IRMA facing a backlash over the new singles charts (1 Viewer)

[Popeye]

What a flicking disaster!

IRMA circulated the sales figures today for the new Irish single charts that include download sales and I wouldn't like to be in their shoes next week, every label - apart from the major offices in Dublin - are fuming.

There were 16,992 download sales made online during this week...which accounts for roughly 41% of overall single sales (all formats).

The problem is IRMA didn't tell anyone about the new chart until last week.

Nobody knew about it except a select few, which puts independent labels at a significant disadvantage and major labels at a huge advantage. Anyone who has worked in a label will tell you that it takes, usually, about 4 weeks for a song to be registered on the key online music stores, including itunes.

On top of that, the "new" chart rules (they've copied the British system), stipulates that download sales only count if there is a physical available as well.

Which means an independent label with 3,000 download sales, who hasn't released a physical to the shops won't even appear in the charts..despite selling more songs than the number 1.

how ridiculous and unfair is that?

So the top 10 looks like this (I can't/shouldn't paste the full chart details because of copyright)

01. HIPS DON'T LIE - SHAKIRA FEAT. WYCLEF JEAN - 1,672 Ddownload sales (6,854 sales - all formats)

02-I WISH I WAS A PUNK ROCKER-SANDI "webcam" THOM
03-MANEATER-NELLY FURTADO
04-BUTTONS-PUSSYCAT DOLLS FEAT. SNOOP DOGG
05-HIGH-SULLIVAN BROTHERS
06-FROM PARIS TO BERLIN-INFERNAL
07-SEXY LOVE-NE-YO
08-HARD ROCK HALLELUJAH-LORDI
09-WHO KNEW-PINK
10-SMILE - LILY ALLEN

for the un-initiated, what that essentially means in Irish music terms is this:

01 - SONY BMG (British project)
02 - SONY BMG (British project)
03 - UNIVERSAL MUSIC (British project)
04 - UNIVERSAL MUSIC (British project)
05 - INDEPENDENT (Irish Project)
06 - UNIVERSAL MUSIC (British project)
07 - UNIVERSAL MUSIC (British project)
08 - SONY BMG (British project)
09 - SONY BMG (British project)
10 - EMI MUSIC GROUP (British project)

In other words, the chart is dominated by MAJOR RECORD labels and BRITISH projects.

Don't be confused by the fact that the above major labels have offices in Dublin. They're just postboxes. Little or no investment is made by those companies into the domestic industry in Ireland apart from novelty releases at christmas, like dustin, joe dolan and the usual suspects.

It really makes you wonder who IRMA represents.

Popeye.

 

[quasiquasi]

What did the chart look like last week?

 

[Popeye]

much the same, quasi. so it's the same shit different day.

Which is a pity. In the UK when they did the chart changeover they made sure independents knew exactly what was going on, when and independents account for over 40% of total music sales now in the UK and (truly) indepedendent labels can (now) make it to number #1.

The majors still pretty much dominate the market - from sheer marketing power, but the key trick about including download sales as a format in the charts is that it levels the playing field a bit..so independents can compete. It removes the costs of P&D.

The Artic monkeys would never have got their number #1 single and then #1 album last year if it wasn't for downloads. The cost of press & distribution is prohibitive for most (independent) labels.

Ditto for Irish independent labels.

Everyone knew that the new charts were coming...but IRMA sprung it on everyone within about 10 days. Which is complete and utter madness.

In the UK, it was planned and announced 12 months in advance...so everyone could get into gear and everyone knew when it was happening. In other words, the whole industry benefitted..not a select few.

not sure if that makes sense, but, let's put it this way, IRMA haven't exactly won many friends over this and the biggest thing to happen to the irish chart in 40 or 50 years (according to their website) hasn't exactly been their best moment.

 

[Gambra]

What did the chart look like last week?

Pretty much the same I presume. It is fairly messed up but this guys looking for a conspiracy where there is non. Irish indy labels rarely, if ever get on the singles charts.

 

[Popeye]

It is fairly messed up but this guys looking for a conspiracy where there is non. Irish indy labels rarely, if ever get on the singles charts.

Sorry if I came across that way, Gambra.

After speaking to some people earlier, I can safely say it's simply incompetence rather than a conspiracy.

When I heard about the new chart (I work for labels in the UK, not in Ireland) I was excited because I have seen the buzz and opening up of the market in the UK that the download charts has played a significant role with.

I can't tell you how much it means for a small indie to not have to worry about P&D.

Some friends who run small DIY/Indie labels in Ireland are exactly the same. Pressing and distributing a physical single in ireland is an expensive and pointless exercise for them. But promoting a downloadable single is an exercise within reach of small indies.

That's the whole point.

Think about it. Irish music fans in boston, berlin, beijing, brisbane, bolton and bantry never pay much attention to the Irish single charts in the past. They would tend to glance at the Irish artist album charts now and again...the reason is the single charts is notoriously weighted in favour of the majors.

But if indie releases started to make it up there, it would envigorate and go some way to making the chart meaningful again. What's more, those fans in boston, berlin, beijing, brisbane, bolton and bantry can buy the music, online. That's gold dust for a small, independent (and skint) label with stunning artist that is struggling to get heard.

If you look at how a small label like Domino has done over the last year..a huge amount of their sales were from outside the UK.

The irish industry needs labels based along the Domino lines.

I hope that makes sense.

 

[Gambra]

No, sorry I read it wrong.. Your makin fair points there though.

 

[Scientician 0.8]

You make interesting points but attributing much of The Arctic Monkeys' success to downloads and t'internet etc is a simplification of record label spin. They're a good band, distributed their music to the right people, play excellent gigs and got the music press onside. The download element to their success has been overemphasised.

 

[Popeye]

You make interesting points but attributing much of The Arctic Monkeys' success to downloads and t'internet etc is a simplification of record label spin. They're a good band, distributed their music to the right people, play excellent gigs and got the music press onside. The download element to their success has been overemphasised.

Very good points Scientician. my bad. There is a myth about online delivering more than it really does...and I take your point. I get frustrated when I see journalists waxing lyrical about Sandi "webcam" thom, lily allen and the myspace "discoveries" and leaving out some, ahem, essential details...

At the same time, I have seen first hand the mini renaissance that has happened in the UK post-april 2005. The uk charts are regaining credibility again. TOTP on the beeb is going, not because the format/scheduling sucks, but, because the charts are simply not mainstream enough anymore.

Adults are buying singles again

I worked with pop projects in the past...and the core demog was 8-13 year olds. That's who you're hitting. An adult wouldn't be seen dead buying a single, or bother their arse going to the high street store. But they are buying them online.

Niche is the new mainstream.

And the Top of the Pops that most of us grew up with can't handle that.

now then, now then..

Bands don't have to dumb down, jump through in-stores or edit their art down to 3:20, just to get noticed. Adults are also buying "guilty pleasures" as well as good music and the indie sector has never been better in the UK.

A song can sit and hover in the over late 80s or 90s a few weeks after release now...and the label doesn't have to panic. "Slow burners" are where it's at. pre-April 2005, the label was screwed if the release didn't stick after the first week.

For an indie label, that cannot afford to sustain stock on the shelves for weeks on end and sustain the Marketing and promoting drive to 8-13 year olds....that's gold dust.

It's Throw out the maps time...toss the fecking feathers.

It's by no means perfect...marketing power still reflects on sales..but more than the odd gem is coming through.

I guess I (And many others it seems) am just dissapointed that IRMA missed the trick with this. the future members of IRMA are not with the majors...if the EMI/WARNER flirtations are to be believed, IRMA will only have 3 members soon.

The future is in the independent sector..that's where IRMA could have got their membership fees from in future...and that's who they should be pitching to.

If anything, they have helped alienate themselves from the independent sector even more so than before.

 

[RSJ]

They're a good band, distributed their music to the right people, play excellent gigs and got the music press onside.

You make it sound so easy...

 

[Scientician 0.8]

You make it sound so easy...

I wasn't gonna get into the exact nitty-gritty. I was just making the point that the Internet element to their story is overstated. Luck is a huge factor I forgot to include.

 

[Ivytheterrible]

What a flicking disaster!

...

for the un-initiated, what that essentially means in Irish music terms is this:

01 - SONY BMG (British project)
02 - SONY BMG (British project)
03 - UNIVERSAL MUSIC (British project)
04 - UNIVERSAL MUSIC (British project)
05 - INDEPENDENT (Irish Project)
06 - UNIVERSAL MUSIC (British project)
07 - UNIVERSAL MUSIC (British project)
08 - SONY BMG (British project)
09 - SONY BMG (British project)
10 - EMI MUSIC GROUP (British project)

In other words, the chart is dominated by MAJOR RECORD labels and BRITISH projects.
Don't be confused by the fact that the above major labels have offices in Dublin. They're just postboxes. Little or no investment is made by those companies into the domestic industry in Ireland apart from novelty releases at christmas, like dustin, joe dolan and the usual suspects.

It really makes you wonder who IRMA represents.

Popeye.

FUCK THIS SHIT.
fucking bastards i hate them all.

this makes me really angry and has been something I suspected. Those dublin offices can FUCK OFF.
But on a positive note, has anybody heard about this...

Irish Independent Charts : http://www.myspace.com/johnnybirish

I think it looks interesting if it can sustain... what to ye think?

 

[Ivytheterrible]

I guess I (And many others it seems) am just dissapointed that IRMA missed the trick with this. the future members of IRMA are not with the majors...if the EMI/WARNER flirtations are to be believed, IRMA will only have 3 members soon.
The future is in the independent sector..that's where IRMA could have got their membership fees from in future...and that's who they should be pitching to.
If anything, they have helped alienate themselves from the independent sector even more so than before.

good point.
But it's just so typical. I think the independent sector is quite healthy here and will get healthier in the future ... but it just sucks that the bodies/organisations that are in a position to support it (and for the greater good of encouraging the HOME music Industry) really don't/never really did value it at all...
bummer.

 

[Popeye]

I think the independent sector is quite healthy here and will get healthier in the future ... but it just sucks that the bodies/organisations that are in a position to support it (and for the greater good of encouraging the HOME music Industry) really don't/never really did value it at all...

I don't think it's a case of they "don't/never value it at all"..I think it's more down to a gross misunderstanding to the business of music in certain circles.

It appears that there's no long term vision or thinking when it comes to Irish music. As soon as a band shows signs of being something special...they're on a plane to sxsw, in the city or cannes quicker than you can say "the next u2".

I cringe when I hear about Hard Working Class Heroes type events, where they go out of their way to flag the fact that they will be flying in USA/UK labels to the event. A classic example of an event that hasn't been thought through. They should rename that event to Lazy White Middle Class Twats (LWMCT).

The mindset is that it's a success to "get out of Ireland" and the logic is that targetting USA/UK labels is the best way of doing that.

Rubbish.

If a small label, like Domino (which started in a bedroom) and many many others like Domino can succeed, so can a small label in Dublin, Belfast, Cork or Galway.

The problem is that, in Ireland, there's a lack of confidence in the sector which is embellished and illustrated very well by how IRMA simply IGNORED the Indie sector with the new charts..as if they're not important. Some might argue that IRMA probably know they won't even bother to speak out or complain. Same shit different day.

That contrasts dramatically to the independent sector in the UK and other European nations. The major labels have downsized and their "unsigned departments" have been replaced by "catalogue mining departments" - for the uninitiated, that means digging up old catalogue, persuading the bands to do a "comeback" or "nostalgia" tour and milking it for all it's worth. Have a look at the gig listings for this summer and tally how many are "new" bands and how many are "old" bands from the 80s/90s...or in some cases the fecking 60s.

So the landscape is very different to what it was 10 years ago. Ironically, the majority of the "labels" that will show up at SXSW, IN THE CITY, LAZY WHITE MIDDLE CLASS TWATS etc. looking for new talent...will be independent (even bedroom) labels.

Indie labels are the new "unsigned departments" for the majors. To such an extent that it's becoming very difficult to know now if an indie label really is an indie label, or simply an incubator label for a major (a glorified scout) or worse, a major label masquerading as an indie.

It strikes me that that renaissance has passed Ireland by.

The Irish industry is still in the same mindset it was when thin Lizzy hopped on the ferry to england in the 70s and became the first irish band to "make it". In other words, if at an IMRO/IRMA/LWMCT showcase one of the bands get signed to a UK/US label..it's considered a "success".

It's not, of course...it's a flicking disaster. Not just for the band in question..but, for the domestic industry in Ireland.

For the uninitiated, it's a disaster for the band, because the only labels who would sign up a raw, fresh new unsigned Irish band, in the current climate, are incubator indies.

In other words, they are really a product, or a package the label hopes to sell quickly to a major. And if that doesn't happen on the first album...which is invariably hyped up in the music press by the label to get attention...the band is screwed. A&R doesn't just mean talent spotting...it's also about Artist Development and there is way too much pressure on bands to recoup or "get a result" with their debut album these days. So much so, that it's becoming increasingly common to hear about "1 album wonders". Artist development is almost completely ignored and the band isn't allowed the time (usually 2 or 3 albums) for their craft to mature and evolve.

Sorry for going on...but, I think the Irish situation is tragic and I was hoping that the new irish charts might act as a catalyst for a new chapter in the domestic industry. A chapter where there is a very acute awareness to the realities of how the business of music works and where the independent sector gets the respect it deserves.

I must admit...it's sorely tempting to send a heated letter into enterprise ireland, the arts council and all the other civic bodies who are sponsoring activities like Lazy White Middle Class Twats....or IMRO showcases, or IRMA golf outings.

It's a no brainer when someone explains to Enterprise ireland, as an example, that if this was the software sector (A similarly copyright centric industry sector) there is no way in hell they would get funding....i.e. in the software sector the civic bodies would want to see that the intellectual property (the copyright and recordings) is with an Irish company. The way it works at the moment is that enterprise ireland and others are unwittingly exporting intellectual property via events like LWMCT or IMRO showcases in SXSW/IN THE CITY/MIDEM etc. They're exporting the money, with the talent. Instead of empowering irish independent labels (start up companies) towards licensing...

hope that makes sense..

 

[Popeye]

good point.
But it's just so typical. I think the independent sector is quite healthy here and will get healthier in the future ... but it just sucks that the bodies/organisations that are in a position to support it (and for the greater good of encouraging the HOME music Industry) really don't/never really did value it at all...
bummer.

I agree Ivy...if you have the time..please support the online petition to suspend the new charts, until such time independent labels in Ireland have been consulted and brought up to speed.

http://www.petitiononline.com/indies06/petition.html


thanks

Popeye

 

[taubstumm]

hey popeye,

i co-run a small independent label, so i've been reading what you've posted with interest. i'd add a couple of things, though.

- the hard working class heroes event is full of (mainly) mediocre bands strutting their stuff to 'industry' heads, and is embarassing. agreed. however, it exists because both sides of the equation want it - while there are plenty of 'industry' types who are stuck in a "let's find the next u2" mindset, there are also still plenty of bands who want to be the next u2, or the next whoever. the f.m.c. (who run h.w.c.h.) are simply providing what 'industry' and 'talent' both want - no point giving out about them. if anything, they are a symptom rather than the cause. i'd actually be a lot more charitable than that - the f.m.c. is run by very genuine, dedicated people who do the best they can with limited resources.

- i genuinely don't know why bands want to do the whole rock star routine - sometimes i wonder if this is simply down to the rock mythology spouted by hot press and similar. do people actually believe this stuff? 'unsigned', 'showcases', 'talent', 'industry', 'a & r', all the rest of it.

- related to the last point - it's possible that nothing will change until niall stokes is dead. so if you want to improve irish music, buy a rifle.

- it might be obvious saying this, but it bears repeating - there are plenty of labels and people who are doing cool stuff, and doing it for its own sake, not to become part of the 'industry'. out on a limb, trust me i'm a thief, deserted village, frontend synthetics, ordinary days, basta, skinny wolves, lazybird, etc, etc.

- if the practical achievements of people like this can be shared, and built on, and expanded, then there is huge potential for a sustainable, vibrant, independent music community to exist and to expand. with any luck, soon after that, it will dismantle the entire music industry, all coercive institutions, and all states, and lead us into the anarchist paradise with flowers in our hair.

- the charts were originally created by the major labels. they prioritise spectacle and pomp over music. therefore, to have a campaign to reinvigorate irish independent music based around the issue of what formats make up the charts strikes me as a missing the point somewhat. having said that, if you think it will change things, then by all means push it.

 

[Popeye]

- the f.m.c. is run by very genuine, dedicated people who do the best they can with limited resources.

I agree that the FMC is full of great people with the hearts in the right place...but, I would venture that they are very misguided in their activities. I've met the head of FMC (A.D.), a lovely person, but, when I met her she waxed lyrical about how she got some bands some deals with UK labels. As if it was a badge of honour or a success. I couldn't believe what I was hearing. I was tempted to sarcastically ask if the UK labels flew the bands back on ryanair so they could collect their dole each week..but decided against it.

The latest blurb from the HWCH event is that they are "buildling on the success of last year and inviting more US and UK labels to the event".

That's complete madness, regardless if, as you say, the bands who take part aren't up to much.

The FMC does a lot of great work..it just strikes me as extremely naive that their flagship event, HWCH, is actually detrimental to the domestic industry at large.

It's not unlike what IMRO are doing, flying 15 or more bands off to Austin, Manchester, Cologne or Cannes each year (do they still do the Garage showcase in london?). A very expensive exercise and a mind bogglingly stupid one when you understand what it means to the domestic industry.

Or enterprise ireland, who invest between 70 and 100,000 euro on a stand at MIDEM each year. People still joke about the cues at midem in 2000/2001 for Enya's new album and the Enterprise ireland team waxing lyrical about her doing 40 million units. (For the uninitiated ENYA is an American project, not an Irish one).

Ironically, Norway "bought" the opening night at midem that same year. It cost them a shedload of cash..but, what was interesting is that the Norwegian industry paid for it. Not EU grants. Not Arts Council grants (although there was some money put in by the government). In other words, norwegian labels invested in their own industry. that would never happen in Ireland. The first whiff of a grant/cheque/whatever and organisations/bands/labels are booking flights outa here, quicker than you can say easyjet.

If you compare results with norway and Ireland, now - similar population and demographic - domestic music sales accounts for about 17% over there Compared to about 3% to 4% over here.

It's pretty much a no-brainer. especially when you consider that norway doesn't have a U2, Enya or Cranberries they can point to as proof that there is a market for their brand of pop/rock.

- it might be obvious saying this, but it bears repeating - there are plenty of labels and people who are doing cool stuff, and doing it for its own sake, not to become part of the 'industry'. out on a limb, trust me i'm a thief, deserted village, frontend synthetics, ordinary days, basta, skinny wolves, lazybird, etc, etc.

I'm aware of that Tom. There are some great people and great labels who are going out of their way to avoid the "industry". That's why a renaissance of sorts is needed...the major offices in dublin are close to closure, they're glorified postboxes. So no good ideas or energy is going into IRMA. Should those offices eventually close (downsizing further is highly likely), where does that leave IRMA?

Not many seem to care. Least of all IRMA. I honestly believe they should have used THE most important chart rule change since 1962 to engage with independents...the very people and labels who you are talking about.

they didn't and what's worse they treated them as if they didn't exist.

- if the practical achievements of people like this can be shared, and built on, and expanded, then there is huge potential for a sustainable, vibrant, independent music community to exist and to expand. with any luck, soon after that, it will dismantle the entire music industry, all coercive institutions, and all states, and lead us into the anarchist paradise with flowers in our hair.

there is a scottish guy...Gavin Robertson, a musician and ex-PRS, who setup an organisation in the UK called AIM with a few others, with the backing of the PRS in the mid 90s when I started working in the UK.

that's grown into a huge organisation and independent music accounts for over 40% of total sales in the UK now.

Ireland needs an AIM IRELAND type organisation and instead of enterprise ireland spending 100K on a midem stand each year..they should drop the stand and invest in an AIM IRELAND.

In fact the only thing missing from that effing stand at the moment is a thatched roof and a bicycle hanging off the side.

the charts were originally created by the major labels.

That's actually not quite true. The charts were created by retailers and distributors initially to gauge what they should stock next month. in other words, it was a quality control mechanism for the industry, helping to alert them to what's hot and what they can sell to their punters. The potential of having chart shows and publishing the "most popular songs" grew from that very quickly.

In other words the industry needs a solid charts. Ask any retailer and distributor in ireland and they will tell you how bad, inaccurate and easy to manipulate, the irish charts are. IRMA are aware of this, but, simply don't have the cash to "upgrade" their system.

the inclusion of download sales in the new chart is a positive and welcome move...but it could have been handled much more competantly and included independents in the discussion.

they (the majors) prioritise spectacle and pomp over music. therefore, to have a campaign to reinvigorate irish independent music based around the issue of what formats make up the charts strikes me as a missing the point somewhat. having said that, if you think it will change things, then by all means push it.

It's not a question if "I think it will change things". We already know what has happened in other territories.

The chart changeover in the UK was a huge catalyst for the independent sector in the UK. It's not a completely level playing field, but, there is a renewed buzz about the charts because it's not unusual to see the Pixies or Johnny Cash, sitting beside britney or whoever.

It worked well there because independents knew what was going on and helped tweak the chart rules before it went live. It is valid to debate the new irish chart rules..for example, the "physical first" rule favours majors. Not indies.

retailers can't wait to see the back of CD singles. So the notion of it designed to "slow down the slide of CD single sales" is complete rubbish. What retailer or distributor in their right mind and given the choice of carrying a 13 euro product, in place of a 2euro product. They're the same physical size. It's a no brainer.

IRMA are in a tight spot they are going to find very hard to get out of.

Digital Rights ireland are on their backs for taking kids to court for fileshareing...while at the same time IRMA are doing very little to envigorate the legimitate download sales market. don't forget that only a 10 out of the 66 people who were sent legal letters by IRMA for filesharing have coughed up. All the rest are receiving backing by organisations like digital rights ireland and some artist groups to go all the way to the courts. fair play to them.

In other words, IRMA are facing a long, drawn out legal battle they can't afford and it's going to look very embarassing for them if they can't walk the talk.

I feel sorry for IRMA, in a way, because when you look at the board members, the words "maverick", "knows what they are about" don't immediately spring to mind. organisations like IRMA relies on input from it's members to change and evolve over time.

Unfortunately, the major postboxes in dublin don't really know what to do with themselves if the postman doesn't arrive with their promo packs from london and IRMA have succeeded in allienating themselves from the entire non-major sector.

 

[Popeye]

quick message to say thanks to all the thumped people who supported the petition against IRMA and the way they rolled out the new download charts.

http://www.petitiononline.com/indies06/petition.html

We could tell that quite a few signatures came from here.

Anyway. Just a quick heads up to let you know that the petition will be presented to the IRMA board of directors tomorrow at the board meeting.

Will post up here if there are any positive outcomes.

thanks also to all those who messaged me/emailed me in support. Appreciate it. There appears to be a lot of independent labels out there who know things could be done better, but feel excluded and distanced from the decision makers.




cheers

Phil

 

[Ivytheterrible]

good job. keep us posted...

 

[Charlie Bucket]

The irish industry needs labels based along the Domino lines.

indeed. the "irish industry" needs labels that once had impeccable rosters and now have just sold out and betrayed their original vision - just like Domino...*





*discuss.

 

[Popeye]

indeed. the "irish industry" needs labels that once had impeccable rosters and now have just sold out and betrayed their original vision - just like Domino...

I'm not so sure if that's a fair comment Charlie.

I think it's inevitable for indies to reach a level where they have a duty to do things right. And to do things right, it costs money. And the majors understand the value of music more than any accountant or bean counter, so it makes sense to saddle up with them.

having a hit is very effing expensive. independent labels don't have the resources to plan ahead to press up 100,000+ singles/albums to capitalise on a hit. They have to press up in batches and go down on their knees to beg manufacturers to squeeze them in....just to P&D and satisfy demand when a buzz kicks off. download sales helps soften that blow, but, physicals are still in the majority and it will be a few years yet, before downloads outsell physical albums.

In other words, without resources, a hit can break a label.

If you look at one of the biggest indie hits of last year, Nizlopi, they sold roughly 600,000+ copies of their single in Ireland and the UK...and I bet they lost a flicking fortune scrambling to feed the demand that skyrocketed at christmas. The fundamental lack of resources that goes with being an independent label means they also missed out on converting those single buyers into album buyers - which is the whole point of having a hit single like that. they didn't have the resources to manage the hit and ended up getting dragged along on the crest of a viral wave that came from that monkeyhub missive they did online.

I don't subscribe to the "indies are good, majors are bad" mantra. There are lots of assholes and incompetant cowboys in both. I also cringe when I hear indies believing their own bullshit...when they forget that they are really no different to a major label, without the budget.

In many respects, that huge middle ground of independent labels out there, who believe they can "do a nizlopi" or "do an arctics" is actually more detrimental for artists than the *cough* good old days when 2 out of 10 signed to a major, actually made it.

the reason is that there is a certain charm or romance about independent labels. artists don't bring along a shit-hot lawyer when those deals are inked. because they feel somehow "safe". In reality, there are more shitty deals being signed than in the past when the horror stories of artists being screwed by a major label contract flew around the web like wildfire.

The sector is riddled with glorified scouts, masquerading as independent labels. Who are only thinking a few months past the debut album..when the end game is to sell the project to a major on the back of a buzz.

Invariably, here's a common career path to hell:

(a) small label approaches upcoming band

(b) band signs a 2/3 album deal with options for next to nothing. in a lot of cases, there's no advance.

(c) small label throws a few grand at hiring a name-droppable producer to remix the debut album and make it sound "current", "radio friendly" etc.

(d) band is instructed to bump their own profile by playing every toilet known to mankind and spending 10 hours a day on myspace or bebo.com

(e) instead of sending all the promos to radio/press, the label really sends most of them to the majors/publishers in search of a sell-off

(f) band works their butt off, to raise their own profile....a "buzz" is generated..they get "darlingband of the month" on drowned in sound....a few sales are made..and before you can say "domino effect", the small label pockets a neat finders fee to sign over the contract to a major.

apart from the artists getting screwed, because of the approach, you have a huge amount of bands that all sound the fecking same. everything is pushed behind the debut album, instead of what should *really* happen i.e. the band is given the time and space for their craft to evolve...and do maybe 2 more albums before giving it that big push.

how many great artists do you know that "nailed it" on their debut?

most debut albums sound too much like their "influences" and I can't think of many who didn't really "nail it" and develop their own sound until their 3rd of 4th album.

That's the perils of the DIY ethic. most bands don't make it past the debut album....so there's very little "new music" really out there. because the project doesn't have to time to develop.

It is great that some independents are able to punch above their weight and it's great to see non-major acts topping the charts, but, let's not get carried away here...the fundamental core values of an independent label, is not to "act like a major without the budget", it's to be patient, develop the project locally and give the project time and space to evolve, rather than come rushing out of the blocks, all guns blazing on the debut album. An independent label should cut through those bullshit discussions like "yes but, no but, yes but we've got 10,000 friends on myspace" and concentrate on the music.

that's my 0.02 .