TBP Interview - Tiger Reid (Fourth Floor Music)

(Lovvers- hot tipped Act 2008 by Tiger Reid)

"You can be cynical about these gigs (as there is money to be made) and the crowds are really not loyal in anyway but the atmosphere is amazing even if it's a little fake."
(Tiger Reid about underage Clubs)

So…first of all, introduce yourself to our readers.

Hi, I’m Tiger. Which is my real name. Hippie Parents. I am a girl. Just in case you thought it was a boy’s name.

I work as an artist manager, live in Shoreditch, cycle to work and love strawberries and the SFA.

“This band is your life” is my new tagline.

You´re working at “Fourth Floor Music”, a UK based Management Company with the likes of Basement Jaxx in their Artist Roster. How does it happen that you get this Job?

I was working at the Edinburgh International Film Festival when I left University. I went to all the parties and meet a music video director Dougal Wilson who directed the last Basement Jaxx Music Video. So through that I was put in touch with their manager who was setting up an Artist Management company.

What is important for New Bands to get attention by a Management Company in a time when competition is so hard?

First of all as the saying goes ‘you can’t polish a turd’ so before bands worry about management they need to have great songs. I think that at the start acts should manage themselves. I find it impressive if bands are able to organise gigs, recording etc. as this shows a certain level of commitment to their art. So I would encourage bands to do their own thing, play loads of gigs, find your sound, develop your songs, speak to other bands etc. Although a dirty word, you need to create your own buzz.

Ideally, Management and all the other elements such as press, record labels etc. will come to you. Which ever comes first usually the rest will follow. Lots of Acts have lawyers before Management as they don’t have to invest as much time in to a project and can take on many acts while Managers have to be really picky about who they work on. So it’s an idea to try contacting lawyers first.

Either way it’s all about the songs and the live performance. So get that right first.

“This is Music” is a Club Nite in Edinburgh. And since this year, it´s also in London. Was it hard to find a Club for that Project?

I started “This is Music” as a group of us just wanted to put on bands we love and party together. I ran that for a year in Edinburgh and started it up in London a year ago with a friend. It still runs on the same principles now, to party with good bands.

The London night runs in the Hoxton/Shoreditch Area which is full of venues and promoters. So it wasn’t hard to find a venue really, I had been out to the Macbeth (where we run the night) and loved the size and feel. So just rang them up and we had a trial night, which went well and so it stayed there.

Its not really rocket science. You just need to find good bands, treat them well, be upfront about what you can pay, make sure you do your bit promoting the night and keep the venue in the loop. It’s a lot of hard work to really make any money at the independent end of the promoter scale. So its about having fun with it.

Plus it's a great way to find out about new bands and often I approach bands about booking them first before asking them about management.

What should a Band do, to play at “This is Music”?

Send us a message on the myspace. www.myspace.com/thisismusiclondon


In London, Club Nights with Live Bands grow like Mushrooms over the last years. A “new” Trend are underage Clubs where loads of well known bands played from 4pm til 8pm to adolescent people. What do you think about that?

I went to an under ages gig last weekend for Damn Shames, supporting Foals (DS are on our roster) and it was brilliant! You can be cynical about these gigs (as there is money to be made) and the crowds are really not loyal in anyway but the atmosphere is amazing even if it's a little fake. When I was younger I used to go to gigs and hate the ‘grown ups’ who stood at the back. But at these underage clubs no such thing. I think if I was 15 I would love these underage gigs. Plus as a band its nice to play to a room full of over-excited kids who are hitting each other but they really want to kiss each other.

How important are Social Network Sites like Lastfm etc today?

Blogs/Lastfm/myspace are really important for new and the underground/DIY music scenes. Its great for bands to have a way of communicating their music and promoting themselves with out the middle man - direct interaction with fans and vice versa. Although the middle man (music industry) is always watching whats going on.

Its funny that through website network sites a more organic process has been formed.


Black Kids gain a massive Buzz at the Moment. They have only 4 Demos released and it seems that a Bidding War comes up. Isn´t that a stupid thing?

10 years ago bands would usually have to send demos out to record labels to get signed or have a manager. Now with websites such as myspace anyone can listen to your band. In someways is a good thing but in other ways the barrier 10 years ago helped bands develop their sound before being picked up. Now bands who have barely picked up a guitar are getting signed up.

So its not stupid its just that you can get hold of music so easy these days plus once a buzz start the rest follow. All like Sheep. It puts loads of pressure on the act to deliver where as a slower more organic build is less risky. But sometimes you can’t control these things and most bands would are lucky to get the hype. It’s just about how to control it and making sure the hype is back up with great songs and live. Anyways I know the manager as well and am sure he knows what he is doing ;)

Gallows got a huge Major deal. That’s also really stupid. Is that something like the last Breath of a Major which comes out of a big despair?

I am divided on this Gallows debate as musically I don’t think its totally crazy that they got a major deal. Although I’m not sure exactly how much money was involved given the current state of the music industry I am not surprised.


Now days, it´s even harder to get booked from Clubs. And, Pay for play is also a huge Problem. If an Austrian or German Band like to play in the UK, to get an Audience there, it´s much harder. So, what is the best Strategy to get Gigs there?

I am not personally aware of ‘pay for play clubs’ unless its bands paying to support successful artists. I think the best strategy would be to build up a fan base in your own country. Most bands in the UK don’t get out the UK unless they have a booking agent. So the plan would be to get a decent booking agent in your own country and then worry about other countries after that.

Any hot tipped Bands for 2008?

Lovvers, Damn Shames, Rollo Tomassi, Ipso Facto, Elle s’appelle, Florence and The Machine and Frightened Rabbit

What are your plans for the future?

To get over excited about the little things.

To keep loving music and not to get cynical about the music industry.

I guess I would like to set up my own management company one day and set up a record label where I could just sign bands with animal names, such as Deerhoof, Super Furry Animals, Panda Bear, Animal Collective etc. - Tiger Records. Watch this space.

Create your own Buzz!

Wie ich schon im vorrangegangen Post angeführt habe, ist der "Do it yourself" Gedanke in der heutigen Zeit unheimlich wichtig. Der Grund liegt an dem steigenden
Wettbewerb der aus der starken Bandpräsenz im Internet hervorgeht. Auch Live Clubs sind aus den Böden geschossen und jede Woche spielen unzählige neue Bands in diesen.

Tiger Reid hat ebenso einen Live Club, mit dem Namen "This is Music" vor einiger Zeit in Edinburgh gegründet. Mittlerweile ist sie nach London übersiedelt
und arbeitet dort für die Management Company "Fourth Floor Music" wo unter anderem Basement Jaxx ihre Heimat fanden.

Ihre "This is Music" Nite wurde somit auch nach London importiert und zählt dort mittlerweile zu den wichtigsten um neue Acts zu entdecken. Für Reid bietet das dann auch noch die Möglichkeit diese bei Interesse einen Management Deal anzubieten.

Bei den "Lovvers" war dies wohl der Fall. Denn diese Formation betreut Reid derzeit.

Zurück zum Thema. Anno 2007 ist es also nicht nur wichtig sich im Songwriting ständig weiterzuentwickeln, und an der Live Performance zu arbeiten, nein, auch alles drumherum, also Promo, Booking, Management etc, muss man als Musiker können um da draußen Gehör zu finden.

Und das kann natürlich insgesamt mehr als anstrengend sein, vor allem wenn man bedenkt wieviel Konkurrenz es gibt. Waren vor 10 Jahren der Altersdurchschnitt bei 20 oder 21 Jahren, so ist der mittlerweile tief gesunken. Kaum die ersten Akkorde gelernt, machen sich diese ambitionierten Jungen Musiker bereits auf die Suche nach Gigs, Manager etc und treten verstärkt in der Szene auf um ihren eigenen Buzz zu kreieren.

"Create your own Buzz" ist also die Tagline im 21 Jahrhundert. Nur diejenigen die Kreativ, ausdauernd, Innovativ, eine Story erzählen und schlussendlich auch noch über eine ordentliche Portion Unternehmergeist in sich haben, werden eine Chance haben sich im Markt auch über die Grenzen durchzusetzen.

Labels, Management Companies, Promoter oder Booker die wirklich gute Kanäle haben, werden erst dann kommen, wenn es eine Klare Möglichkeit gibt den Act ins nächste
Level zu bringen. Denn alles andere, ist für sie absolut uninteressant.

Ausnahmen bestätigen wie immer die Regel.

Ein ausführliches Interview mit Tiger Reid findest du dann ab Freitag auf "The Blueprint".


Und hier gehts zu den bisherigen TBP Interviews.

Lets do some Business

Neben dem produzieren von ansprechenden Material sollte einer Band oder Musiker/in auch die Unternehmens Seite bewusst sein. Oder sagen wir so. Eine Band ist ein Unternehmen.

Das sollte jedem Künstler bekannt sein. Und in ein Unternehmen gehört eine gewisse Struktur. Aus diesem Grund gibt es auch Bücher und Software ohne Ende im Netz. Richtig gute ist allerdings eher selten.

Andrew Dubber hat in seinem Weblog nun auf ein gutes Paket, also Software und Buch, aufmerksam
gemacht, welches durchaus sehr hilfreich sein könnte.

Wichtig ist hierbei natürlich das es jemanden in der Band oder im Freundeskreis gibt der das auch wirklich machen möchte. Denn nicht jeder oder jede hat Talent im Bereich Management etc.

Dennoch. Bands die am Anfang ihrer Karriere stehen, sollten auf jedenFall den viel zitieren "Do it yourself" Lifestyle pflegen. Auch im Bereich Booking braucht es nicht schon am Anfang eine Agentur. Zumal die wirklich guten Agenturen ohnehin Bands ablehnen die noch unbekannt sind.

Download:
Thinking Rock - Project & Idea Management Software

Buchtipp für den Weihnachtswunschzettel:
Getting Things Done - David Allen

Die neuen Indie Österreich (pt4) - Österreich gegen Ungarn

(The Puzzle aus Ungarn konnten Alan Mc Gee für sich gewinnen!)

Justin Barwick hat eine Band namens "The Puzzle" auf Weekender Records gesignt. The Puzzle sind eine aus Ungarn stammende Band die Alan McGee als Mentor gewonnen haben und sehr wahrscheinlich in naher Zukunft mehr von sich hören lassen werden.

Das hat mich hellhörig gemacht und somit auch eine Suche initiert ob es da vielleicht noch mehr gibt aus Ungarn was erwähnenswert wäre. Und beim durchforsten
von Myspace und dem Web bin ich auf einiges gestossen was absolut hörenswert ist.

Die ungarischen Bands orientieren sich musikalisch viel stärker Trendmärkte als die heimischen Acts. Wenn eine österreichische Band bsp sich der britischen Musik verschrieben hat, dann wollen oder sagen wi dann klingen sie wie die üblichen Verdächtigen. Also 90ziger BritPop Heroen wie Oasis oder 70ziger Ikonen wie The Jam.

Wie schon an anderer Stelle erwähnt, gibt es auch in Österreich Acts die ausgenommen sind. Acts die starkes Potential in ihrem Bereich und vielleich darüber hinaus, haben. Dennoch, die Bands in Ungarn sind interessanter weil verkaufbarer, und McGee hat nicht umsonst Budapest ausgewählt für seine legendäre Death Disco die seit 2006 monatlich stattfindet und im Dezember vom NME aufgesucht wird. Nebstbei wurde dann auch noch das Label "Hot Boy Records" gegründet, welches einen zusätzlichen Einfluss auf die jungen Acts ausübt.

Die Achse Budapest - London ist also im entstehen und wird sehr wahrscheinlich über die nächsten Jahre massiven Impact in der ungarischen Szene haben.

In Österreich passiert das nicht. Es gibt keine Achse Wien - London. Es gibt maximal eine Wien - Berlin. Wobei wir wieder bei diesem Problem wären, was anscheinend seitdem die Austropop Erfolg in Süddeutschland passiert sind, in unseren Köpfen ist.

Was Wien oder Österreich nun braucht sind beispielsweise Club Nites die in Trendmärkten einen hohen Bekanntheitsgrad haben. Auswärtsspiele dieser Nites.
Live Clubs wie White Heat (Interview
mit White Heat Gründer Matty demnächst!) oder Young and Lost Club wären eine sehr gute Sache, denn dort haben die Tastemaker ihre Finger im Spiel, buchen die richtigen Bands
und sind nach den Gigs auch meist am Dj Pult.

Natürlich spielen jedes Jahr viele Bands aus dem Ausland in Österreich. Doch diese werden in erster Linie vom Veranstaltermonopol Musicnet/Nova Music gebucht
und das die nicht viel Wert auf den heimischen Nachwuchs legen, ist hinlänglich bekannt.

Bei Auswärtsspielen bekannter Nites hingegen, sind einerseits britische und anderseits heimische Acts am Start und somit vor den Tastemakern präsent.
Und, was viel wichtiger ist. Es bietet sich so die Chance ein Netzwerk aufzubauen,
welches derzeit noch nicht existiert.

So bleibt abschliessend eine Aufforderung an unsere Club Veranstalter sich mit
oben genannten in Verbindung zu setzen um über eine Kooperation zu sprechen. Danke!

Und wer eine andere Meinung hat, kann diese gerne via Comment hinterlassen.

Die neuen Indie Österreicher pt 1 - 3

TBP Interview - Justin Barwick (Weekender Records)

(Chikinkis neuestes Album wurde auf Weekender veröffentlicht)

"I saw Black Kids in New York a few
weeks ago and was very disappointed!"

Please introduce yourself to our Readers:

Hello, I’m Justin Barwick, 43 years old and living in the Tirol but originally from just North of London, England. I was a fanatic of music from a very young age and regularly attended concerts whilst still at school. I also started DJing when I was just 15 at private parties and local hotels in my home town. I’m happy to say I still have most of the records and my preference is still for vinyl, although I’m happy to adapt to new technologies.

What was your reason to move to Austria, and also set up a Label there?

In the 90’s I worked in telecoms for an English company. Before Austria I was living in The Netherlands and Belgium. My company won a project to work for Connect Austria (ONE) so as International Director I came to set up an office. On my first day I met a local girl and married her 6 months later. After I quit telecoms and sold another business that I had a shareholding in, I was able to pursue a career that was more pleasure. As a fanatical music fan I was getting sick of always having to drive to Vienna, Munich or back to London to see good bands. I had been DJing for a few years in bars in Innsbruck so I knew there was an interest in Indie & Alternative music so I got together with another local DJ friend and we started Weekender Club specialising in ‘our’ type of music. The record label was a natural progression from this.

Three Important things for New Bands to get more attention from Tastemaker, A&Rs, Djs and Music - Journalists?

1) Be original – nobody wants another Libertines, Arctic Monkeys or Muse.
2) Play live – anywhere and often. Develop a good confident live set.
3) Style is important. Dress well and get an image. Presentation can get you far!

Do you have a Manifesto or a Weekender Records Philosophy?

We don’t have a specific manifesto or philosophy. We like to work with artists who are nice people without big egos. We are always looking for new artists and they can be any style as long as ‘we’ get it.

In my thoughts, the Music Industries are still a very familiar thing.
It doesn´t helps to send in unsolicited Demos, if the Artists or their Management didn´t know Record Label A&Rs etc personally. So do you think that a Band should still try this usual way? I mean it´s also quite expensive to sent demos via regular Mail.

In general I agree with you as we get lots of demo’s and don’t get to listen to all of them. These days Myspace, Youtube and Facebook are very important as you can get a much better idea about an artist. Seeing a band live is still the best way to find a new act though. We have signed a few bands that came to play Weekender Club and impressed us so much we offered them deals.

You living in Austria since a few Years and set up
a new Spirit for Indie and Rock Music in Innsbruck. Would you say that
things has changed in Austria Since then?

Thank you, I take it as a compliment that you say we have set up a new spirit for Indie and rock music in Innsbruck. I certainly get a great deal of pleasure from knowing that we have done our bit to put Austria on the map for this style of music. I do think there is a bit of a change throughout Austria now with more people taking notice of Indie and Rock and less emphasis on Techno, House and Afro which were so prominent before (although I must say I have an exceptionally broad taste in music so can appreciate all genres).

Weekender Records only has signed British Artists at the Moment. Are you
also interested in Acts from other Countries…and probably also from Austria?

This is not true at all. Currently we have released or will release records by The Puzzle (Hungarian), 1984 (French), Five!Fast!!Hits!!! (German), NiTasha Jackson (American) and of course Naked Lunch (Austrian). Nationality is not a problem for us, the only important thing is that we like the music. We have considered a number of Austrian artists but sadly it is very difficult to break an Austrian band outside of Austria unless they are able to move to the UK. Check the website: www.weekenderrecords.com

Is the Austrian Music Industry that worse as like many people said, and what should happen to change a lot of things?

It’s not so much that the Austrian Music Industry is bad it’s just that with a population of only about 8 million people sales are not enough to justify the investment like in bigger countries. There are some positives such as the excellent FM4 radio but I can’t see any way to change things. Even in Germany it is very difficult for bands to become successful worldwide because if they sing in German it means they have a limited audience and if they sing in English they are up against massive competition from the UK and America.

In our last talk, you meant that you will expand Weekender Club over
the whole Country. So that there should be a few Weekender Club Locations
in Austria. Is this still your plan?

I would sincerely love to have a Weekender Club in all the big towns of Austria but it is not a high priority. I would hate it if I permitted someone to use the brand and they got it wrong. I am very protective about the style so when the time comes I want to ensure it’s done properly.


It´s easier to produce Music than it was in the 90ties. There is a lot of Software around, and that’s the reason why so many young Bands produce their own songs. But, if i look to the next Hype thing, Black Kids form Florida, they only have a 4 track demo around in the internet and now they must record an Album and also do a tour. Isn´t that dangerous concerning Artist Development, as they haven´t time for develop their Song writing Skills BEFORE they get a bigger publicity?


Many bands get lucky and become hyped but often before they are ready. In most cases they are an overnight sensation and then quickly disappear. I always tell bands make sure you have written enough for 2 albums before you record the first. That way if they do become successful it takes the pressure off writing a second album whilst promoting the first. Every band should take some time working hard and perfecting their skills before trying to become successful. The opposite is that when it doesn’t happen after a while a band who wants success should quit and try in a different way. If a band starts to get some hype they need to get signed at the first attempt. If they hold out for a better deal or don’t get the offer they want it might never happen. Everyone in the industry is wary of bands that’ve been cited as the next big thing but then are not signed. (incidentally I saw Black Kids in New York a few weeks ago and was very disappointed!).


10 years ago, the Internet wasn´t important concerning scouting New Bands. 2007, it´s really important to spread the word over Weblogs.
Do you think that Weblogs could be the next Major Labels. That they release Records cause if their huge Audience, as it´s more easy to
sell Music for them?

No I don’t think weblogs will become Major Labels, but I do think Major Labels will try to manipulate Weblogs. The internet has revolutionised music and the industry is trying to understand how to handle it. I am a great believer that people who like a band ultimately want a physical product to show to their friends and so there will always be a market for Vinyl, CD’s or some other product. Also, merchandising is very important. Weekender Records is about to become the very first label in Germany to release an entire album on USB Memory stick with Chikinki’s ‘Brace Brace’. The album will be available in a standard CD jewel case with normal artwork but inside will be the memory stick with the Chikinki logo printed on it. The stick can then be put in a computer where there will be the whole album. The bonus is that we can add videos, photos and other band info. I’m hoping that people will see it as the best of both worlds, digital and physical!

Radiohead released their Record as a Full Download Version on the Internet, for "Free". Is this also a possibility for Young Bands to making more money as if they have a "regular" record Deal or just a perfect way for well known Artists
to get full control about their Copyrights etc?

From my understanding Radiohead still charged for their album but they let the purchaser decide the price (which I believe averaged at about 4 UK pounds). This is just a gimmick. However, The Crimea and The Charlatans have both made their entire albums available for free download. I think this just devalues the band and their music. I believe the music is not as respected unless it’s been paid for. Other bands will realise this and I don’t expect it to become a trend. Record labels will discourage it as they will always need the revenue from sales. Also, new bands are not going to give away albums for free as they don’t have the big fanbase so what’s the point? Bigger bands could justify that they can still earn enough from live shows and merchandise, but for how long?

Do you have any favourite Austrian Acts?

Fortunately I have had the chance to see a number of Austrian bands many of which have been excellent. Apart from the obvious like Naked Lunch, Velojet and The Staggers I also like Deckchair Orange, When The Music’s Over, Lorry Box, The Shirley MacLain’s, Golden Reef, The Seesaw, Wo’xang, The Glamour Street and Jellybeat. I’m sure there are plenty more that I can’t remember now!

And if, could this Acts also have a chance to breake UK, Sweden or anything else?

As mentioned before it is very very difficult to break an Austrian band in the UK (or Sweden). The only chance would be if they were really talented then they would have to move to London (or Stockholm) and play loads of shows. Just releasing a record and playing a few shows is not enough when they are up against so much local competition.


I often compare the Austrian Music Industry with our Football. Austrian Football Player really should move to UK or France or Germany etc to develop their skills…so, in music biz, would you say that it´s important for our Artists to tour through foreign Markets from the begin of a band career? To play every fuckin toilette, as it Matthew Bellamy from Muse meant in an Interview a few years ago?

See above! (although I like Austrian football and British football has mostly foreign players!) – come on Wacker Tirol!!!

Now days, it´s even harder to get booked from Clubs. And, Pay for play is also a huge Problem. If an Austrian Band like to play in the UK, to get an
Audience there, it´s much more harder. So, what is the best
Strategy to get booked there?

Sadly there is no magical answer. I hate the way bands are treated in the UK but as there are so many bands it’s easy for promoters to treat them badly. We treat bands very well at Weekender Club and get a very good response from them. However, some Austrian and German bands have a very poor attitude and strut around with a level of arrogance way above their status. If they went to the UK they wouldn’t last longer than a few days!

Last Question. What are your future Plans?

I’m not really a planner. I would like to develop the Weekender brand so it is recognised worldwide for good music. I’ve just employed a licensing manager to help get deals for our bands in Japan, America, Australia, Scandinavia and throughout Europe. I am also building a new division in the UK called Weekender Tour Assistance where we will supply tour busses, backline and Tour Managers. I also wish to do more in the way of merchandising and I want to have a publishing company – phew……

Popschreiberlinge in A/D und in UK

Gestern Nacht wurden in England wieder einmal die jährlichen PR + Journalismus Awards in der Sparte Musik verliehen.

Die Gewinner sind einerseits alte Bekannte aber auch neue Gesichter. Der britische Pop Journalismus hat in den letzten Jahren starken Nachwuchs bekommen und vor allem im Online Sektor hat sich so einiges getan.

Wer nun über den NME hinaus nichts kennt, sollte sich Magazine wie Dazed and Confused, Artrocker, Drowned in Sound, This is Fake DIY, PopJustice oder Neu! Magazine, ansehen.

Popjusticccccceeee

Seit 2002 gibt es nun PopJustice in der aktuellen Form, und alleine die Pressetimmen und die zahlreichen Auszeichnungen sind ein Beleg dafür das ihr Konzept aufgegangen ist.

Ein Konzept das es davor noch nicht in England gab. Denn auf PopJustice werden genauso Themen wie Architecture in Helsiniki oder Interpol neben Girls Aloud und Rhianna behandelt.
Allerdings nicht in einem NME ähnlichen Oberflächlichen Journalismus sondern mit
einem gewissen Humor der den Popkritikmarkt ordentlich belebt.

Es geht eben um Popmusik. Und die ist für die Journalisten von PopJustice weitgefächert.Ein guter Beweis dafür, die aktuellen Greatest Hits für 2007.

Natürlich wird die aktuelle Pubertätsströmung Zielgruppen gerecht gewürdigt, denn
der gemeine PopJustice Leser ist sehr jung. Jedoch wird ihm viel mehr als das vermittelt, und schlecht ist das auch nicht was der Nachwuchs so fabriziert. Bands wie Operator Please oder The Clik Clik machen verdammt gute Musik und klingen nicht
wie US5, Lexington Bridge und co.

Diese Bands wiederum dominieren den deutschen Teeniemarkt. "Europas" größte Chartsshow "The Dome" zeigt das bei jeder Ausgabe deutlich. Mehr davon aber ein andermal.

Hier soll es vielmehr um die Tatsache gehen, das im Deutsch/österreichischen Markt
diese Form der Awards nicht vorhanden ist. Oder sagen wir, es fehlt auch an guten Leuten. Vom Gegenteil kann man mich natürlich überzeugen, fündig geworden bin ich allerdings nicht auf meiner Suche.

Guter Musikjournalismus der eine breitere Masse findet und angenommen wird, ist ein wesentliches Element eines funktionierenden Musikmarkts.

Natürlich, Szene - bezogen gibt es diesen schon. Aber was im G/A Markt fehlt ist einfach ein Magazin wie PopJustice. Worin einfach alles
vorkommt. Nur ich höre die ganzen Indienerds schon, die meinen das "ihre" Musik darin nichts verloren hat.

Und genau das ist der Fehler. Denn in Österreich oder Deutschland gibt es dieses Format nicht. Die Bravo würde nie was über Architecture in Helsinki bringen, die Visions nichts über US5. Müssen sie auch nicht, denn beide haben
eine andere Zielgruppe.

Was fehlt, ist eine Plattform wie PopJustice.

Das "Gang Of Four" Model

Dave Allen, Bassist der britischen Kultband Gang Of Four, welche zusammen mit Joy Division DIE PostPunk Pioniere schlecht hin sind, hat auf seinem Weblog einen sehr interessanten Eintrag gepostet.

Es geht darin um den Vertriebs des neuen Gang of Four Album, welches allerdings eher eine EP sein dürfte. Allen ist der Meinung das das Format Album tot ist.
Vor allem die aufgezwungene Anordnung von Songs sieht er als "von gestern" an wen man sich die einzelnen Punkte ansieht.

In 8 punkten erklärt er wie nicht nur die Zukunft von Gang of Four aussehen könnte, sondern präsentiert ein Model welches man auch auf Acts übertragen können die am Anfang ihrer Karriere stehen.

Wenn man vor allem beachtet, das in den 70er oder 80er, Acts jedes Jahr ein Album sowie EPs veröffentlicht haben, und daraus dann Singles ausgekoppelt wurden, nahmen diese gerade zu einem Zeitpunkt ab, als es einfacher wurde Musik zu produzieren.

Heutzutage werden Alben nach wie vor in 2 Jahres Rythmen veröffentlicht, was dazuführt das man sie tothört und der Wunsch nach neuen Songs nicht bedient wird. Eigentlich ein schwerer Fehler, denn in den Medien bleiben sie dann auch nur
mit Positive oder Negative PR Kampagnen was zugegeben einfach nur langeweilig ist.

Eine gelungene Abwechslung sind Remixe. Die gibt es mittlerweile wie Sand am Meer und man kann sich wie Allen meint seine eigenes Album zusammenstellen. Bei Radiohead bsp
hat er das mit den zahlreichen Remix Versionen gemacht.

Der Gang of Four Bassist geht allerdings noch weiter. Seiner Meinung nach müssten bereits die Demos verwertet werden. Einerseits als Download auf den Bandwebsites, anderseits auf Digitalen Plattformen wie Amiestreet.

Im Bereich Digitaler Vertrieb wiederum will er auf IODA setzen. Eine amerikanische Plattform die neben dem Verkauf der Titel auch eine starke PR & Marketing Abteilung hat.

(Das Promonet System von IODA)

Alles in allem sieht dieses Model die völlige Abkehr des traditionellen Release Szenario vor. Die Band behält im Grunde die Rechte auf ihre Musik und wird in einem reinen Independent Netzwerk vermarktet.

Ist das in deinen Augen gut? Oder für Nachwuchsacts dann doch nicht unbedingt geeignet?