YOUTUBE RED TO PLAY ITS ROLE IN THE INDUSTRY

With the provision of videos and also a source of new music discovery to numerous people around the world, YouTube has proved to be one of the successful online sources to provide entertainment to audience. YouTube has built its viewership on the basis of free, ad-supported videos and a growing roster of digital stars. Viewers want more choice when watching their favorite content, more ways to support their favorite creators and, above all, to watch their favorite videos uninterrupted.

A solution to this is the start of You Tube Red, which plays an important role in engaging users with content being provided and it will also bring in returns for the content that has already been created. This feature was launched on October 28,2015 with the motive of providing users with an ultimate YouTube experience. The advantages of this service is that it lets users enjoy videos across all of YouTube without ads, while also letting you save videos to watch offline on your phone or tablet and play videos in the background, all for $9.99 a month. The membership is valid across different devices and whenever you log into YouTube. It is also said that YouTube Red will get better with member only access to new and original content from other YouTube users. With YouTube Red, you’ll be able to support the people who make your favorite videos while watching what you want, when you want, on any device you want, uninterrupted. This is currently available in the U.S for free with a one-month trial. It will come to other countries very soon.

A YouTube Music app will be launched soon which will gather official and fan uploaded music videos available to view at one place. This will also be an advantage for Red users to view them without any advertisements. However, some videos will be taken away from the free service if the content creators do not agree to license them. In my view, this seems to be a good service in providing ad free content to viewers. It will rope in a lot of customers when it starts in other countries.

The British Invasion Continues: Jacob Collier

For years, British artists have been invading and inspiring American music.  It all started with the Beatles in the 60s.  From Adele, to Jessie J, to superstar Sam Smith, British musicians have proven time and time again that we Americans love their music like none other.  In comes Jacob Collier, a prodigal multi-instrumentalist whose Youtube videos are absolutely mind-blowing.

Jacob Collier

Jacob Collier

 

At only 20 years old, Jacob sings, plays piano, bass guitar, various synthesizers, electric guitar, drumset, and many many others with a musical maturity well beyond his years.  Taking heavy influences from jazz, as well as blues, funk, gospel, classical, and even hip hop, Jacob’s performance is definitely a very unique, and extremely listenable sound that he can call his own.  He’s gotten the support of huge faces in the industry such as Quincy Jones, Chick Corea, and Herbie Hancock, just to name a few.

 

Here are a few of videos.  Hopefully you groove and “stank face” as much as I do.

 

The Music & Technology Relationship? It’s Complicated.

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There is no doubt that music and technology have continued to evolve both separately and together throughout the years. Technology has the power to seriously complement or hinder music. On the other hand, music has the power to help increase technology sales. Perhaps this all means that music and technology should simply work together as much as possible as opposed to against each other. Let’s take a look at some of the most recent news regarding the music and technology relationship…

Apple-Beats

Apple recently confirmed a decrease in downloads. Maybe this is one of the reasons why Apple acquired Beats earlier this year. Using Beats, Apple can easily gain the kind of simplicity it has been craving in the music streaming sector. In fact, a good example of this can be the recent Southwest Airlines and Apple partnership agreement. Southwest Airlines now offers free music streaming thanks to Apple’s Beats music service!

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Streaming is definitely the way music is heard these days. It is no wonder that Apple is interested in improving their music streaming services and pricing as Spotify revenues rose in 2013 and the music service turned to profit. Spotify also launched a family plan with cheaper subscription options recently as well. Despite all its good news, Spotify was caught a bit off guard when Taylor Swift surprisingly pulled her music from them. It will be interesting to see if this will affect Spotify success.

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Pandora is now giving artists the data it stores from the audience members. However, Pandora is not the only one doing this. Both Spotify and The Next Big Sound have also taken the same initiative. Data enables artists to grow and enhance their careers in a proactive way. By better understanding the audience members, artists are be able to improve musical content they offer and better engage with their followers. It is obvious why data continues to become so important! These companies definitely want to stay ahead of the game by providing artists with this free data.

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Next, news regarding a touchy subject: Piracy! For those that are still trying to illegally download music, Google is now using its search data to point those users towards legal sources through ads whenever words like “free” and “download” are searched in the Google search engine. Piracy has been a continuous problem so it is good to see that Google is playing its part to help regulate music consumption. There are still a large debate questioning whether this approach is enough when it comes to dealing with this issues..

imagesYouTube plans to launch its own subscription service called MusicKey. This is not exactly new news as there have been talks about this for a while now. Although YouTube’s CEO stated she is positive about this subscription service, 25% consumers say they will never pay for a subscription service since they can already find all the music they want using YouTube.

Looking at all these news, it is clear that music and technology continue to be very much connected. Sometimes it can be a complicated relationship. Music and technology have become so closely connected that it makes the relationship an incredibly powerful tool though. Technology alone and music alone cannot succeed in saving the music business. It is by coming together that this relationship can become less complicated as it provides the millennials, those tech-empowered fans, with the ability to become closer to the content they love, align with their socioeconomic surroundings, and follow the new cultural norms. This is what should save the music industry in the future.

To view the article that served as inspiration for this blog post, visit this link – http://blog.midem.com/2014/11/news-review-technology/#.VFoBJZV0zmI

Album Review Of The Week – Animals As Leaders – The Joy of Motion

This week has been particularly exciting. As I recover from my yearly spring/early summer cold, as my system realises that the ‘Fallas’ have actually eaten away chunks of my higher auditory spectrum (16kHz-20kHz), as school kicks back into gear, and as we launch Berklee Valencia’s very own Record Label named Disrupcíon Records, one of my most cherished artist/band releases their third opus through Sumerian Records.

Animals As Leaders and their third release named The Joy of Motion is an ode to the greatest of all lost arts (I don’t mean Lower Defintion’s amazing album, I’m talking about Music), and full of maturity and humility (at times) Tosin Abasi, along with Javier Reyes and new addition Matt Garstka have put together a truly immersive experience.

With phrases, chord changes or cadences that echo some from the previous releases, one can recognise the Tosin Abasi songwriting and find himself at home. But you’ll find tunes off this record mirroring some of Javier’s personal stuff (Mestis, EP: Basal Ganglia). A few solos on the record also let me wonder whether there were any guest players at any point. Track number 3, Air Chrysalis echoes Intervals’ Epiphany, and track 12 (the closer) ‘Nephele’ sounds strangely similar to a Vai-Petrucci progeny. Mystery to be solved…

Overall musically the album is very strong, and so is my wording to describe it, I realise that… Garstka’s involvement and participation in the writing definitely shines through a lot more on this release and it does it a tremendous amount of good. That classic AAL quarter-note pulse is still present, but less important. When straight feels good, straight is played, no unnecessary polyrhythmic aberrations and convolutedness.

I must also admit that I’m super thrilled and amazed that they collaborated with Adam ‘Nolly’ Getgood for the production of this opus. Adam is THE guy when it comes to producing this type of music, hands down, no questions asked. Forget Joey Sturgis, he is just good. Nolly is the exegesis of a mix that packs a punch. And for the guys in AAL to realise that, then get him on-board is the best move that could have been made. Allegedly it mustn’t have been a huge stretch of the mind since Misha Mansoor plays alongside Nolly, but anyway… I’m glad for both posses involved, it is in their best common interest, not something that you see done a lot in the music industry these days (cf. The Prisoner’s Dilemma, Economics 101, Somewhere along the course of every Economics syllabus), and the production is just MASSIVE, mate!

The album came out on the 25th of March, so two days prior to this post. The ’single’ (I guess you could call it that), Tooth and Claw had been out for a little bit of time before that, and it was just the perfect song to release to build a hype and amp things up. I’ve already rinsed the life out of it. It was available for stream on YouTube, however I’ve never been a fan of pre-release streams for music that has value. I get that it would make sense if you’re anticipating a specific single featuring two of your favourite artists, but here it’s the whole artefact that is important. So I waited patiently while all my friends were posting about it on what has become the most important book to all of us these days, got it on Spotify, and am heartlessly taking away what could’ve been a full 7,99$ from this band that I hold so dear…

A few tunes to look out for on this album/my personal favourites so far:

Ka$cade
Tooth and Claw
Para Mexer (8 nylon-stringèd bonanza, it’s got Javier Reyes/Mestis written all over it)
The Woven Web (Slappin’ that bass mon’)
Mind-Spun (Just a power tune, simply put)

If you want to have a listen, head over to Spotify and punch this URL in: spotify:album:6amcjpW1tFWbKniDMn9CE4

heck, even purchase it on iTunes: http://smarturl.it/thejoyofmotionitunes

or have a gander on the YouTube: https://www.youtube.com/watch?v=lbA3jxab4A0&list=PLH22-xSMERQpG4M9HshhXUJ9OKMNlwU8T

 

As for myself, I’ll probably be getting the Vinyl, transparent Red sounds like it looks sexy. DJ kTunes said it first, they’re making a come-back.

 

Animals As Leaders – The Joy of Motion – The Woven Web

Meet:: Jayesslee

Youtube Sensation “Jayesslee”!

 

Gangnam Style- PSY

 

 

Jayesslee is the group name of the two twins Sonia and Janet. The name is “Jay” for J and “Ess” for S and Lee, their last name. The girls are Korean but were born and raised in Sydney, Australia. Janice and Sonia started music in church and got influences from worship music.

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Jayesslee started posting their videos online in 2008, and the cover of “Officially Missing You” (17 million views) by Tamia boost their followers. Thanks to Youtube, their cover videos went viral and they are now number one most subscribed youtube channel in Australia by reaching one million subscribers.

Officially Missing You-Tamia 

 

With their popularity, they covered more songs like… Jessie J’s Price Tag (20million views), Maroon 5’s Payphone (38million views) . They uploaded PSY’s Gangname Style and it has more than 35 million views!!

Payphone-Maroon 5

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The girls have been performing at weddings, colleges and university shows. The duo flew to LA and had their first concert in 2010. Ever since then, they have had shows in the United States, Canada, and Asian countries like Thailand, Malaysia and Singapore. Their shows are not huge, but get sold out with more than 3500 fans. The girls are inspired to sing and perform about their personal experiences. They aspire to be artists who send out positive messages of hope and freedom through their music.

“We didn’t ever think our platform and success would reach to this capacity and popularity. It’s truly an honour and blessing to see so many fans and people all over the world accept us and admire our music. We thank all of you from the bottom of our hearts.” – Janice & Sonia

Janice and Sonia released few tracks on iTunes & Spotify as well with their studio recorded versions of Officially Missing You, Payphone, Dare You To Move and more.
I just love them. I can listen to them all day!

My favorite!

Dare You To Move- Switchfoot

 

Check out Jayeslee on Youtube, facebook, twitter and itunes! 

Youtube
Facebook
Twitter : @jayessleemusic 
Itunes

ROCK LABEL OF THE WEEK: Fearless Records

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Rock Label of the Week is focused on highlighting some of the biggest – or most obscure- labels that you may – or may not – have ever heard of.

  • Name Of Label: Fearless Records
  • Founded: 1994.
  • Location: Huntington Beach, CA.
  • Label Type: Independent
  • Distributors: ADA, RED.
  • Genre of Focus: Alternative Rock/ Pop Punk/ Post- Hardcore
  • Current Roster: The Aquabats, Blessthefall, Breathe Carolina, Forever The Sickest Kids, A Skylit Drive, Tonight Alive, The Word Alive.
  • Inactive Roster: At The Drive-In, Every Avenue, Lostprophets, The Maine, Plain White T’s, Portugal. The Man, Sugarcult, A Static Lullaby, Sparks The Rescue.
  • Website: http://www.fearlessrecords.com/

Back in 1991, Bob Becker founded/created Fearless Records. Becker, who was the original singer of band the White Kaps, was looking to release his bands music. During this period, he also spent a lot of time selling cd’s at concerts, record stores, etc. He then sought out advice from Dr. Strange Records in CA and found a recording studio, producer, and a pressing plant, officially starting Fearless Records. The name Fearless Records came to Bob when he issued his first album off the label:

“I figured I had to put something on there, so I thought ‘Fearless.’ It fit because I didn’t know what I was doing and I felt like I was being fearless about this whole thing. Then I made this kind of cheesy logo with these little dark eyes on it, and I slapped it on that record.” [Orange County Register Interview]

Around 1997 is when Fearless began the hunt to sign more bands, as Bob Becker moved the label from Torrance, CA to Huntington Beach. He went on to sign bands 30footFall, Big Wig, and (the band who would put history on the map) At The Drive-In. Fearless released ATDI’s next two albums (which were very popular in the scene at the time) before the band decided to go on an indefinite hiatus. The group members would later form bands The Mars Volta and Sparta, and it looked that the band was over, for good. However, At The Drive-In put Fearless in the forefront of rock labels, and soon after the hiatus of ATDI, the label expanded its roster into more genres of rock.

At_the_Drive-In

At The Drive-In.

Fearless would go on to have further successes within the next 10 years of its inception. Two bands that found success on the label are Sugarcult and Plain White T’s. Sugarcult’s Palm Trees and Power Lines, a Fearless release, featured their powerhouse single, Memory, which was featured on numerous television shows, video games, and which had steady rotation on MTV and VH1. Plain White T’s, which you may have heard of, released their album All That We Needed on Fearless, which featured the massive hit Hey There, Delilah. The song became a multi-platinum single, and the album debuted at #1 on the Billboard Hot 100.

Arguably one of the biggest successes Fearless Records has had since its beginnings, however, would be its Pop Goes… compilation albums. The albums feature popular punk bands doing covers of popular songs (aside from Pop Goes Acoustic 1 & 2, which feature bands performing their own original work performed acoustically). The first album, Punk Goes Metal, debuted in 2000, and as of 2013, Fearless has released 13 compilation albums under the Pop Goes… name. The most recent album, Punk Goes Christmas, is due to be released November 5th, 2013. A percentage of the proceeds from Punk Goes Christmas will be donated to MusiCares, a non-profit organization dedicated to providing the music community with financial, medical, and HR services.

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Fearless Santa Delivering Punk Goes Christmas.

As of 2012, Fearless announced the inception of their sister label, Old Friends Records. Bob Becker would make a statement on behalf of Fearless about their new business venture:

“Old Friends came about from us being fans of other styles of music, in addition to the genres that fall under the Fearless brand, and wanting to release records that were more geared towards the indie rock / alternative world. It will allow us to work with the bands that we discover that don’t necessarily fit with Fearless, and release music geared towards alternative radio, without confusing our established audience. We’re excited that we will be able to diversify and work with even more talented artists via Old Friends.” [BryanStars Interviews] 

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Old Friends Records Logo.

Currently, The Static Jacks and Hellogoodbye are signed to the label, with 5 album releases between the two bands. Portugal. The Man has also released an album through Old Friends Records.

So what is the secret to success, according to Bob Becker (the dude obviously knows what he is doing)? It involves hard work, and choosing the most deserving artists:

“I never take any of this for granted. I never think that I have everything figured out and that I can just kick back and relax. It’s tough living like that because you’re always on edge, but I think that’s what keeps me trying extra hard. We’re not a big label that has a huge investor behind it. We’re scrappy here and we’ve always approached things that way. I want to help the people that deserve to be successful. I look for good guys. I look for bands that can actually write songs, play live — and then there’s their work ethic. With the Internet now, you can see which bands are working hard and getting their music out there.” [Orange County Register Interview]

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Looking for more reading material? Check out my blog Heavy Bass and Breakdowns on WordPress!

Artist Matchup of the Week: Charity Vance vs. Tori Kelly

First Up…
Name: Charity Vance
Age: 20
Label: Independent
Sounds Like: Taylor Swift, Ingrid Michelson, Regina Spektor
Website: http://www.charityvance.net/

Charity

  Charity Vance is a classifies herself as an Indie Pop artist hailing from LIttle Rock Arkansas.  At first glance she looked really familiar, with a little bit of research I realized she competed the 9th season of the reality singing competition juggernaut that is American Idol.  Since then she has worked the music scene attempting to release a full length studio album.  So far she has released a slew of singles and and 2 EPs’.   As I listened to her singles I would find myself thinking, man she sounds like (Insert any modern female single here).  In one song she sounds like Taylor Swift then like Katy Perry, then like Avril Lavigne. Check out some of her stuff and maybe you can hear what I’m saying.

  Very Avril meets Taylor if you ask me, no?  Then we go to…

  This song could have literally been taken out of Katy Perry´s Teenage Dream. 

  I think the problem here is that her team is trying to make her fit into the various sounds happening in the music industry at the moment rather than trying to develop her own sound and lyrical content. In my opinion she has everything you would want to make a female pop star she just needs to find her own sound to get her there. Something that will at least set her a part a little for all the rest of the pretty girls trying to break in.  She definitely has what it takes check out her cover of Hold on We’re Going Home by Drake.  Still plenty of pop but just different enough to make her stand out.

THEN I SAW THIS…

  Charity teamed up with singer April Kry to record a couple of videos together, and they were probably my favorite to watch.  They were all covers like the Justin Beiber one above but the harmonies and creative choices they made with the songs impressed me.

Next Up…

Name: Tori Kelly
Age: 21
Label: Major
Sounds Like: Jojo, Leah Labelle
Website: http://torikellymusic.com/

Tori+Kelly

  Tori Kelly is an Pop singer with an R&B influence. She competed in many talent competitions but her most notable appearance was on the the same season of American Idol that Charity was in, with both being  eliminated before the live shows.  Since American Idol Kelly has gained much attention  with her covers  and originals on YouTube.   Her channel has more than 600,000 subscribers and over 48 million views to date.  She has released some singles and an EP with the newest, Foreword  coming out October  22nd via Capitol Records, take a listen here.  Currently she is being managed by none other that Scooter Braun a.k.a. Justin Beiber’s manager and with that kind support skyes the limit.  Check out some of her videos, new and old.

My personal favorite.

Dear No One Off her new EP.

  She definitely has her own style that set her part from a lot of the girl in the music industry doing the type of pop music.  She has some R&B and soul influences in her music style and vocal inflections that I really like.

Conclusion

  This one is tough  because they both have established somewhat of a fan base following their short stints on American Idol.  They are both young talented girls that have a lot to offer.  Solely based on the music I should go with Tori just because she has her own laid-back R&B/Pop style that is almost absent in music today when it comes to popular females in music. After listening to her new EP I´m not sure if the content is strong enough to really make any impact, she definitely has the potential to do better.  On the other hand if Charity created a duo with the equally talented April Kry I think there could be something there! Their voices complemented each other very well and at least it sounded more original than Charity’s individual work, and it was a cover. Maybe then we would have a different outcome. There also has never really been a big female duo, at least from my knowledge so that would be interesting dynamic to work with.  For now though  I think I would go with Kelly, even though I’m not too fond of her new material.  She  already has a good fan following and with right material I think she could blow up.

Music Video of the Week : Justin Timberlake’s ‘Tunnel Vision’

Music :

While this song is not the hit single of JT’s the 20/20 experience album, it definitely stands out as a quality track. It was written and produced by Timberlake, Timbaland, James Fauntleroy, and Jerome Harmon. It features audible content from Timbaland who lent his signature beat-making and beat-boxing skills for the creation of this track.

The instrumental strikes as quite sinister right from the start. It builds off an overdriven vocal sample, what sounds like a vacuous trumpet-like melodic line and a high pitched arpeggio. After a few bars they give into into a bass-heavy beat with clear-cut side stick hits and some of Timbaland’s infamous ad-libs and vocal scratch sounds. On the vocal front JT taps into both his lower and higher vocal ranges throughout and shows he is comfortable in either of the two, adding to the dramatic effect of the song.  His arpeggiated backing vocals echo the layered soundscape created by Timbaland. This indubitably allows them to feed off one another as far as creative techniques and arrangement go.

With regards to the lyrical content, JT talks about this ‘Tunnel Vision’ he has for his love interest, describing his infatuation in almost voyeuristic terms. His writing echoes his previous works in some ways; lyrical themes from ‘Cry Me a River’ or ‘My Love’ appear throughout this track.

Video :

The suave grey texture of the video matches the sinister vibe of the track. JT shows off his sweet moves that he is already quite known for and uses the syncopated beats to the advantage of his choreography. The ‘cool’ factor of the video is Timbaland appearance – or more accurately his mouth – beat-boxing along to the song. The more controversial element of the song comes in then. Timberlake decided to venture in the nude-art territory when he decided to have topless women feature in this music video. Not only are these women topless, but he dances fully clothed alongside them via projector montage. The video had to be taken off Youtube a few hours after its release and re-submitted with a content warning page to filter the traffic to the video. Now this may not be unpleasant to the majority of the male population viewing this video, however it feels a bit ‘déja-vu’ to have a playboy-looking type artist dancing alongside topless models.

Robin Thicke and Pharrell used this concept over the summer to release the video for their song ‘Blurred Lines’. It feels like the video to their song acts more as a sales tool than anything else though. The women casted for the part – very attractive albeit – are more there for show it feels. Thicke played off of the summer vibe and used this as a marketing technique; the ladies are walking around, topless, and randomly-timed hashtag words flash up on the screen in the hopes of brainwashing the audience. This is where JT differentiates his approach. The models are not striking random poses like they’re part of the furniture, they’re supplely dancing with a more ‘artsy’ feel to it. Kaleidoscopic patterns are projected overtop of them all the while and lyrics appear on the backdrop in a blended and non-aggressive, non-promotional way. Once again, the male population watching the video might not be complaining. But unfortunately, because of the length of the track the concept loses impact a good minute or two before the video ends.

Tunnel Vision :

Executive Producer: Jeff Nicholas
Produced by Jonathan Craven and Nathan Scherrer
Directed by Jonathan Craven, Simon McLoughlin and Jeff Nicholas for The Uprising Creative
Director Of Photography: Sing Howe Yam
Editor: Jacqueline London

 

ROCK LABEL OF THE WEEK: Equal Vision Records

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Rock Label of the Week is focused on highlighting some of the biggest – or most obscure- labels that you may – or may not – have ever heard of. 

  • Name Of Label: Equal Vision Records
  • Founded: Early 1990’s
  • Location: Albany, NY.
  • Label Type: Independent
  • Distributors: RED Distribution
  • Genre of Focus: Post-Hardcore/Popcore
  • Current Roster: A Lot Like Birds, Eisley, Saves The Day, The Dear Hunter, We Came As Romans, etc.
  • Inactive Roster: Alexisonfire, Chiodos, Circa Survive, Coheed and Cambria, Portugal. The Man, The Fall Of Troy.
  • Website: http://www.equalvision.com/ 

As a scene kid of the millennium, I always found that my heart began at Equal Vision Records, which is why my first blog begins there too. Created in 1992 by Ray Cappo (Vocalist for bands Youth Of Today, Shelter, Better Than A Thousand), Equal Vision’s original purpose was to distribute music for Cappo’s band, Shelter. Shelter was unique in that they identified as a Hare Krishna hardcore band, and because of this, Cappo distributed other Krishna music through Equal Vision [About Equal Vision]. Cappo’s Krishna background also shaped the name and logo of his new record label, as described in an interview by current label owner Steve Reddy;

“Equal Vision was initially created because Shelter wanted to put out their own records. The name came from a verse spoken by Krishna in the Bhagavad-Gita. The logo is a picture of Krishna that a Hare Krishna artist had lying around, unused in her portfolio. Ray Cappo, the singer of Shelter and founder of Equal Vision, liked it and asked her if we could use it and she agreed. We used the logo for all of our Krishna-core bands, but when I signed Shift—our first non-Krishna band on the label—we switched to just the “e v r” letters as a logo. We wanted to make a differentiation so kids knew Equal Vision wasn’t just an all-Krishna-core roster. We did it that way for a couple of years, but after the Krishna-core stuff faded away, we decided to go back to [our original] logo for all releases. The Krishna logo still means a lot to me today, and I’ve always preferred how it looked over just the letters.” [Behind The Logo’s Interview]

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Equal Vision Logo.

In 1991, Reddy purchased Equal Vision from Ray Cappo, and from that moment on the label opened itself up to become a broader, hardcore label. It also meant relocation – while Equal Vision started up in New York City, it was moved to Albany, NY once Reddy took over. By the end of the 1990’s, the roster for Equal Vision (then known as EVR) had doubled. Within the Equal Vision building, bands were having their music produced and marketed right in house, while the merchandise portion of the website dedicates itself to sales on clothing, accessories, and album sales.

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MerchNow Warehouse.

On top of Equal Vision Records, Reddy and his wife Kate also created MerchNow, a merchandising company with a focus on band apparel to be sold on the online store, as well as on tour (from individual tours with bands on their roster to festivals like the Vans Warped Tour). The company holds the values of the Hare Krishna attitude, providing full health care benefits and a lunch program that hosts locally grown food to their employees. Not only does MerchNow sell band apparel for the roster of Equal Vision, you can find band apparel from bands not included in the “Equal Vision Family”. [Merch Now Interview]

Equal Vision Records has connected itself to numerous business ventures within the past few years. A sub-label, Mantralogy, created by Kate Reddy, was designed to support and promote yogic musicians in the way Equal Vision supports their hardcore roster (some artists on Mantralogy’s roster include The Mayapuris, Prema Hara, and Gauri Vani &As Kindred Spirits). Other ventures include two imprint labels off of Equal Vision: Max Bemis of Say Anything created Rory Records and Casey Crescenzo of The Dear Hunter created Cave & Canary Goods.

We Came As Romans on EVR Instagram

We Came As Romans on EVR Instagram.

Through it all, more than anything, Equal Vision has dedicated itself to living moment to moment. The focus is on the music, and making sure this music reaches the public. The label is very active online (from Instagram posts to numerous Tweets daily) and the focus is less on making money as it is connecting the artists to the fans. While it seems unimaginable, that’s the Krishna way, and from Ray Cappo’s beginnings to the label today, they haven’t lost sight of their core values. Looking at their extensive roster, it shows that these values have found a spot in the hearts of the bands as well. Equal Vision has a business model that has worked, and will continue to flourish if they stick to their guns.

SAMPLE THE CURRENT ROSTER

Check out more music on the Equal Vision Records Youtube Channel!

Looking for more reading material? Check out my blog Heavy Bass and Breakdowns on WordPress!

An Album of Sheet Music: Beck’s Latest Collaboration

“Art begins in imitation and ends in innovation.”- Mason Cooley

Back in the day, people used to buy music.  Waaaay back.  Sheet music.  If I told you that an artist sold 54 million copies of a single song in 1937, would you believe me?  Well, this is a real thing, and it puts the notion of success and popularity into perspective.

There was a time when music was conceived, then notated, then interpreteted, then performed, and if it was really worth it, then recorded.  Bing Crosby wrote a song called “Sweet Leilani” in  ‘37, and everyone heard it.  Because half the nation owned it on paper.  They bought it, they went home and learned it, and when it was ready, they shared it.

The word ‘share’ has a different definition in this century.  It implies a certain dichotomy between autonomy and community; that an individual has made or discovered something that he feels compelled to ‘share’ with the world, or strangers, or his friends.  Back then, it happened in a living room.  Not impulsively, but after consideration, dedication and finally presentation.

Beck has done something pretty cool.  Instead of releasing an album, he went back to the basics.  This summer, his newest music became available.  As sheet music.  No interpretation, no recordings, no cheating.  This summer, it was announced that Beck’s new project Song Reader would be released in December 2012, featuring twenty songs as sheet music only, with full-color art for each song, in a hardcover carrying case.  On www.songreader.net you can find the tunes performed by normal people, real musicians, and Mac Miller.  YouTube is full of them, too.

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The genius here is way more than a gimmicky retro homage to get people to create and be inspired.  He has somehow given birth to a viral situation that will only generate more material and interpretation.  It is a different kind of innovation; he is appealing to the new crop of consumers.  In his ‘Loser’ heyday, people actually bought CDs.  Now, he has still done most of the work, but he has invited the community to record the tunes themselves, which is appealing to this new user generated generation.

On the days of sheet music and it’s purpose of generating performance, Beck said, “That time is long gone, but the idea of it makes one wonder where that impulse went. As for these songs, they’re here to be brought to life—or at least to remind us that, not so long ago, a song was only a piece of paper until it was played by someone. Anyone. Even you.”

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