Anything You Can Do, I Can Do Better: Musicians Are Kicking Labels To The Curb Written By Joileen Urena
While standing among the crowd of fans in one of New York City's popular music venues, Crash Mansion, I was approached by a young man with a handful of CDs. With a big smile, he held out a CD and asked, "Would you like a free demo?" He was handing out copies of the Queens metal band Heartbeatstill's latest untitled demo album that consisted of two recorded tracks.
It's not uncommon to receive a demo or full-length album for free from a musician; many times it's given out at a concert the musician is performing in or a fellow musicians concert. It's difficult to purchase an unsigned musicians music because they aren't always available where music is generally sold, such as Itunes or a typical record store like Virgin Mega store.
During the four years that I have been attending underground metal shows in New York City, I've gathered a shelf full of free albums and demos. What is heard on the radio and seen on popular music channels like MTV, Vh1 or FUSE, are just samples of what is available in the music industry. Being a witness to the evolving underground music scene and learning about music promotions, it's easy to wonder: how are musicians making a profit and getting their music out to the public without the help of a traditional record label and what role does a label play in today's industry?
A record label has always provided unlimited possibilities for musicians to record, promote, and sell their music to a wider audience. But in today's evolving underground music scene, musicians are finding more and more ways to take hold of their own music using the do-it-yourself method (D.I.Y.). The underground New York City music scene is showing that even though musicians are unsigned, they can still receive positive results and gain a more personal connection with their fans all on their own by focusing on three aspects of the industry: distributing, creating and promoting, and discovering alternative methods to do it successfully.
A music distributor is hired by a label to make sure a musician's music is easily accessible to listeners. When creating the music set to sell, labels provide musicians a chance to record in professional studies.
Traditionally, labels provide musicians the opportunity to meet with a producer and discuss the direction they want their sound to go, and tracks they want to create. But many times the producer, label, or musician aren't always in agreement. Musicians never want to feel as though their creativity is being stagnated. Having a label telling you how to do your work, how you should look, how you should play, who you should play with and on top of that, given deadlines for your work, can cause a musician to get frustrated and discouraged.\
But unsigned bands are becoming their own distributors and producers. Recording tracks can be created with various computer programs like Garage Band, Logic Pro, and Pro Tools, which are is easily accessible through Apple's Mac computers. Using these programs and learning various recording techniques that are available have helped music production to become common knowledge, so common; musicians can build their own recording area in their homes.
When creating music on their own, it provides a musician the power to create work that best represents them without the pressures of pleasing label higher-ups.
With music being created so easily, it isn't uncommon for musicians to give music out for free like Heatbeatstill (www.myspace.com/heartbeatstill), But sometimes, it's nice to get a little money to bring home. To earn some extra cash at a show, many bands will put together a bundle package. For instance, if an audience member buys a shirt, they may get an album for free.
Peter Lanza, vocalist and guitarist of the Queens band Deistruct (www.myspace.com/deistruct), explained their method of getting their album out to the audience: "We'll first go around the crowd giving out our CD for free to the first group of audience members who ask for it. The rest of the night we'll sell it for maybe $1 or even $2. It may not seem like a lot, but no one is going to want to pay $12 for a home-made album."
Jersey metal band, Will Killmore (www.myspace.com/willkillmore), recorded their EP "Oh The Humanity" with ANS Studios, and provided a special opportunity for fans that attend their shows. Instead of paying iTunes price of $5.94 for the EP, the band and family members will go around and give out the album for free.
There are also plenty of online distributing sites, such as Reverbnation (www.reverbnation.com) and CD Baby (www.cdbaby.com), which gives unsigned musicians the opportunity to bring money earned online directly to their pockets. Distributing sites like these charge musicians as little as $35 an album, and allow them to receive half or more of what they earn on the site.
Many are unaware that Myspace is a distributing site also. Myspace allows artist to sell their music on their personal page, although they won't receive much for it. Artist can earn up to $10, $100, or $1,000 in an entire year. It is estimated that there are three million artists actively using Myspace, and Myspace takes a chunk of what they earn leaving an artist with very little left over after taking out $.40 transaction fee for every download.
Now that music is given away for free through most unsigned musicians and no longer the main source of income for a musician, the choice to depend more on ticket and merchandise sales is the approach both signed and unsigned musicians are using today. Legal and illegal downloading is how many people get their music, and that has led to a decline in record sales, a sales boost in singles, and the closing of some of the largest record store branches like the Virgin Mega store and F.Y.E.
It's hard to look at this approach and not think of British alternative rock band, Radiohead (www.radiohead.com).
Famous for bringing forth creative, and unique hits including their 1992 "creep", Raidohead took what might have been considered a "suicidal" move to the industry when they released 2007's In Rainbows.
In Rainbows was first released to fans as a digital download and gave fans the chance to pay whatever they want. The album sold nearly 3 million copies worldwide and inspired other music veterans to follow, like Nine Inch Nails (http://nin.com), who sold 2008's The Slip for free through digital download.
NIN still allows fans to download The Slip in full on their official site, and allows fans to send the album to friends by providing emails.
Anthony Bruno wrote in Plugged/Unplugged: CwF+RtB=WTF, an article describing Raidohead and NIN's approach, "It's recognizing that the music itself can enhance the value of everything else, whether it's shows, access or merchandise."
Distributing goes hand and hand with promotions. When a musician is distributing, they're connecting with their audience. But how do you sell to an audience that doesn't know you exist?
A musician's music can't stand-alone and labels use their networks to provide publicity. Publicity can include tours, media (magazines, television, radio, etc), and in store appearances.
Musicians are now relying on their listeners to become promoters. Listeners can reach a larger group at school, at home, or even at work, all they need is a porfile page.
Promotions have redirected their attention to Internet social networks, which have provided a doorway for musicians to connect directly to a wider audience all over the world. Looking through online social networks like Myspace (www.myspace.com) and Facebook (www.facebook.com), you will find thousands of unsigned musicians self promoting themselves through their page. Musicians will put up schedules for their shows, promotional photos, music player, and biographies all for free. They can contact to audiences directly through their page.
Foisol Khan, vocalist and keys of the Queens metal band Kentucky Vampire Clan, takes full advantage of Myspace, Twitter, and Facebook, Mecca of social networks:
"When KVC first began, we would email our friends demo tracks and asked that they share it with their friends. This method was time consuming and we didn't really gain a lot of listeners. You really have no choice but to get your band a Myspace and a Facebook, that's how you reach your fans directly. Like myself, they practically live on those networks."
Since KVC's formation in 2006, their Myspace friend list has reached nearly 3,684 fans. KVC post updates about upcoming concerts and demo tracks regularly for fans. Khan explained, " at every show, when I look at the crowd, I'll see an audience member that had just friend requested us recently. It's a great feeling to know that after checking out our stuff, they felt confident enough to come see us perform live."
Pure Volume (www.purevolume.com) allows musicians to post their music in a music player and allow a listener to download their songs for free. Musicians have the choice between allowing their whole EP or album to be downloaded for free or only a few songs that reflect their sound.
This is an amazing marketing tool because musicians can use the listener as the promoter. A listener will download the song of their choice and share it with their friend who will then share it with their friend.
"Long before the Internet, people use to pass tapes of bands that I've never gotten to see live and fall in love with them. The internet is an easy way to do that, to really turn people on." Jason Mraz stated in Teen Magazine.
Although there are many possibilities available online, going up to audience members physically is another alternative method to promoting a band. This method still gains more fans and helps the musician to become more memorable. Often, when bands take the time to communicate with the audience, they'll ask them how they're enjoying the performance and many times mention an upcoming showing. Justin Melendez, vocalist and guitarist of the Bronx band The Day Before, explained how word of mouth has effective results,
"Going up personally to everyone at a show makes an audience member feel a connection with you and catches their attention. Many times you'll end up seeing that person again at another show and that's an amazing feeling because you've gained a new fan simply because you took the time to say 'hi, have you heard of my band?'"
Building the personal connection with the audience creates fan loyalty. Tad Lathrop, author of This Business of Music Marketing and Promotion explained, "In music, building brand loyalty is an extremely important goal. In more familiar terms, it means building an audience. Establishing a base of loyal fans means having a core group of customers who are nearly guaranteed to buy your new CD or show up for your live appearance."
Although these methods have been proven successful in the New York City underground scene, creating unique promotional gimmicks such as designs on socks and second life, to help a musician become memorable in a potential listeners mind.
Queens band, 5mach5, post videos on Vimeo (http://vimeo.com/fivemach5) of the members doing stunts and pranks on each other while promoting their next show or latest music, with vocalist Christopher Myhal editing most of the clips.
New York City duo, Heartsrevolution (http://www.myspace.com/heartsrevolution), who NME described as "The model for the modern pop group", gained attention in 2008 when they toured the UK for the first time in an ice cream truck.
Video games have become another promotional tool. Before alternative band, Avenge Sevenfold were signed, they were given an opportunity to be launched in Madden NFL 2004. They were already playing Warped Tour and luckily had an experienced manager. After Madden's first week of release, their album sold more then 5 million copies. MTV took notice and because of further touring and the games success, Avenge were signed to EMI Publishing and Warner Bros. Records.
So what's left for the label to do if so many unsigned musicians and even signed musicians are taking the reigns and doing what they feel is the right thing to do with their music?
Seth Rosen stated in U.S News & World report that," Ultimately the creative industries may have to adapt to a new role in which they act more as publicists and less as distributors, perhaps earning a percentage of the artist's revenues."
Successful labels have become harder and harder to come across in the recent years, with only four major music groups left, Sony Music Entertainment (http://www.sonymusic.com), EMI Music (http://www.emimusic.com), Warner Music Group (http://www.wmg.com), and Universal Music Group (http://www.universalmusic.com), getting a demo into someone's hands has become even more difficult then before.
These four groups, considered the "Big 4". These groups control and provide record manufactures, publishing, and distributors. They control about 80% of the United States music market and almost 70% of the world music market.
These dominate groups consist of smaller labels and music companies and have managed to bring forth various artists heard on popular radio stations like Z100, and have helped build their success including Country group, Lady Antebellum, are signed to Capital Nashville (part of EMI music) and their second album, Need You Now, sold nearly 481,000 copies it's first week and sold even more after their performance in 2010's Grammy Awards.
Although the D.I.Y. method has brought forward amazing talent, many unsigned musicians still have their eyes set on signing to a label and consider their efforts a stepping-stone to reaching the attention of a label. Melendez has been playing for nearly 8 years. Although TDB has a large fan base, their Myspace has reached nearly 26, 958 fans and their FaceBook has gained 490 "likes", he still feels that a label will take their career to the next level:
"If you have no money today and you are recording with shitty gear and you write an album in a completely uninspiring room, garage, or basement, getting signed gets you a studio space that is actually comfortable and enjoyable to be in. Bands who make a good amount of money and are now riding in style, it's clear that they're just putting the money they made into bettering their situation"
Although Khan is proud of KVC's progress, he has a similar view of how a label can benefit his work further:
"Record labels tend to have years of experience and contacts under their belt. Contacts are especially important. Labels provide funding to an extent that individuals in a band simply cannot provide. That goes for recording, producing, distributing and promoting the final product. Years of experience ahead of us all and a small upcoming band just can't do that"
Both labels and D.I.Y. followers share expiration date: Many musicians start out young, become veterans young, and sadly, retire young.
It's difficult to afford a musicians lifestyle and that's one of the flaws of working alone in the industry. Musicians need drive, persistence, and some sort of idea of the business. If they lack these qualities, it's easy to disappear into the shadows of the underground scene continuing to play and not progressing, or disappear because they've given up their goals.
A label has staff that can do the work for the artist and the have the knowledge and experience to know how the business works, but spit out artist that they would hope have long term success but instead die out quickly and are forgotten, which create "one-hit wonders".
EMI has nearly 300 artist signed to the label, but in the United States alone, only a small portion of that is actually seen on television and heard on radio stations.
Labels are giving more power to musicians, allowing them to become their own business men (or women). Guy Hands of EMI stated, "We need a relationship with our artists based on a true partnership, in which we jointly share both the risks and the benefits."
Working as partners gives both the musician, and a label the opportunity to help one another in areas they lack. Musicians have a personal connection with their fans, but lack the connections and labels have the contacts, but lack the connection.
Today labels search for artist not just by sitting in a venue, but searching online. An artist generally has a large fan following before actually getting signed for a label. Many have also created merchandise and have filmed promotional music videos using their money. When signed to a label, the work has already been done and what's left for the label to do is bring that work to a larger, more marketable audience.
Independent and artist-owned labels are able to survive on lower albums sales and redirect their attention to marketing. Because they are bringing forth unknown artists, they aren't considered a threat to the "Big 4". But smaller labels are more in demand because they are able to focus more on developing the career of the artist and are more flexible. There are nearly thousands of independent labels and are growing as the years go by. Independent labels are more willing to take risks, unlike a major label.
It's clear that in today's music industry, there is always a way to work around the limitations as long as musicians share the drive and passion to get up and work hard to get their music heard, which is essentially a label's goal. Labels are learning to take the backseat and allowing musicians to take control of their art.
Although an unsigned band can't depend on their music to be their only source of income, nothing can erase the joy musicians feel when they're up on stage, performing.
