Sync Originals

Tag: music

  • Audio Post

    Audio Post

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  • Time Changes

    Time Changes

  • How The Role of Genres Has Changed In Music Culture

    How The Role of Genres Has Changed In Music Culture

     genres

    Up until 20 years or so ago, music was the defining cultural reference point.  Throughout prior decades it had been possible to identify people’s music affinity by the clothes they wore and the style of their hair.  From the leather jackets and Brylcreemed hair of rockers in the 1950’s, through the mohicans and safety pins of punks in the 1970’s, to the baggy trousers and hooded tops of ravers in the 1980’s, musical identity was worn as much as it was played.  The definition of a casual music fan was more engaged than today, with a casual fan typically every week buying a seven inch single and tuning into the charts show on the radio.  Because music was the core cultural reference point the average ‘music IQ’ was high.

    Now though, music competes with a fierce array of alternative cultural identifiers such as branded clothing, extreme sports, networked gaming etc.  And of course media consumption time and wallet share are also competed for more intensely than ever before.  The result is that the average mass market music fan is less engaged than in the analogue era and the overall average ‘music IQ’ has dropped.

    This manifests itself in a greater number of mainstream consumers coalescing in the middle ground of popular music.  Consequently pop music has become more amorphous, with all genres of music having strong footholds in the pop end of the spectrum.  But this does not mean that genres have stopped mattering.  In fact what has changed is that they have different relevance according to the sophistication of the consumer.  What we have is in fact a genre ladder (see figure).

    genre ladder

    At the top of the genre ladder we have the mainstream music fan, who will think about genres in very broad terms such as rock, dance and urban, but will often have little strong preference between one or another.  These are the sorts of consumers who when asked what type of music they like will most often say ‘I like a bit of everything’.  What they actually mean is that they like the sanitized pop end of most styles of music.

    Next step down the genre ladder we get to the music fans.  These are consumers that have clearly defined music tastes and will think about the genres they like in terms of broad groupings such as heavy rock or indie rock.  Even at this level things start to get tribal.  For example a house fan will often have little time for trance let alone metal.

    The third and final step on the genre ladder is the micro genre, where the aficionados are most often found.  This is where music fans think in terms of labels like Psy-Trance, Dirty South and Screamo.  It is where music tastes become most tribal and in many ways behave most like they did in previous decades. Though these consumers are the smallest group they are the ones that the music industry depends upon most heavily.  These are the ones that go to most gigs, that buy most merchandise, that spend most on music and are the most likely to be subscription customers.

    In many ways at this end of the spectrum there is a genre renaissance.  There has never been such granularity of styles.  The digital era has enabled bands to build and reach niches on a global scale.  So while genres have become more blurred at the first rung of the genre ladder, here they mean more than they ever did.

    originally posted at musicindustryblog.wordpress.com

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  • Business Matters: Streaming Drove 5% Recorded Music Growth In Sweden In 2013

    Business Matters: Streaming Drove 5% Recorded Music Growth In Sweden In 2013

    windows_phone_zune_pass_streaming_icon_by_revengexx14-d4oupr5There’s a good reason the global music industry pays attention to progress of new business models in a Scandinavian country with 9.5 million inhabitants. Sweden leads a handful of countries that have used the controversial streaming business model to reclaim big chunks of revenue lost in the post-Napster crunch of the 2000s.

    Thanks to high adoption of services like Spotify, Sweden is rebounding when many countries are still seeking the bottom. Information released on Sunday by IFPI Sweden shows streaming growth drove a 5% gain in recorded music revenue. As streaming gains were able to compensate for declines in purchases, total recorded music revenues grew to 991.2 million SEK ($152.2 million). Although revenue is 40% below the peak in 2000, 2013 was the third straight year of growth and revenue is up 27% over the last five years.

    Streaming revenue grew 30.3% to 705.9 million SEK ($109.8 million) to account for 71.2% of total recorded music revenue, up from 57.4% in 2012.

    Purchases fall sharply again in 2013. CD losses deepened as revenue declined 164 million SEK ($25.5 million) after dropping 192 million SEK ($29.9 million) in 2012. Download sales declined 22.6%, or 12.9 million SEK ($2 million), after falling 24.7%, or 18.7 million SEK ($2.9 million), in 2012.

    Spotify launched in a handful of countries in late 2008. Sweden was one. Another was Norway. Like Sweden, Norway has seen its recorded music revenues rebound as consumers flocked to subscription services. Last year Norwegian recorded music revenues grew 10.6%. Digital revenue increased 39.7% and streaming accounted for 84.1% of digital revenue.

    How does this matter to the United States and other markets? Sweden is seen as a model for the new business after early and quick adoption of-demand subscription services. A variety of factors, from abundance of high-speed Internet to telecom partnerships, have made the country a successful testing ground for these services. These early successes have made Sweden a frequent talking point. When people wonder what subscription services will do in the United States, music executives point them to the best-case scenario: Swedish.

    The billion-dollar question is to what degree the U.S. market will follow Sweden. Will subscription services, with the help of mobile carrier partners, push into a more mainstream market? Beats Music’s partnership with AT&T is the first step to such an outcome. Will most consumers opt for free streaming because Internet radio got a head start on the subscription model? Or will the market be a mix of purchases and free and paid streaming? And what will that mix look like?

    There should be little doubt streaming, in all its forms, is the future of music in the United States. What’s unknown is when that growth will come. Streaming is currently experiencing tremendous growth — Nielsen says activity was up 32% last year — as the quality of services improves and consumers have greater access to them. The U.S. market may suffer some painful years as it sheds CD and download sales; last year unit sales of CDs, digital albums and tracks all declined. But, just like in Sweden, streaming will be the force that lifts the market from the bottom.

  • 8 Mind-Blowing Facts About Music Business In Japan

    8 Mind-Blowing Facts About Music Business In Japan

    jpBy Lee Parsons, Founder of Ditto Music.

    As founder of Ditto Music, an online music distributionservice. I was recently asked to undertake a learning expedition to Japan and present my company to the Japanese music market.

    Here are 8 facts that will blow your mind about the Japanese Music Market:

    • It is ILLEGAL to sell a CD for less than $25 in Japan
    • The CD market in Japan is still the biggest making up over 80% of the market, but not just sales….
    • The majority of Japanese consumers ‘rent’ the latest CD. They rip it and then take it back.
    • The biggest group in Japan is called AKB48. They have 89 members and had record sales of over $226 million. A large percentage of the music industry revenue as a whole is JUST from AKB48.
    • The Japanese digital market is small but growing. Spotify have had Japanese offices since 2011 but have so far been unable to launch.
    • Product placement is king in Japan. Unlike the western world where certain practices are frowned upon, it is considered an honour to be in the latest TV advert for washing powder or any other product or service
    • Advertising is old school. Billboard vans drive around Tokyo blasting out music from their latest artists
    • Japan remains a strongly cash-based society. On average, only four credit card transactions are undertaken per person per year! This poses big problems for online services.

    How to get gigs in Japan

    Japanese music promoters work the same as any other country, they want to sell tickets. If you aren’t well known in the market then unless you book the venue and sell tickets yourself you may struggle to organise gigs. Our advice is to contact Japanese artists and see if they will help you out. Plenty of Japanese artists would love the chance of getting exposure in whatever country you live in, so a kind of exchange system would work really well. Work with each other and you will be surprised at the results. Myspace is still very popular in Japan so get retro, create an account and start some conversations.

    Gaining Japanese Fans

    If you are spending all of your time promoting your band in your hometown it could be time to think outside of the box. Japanese culture is very similar to others, they use Twitter and Facebook heavily and have a great respect for western music. The language barrier can propose a problem but a lot of young Japanese, especially in Tokyo have a good knowledge of English. And that doesn’t stop you brushing up on your Japanese.

    The key to any new market is hard work. While a lot of artists may see the obstacles, with such a small percentage of people truly spending the time to build their Japanese market, there is a massive opportunity for the ones who do.

    Wired Japan Feature