Check out The Future of Music Coalition. Their site contains many articles, videos, and resources for the modern indepedent musician, covering touring, marketing, digital sales, and other aspects of life in the post-industry world.

Here’s part of their manifesto:

The History of the Music Industry vs The Future of Music

June 1, 2000

The history of the American Music Industry is a disheartening one, which largely details the exploitation of artists and musicians by opportunists and those without the musicians’ best interests at heart.

For too long musicians have had too little voice in the manufacture, distribution and promotion of their music on a national and international level and too little means to extract fair support and compensation for their work.

Manufacturing and distribution monopolies concentrate the power of over 90% of music sold into the hands of five labels. With huge media mergers continuing to consolidate the decisions of what to play and promote, it becomes more and more difficult for artists to gain exposure through the few remaining coveted radio spots.

Historically, musicians have had one of two unattractive choices:

1. Align themselves with major label exploiters and agree to unfair compensation in the hopes of one day reaching a national audience; or
2. Resign themselves to working with indies and a life in the shadows.

read more at their site.

Here’s a paper titled “Does Chatter Matter? The Impact of User-Generated Content on Music”. It’s a study in how blogs and and social networking sites are impacting music sales. The study did not include any analysis on radio or internet broadcasting as a variable. Since this a very long and convoluted paper, I’ll give you the highlights.

(a) the volume of blog posts about an album is positively correlated with future sales
(b) greater increases in an artist’s Myspace friends week over week have a weaker correlation to higher future sales
(c) traditional factors are still relevant – …a number of reviews from mainstream sources … tended to have higher future sales.

People naturally look to others for opinions. Music recommendation is part of this phenomenon. When people put time and effort into good blogs, readers find value in the content and message. With MySpace, the promotion of music in top friends can be a powerful recommendation tool. And album reviews and ratings are factors in people’s buying habits.

The study was conducted for four weeks before and after an album’s release, and the sales data was based on Amazon’s top sellers of physical units.

The study discovered that mainstream album ratings did not relate to online or consumer ratings. Blog postings had the strongest relationship to sales. Higher blog post volumes and higher percentage changes in Myspace friends corresponded to increased weekly sales in the future.

They also concluded that blog posts had a larger impact on sales than MySpace, and they hypothesized that was due to a credibility gap. MySpace allows for passive involvement, while reading blogs is a more active pursuit. Also, critical acclaim in reviews did not have the impact on sales that they expected.

Ultimately, the study was unable to determine whether or not blog chatter actually causes sales, as there were too many undetermined variables. Blog chatter does on some level represent the buzz around an album, making it an expected phenomenon that it had an impact.

Here’s a quote form the conclusion of the article:

“We analyzed the usefulness of blogs and social networks, as well as reviews in
consumer, online media, and mainstream media, in predicting album sales in the four weeks before and after the album’s release date. We found that the most significant variable is blog chatter or the volume of blog posts on an album, with higher numbers of posts corresponding to higher sales.

Higher percentage changes in Myspace friends may also be significant, although the results here were not consistent … We find that the average consumer rating is significant, while the number of consumer reviews is not … Average consumer ratings better predict[ed] sales than average mainstream media ratings.

Although we found that user-generated content is a good predictor of music album sales, our analysis showed that traditional factors cannot be ignored. While independent label releases with extremely high blog chatter can sell even more units than major label releases, our findings estimated that the average major label release sold approximately twelve times more than the average independent label release. We also found that the higher the number of mainstream media reviews, the greater the sales.”

Bottom Line: The results of this study suggest that user-generated content should be considered seriously by record labels.

Here’s a great article about the new marketing methods we’ll be seeing in 2008.? We will begin to see large scale experiments in subscription based music distribution and other models which eliminate a pay by the track model (such as Imeem).? The death of DRM may come this year, as three of the Big Four labels are already in the process of abandoning it.? There are rumors of deals in the works between major labels and ISPs (internet service providers) to offer unlimited downloads or more bandwidth, and we can expect to see multiple collectible versions of albums released.

As the shift in music sales hits overdrive into the digital realm, 2008 is shaping up to be the year the major labels begin to adapt to environment.? The big question left is: how will artists break into the big time?

Bottom Line:? The Big Four are finally entering the digital revolution.

The RIAA is funded by the big four record labels, to the tune of around $130 million per year for each label. EMI was recently bought by a private group, and are now considering drastically cutting their investment to the lobbying and enforcement arm of the music industry.

Given that the RIAA’s legal moves over the last few years have been disastrous at best, it’s a great sign for artists that the RIAA’s financial base may diminish significantly. The amount of money that the RIAA has spent suing mothers and college students as been astronomical, and has led to a severe loss of credibility toward the record business in the public eye. Let’s take a moment to look at what a world without the RIAA might look like.

Without constant legal pressure to buy, audiences would begin to feel confident that albums they buy are supporting artists’ careers (this is part of consumer confidence). File sharing would continue, but people would be more willing to buy music they love knowing that they aren’t labeled as criminals anymore. The business model of turning artists into products, overcharging for albums, and using hype instead of quality would fail.

The music industry would become a free market, where any artist with great music and dedication could create a viable career. Rather than a few mega platinum artists, we would begin to see a massive amount of artists selling between 50,000 – 200,000 units on releases. This level of sales can cause an artist to be dropped from a major, but on an indie label, this is a great living for an artist, and a massive success for the label. Royalty rates for artists would also become much higher. Some artists already see similar profits selling 200,000 units with an indie label that they would see selling a million on a major.

New contracts would become the industry standard, similar to Polyvibe’s practice of leasing artist’s copyrights rather than owning them. Artists would have freedom to call the shots in their careers. The industry would shift to artists owning their masters, with labels existing to empower artists rather than to exploit them. Album advances would shrink; the amount of money owed to labels would shrink, too. In the major label world, an artist owes almost every penny the label spends on them. Label investment in artists would become the cost of doing business, rather than a loan.

The practice of shelving albums would become non-existent, as artists would have the ability to have promises for release dates in their contracts. Polyvibe currently includes release dates in our contracts, with a provision that if deadlines are not met, we will set a new release date. We even promise in our contracts that if we do not release an album within a set span of time after receiving masters, the artists is free to go elsewhere with their album. This type of provision would be standard fare, as well as other artist protection clauses.

Marketing, promotion, and booking companies would become the major players in breaking artists. The media will flock to what people want instead of what the Big Four tell them to promote. New and far reaching models and methods of grass roots promotion will become the norm. Music quality will again become the primary factor in an artist’s success; promotion and hype will be a second tier service. Radio will begin to offer a wider variety.

Without the ability to force legislation in their favor, major labels would become the victim of a music economy they no longer control. Consider that what allows major labels to force low quality music down our throats at high prices is their ability to grab politicians ears, to threaten us with lawsuits, and their near domination of media exposure and radio. We are now at the tail end of a 60 year monopoly on the music business. Rats swarm off of sinking ships, a perfect analogy for the exodus of mega-artists from major labels (getting off the ship, not the rats). In this new music environment, there will be dozens (maybe hundreds) of popular labels, and everyone will have the opportunity to create success.

Bottom Line: Without the RIAA, the major label business model will be obsolete, and a new paradigm and renaissance for music will appear within five years.

Steve Albini speaks about DIY music promotion and bands operating in the music business.

Many artists that experience high volumes of downloads on p2p networks also experience brisk sales. The days of mega-platinum albums are pretty much at an end, so I’m defining brisk sales as between 50,000 to 7 million units sold. This is abroad spectrum, as it includes middle tier artists as well. The future of music will most like include far more middle tier artists, making a decent living, and fewer multi million dollar pop sensations.

The actions of Radiohead, Nine Inch Nails, and Saul Williams are not meant to devalue music to nothing. These artists want people to buy their music. They pay their mortgages, buy their gas, and feed their kids off music sales and gigs. The intention behind these artists’ actions are to move forward a major shift in the music business. The sooner major labels are out of the picture, the sooner our culture can have a conversation about the value of music. It;s great that people can choose how much they want to pay to support artists. At the same time, all of us in the middle or lower tiers of the industry cannot sustain a vibrant career without revenue. Digital music sales are expanding rapidly; obviously people are buying music.

Consider that people can get almost any music they want for free. With a small amount of effort, any album can be found, downloaded, and added to a collection as an MP3. So when people do buy music, what does it measure?

The Love of the Music

Album and track sales measure artist support, and appreciation of the music itself. When major albums are leaked well in advance of release dates and still sell well, it’s clear that the people buying it don’t have to. Why would people buy something they can get for free? It’s not consistent with a capitalist mentality.

Music is in a post capitalist environment, and totally uncharted territory for any commodity. There is no scarcity of music, and the supply outstrips the demand by miles. When people buy an album, they are saying “I like this music or artist enough to support them. I want them to continue to make great music, and I am moved and touched by what they create.”

Sales dynamics and trends for non-major label releases follow a completely different set of rules than mainstream music sales do. Mega-Artists that are joining the ranks of independent musicians aren’t breaking new ground as much as they are creating a public awareness of the way the music business works for most of the artists in it. For those of us in the trenches of our careers, they are putting a spotlight on how we do business.

Free downloads from major artists are simply a proving ground that in the post major label era of music, people will still buy music they support. The only difference between downloading an album for free on an artist site or off Bit Torrent is the amount of effort one has to put in (i.e. clicking a link instead of typing a name into a search prompt).

Although accurate sales totals for In Rainbows won’t be available till the end of the year, it’s clear people are willing to pay for music when they are not forced to. Now that big time acts are involved in the independent music world, there’s no denying that people buy music they love, even if it’s free. The only thing that has changed with In Rainbows is the kind of market analysis we are seeing in major media publications. Major labels can’t whitewash entertainment news about the reality of the business anymore.

When people have access to the music they want for free, and without being treated like criminals, supporting the artist is a natural action to take. it’s when we are treated like criminals, or asked to pay large sums of money for long dead artists, that the public begins to resent buying music.

The Bottom Line: Album sales no longer measure marketing ability or brand placement, they measure people’s love of the music.

What do you think?

What do album sales measure?

Are Radiohead/Saul Williams/NIN breaking new ground, are are they amplifying a message that most of us already hear?

The future for musicians looks like more than just great recordings and live shows. The opportunities that the internet provides modern artists is available to everyone, and thus its potential is diluted. One powerful tool in creating buzz around your project or career is to get noticed. And one way to get noticed is to generate interest in who you are, and what you’re saying. in other words, creating and maintaining a conversation with your audience.

Pop culture can overwhelm us with the personal lives of famous people, and annoy us to no end with the antics of celebrities. Billboard has an excellent article on the effect of this kind of marketing on the careers of the ultra-famous. Keeping themselves in the public eye is a critical element to the careers of these top tier entertainers. Even bad press is good press for them.

For the independent artist, this same technique can yield different results. We can expand our scope and reach by generating attention for who we are, and what we have to say. Marketing a personality is nothing new. Here’s an article from Time Magazine in 1978, looking at the same methods and issues we are discussing today.

Once you have fulfilled your artistic vision, and you’re putting yourself out there, the make-or-break factor in success becomes notoriety. While having ten thousand friends on Myspace seems like a powerful promotional tool, does it really measure anything other than the number of people that landed on your page and clicked add me?

One of the most effective tools for creating a buzz for yourself, your project, and what you’re up to is blogging, and blogging often. If you are anything like me, you spend at least some of your week surfing the internet and consuming content. You have sites that you visit regularly. Consider that what keeps you coming back to a site is the steady stream of new and interesting content. Content that speaks to you.

A healthy career is grown through a fanbase. Radiohead, Nine Inch Nails, Prince, and Madonna are able to free themselves from major labels and even give away their music because their fans are loyal, and people are tuning in.

While it may seem like the forward momentum is slow, steady and regular content on your project webpage, blog, or social networking page is critical to bring people back. And the more time people spend on your sites, the more interested they will be in supporting your cause.

I am guilty of not providing a steady stream of information on my blogs at times, and it impacts my return traffic, and the hype around my own projects and Polyvibe. I am preparing to condense this blog with my personal blog, providing the same great content with half the work. Like Uncle Scrooge says, work smarter, not harder.

For any artist who is committed to bringing viability to their career, having a powerful voice, and keeping the conversation going are critical elements to success.

I invite you to comment on this post with your opinions. If the waters ripple, we’ll talk more about creating a cult of personality, the results people are seeing from this kind of grassroots marketing, and methodology that can be implemented to increase your results.

“Linkie Winkie is a bit of a social experiment and we want to see what happens. We’re not going to tell you much about it, except that its a very altruistic little site and loves to be talked about.

So if you can work out what it does, and get your timing right, then Linkie Winkie might help you out for a while.”

From what we can tell, by giving a shout out to Linkie Winkie, they will in turn to give you a shout out. How it does this, is still a mystery, but one blog discusses the effect of Linkie Winkie, while the other provides a bit on who is behind the experiment.

I’ll provide an update here if anything comes of this, but participating in a social experiment of the web 2.0 variety just seemed like a fun think to do on a Friday evening.

Ever since we launched our record label, the number of come-ons we receive from new artists (as opposed to artists we know and already have our eye on) has steadily increased. The avalanche of appeals from both talented and not-so-talented artists is both overwhelming and exciting. However, a pattern has emerged lately that I feel needs to get addressed. This pattern is largely made up of a mix of bad habits and laziness, coupled with a lack of knowledge about what it takes to properly promote yourself. In response, Polyvibe

Entertainment Group offers up the following tips for how to approach us (and anyone) about your creative project with more effectiveness.

• Formulate a full message. In other words, don’t send something out until you’ve spent sufficient time actually formulating what you want to say and ensuring that what you are saying is landing for the other person the way you intend. This means that you should craft a message that clearly states who you are, what kind of music (or other art) you create, what’s special about it, and why they should care. Write and Re-write it until it’s right. It will never be perfect, but if you’ve covered all your bases you’ll be in good shape.
• Stay On Topic. Take a page from political play books, and always stay on message. In other words, put together a total package. Every footprint you leave in the world should be reinforcing the same message. By all means tailor your message for your audience, but it should have a common theme running through it. This also applies to your visual communications as well. Everything you put out should have a similar look and feel, and include your logo or other unique graphics. Re-use and Re-mix the same colors, layouts and other distinct elements, whether you’re designing your web site, a newsletter to your fans, or a One Sheet you’re sending out to the press and promoters.
• Define Your Message. In order to stay on topic, first you need to figure out what your message is. One of the things that we do internally for our artists, and is provide them a worksheet in which to figure out what the message is. We adopted this worksheet from questions we wanted answered, and from information we got from Bob Baker’s “Guerrilla Music Marketing”. It’s an interesting process but what it brings to light is even more useful. It’s an exploration of what drives you as an artist, and forces you to connect with your fans by discovering what it is about you that inspires them to support what you’re up to in the world.
• Get a One Sheet. If this list was numbered, this would be #1. Think of a One Sheet as your musical resume. In one or two pages, you should be able to clearly state what your music sounds like, why your are unique, and why I should pay attention. List your biggest successes so far. Include links to your best tracks, and to your websites. In short, it should summarize your message and present that information in such a way that it literally turns heads, and motivates the reader to want to learn more. Here’s a decent template you can start with, that explains all the basics and has spots for everything that you’ll want to include. You should create a One Sheet for various purposes – including but not limited to: Seeking Distribution (the example provided above), Booking and Gigs (concentrate on what’s special about your live shows, and de-emphasize, but include information about any of your releases), and General Purpose (expand the info on your sound as well as you, and your accomplishments).
• Educate yourself about music marketing. You’ve already started doing that by reading this blog, and subscribing to our RSS feed and/or Newsletter. There are tons of books out there, so you need to start diving in and buying some of these books. Also, sites like Rhino’s R-Zine, Bob Baker’s Buzz Factor, and The Indie Bible newsletter, will also help get your marketing chops up to where they need to be. Marketing is an art, not a science, so be prepared for lots of trial and error, but if you present yourself in a clear, concise and professional manner, you will get noticed.
• Respect your self, and your audience. This can’t be stressed enough. All the bad habits, missing or misinformation, and laziness add up to a lack of respect. This is just how it comes across, even if it’s not intentional. If you don’t have enough respect for yourself to tell me about your project in a way that gets me excited, then how do you expect to have any results? You took the time to craft the music, arrange all of the elements, and get your master just how you like it… so don’t skimp on the time required to promote yourself. Remember, you’re not selling yourself, or even your music. You’re selling the experience, the headspace you and your music puts the listener in. If you’re inspired enough to make it, then take the time to put together a strong message that moves the reader to want to listen to your music. Plain and simple.

In the day and age of a 1:1 ratio of Content Maker to Content Consumer, you’ve got to do more than write a catchy hook to get noticed. If you’re approaching Record Labels to get signed, propositioning Press Contacts for reviews, or contacting Promoters and Club Owners to book you for gigs, then you obviously want to be taken seriously. And if that’s the case, then put on your game face, and suit up. Making music is only half the battle.

If after reading this you are still interested in submitting your music to be considered for release on Polyvibe Records, then put the above advice to work, and send us a One Sheet (PDF preferred), with links to your 5 best tracks and your websites, to press@polyvi.be. We’ll reply to each one of them, but you better come

correct if you want us to take notice. We look forward to your submissions!

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