Tag Archives: Black Veil Brides

A to Z of Making It, Alternate Reality, Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Chaos + Disruption = The Music Business

It’s a chaotic and disruptive time in the music business and with chaos comes opportunity.

On one side you have COPYRIGHT. And that can be broken down into a lot of other little chaotic categories like infringement, the length of copyright terms, copyright monopolies, the lack of works entering the public domain and so on.

The public domain is culture. Keith Richards once said, ‘you can’t copyright the blues.’

Culture is built and expanded by sharing stories and building on the works of others. Led Zeppelin, The Beatles, The Rolling Stones and all of the sixties greats like Hendrix, Clapton and Beck used this concept. They built off the blues.

However copyright law and its real purpose got hijacked by corporations and everything changed. Instead of culture being built up in the works that the public creates and shares, the public is now faced with copyright corporations locking away works that should be in the public domain by now. These works that should be in the public domain do not benefit the original creators in any way, however they are beneficial for the few copyright monopoly gatekeepers.

For culture to thrive once again, it is important to respect the public domain.

Then on another side of the music business you have the RIAA who continually push lies out into the world, so that technology companies can do something to protect crap business models. Did you know that the global music industry sent it’s 100 million takedown notice to Google, to remove search links to certain sites. It looks like the RIAA doesn’t get it.

So if a person types in “free mp3” in Google Search what should Google return?

Sites that have free mp3’s or sites that the RIAA want Google to point to when that term is typed in. Maybe when that person types in free mp3, they want a free mp3 and have no interest in paying.

Then you have the ISP’s on another side that are caught up in the middle of all this as they offer the service that provides internet access to users. According to the RIAA and the record labels, the ISP’s allow “copyright infringement” to happen, therefore, they need to do something about it to help out the music industry. In Australia, this is heavily disputed, however in other parts of the world gradual response schemes are in place.

Then you have the technology companies trying to offer low cost services to fans of music. However, low cost to a fan means high costs to the RIAA and the record labels in licensing fees. This is before the new service is even allowed to trade. If the new service starts to trade without licensing in place, expect them to be litigated into submission.

Have you noticed that artists have not been mentioned anywhere as yet. That is how far the music business has come, where the actual music is only a small part of it, however it should be the major part of it. For the business to thrive, you need great music.

I was looking back to some of the releases in 2013 that I liked. Two of my favourites are “Protest The Hero” and “Coheed and Cambria”.

“Protest The Hero” and “Coheed and Cambria” are working to the “Keep your fan base close” mantra. Both of the bands moved from major labels into a DIY independent mindset, realising that their fans are king.

Exceptional fan service is the key driving force behind a bands success. I expect “Coheed and Cambria” will get a lot more fans purchasing the next super deluxe package for the new album because they did such a great job with “The Afterman” releases.

“Protest The Hero” on the other hand have fallen into the fan funded conundrum where the perks always arrive later than expected for international fans. I live in Australia and I am still waiting for the perks to arrive. The band have been clear with their information, advising that it will take 6 to 8 weeks.

It’s good old business 101, “treat your customers right and they’ll stay with you forever”.

Then you have bands like Five Finger Death Punch, Avenged Sevenfold, Dream Theater, Stone Sour, Killswitch Engage, Trivium, Volbeat, Alter Bridge and TesserAct that have label deals.

Should those bands go independent like Protest The Hero or Coheed and Cambria. It all depends on a person’s definition of success and hard work. Going independent means that you need to build a team around you like any business start-up.

What are the benefits of going independent?

The lesson is simple. Selling your artistic freedom and independence as a “success” strategy can bring lucrative rewards. But it’s not always the best move for your career, as you are also selling off important data to the record label. The record label doesn’t want to know your fans or connect with them. They want you to do it, so that the label can make money of that relationship and then pay you a percentage of it.

Coheed and Cambria moved over 100,000 units of their deluxe “Afterman” editions. At $60 (I think it was $68, however I will use $60 for the example) an edition, that comes to $6 million in revenue. If the band was on the label model, what percentage would the band see from that $6 million.

The music market/business is filled with acts trying to make it. It is going to take a huge effort to stand out amongst the rest. Music is a lifer game. It is a slow and steady approach that builds careers.

Artists should be looking at development. With each song release, artists should never be afraid to try things out. Even try out new technologies that make it very easy for their fans to interact with them and their music. In a company, this is called research and development. Investing in your career is never a mistake.

The artists have the power to make the record labels redundant, purely to be used as a distribution arm if needed, however with the rise of streaming technologies, even this arm can be in danger of disappearing. Bands like Coheed and Cambria, Protest The Hero and Digital Summer have seen the recorded business side of things and have decided, hey we can do it better. That’s what great businesses are made of.

So in all of this chaos, who will rise and who will fall? Time will tell, however if you compare music to technology, you will see only a select few rise to the top. Smartphones and tablets is all Apple and Samsung. Amazon has online shopping cornered. Google is the king of search. Spotify will win the streaming war. Facebook rules social media. iTunes rules the mp3 and app market. Will the same fate happen in the music business?

2019 Crystal ball predictions;

Coheed and Cambria – will get bigger and bigger. Their style is unique, so expect them to keep to that style, sort of like how AC/DC releases music in the same style or Iron Maiden.

Protest The Hero – proved to themselves that they still matter. Will get bigger and more crazier. The future of progressive metal.

Machine Head – will still be bigger then what they are. Robb Flynn understands the internet and understands the change that is coming. He will make sure that Machine Head rides the wave all the way to the shoreline, while Adam Duce circles in the undercurrent, ready to litigate the band into submission.

TesseracT – will become the next Pink Floyd.

Digital Summer – are one of the hardest working rock bands around like Twisted Sister and Dream Theater. They will get bigger as they are lifers.

Avenged Sevenfold – will become the new Metallica.

Five Finger Death Punch – I have a feeling that they will break up after one more album.

Shinedown – will be bigger than what Aerosmith ever was.

Volbeat – will remain relevant in their niche genre.

Metallica – will still be relevant in the same way the Seventies act remained relevant.

Dream Theater – will still tour and do a lot of side projects, however they will be replaced by TesseracT and Protest The Hero.

Black Veil Brides – will take over the void left by Motley Crue and Guns N Roses.

Trivium – will deliver an astounding progressive technical metal album.

Killswitch Engage – will remain relevant in their niche genre.

Alter Bridge – The world needs Led Zeppelin to continue. Expect Alter Bridge to fill this void. They have one of the best vocalists of the modern era in Myles Kennedy. Marc Tremonti is a prolific writer. Call his Creed project, “The Yardbirds” and Alter Bridge as “Led Zeppelin.”

Bullet For My Valentine – will deliver their own version of “Master Of Puppets” and “The Blackening”.

Lets see how it pans out.

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A to Z of Making It, Copyright, Music, My Stories, Piracy

What Can Lorde and Spotify Teach The Metal World? Plus The Ones That Control The Talent Will Win In The Long Run

Record labels were dependent upon record sales and when the profit margins from recorded sales shifted from high margin returns to low margin returns, they screamed piracy. To them the only way they could remain in business was to have laws passed that protected their gatekeeper based business models.

However technology and innovation is always moving forward, so while the record labels are lobbying hard for new laws, at the same time they were being pulled into the future, kicking and screaming all the way.

Spotify to me is just a legal version of Napster, that has arrived in most markets. However before Spotify was even allowed to operate in certain markets, they needed to make licensing deals with the relevant record labels and publishing groups.

Spotify came into the market with the idea that they need to compete with free. And compete they did. The service even started to break artists to the masses, something that the record labels are clueless to do in current times.

Look at Lorde.
Her song “Royals” was added to Spotify on March 19th. It did nothing.

On April 2nd the song was added to the popular Hipster International Playlist by Napster founder Sean Parker. Isn’t it amazing what a little help can do and this was achieved without any dollars going into marketing. This was purely a stakeholder of Spotify, liking a song and sharing that song with the masses.

What’s that word again? Sharing.

On April 8th “Royals” appeared on the Spotify Viral Chart. What does this mean? It means that people have started to share it.

In relation to metal, I have posted previously how Dream Theater is doing it all wrong with their album release, putting money into marketing and believing that the old school scorched earth policy would bring results. It doesn’t. Sharing is what brings results. Fans sharing your music. Hey didn’t Napster do just this. Didn’t Napster allow fans to share music.

On June 10th “Royals” started to appear on radio. Remember when radio was cutting edge and used to be hip. This is proof that radio is a format that is dead and buried. This is proof that radio is always late to the party. This is proof that radio is clueless. This is proof that radio only plays what the record labels pay them to play.

So if you are an artist and your idea is to get your song onto radio, forget it. It is pointless. It does nothing for your career today.

Go on Dream Theater’s Facebook page and they are telling fans to contact their radio stations, so that “The Enemy Within” can be added to the playlist.

To use a quote from Flying High;
“Surely you can’t be serious.”
“I am and don’t call me Shirley.”

On July 9th “Royals” debuted on the Billboard Hot 100 – three months after debuting on the Spotify Viral Chart.
See how important sales are. By July 9th, Lorde was already a super mega star. It didn’t matter if she finally made enough physical sales to enter the Billboard Hot 100. She was already a success.

This is another lesson that the metal and rock world fail to learn. They still focus on the sales in the first week and the chart position. This is so old school and not a great measuring tool of reach or success, especially for new acts starting out.

But the metal world is still clueless. This is what we get from the bands, their PR companies and the various news outlets that report on metal and rock. Here are a few examples.

Loudwire: Dream Theater’s new DVD ‘Live At Luna Park’ recently entered at No 1 on the Soundscan music DVD chart.

Loudwire: Volume 2 of Five Finger Death Punch’s ‘Wrong Side Of Heaven; lands at No. 2 on Billboard 200.

Blabbermouth: “Wretched and Divine: The Story of the Wild Ones” sold 42,000 copies in the United States in its first week of release to debut at position No. 7 on The Billboard 200 chart.

See what I mean. They are still reporting on the old system. What those websites are saying is that the first week of sales is a measure of success, which I totally disagree with. If that was the case, then the first Five Finger Death Punch album was a dud, after first week sales.

August 6 – Lorde plays her first US gig in NYC.

Slow and steady wins the race. You play where there is demand. Humanity wins out in the end. Those that can play, perform live and write their own songs will win. It’s a return to the song writer. Expect a back lash against the over processed songs written by a committee.

Forget about acts that focus on big screens and pyro technics. The people are looking for human performances. It is an escape from our increasingly digital world.

“Royals” is the most shared track in the US by a new artist this year. This is what matters. The track is SHARED. It means the fans are spreading the word, getting more people to invest time and money into you.

Spotify has finally released some information as to how they pay and it sure makes an interesting read. I have posted previously about the greed of the record labels and how that greed will ultimately kill the streaming star.

So let’s get down to the nitty-gritty. Spotify pays 70% of their revenues to rights holders. The rights holders in 90% of the cases are the record labels and publishers. The same people who lobbied hard to extend copyright terms and are lobbying hard again for longer copyright terms.

So in 2013 so far, Spotify has paid out $500 million dollars to rights holders in royalties. That’s right $500 million. When Spotify pays royalties to a rights holder they provide all the information needed to attribute royalties to each of their artists. Check out the post, it sure makes interesting reading.

http://www.spotifyartists.com/spotify-explained/

So it got me thinking about business models. It looks like to me that the new record label business model of today is to ensure that they have the talent. The one with the most talent wins.

The Record Labels are the only ones putting money out there and the rule of thumb is that if you want to dominate in the music business in the future, you have got to spend. So if record labels are spending, the talent ends up on a label.

That talent brings to the record label the following;

Any songs that BAND A writes will end up with the record label for the life of the artist plus 70 years after their death (the U.K has 90 years). So if the artist is say 30 years of age when they write HIT A, then the copyright of that song will be owned by the record label for 120 years (assuming the artist lives to 80 years of age). Talk about securing their future. Now multiply BAND A or ARTIST A by all the millions of artists who are getting into deals where they sign away their copyrights.

SECURE the most talent and be a winner in the long run.

Has anyone noticed the large push from Frontiers Records in signing up talent past and present? Has anyone noticed how they are getting the Eighties legends to re-record their classics by creating modern forgeries and in the process handing over the copyrights to Frontiers? Has anyone noticed how they are getting all of these artists together for special one-off projects like Michael Sweet from Stryper and George Lynch?

Since managers and other entities are afraid to spend on artist, the ones that do so will win. If a label is not spending money, then they are not in the game. If they are not in the game, then they do not control any talent.

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Uncategorized

The State Of Heavy Metal

There it is again. Heavy metal. It doesn’t matter how many times the labels tried to kill it, mainstream it or commercialize it, Heavy Metal has remained consistent from when it began. Whenever pop music becomes pretentious, heavy metal rises up as an alternative answer.

What does the term “heavy metal” mean?

Black Sabbath started something in 1969 in the UK. Deep Purple and Led Zeppelin started something on the hard rock front. In the U.S you had Kiss, Styx, Ted Nugent, Journey. In Australia, you had a pub rock band called AC/DC. Progressive Rock became a force to be reckoned with on the backs of Pink Floyd, ELP, Genesis and Yes.

By the mid Seventies, disco, punk and new wave became the darlings of the scene and heavy metal and all forms of rock went underground again, waiting for the day to rise again.

Then came the New Wave of British Heavy Metal between 1979 and 1983. At the same time, hard rock, glam metal and speed metal roared out of the Los Angeles and San Francisco scene. Think Motley Crue, Ratt, Metallica, Megadeth and Slayer.

When heavy metal and hard rock drops off the mainstream scene, it is never gone for long. Heavy Metal is the answer to all things corrupt. It is the soundtrack.

Typically most metal fans come from working-class homes or changed family dynamics. According to a recent study, all us metal heads must have low self-esteem, because that is why we listen to metal music.

The mainstream always ignored metal music, seeing it as too dumb. Of course, when a band breaks through, the mainstream are the first group of media outlets to jump on the wagon. Remember Metallica. Ignored by the mainstream completely. The only mainstream press they got was the sad and tragic death of Cliff Burton. Then the Black album comes out and it is undeniable. It’s a juggernaut and everyone wanted to be a part of it.

So here is the list of the current state of heavy metal.

CLASSIC EVERYTHING

Rush – enough said. Move on.

AC/DC – enough said times two.

CLASSIC METAL

Iron Maiden – they need another great album like “Brave New World” soon or they will be playing to smaller and smaller audiences with each tour.

Metallica – they need to start making better decisions and they need to release new music. Look at their decision-making process. A project with Lou Reed (RIP) that just didn’t connect with the fan bases of each party involved and an $18 million dud of a movie. In relation to new music, they can only go back to the same market place year after year before the fans get burned on it.

Megadeth – Dave Mustaine said on “The Metal Show” that his top five Megadeth albums are “Countdown To Extinction”, “Rust In Peace”, “Peace Sells”, “So Far So Good So What” and “Killing Is My Business”. He needs to have a current album in that Top 5.

Slayer – are finished in relation to new music without Jeff Hanneman. He was the main songwriter in Slayer, full stop. To hear Kerry King saying that if the Jeff Hanneman music in the archives is not good, it will be not used is a load of B.S. Who made Kerry King the gatekeeper?

Judas Priest – is not Judas Priest anymore. It’s all about the dollars.

Black Sabbath – is all about the last paycheck. Anyone remember the recent album? Name me the whole track list without Googling it. I bet if i asked you to name me the whole track list on “Paranoid” or “Heaven And Hell” I would get an answer.

Pantera – lets hope that no one is stupid enough to reform Pantera with a “guitarist” paying tribute to Dimebag. Stick to your guns Vinnie. Pantera died completely when Dimebag died.

CLASSIC ROCK

Led Zeppelin is still big business in the market place. That is what the mighty Zep has become. A Corporate entity.

Pink Floyd are on hiatus however Roger Waters is still doing the rounds. He is the real deal anyway.

Motley Crue have gone back to the same market places year after year since 2008. The fans are getting burnt on this grab for cash as no new music has been forthcoming expect for the song “Sex”. The movie and the farewell tour are constantly dropped to the public.

Deep Purple should call it a day. They are out of ideas and inspiration.

Styx, Journey, Toto and Night Ranger are shadows of their former selves, doing enough to make a living in the current music business, but out of touch of what the music business fans want from their artists today. Which is a direct line, a connection.

THRASH/GROOVE METAL

Machine Head is the leader in this group. In Robb Flynn, they have a work horse of epic proportions who has the grit to see things through.

Trivium are real contenders. Say what you will about them, one thing is clear; they are not afraid to try new shit out and take risks.

METAL (all styles)

Avenged Sevenfold and Five Finger Death Punch lead this group. They are ticking all the boxes. They have the sales on the board and both are part of the public conversation.

Bullet For My Valentine – have a great album in them. Can they write it?

Stone Sour – should have released one album instead of two.

Sevendust – I love them and the new album was a welcomed return to form.

Disturbed – The Device album had the same impact as the last Disturbed album. Do they still have a place in the Metal world?

Heartist – could be the next big thing or they could crash and burn with their next album as now they have a record label A&R department in their house.

ROCK (all styles)

Shinedown are the new ROCK GODS. Volbeat are not that far behind with Black Veil Brides and Skillet as decent contenders.

Eve To Adam – released a great rock album but no one has heard it.

Buckcherry – veterans of the scene and play to a niche.

Thirty Seconds To Mars – took too long to release a good album. If you are going to take 4 years between releases, you need to release a great album.

Airbourne – fill the AC/DC void when AC/DC is on hiatus.

Alter Bridge – are an experienced team that deliver consistently.

One Less Reason – great music, great songs however if people buy a physical product from them, they need to deliver.

10 Years – a great fan funded release in 2012. Now they need to make some hard decisions. Do they go the fan funded route again or do they seek to get a deal or something entirely different.

DO IT YOURSELF ROCK

Digital Summer – they run their band as a company that puts money back into the band and they still hold down jobs that gives them money for living.

Burnside – released a great album that no one has heard.

Vaudeville – another band that released a great album.

SUPER GROUP

The Night Flight Orchestra – If you haven’t heard “Internal Affairs” from 2012 you need to. TNFO is made up of melodic death metal bands playing classic rock and metal.

PROGRESSIVE METAL/ROCK

Tool – it’s going to be an event when the new Tool album comes out. Is it too late? Time will tell.

Coheed and Cambria – can’t do nothing wrong currently. Excellent double releases, plus great fan perks.

Dream Theater – are doing their best to maintain the success they achieved 10 years ago. Need a great album otherwise it’s bye bye.

TesseracT, Protest The Hero and Periphery are the new leaders of Progressive Music.

Today I Caught The Plague, Sound of Contact, Op Shop, Scale The Summit and Lizzard are rookies to take notice off.

METALCORE (MELODIC DEATH METAL)

Killswitch Engage are firing on all guns.

In Flames need to bring out new music.

All That Remains needs to head back to the studio.

The rest of the bands in this movement need a re-think.

SYMPHONIC METAL/ROCK

Within Temptation – enough said

DEATH METAL

Lamb of God – they are angry and they are pissed off. A bullshit murder trial and banned in a South East Asian country by ignorant pricks.

SHOCK

One final mention; “Du, Du Hast, Du Hast mish a fraud.” Rammstein has a dicka, so let’s get together, what is the problem?

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A to Z of Making It, Music, My Stories

Who Is the Real Star? The Band Name or the Personnel In The Band

There is an article doing the rounds at the Hollywood Reporter about how “The Walking Dead” is TV’s number 1 show and that the stars of the show are still largely unknown.

So it got me thinking. I was very interested to check out the show based on my love of the Horror genre. Once I checked it out, I was hooked. I didn’t start watching the show because they had certain actors in it. The only actor I was aware of was Daryl’s brother and that was from the movie Cliffhanger with Stallone and that was after watching a few episodes. So I got into the show because i was a fan of the horror genre.

However I got into “Sons Of Anarchy” because hard-core friends eventually got me to invest some time in it.

The point I am trying to make is that we get into certain TV shows, movies or artists based on a thousand different reasons. One thing is clear; we don’t get into these cultural icons because of the people in them.

For example, when Metallica started on the scene, no one was walking around saying that they got into Metallica because James Hetfield was such a cool cat or Lars Ulrich was the man. We got into Metallica for multiple reasons. For example, we were fans of the metal genre, the songs connected with us; we wanted to be part of the conversation and so on. From the outset, we become fans because of the music we hear.

That is what culture is all about. Sharing stories about the things we love.

Of course some outliers do exist and some artists have a cultural influence that transcends their music. They become institutions themselves. For example, Slash is now a cultural institution. Ozzy Osbourne is a cultural institution albeit with a lot of help from his “friends”. Nikki Sixx is a cultural institution. Robb Flynn is a cultural institution. Dee Snider is a cultural icon. These artists can all survive on their own. They are brand names themselves.

It’s taken Slash almost 14 years from when he left Gunners to re-establish and re-brand himself as a force to be reckoned with. That happened in 2010 with the release of his solo album and with a little help from his friends.

Randy Rhoads and Bob Daisley helped Ozzy Osbourne break the shackles of Black Sabbath. Jake E. Lee and Phil Soussan enhanced what Randy Rhoads and Bod Daisley created. Zakk Wylde turned it all into a blockbuster with “No More Tears” being the pinnacle.

Nikki Sixx re-invented himself and Motley Crue by first gaining control of Motley Crue’s back catalogue from Elektra Records. A task that no other artist had accomplished before. Then he pushed for the writing of “The Dirt”. Since then, he has become a solo artist with Sixx AM, a song writer for other artists, a social media junkie, a photographer, a literary writer and a radio personality.

Robb Flynn showed the world that he can survive. He really went out of his comfort zone recently and performed acoustically. He survived the “Through The Ashes of Empires” era and lived to tell the tale. Talk about Grit and Roll. It was music all the way, with no safety net. No plan B. His Journals are pure gold. Even if you don’t like Machine Head’s music, you can still appreciate the Journal Ramblings. For any artist starting off, there is information in there that is real. There is information there that is not sugar-coated by a mainstream writer.

Dee Snider, what else can be said. Read his bio.

These artists have all connected with us on different levels. They have become so large in people’s lives that they have become cultural institutions themselves. We then stick with these institutions through the good times and the bad times.

So what about all the other artists. Well for the remainder of the artists it is still about the music. They need to have the music pumping out and they need to make connections.

Dee Snider once said that there are no more rock stars in this day and age. I took that to mean, that in the internet age, there are no real recognizable faces to put to certain bands. While I agree with that comment in parts, I also disagree with it.

For example, Coheed and Cambria has Claudio Sanchez. Watch them live and you get to see the hair. Instantly recognizable.

Five Finger Death Punch has Zoltan Bathory with the dreadlocks and the UFC/mixed martial arts look. They have Ivan Moody and the Mohawk.

Shinedown has Brent Smith, who performs like an adrenaline injected Steve Tyler.

Black Veil Brides have, well they have the whole band.

Avenged Sevenfold have Eighties rock star stage names with instantly recognisable faces.

However if any of the band members in the above mentioned bands, decide to go on their own, it will be a tough slog for them as the bands they are in have all become cultural institutions. Then you have a band like Protest The Hero who look like normal guys going to University.

So going back to “The Walking Dead”. The show is the rock star. That is the cultural institution.

So for any wannabe rock stars, think about all of the above for a second. No one is going to wake up tomorrow morning and think to themselves, “damn, I want to hear some music from Zoltan Bathory, or “Insert New Artist name here””.

We wake up in the morning and think to ourselves, “damn, we want to hear some Five Finger Death Punch. We wake up and go “damn its “The Walking Dead” tonight.”

That is what a lot of misguided artists fail to grasp when they leave a certain cultural institution citing musical differences. They (meaning the person) were never the stars. The band name is the star and it always will be.

That is why Guns N Roses is still rolling along, playing to large audiences.

That is why Tommy Lee returned to Motley Crue.

That is why James Hetfield returned to Metallica after rehab. That is why Lars Ulrich never contemplated anything else except Metallica during this period.

That is why Dave Mustaine resurrected Megadeth after he disbanded the band.

That is why Dimebag didn’t want Pantera to end. He knew that Pantera was the star.

That is why David Lee Roth worked with Van Halen again. That is why Sammy Hagar wants to work with Van Halen again.

That is why Alex Skolnick returned to Testament.

That is why there is a fight over who owns the right to the Queensryche name.

That is why Benjamin Burnley went all legal for the right to use the Breaking Benjamin name.

That is why Bruce Dickinson and Adrian Smith returned to Iron Maiden.

That is why Rob Halford returned to Judas Priest.

That is why Black Sabbath reformed with three of the original members and released ’13’.

That is why bands like Ratt, Quiet Riot, Dokken, Poison and Skid Row are still continuing.

That is why Joey Belladonna returned to Anthrax and why Scott Ian is still continuing the band.

That is why Slayer is continuing without Jeff Hanneman.

To finish off with the immortal words of Ronnie James Dio “And on and on and on and on it goes….”

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A to Z of Making It, Derivative Works, Music, My Stories, Piracy

2013 Metal and Rock Releases. Are they Derivative, Evolutionary, Original or Clones?

Artists need to think about their music as a product. In the end we (the fans) are all suckers for good products. Give us a good product and we will reciprocate.

So I am listening to the new Protest The Hero album, “Volition”. What a product it is! For the record, I was one of those fans that contributed to the Indiegogo campaign so you can say that my views are biased.

And what about this for a piece of PR? As soon as they were made aware of a few leaks hitting the internet in bad quality, Protest The Hero hastily arranged a download site for their Indiegogo contributors, sent an email to everyone about it with instructions on how to get their unique download pin and away we went, downloading the album.

The best way to fight piracy is to communicate with your fan base. They are your only concern. In relation to people downloading the album some will come to a show and some will download it and hate it.

So what was my immediate thought on the new album?

Original and evolutionary. This is Protest The Hero continuing on from what they have created in the past by adding a few more bells and whistles. The decision to go the fan funded route was just the beginning. During the recording process they lost a drummer and got an even better drummer in Chris Adler. They then got some friends to build some IT support to store all the data of the fans that contributed via Indiegogo.

So to sum up, Protest The Hero were able to record, mix, master and produce an album without having any record label support and without the need of a record label advance that they would have had to pay back AND they are still able to use the record labels to distribute the standard release worldwide.

Going back to the drumming, what a brilliant job from Chris Adler? It’s inspiring in the sense of “I Want To Break Stuff” inspiring. It just feels very metal like.

While Dream Theater and Korn get a lot of ink in the press, it is bands like Protest The Hero, Machine Head and Digital Summer that are stealing the thunder by reaching out to their fans, connecting and doing it the new way. They are cutting out everyone that gets in the way of them and their fans. It is a band to fan connection. It is a fan to band connection.

On a side note, when I listen to new music from bands, I normally place the music in the following categories;

1. Progress is derivative (to others this is the stolen or copied bucket).

2. Evolutionary (this is bands building on their past a little bit each time. It is the iterative approach)

3. Original (this is something that is so divergent or out there that it hasn’t been done before)

4. Maintenance (this is where the band delivers the same album over and over again)

So looking at my top 20 list of music so far from 2013, in which categories do they fall in.

Progress Is Derivative
Avenged Sevenfold with the “Hail To The King” album.

“Lift Me Up” from Five Finger Death Punch and “Kingmaker” from Megadeth also fit into this category.

Evolutionary

This list has quite a few releases in it.

Protest The Hero leads the way with “Volition”. It builds on all of their previous efforts.

“Vengeance Falls” from Trivium is also an evolutionary album, building on the shorter song structure from “In Waves” with better melodies and technical precise riffage.

The concept album from Black Veil Brides falls into the evolutionary bucket for me. While the overall musical themes of the album are still rooted in the previous releases, there was enough growth to show a band evolving.

Mutiny Within hit the evolutionary path with the release of “Synchronicity” which shows the band moving further away from the metalcore stigma that Roadrunner put on them.

30 Seconds To Mars went all world music on “Love Lust Faith Dreams” which is again an evolution of “This Is War.” My wife loves this album.

Audrey Horne released “Youngblood” which is a further evolution from their previous album, moving more into a blues rock/metal vibe.

The next two albums are debut albums and the reason why I saw them as evolutionary is that the evolve from the sounds of Korn and Genesis/Pink Floyd.

Brian Welch’s solo project, Love and Death released the excellent “Between Here and The Lost” which is an evolution of what Korn was doing prior to Head’s departure. If i had to pick between Korn’s new one and Love and Death, my vote goes to Love and Death.

Sound Of Contact released a sci-fi concept album with “Dimensionaut” that captures the eerie spirit of sci-fi soundtracks merged with Pink Floyd/Genesis and Marillion prog.

Original

I see Volbeat as an original band.

With “Outlaw Gentlemen and Shady Ladies” they merge country with their metal/rockabilly style. This album could have fitted in the evolutionary bucket as well, however in my opinion there is another of a blend of different music styles to class it as another original release.

I just finished reading a post on the Classic Rock Magazine website with Michael Poulsen, the lead singer from Volbeat. In that interview, he states that artists cant make any more money from record sales and that selling records doesn’t put food on the table anymore.

This is strange coming from a band that shifted 300,000 units in the U.S with their previous album. So if you do the math 300,000 at $10 a CD comes to $3MIL gross earnings on the CD. The current album is sitting at about 130,000 units in the U.S so far. So if Volbeat are not getting any money from the sales of recorded music, they should be speaking to their label about re-negotiating their deal.

TesseracT’s “Altered State” to me is a great piece of work. It isn’t just a bunch of songs put together and called an album. This is an album that needs to be listened from start to finish, with high quality headphones. There is so much happening that each listen is a new experience. It’s original to me.

Maintenance

All of these releases are good releases showcasing what the band does best. In a lot of cases, bands produce their greatest album by doing this and in some cases bands produce a few forgettable albums as well.

Coheed and Cambria – “The Afterman –  Descension”

Dream Theater – “Dream Theater”

Bullet For My Valentine – “Temper Temper”

Stone Sour – “House Of Gold And Bones Part 2”

Alter Bridge – “Fortress”

Killswitch Engage – “Disarm The Descent”

Five Finger Death Punch – “The Wrong Side Of Heaven And The Righteous Side Of Hell Vol 1”

Pretty Maids – “Motherland”

Buckcherry – “Confessions”

An artist and their music can move up or down in these categories throughout their careers.

The lessons here are that bands don’t have to be ground breaking original to be successful. They just need a well thought out approach that is executed well.

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A to Z of Making It, Influenced, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Kirk Hammett = Misguided Fool. We Are Actually Living In The Golden Age of Music Access

The comments from Kirk Hammet have been getting a lot of press/ink lately. They have been re-posted on thousands of other metal news sites by simply copying and pasting what he said.

For those that haven’t read it, this is what Kirk said;

“There haven’t been a lot of really, really great bands that have shown that kind of promise. I think it’s a concern. Because of things like iTunes and streaming and social networking, it’s destroyed music. It’s destroyed the motivation to go out there and really make the best record possible. It’s a shame.”

Okay so lets unpack what he really said.

“There haven’t been a lot of really, really great bands that have shown that kind of promise. I think it’s a concern.”

You see, when you detach yourself from the streets and live in your ivory tower, you don’t see what is happening at ground zero.

Five Finger Death Punch is going GOLD in a tough sales market. They have great numbers in relation to YouTube views and Spotify streams. Their albums have been selling up to the point of when their new one is released. Think about that for a second. Five Finger Death Punch has consistently moved units of their albums every week since 2007. Now compare that to Dream Theater whose new album is already dead and buried after four weeks.

Shinedown are doing super numbers in relation to sales, YouTube views and Spotify streams. They have certifications left, right and centre.

Avenged Sevenfold released a progress is derivative album that is also doing great numbers. In addition, they do super numbers on the live circuit

Black Veil Brides has achieved so much with their first three albums as well as other bands like Bullet For My Valentine, Alter Bridge, Killswitch Engage, Volbeat and so on.

Will we have the superstars of the Eighties and Nineties again? Of course not, it is a different time today, however you can’t tell me that the bands mentioned above don’t have a certain superstar status at the moment.

Will they headline the major festivals? Probably not, because no one really likes festivals any more. The festivals are on their way out. They just don’t know it yet.

“Because of things like iTunes and streaming and social networking, it’s destroyed music. It’s destroyed the motivation to go out there and really make the best record possible. It’s a shame.”

With all the information we get on our favourite artists these days, it makes us realise that our heroes are complete idiots. Kirk just doesn’t understand change. It’s constant.

Kirk’s comments are no different to the comments from other dinosaurs like Jon Bon Jovi, Scott Ian, Duff McKagan, Yngwie Malmsteen, Thom Yorke and David Byrne. Railing against the Internet, Spotify and iTunes and complaining about payments and the lack of motivation to record new music. 

Let’s get one thing clear. Music today can be made for next to nothing. That is why we have so many releases in the market place. Competition for listener’s attention is sky-high. Everybody who records something believes we should pay attention.

Kirk Hammett wants to go back to the Eighties, to a time when bands had to have a record deal to record their music. Kirk Hammett wants fans of his music to buy the whole Metallica album just to find out it was garbage (like ReLoad, St Anger) or for a few songs (like Load).  

If that is the motivation that Kirk Hammett and Metallica needs to record, then they can just give up right now.

It never used to be that way. Metal and rock artists never complained. They always ADAPTED. 

Do you hear Imagine Dragons, Daft Punk, Mumford and Sons, Shinedown, Five Finger Death Punch, Eminem, Halestorm, Killswitch Engaged, Alter Bridge, Slash or Avenged Sevenfold going on a rant about not wanting to make new music or that it is just too tough out there and no one can make it?

Could it be that most people are just not interested in new Metallica music? As Lars said in a Hot Metal interview from June 1992, that I posted earlier. The numbers they are getting for the Black album, will not be eclipsed or bettered.

Could it be that the Napster stigma is still around? The image of Lars Ulrich holding 500 pages of user names that traded in Metallica music is still fresh in people’s minds. 

The comments in relation to streaming are just wrong. Streaming is competing with PIRACY. How is that not good? With Spotify around it just doesn’t make sense to steal. It pays the artist when their music gets played and it pays the artist forever. A sale of an album is just a one stop transaction that inflates the NOW and when you start talking about the NOW, you are thinking like a Record Label.

If Kirk Hammett and Metallica or any artist out there wants to make money from recorded music, they need to find a way to get people to purchase a Spotify Premium account.

Spotify has a mission to have over 20 million premium customers. This will allow artist to take years out to record their masterpieces. Instead of working with the technology, they talk in riddles against it. 

We are living in the golden age of music access. The history of recorded music is at our fingertips and that is a good thing. Finally, there is plan in place to monetize it. If you want to monetize, you need to keep creating.

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Copyright, Derivative Works, Influenced, Music, My Stories

Going Back to 2005 with the City Of Evil

The new Avenged Sevenfold album got me into a A7X mood, so i went back to 2005 and cranked “City of Evil”. The “City of Evil” album from 2005 was my first introduction to A7X and it became one of my favourites back then as I only had a few albums that I really liked from 2005 like Disturbed – Ten Thousand Fists, Dream Theater – Octavarium, John Petrucci – Suspended Animation, Coheed And Cambria – Good Apollo, I’m Burning Star IV, Thirty Seconds To Mars – A Beautiful Lie, Alter Bridge – Alter Bridge, Trivium – Ascendancy, Cog – The New Normal and Bullet For My Valentine – The Poison

Then came the self-titled 2007 album and after that it was the 2010 album “Nightmare” and now I am into another listen of “Hail To The King”.

That lead break on the song “Afterlife” from the 2007 album is insane x infinity. Synester puts so many different styles into it and those sweeps are killers. It is a far cry from the neoclassical sweeps of Yngwie.

“M.I.A” from City of Evil is another great tune. Great music on it.

I sure miss the Dream Theater and the cabaret progressive influences from “The Rev” (RIP).

I was reading a lot of articles on A7X last night and I even went back to some of the Guitar World issues I have. Man, talk about polarizing. They are either loved or hated. There is no in between.

Even from way back in 2006, there are articles on the web that call A7X, Guns N Roses and Metallica rip offs.

Then Black Veil Brides are accused by A7X fans of ripping off “Unholy Confessions” for the BVB song “Knives and Pens”.

I couldn’t stop laughing. This world has gone to hell….

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A to Z of Making It, Music

Who Cares About Sales?

It’s not just about the sales anymore.

Who cares if an album had a good opening week in sales. What matters these days is how long will the music remain in the public eye. Will people stream it, YouTube it, share it. That is the new model.

NOTE: Sales figures are U.S figures.

Megadeth’s Super Collider moved 30,000 copies in its first week. Big deal. It will not last more than 8 weeks in the public eye. The fans need to spread it and talk about it. In this case they won’t be. It’s a forgettable album.

Alice In Chains, The Devil Put Dinosaurs Here has sold 80,000 after two weeks and 30 Seconds To Mars, Love, Lust, Faith and Dreams has sold close to
70,000 after 3 weeks.

Will they have the same staying power as Halestorm’s The Strange Case Of…which is 60 weeks old and sold over 236,000 units or Shinedown’s Amaryllis which is 64 weeks old and it has sold over 410,000 units.

I believe they will.

Volbeat’s Outlaw Gentlemen & Shady Ladies has moved 90,000 after 8 weeks and Killswitch Engage, Disarm The Descent has moved over 90,000 after 10 weeks.

Will they reach the 500,000 mark of Kid Rock’s Rebel Soul after 30 weeks or Five Finger Death Punch, American Capitalist, which has moved over 500,000 in 87 weeks.

The Revolver Gods Most Hated, Black Veil Brides, Wretched and Divine: The Story of the Wild Ones has moved over 110,000 in 23 weeks. On the other hand, In This Moment, Blood is 44 weeks old and moved over 163,000 units.

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Music

Sales Numbers for the U.S.

Metal Insider

I was looking at the sales figures in the above link.  A lot of people focus on the sales aspect of everything, so if something is sold a lot of times, they class it as being successful.

So if you look at the sales, you will see a lot of hard rock and metal bands doing low numbers for the week.  One can easily jump to conclusions.  The album is bad, it bombed or the industry favourite, piracy.

However, to me the sale numbers mean nothing.  What is important here, is the length of time the music has been out.

Let’s start with Volbeat.  They have two albums that are selling.  Yippee, you say.  Here’s the thing, Beyond Heaven/Above Hell was released in September 2010.  Yes, 2010.  It has been around for over 2 and a half years.  What does this tell you?  They did it without the mainstream sledgehammer across the head marketing like Bon Jovi and Justin Timberlake.  They did it by creating great music and letting the people spread the word.  The funny thing is, the song that made them popular in the U.S, Still Counting is not even on this album (it is from an earlier album from 2007 called Guitar Gangsters and Cadillac Blood) and was added as a bonus track later on.  Talk about great music waiting to be found.  It was released in 2007 and it wasn’t until 2012, that people really heard Still Counting, appreciated it and starting buying it.

You need to remember, there is so much music released each days, (I checked the new release schedule and i counted over 400 releases on one day).  Multiply that by 52 weeks, and you have a lifetimes worth of music to go through.  We need a filter and what better filter than people spreading the word.  Not by the hundreds, but the by the thousands and in PSY’s case, by the millions.

Volbeat’s new album Outlaw Gentlemen and Shady Ladies entered the charts in the top 10.  They had the usual big first week sales and second week drop, however this time around, the audience was waiting for a new release.  Time will tell if this album will have the same longevity.

From hearing it, it’s a good album, but it doesn’t have the defining song, and that is what fans want.  Bon Jovi had Wanted Dead Or Alive on Slippery When Wet, Motley Crue had Kick Start My Heart on Dr Feelgood, Metallica had Enter Sandman on the Black album, Poison had Nothing But A Good Time on Open Up and Say Ahh.. and so on.

In This Moment has been doing business since August 2012.  34 weeks.  Bon Jovi’s What About Now, has more or less stalled.  Justin Timberlake’s is slowly declining as well.  Will they still be selling in 34 weeks time.  For Bon Jovi, i am sure they will not.

Otherwise, is a band that i have been following for over a year now.  Each week, you see them move between 400 and 700 units.  They are touring their arses off, picking up new fans along the way.  The album came out in May 2012.  It will make a year, where it has been selling low numbers.  To me this is a success story.  If they stay at the rate they are, they will be passing 40,000.  What’s 40,000, I hear people saying?  That is a year’s worth of touring.  The music is the entry-level to all the other things in the business.  You don’t make money from selling music.  You make money from the doors that music opens.

Stone Sour have two albums that are selling, House of Gold and Bones Pt 1 and Pt 2.  The concept story is the entry for the multimedia projects to come, like the graphic novels, the motion picture movie and the tour.  It’s not all about sales, it’s about different income streams.

Coheed and Cambria has already walked the path that Stone Sour is walking right now.  They have had their concept albums put into comic form, graphic novel and companion books.  Claudio Sanchez has also signed a deal to develop the Armory Wars story into a motion picture film.

Black Veil Brides is another band, involved in the multimedia aspect, with their concept album, Wretched and Divine: The Story of the Wild Ones.  

Shinedown is one of the best hard rock bands doing the scene right now.  Amaryllis has been out for over a year now and the band is still moving units.  Why, because people are spreading the word, they are hearing the songs live and are liking them.

For the critics that have called this album a failure, just because it didn’t move the same units as The Sound of Madness is a shallow viewpoint to have without any analysis.  A song like Second Chance comes around once in a decade.  That song alone moved over 2 million mp3’s.  The Shinedown tour is doing decent business at the box office.

The key here is longevity.  You don’t want to be here today and gone tomorrow.  You want the music, the band, to remain public, to be in people’s’ minds.  So many have released albums and have been forgotten.  Does anyone remember that Joe Walsh released a new album last year, or that David Bowie and Bon Jovi released an album in the same week.  They have been forgotten.  The hardcore fans will say otherwise and that is okay they are entitled to their opinions.

Life today is all about information.  We have a tonne of it.  We are connected 24/7.  There is always something coming out that takes the flavor of the minute.  Black Sabbath released God Is Dead, and it was tanking, regardless of what the artists and Loudwire said about it.

Ozzy then releases a statement about his fall back into addiction, trying to drum up press and then Sharon chimes in.  It ain’t working, the song is a dud at nine minutes long.  It’s a four-minute song on a 12 inch extended remix.

I am seeing them in two days at the Allphones Arena in Sydney.  I might eat my words after hearing it live.  No one is talking about them.  The 13 album is already in the rear view mirror and it hasn’t even been officially released.  They are touring Australia and there is no buzz.   

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Music, Stupidity, Treating Fans Like Shit

Stone Music Festival – Lessons Learned or Not Learned

The Stone Music Festival (SMF) will be back in 2014. So what lessons have the organisers learned or not learned from the inaugural festival.

1 – The month of April for an outdoor festival is the wrong month. The organisers have put some PR spin on this by using ANZAC DAY. The festival website states that the point of the Stone Festival was to be “a timely reminder of our fallen veterans in the lead up to ANZAC Day, create a brand new Aussie ANZAC tradition”. Seriously, what a load of BS. The Stone Music Festival was created to make money. Nothing else. It wasn’t created to honour Anzac Day or the fallen veterans. If it was, it would have mentioned that from the outset, not after the festival was run. Shame SMF on using the Anzac legend in your PR rubbish. LESSON = NOT LEARNED.

2 – The festival will drop the “Stone Music Festival” brand name. For those in Australia, we know that the Stone movie is about bikies and bikie culture. The association with this movie and the bikie culture became a PR nightmare. The Sydney Bikie Wars is all over the news with shootings happening at least once a week. Fans believed that motorcycle gangs would be in attendance at the festival. The organisers realised this could be a problem. So the PR machine kicked in again, stating that any bikies in club colours will not be allowed into the venue. It was all too late. Ticket sales stalled. LESSON = LEARNED

3 – It has mentioned Muse, Kings Of Leon, Pearl Jam and The Eagles as possible contenders for next year.

The Eagles did big business in Australia on the stadium circuit, when they toured here in 2010. They haven’t released anything worthwhile, solely relying on their legacy.

Kings of Leon did big business on the Arena circuit when they toured in Australia in 2011 and are in the process of releasing their new album. If that album tanks, I am sure the organisers would book them, as they booked Van Halen and Aerosmith.

Pearl Jam played stadiums in Australia when they toured here last in 2009. This band is a dark horse, as they have that Grateful Dead cult following. The band members are connected to social media, they bootleg their own shows and release them to the fans and they are still churning out music. Personally I liked Pearl Jam on the first four albums. Backspacer wasn’t a bad album, but it wasn’t good either.

Muse on the other hand played the Big Day Out festival in 2010 when they toured Australia, so they are experienced at the Australian festival scene. They then totally ignored Australia on the recent 2nd Law tour. Maybe that is a good thing, since that album was terrible. To me, Muse is a downward spiral. They have had their heyday.

The organisers are looking at the past. They are not looking at the now. LESSON = NOT LEARNED

Here are some current international bands that are doing big business; Kid Rock, Stone Sour, Shinedown, Killswitch Engage, Black Veil Brides, Five Finger Death Punch, In This Moment, Volbeat, Bullet For My Valentine, Coheed and Cambria, Imagine Dragons, Paramore, Papa Roach and Thirty Seconds To Mars.

4. Drugs is a big problem in Australia, so when you have a person involved in the festival that did time for drugs and the name of the festival is referencing a bikie movie, where the bikie gangs of today are the biggest movers of drugs, you will be scaring off a lot of people. LESSON = NOT LEARNED

5. Treating older fans like teenagers. Fans of music are not just 18 – 25 year olds as most organisers believe. Most of the money spent in the music business is by older fans. These fans don’t deserve to be standing for 10 hours in the rain or the sun to watch an act that they supported and grew up with. Organisers of any festival need to take this into consideration. When you have headlining bands like Van Halen and Billy Joel, you need to accept that an older fan base will be present. Show them some respect. LESSON = NOT LEARNED

6. Have a Plan B. There is no reason why these shows couldn’t move into the Allphones Arena. The second stage could have been set up in one of the foyer areas of the Allphones Arena. There was no vision, no contingency. LESSON = NOT LEARNED

7. The Supergroup Cover/Tribute band is here to stay.
Seriously, Kings Of Chaos stole the show at the venue. I remember back in time, where a certain “supergroup” in Australia was formed called The Party Boys and what fun they had as well, playing cover songs from other bands as well as songs from there solo careers/previous bands. .

8. Van Halen in the past did big numbers and so did Billy Joel. In America, those two artists still did big business last year. Of the 25,000 tickets that where on sale at the SMF for Day 1 – Van Halen, under 50% got sold. Of the 25,000 tickets on sale for Day 2 – Billy Joel, under 45% got sold. So why didn’t they do big business in Australia this time around.

Three things at play here;
1. Blame the month. As I have mentioned in the previous posts, April is the worst month to hold an outdoor festival in Australia.
2. Both artists haven’t released anything worthwhile recently. EVH is my guitar idol. When I was learning how to play in the 1980’s EVH and RR formed by body of knowledge. I even paid top dollar to get recorded cassette tapes of their demos to be sent to me. Imagine my shock when I purchased A Different Kind of Truth, and hear those demo songs on it. What a load of rubbish? I really liked the songs they did with DLR on the Greatest Hits packages, so why they couldn’t go forward in that direction is beyond me.
3. The lack of decent Australian talent. Jimmy Barnes and Noiseworks are finished. The Living End need to release something worthwhile again or they will be doing the nostalgia circuit as well. Australian fans like Australian talent, however it looks like everyone is pushing/shoving international rubbish acts past their due by date down our throats. The organisers need to be out scouting for talent. De La Cruz from Brisbane, has a recording deal in Europe with Frontier Records. They play hard rock music. Demolition Diva rocked it up at the Motley Crue and Kiss concert. Birds of Tokyo are relevant. My favourite Australian act is COG. They never got the recognition they deserved. Second placed is Karnivool and then The Butterfly Effect. These bands all have cult fan bases. And yes, I do know that COG is on hiatus or have split up, depending on what story you believe.

9. The one venue idea is ridiculous in Australia. To fly to Perth from Sydney is a four to five hour flight. Tickets return are normally $500. Talking about treating fans like dirt. Fans need to purchase a ticket to the show at $200 minimum, then book flights at $500 return. Most will end up staying the night, so then they need to book accommodation at $200 a night. $900 is a lot of money, and imagine if they are coming with a partner or their teenage kids.

The reason why Soundwave and the Big Day Out work in Australia as summer festivals is that it moves from City To City. To be honest, those two festivals have the January and February months booked down. So that leaves November, December and March for this festival. December is all about Christmas, so you can count out that month. So that leaves October, November and March. March is when Uni students return to school in most countries, October and November is the end of school exams, so already, the festival has an uphill battle to secure a suitable month. Remember Soundwave Revolution from a few years ago. They tried it in September, and it didn’t even start. It was cancelled. That was another one venue idea as well. If you are going to do ONE VENUE – do it in MELBOURNE. The Melbourne-ites go to everything. It is a different scene and culture there. LESSON = NOT LEARNED

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