100 Awesome Independent Album and EP Releases You Probably Missed in 2019

Welcome to the FIFTH annual list of independent albums and EP’s that probably slipped under your radar this year. I’ve been in the music industry for over a decade at this point (I know right?!) and it continues to floor me just how much talent is out there.

Yet here we are again, with even more incredible music for you to sink your teeth into. One of the truest things that keeps me creating these lists year after year is the excitement I derive from the serendipitous discovery of these wide swaths of creativity. Sometimes the best artistry emerges from the best-kept secrets.  🤘🎸

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

And so, here is the 2019 list in all its glory. I’m equally excited for the new crop of artists here as well as for those returning again. A healthy helping of the content on this year’s list is from artists I’ve known for years and who continue to crank out new material. It’s all balanced by an influx of new content from new artists whom I’ll certainly be keeping tabs on into the new year.

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, Spain, Austria, Hungary, France, almost ALL of Scandinavia (Sweden, Norway, Denmark, and Finland!), Australia, Estonia, Argentina, Mexico, the Philippines, New Zeland, Indonesia, Switzerland, Italy, Russia, Bulgaria, the U.K., Poland, and 21 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 this year’s list seems to heavily feature classic garage punk, pop-punk, shoegaze, alternative, metal, folk rock, and hard rock material.

With all that out of the way, here are 100 of the independent albums and EP’s that you probably missed in 2019. All were released during the 2019 calendar year.

As always, albums are in no particular order.

Remember, if you dig this and want to see more, follow me on Twitter @adammarx13 and let’s talk music, tech, and startups!

Come take a peek under the radar at the material you probably missed this year—live in my music world for a little while. 😎👍

 

1. What Happened To Us? (Vol. 1)The Head — Atlanta, Georgia, USA

What Happened to Us

2. Breathe In ColoursForever Still — Copenhagen, Denmark

Breathe in Colours

3. GhostBloody Diamonds — Toronto, Ontario, Canada

Ghost

4. I’m The ReaperThe Beautiful Monument — Melbourne, Australia

I'm The Reaper

5. Gone Off the EarthFelic — Helsinki, Finland

Gone Off the Earth

6. Far CanalFox Ache — Brisbane, Australia

Far Canal

7. EphemeralWe Are The Catalyst — Gothenburg, Sweden

Ephemeral

8. Hannah Wicklund & The Steppin Stones on Audiotree LiveHannah Wicklund & The Steppin Stones — Los Angeles, California, USA

Hannah Wicklund Live

9.  Retrospective | ReactiveHave No Clue — Esztergom, Hungary

Retrospective, Reactive

10. Mourning Vibes IIDownStater — Quebec City, Quebec, Canada

Mourning Vibes II

11. When Daughters & Sons RevoltPast Tense Of Never — Graham, North Carolina, USA

When Daughters

12. Show Me Your TeethBeth Blade and the Beautiful Disasters — Cardiff, Wales, UK

Show Me Yourth Teeth

13. The Extinction of UnicornsThe Dead Love — Sydney, Australia

The Extinction of Unicorns

14. The Wood Room SessionsJust Like Honey — New York, New York, USA

The Wood Room Sessions

15. Useless HandsRival Town — St. Catharines, Ontario, Canada

Useless Hands

16. Not So BoldDance Contraption — Grand Rapids, Michigan, USA

Not So Bold

17. Main Street RevivalMain Street Revival — Ottawa, Ontario, Canada

Main Street Revival

18. Crowned In FrostFrozen Crown — Milan, Italy

Crowned In Frost

19. Come What MayOh See Demons — Bergen, Norway

Come What May

20. How Your Life’s Played OutMontgomery — Toronto, Ontario, Canada

Howw Your Life's

21. Alone in the DarkIn Good Nature — Boston, Massachusetts, USA

Alone in the Dark

22. Brand New WorldDesert Queen — Tartu, Estonia

Brand New World

23. Asleep in the Deep EndAndross — Philadelphia, Pennsylvania, USA

Asleep In The Deep End

24. It Was BeautifulFawner — Bristol, England, UK

It Was Beautiful

25. TrayaSet Fire — Boston, Massachusetts, USA

Traya

26. Notti di FolliaOut For Summer — Moderna, Italy

Notti di Follia

27. SliceSpo — Salt Lake City, Utah, USA

Slice

28. Feeding The VoidHysteria — Dresden, Germany

Feeding the Void

29. Here & Now (EP)Dangerfield — Brisbane, Australia

Here and Now EP

30. CelebrationCityState — Holyoke, Massachusetts, USA

Celebration

31. Dream LivingLost Mind — Torrelodones, Spain

Dream Living

32. So It BeganSilvernite — Greece

So It Began

33. Bridges We Build | Bridges We BurnTeresa Banks — Helsinki, Finland

Bridges We Build, Bridges We Burn

34. SerenitySaint Raven — Salt Lake City, Utah, USA

Serenity

35. Two SidesDirty Rugs — Seattle, Washington, USA

Two Sides

36. ATERAZea Mays — Bilbao, Spain

Atera

37. LP1Clouds & Satellites — Savannah, Georgia, USA

LP1

38. Three on Three EPJack Droppers & the Best Intentions — Grand Rapids, Michigan, USA

Three on Three EP

39. CRAFTING EPCRAFTING — Wilmington, Delaware, USA

Crafting EP

40. The World ConspiresBirdeatsbaby — Brighton, England, UK

The World Conspires

41. TranscendHello, Mountain — Denver, Colorado, USA

Transcend

42. Spiral DownBlue Velvet Drapes — Los Angeles, California, USA

Spiral Down

43. RedeemerRed Handed Denial — Toronto, Ontario, Canada

Redeemer

44. MaladjustedMy Secret Haven — Warsaw, Poland

Maladjusted

45. Glitter TrailsGlitter Trails — Los Angeles, California, USA

Glitter Trails

46. MemoriasCarla Monterrubio — Mexico City, Mexico

Memorias

47. The TollDUSK — Vienna, Austria

The Toll

48. Manic EPLie to Life — Detroit, Michigan, USA

Manic EP

49. Genetic NobodiesGenetic Nobodies — Los Angeles, California, USA

Genetic Nobodies

50. Skull FlowerJohn Tessier — Paris, France

Skull Flower

51. UnbreakableKeep Flying — New Jersey, USA

Unbreakable

52. Scream In My DreamStrangers In The Attic — Zurich, Switzerland

Scream in My Dream

53. Stories in TimeTime Jugglers — Sofia, Bulgaria

Stories in Time

54. A New DawnAltHero — Santa Cruz De Tenerife, Spain

A New Dawn

55. On A FlowBreitenbach — Frankfurt, Germany

On a Flow

56. L’hameçonATHECIO — Lyon, France

L'hamecon

57. Dusky WingDusky Wing — Los Angeles, California, USA

Dusky Wing

58. PALIMONY EPPALIMONY — Gainesville, Florida, USA

Palimony EP

59. On FencesBetween Bodies — Berlin, Germany

On Fences

60. DormancyPlaying Pretend — Philadelphia, Pennsylvania, USA

Dormancy

61. Woodland RitesGreen Lung — London, England, UK

Woodland Rites

62. Peachy Keen EPGolden Cinema — Charlottetown, Prince Edward Island, Canada

Peachy Keen EP

63. ThunderjoyWest Valley Shakers — Sheridan, Oregon, USA

Thunderjoy

64. Queen of the PillThe Jackets — Bern, Switzerland

Queen of the Pill

65. After DarkPale Lips — Montreal, Quebec, Canada

After Dark

66. ErebusReturned To The Earth — Nuneaton, England, UK

Erebus

67. SchizophreniaAltersight — Saint Petersburg, Russia

Schizophrenia

68. IVOMAHA — Toronto, Ontario, Canada

IV

69. EgressTopLady  — Tulsa, Oklahoma, USA

Egress

70. Blind by MidnightDino Bravo — Burlington, Vermont, USA

Blind by Midnight

71. Cool EvilGlued — St. Louis, Missouri, USA

Cool Evil

72. StressorWine Lips — Toronto, Ontario, Canada

Stressor

73. Here It IsFragile Canyons — Minneapolis, Minnesota, USA

Here It Is

74. Feels Like ForeverPretty Bird — Indianapolis, Indiana, USA

Feels Like Forever

75. Larmes ConfettisCosmophone — Trois-Rivières, Quebec, Canada

Larmes confettis

76. UNOBlack Betty — Villa Maria, Argentina

UNO

77. The GhostwriterThe Ghostwriter — Detroit, Michigan, USA

The Ghostwriter

78. Pen NamePen Name — Canterbury, England, UK

Pen Name

79. Hoping, Not HopefulLow Vault — Baltimore, Maryland, USA

Hoping, Not Hopeful

80. Planet HunterPlanet Hunter — Wellington, New Zealand

Planet Hunter

81. Butterfly DistortionDive to Blue — Buenos Aires, Argentina

Butterfly Distortion

82. Take Her My LifeCastle Black — Brooklyn, New York, USA

Take Her My Life

83. Starburst – EPTruett & The Traitors — Springfield, Missouri, USA

Starburts EP

84. GoMoND — Bandung, Indonesia

Go

85. A War WithinEnmy — Cincinnati, Ohio, USA

A War Within

86. The Devil You KnowThe Coathangers — Atlanta, Georgia, USA

The Devil You Know

87. Manic MoodEasy Jane — Beirut, Lebanon

Manic Mood

88. DemonstrationFloral Canyon — Phoenix, Arizona, USA

Demonstration

89. ExhaleThe Sleep Department — Brooklyn, New York, USA

Exhale

90. epSoft Topics — Minneapolis, Minnesota, USA

ep

91. SPLASH – EPService Delay — Toronto, Ontario, Canada

Splash EP

92. Welcome to the BlockStonewall BLVD — Denver, Colorado, USA

Welcome to the Block

93. The New Joys E.P.The New Joys — Brooklyn, New York, USA

The New Joys EP

94. SuperfuzzSuperfuzz — A Coruña, Spain

Superfuzz

95. OvernightInsomnia — Milan, Italy

Overnight

96. EP 2019Dischord — Aix En Provence, France

EP 2019

97. Young & DumbAll In Due Time — New York, New York, USA

Young and Dumb

98. Indeed EPIndeed — Budapest, Hungary

Indeed ep

99. MuralMural — Cebu, The Philippines

Mural

100. No Missed Calls, No New MessagesThe Ragetones — Pueblo, Colorado, USA

No Missed Calls

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If you enjoyed this list please share and give these artists some love!

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

vinylcover1

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

Fair-Panic

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

a3207220063_16

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

a3525937996_16

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

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

a0439409715_16

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

a1112758894_16

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!

YouTube Plays Out of Key

Originally published on Marx Rand on June 11, 2015.

Since being embarrassed after some of the more litigious contracts it makes with independent artists using its platform were made public recently, YouTube is in damage-control mode. The media platform provider has  understandably taken a lot of heat as a result. Right now especially the video streaming service, which was purchased by Google nearly a decade ago for $1.65 billion, is in the process of trying to make nice with the artist community as it braces itself for the onslaught of Apple’s new music service release, Apple Music.

YouTube Has Music, But Isn’t About Music

It’s easy to see why YouTube is concerned about Apple Music. After all, the very same (music) community that in significant measure helped YouTube top $1 billion in revenue last year is just as likely, if not more so, to gravitate towards Apple’s serving of the pie as it is to hang out lapping up mainstream internet TV dinners.

For artists– and especially independent artists – YouTube could be quite a useful tool. At least, what the service is capable of offering should be something that sets YouTube apart from its competitors in the music arena, certainly.

But YouTube is still going to struggle to win in the artist arena for one reason: while YouTube has music, it isn’t about music. For YouTube, despite its cool analytics and humongous user base, is still not a music-centered service. This matters because, at the end of the day, artists are a focus, but not the focus.

With the online music landscape heating up, the services that are able to pay more attention to artists as a principle priority will be able to carve out a significant niche for themselves. In the face of such competition, no one else stands a chance. It’s that simple.

The Percentage Points

A big part of YouTube’s problem when it comes to appealing to independent artists is that it’s a victim of its own success. At the end of the day, YouTube has an overwhelming user-base of consumers (and not just of music, but of all sorts of media) that it needs to keep on satisfying – at last count, there were 23 million subscribers to all the various channels on the service. And that’s only the regular users.

Naturally, it makes sense for YouTube to see that its existing customers are well-catered for, but the reality is that such an approach falls far short of what’s acceptable when it comes to satisfying independent music makers and promoters. They can increasingly afford to be much more selective about what they desire and require from the digital distribution channels that they work with.

To compound YouTube’s difficulties with attracting the independents, YouTube still has in place the same tenuous clauses in the contract that upset the artists just recently. The fact that there are a large portion of artists who are currently unaware of this fact only makes the problem worse over the long run too, for the risk that another public embarrassment for YouTube looms large over the shiny brand image that parent Google has cultivated over the years.

There’s a more fundamental problem than any of this, however, and that’s the following: unlike the teenage makeup artists and tween clothing models that have made gazillions from leading their fans to new cosmetics brands eager to pay top dollar for all the eyeballs, the realistic revenue generated from YouTube for music artists is pretty much zilch when you do the math.

Information Is Beautiful, an analytics service based in the United Kingdom, recently published a breakdown of online revenues obtained by artists across a series of music platforms, namely Bandcamp, CDBaby, iTunes, Spotify, Deezer, and—you guessed it—YouTube. The analytics provider concluded that the percentage of independents able to eek out a minimum wage living on YouTube revenue streams was just 0.07%. Here are the screenshots of the YouTube portion:

Image courtesy of InformationIsBeautiful.com; with edits

Image courtesy of InformationIsBeautiful.com; with edits

Here are the pathetic revenue stream earnings for the signed major label artists:

Image courtesy of InformationIsBeautiful.com; with edits

Image courtesy of InformationIsBeautiful.com; with edits

And now, the revenue stream earnings for the independent artists:

Image courtesy of InformationIsBeautiful.com; with edits

Image courtesy of InformationIsBeautiful.com; with edits

That’s amazing – it’s a seventh of a basis point! In other words, it’s even lower than the cheapest commission charged on an online stock trading platform.

And remember, this is not 0.07% of all one billion dollars of YouTube users, or even 0.07% of all 20-something million YouTube subscribers we are talking about here; it is 0.07% of just all the unsigned artists who receive revenue from YouTube streams! It’s likely you can count that number on the fingers of your left hand while clicking over to the next song with your right.

The Discovery Dynamic

The overriding concern here is that the audience consuming the music of these independent artists is incredibly small. But before you leap to your feet and splutter out the old argument that this is because the music created by independents artists simply “isn’t good enough” or “needs to be curated,” step back and think about the fact that these independents are trying to compete on a platform which is essentially not constructed for them.

Though the dynamic of discovery is big on YouTube, it’s not specified to discovery of new independent artists at all (though it’s great for makeup and clothing brands, which adopts an entirely different sort of discovery process through media). As a result, artists end up competing with an amalgamation of other media – most of which is not music-related – and the poor comparative result they are left with ultimately diminishes any chance that there might have been left over of being properly appreciated or even recognized.

All of this adds up to one very simple reality: inasmuch as YouTube is trying to repair its relationships with artists (and independents among them), it is, at the end of the day, very far from being the be-all, end-all for independent artists that the platform is for other genres of media and entertainment. The fact that less than a tenth of a basis point of artists can eek out a minimum wage using the damn thing – while many other professionals in different walks of life make a lot more than that from five minutes of video stream – attests to this fact.

Thus, for all the potential scale and analytical sophistication that YouTube’s platform offers artists, it is still an ecosystem that is fundamentally unsuitable for them and for displaying what they create. And many of them know it now, too.

Independent Music Is Still  Wild West

The independent music market is very much a wild west, and the introduction of a new tool or a new feature isn’t going to win anyone over. To do that, you need to win the trust and confidence of the independent artists, the way Etsy did with hand-crafters, or even the way that Amazon has managed to do with its dominant share of literary readers and authors alike.

This process is not one in which you can achieve ubiquity by striking a deal with a major corporation which fundamentally only offers enhanced distribution such as a major record label. It’s one in which you need to go straight to the product source – in this case, the artists and their fans – and persuade each of them that what you are providing is somewhere they can interact on a creative level and where the music uncompromisingly always comes first. It should not and cannot be a place where their product looks and feels like an afterthought in the ravenous race to profitability.

The upshot – and the sad irony – of all this is that it’s yet another example of a situation in which one of the very same companies that is so adept at spinning creative mainstream entertainment out into the marketplace proves hopeless in creating a fresh and appealing approach to the rising independent music scene.

As Queen so eloquently put it, “another one gone, and another one gone … and another one bites the dust.”

SoundCloud’s Failed Highwire Balancing Act: The Sony-SoundCloud Breakup

Trying (and Failing) to Balance Two Completely Different Paradigms

The SoundCloud-Sony Breakup

The Sony-SoundCloud Breakup

It’s been a tough week for Sony between its leaked contract with Spotify and criticism over its moves with SoundCloud. And yet, inasmuch as the former is embarrassing and will certainly come back to bite the two companies, the latter is arguably more problematic because it’s not simply between Sony and SoundCloud; it’s between Sony, SoundCloud and the independent artists and fans. That last little caveat is something that Sony can afford to ignore—but it’s going to become an increasingly difficult reality for SoundCloud.

SoundCloud, now a platform for major labels and advertisers

SoundCloud, now a platform for major labels and advertisers

News broke over the last couple of weeks that Sony has started pulling their artists’ music from SoundCloud—regardless of what the artists want. To Sony, SoundCloud isn’t a viable option since it doesn’t presently have a strong monetization plan (as if services like Spotify and Rdio do), and until the label and streaming service can come to terms, it seems that any and all Sony-controlled material will be stripped from SoundCloud.

This has put SoundCloud in quite a precarious position. On the one hand, it doesn’t want to alienate its initial die-hard independent fanbase, but on the other it’s been actively seeking out a deal with Sony, as well as with the other two major labels, Warner and Universal (already having one in place with Warner). SoundCloud is trying to balance two completely different bases and paradigms that are moving in opposite directions: 1) the major label paradigm which is still predicated on an obsolete business model, and 2) the independent paradigm which is increasingly embracing “free” as a big part of the future.

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

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

What I Said a Month Ago

On April 9th, SoundCloud signed a deal with Zefr—that same day, I wrote a post on why independents should very soon kiss SoundCloud goodbye; why the Zefr deal was essentially irrelevant for them. It seems I wasn’t the only one who’d identified SoundCloud’s prospective problems, as a day later on April 10th, PandoDaily writer David Holmes came to the same conclusion and published a piece with a similar premise. Holmes’ post validated many of my points, and cleverly brought up a few others, all to conclude, as I had, that the Zefr deal was a band-aid for a bullet wound. And now the bullet wounds are really beginning to gush blood.

This week, electronic artist Madeon released a heavily critical statement regarding he Sony-SoundCloud breakup, noting: “Thank you SoundCloud for being such a great discovery platform over the past five years. Well done Sony for holding your own artists hostage.”

Ouch. Snap. Burn.

Clearly Madeon (along with droves of other EDM artists who’ve gained significant followings on SoundCloud) isn’t pleased with Sony’s “money first” thought process and strategy. And while Sony has the legal right to pull music which it holds the rights to, in the grand scheme, it’s not exactly a play which will endear it either to the fans it seeks, or the artists it works with. Actually, it has the complete opposite effect.

Who’s the First Priority?

But what lies beneath the surface of this very public breakup is not simply an issue for Sony, but a major issue for SoundCloud. People expect Sony to act like a major label—because that’s what it is. But increasingly, SoundCloud has been chasing the major label content which it thinks could help it become more competitive with Spotify, Rdio and Apple. In the process, it’s spitting in the faces of the people who loved SoundCloud for what it was before: free discovery.

Screen Shot 2015-05-23 at 3.55.46 PM

Excerpt from my original April 9th article

And as SoundCloud moves closer to the major label paradigm, it becomes increasingly irrelevant for independent artists, regardless of genre. Independents are where SoundCloud cut its teeth, so now, moving away from the free-model will leave them somewhat toothless. Case in point: SoundCloud’s new NMPA deal, which, again, is irrelevant for independent artists.

The thing about the independents is that, unlike major label artists who are tied to the major label business model, they’re not tied to anybody. Their loyalty can and will be to whoever gives them the best service as a first priority, not an afterthought. This means the best service for the independents, not the best they can do after the major labels have had their fill. SoundCloud is trying to perform a balancing act on a razor-thin highwire and it’s 600lbs overweight. It’s trying to straddle two completely different business paradigms, and managing to piss everyone off in the process.

Free Is Here to Stay—Live With It

The free paradigm which the labels are beginning to get fed up with isn’t going away—something which Peter Kafka seized on in his article on Spotify. Free is a way of life now, and as independent artists continue to explore the benefits that free affords them, they will increasingly detach themselves from the obligations of the major label paradigm. Services like SoundCloud will eventually have to choose a side—something that’s going to be exceedingly difficult for SoundCloud now that they already have a deal with Warner and are chasing deals with the other two major labels.

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Excerpt from my original April 9th article

It seems that they’ve already made their choice, and it won’t be too long before droves of independents notice. They don’t have to and won’t settle for being second-tier priorities, and will look for alternative options. In the meantime, Sony and SoundCloud will duke it out until the former signs the latter to a major label-style contract.

I said it before and I’ll say it again: if you’re an independent, kiss SoundCloud goodbye.

Jay-Z’s Tidal “Freestyle” Was Basically a Hissy-Fit

A couple of days ago, during one of his Tidal concerts, Jay-Z went on a rant, and basically laundry-listed a bunch of people whom he felt have been wronging artists in the music industry. He called it a freestyle, but that’s not really what it was. To anyone who’s not a Jay-Z fan (and probably to many who are), it came off as a hissy-fit.

Jay-Z at one of his TIDAL concerts

Jay-Z at one of his TIDAL concerts

It’s not surprise that Jay-Z and company have been having a hard time of it with their new Tidal streaming service. I posted about their launch here, and then followed up with posts on criticism of Tidal from folk band Mumford & Sons, famed producer Steve Albini, and the sudden removal of their (now former) CEO Andy Chen. It’s been a tough couple of months for Tidal, yet instead of putting his head down and working to find a solution to differentiate his music service, Jay-Z thinks it’s a better tactic to antagonize the competition. Though it might make him feel better in the moment, it comes off as petty and juvenile. He looks like a kid throwing a fit for not getting his way.

In his “freestyle,” Jay-Z attacked not only other music services (Google, YouTube, Apple), but called out a few people by name (Jimmy Iovine). Jay-Z asserts that he came into the music game as an independent…which may be true, but that was more than a decade ago, and the musical landscape has changed a hell of a lot since then. The same rich people he’s insulting are his peers—I don’t think he goes home at the end of the night wondering if he’ll make enough money to tour next month.

Frankly, watching him play the victim is getting tiresome. Jay-Z needs to accept the fact that running a music streaming service may in fact be more difficult than he had originally thought. So stop whining about it, put your head down, and work out the problem until you have a solution. That’s how everyone else does it. Getting up on stage and attacking your competitors doesn’t make you a good business person. It make you appear socially and strategically tone-deaf.

Here’s the (mainly) full text from Jay-Z’s rant:

“…So I’m the bad guy now I hear,

because I don’t go with the flow

Don’t ever go with the flow, be the flow…

Pharrell even told me go with the safest bet
Jimmy Iovine on for the safety net
Google dig around a crazy cheque

I feel like YouTube is the biggest culprit
Them niggers pay you a tenth of what you supposed to get

You know niggers die for equal pay right?!?
You know when I work I ain’t your slave right?
You know I ain’t shucking and jiving and high-fiving, and you know this ain’t back in the days right?

…You know I came in this game independent, right?

TIDAL, my own lane, same difference

Oh niggers is skeptical about they own shit
You bought nine iPhones and Steve Jobs is rich…”

SoundCloud’s New NMPA Deal Is Irrelevant for Independents

News broke today that SoundCloud has reached a deal with the National Music Publishers’ Association (NMPA) to secure publishing rights for the artists who use the service as a content publishing site. In the byline of the piece is the notation that as a result of the deal, independent publishers will now be able to receive royalties from their content one the service. Yet while the news sounds groundbreaking as a headline, it nonetheless fails to address the problem that I identified earlier—namely, that SoundCloud is fast becoming an obsolete option for independents.

The NMPA and SoundCloud logos

The NMPA and SoundCloud logos

As the streaming service has worked hard to monetize in the last few years, it has begun a move away from the independent arena in which it started. On the heels of a licensing deal with Warner Music Group (attained last November), SC has been attempting to lock up similar deals with Universal and Sony as the major labels try (but fail) to reestablish their dominance in the musical landscape. Yet despite the fact that only Warner has signed on for now (not really a good sign for SoundCloud’s major label ambitions), it’s still clear that SC’s priorities are shifting in favor of a major label paradigm.

Major Label Percentage Ownerships of (some) Streaming Services

Major Label Percentage Ownerships of (some) Streaming Services

As a result, the news of SoundCloud’s deal with the NMPA today is essentially irrelevant for independents because it doesn’t address the real problem of independent artists: the problem of competition and exposure. Inasmuch as the deal sounds good for independent publishers, it’s unlikely that it will give them any edge over their major label counterparts. Actually that’s a misleading statement—the major label publishes already have a massive edge over the independents, so what this deal will really fail to do is make the two equal.

NMPA CEO David Israelite is quoted as saying, “This agreement ensures that when SoundCloud succeeds financially, so do the songwriters whose content draws [users to the site].” However, I feel that though Israelite’s intentions are good, his notions of the dynamics below the surface are misguided. The royalties that independent artists and publishers will supposedly earn exist essentially in theory, and this doesn’t even take into account the minuscule amounts of each royalty payment.

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

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

In the end, the royalties “earned by the independent publishers” are essentially nondescript because in order for any real money to be made through royalties, the artist is required to have a massively large and engaged fanbase to drive those royalty-dyanmics. Independents by nature rarely (but not never) have these sorts of powers behind them. Thus the resultant playing field is still the same: the major label artists (and labels) more or less control the spotlight while the independents are left in the large swaths of shadow. This is a good publicity piece for SoundCloud; but for the independent artists and publishers, it’s more or less irrelevant in the grand scheme.

Lending Artists Millions of Dollars Is a Terrible Idea

The Setup

This morning, Peter Kafka posted an article on a new company seeking to make its name in the evolving music industry: Alignment Artist Capital. The company, according to Kafka’s piece, wants to essentially work as a lending institution for artists who need the money. Except instead of doling out a couple hundred bucks here and there, it will have the resources to lend millions at a time.

money_bags

A Completely Outdated Business Model

This, for anyone who didn’t already think so by this sentence, is a terrible idea. It’s a rehashing of the same dynamic the record labels have had with artists for decades, sans the ownership percentages over artists’ creative material. Kafka is aware of this as well, noting that, “Alignment isn’t the first entity to advance money to artists…lending money to musicians is one of the core functions of music labels.” [1] That’s very true; lending money to musicians is one of the core functions of a music (record) label, and it’s one of the main reasons their obsolete business model is failing them now.

Don’t be discouraged, though. There’s still plenty of money to be made in the music industry. In fact, it’s on an upswing. But not in the major label space, or using any of the traditional business models of those labels. The new upswing is with the independents—that’s where I would lay my chips.

With all the tools now cheaply (or freely) available to budding new artists, the traditional artist/record label model doesn’t apply anymore (something which Kafka notes as well as “harder to justify”). The reality of the situation is that most artists can get the basic things that they need—access to distribution, access to recording equipment and programs, access to merchandising platforms, access to producers/promoters, etc.—without signing away anything. That begs the question of why they would choose to take a monetary loan if they can do most (if not all) of the necessary things themselves.

New Artists Don’t Need Millions (of Dollars)

And there’s something else: funding an artist (band or solo) like a startup is indeed a unique idea—but a misguided one. Artists don’t need millions of dollars out of the gate to be successful in today’s market(s). The sums of money are too large to apply to most of the new artists who might be interested in taking it, precisely because the economics don’t work in their favor; it’s highly unlikely that throwing a million dollars on your fire will create a lasting fanbase for you. Core fanbases are made on the road, sleeping on couches, driving crappy vans, connecting with your real fans—all things that can be done without a multi-million dollar loan on your shoulders.

In the startup world, there’s a delicate balance between taking VC money you know you’ll need to survive (to the next round), and not taking so much that you end up diluting yourself beyond reason. The same principle holds true here: the concept that new artists should take millions at a time is analogous to a startup raising a Series B when they only need a Seed investment of possibly a quarter of that.

Why Incur Debt You Don’t Need?

AAC cofounder James Diener is quoted in the article saying “We’ll give the artist and their entity financing so they can go build a record label.” That’s like giving someone financing so they can go invest in a line of new and improved floppy disks—i.e. obsolete and irrelevant. The fact that this seems to be one of the main drives behind AAC’s plan tells me that they are still mentally tied to the old model of the record label, only now they’ve decided to cut their prospective losses by dealing only with the financial side (and not the creative one).

Based on my years in the independent music arena, I see these sorts of monetary entities as having a very difficult time breaking into the independent spheres—essentially where they need to be in order to really thrive. Buying streaming services, record labels, summer homes—these are things most artists don’t care about and don’t think about. I suppose a few do, but the numbers of those people are well below anything you can build a real solid business model on. The Jay Z’s of the world are astronomically outnumbered by the independents who are on the rise, now with distribution at their fingertips.

I wrote last week that artists are becoming savvier business people, and I can see them steering clear of these sorts of institutions at all costs. They understand that injecting millions of dollars into their brand image doesn’t buy them fans—that’s a belief propagated by the major label industry. Rather, they know it has to be done by way of live shows, personal attention, and appreciation of core fans; all things which can be done on their own, and without incurring debt (remember my article on crowdfunding?). I suppose there will be some customers of course, but I don’t see this ever catching fire in the independent industry. And that’s the next growth phase of music.

So why would artists incur massive debt if they do’t have to??

I wouldn’t.

Would you?

 

Notes


[1] Notice here that Kafka used the term “music labels.” I have a friend who used to work for Warner Music who explained this phenomenon to me. The reason that the term “music” has replaced the word “record” is because the major labels have become so bloated with an obsolete business model, they need to start making money off of revenue streams that they traditionally never touched: live ticket sales and merchandise sales. Traditionally, their main revenue streams were from record (or CD) sales, hence the term “record label.” Yet in the wake of the massive disruption of their business model, they have taken to calling themselves “music labels” in order to explain their practice of now taking money from revenue streams traditionally left for the artists.