Posts Tagged “Music Industry”

Following countless years of personal hardships, studio disasters and times of music industry indecision, New Orleans’ own EYEHATEGOD, with much relief and excitement, are proud to announce the release of their brand new full-length! Entirely assembled and financed by the band, the self-titled, eleven-track long player will be released on May 27th by their partners at […]

The post EYEHATEGOD To Release New Full-Length This Spring; Lyric Video Now Playing appeared first on Daily Heavy Metal News.

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Entertainment: Project aiming to define "the future of the music industry," details inside.

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At Heavy Metal we cover the big name releases, but we also support the underground. Each month we bring you unsigned bands with a lot of potential and skill to make it. Dungeonmaster Dan Drago is in an unsigned band himself, and knows the challenges of climbing the music industry ladder. Here are five promising bands. We encourage you to check them out, and discover some excellent metal bands.

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Surgical Steel, the highly anticipated comeback album from the legendary band Carcass, is a smashing success. Their current lineup includes longtime members Jeff Walker and Bill Steer along with new drummer Daniel Wilding. I spoke with Steer about when they decided to write new material, how the lineup came together, the sound of the new album, the state of the music industry, their upcoming tour plans and other topics.

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Elle Haus of Full Throttle Rock recently conducted an interview with British vocalist Tony Mills (TNT, SHY). A couple of excerpts from the chat follow below.

Full Throttle Rock: You’ve had a long, fruitful career with TNT. Do you look back on that time with fondness and accomplishment for the work you created?

Mills: Not really for the work I created, to be honest, although the third and final album, “A Farewell To Arms”, was the best of the three, without a doubt.

Full Throttle Rock: But this time really belongs to seven years on stage and not a lot else.

Mills: Maybe we did 500 shows or something like that, but not many out of Norway. It has been the most prolific live period in my career, and when I felt the stagnancy and the lack of desire to grow and develop any further, I knew my time was done with the band. I don’t think it’s sensible to expect new art from the band after thirty years, just a lot of re-living the past and reconstructions of old albums and performances. None of us are getting any younger, but I have a great desire to not stop creativity in my life. I hate wasting days and singing songs from the past to satisfy old fans. Nostalgia wasn’t doing it for me. We were never close as friends or anything like that, so there is no great loss, and I have no doubt they will reform the original lineup and just do the whole thing all over again. I wish them good luck on that. I have other releases to come that excite me much more than that.

Full Throttle Rock: You’ve publicly stated that in today’s world long gone are the days of going to a shop to buy your favorite artist’s new record, with the whole digital revolution of music and downloads. What is your opinion of the state of the music industry at the moment?

Mills: The young musicians of today will get different kicks, I guess, but there was nothing like getting a letter back through the post from a record company with a positive response to a demo that you had sent weeks before. Or recording in big studios where you stayed for months; a lot like being on holiday, but creating great music with big name producers. Record advances have all but disappeared, and the market is evolving in many different ways. I often hear engineers saying that they miss the roll of the tape machine in the background. I can empathise with that, although the technology is so much better now. I feel sorry that the traditional record company and its releases have all but disappeared, but on reflection, they also made a mess of a lot of things and they can’t do that anymore either. Corporate record companies had many of their own ideas that didn’t agree with the artists’ ideas at all, but nevertheless were enforced regarding releases and artistic direction. They had no real place in that, but they waved the cheque book and you had your arm twisted in their direction one way or another. I kind of soldiered on regardless through all the changes of the last thirty years, because they were so inevitable. I don’t see a whole lot of money in making records anymore; the profit has lay in the performance and the merchandise for quite a while now, so we write and record to support that ethic and do the best we can.

Read the entire interview at Full Throttle Rock.

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Whole might be selling a metric ton of vinyl per year (and increasing), the music industry is still sporting a huge frown. Apparently the physical medium is dying way more than we thought it was… for now. 745% sounds like a ridiculously massive number, doesn't it? Well it's really not all that great. According …

The post Vinyl Sales Are Way Up, But Will It Save The Music Industry? (No!) appeared first on Metal Injection.

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The Irish Times recently conducted an interview with bassist Ben Shepherd of reunited grunge legends SOUNDGARDEN. A couple of excerpts from the chat follow below.

On whether he expected “Badmotorfinger” to be as successful as it was:

Ben: “I think it was successful on our end, I don’t know about fanfare or anything. I remember being chided because it was supposed to come out in September [1991] — the day NIRVANA‘s ‘Nevermind’ came out — and all my Seattle friends were like: ‘God, you guys are dicks. Your album is out the same date as NIRVANA.’ But the cover was messed up so we postponed it and put it out later. In comparison to other albums, it was a success for us. It was fun as hell to make. It was my first venture into the band and becoming part of the band.”

On why he thinks Johnny Cash chose to cover SOUNDGARDEN‘s “Rusty Cage”:

Ben: “Probably because they’re bad-ass, truthful, lyrics. Chris [Cornell, SOUNDGARDEN singer] is a great writer and Johnny could probably relate to that. Johnny always talked about, if you read his books, how a singer has to sound like they’re telling the truth. It’s all about the truth. If you mean it then it sounds right. If you don’t mean it it’s a schlock thing (and)you tell it a mile away.”

On going through some difficult times after SOUNDGARDEN‘s breakup in the late 1990s:

Ben: “Not only did SOUNDGARDEN break up, HATER [Shepherd‘s side-project band] broke up and my personal life fell apart all at once. I was totally gutted and cut adrift, basically. I never got back on my feet enough to actually, you know, do the music industry thing. All my connections were gone in the fog. That’s not pushing the blame somewhere else — I fully accept the blame for myself not doing what I needed to do. I was just kinda floating.”

On SOUNDGARDEN‘s reformation in 2010:

Ben: “It was some tweet that Chris sent about reforming the fan club — not the band reforming — and everbody ran with that! So we just let them run with it — and we ended up reunited! I remember that New Year’s Night or New Year’s Eve, right then I was finishing my solo record. Two days before that [when the band announced it was to reform] I told everyone in the studio that: ‘Now I’ll never be in another band again — I was in a band once — that was a real band!’

On whether it was hard finding that SOUNDGARDEN sound again after all these years:

Ben: “There is a natural chemistry. The influences we have outside the band are filtered because we play to each other in the band. I can’t wait for Kim [Thayil] or Matt [Cameron] or Chris to hear a song I write and I cannot wait to hear their songs. Collaborating has always been really cool. We always just bounce ideas off each other.”

On what it was like going back into the studio with SOUNDGARDEN:

Ben: “There were some structural things that we had to work out. ‘Non-State Actor’ was way over-composed I guess, or way over-organized. I didn’t like how it turned out but now when we play it live it makes sense. I probably had too many parts and I kept trying to chop parts and change parts and everybody else did to. They’re the things you iron out before you get into the studio usually but there were a few songs we hadn’t even done pre-production on.

On whether there are any plans for SOUNDGARDEN to return to the studio:

Ben: “God, I hope so because we’ve got a lot more songs to go — I know we do! But, I don’t know if we’ve toured off ‘King Animal’ enough. It’s a trip for me that we have not played Europe on the ‘King Animal’ tour yet.”

Read the entire interview at The Irish Times.

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KLAQ‘s Lisa Sanchez conducted an interview with ALICE IN CHAINS members Sean Kinney (drums) and William DuVall (vocals) on August 31 at Revolt On The Rio Grande in Albuquerque, New Mexico. You can now listen to the chat in the YouTube clip below.

On the state of the music industry, how the Internet affects musicians, and where they think the record business is going:

Kinney: “Any music that can generate money will be the dumbest, shittiest lip-syncing crap that’s made for the lowest common denominator, made for the masses, just kind of like reality TV — cheaper, shittier, dumber, dumb it down.

“The next LED ZEPPELINs and everybody they’re playing right now, they’ll never get a chance because if you don’t support these things, there’s no infrastructure to let a band turn into a band and mature and grow. It’s financially impossible. I mean, we’re out here doing this. We get paid for what we do, but we’ll spend almost every penny we make to do this. We spend almost all our money to do this, and we’re fortunate. To move six semis and twenty buses. Each bus costs 30,000 dollars a month. That’s not counting gas. It costs millions of dollars to do this stuff at a certain level. And it’s what we love to do. And we’re fortunate that we kind of make it work.”

“The record companies fucked every human that ever recorded music in the history of music. Every single person — [from] the first recordings — has been permanently fucked because the record companies didn’t get their shit together and nobody regulated anything and found a way to distribute [digital music] right.”

DuVall: “It’ll get harder and harder to run that business the more this, sort of, ripple effect takes hold in the culture.

“People think they’re sticking it to ‘the man’ by not paying for a record, BitTorrenting and all this stuff. They’re not [sticking it to ‘the man’]. They’re sticking it to their favorite band, they’re sticking it to their favorite artist, and ultimately, they’re stucking it to themselves. Because eventually, those [artists] won’t be able to tour so readily. A lot of bands are gonna break up. A lot of bands already have broken up.

“When you talk about your top-tier groups that are able to operate, we’re somewhere in the fortunate category in that at least we can have a serious conversation about moving all these semis and all these people around the world and flying the gear everywhere and feeding everyone that works for this group and everything, and feeding ourselves. We can at least have that conversation, but there are a lot of bands that were able to survive 15-20 years ago at the mid-level — [like] your punk bands that were on Epitaph, those bands that sold around 100,000 records and they could rely on that, they could make their records cheaply, they could tour in a bus, they could make a living. Now those bands can’t do that anymore. That whole mid-level, it’s just like what’s happening in a larger sense in the country and in the world. Like, this middle-class things is just getting routed; they are the ones getting routed.”

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Justin R. Beckner of Classic Rock Revisited recently conducted an interview with legendary Swedish guitarist Yngwie Malmsteen. A couple of excerpts from the chat follow below.

Classic Rock Revisited: Do you ever get caught up in thinking about commercial appeal of what you’re writing or composing?

Yngwie: I did at one point, when that actually existed. The radio format doesn’t exist, the singles don’t exist. The record label doesn’t exist. The record stores don’t exist. That whole entire thing is gone.

Classic Rock Revisited: Is that a good thing or a bad thing?

Yngwie: Well, first of all is very bizarre, especially for someone like me. When I started out, it was very much like the guy with the big cigar in a big office saying, “I’ll give you a record deal, boy.” You had tour support, tour buses, local A&R people, the whole nine yards. I did that, but it’s all gone now. It can be for better or worse, because if you don’t have name recognition now. If you want to start out now, how the fuck do you do it? Back in the day, DEF LEPPARD said if they could get a few singles on MTV, they’d be able to make it, and they did. That happened with a lot of bands who did that back then. Now we have YouTube, but there are billions of videos and musicians on there and if nobody knows your name, nobody’s going to look you up. It’s a little bit weird, but in that sense, the music industry situation is really bad for whoever wants to start out now. The good part is that there is no longer this slavery to a certain format going on, where in the ’80s, if you didn’t follow format, they wouldn’t give you the time of day. You had to conform to get a shot at a record deal. That’s gone now, and it’s bizarre.

Classic Rock Revisited: The Internet changed a lot for the industry; piracy has certainly had a hand in changing the game. Do you think that piracy can be beneficial to some of those bands starting out? How has it affected you?

Yngwie: How could it possibly be positive? If you go into a store and you see a car that you like, you can’t just drive off with it. The cost and the blood and sweat and tears that go into making music is the same thing, it’s not free. Try telling the engineer and the producer that they have to work for free. It’s utterly bizarre. It’s like just going into a store and taking things off the shelves. It’s stealing. The reason there are no bands coming out now is that the money that was once there is not there anymore. So what happened was, in essence, by pirating music, you kill the music industry. The music industry died because of the piracy, and now all the fans will have no new music. Isn’t that wonderful? It’s a direct consequence of that.

Classic Rock Revisited: I think that, with piracy, we’ve lost the album art, the liner notes, the waiting in line to get the next record. It seems that there used to be this aura of awesomeness that used to surround a new record being released. Now it’s just a click away. One sad little click.

Yngwie: Yeah, that’s another aspect of it that I totally agree with what you’re saying. But I think that kind of got lost with the CD a little bit too. I think when the LP went, that’s when the art went. You know, when I was a little kid, I used to record cassette tapes for friends. So this music-sharing thing has been going on for a long time and the Internet just sped it up.

Classic Rock Revisited: It seems to me that over the years, you’ve been portrayed as a musical dictator of sorts. Most bands talk about the glory of collaboration and all the great things that come out of that. I find it interesting that you feel differently.

Yngwie: It’s funny; I was just talking to someone about this the other day. Yeah, you’ve got Mick Jagger and Keith Richards, and you’ve got VAN HALEN, who wrote as a team, and that’s great for them, and I love that. For me, I look at it in the way that I am an artist. An artiste. When you’re a writer, you write the whole book. When you’re a painter like Da Vinci, you don’t say to someone, “Hey, come over here and help me with my painting.” There are a few reasons why I work this way. First of all, I’m so full of creativity that I don’t need any other input. The other is that I feel so strongly about my work; it’s like a burning passion to create something that is uniquely me. This comes with the full realization that you may love it or you may hate it. But this is what I’m going to do, and I’m not about to have any kind of discussion with anybody about how it should be done. I’m a very serious creative person. I don’t compromise, because I don’t collaborate. I tried it and I hated it every time and I was never pleased with the end result. I’ve been doing this way too long to change how I do things now. I’m not doing things this way because of some egotistical dictator type of reason. Ask Rembrandt if he would have liked for someone to come and paint in his paining. That’s exactly how I approach it. I have to love what I do. If other people love it, I’m happy. If other people hate it, I’m still happy because I’m doing what I want to do. I’m a tennis player, I’m a boxer — I don’t play team sports. I’m not a team player; I never have been and I never will be. In tennis, if I win, it’s because of my serve or my backhand. It’s a battle and is a challenge to myself. After it’s over, I don’t want to say, “Good job, pal, I couldn’t have done it without you.” I can’t live like that. It’s a lot of work to do things like that, but that’s how it has to be.

Read the entire interview at Classic Rock Revisited.

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Former MISFITS guitarist Doyle Wolfgang Von Frankenstein recently spoke to the Phoenix New Times about how he and other artists have been affected by illegal music downloading.

Asked what he thinks has been one of the most positive changes about the music industry since he started out in the MISFITS in 1980, when he was only 16, Doyle said: “Positive… it’s usually negative. Umm… positive things. That I don’t know. But I can tell you the most negative thing: People stealing music online. They don’t understand that if they steal a band’s music, one of those guys have to go get another regular job and they can’t make more music for you. So you pay for it. It’s like, if you own a motorcycle company and I went and took a bike, that’s a crime, you know? Right? I pay for all my music.”

He continued: “Everybody has [been affected a lot by illegal music downloading]. Especially the smaller bands and artists, they suffer the most. It’s not like [LED] ZEPPELIN and huge acts that don’t really get affected.

“You know, everyone got so mad when [METALLICA‘s] Lars [Ulrich] went to sue Napster and everyone was, like., ‘What the fuck?’ It’s, like, what do you mean what the fuck? He doesn’t need the money, but everybody else does!

“It’s hard, man. You wouldn’t believe how many huge musicians that are popular have regular jobs…

“I wish he would do it again, but sue the whole Internet and fix it so nobody can. And with movies too, it’s ridiculous. It costs so much money to make a record! Especially for people like me, I funded the whole record. I did it all out of pocket, bought all the gear and did it all ourselves. That’s expensive on its own.”

Doyle‘s new album, “Abominator”, was made available worldwide on iTunes and all digital music services on July 30.

The effort, which has been called “perhaps the best MISFITS-related record in over a decade,” also features Alex Story (CANCERSLUG) on vocals, “Left-Hand” Graham on bass and Dr. Chud (MISFITS) on drums.

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