View the PDF - SoundExchange

February 19, 2014
Vol 2 Issue 3
IN THIS ISSUE
BLASTING INTO 2014 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
SOONER IS BETTER: SOUNDEXCHANGE
MOVES TO MONTHLY PAYMENT SCHEDULE . . . . . . . . . . . . 4
RESOLVE TO RESPECT ALL MUSIC . . . . . . . . . . . . . . . . . . . . . 5
THE STATUTORY LICENSE:
2014 TIPS AND REMINDERS . . . . . . . . . . . . . . . . . . . . . . . . . . 7
JUNIOR’S MUST HAVE GEAR:
A DIFFERENT KIND OF AXE FOR THE WINTER . . . . . . . . . . . 9
MUSIC APPS FOR MUSIC LOVERS: PART 2! . . . . . . . . . . . . . 12
NICE TO MEET YOU: 2013 CONFERENCE
RECAP AND LOOK AHEAD TO 2014 . . . . . . . . . . . . . . . . . . . . 16
BACKSTAGE WITH AIR TRAFFIC CONTROLLER . . . . . . . . . . 18
SOUNDTRACK REWIND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Follow us.
Like us.
Watch us.
UPCOMING EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
www.soundexchange.com
BLASTING INTO 2014
2013 was an exceptional year for digital music streaming, and SoundExchange
once again set quarterly and year-end records, including distributing $590
million to recording artists and record labels in 2013. But with all the success, the
organization isn’t slowing down as this year gets under way.
Already this year, SoundExchange is bolstering efforts towards better serving the
industry and supporting the long-term value of music.
• First, SoundExchange became the only sound recording performance rights
organization (PRO) in the world to provide monthly payments for artists and
labels. In fact, most sound recording PROs around the globe only offer annual
or semi-annual payments. SoundExchange is already hearing from industry
colleagues throughout the music industry who are expressing their widespread
support for the initiative. The announcement was also positively covered
throughout the media.
• Second, SoundExchange extended the contract of President and CEO Michael
2
Huppe through 2018. The SoundExchange Board expressed total confidence
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
in Michael’s ability to lead the organization, which sits at the forefront and is
responsible for 45 percent of worldwide streaming music industry’s revenues
(as of 2012).
And That’s Just the Beginning.
Later this year, SoundExchange will roll out additional services for the artists and
labels it serves including an online portal to check account and payment status,
new and exclusive benefits just for SoundExchange members, and different ways
to leverage and connect to the SoundExchange repertoire database.
SoundExchange will also have an expanded presence on Capitol Hill (after the
addition of a dedicated vice president of Global Public Policy in 2013). The
organization, as always, will continue to promote performance rights, including
but not limited to a renewed focus on the need for a Performance Rights Act.
AM/FM radio stations are not required to pay record companies for the use
of their sound recordings — an unfair situation that sets the U.S. as an outlier
among all other industrialized nation. This remains one of the fundamental
disparities in the music business today. There will also be an extensive focus on
the copyright review process now in progress. SoundExchange plans to actively
participate in hearings before Congress and rate setting proceedings before the
Copyright Royalty Board. The organization will always continue to push hard for
fair rates for artists and labels across all platforms.
The music industry has been, is and will likely always be a daily roller coaster of
complexity and change. But at the end of the day, SoundExchange is ready to
tackle these complexities and protect your interests in order to make it a smooth
3
ride for you. Here’s to 2014 and the exciting year ahead!
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
SOONER IS BETTER: SOUNDEXCHANGE
MOVES TO MONTHLY PAYMENT SCHEDULE
Let’s face it. No one likes to wait. Recognizing that sooner really is better,
SoundExchange is pleased to announce it has begun offering monthly royalty
payments to those artists and labels that are signed up to receive electronic
payments. This new initiative kicked off in January 2014. Previously, the
organization distributed royalties quarterly.
Initially, monthly royalty payments will be sent to those that are signed up to
receive electronic payments, and have royalties due of at least $250. Artists and
labels that do not meet this minimum threshold will continue to be paid on a
regular, quarterly schedule under the organization’s existing guidelines. After the
initial roll out period, SoundExchange will re-evaluate eligibility qualifications for
the monthly payment program.
4
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
“SoundExchange takes great care to ensure artists and labels are paid accurately
and efficiently for their creations,” said Jonathan Bender, Chief Operating Officer.
“After thoughtful consideration and discussions with the creators we serve,
we’ve decided to offer our registrants monthly payments. We’re excited to make
royalties available sooner, so creators can focus on making the music we all love.”
SoundExchange is the first sound recording rights organization in the world to
offer monthly distributions. Most sound recording performance organizations in
other countries pay only annually or bi-annually.
Have questions? The SoundExchange team is happy to provide you with any
information regarding this new change. Please contact SoundExchange at
accounts@soundexchange.com or speak to a SoundExchange Representative at
1-800-961-2091.
RESOLVE TO RESPECT ALL MUSIC
In December 2013, John Conyers (D-MI), ranking minority member on the
House Judiciary Committee, wrote an op-ed in USA TODAY about pre-1972
copyright laws and the way in which some digital radio services interpret
the law. As a result of their interpretation of the law, hundreds of artists
with sound recordings made prior to February 1972 are not paid for their
creations – simply because of the date their sound recordings were made.
SoundExchange is asking that digital radio make a firm resolution in 2014:
pledge to treat all musicians equally.
5
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
Some digital radio services believe that if a recording was made in 1971, the
recording artist isn’t entitled to compensation. If recorded after 1972, the artist is
paid. It’s a matter of simple fairness and uniform treatment of all sound recordings.
SoundExchange is committed to working on behalf of pre-1972 rights owners
to ensure they, like post-1972 artists, receive compensation for their sound
recordings. SoundExchange advocates for all artists whether they recorded
in 2009 or 1969. The organization strongly believes in the value of music and
that all artists, regardless of the date they produced their recording, should be
compensated for their work.
More information regarding this issue, along with industry lawsuits relating
to this issue, can be found on the SoundExchange website here. And click
the image below to hear SoundExchange President and CEO Michael Huppe
discussing the issue (among other important issues facing the digital music
industry today) on Bloomberg TV.
Stay tuned and follow
@soundexchange and
@musicFIRST for the
latest news.
6
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
THE STATUTORY LICENSE:
2014 TIPS AND REMINDERS
If you’re a service provider and you’re not sure how to comply with the
statutory license, please contact the Licensee Relations department at
licenseerelations@soundexchange.com or speak to a SoundExchange
Representative at 202-559-0555. SoundExchange is happy to answer
questions about the statutory license anytime.
Below are tips to help digital music services fulfill their responsibilities quickly
and accurately.
Statements of Account and Payments
uWhen you submit a payment, it should always be accompanied by a statement
of account form.
uHand-sign your statement of account forms before you send them to
SoundExchange.
uKnow the deadlines for submitting forms and payments. For commercial
services, monthly royalty payments and monthly statement of account forms
are generally due 45 days after the end of each month.
Reports of Use
uReports of use and statements of account are different. Statements of account
show the amount of the royalty payment due, telling us how much money a
service is submitting. Reports of use (i.e. logs) identify the sound recordings
that a service performs during the reporting period and the size of the
listenership for each track (telling SoundExchange how to distribute that
7
money to the artists and copyright owners).
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
uKnow the deadlines for submitting reports of use. For most commercial
services, reports of use are generally due 45 days after the end of each month.
uStreaming providers that facilitate the streams for Internet radio stations can
often help you produce your reports of use.
uYou can also use the templates for reports of use that the organization
provides on the SoundExchange website at the Reporting Requirements page.
uIf your service operates multiple stations or channels and you report them
on a single statement of account, please submit a single report of use. Keep a
1-to-1 relationship between statements of account and reports of use.
uMonthly reports of use should include a complete census of all tracks
streamed during that month (NOT a two-week sample).
General Reminders
uIf you’re streaming and paying royalties to ASCAP, BMI and SESAC, you
probably still need to pay royalties to SoundExchange. ASCAP, BMI and SESAC
collect royalties for the performance of the musical work, but you still need
a separate license to perform the sound recording. If you don’t have direct
licenses for the sound recording and instead rely on the statutory license, then
don’t forget to pay your royalties to SoundExchange.
uMake sure you’ve filed a Notice of Use with the U.S. Copyright Office. You only
need to file this form once when you begin streaming. The Notice of Use form
is available by clicking here. Be sure to send the form to the Copyright Office
(not SoundExchange) with the $25 filing fee.
uSoundExchange does not invoice. It’s up to you to remember to submit your
payments, statements of account and reports of use on time, every time.
8
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
JUNIOR’S MUST HAVE GEAR: A DIFFERENT
KIND OF AXE FOR THE WINTER
Martin OM-28 Marquis Acoustic Guitar
“Gear” last visited acoustic guitars in 2012 with the Martin D-28. It was mentioned
that Johnny Cash played a number of Martin guitars, including the D-28, which
he claimed, perhaps erroneously, to have played on his first album. Daughter
Rosanne Cash is also a member of the Martin guitar family, with her custom OM-28
Marquis, which may be heard on her new album The River & the Thread on Blue
Note Records coming out on January 14. Only 100 of this monster dreadnought
were made, so buyers not needing “CASH” on the fingerboard will have better
luck seeking out the more affordable Marquis model, upon which Rosanne’s axe
is based. The two editions share very retro, virtually identical features, save for
mostly cosmetic changes. The Marquis’s basic appointments refer to Martin’s
“Golden Era” between 1930 and 1940, while the limited edition contains such
modern features as Madagascar rosewood for the back and sides. Cash’s special
edition has a low profile neck, while the Marquis sports a modified V, which
naturally, depends on the player’s grip preferences.
The most substantive distinction between the Marquis and Ms. Cash’s custom job
is the bridge string spacing, which is 2-1/4”, compared to the 2-3/8” on the M. The
slightly narrower spacing seems to accommodate both flatpicking and finger styles
comfortably, where the wider spacing of the M’s vintage styling tends to be favored
predominantly by finger-pickers in need of some extra wiggle-room. But all told,
these are superb guitars for the working singer-songwriter searching for a big sound.
http://www.musiciansfriend.com/guitars/martin-limited-edition-om-28m-
9
rosanne-cash-acoustic-guitar-with-case
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
Fender Mustang Electric Guitar
Indie rock artists and their punk brothers and sisters might want to have a look
at the occasionally trendy Fender Mustang electric guitar. The original models
were first introduced in 1964 as a serious student instrument, transitional into
the professional Strats and Teles. It was distinguished from other student guitars
at the time by its tremolo arm and vibrato system, which not surprisingly, had
finicky intonation. The guitar’s array of switches allows for a number of tonal
possibilities.
This short-ish scale guitar proved popular with indie bands in the ‘80s and
early ‘90s, and notably with grungy bands, which led Fender to reissue the axe
in 1990. Theresa Wayman of the post-punk band Warpaint favors the vintage
’64 or ’65 models, which you can expect to hear on the band’s new self-titled
album on Rough Trade Records on January 21. You can also check out Warpaint’s
earlier releases, where Ms. Wayman used her Mustang to weave prominent,
melancholy tones.
http://www.fender.com/guitars/mustang/
10
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
Fender Jaguar Electric Guitar
Speaking of Warpaint and their January 21, 2014 release, the band’s guitarist and
vocalist Emily Kokal likes to wield the Fender Jaguar in tandem with colleague
Theresa Wayman’s Mustang. The Jaguar was first minted in 1962, based on
the earlier Jazzmaster. The Jaguar has a similar offset body style as the earlier
Jazzmaster, and the later Mustang, but was loaded with switches, enabling the
player to achieve even more tones through the instrument’s dual-circuitry. Her
‘60s vintage guitar was a gift from former collaborator John Frusciante, and is her
go-to for both studio and live gigs. While not as prominent as Theresa Wayman’s
guitar parts, the contrast of the instruments’ distinct tones contributes effectively
to the band’s sonic palette. The Jaguar itself found similar popularity among punk
rockers, similar to the Mustang, and modern reissues beginning in 1999 include
signature artist editions, based on the classic models, for Jag enthusiasts such as
Johnny Marr and Kurt Cobain.
http://www.fender.com/guitars/jaguar/
11
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
MUSIC APPS FOR MUSIC LOVERS: PART 2!
Back by popular demand, SoundByte is sharing more innovative apps to give
readers an edge when it comes to upcoming concerts, song recognition tools,
and more! Without further delay, here are for the latest iPhone, Android and
tablet apps to join the mix:
MTV Artists (FREE)
Users can connect with artists by way of in-depth profiles containing things such
as photo galleries, videos and upcoming tour dates. The app includes “Sound ID,”
a function that quickly identifies songs—similar to Shazam.
The Good: MTV Artists include a vast collection of band photos and artists in
concert. Music videos lovers have access to thousands of videos, along with MP3
tracks, artist bios, search lyrics, learn what new artists are trending, and find out
what are the most popular songs in under a minute. Users can also connect with
artists’ Facebook and Twitter pages, view tour dates and purchase concert tickets
from within the app.
The Bad: Currently, MTV Artists is only available for iOS (iPhone-optimized), but
an Android version is in the works and set to come sometime in 2014. (Though
the app is much cooler, for those confined to their desks, MTV Artists can also be
accessed on a PC.)
12
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
Groove (FREE)
Groove allows users to discover and create their own playlists. The app studies
the listener’s habits and creates a sampling of similar mixes based off of the
preferences of the user.
The Good: The app syncs into users’ iTunes collections to quickly create unique
playlists and instant mixes. Groove’s unique algorithm is designed to remember
your likes and dislikes to create a personalized listening experience. Groove’s
interface is aesthetically pleasing, features high-res photos and is easy to
navigate.
The Bad: This app is only available for iPhones and iPad.
Soundwave (FREE)
Soundwave is all about discovering music what your friends, family members and
celebrities are listening to all around the world. The beauty of Soundwave is its
ability to pinpoint the exact geographic location of other listeners by allowing the
user to drop a “pin” similar to Google maps. The pin then lets users see what
music app users in other locations are listening to.
The Good: Most music lovers stream via apps like Pandora, Spotify, Rdio, etc. on
their laptops, iPads or iPhones. Soundwave uniquely syncs songs played on your
streaming devices into your Soundwave profile. Soundwave is available for both
Android and iPhone. Soundwave was voted Best of 2013 app according to the
Apple app store.
13
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
The Bad: At times, there are not enough people using the app to pinpoint anyone
around listening to similar music. The app could also use a Twitter sharing
function.
Figure ($0.99)
Figure is a fun music-making app lets users make songs with drums, bass and
lead synth. By gliding or tapping your finger across the screen you can hear the
bass line play and you can easily set the rhythm and play with drums at the tip of
your fingers. This app reminded me of Garage Band for Macs, but is not quite as
sophisticated.
The Good: This app is fun and easy to use for those interested in making music.
The rhythm wheels does have preset patterns and beats to help warm up
beginners and also spark inspiration. The range wheel helps you select how wide
your notes span. Once you have a track down you can email it to other users for
them to remix, rework, and share feedback. And with export feature, you can
export your music as an audio file to keep working on it elsewhere.
The Bad: Make sure to have the latest operating system on your iPhone. If you
update your phone after creating tracks you will lose your musical masterpieces.
Qello (FREE and Subscription based)
The lovely folks at Qello gave SoundExchange complimentary access to review
the subscription based version of Qello which provides a truly unique, audio
visual music experience. If you’ve never heard of Qello you’re sure to be addicted
to it once you give it a try. Qello streams on-demand, full-length, high definition
14
(HD) concert films and music documentaries. Users can find concerts dating back
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
to the 60’s up to present day, artists such as Elvis to Florence and the Machine,
Bob Dylan to The Airborne Toxic Event, The Doors to Pet Shop Boys. Qello says,
“And for the music fans that love to know the history of the music, there is a host
of award-winning music documentaries as well as the classic album series, which
reveal the stories behind the making of legendary albums.”
The Good: For just $4.99/month, the All Access subscriber’s gain access to the
entire video vault to watch anytime, anywhere. The same account gets you
access on all your devices. Qello also allows users to jump immediately to the
song they want to hear within the concert without fiddling with a time scroll at
the bottom of the video. The HD quality is fantastic and really brings the viewing
experience to life. The app is downloadable for iPhone, Androids, PlayStation,
Sony TV and Smart TVs, and tablets.
The Bad: Searches for R&B singer Frank Ocean turned up no results. Also a
search for concerts from British rock band Coldplay turned up only one result
from 2003 despite the fact that Coldplay has toured many times (most recently
in 2012 for their latest album Mylo Xyloto). Last, there is a lack of indie and up
and coming artists in Qello’s library. But all-in-all the good definitely outweighs
the bad when it comes to Qello. Though there were a few acts I couldn’t find, I
did gain access to thousands of acts I would have never had the opportunity to
enjoy, including Ray Charles, Blondie, Velvet Revolver, Culture Club, The Grateful
Dead, Eric Clapton, The Who, Ben Harper, George Jones, Foo Fighters, and The
Pretenders.
15
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
NICE TO MEET YOU: 2013 CONFERENCE
RECAP AND LOOK AHEAD TO 2014
Throughout 2013, SoundExchange invested in time on the road, awareness and
education and building valuable relationships, which are essential in the music
industry. SoundExchange representatives attended various conferences and
events to educate attendees and meet with individuals about digital royalties,
ongoing advocacy efforts and the future of the music industry. The following is a
recap of just a few of the planned (and chance) encounters:
In March 2013 SoundExchange staff met up DOVE award-winning hip-hop artist
Lecrae at the annual South by Southwest (SXSW). Arguably one of the largest
music industry events of the year, SoundExchange was fortunate to spend an
evening with Lecrae and learn more about the issues that are important to him.
But time wasn’t entirely spent hobnobbing with artists. While in Austin,
SoundExchange also participated on four panels and discussed topics such as
revenue streams, performance royalties and copyright battles.
16
Mike Huppe on a panel at SXSW 2013
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
The ASCAP “I Create Music” Expo in Los Angeles this past April 2013 gave
SoundExchange the opportunity to explain the basics of how streaming royalties
are maximized in a SoundExchange 101 panel and with information at the
SoundExchange booth. Supporting indie, unsigned and emerging artists is just as
important to SoundExchange as supporting major artists.
New York was home to New Music Seminar 2013 featuring the SoundExchange
Digital Broadcasting Summit and was yet another opportunity to connect with
artists and increase awareness of the latest changes in the realm of digital
streaming and copyright law. For SoundExchange’s part, the three day conference
featured a keynote speech from SoundExchange President and CEO Michael
Huppe, a SoundExchange digital radio workshop for artists and record labels, and
a SoundExchange workshop for service providers.
Fighting for artist
and label rights is
at the heart of what
we do, but service
providers are certainly
SoundExchange’s
biggest partners.
Fighting for artist and label rights is at the heart of what SoundExchange
does, but service providers are certainly SoundExchange’s biggest partners.
Collaborating with service providers helps SoundExchange all when it comes to
receiving better data and distributing more royalties to artists.
The Technology and Entertainment Convergence Conference in San Francisco
in mid-September was an excellent venue to focus on service providers. The
SoundExchange panel on music licensing was largely attended and offered
valuable face time with the people behind the station call letters.
SoundExchange closed out the year by attending CMJ 2013 and the National
Student Electronic Media Convention. CMJ 2013 gave SoundExchange a platform
17
to host four sessions, and up and coming artists gained valuable knowledge
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
about royalties in the digital age of radio. The National Student Electronic Media
Convention allowed SoundExchange to connect with the next generation of
service providers and industry professionals.
Stay tuned to the SoundExchange events page for where the organization will be
in 2014! See you on the road!
BACKSTAGE WITH AIR TRAFFIC
CONTROLLER
If you hear “air traffic controller” and think “air travel,” you wouldn’t be alone.
But head up to Boston, and you will find a different “Air Traffic Controller,” a band
founded by singer-songwriter and former U.S. Navy servicemen Dave Munro,
that is taking flight – and fast.
18
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
Air Traffic Controller (ATC) is made up of Munro, his brother Richie (drums), Steve
Scott (lead guitar, keys and more) and Casey Sullivan (bass guitar and singer). The
group hails from Boston and both Steve and Casey (the non-siblings of the group)
met Dave in and around the city. The group formed around the making of the
band’s first album following a DIY studio built by the Munro brothers.
The group released their first album, The One, in 2009. In 2011, the band was
ready to release their second album and turned to Kickstarter to raise the money.
After a successful campaign, the band released NORDO, a self-described “allAmerican indie pop” record.
Several band members gathered to chat about their musical influences, the
current state of the music industry and what’s ahead after winning the New
Music Seminar’s 2013 “Artist on the Verge” Award in June 2013.
SoundByte: Does the band have any musical inspirations? Are there any
musicians in particular that influenced individual members of the band?
Dave Munro: I was mostly inspired by The Beatles. Paul Simon and Tom Petty
were very influential as well.
Steve Scott: The Police and XTC have always been way up on my list of favorite
bands. The eclectic “come as you are” approach to presenting a song is definitely
part of what ATC strives for. When I’m wearing my string/winds arranger hat
for ATC I feel like the folk song arranging that Vaughan Williams and Holst did
continues to find its way into my writing.
19
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
Casey Sullivan: I grew up listening to The Beatles, Van Morrison, The Doors and
The Talking Heads. That was all my parents’ favorite music and it became mine
too. I also had a massive phase in my younger years where I listened to nothing
but Fleetwood Mac. I love Stevie Nicks.
SB: How are you responding to the shift in the music industry from a sales
driven model to a streaming model? Are CD sales, downloads, merchandise
and touring still important revenue sources for the band?
DM: Every penny adds up for us, I’m sure that goes for most indies. At the
moment, music licensing seems to be our strongest income contributor, which
is amazing, but I hope for things to shift as we continue getting the music out
there. We want people to own our albums, in any form, and really know our
band. Even if CD sales and touring amounted to very little, they would always still
be very important revenue sources because they would be the most meaningful
connection with an audience.
SB: What was the process like using Kickstarter to fund the band’s second
album? Do you see organizations like Kickstarter and PledgeMusic as vital to
the future of the music industry in the current DIY culture?
DM: The Kickstarter campaign for our album NORDO was one of the most
stressful yet exciting experiences I’ve ever had. We were ready to make this
record, but I honestly had no idea how we were going to afford it. I cried like a
baby the moment we blew past our goal in the first 12 hours. The response from
our wonderful fans made me believe even more in what we were doing. I knew
they liked us, but I was amazed at how much they were anticipating this album.
20
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
I do see Kickstarter and Pledge being vital to up and coming acts forever into the
future of music. I also see it as an awesome alternative for established artists to
connect with fans and have more meaningful, as well as financial, success.
SS: We could never have made NORDO were it not for Kickstarter. It gave us
direct contact with our fans while also providing a credible platform they knew
they could trust. It was a really validating feeling to have met our funding goal in
the first day — and then to eventually triple our goal. I think it sent a mandate to
the band that we really needed to make a special record.
SB: How important are revenue streams from organizations like
SoundExchange? Do you find it helpful to have a “one stop shop” for all
performance royalties from the 2,000+ digital radio services streaming music?
DM: I need to repeat here, every penny counts, and from what we’re
experiencing with SoundExchange, they certainly do add up. [Digital royalties]
are a source of income that, for some artists, are often taken for granted, and
uncollected. Easy registration, direct deposit, collecting from everyone; it’s a no
brainer. These organizations are so important as they monitor what is happening
out there in the world (wide web) with an artist’s songs. This kind of monitoring
and collecting isn’t something you can just do on your own.
SS: Without a doubt. Since so many bands like us are operating on a DIY level,
we could never track down all of the various bits of royalties that are owed to us,
and every bit counts when you’re a growing band. SoundExchange is a big help in
getting that all organized for us.
21
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
SB: What is the biggest struggle the band faces trying to navigate through the
industry?
DM: Even with all of today’s technology, and an award-winning album, with
award-winning songs, it’s still evident that the main ingredient for truly “breaking
through” in this industry is ... “Luck.” We’re doing everything we can to increase
our odds, and although I’m having the most fun I’ve had in my whole life, it is still
a struggle.
SS: The industry today couldn’t be more different than it was when we were kids
reading about that band that made it big signing a huge record deal. There aren’t
a lot of “golden tickets” anymore. We’re tap dancing our way through learning
the new landscape that exists today and I imagine we are (like most other bands)
finding our own path to bring our music to wider audience. If anything, I’d say
the struggle is in reminding ourselves regularly that there is no single set path for
bands today.
SB: What was it like winning New Music Seminar’s “Artist on the Verge” award?
DM: Winning that big beautiful award was one of the most gratifying experiences
of my life. That same day, we won the Independent Music Award for best “Indie
Alternative Song of the Year,” so I was already on Cloud Nine. It was a proud day
for ATC, and we couldn’t be more thankful to New Music Seminar (NMS) and all
the sponsors for the honor.
SS: It was a huge honor to be selected by such a prestigious panel of judges.
Obviously there were a bunch of other bands that we really admire that could
have equally been selected, so we’re really humbled by this.
22
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
CS: It was really amazing. I don’t think any of us got to NMS with the mindset
that we were going to win anything. We were just so excited to be there. Then
when we heard that we won, it was like an enormous bonus to an already
amazing experience.
SB: Is there anything new on the horizon for the band?
DM: Winning the awards was a clear sign that more people need to hear this
record. So, although we are continuing to write and record, we are still focused
on bringing the joy of NORDO as far as we can reach.
For more on the band, sign up for their monthly newsletter on their website.
23
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
SOUNDTRACK REWIND
Robert Glasper Experiment: Black Radio 2
Released: Oct 29, 2013, Blue Note Records
Jazz will always cater to a certain audience, many of whom
do not believe that sweeping changes to its composition are
necessary to its future success. Consequently, that fan base
is slowly diminishing as this generation casts jazz into the
shadows.
Upon releasing his 2012 Grammy award-winning R&B album
Black Radio, Robert Glasper made an astute observation —
“Jazz isn’t dying — it’s changing. And what’s emerging is
ruthlessly exciting and eclectic.” Robert Glasper makes a
good point. A little ruthlessness is exactly what jazz needs.
Robert Glasper Experiment’s 2013 album, Black Radio 2, is
a marvelous follow up, but in no way a duplicate, of Black
Radio. It is, in fact, an experiment — a collaboration of
multiple independent variables attempting to achieve a
positive result. With an all-star squad of vocalists, including
Common, Patrick Stump, Jill Scott, Marsha Ambrosius, Black
Radio 2 establishes itself as a bubbling concoction of jazz,
hip-hop, R&B, and rock.
24
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
In the heat of the mix, all of these musical elements are forced to sacrifice a
bit of their original structure. Their greatest discernible components, however,
continuously complement each other, thereby proving that these genres truly
need each other to achieve a higher potency.
Glasper’s quartet remains the control group, a musical guarantee for jazz
enthusiasts and an unwavering backdrop to each track. Black Radio 2 is far more
song-centric, which is inevitable considering its myriad of talented vocalists.
Each track highlights the vocalist’s greatest attributes — Common’s introspection
in “I Stand Alone,” Jill Scott’s poise in “Calls,” and Marsha Ambrosius’s seduction
in “Trust”— to name a few.
Black Radio 2 is the result of some beautifully ruthless chemistry. The Robert
Glasper Experience has staked its place on the forefront of Jazz’s resurgence, and
Robert Glasper takes no mercy as this generation’s harmoniously mad scientist.
25
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com
UPCOMING EVENTS
DEW Conference
Los Angeles, CA
February 18–20
SXSW 2014
Austin, TX
March 9–14
26
February 19, 2014
Vol 2 Issue 3
www.soundexchange.com