The Internet and The Music Industry: Artist Promotion vs. Illegal Downloading

As the sales of iPods increase more than ever, as is the number of people illegally downloading music.

     Everyone’s at it. We want music on command and for free. For the past few years with the seemingly continual expansion of the internet, the music industry has been affected in a number of ways, mainly by constant illegal downloading of music as well as file sharing, and mass artist promotion and advertising on websites such as PureVolume and MySpace.     

     With the sales of iPods and MP3 players rocketing sky high recently, with Apple selling 22,727,000 iPods in just three months and gaining a handsome of profit of $10.17 billion last year[1], music has never been so accessible.

The History of the Music Industry:

     When music was first released, it was in the form of vinyl, (incredibly large CD type objects) which was back in 1948 by Columbia Records. The internet, however, has made many things easier and faster; shopping, socialising and listening to and downloading music. It has made watching and sharing music free, but also downloading it. ‘...music piracy is having a dangerous effect on...music...rich and successful artists like...Radiohead don’t seem to think so’[2], Lily Allen stated on her blog. She has a point. Bands such as Radiohead sell out arenas in seconds; do they really need much income? But for struggling bands and new talent, it’s a different story. File sharing and illegal downloading is making it more and more difficult for new music to emerge profitably.

     Consider how music was prior to the internet. Remember the cassette tape, or, in the fact, the prehistoric CD? Remember selecting just one CD and slot it into your Discman for the week? Now there are thousands of ways to get music, but in terms of promotion, new artists are simple making little or no profit. Although the internet helps a great deal with promotion and advertising, it does not bring in any revenue. When MP3 format was publically established in 2000, the concrete methods of the music industry were overturned and the world went music downloading crazy!

The Social-Networking Effect:

     Nonetheless, bands and artists are currently becoming prominent in the music industry by the public promoting them, which, in my opinion, is how it should be, as opposed to a record company listening to countless demos and endorsing new talent. Nowadays, by the time ‘new’ talent is officially advertised, a well-established fan base is already in place.  Thanks to social networking websites such as Facebook and MySpace, the public can chose to support an artist by joining fan groups and posting videos. MySpace displays tour dates, photographs and artist profiles for fans to observe.  Twitter allows discussion and eventual promotion, which the public is in full control of. YouTube is fuelled by the watching of endless videos, and even be recommended associated videos, enabling many an artist into the limelight. Although many artists may state that money means nothing as long as their music is ‘out there’, everyone needs to eat.

    The teenage market; the most targeted market there is, chooses illegal downloading, which is a major concern for music. But as the internet is constantly evolving, so is the music industry. People tend to think in terms of individual tracks as opposed to an entire album, yet there are still those who might purchase an album after growing fond of one track by the same band or artist. But surely it is better to actually purchase, even a single track than download a complete album illegally?

Music and the Internet:

     Conversely, websites where the public have unlimited access to music downloading are tarnishing the music industry. Although file sharing is just a drop in the ocean, in excess, bands are struggling to make money whilst bosses of billion dollar record companies notice little or no difference in their bank balances. Record companies exist to make money. Illegal downloading and file sharing is a critical problem, and will only deteriorate in the future. Last year, physical album sales were down 46% and digital downloads increased by 43%, from 17.6 million single sales, to a colossal 23.4 million.[3]

     Some artists chose to give their music away for free or allow fans to pledge as little as a penny towards it. But there are other ways for musicians to gain income other than directly through their music, such as merchandise and fan clubs. But other, less widely known bands, such as The Blackout have been forced to permit fans to donate to the promotional costs of their text album, through ‘once in a lifetime experiences, for instance an acoustic gig in your very own home for £500 and exclusive merchandise. This was due to illegal copying of previous tracks from the band’s MySpace page, which brought very little takings for the band.

     The cost of legally downloading an album from a site such as ITunes is generally cheaper than heading out and buying a physical copy. Perhaps in the near future the world will adapt further and CDs will be no more, but if there is a worldwide refusal to actually buy music, the industry will also be no more. On the other hand, purchasing a physical CD allows the consumer to obtain original album artwork, photographs, song lyrics (not googled), as well as the artists’ acknowledgements. According to the Recording Industry Association in America total music sales demised by $4 million from the year 2000.[4]

     Music is very easily manipulated and accessible, and as the world becomes more convenience obsessed, this can only decline. We all know what it’s like when a little-known band you’ve loved for years suddenly becomes popular, and you die a little inside. So do your favourite band a favour and support them if or when they do ‘make it’, or continue to do so. Tear yourself apart from that £8 and buy the album, rather than downloading a dodgy illegal copy. Use the internet for artist promotion.

---

[1] Apple Official Quarterly Sales Figures for 2009
[2] Lily Allen’s Official Blog

[3] Official Album Sales Figures 2009

[4] Recording Industry Association (Music Sales) 

Paramore @ Birmingham NEC/LG Arena (16/11/2010)

    Paramore, a pop-punk rock band from Franklin, Tennessee, formed in 2004 and burst onto the music scene back in 2005. Their debut album ‘All We Know is Falling’, 2005, was inspired by the likes of Fall Out Boy and Blink-182. Their fan base has been expanding worldwide ever since, propelling them comfortably within the mainstream scale, and with infectious lyrics, immense riffs and profound love songs, they are unavoidable.

    

     ‘Brand New Eyes’, Paramore’s third studio album was released in 2009, this year won Kerrang’s best album award. This week, it reached platinum status in the U.K, making it the band’s biggest seller to date. Lead vocalist, keyboardist and front woman, twenty-one year old Hayley Williams, collaborated with rapper B.O.B earlier this year on the track ‘Airplanes’ which reached number one in the U.K and the U.S, forming a greater fan base for Paramore. Consequently, B.O.B along with quirky pop rock band Fun, complete support for the U.K tour.

     Following their phenomenal success over the past year with singles such as ‘Ignorance’ and ‘Brick By Boring Brick’, as well as a sold-out tour last December; this was set to be Paramore’s eminent U.K visit. Regardless of the sub-zero temperature, fourteen thousand keen and diverse fans, piled into the arena at 6pm. Immeasurable anticipation was in the air as the room filled, and it became clear that every seat and space has been sold.

     New Yorkers Fun graced the stage first, armed with ironically fun tracks such as ‘At Least I’m Not As Sad (As I Used To Be)’ plus a dreadful cover of Queen’s ‘Radio GaGa’, which diabolically failed to entice the crowd. B.O.B, however, blew the audience away, with the perfect combination of performance and encouragement. His stage presence and set-up, including a DJ and dancers, were alluring and his set list was impressive, including his debut single ‘Nothin’ On You’, new track ‘Magic’, which features guest vocals from Weezer’s front man Rivers Cuomo, and of course, number one single ‘Airplanes.’ Predictably, Hayley Williams erupts onto the stage sporting her spanking new pink hair and a dreadful long puff jacket, and the single’s success is apparent when the two can scarcely be heard over fourteen thousand rowdy voices. The crowd’s energy built up in the wait for Paramore, with the entire arena participating in a Mexican wave and chanting for the show to begin.

     Eventually, Paramore took to the bedsit inspired stage; complete with a sofa, amplifiers, five screens, and swinging light bulbs, to the welcome of senselessly passionate fans. Opening with ‘Ignorance’, the set excelled as it continued incorporating tracks, ‘Feeling Sorry’, ‘That’s What You Get’ and ‘For A Pessimist, I’m Pretty Optimistic.’ The set list had clearly been cautiously structured to appeal to fans new and old, with tracks included from all three albums. The band’s passion and talent are incredible. Zac Farro’s remarkable drumming kept all members in check for the entire ninety minutes, and constantly drove the crowd’s energy.

     ‘Emergency’ and ‘Playing God’ particularly conveyed Taylor York’s and Jeremy Davis’ rhythm and bass guitaring skill, as well as how perfectly old and new tracks link, despite variations in sound and line up over the years. Jon Howard is currently touring with Paramore to assist with keyboards, rhythm guitar and backing vocals. Another aspect that aided the band’s stardom was having two songs featured on the soundtrack of the tremendously successful 2007 film ‘Twilight’; ‘I Caught Myself’ and ‘Decode’, which was performed next, displaying Williams’ haunting and stunning vocal abilities. She has the rare ability to portray bravado and vulnerability in tandem, especially through lyrics, which is simply irresistible.

     These uncommon characteristics shine through when the band begins a four-track acoustic set to illustrate their awesome capabilities as musicians seamlessly. Williams’ and lead guitarist and backing vocalist Josh Farro have an indescribable contagious chemistry, which is evident when the two execute ‘Never Let This Go’ faultlessly. Clearly, the acoustic section was included to exhibit Paramore’s soulful connection as a band and with fans, as Williams welcomes them ‘...to the family.’

     ‘When It Rains’ was flawless, along with ‘Where The Lines Overlap’ and ‘Misguided Ghosts’, after which, the audience was repeatedly thanked for their ‘...support on the journey’ and informed that 'music will never not be there (for you.')', which revealed how warm and humble the band remain, despite their capability to sell out arenas. The energy level surged, and this, Paramore’s fourth U.K show out of a full six, was unmistakably lively, but also, with the acoustic tracks, very moving. Anthems ‘CrushCrushCrush’ and ‘Pressure’ allowed firecracker Williams to reform back to head banging and surging across the stage whilst immaculately singing, as to not be overshadowed by other band members. ‘Looking Up’ utilised five screens behind the stage to show pre-recorded footage of the band specifically for this track.

     Each band member was individually introduced to the audience by Williams, but when she herself was introduced by Josh Farro, the reaction was thunderous, and did not quieten when she yelled ‘Tonight you belong to us!’ ‘The Only Exception’ depicted the band’s supreme abilities and formed a picturesque sight when every member of the crowd held up a light. The encore, ‘Brick By Boring Brick’ and ‘Misery Business’ flaunted why Paramore won Best Rock Band at this year’s MTV EMA awards, and with selected audience members being lucky enough to perform 'Misery Business' with the band, the gig came to an end.

     With infectious vigour and remarkable flair, the show ends with confetti and fireworks bursting from the stage, reflecting how Paramore have developed into an arena-filling band in just six years.  


5/5     

A Day To Remember- Homesick (03/02/2009 Victory Records)

        This, A Day To Remember’s third studio album, and second with Victory Records, ‘Homesick’ is made up of the same intense, venue-filling characteristics as other albums, but on a larger, and more confident scale. The five-piece pop-punk/hardcore Floridians, formed in 2003, appear to be fully aware of the success of other bands within the alternative music scene, causing them to grasp to their genres considerably.

     In terms of content, hardcore riffs, aggressive drumming and catchy pop-punk choruses, make this album perfect for lively, and inevitably sweaty gigs, with every single song having a chorus that kicks you in the face! The opening song, and first to be released as a single, ‘The Downfall of Us All’ is the perfect opening to any gig, with its haunting start. The song tells a story of what life is like for the band touring and playing endless shows, ‘I sold my soul to the open road...’, as well as it being a thank you to fans who have helped them on the ‘open road’ to success, ‘We signed 3, 4, 5 on the dotted lines...’. Track 2 is very conventional for the pop-punk genre, but it is the bulky guitar revving that retains the uniqueness of ‘Homesick.’

     The third track begins is more or less the same fashion, with an apparent outburst from lead vocalist and frontman, Jeremy McKinnon, as well as guest vocals courtesy of Mike Hranica from The Devil Wears Prada. The jaunty, irresistible yet steady back beat that evolves into full on screamo by the second verse, ‘So run like hell, sleep with one eye open...’, which illustrates the band’s capabilities; skilfully jumping between styles. Particularly in this track, Alex Shelnutt’s drumming is phenomenal and truly drives the rest of the band, along with beautiful backing vocals and harmonies from Neil Westfall, who also plays rhythm guitar.  It is remarkable in terms of the various sections, such as vocals, screaming, chants, drum, lead and bass guitar solos that it is composed of, that come together to create a really impressive track. A Day To Remember have also not underestimated the power of an exaggerated pause for dramatic effect, but even this, they have made their own by incorporating a cough.

      However, as the album goes on, the format of each song remains the very similar, making the blended tracks slightly repetitive, which could potentially make the listener become accustomed to the organisation of each song. Yet individually, every track is engaging, so perhaps this is just A Day To Remember portraying their concrete blend of genres. ‘Have Faith In Me’ and ‘'NJ Legion Iced Tea'  are distinct from many other songs on the album because of how tepidly they begin, providing a component of calm, with stunning vocals from McKinnon, to a record that can often be harsh on the ears. ‘Mr. Highway's Thinking About the End’ emerges with a polite guitar-driven melody with an intense interruption from drums and yet more screamo vocals, perfectly combined with a jaunty chorus and further outbursts of drumming skill. The track ends with a fadeout of, ‘Will we ever get what we deserve?’ which pieces together with ‘Have Faith In Me’.

     ‘Welcome to the Family’ encloses obvious influences from bands such as Four Years Strong and New Found Glory, one member of which produced ‘Homesick.’ A hardcore edge and the additional vocals from Vincent Bennett of the Acacia Strain (with whom they toured Australia in December 2009); provide necessary variety. The album’s title track curiously appears just over half way through the twelve track complication, but is well worth the listener’s patience. With its furious verses, followed by a tranquil and honest chorus based ‘Hey mom, I wrote you some soft songs...’. This song is perfect for single release because of its commercial uphold, despite the fact that it was controversially never officially released individually. However, it also displays the band’s excellent lyrical capabilities; to narrate inner emotions, as well as their hardcore genre, ‘I’m holding onto a fairytale.’

     The next three songs are very similar to one another, but still retain the style and format A Day To Remember have utilised admirably throughout the album. But the final track is composed of the third set of guest vocals, courtesy of VersaEmerge’s Sierra Kusterbeck, whose vocal abilities are outstanding, and also unify with McKinnon almost faultlessly. Refreshing and stunning acoustic guitar brings the album to a gentle conclusion via poignant yet comforting crowd vocals.  

     Despite several variations in their line-up, there appears to be no necessity to adapt an unusually successful mix of rock and hardcore.  Although their style is clear, A Day To Remember have clasped the generic features of pop-punk and hardcore, which not only makes the album repetitive at times, despite guest vocals, but also provides some conventionality. Gang vocals allow you to hear the band's stadium potential, with their 30 Seconds To Mars standard of band and fan unison. You'll be humming and chanting every song after just one listen. Thanks to the seamless blend of elements, every song is a killer ready to bring the house down. 

     The beauty of their wall of sound is that no one can quite place their finger on a genre. McKinnon once stated, ‘We’ve always played what we wanted to hear’, which is an adequate comment, as the band thrives on an every-growing number of fans worldwide, and are consequently, a welcomed member of the alternative family. Homesick is one of the best and most addictive albums you're ever likely to hear

5/5 

Unplugged Assignment/The Day of Silence

   Basically, one of my first assignments at uni was to pledge to go without any form of 'new media' for 24 hours, and this report gives details of the painful experience...

      Just after midnight on 19/10/2010 I wasted time in any way I could; washing my hair, reading, writing this...but my bedroom remained eerily quiet. Already, I was bored, that we are not only dependant on new media for practicalities, but also constant information and entertainment. It felt similar to using no electricity because of how careful I had to be of what I did. Even getting into bed was a challenge without the light of my phone.

     When I first woke up the next day, I automatically hit my phone alarm and looked over at my wardrobe to read the reminder I had left myself about the day.

          My morning routine varied considerably; I couldn’t blare music from my iPod speakers, or turn on the radio, or turn my phone on to check my email, twitter, facebook, blog, text messages or phone calls. Getting ready was almost normal, but slightly on the quiet side with no last minute messages from friends.

          I had planned a trip to the beach with friends from my course, who were doing the same assignment, so that we could waste the silent hours together. We made sure we organised the trip days before, so that everyone knew what time to meet each other and where without the need for mobile phones on the day.

   The hardest thing for me was not being able to use my phone, which literally has everything on it. When I got my phone a few months ago I have relayed on it for everything! Ever since moving to uni about a month ago I have literally been inseparable from it because it is how I keep in touch with my family and friends back home, as well as those who have also moved away, so I already felt quite isolated.

     I figured I must have been without new media for at least twenty four hours before, perhaps when my Blackberry was being repaired, but I realised that I had passed the time by watching T.V or listening to music instead. Or perhaps during the seven weeks I have spent over seven years at a summer camp, where I feel little need for my iPod,  but then I realised I had always read Kerrang and listen to music before sleeping.

     The walk to meet my friends seemed a lot longer and colder than usual. It felt very odd having no iPod in my ears or phone in my hand telling them how late I was. Once everyone, eventually arrived, we drove to the beach, and during the very cramped journey, I craved the radio. When we sat down in a cafe I appreciated how much I usually multitask; it was so tempting to turn my phone on and quickly check my messages.

     Being at the beach with people who were undergoing the same torture made it a great deal easier to deal with. I thought about the last Facebook status I had left and the rapid phone calls and texts warning my family and friends of my absence from new media/the world for twenty four hours.

   The second cafe we stopped at was playing music as we walked in, and I have never been happier to hear the Beach Boys! During the walk I appreciated the scenery and...learnt how to skim a rock! Generally, this assignment strongly reminded me of my ‘holiday’ in Cornwall during the summer, but even then I had use of my phone and iPod.

   When I got home from the beach I became conscious of how quiet the house was without music, so to pass the time I ate. I’ve never claimed to be a great cook, but I can honestly say I have never cooked out of boredom...or done the washing for that matter! It was even an odd experience to do those things without looking at my blackberry or bringing my iPod speakers with me.

     After arriving home around 5pm and eating, I realised how tired I was.  I ended up sleeping until 10. When I woke up I could hear my housemate watching T.V.    

     I squandered the remaining hours by tidying my room, doing some more washing, and really taking my time getting ready for uni. I then got ready for bed and read downstairs for almost an hour (shock horror). I could hear cars passing, people walking past, my housemate’s T.V buzzing from upstairs, the clock ticking ever so slowly.

    When the clock hit midnight the first thing I did was go on twitter and Facebook and upload the pictures from the day, as well as check my phone messages. I know I like everything to be accessible which is certainly something new media provides me with.

    But all in all, I felt as if I could have (hypothetically) coped without new media for another day, which made me realise that I found the assignment easier than I first presumed. But it really struck me that my days are not just influenced by the media, but overbearingly controlled by it because of how much I relay on it and technology, which go hand in hand.

             I now know for myself that we use the media, especially the internet, in surplus and thrive on it daily for gaining and sharing information instantly, staying in touch and entertainment. I also know that if I had never been bought a Blackberry that I would be blissfully unaware of what I was missing and I considered that perhaps those who are isolated from the media constantly, are unaware of the media they are missing out on.  

The bolded sentence in the first paragraph was stolen from me xD
http://www.independent.co.uk/life-style/health-and-families/students-brave-24hour-technology-fast-2117482.html

You Me At Six - Hold Me Down (11/01/2010 Virgin Records)

    

     You Me At Six, a five-piece pop-punk band from Weybridge, England, manage to exceed expectations through this second studio album ‘Hold Me Down.’ Although some have labelled their debut ‘Take off Your Colours’ as simply another demo, I personally found it incredible. There has been a slight change in the band’s overall sound for this album, owing to their extreme success over the past few years.  Countless sell-out shows, matched with thousands of loyal fans have created a more mature, skilful band. This collection of twelve tracks truly reflects the band’s growth and adaptation, both as individual musicians and collectively.

 

     This is You Me At Six’s first major label debut, and expectations were high, yet as the band have progressed into more mainstream,  melodic musicians, their general success has been flourishing indefinitely. No doubt, supporting the likes of Fall Out Boy and Paramore on tour has assisted them in clambering further up the often generic pop-punk ladder.

    Polished, well-produced and punchy, ‘Hold Me Down’, begins with surround-sound police sirens and develops into a full- blown reverberation, immediately portraying that You Me At Six have discovered more of an individual sound.   ‘Underdog’, which was independently released as a single in February this year, bestows an apathetic judgement on a non-specified negative occurrence ‘...just look at the mess you made...’ , which allows listeners to affix the sentiment of the song to their personal familiarities . Despite the constant inclusion of idioms, for instance, ‘revenge loves company, three makes it a crowd...’ the song remains both catchy and engaging. Although, as typical of all pop-punk bands, the overriding topic of lyrics appears to be failing relationships, in which girls are either wholly impossibly unattainable, untrustworthy, or malicious creatures, denoted by lyrics such as ‘...Safer to hate her/than love her and lose her...’, extracted from fifth track ‘Safer To Hate Her.’ This is, no doubt, influenced by their own experiences.

        You Me At Six cannot be criticised for being generic, because although very American-influenced, the boys provide character to each track, which is encouraged by the album being entirely written by the band members themselves.  It is fair to say, this second album is somewhat darker, mainly in lyrical approach, than their previous work, but this makes certain that ‘Hold Me Down’ is set apart from You Me At Six’s debut ‘Take Off Your Colours’. Lead vocalist Josh Franceschi is a brilliant lyricist; his rare ability of expressing his emotions in an honest, witty and occasionally tongue-in-cheek form.  Jaunty tracks such as ‘Contagious Chemistry’ and ‘There’s No Such Thing...’ evoke typical teenage reactions to disloyalty ‘dearest enemy...’ whereas  penultimate track ‘Trophy Eyes’ intensifies the album’s personal quality, sparking many a music fan into realising people experience similar struggles to one another ‘...Shine so bright, behind those lies...’ Something this album incorporates in abundance
is the unbeatable element of honesty found in You Me At Six's lyrics. 

          Bulky riffs and chanty choruses make up the majority of the CD, which is deliberately blended in with more gentle, melodramatic ballads such as track 4, ‘Stay With Me’ and the final track ‘Fireworks’, which both brings a breathtaking components to the album. ‘Fireworks’ conveys emotional and sincere lyrics broadcast beautifully by the awesome vocal capabilities of the band’s frontman, twenty year old Franceschi. The track also provides a soft and steady finale, including lyrics with which any living teenager can utterly associate with, ‘’Cause I don’t know who I am...’ , terminating  an often stunningly-deafening sequence of tracks.

     Overall, the album appears carefully constructed, yet harsh criticisms constantly remain likely. As more alternative and indie music reaches the peaks of pop charts, there is, therefore, an improved likelihood of a band like You Me At Six gaining the success they deserve for their solid graft. Yet to become both accepted and unique, remains a continual challenge that so far, the band have administered admirably.

5/5

    So I've just started studying English at Bournemouth University, which going pretty well so far. I moved out of my home in London almost a month ago and now live in Bournemouth itself. Moving out for the first time, and almost starting your life all over again in a new place with new people can be daunting at the best of times, but settling in has actually been easier than I first thought.

     Basically, I'll be using this blog to write gig, album and possibly film reviews, as well as a copy of anything I write for the uni magazine or newspaper. The only thing I'm good at is writing, and the only things I'm incredibly passionate about are film and music (and Ewan McGregor, but let's not got there!),  so I know my fate lies somewhere within the three.


     I had a mini crisis just before moving to uni, because I realised I didn't want to write formal or factual journalism, but after talking things through with my mum I understood that I simply need to do what I love, which is what I intend to do after my degree (if I pass it, that is!) and practice before I finish my degree.


    :)