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The Case to Define our Industry: Fighting for a Better Economy

You may have heard the news spreading regarding the fight for a more equitable music economy with a greater emphasis on the economy of music streaming to artists…

.. aaand another one has been added to the roster. A UK artist, who goes by the name of Kieran Hebden (artist alias of Four Tet) has instigated legal action against his record label, Domino Records for 20 years. Many contracts associated with music artists often precede streaming services and – more importantly, the power role they’ve come into the 21st Century.

According to Hebden’s 2001 contact agreements, Hebden is entitled to an 18% royalty rate from physical sales and a 50% cut from licensing income. However, the music streaming moguls of our Internet bonanza have become ambiguous and less considered to their artists whom they “provide” for and as such, has allowed record labels to apply the same 18% rate as their physical counterparts in sales. But, like many, artists simply don’t believe that physical sales and streaming are one and the same and should be placed in the licensing income bracket – worthy of a 50% cut.

While many other artists before Tet have brought forward the case of music moguls tearing the legalities of artistry independence – the likes of Ye and Taylor Swift to name a few – it may be the first discussion that brings it forward to a full public hearing, which is a huge development in changing the course of royalty revenue on streaming platforms.

As such, after Hebden’s litigation, Domino records have responded. The declaration of what he owes transpires to the albums that Domino own the rights to, which is another 50 years or so. With that in mind, the record label have simply removed three of his most popular albums from streaming services altogether thus giving him no royalties in streams .. and no leg to stand on. Their recent move has solidified what we already know about the monopoly of record label in our industry – callous and greedy.

But it has also widened the scope into the survival of the music industry and whether or we not we can simply do without these record labels with their outdated and out of touch legally-binding contracts: which do nothing but bind the artist to the industry devil.

Hopefully, we’ll hear more about this as news progresses into the Spring of 2022.

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Your Release Radar: First of 2022

Well here we are folks. The first one of 2022, we drop in with a Release Radar. Honing in on those instrumentals missed since the new year. With January usually being a quiet month on all fronts of entertainment, we can certainly expect new album material in the coming months of February and March.

In preparation for a monster season, Alt-J release another single since Christmas with, ‘Hard Drive Gold.’ Funky with that chic of indie-alternative, I’m looking forward to their 2017 follow-up, RELAXER which was received with mixed thoughts.

Glaswegian hot-rocks of The Snuts equal their debut just as emphatically with single edits of Burn The Empire. A fantastically ferocious piece of music. Love it.

Noel and his birds return another mark-up forgotten in the Oasis B-sides with, ‘Trying to Find a World That’s Been and Gone: Part 1’. Bastille reunite for their fourth work, distorted electronica that is far from their straight-edged indie rock debut, ‘Bad Blood.’ – But still features their infectious and highly contagious pop anthems that has ramped them up to one of the most prestigious bands in the world. Be sure to catch them on ‘Give Me The Future’ on the 4th of February.

With remixes and mixtapes abound creatively, it seems we’re striving for singles to shift the deeper we get into the year. Here’s to a successful year of music amongst those who create it themselves or just enjoy it…

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HAPPY NEW YEAR! What are YOUR plans?

Here’s to 2022, folks! A new year in the making with opportunities, plans and goals galore. What are your long-term plans for this year? Whether it be for your blogging perspective or just general targets in your personal life – do let me know!

As January hits, we look forward to our summer getaways – our gig managements and festival planning, perhaps? Either way, do let me know your thoughts and perusals and we’ll explore them together. It’s perhaps a good idea to jot them down here too .. just to remind you!

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Singles Review: “karma” by Arlie

On this relaxing pyjama-Sunday afternoon, I thought it be best to do another topical singles review by none other than alternative American misfits of Arlie.

Measuring litres-worth of ultra-alternative and dance pop works, Arlie are an American musical group that doesn’t do much by halves. Crashing down to a North America tour next year, the shimmer style of karma is yet another display of fantastical songwriting by a group reaching for new heights.

Braving the storms of breaking UK scenes, Arlie are the sparkling peach water to the surf rock sunshine. Although it’s certainly unusual to discuss a ‘summer-esque’ group deep within the December winters, it’s never too early to start getting excited for Summer all over again.

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Travis Travesty: Industry Mourns over Astroworld Festival Horror

The music industry has entered a state of instant shock as we mourn the passing of 8 avid concertgoers of Travis Scott’s annual festival, Astroworld.

Amongst a live gig stricken with grief, panic and turmoil, the international rapper has come under fire again for his controversial antagonising of the crowd to “start riots” and surge in waves – which was the unfortunate after-effects of what occurred on the 5th of November.

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“It ain’t a mosh pit if there no injuries / I got ’em stage divin’ out the nosebleeds” – STARGAZING, Astroworld, 2018

With lyrics like these imprinted in the very songs included in Astroworld song list, Travis’s active curation for the “rage” atmosphere is undeniably too far merely for a live music concert. It is interesting to note that the “nosebleeds” he refers to here considered to be the most elevated seats in a stadium, which are called “the nose bleed sections.” His fans jump from “the nosebleeds” and injure themselves, causing literal nose bleeds. And we ask ourselves, how do these things happen?

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Since the travesty that night, both Travis Scott and Drake have been sued over the deadly US festival crush, simply for being irresponsible and merely ignoring the rampant cries of the crowd urging him to stop the performance.

“Defendants failed to properly plan and conduct the concert in a safe manner.”

But, among many others, this is not the first time such an incident has occurred when it comes to Travis Scott and his live gigs. Where warning signs were ignored from previous accidents – including a paralyzed fan urged to jump from a balcony – many questions are being directed to those event organisers that let this happen again.

When the promo video from previous years is used to hype chaos itself, is it any wonder these things occur so predominantly among his fans?