than we normally touch on.

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I meandered down to San Jose and had lunch with Poornima Vijayashanker, who’s been both a pivotal influence on my understanding of accessibility in tech, and an amazing friend. 🤗

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I hit up Sacramento for some awesome hiking with college friends.

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July

Then came some time in Chicago, where I had some awesome pizza with fellow Crunchbse News writer Jason Rowley. He’s got great taste in pizza places. 🍕

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I hung out with a college friend I hadn’t seen in years.

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I met Cory Warfield, who’s become a close friend and mentor, and has completely turned me on to using LinkedIn in a new way. 🙌

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Got back to Atlanta just in time to go meet Emily Best— her company Seed&Spark was putting on a great event here in Atlanta. 📽

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I finally met Andrea Hernandez in person at an event here in Atlanta to promote more women in tech and business. 👏

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I saw the March for Our Lives speakers at their town hall here in Atlanta.

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I snagged tickets to *the FINAL* Warped Tour here in Atlanta. Got to see Less Than Jake, Reel Big Fish, Simple Plan, The Red Jumpsuit Apparatus, Mayday Parade, August Burns Red, and The Interrupters. 🤘🎸

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August & September

In September, I had the super pleasure of meeting Jim Augustine— COO of Zuckerberg Media— when Sue’s Tech Kitchen came to do their event in Atlanta. 👍

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I spent a lot of time thinking about anxiety & depression, and talking about how to address these issues in a much more pointed and accepting way. I am more thankful than I could really even articulate to those of my friends— especially those in the startup/tech world— who have supported me through these challenges in my own life. To Kiki Schirr, Alex Wilhelm, Jason Rowley, Christina Warren, Nikki DeMere, Poornima Vijyashanker, Adam Singer, Espree Devora, Nick Abouzeid, Bryan Landers, Cory Warfield, and numerous others who have helped me find a more positive mindset this year, I am eternally grateful. 🤔🤗🙌

October

I voted early—  there are big things coming in the near future for Georgia. 🗳

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Halloween encouraged me to wear a tie more often ha. 😉 👔

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November

Hit up New Jersey for Thanksgiving break and Kerry Flynn took me to an awesome bar! We talked tech, music, and going to school in Boston. 🤘

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Some family time at Ellis Island. This has inspired my sister to start researching our family history and in the last few weeks, we’ve all learned things we never knew!

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Then the siblings and I pretty much froze at the Statue of Liberty. 🗽

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I returned from my six-month break from writing, and damn it felt good.

I’ve been exploring new projects with some awesome people— we’ll see what picks up in the new year.

December

I doubled down on Atlanta.

And I capped off this year with my new list of “100 Independent Albums & EP’s” that you all probably missed at some point.  😎🎸

Reflecting on 2018

The second half of 2017 was extremely hard for me for a number of reasons and I tried to enter 2018 with a new mindset. Nothing ever goes 100% according to plan, and I had a couple stumbles this year. But I’ve grown my network, cultivated deeper relationships, tried to create as much value as I could, created new things, and became determined to live my life in a more positive way. None of these things happen overnight, but it’s all about the journey.

Be well all, keep moving forward!

Bring on 2019! 😎🎉

 

 

 

 

 

100 Awesome Independent Album and EP Releases You Probably Missed in 2018

Another December just about passed, and another 100 independent albums and EP’s you probably missed this year. In any artistic industry, so much of the exciting content flies quietly under the radar, except for when you know where to look for it. 🤘🎸

Since 2015, I’ve given you lists of 100 independent albums and EP’s you probably missed during the year. Here they are:

Now here comes 2018’s. I’m so stoked for the new crop of artists here, as well as for those returning again. A lot of the content on this year’s list comes from artists I’ve known for years, producing music for new projects they’ve put together recently. This is a different kind of excitement; I love seeing the evolution of these creatives.

As with all previous lists, these 100 albums and EP’s come from artists all over the world. This year’s list includes artists from: Canada, Greece, Germany, South Korea, Belarus, Austria, Singapore, France, South Africa, Sweden, Australia, Norway, Spain, Estonia, Ukraine, Italy, the U.K., Switzerland, Russia, and 22 different U.S. states. The independent world is massive.

It’s always interesting to see what each year brings in terms of style and genre, and 2018 seems to have been heavy on punk, pop-punk, alternative, instrumental, metal, and jazz-influenced material, both in terms of my personal taste and overall releases.

With all that said, here are 100 of the independent albums and EP’s that you probably missed in 2018. All were released during the 2018 calendar year. Music is multidimensional, and all these artists should be treated as such.

As always, albums are in no particular order.

Come expand your universe and live in my world for a little while. 😎👍

1. Satellites — Chelsea Shag — Atlanta, Georgia, USA

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2. Painting with Scissors — Andy Gruhin — Silver Spring, Maryland, USA

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3. Feels — Fair Panic — Wayne, New Jersey, USA

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4. Overseas — White Coven — Zaragoza, Spain

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5. Hannah Wicklund & The Steppin Stones — Hannah Wicklund & The Steppin Stones — Nashville, Tennessee, USA

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6. Dreamland — Just Like Honey — New York, New York, USA

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7. Personal Issues — Oh See Demons — Bergen, Norway

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8. My Only Hope — Adam Singer — San Francisco, California, USA

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9.  Mind Tricks — Brownstone Inc. — Graz, Austria

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10. Thriving, Given The Consequences — Soviet Ohio — Syracuse, New York, USA

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11. In Moon We TrustHālley — Paris, France

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12. What The Wreck? — Stan Stewart — Ithaca, New York, USA

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13. Poor You, Part Two — Jinxbox — Middlebury, Vermont, USA

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14. Centipede – EP — Blooming Fire — Los Angeles, California, USA

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15. The Candleman and the Curtain — The Earth and I — Warwick, New York, USA

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16. Everyone I’ve Ever LovedValleyheart — Salem, Massachusetts, USA

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17. Kingdoms — Coopertheband — Nashville, Tennessee, USA

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18. Self Titled — Alias May — Melbourne, Australia

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19. Make My Millennium — Resident One — Atlanta, Georgia, USA

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20. FunnySexyCoolHollywood Horses — Birmingham, Alabama, USA

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21. .ghostworld – EP — .ghostworld — Singapore, Singapore

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22. Heaven and Her Demons — BlackBeak — Johannesburg, South Africa

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23. Wherever That IsPanhandler — Stockholm, Sweden

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24. White Roses EP — Dream Chambers — Nashville, Tennessee, USA

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25. Soul Transfer — Emphasis — Tallin, Estonia

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26. Westline Drive EP — Westline Drive — San Francisco, California, USA

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27. EP — Lampion — Montreal, Quebec, Canada

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28. Salvation — The Penske File — Burlington, Ontario, Canada

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29. Hypnotizing Euphoria — The Who Was Phone — Zurich, Switzerland

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30. Bridges – EP — For The Fire — Indianapolis, Indiana, USA

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31. Disposition — Young Animals — St. Louis, Missouri, USA

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32. Glow In The Dark — Rachel Rose Mitchell — Melbourne, Australia

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33. Dear Beer — The Bombpops — Los Angeles, California, USA

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34. Aftermind — HighView — Canberra, Australia

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35. It’s History, It’s Poetry — Detour North — Chicago, Illinois, USA

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36. Voices in My Head — Failing Up — Los Angeles, California, USA

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37. Omega — Shades of Dissonance — Minneapolis, Minnesota, USA

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38. From the Wild Sky — Halie Loren — Eugene, Oregon, USA

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39. Up in Roses — Fever — Portland, Oregon, USA

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40. Passing Years — Looking For Alaska — Regensburg, Germany

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41. Desire Paths — Turnspit — Chicago, Illinois, USA

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42. Absolution EP — Keating — Columbus, Ohio, USA

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43. The Fallen King — Frozen Crown — Milan, Italy

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44. Heartwoken EP — The Revies — Los Angeles, California, USA

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45. Amnesiatic — ODD ROBOT — Fullerton, California, USA

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46. Everything Is Temporary — Between You & Me — Melbourne, Australia

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47. Duoyu — Duoyu — Athens, Greece

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48. Six People in a Dream — Baronaqua — Melbourne, Australia

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49. Hometown Static — Second Street — Kansas City, Missouri, USA

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50. Happy Thoughts — Midfield — Philadelphia, Pennsylvania, USA

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51. Becoming a Ghost — Becoming a Ghost — Troy, New York, USA

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52. BedtimePawn Pawn — Toledo, Ohio, USA

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53. Alliance — We Call The Shots — Phoenix, Arizona, USA

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54. Mother’s Keeper — Mother’s Keeper — Birmingham, Alabama, USA

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55. Is an EP — THIS — Buffalo, New York, USA

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56. Distraction EP — Paper Citizen — Boston, Massachusetts, USA

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57. Nostalgia — deerfield. — Syracuse, New York, USA

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58. Street Talk — Big White — Sydney, Australia

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59. For Me This Time — Analog Heart — Boston, Massachusetts, USA

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60. While We DreamLights & Motion — Gothenburg, Sweden

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61. Raw SugarL’Absence — Zaragoza, Spain

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62. TamelessBuffalo Rampage — Moscow, Russia

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63. Never Asked for It EPSorry, Scout — St. Louis, Missouri, USA

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64. Old SoulSharp Sleeves — Blacksburg, Virginia, USA

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65. Aspire — VENUES — Stuttgart, Germany

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66. From Blue to BoneMama Doom — Poughkeepsie, New York, USA

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67. Heart Whispers (EP) — Grace & the Midnight Angel — Clovis, California, USA

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68. Cirque Du SkankSkunk Funk — American Canyon, California, USA

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69. Spring Silver EP — Spring Silver — Silver Spring, Maryland, USA

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70. The View From HereStealing Home — Concord, California, USA

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71. Weird’N’ConfusedAppocaloosers — Madrid, Spain

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72. InceptionWallbangers — Nantes, France

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73. Wanderlust EPGrowling Rabbit — Minsk, Belarus

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74. Paper SaintsPaper Saints — Dallas, Texas, USA

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75. Spinneret EPJEM — Singapore, Singapore

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76. Cashmore DemosCashmore — Brisbane, Australia

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77. DakotaGo Murphy — Fargo, North Dakota, USA

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78. Categories of ColourEither/Or — Vancouver, British Columbia, Canada

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79. FacadeBoxford — Virginia Beach, Virginia, USA

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80. Casual CornerBlesst Chest — Portland, Oregon, USA

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81. Paper HeartsThe Brothers Union — Asbury Park, New Jersey, USA

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82. New RuinsCandace — Portland, Oregon, USA

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83. Growing PainEnvious View — Springfield, Missouri, USA

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84. Hangin’ On!The Glycereens — Brisbane, Australia

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85. Digital EPAnemoria — Fullerton, California, USA

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86. AgonizeSever The Ear — Gwangju, South Korea

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87. Laugh It Off!Domino & the Derelicts — San Jose, California, USA

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88. Glass BonesWolvesMouth — Voorhees, New Jersey, USA

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89. AshesLed By Lanterns — Birmingham, England, UK

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90. A Quiet Riot Vol. 1We Are Riot — Bremen, Germany

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91. Membership DuesSad Girlz Club — San Francisco, California, USA

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92. Broken CodesIn Parallel — Nashville, Tennessee, USA

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93. The Deep Sleep — Unveil — Sherebrooke, Quebec, Canada

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94. The NexstoneThe Nexstone — Kramatorsk, Ukraine

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95. Comfort Zone — Superhaunted — Miami, Florida, USA

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96. Fault Lines EPAeve Ribbons — Manchester, England, UK

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97. Visions EP — Noise Maze — Udine, Italy

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98.The Outer Space (EP)Fallcie — Saint Petersburg, Russia

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99. JarenJenn’s Apartment — Lansing, Michigan, USA

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100. Nothing LeftMy Favorite Fault — Moscow, Russia

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If you enjoyed this please share, and feel free to Tweet me. Let’s talk music and tech!

Unbundled, Part III: Democratizing the Future

Why democratization and identity are the future of music.

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This is the final entry in the Unbundled series on music dynamics. Read the previously published pieces here:


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Power, Gatekeeping, Scarcity, and Democratization

Which brings us back to the last step in the cycle: unbundled once again. Only this time, the unbundled dynamic refers to power and ownership. The new unbundled form of power—referenced above—removes the focus of power from the major labels and fractures it, splintering it to varying degrees among the plethora of new artists and startups now emerging.

This is the best thing that could happen because it leads to a more stabilized version of meritocracy in music. The top-heavy, unbalanced paradigm of major label control over everything that a fan is exposed to is ending, and being replaced with a much murkier—but more expansive—reality. This in turn affects scarcity and gatekeeping on a massive level.

Scarcity is obsolete; democratization wins.

Ownership

Perhaps the most prickly point here is the concept of ownership in the new age. This is a contentious topic even among friends, and no one really knows what the landscape is going to look like in the next few years. What can be surmised, however, is that concepts of ownership of musical material are evolving. Sampling and other trends in electronic and DJ music, along with self-recording and independent releases, have muddied the waters of who owns what and to what extent.

Now the action of covering or remixing someone else’s song and posting it online bristles feathers. But (most) artists who do this also attribute the proper credits to the original artist(s)—many times in the cover or remix’s title—simply because it’s the right thing to do and because it helps them to disseminate their new version.

Asserting that cover songs and remixes hurt the original artist is a cloudy and jaded argument at best.

Yet, the argument can be made that with this new overhaul in ownership orthodoxy, perhaps the right people are now able to own the things they should have been able to all along. Let us not forget the reality of master tapes (where a record label owns the rights to an artist’s original recordings) which so many artists have regretted. Controlling one’s own material, and deciding what to do with it, are the ultimate power plays an artist can make. Appealing to this new sense of power is the best avenue for emerging music startups to make.

Such a concept is fairly reminiscent of a point Daniel Mark Harrison makes in a piece regarding bitcoin, wherein he illustrated that controlling access to material is the ultimate power: “…any major purchaser goes direct to a Bitcoin ‘miner’…and negotiates steep discounts for their volume purchase action.”

In this scenario, the music fan is the purchaser, the artist is the bitcoin miner, and the service that serves as a conduit between the two is better off appealing to and providing value to the artist rather than only the fan. Both are important, but the latter controls the material which the former wants to consume.

Money and Community

One of the loudest major factors that floats around is the argument over money, from streaming, downloading, merch sales, ticket sales, etc. Let’s be clear though: streaming and downloading—the purchase of musical material—is not where the real money is for artists. It never has been. The money has always been in the merchandise and live ticket sales. What does this mean nowadays? Community.

While it is certainly arguable and many times probable that new unbundling dynamics have struck at artists’ ability to make money from the sale of their music, it is equally arguable that it has enabled them to make money from other, more lucrative, avenues.

An artist can only sell a $10 album so many times (unless you’re a major label darling). Their real bread and butter is in their community cultivation: growing their base, getting people to come out, getting people to spread their music and message, and capitalizing on those efforts. Streaming and downloading revenue is at best a holdover until a better stream is tapped.

The dynamics that exist now in this new unbundled world provide new opportunities for artists. Now, they don’t need to make their money off music sales or streams. Enough access to fans and communication/funding tools exist that they can actually give their music away for free and turn a profit somewhere else.

And this is exactly what a growing number of artists are choosing to do.

The dissemination of their material onto a global stage is much more important than a few album sales here or there, and leads to better things on the other side. A more expansive universe brings more shows, more exposure, more true fans, and more branding opportunities. These are the real things that grant artists staying power.

The Expansive Powers of Identity

Lastly, there is identity. I examined in a previous piece how we’re seeing the rise of “identity platforms” in media. Music is no exception to this. In fact, it might be the shining example of it.

Identity gives music—and by extension all art—certain powers that contribute staying power. Identity is so powerful precisely because it exists independently of genre, mainstream recognition, money, or history; it’s unique in it’s own ability to build bridges where previously there were none. Regarding music, identity brings together people on a core level that can almost supersede differences they might otherwise have.

The power identity—especially in relation to art and music—in its potential to create ever-expanding identities—to create communities. Money is certainly a factor in this, but if a shared identity which draws people towards one another, and can shield them—for better or worse—from outside forces seeking to compromise that unique, collective identity. As music is given the ability to disseminate more and more, more communities will arise around newly-minted identities, and art as a whole will become more lush and layered.

In the wake of these trends in art, music, and media, the power will lay with companies and platforms to not only cultivate these newly emerging identities, but to provide fertile ground for even more embryonic ones. Music becomes a vessel for the expansion of art and identity.

The Upswing

Where does this leave us? In unchartered territory to start with. Artists will continue to grow their power as new technologies make the opportunities possible. The companies which see this trend and capitalize on it will be the ones to stick around and do well. The others, however, who are resistant to this new set of events, will find it challenging to court artists and acquire material if they are determined to hold fast to a paradigm that was beneficial mostly to the major record labels.

Independents artists, and consumers of all strata (not merely the mainstream), will not be ignored or marginalized anymore. They will continue to experiment with the bundling/unbundling process until they find the right fit for themselves, and for their careers. There will be less of a set standard that all need to conform to, and more of a flexible set of possibilities and avenues for people to mix and match to reflect their changing personal experiences.

The future of music is three things: freedom, community, and democratization.

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Find me on Twitter @adammarx13 and let’s talk music, tech, and business!

What I’ve Learned from Chris Sacca: Value, Empathy, and People

TL;DR: Life is all about relationships. A reflection on how Chris Sacca’s notions of value and relationships have shaped my views on business and people.

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I was debating whether or not to write this a post under the Minimum Viable Network banner, but in the end it seemed that it was better as a stand-alone thought process. Frankly, I was going to save the whole reflection for another time, but sometimes when you have to write it out, nothing else suffices.

Creative Minds

No doubt that most of the tech and VC world is talking about Chris Sacca’s retirement from VC today. And while I won’t pretend I saw it coming, I also can’t say that I’m 100% surprised by it. Growing up, working, and socializing among artists and creative individuals, one thing I’ve come to accept as true is that truly innovative minds become restless and constantly seek new adventures and challenges.

In my time identifying as a writer, poet, journalist, painter, artist, founder, I’ve heard people who don’t quite understand the pull describe it as “lack of focus” or “a desire for obstacles over happiness.” But that cheapens the real feeling that we contend with; it’s not about lacking focus or not wanting to be happy. Just the opposite—it’s about finding happiness and meaning in new adventures and letting those new teachings sharpen our focus and perspective on life.

I’ve had the unique opportunity of speaking to Sacca just once, and in that short exchange, I saw in him what I’ve described above. And it made me want to get to know him even more.

There’s a myth popularized by artist biopics that truly creative people prize art/winning/results above all else, especially relationships with others. Sacca proves that to be dead wrong. In so many ways, the greatest creators and innovators were great because of the relationships they cultivated, most times with oft forgotten people in the background. Van Gogh had his brother Theo to support him and keep him (mostly) sane, Jim Morrison had his long-time companion  Pamela Courson, and in many ways Steve Jobs had Wozniak (certainly not forgotten) to keep him balanced for a time.

Relationships don’t distract from incredible achievements; they are what make those achievements possible.

Relationships Define People

So what does any of this have to do with Sacca? Everything.

My first thought reading Sacca’s retirement post wasn’t “oh no, but I wanted Lowercase to fund my next company,” or “but why walk away, you’re winning.”

It’s simply: “Money or no money, I still want to know Sacca because of the things he’s espoused over the last few years which have shaped my perspective in tech and business, as well as life.”

I’m more grateful to Erik Torenberg and Product Hunt than I could even say for facilitating the aforementioned encounter. In life, sometimes the most transformative experiences can come from the most serendipitous opportunities, and that was certainly true here. (A full reflection on this experience for the Minimum Viable Network is forthcoming when the time is right.)

So why has listening to Sacca and reading his posts been “so transformative?” Because his notion of creating value for others before asking for yourself, prizing empathy, and networking through conviction have become central tenets to how I think.

Core Tenets

In creating the idea of the Minimum Viable Network, so much is centered around the concept of creating value for others, cultivating deep relationships through empathy, acting as a support network when your friends and allies need you, and projecting magnetic positivity and opportunity. When I talk to artists, I tell them to go out and project a powerful, positive persona—that’s what attracts people. In helping a good friend of mine prepare for a lecture on ethics at Syracuse University (happening tonight!), I told him to emphasize empathy, and that power will come from a conviction for honest networking.

To other founders who now tweet me and ask how to get into tech and startups (why they tweet me is still a mystery haha), I say simply: Go and create ridiculous amounts of value for other people; don’t worry about “getting your’s” right now.

Karma comes around when the time is right. Focus on making yourself so magnetic to others that they can’t not know you.

I’m Richer for Seeing Life Through Relationships with People

I’m in so many ways richer for shaping my perspective on life around these core ideas. I’ve had the good fortune of building an incredible network of friends and allies, seemingly through just running my mouth and doing things for other people. The irony? It was never a “strategy” I was employing—creating value for others to create value for myself. It was—and is—simply doing things for others because I can, and because I want to. But like I said, karma has a funny way of keeping track.

So at the end of all of this, where am I?

Still positive, still excited, and still looking forward to my first coffee with Sacca, whenever that might be. In tech as in music, everyone seems to know everyone, and reputation is everything. So I have total faith that people who endeavor to help others will see their paths cross at some point. Until then, I’ll keep learning, keep building, keep creating value, and keep empathizing with others.

Life is relationships. And relationships happen at the most serendipitous of times.

***

Find me on Twitter @adammarx13 and let’s talk music, tech, and business.

Unbundled, Part II: Shifting the Paradigm

How a new music paradigm is rising out of the wreckage.

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This is a continuation of the Unbundled series on music dynamics. Read the previously published pieces here:


The second act in the “bundled/unbundled” production is the “bundled” piece. It’s about exploring the bundling process as it pertains to music, and really trying to determine the proper scope of examination. Said scope, when broadened enough, shows a shifting paradigm of power and perception rising out of the wreckage of the previous music landscape. It’s similarly divided into three parts:

  1. Bundled in the Wrong Way
  2. Power and Paradigm Shift
  3. Sexy vs. Unsexy

The first of these is an exploration of what types of bundling already exist, and how it might not be the right kind of bundling to pursue. The nature of peoples’ interaction with music has changed, so it follows that the things bundled in music should change as well. This is a particularly difficult thing to accept because it requires a reworking of thought regarding something already perceived as “done.”

The second part is a discussion of how power naturally shifts during these seismic events, and how the new power should be held by a previously dismissed faction: the artists.

This flows right into the last part, which is an exploration of how many of the things which should be considered and bundled may not be the “sexiest” or most exciting of things to include. But “sexiness” and utility don’t always go hand-in-hand, and reality prevails at some point.

BUNDLED

Bundled in the Wrong Way

This is the biggy. Inasmuch as many things in the music universe(s) have become unbundled, so too are there a variety of things that have also become bundled. In the light of all the unbundling going on (Chris Saad blew through an extensive example list from everything including music and news to relationships and war), it appears somewhat unsexy to talk about the things going through the bundling process.

Where unbundling is fast and sexy and simple, bundling appears slow and outdated. But in music at least, this is far too simple an assessment.

The reality is that there are many things in music that have always been bundled, but bundled in such a way that they appeared to be unbundled. Many of the things which “music” apps are now trying to tackle separately—distribution, marketing, social, ticketing, analytics, messaging and/or communication, and live booking—have always been bundled under the banner of the record label.

The label controlled virtually everything, from distribution and radio play (yes, payola is real) to marketing and fan engagement. If you wanted to exist as an artist, you needed to be a part of this world in some way. Otherwise, you were relegated to the “independent” pile, which in the years prior to 1991, was much less glamorous than it is now.

Power and Paradigm Shift

When the digital age hit, the unbundling of the record labels’ power began. Since around 2005, major label power has seeped, and independent power has reached new heights. However, in their new-found power, independents were also sold a myth that everything they needed could be solved by partaking in a variety of unbundled services, from analytics to social platforms.

What this myth fails to address though, is the massive time-suck it really promotes. There are a great many things that should be bundled. Things like analytics, ticketing, distribution, radio play, social engagement, community, and marketing should all be offered under the same banner of a startup or new company.

But—and this is so important—done so in a way where the artists retain their power.

Sexy vs. Unsexy

The unbundling that has occurred has amazingly and unexpectedly taken much of the power away from the labels and delivered it to the artists. Artists now have the ability to control nearly every aspect of their operation, from recording through distribution through community engagement. But they don’t really have it all in one place, for free (yes this is huge), with the level of choice they need.

They have a variety of music discovery sites to choose from, a variety of analytics engines to use, and a variety of social platforms to post on, among other things. This is too much, and simplification is necessary. A music company should offer all of these types of functions under its purview, wherein artists can then choose to use them—or not—as they like. Choice and freedom remain intact while efficiency and simplicity are underscored.

But why stop there? Why not tackle the unsexy things that major labels have always done and give that power back to the artists as well?

Have a company that encompasses all the functions above, and then add (fan-driven) radio play, legal information and resources, management, copyright, and informational context. In making the experience of one site all-encompassing, you then succeed in changing the artists’ paradigm, thus changing the music landscape.

Giving artists access to these “unsexy” things is just as easy as (easier actually than) giving fans access to the music they want to hear.

The only difference is that instead of focusing on half of the equation, you instead complete the circle, and do so independently of the former rigid structure.


The Power of Knowledge

Whereas the points of the previous piece—choice and format—led to the overarching concept of community, the three points here point to something different, but equally important: knowledge.

If knowledge is power, then bundling things in a new way to give artists access to more knowledge clearly translates to a shift of power in their direction. This upends the previous paradigm immensely.

As artists gain perspective and knowledge on things like music analytics, marketing strategies, and engagement statistics—as well as “unsexy” things like legal resources and contacts—the power shifts significantly away from the major record companies. Their power has always been cemented in two main things: money and knowledge. But once artists and creators have access to the second of these two things (knowledge), they can apply it flexibly to attain the first of these two things (money).

This creates major fissures in the current music landscape, and opens up a splintering ecosystem of new opportunities for creatives at all levels of music creation and engagement.


The next movement in the symphony will be Part III: Democratizing the Future, which will take a look again at a new unbundled dynamic. Concepts discussed will touch on how the new unbundling will change music ownership and identity.

Stay tuned!


Find me on Twitter @adammarx13 and let’s talk music, tech, and business!

Unbundled, Part I: Reformatting the Barriers

How unwrapping the previous barriers is changing music.

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This is a continuation of the Unbundled series on music dynamics. Read the previously published piece here:


The first movement in this symphony is the “unbundled” piece. It’s all about “reformatting” the conceptual barriers that initially existed for decades. It’s divided into two parts: Choice and Format.

The former is an exploration of how choice has evolved with the changing technology, and how it’s taken on a power it previously lacked. The latter, however, discusses how new formats have changed music and broken down barriers which artists historically were—most times—unable to scale. Similarly, it’s given light and life to format types which for decades have been ignored by the broad base of music consumers, except perhaps for the most die-hard fans.

unbundled

Choice

The first and most obvious form of unbundling in the music industry is the industry itself; no longer is there simply one music industry to partake in.

Now there are multiple, and they exist as completely separate universes; the major label mainstream, the exponentially growing independent industry, and everything in between. Along with this kind of unbundling of different musical arenas comes a freedom for music fans to explore in new ways.

Where non-mainstream fans were once relegated to shoddy mixtapes and bare-bones independent releases (which many times meant lower quality), now they have a plethora of music sources to choose from, as do all music listeners.

This leads to a level of choice the likes of which has never been seen in music. Now, it’s realistically possible to exist as a music fan outside the mainstream in a holistic way. You’re able to not only find the music that you like, and which speaks to you, but are similarly able to take advantage of growing communities of people like yourself. With the free access to all this new material comes access to other like-minded people.

This is community.

Chris Saad pointed to two distinct contributing factors which have lead us in this direction:

  • Reducing the cost of inventory and discovery to, in many cases, zero or near zero
  • Reducing the cost of direct communication and orchestration with more people at once—bypassing the need for manual mediators/editors/orchestrators/curators

Format

Saad’s post also mentioned this within the scope of musical format. What was once a record and CD has now become digital information, thus with more power to disseminate. Even the album format itself is restructuring, as fans looking for a single-song experience are abandoning the long form in favor of something musically shorter.

But this has a swing dynamic as well; while some argue that the album format is dying (or is already dead), many see the opposite.

The unbundling of the album format has actually given it more power than it had before. Now, when an artist chooses to create a full album, a fan knows that there is an artistic meaning behind that, rather than a record label’s fiscal bottom line.

It also lends long-overdue validation to releases that fall in between singles and full albums. EP’s and double-sides have long been ignored by most but the hardcore fans. Now, however, they exist with the same legitimacy as their gaunter and fuller peers.

The Ironic Thing

The ironic thing about these two points—choice and format—is that they’re inherently about one overarching concept: community.

As choice expands and begins to encompass formerly ignored genres and artists, new communities have the ability to coalesce and thrive. Choice isn’t merely about having new material for already established communities to engage in; alternatively, it can lead to a mixing of communities that otherwise might not happen.

Punks and jazz fans may begin to mix over a new punk-jazz fusion genre, and people who otherwise would never have met one another can now suddenly exist alongside each other. This leads to an increased level of creativity and an exponential production of creative material.

And this material is further disseminated throughout communities—splintering them and rebonding them—through new formats of information technology. Communities cease to be rigid and orthodox in their functionality towards music and instead become more elastic—they become living, breathing things which grow and continue to evolve.

This is the unbundling process within music as it should be: an unwrapping of previously rigid dynamics that lends more flexibility and power to the overall process of community cultivation.


The next movement in the symphony will be Part II: Shifting the Paradigm, which will take a look at the BUNDLED dynamic. Concepts discussed will touch on how bundling — but doing so incorrectly in the new era — impacts music consumption and community cultivation.

Stay tuned!


Find me on Twitter @adammarx13 and let’s talk music, tech, and business!

Unbundled: Introduction to the Bundle

Why the unbundling of the music universe matters.

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In recent years, the dynamics of bundling and unbundling have changed everything in media. But they’ve had an especially palpable effect on music.

This is an exploration of the bundling and unbundling dynamics taking place in the music universe right now. Because of the massive amount of information discussed herein, it is necessary to cover it in series of parts, each explaining a particular aspect of change and restructuring.

This series will appear as the following:

  • Introduction to the Bundle
  • Part I: Reformatting the Barriers
  • Part II: Shifting the Paradigm
  • Part III: Democratizing the Future

Additionally, all four pieces (including the introduction) will subsequently appear as a single, holistic text, entitled: Unbundled: The Story of Music.

This is the first entry in the story.

A New Emerging Dichotomy of Freedom and Reach

A few months ago, Chris Saad penned an article on the dynamics of bundling, and how they’re affecting a number of fields. In his piece, Saad addressed how concepts of bundling are impacting areas of creativity like art and music, among others. Ironically, it had a similar air to Joshua Topolsky’s earlier article on media companies, which itself prompted my response on music-startup realities.

Such examples were only briefly mentioned, but one can go deeper on them, particularly in the way of music. Things are happening now to the age-old structure of music that arguably haven’t changed for the better part of five or six decades. And even that is only the tip of the iceberg.

Part of what was so intriguing about Saad’s examination of these morphing areas is just how much change is going on which is not being discussed. In many ways, Saad’s piece shines a light not only on the changing bundling and unbundling dynamics taking place in music, but how these two different forms—yin and yang—are interacting with one another to shape a new musical landscape. What we see is an emerging dichotomy of freedom and reach that we haven’t seen in quite a while.

Three Trends in a Specific Order

Within the context of music, three trends—unbundling, bundling, and unbundling again—matter. And they matter in that sequence. This is so because each (un)bundling action touches a different area of the music arena, and thus their interaction together forms a new paradigm.

They lay out as follows:

unbundled

Covered in Part I, Reformatting the Barriers

  1. Choice
  2. Format

BUNDLED

Covered in Part II, Shifting the Paradigm

  1. Bundled in the Wrong Way
  2. Power and Paradigm Shift
  3. Sexy vs. Unsexy

unbundled

Covered in Part III, Democratizing the Future

  1. Power, Gatekeeping, Scarcity, and Democratization
  2. Ownership
  3. Money and Community
  4. The Expansive Powers of Identity

The music industry, like all other forms of media, is undergoing such a massive tectonic shift that we’re only beginning to now see how big the fissures are. The most interesting thing will be how these changing power paradigms affect the music coming out, and the communities which are built around the material.

Stay tuned!


Find me on Twitter @adammarx13 and let’s talk music, tech, and business!

100 Awesome Independent Album and EP Releases You Probably Missed in 2016

It’s that time of the year again — when all those “Best of…” lists come out telling us the supposed cream-of-the-crop releases in music. And as happens every year, they skate right over the slew of amazing independent releases that dropped into our lives.

Last year, I drew up a list of 100 independent albums you probably missed in 2015. Now it’s time to do the same for 2016.

In the interest of fairness, it’s important to note that most of these releases simply follow my personal taste in music genre-wise; they certainly don’t encompass all the amazing independent albums that came out this year in jazz, EDM, rap, classical, or other styles.

As with last year’s list, these 100 albums and EP’s come from artists all over the world. This year’s list has artists from: Canada, the U.K., France, Italy, Ireland, Spain, Portugal, China, Denmark, Iceland, Sweden, Norway, Belarus, Germany, Israel, China, Mexico, the Philippines, Australia, New Zealand, and from 20 different U.S. states. That’s how big the independent universe is, regardless of genre.

So here are just 100 of the albums and EP’s that you probably missed in 2016. All were released during the 2016 calendar year, so this gives you an idea of just how small a window into the music world the mainstream actually cuts. As always, albums are in no particular order. Do yourself a favor and go expand your universe. You’d be shocked at what you discover.

  1. Forget About ItIt’s Butter – Los Angeles, California, USAa1993529676_16
  2. I Talk to StrangersI Talk to Strangers – London, England, UKa0865780043_16-1
  3. The Centauri Conspiracies: Part 1 — The AwakeningSunshine & Bullets — Tampa, Florida, USA
    Print
  4. Colours Chelsea Shag — Atlanta, Georgia, USA600x600bb
  5. Good DaysSkyline — Austin, Texas, USAa0007603069_10
  6. Muster PointJeeps — London, England, UKa3598822201_16
  7. ScarsForever Still — Copenhagen, Denmark12
  8. Body WarsJune Divided — Philadelphia, Pennsylvania, USAjune-divided-body-wars-ep
  9. Silent ElephantSilent Elephant — Lille, Francea2226111291_16
  10. The Parts We SaveHeel — London, England, UK
    heel-the-parts-we-save-album-cover-artwork
  11. Breaking FreeA Truth Divides — Fall River, Massachusetts, USAa1106324655_10
  12. EmergenceHour 24 — Temperance, Michigan, USA4a92d0_efe37ce2146445358c6a8af10e5ef140.png
  13. Hardly Loaded EPPhantomHead — Lynchburg, Virginia, USAa2643529918_16-1
  14. Tough LoveBloody Diamonds — Toronto, Ontario, Canada13308599_990879211032274_8926664851863017403_o
  15. A Moment of SilenceThe Funeral Portrait — Atlanta, Georgia, USA14563572_1125466497544768_7992703852251309118_n
  16. EpicentreBouquet of Dead Crows — London, England, UKa0429878601_10
  17. She SpeaksShe Speaks — Kildare, Irelanda2252113179_16
  18. WandererRed Handed Denial — Toronto, Ontario, Canada12799213_10153426011084071_1317740590743645433_n
  19. Dark NarrowsLights That Change — Flintshire, Wales, UKa2142808787_16
  20. The ReIntroductionAlmost Kings — Atlanta, Georgia, USA0006541155_10
  21. BlackSuan — Athy, Irelanda0731599391_16
  22. Mean SomethingKinder Than Wolves — Orlando, Florida, USAa3400336724_16
  23. For Your ObliterationThe Dead Deads — Nashville, Tennessee, USAa0316039504_10
  24. No Mirror / Baby StepsBirdeatsbaby — Brighton, England, UKa2859507464_16
  25. Screech BatsScreech Bats — London, England, UK12764898_977824338969132_6112466179685560664_o
  26. Five KitesFive Kites — Uckfield, England, UKa3539413199_16
  27. Pow WowRed Apple — Madrid, Spaina0626135829_16
  28. HoopdriverHoopdriver — London, England, UKa1149210371_16
  29. The Mud Lords EPThe Mud Lords — San Francisco, California, USAa2762874709_16
  30. StonesCherry Water — Wilmington, North Carolina, USAa2364345222_16
  31. Please Welcome Imperial JadeImperial Jade — Barcelona, Spaina4135821107_16
  32. From The CaveFrom The Cave — London, England, UKa0846461208_16
  33. Imminent for Your InterestsPeople Like Us. — Los Angeles, California, USAAlbum Art rough
  34. Otra Vez ISidewatcher — Detroit, Michigan, USAa0310545470_16
  35. EraserheadEraserhead — Aurora, Illinois, USAa0142508800_16
  36. AlterhoodAlterhood — Tel-Aviv, Israela3217298871_16
  37. Eugenia EPDarla and the Blonde — London, England, UKa2573911246_16
  38. Cosmophonie EPCosmophone — Trois-Rivières, Quebec, Canadaa1977159592_16
  39. Hit the AirBasic Land — Monterrey, Mexicoa2682732415_16
  40. Born to DancePürple — Brighton, England, UKa2572290725_16
  41. Double A-SideThe Mis-Made — Sydney, Australiaa0839401698_16
  42. Refuse to Shine EPMr.Mountain — Portsmouth, England, UKa1375774276_16
  43. Gaining PerspectiveGlory Days — Brisbane, Australiaa3697331310_16
  44. The Sky, the Lie, and Who We Are Before We Die — True North — Los Angeles, California, USAa1878484356_10
  45. Luxury EPPatio — New York City, New York, USAa1711486514_16
  46. PhantasmagoriaWhite Claudia — Chicago, Illinois, USAa0392641707_16
  47. Cruise DealMirror Travel — Austin, Texas, USAa0016514373_16
  48. Call Me by NameGood Fiction — Albany, New York, USAa1006386476_16-1.jpg
  49. BipolarKreepy Krush — Minsk, Belarusa3570746258_16
  50. Good HangsLauren Patti — New Jersey, USAa3026102687_16
  51. Copper CrownCopper Crown — Toronto, Ontario, Canadaa0415375489_16
  52. Cuatro —  Tranparentes — Alicante, Spaina0741328815_16
  53. It’s Too Bright InsideLush Vibes — Vallejo, California, USAa1998902662_16
  54. Ropes EndRopes End — New York City, New York, USAa3134658973_16
  55. Only RosesCarissa Johnson — Boston, Massachusetts, USAa2929911764_16
  56. Theories of the UniverseHaunted Ghost Town — Sunnyvale, California, USAa2755326863_16
  57. Soft Grudge — Mulligrub — Winnipeg, Manitoba, CanadaMulligrub-Soft-Grudge--640x640
  58. Dirty LyxxDirty Lyxx — Boston, Massachusetts, USAa2040502891_16
  59. StagesKopacetic — Shreveport, Louisiana, USAa2728269849_16
  60. Much Love — Microwave — Atlanta, Georgia, USAa1730261151_10
  61. MetadonnaMetadonna — Valencia, Spaina0150878033_16
  62. Break Down the WallsBreak Down the Walls — Hawthorne, New York, USAa1176554633_16
  63. Stuff EPMy Cruel Goro — Icelanda2414949285_16
  64. ShadowboxVivienne the Witch — Perugia, Italya3238750359_16
  65. In the Arms of the SunVox Vocis — Phoenix, Arizona, USAa2512338494_16
  66. DiscourseSex With Strangers — Vancouver, British Columbia, Canadaa2127562643_16
  67. Sleep Tight, When You Wake Up We’ll Be GoneThe Few. — St. Louis, Missouri, USAa2511948533_16
  68. Harmony and DisconnectRising Down — Tampa, Florida, USAa2963571272_16
  69. VectorsYeah Sure Whatever — Marin, California, USAa1649515922_16
  70. DEVILTRAINDEVILTRAIN — Bamberg, Germanya1542791299_16
  71. Buried in the SoundLost Frontiers — Pomona, California, USAa3721344826_16
  72. Nosebleed WeekendThe Coathangers — Atlanta, Georgia, USAThe-Coathangers-Nosebleed-Weekend
  73. The Eternal SeaThe Eternal Sea — Tauranga, New Zealanda2466588262_16
  74. Traces EPTraces — Phoenix, Arizona, USAa2543588091_16
  75. Elevation —  We Are The Catalyst — Gothenburg, Swedena2368062794_16
  76. MABON SONGSCrypt Trip — San Marcos, Texas, USAa0313274180_16
  77. Angel — Heroes — Los Angeles, California, USAa4173242852_16
  78. Swan Valley Heights — Swan Valley Heights — Munich, Germanya0676605006_16
  79. Abandoned — Counter Theory — Valparaiso, Indiana, USAa0689683623_16
  80. AntsAnts — Rivergaro, Italya1366200431_16
  81. The Journey (EP)Rusty Joe — Casais, Portugala3938316616_16
  82. SpectraMyrrias — Philadelphia, Pennsylvania, USAa1053203725_16
  83. Dimensionauts EPRobot Jurassic — Edgewater, Maryland, USAa1323032774_16
  84. BelieverWeird Neighbours — Sarnia, Ontario, Canadaa0850762461_16
  85. Hell Is Not Other People, It’s YouThe Republic of Trees — Scarborough, England, UKa3751139773_16
  86. The LippiesThe Lippies — Grand Rapids, Michigan, USAa0852829300_16
  87. Far Away, As We Fade —  AggronympH — Yichang, Chinaa3169651902_16
  88. The DepartedSummer Drive Home — Weymouth, England, UKa0290939636_16
  89. Mix TapeThe Hang Lows — Pittsburgh, Pennsylvania, USAa0584312114_16
  90. SweetMeatThe BlackLava — Torino, Italya3220774202_16
  91. Singularity — Fight Like Sin — Lafayette, Indiana, USAa3594774885_16
  92. Chasing a PhantomChanging Scene — Bel Aton, Maryland, USAa1533314418_16
  93. Abandoned HomesThe Aesthetic — Seattle, Washington, USAa1922360043_16-1
  94. ConnectorFable Circuit — Shepherdstown, West Virginia, USAa3669455937_16
  95. InburnInburn — Illigan City, Phillipinesa2748366475_16
  96. The Lost Ones (EP)LUNGS — Sacramento, California, USAa2346140061_16
  97. AmbulanceThe Amazing — Stockholm, Swedena0811660077_16
  98. DetoxPyke — Arendal, Norwaya4237766781_16
  99. Start AgainThe Middle Ground — Milwaukee, Wisconsin, USAa3612480243_16
  100. Valley Queen EPValley Queen — Los Angeles, California, USAa2154869007_16

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    CdhrnNSXEAEa2t1

An Ode to the Fallen Headphone Jack

k_jack_ra

Dearest Jack,

You’ve fallen from grace this day

And tumbled low to the grave below.

You brought this on yourself (some say),

Your steely joint rigid and analog

In a wirelessly digital world.

 

Or were you killed?

Ripped from your 3.5mm womb

When you were breathing so steadily—

Confused by your newfound obsolescence.

 

I will miss your tangle

(Or will I?)

The cute frustration that I endured

All those years I got to know you.

 

I’m sorry, Jack—I truly am;

I would have loved to keep you on—

Provided you with utility into your old age

(Although some might say that 138 is old enough)

But I have no recourse here—

The game is set and I’ll have to accept fate eventually.

 

You will always be a fond memory

(For a few months at least).

And we shall write fine obituaries about you

(Until the next round of metaphorical beepers

Make their way to the front firing line).

 

The curtain’s pulled and the lights are dimming,

I suppose it’s time for a new beginning.

That’s a wrap, Jack.

Independent Music Is Big. Really, Really Big.

PC Gaming Is Just Like Independent Music

Chris Dixon’s article yesterday discussed the trends that media is experiencing in the digital age. While his article focuses mostly on the gaming industry, it also heavily references the music industry, drawing numerous parallels and comparisons throughout the piece. Since I’m not much of a gamer, the music-related aspects of the post fascinate me because:

  1. They so closely mirror those in the gaming industry, which I find intriguing and even somewhat surprising, and
  2. Because Dixon is exactly on-point in his dissection of them.

Regarding the first point, it’s almost eerie how broad Dixon’s thesis could have been, were one to read the piece out of context. Of particular note are subtitles like “PC games are way bigger than you think[,]” which could easily say “independent music” instead of “PC games.” And it is way bigger. Way, way bigger.

Independent Music Is Way, Way Bigger Than You Think

Independent music, like PC gaming (it seems), is substantially bigger than many people initially realize, particularly if they’re only considering one part of “the music industry.” The “music industry” is a misnomer itself since it lends credence to the thought that there is a singular music industry in which to exist and do business. This is incorrect because there are in fact multiple paradigms that exist within the music universe, all of which operate according to very different rules. Independent music is a whole different world than major label music, and thus the opportunities that lie there do not necessarily mirror the opportunities that lie in the latter.

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Growth of independent music between 2003-2012; image courtesy of Techdirt

The stark reality is that independent music cannot be measured according to the traditional metrics. Unlike major label material, independent music cannot be measured and calculated metrically based on chart success, album copies sold (physical or digital), or video hits. Independent music extends to places major label music never touches: to the garage of the punk band in Chicago, the coffee house performance of the singer in London, the bedroom demo of the multi-instrumentalist in Melbourne, and the piano jazz bar in Amsterdam. As a result, the sheer number of artists that exist (and are popping up every day) is staggering.

The Problem with the “Walled-Garden”

As Dixon pointed out, where gaming wins is in providing endless choices for users, and relying on the dynamic of attention instead of scarcity. This is directly at odds with the current approach in most of the traditional music industry (in streaming especially) where the “walled-garden” approach is used as a means of obtaining exclusive rights to material on one service, and thus making it scarce or unavailable on all the other services. The notion here is that if you can garner enough scarce material, you’ll have something your competitors simply can’t lay their hands on.

The problem with this line of thinking is twofold:

  1. It doesn’t actually work, since material (major label or independent) inevitably finds it way off of solely one system and onto multiple systems; and
  2. It’s against the nature of music. Music is art, and the nature of art is to be seen, shared, engaged with, and shared again.

Music is freedom and expression, and to try and stifle that on one system is simultaneously useless and misguided. It’s misguided precisely because music is inherently social. Unlike movies or books, music has a unique live element which can be leveraged to the benefit of both the artists and their fans (both current and prospective). One of the fastest growing trends in independent music is for artists to alter their perspective of their own music: rather than looking at it solely as an end commodity for sale, now it’s becoming a mechanism for free marketing and advertising. It’s a means to an end, a way to get people to come out to shows, connect on a personal level in the live paradigm, and walk away feeling a direct identification with that artist.

What the major label industry really looks like; The Big Three

What the major label industry really looks like; The Big Three

Unfortunately, major labels have been less enthusiastic about this approach. As Dixon notes, they rely heavily on litigation and have effectively stayed focused on protecting their back catalog, looking backwards at the past with forlorn eyes rather than tasting the future.

Royalties Are the Emperor’s Clothes

The royalty system is a whole other monster, which I’ve tackled a number of times, and which I think is simply a chain to the past and nothing more. It doesn’t help artists the way they need to be helped, doesn’t make fans feel good about how artists are compensated, and just remains a massive headache for any music company, streaming or otherwise.

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Royalty Rates, Minimum Wage, and Reality; image courtesy of informationisbeautiful.net

Simply put, the royalty system is arguably the best example in media of the Emperor’s clothes: everyone keeps saying that we just need to find a way to make it work in the new age, when in reality there is no way to make it work in the new age. Arguably, it didn’t even work in previous decades; but it was the only real, scalable revenue system around, and thus became the industry standard.

In the post, Dixon quoted the post-mortem statement of Turntable.fm, which states that the Turntable team spent tons of cash on lawyers, tons of time trying to secure label deals, and ultimately that they didn’t heed the lessons of so many failed music startups. I’ll go so far as to argue that one of these mistakes (which founders continue to make) is buying into the old royalty-based system, and thus undercutting their own feet before even beginning the race.

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The music pipeline

The diagram above paints this picture, and if you look closely, you see that there are really only two entities who hold any significant amount of consistent power: the major labels and independent artists.

  • The former group essentially controls the lifeblood of dependent streaming services (like Spotify, Apple Music, Tidal, and more recently SoundCloud), the payment to artists from the royalties collected, and the gatekeeping authority over the music to which the mainstream is exposed.
Major Label Percentage Ownerships of (some) Streaming Services

Major Label Percentage Ownerships of (some) Streaming Services; *(Beats has since been purchased and rolled into Apple Music)

  • Independent artists, however, control their own distribution, exposure, and revenues models. Because they’re not beholden to any one paradigm or other entity, they are free to explore a wide range of possibilities, and mix-and-match those that work best for them. In many cases, this is highly individualized; what works well for one artist doesn’t work at all for another, and vice versa.

Community. It’s All About Community.

Dixon nails it home in the latter paragraph on books, when he states:

From a legal perspective, some fanfiction could be seen as copyright or trademark infringement. From a business perspective, the book industry would be smart to learn from the PC gaming business. Instead of fighting over pieces of a shrinking pie, try to grow the pie by getting more people to read and write books.

This is exactly true for the music business too. Instead of looking to block remixes and free distribution models, music companies would be better off learning how to leverage those models for improved community building and engagement, particularly as music is so heavily impacted by live continuous interaction. Build the community around the artists, and fans will follow. From those core fans, new and more flexible revenue models arise. The future of music is democratization and community.

If you look at many of the companies that are winning in media/tech right now—companies like Medium, Twitch, Product Hunt (with Games, Books, and Podcasts), and BuzzFeed—you see that they have invested a substantial amount of time and energy in creating communities around their products and/or services. The Medium community writes about anything and everything, and communities on Product Hunt and Twitch are super sticky. And all of this is to say nothing of the Dixon’s crowdfunding point, which certainly has massive and positive implications for the music business moving forward.

Scarcity Is Obsolete, Democratization Wins

Dixon’s closing statement gives me chills:

The internet renders business models focused on scarcity and litigation obsolete. But as the PC gaming market shows, it also unlocks lucrative new business models, and lets creators connect with consumers in new and exciting ways.

It gives me chills because it’s so on-point with what’s happening in music. Dixon set out to write a post on gaming, but in the process he laid out precisely the dynamic that’s bubbling to the surface in the music universe. I can’t believe this is a coincidence. Art is art, its essence is sharing and engagement. Music and games are forms of art, and draw their life-force from the communal engagement that occurs between the creators and the consumers. It all comes back to community. Every time.