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Indietracks - an indiepop festival: Indietracks interview #5: The Magic Theatre. Today we're chatting to Dan Popplewell and Sophia Churney from new Elefant Records signings The Magic Theatre, who will be making their first live appearance at this year's Indietracks!

Indietracks - an indiepop festival: Indietracks interview #5: The Magic Theatre

Their debut album 'London Town' (2010) was a time-travelling love story bursting with melodic sunshine/baroque pop, featuring orchestral recordings with The Slovak Radio Orchestra and the Estonian Philharmonic Chamber Choir. They've just put the finishing touches on their second album, to be released on Elefant in the autumn and preceeded by a four track single in June/July. As front people in Ooberman, Dan and Sophia released a string of acclaimed and ambitious albums, enjoyed chart hits and and were championed by John Peel, Blur's Graham Coxon and BBC Radio's Mark Radcliffe .

The Magic Theatre has been going for several years, yet this is the first proper show! How are you feeling about playing the songs live at Indietracks? Selling MP3s? You should have stuck with CDs. What’s the difference between selling a secondhand music CD and transferring ownership of the same songs bought from iTunes?

Selling MP3s? You should have stuck with CDs

Not much, you’d think - except one’s illegal, according to a New York court. Earlier this month, ReDigi.com, which sells “used” digital music files, was found to violate copyright law after record label Capitol Records claimed the web-based service infringed reproduction rights. Music Reviews, Music News. Writing or speaking about streaming music screwing artists? The Decline and Fall of the Top 10. The impact of technology on the music business is well understood, but it is also having a dramatic impact on the music buying population, which in turn is changing the face of mainstream music.

The Decline and Fall of the Top 10

Digital music has so far been a journey for the more engaged, technology savvy music fan. Some of these have discovered free music, others a la carte, others streaming. All of these behaviours have eaten away at sales of the music industry’s core product: the album. Yet the CD album remains the music industry’s number 1 global music product and in key markets like Japan and Germany it accounts for approximately three quarters of sales. The problem of course is that CD buyers are steadily falling out of the market (10.5 million people have stopped buying music entirely in the UK and US since 2008). Mythbusting: Data Driven Answers to Four Common Assumptions About How Musicians Make Money. On Thursday, March 15, 2012, Artist Revenue Streams co-directors Kristin Thomson and Jean Cook participated in a panel called Brass in Pocket: Accessing More Musician Income at South by Southwest in Austin, TX.

Mythbusting: Data Driven Answers to Four Common Assumptions About How Musicians Make Money

Drawing upon Money from Music survey findings, artist interviews, and the panelists’ personal experience, they talked about a handful common assumptions and myths about how musicians make money. Kristin and Jean started the conversation by describing the project’s methodology. The research involves three data collection methods: in person interviews with about 80 different US-based musicians and composers, financial case studies based on verifiable bookkeeping data, and a widely distributed online survey. They also underscored that this study is not about label market share, or consumer spending, or measuring an artists’ social graph. It’s about individual musicians’ earning capacity. These four posts expand on the data presented at SXSW 2012. Mythbusting: Data Driven Answers to Four Common Assumptions About How Musicians Make Money.

Mythbusting: Data Driven Answers to Four Common Assumptions About How Musicians Make Money. Mythbusting: Data Driven Answers to Four Common Assumptions About How Musicians Make Money. A short history of the music industry: different formats, familiar names but the same old problems. In the past 20 years or so, all sectors of the music industry have been through massive change.

A short history of the music industry: different formats, familiar names but the same old problems

Format transitions, company consolidation and greater scrutiny of copyright and licensing have changed the industry beyond all recognition. But have the changes made for industry improvements, and more important, have the main players learned from their mistakes? The recent discovery of the first issues of Music & Copyright has allowed for a unique look at just how much certain things have changed, and how much they haven’t.

The newsletter’s 20-year anniversary came and went in September, but thanks to a long-standing subscriber, copies of the first 24 issues published have been found and make for interesting reading. Despite containing names that have either long since left the music industry or been swallowed up as part of industry consolidation, the headlines for a number of news stories resonate closely with happenings today. Lessons learned? Like this: Staff Benda Bilili: where did it all go so wrong? In 2007, Staff Benda Bilili were playing to an audience of vultures and emaciated primates in Kinshasa's desperate zoo in the Democratic Republic of Congo.

Staff Benda Bilili: where did it all go so wrong?

The band had never left the country, and this was their regular rehearsal space. When we met, most of them were either sleeping rough on cardboard boxes or in decrepit shelters for the disabled and making ends meet by busking or hawking cigarettes on the city's toxic streets. Last September, the band headlined the Royal Albert Hall in London, the culmination of four astonishing years during which they played more than 400 concerts at every corner of the globe. Back home they bought new houses, Mercs, Bimmers, clothes, trilbies … even a new hotel. There was a documentary film, Benda Bilili, charting their extraordinary success – made all the more extraordinary by the fact that several of the band were polio victims.

And how to explain that nobody ever gets paid for doing promotional work? 'Gangnam Style' has sharp social riff, 220M views. Psy Makes $8 Million By Giving It Away. Psy's "Gangnam Style" is an international phenomena that only comes around once a decade or so.

Psy Makes $8 Million By Giving It Away

Artists lucky enough to catch the tiger by the tail tend to become one-hit wonders ("Macarena" anyone?) , and that's why you hope that the artist cashes in - it may be the only chance they'll ever have. Different people have different ears for different needs « The Sentric Music Blog. By Pursehouse – (Follow me on Twitter) We have a lot of artists here at Sentric Music now; and we’re growing every day as more and more come on board to take advantage of our services.

Due to this: I listen to shedloads of music. Music startups aren’t dead — they’re just changing — European technology news. Making Dollars: Clearing Up Spotify Payment Confusion. First of all, let me tell you that I run a company that distributes and markets albums, mostly for artists that have not signed deals with record companies, but own their own masters.

Making Dollars: Clearing Up Spotify Payment Confusion

We collect money for them and distribute it out to them (in addition to providing other services). So I actually know what artists get paid. I'm the one that writes their checks. An artist shares some Spotify numbers. Le scandale silencieux de My Major Company - Musique, théatre, télé, clip vidéo, actu musicale. On nous promettait tout sur ce site participatif de production d'artistes par les internautes, et preuves à l'appui : Qui n'a pas suivi l'incroyable histoire de Grégoire ?

Le scandale silencieux de My Major Company - Musique, théatre, télé, clip vidéo, actu musicale

C'est vrai que pour le grand public, cela ressemblait tellement à un conte de fée...Ce jeune homme bien sous tous rapports avec une histoire dramatique à vendre, sorti de soi-disant nulle part et qui touche le talent, que dis-je qui embrasse le talent à ce point ! Alors oui, les internautes sont venus, de plus en plus nombreux, essayer de propulser leur artiste favori au firmament de la starification et espérer en plus gagnez de l'argent !

Trent Reznor & David Byrne On DIY vs Major Labels. A talk Sunday night featuring David Byrne and Trent Reznor included an interesting discussion of the business options facing musicians today.

Trent Reznor & David Byrne On DIY vs Major Labels

Due to Trent Reznor's recent deal with Columbia Records for How to destroy angels_ coverage has focused on DIY vs Major Labels. However both artists shared the stance that the current landscape is not about label deals vs DIY but about choosing the right path and the right deals for the artist in question. Music identification technology firm reckons 80% of commercial music usage badly reported. Tuesday 16 October 2012, 11:47 | By CMU Editorial Digital Utilising Shazam-type technology to better report music usage to rights owners or their collecting societies has always seemed like a good plan, if the development and installation of such technology could be priced so not to be prohibitive, and a start-up in New York is basically doing just that with TV, via a fingerprinting system which it reckons can detect the use of music on any television programme, even if said music is in the background and has speech plonked on top.

Whether the use of music in television shows is licensed directly from labels and publishers, or via rights bodies, the reporting of such usage is, to a large extent, reliant on broadcasters being honest and competent, the constant manual monitoring of TV networks worldwide being impractical. The recorded-music industry is still a US$40 billion business « Music & Copyright's Blog. Over the past decade or so, the assessment of the recorded-music industry has shifted from retail sales to trade value. The complexities and the growing number of business models involved in the delivery of digital music, coupled with unknown retail markups, make quantifying the retail value of recorded-music sales speculative at best. But the enduring appeal of ring tones and ring-back tones in some less-developed countries suggests that the size of the global retail pie has not changed; there are just more players taking a slice.

With the exception of a small number of countries in Asia and Latin America, the digital-music business has primarily become online-based, with mobile access considered a premium add-on. As IFPI releases its ‘Investing In Music’ report, what role do record labels play in 2012? Tuesday 13 November 2012, 13:12 | By CMU Editorial Business News Labels & Publishers Top Stories Hey record company haters, gather round here and listen to this.

13 Extremely Scary Things About the Music Industry Today. British music revenue abroad has doubled since 2002. Guest Opinion: The Success of the Online Music Market Will Be Won or Lost in Translation. Music to Our Ears: The Story of MP3s. Quick, how many MPEG Audio Layer III files are on your computer? Next Time Someone Suggests Piracy Will Kill Music, Remind Them That Music Survived The Last Ice Age. Combien gagne un artiste avec la distribution digitale (Spotify, iTunes, Deezer) ?... C'est l'Hebdo Musique et Web. Chaque jour, en tant que « musiconaute » averti, il est facile de percevoir l’influence croissante des plateformes de streaming et de la distribution digitale. Music streaming: what do songwriters really get from YouTube or Pandora?

There's been much speculation as to the enormous amount of money Psy must have raked in from the hundreds of millions of hits his Gangnam Style video has had on YouTube. How Spotify Changed Music. We used to listen to music on our mobile devices in private. Now, we share our listening activities to Facebook and show our friends the song we are currently playing. Top Analyst Reviews Spotify's Financials, Declares Business "Unsustainable" [CHART] Getting in tune; Samsung to shop for software. Carte Musique Jeune : à vie peu glorieuse, mort sans fanfare. Neilsen Says Music Discovery Still Led By Radio.