Rental vs. Ownership: will streaming save the music industry?

 

 

By Michele Kennedy

Music industry faces threat as new technology allows fans to ‘stream’ their favourite music from sites such as YouTube and Spotify.

With millions of people now streaming their music online can the industry adapt to the changes and survive or are they in for a bumpy ride as new technology captivates the attention of music fans from all over the world. 

Around 20 years ago the music industry tried to gain your attention they only had to hold it for a short period of time in order to get you to buy the CD.
However, the introduction of Apple’s ITunes made it difficult for the industry to do this, they had to adapt and find new ways to make money. For music fans this was a revelation. They were able to download their favourite tracks for as little as 99p without having to buy the entire album.
The introduction of online services such as Spotify and YouTube means the music industry has to prepare itself for another drastic change in music’s culture.

Ticket sales from 2011 shows that less people are buying tickets to actually attend the concerts: a total of 50.1 million were sold compared to 52 million in 2010. However, the number of music sales has increased by an estimated 8 % to £5.2 billion in 2011.

Charlotte DeValmency, a 20 year old law student from England, says: “I think the music industry resisted it for too long and didn’t adapt, now people are more used to the illegal ways of streaming. Hard core fans will still pay for the music but think it might change the music industry for the better.”

17 year old high school student from Glasgow, Sarah Dunn, defends the industry by saying: “I prefer CDs because all you have to do is put them in a media player and listen to your favourite singer or band, you can get lost in the music. The problem with downloading music whether it be legally or not is that you have in a way, lost that personal contact with your favourite artist. In the CDs is normally a written thank you from that person and this makes the connection between the artists and their fans more personal.”

 

Byron Evans, who is a 19 year old drama student from Glasgow and self confessed music fanatic claims: “The music industry doesn’t need saving, recent statistics have proven this. However I do believe that something needs to be done about the concert attendance. Take Rihanna for example, her music sales are through the roof yet she has had to cancel shows in the past due to empty seats.”

Statistics show that 16.4 million people now stream their music online, 20% of streamers buy more downloads since streaming and 55% of streamers discover new artists because of streaming. With Norway being the leading market for streamers with 48%, surprisingly Japan having the lowest figures of 15%. Leaving an average of 32% of the worlds population are using streaming as a method of listening to music.

The download sales have increased every year with singles sales increasing by 13%, while digital albums increased 25.1%. There were more than 100 million digital albums sold in 2011. For the music industry this is a first. So clearly, streaming services such as YouTube and Spotify aren’t killing the industry. Instead i helps ng it.

 

 

 

 

Of Monsters and Men Review- O2 Academy Glasgow 22/2/13

By Kimi Inglis

The calm before the storm came in the 45 minute break between support act Mugison and headliner Of Monsters and Men. The restless crowd quickly forgave the quirky Icelandic band, as they took to the stage with such force and presence; swallowing the gig goers, immersing them completely in upbeat pop songs. Of Monsters and Men joked, engaging the audience by encouraging charismatic sing along. Front woman, Nanna Bryndís Hilmarsdóttir grinning throughout the bands set, while energetically and playfully interacting with fellow band mates juxtaposed with front man Ragnar “Raggi” Þórhallsson whose intensity was mesmerizing. Mountain Song stole the attention of the crowd, the question and answer section leaving fans bellowing lyrics into the air of the 02 Academy. Hands were raised, prompted by drummer Arnar Rósenkranz Hilmarsson, whose drumming was a show on its own. The chemistry between the musicians as they ran back and forth across the stage, trading instruments and towels gave the show electricity. The vocals echoed through the venue, crisp and clear, sounding as perfect as the vocals on Of Monsters and Men’s debut, My Head Is an Animal, an album which is best served live. Love Love Love came like a cooling wave, soothing the crowd, before again tossing them in to the energetic sea of folk-pop tearing through the room. Little Talks made the room erupt into flurry of waving hands and dance, which was by far the highlight of the evening. Of Monsters and Men is the perfect blend of passionate, beautiful lyrics, weaved into perfectly written pop songs, making them a fantastic live act.

Come a little closer, get ready for Heartthrob

By Kimi Inglis

Hearts are throbbing in anticipation as the release of Tegan and Sara’s seventh studio album grows closer.

Heartthrob will be released in the UK on February 11th 2013. The album has already surpassed expectations, promising to be the duo’s most electronic creation to date.

Lyrically darker than their previous work, however, there are powerful keyboard hooks layered within the tracks to keep to their pop sound. The keyboards mesmerise with their lush power, while the haunting vocals add to the anxiety of certain tracks.

Tegan and Sara worked with Grammy nominated producer Greg Kurstin, and also Mike Elizondo, who will alongside the duo, enhance their barrier breaking sound.

Now I’m All Messed Up, is a broken plea of conflicting feelings set to captivating backdrop of synths. “Now I’m all messed up, sick inside, wondering who, whose life you’re making worthwhile”, lyrics so passionate you can feel your heart break with the intensity of the vocals.

Tegan and Sara have already played this track for television programme, 90210s Christmas episode.

An exception to the melancholy is their first single, Closer, a quirky attention grabbing feat of pop genius. Closer is the anthem of teenage desire, a smooth piece of writing that sends flutters through the hearts of the listeners.

I Was A Fool is the most exciting track on the album so far. The lush piano intro with its classical nature slows the track down giving it a breezy ballad feel. The harmony on the vocals gives the song intensity, making a sensational track.

Seven albums later, Tegan and Sara are still bringing fresh ideas to their music, penning lyrics that hold a place in their listeners’ hearts and pushing themselves to be the most creative band of a generation.

Tegan and Sara are without a doubt a band who should not be treated typically.

Stiff Little Fingers Review

by Jamie Harkin

HMV Picture House ,19^th November, £17

The lights go down. An electric atmosphere that has slowly been bubbling throughout Spear of Destiny’s brilliant support performance suddenly explodes throughout the venue.

Enter the Stiff Little Fingers. A band known for 35 years as one of the few true embodiments of punk music. The eruption in the room is met only with a polite nod and a blisteringly energetic rendition of Wasted Life. The crowd goes wild, lapping up the chance to see these legends play.

After the first few tracks Burns stops and introduces himself to the crowd, stating “now I’m not a religious man, but I do believe Simon Cowell is the anti Christ.” The night is interspersed with statements like this as well as reminding the crowd of mental health week and the anniversary of the death of Joe Strummer.

The setlist is dominated with tracks like this: fast paced anthems originating from the earlier incarnations of the group. Tracks such as Nobody’s Hero and At The Edge also go down incredibly well, with lyrics being chanted by everyone in the room. Then comes the incredible Barbed Wire Love whose speed is topped only by the breakdown section with the crowd swaying along and crooning to the mock doo-wop style.

The energy of the room definitely mirrors that of crowds 30 years ago. Which could be because quite a lot of those who attended the show were likely there first time round. Highlighting a real mix of age groups in the room from younger teenagers to folks in their later 40s. However possibly due to this mixture of age groups there is quite a hostile nature in the air, with near fights erupting every few tracks or so. This seems mainly to do with people getting annoyed at others jumping around, even though they themselves are doing exactly the same.

Then there are the encores. The first contains the mesmerising Johnny Was, its heart pounding snare roll ringing throughout the venue conjuring the image of a wartime march. This is followed by the most well received track of the evening: Alternative Ulster. Out of every gig I have been to I have never seen a reception like that for a track. Finally there is Gotta Get Away, which Burns swears that it will be the last time they ever play it.

Overall the gig was fantastic. With an impressive support group and a brilliant setlist, the night may have been more suited to a smaller venue such as the Barrowlands or the Corn Exchange but overall it was a great show.

Olly Murs: Right Place, Right Time Album Review

 

 

By Emma Tomlinson

Unfortunately for him, Olly Murs will always be remembered as ‘the guy who lost to Joe McElderry on X Factor’. Although faith is not lost in this battle as Olly strikes another blow in the form of yet another number 1 album. So, as Joe McElderry disappears off the face of the music industry, what does this third album hold for loveable Olly?

In the new album, Right Place Right Time, Murs offers a new variety of sounds, ranging outside of his 50s swing/pop style into more sombre, serious depths. Although fear not, he’s still chucked in a few songs you can have a dance to while getting the washing done. With the first released single, Troublemaker
already reaching number one twice with its upbeat, innocent tone with a brief cameo from Flo Rida launching the song to new levels. Also to keep him to his cheeky chappy roots are the ever optimistic, romantic What A Buzz and Hey You Beautiful keeping the ladies swooning.

The loveable crooner gushed on Facebook over his double number one success to his ‘Murs Army’ posting: “DOUBLE BUBBLE!! NUMBER 1 single & album! Amazing news! Been a huge year for me, thanks to everyone for all your support and for buying the album! Hope you’re enjoying it as much as I did recording and writing it!”

With the presence of old school Olly still lingering, he clears the air with an influx of new and improved musical brilliance. Army of Two ranking highly in the pop rock stakes, with the drums being thumped and their feet even louder, Murs breaks out of the cute popstar mould and shows the makings of a future Robbie Williams.

Fans on Twitter don’t seem to have any qualms with Olly’s new style as they expressed their joy over the new material. One user gushed “Right place, right time is definitely my favourite Olly album so far!” whilst others went on to call it ‘the album of 2012.’

So as of now it would seem the sky is the limit for Murs. Topping the charts not only once but twice, an army of screaming girl fans and the nation’s heart. With this sort of luck, The X Factor’s rejection of him is a mere thing of the past. It most certainly feels like Olly is in the Right Place at the Right Time.

An Interview With Glasvegas Bassist Paul Donoghue

By Kimi Inglis

Glasvegas bassist Paul Donoghue enters the bands dressing room dressed all in black, keeping to their traditional look.

The band has been together since 2003, but began playing under the name Glasvegas in 2007. They released their self-titled debut album Glasvegas in 2008, which lead them to be nominated for the Mercury Music Prize in 2009. The Glasgow four piece released a second full length album named Euphoric Heartbreak in 2011 and a mini album named A Snow Flake Fell (And It Felt Like A Kiss) in 2008. Glasvegas will be releasing their new album in 2013 named Later…When The TV Turns To Static.The band has just finished their sound check in preparation for their show in the Garage tonight. A show that promises full on energy, with their intense stage presence. The anticipation of tonight’s show is electric in the air backstage.
He pulls up the brown leather sofa looking relaxed and we start to chat. Immediately, he is easy to talk to, making jokes about life on tour, talking about the bands recording process and their new album.

Kimi Inglis: What was it like making your new record Later…When The TV Turns To Static?

Paul Donoghue: Yeah, it’s the first time we’ve done an album in Glasgow. It made a big difference because, when we’ve done albums in the past, the first album was in New York, the Christmas album was between New York and Transylvania, Euphoric/Heartbreak was in London. It makes a difference being able to go home at the end of the night. Certain albums you need to get away from everything to do it but I think this one really had to be made in Glasgow with the way it sounds. I remember hearing the Raveonettes album Chain Gang of Love and me and James (Allan) were talking about it and it sounds like Glasgow, like the summer in Glasgow, like warm concrete. Our album doesn’t really sound anything like that but it has that kind of feeling to it, that kind of gritty, electric feel, so I don’t think it could have been anywhere else.

KI: Do you think that progressing into more electric music has been natural to you? Because you’re very first album, Glasvegas, was quite raw and more guitar based.

Paul Donoghue: That’s the thing, everyone thinks that the second album Euphoric Heartbreak had loads of keyboard on it and there was like two, mostly it was like guitars. Don’t get me wrong, that’s a little bit of an excuse, it was more like guitar through synthesizers but the music just kind of progressed how we progressed,. We didn’t think, right we’ll put lots of keyboards on it; it was just what felt right at the time. We don’t like keeping ourselves in one little comfort zone. I hate that sorry (Paul laughs), I actually done the David Brent hand thing as well. It’s good to explore different sounds and even on this album, James produced it so we had complete control over everything.

KI: What is it like playing Later…When The TV Turns To Static; since you recorded it in a live environment is it easier to play live?

PD: Yeah I think it is. The second album was really weird because Jonna had just joined the band after the album was made. When Jonna first came over to rehearse with us, Rab and James were working on it so we didn’t really get a chance to rehearse it until we were actually on tour. This time, to have the time to spend as a band has made a huge difference. The new songs seem to slot right into what we were doing. This is the best the band has felt and everyone has notice that, even my girlfriend says there’s a difference this time to what we’re doing. We feel better; we’re a lot more professional now.

KI: Why did you choose Sweden to release your demos?

PD: We still don’t understand why Sweden has kicked off as big as it has. We’re just as big in Sweden as we are in Britain, in fact, maybe a little bigger in relation to the country. The second album went number one and the first album went gold. I don’t know what it is, the only thing is, when the very first album came out, Rab and James did an acoustic tour and the Swedish people just seemed to really get it. The biggest show we’ve done was about 3,500 in Sweden. Not to sound big time but when I went to New York and I stepped off the plane I felt really at home, I don’t really travel too well sometimes but Sweden was the exact same. Everywhere I go in Sweden it’s got a connection with the way I was brought up.

KI: How was spending five months in Santa Monica, did you feel like that sort of helped you be more creative getting away and taking your ideas somewhere else?

PD: Yeah I think it did. It was quite a weird time as well though; there was a lot of madness around us then. I think that was the point where we stopped being the little kids that just done whatever they wanted and actually knuckled down. That album (Euphoric Heartbreak) wouldn’t have been the same if it wasn’t recorded in Santa Monica. We had been touring for three and a half years before that so to actually just get away from everything and go to this beach house in Santa Monica was just what we needed. It let us concentrate and get a lot of things sorted out that had to be sorted. It was great, I was about six feet from the beach and I was on it twice, one of them was because a ball got kicked out the living room of the house and I had to go out to get it.

KI: Did you take inspiration from other artists for your new album or did you think we’re going to make our own album and we won’t listen to anything else, it’ll be our own ideas?

PD: You do listen to other bands but sometimes inspiration comes from the weirdest places. James writes all of the songs and he doesn’t actually sit down with a guitar, he’ll go out for a walk and the song will form in his head. It’s hard when James does that to say who inspired it because there are so many random things that can happen. James was listening to a lot of Bob Dylan and I think lyrically that’s kind of came across. The Bob Marley film came out and we all started blasting him for like eight months, so I’m surprised it’s not reggae. I’ve been trying to throw a reggae bass line in somewhere. I know James loves orchestral music, he actually wanted to start playing Swan Lake at our gigs in between the bands and we were like “mate you can’t, Glasgow on a Saturday night won’t listen to Swan Lake without singing here we fucking go over the top of it”.

KI: Who do you feel is you’re most influential bass player?

PD: When I was younger, when I first started getting serious about it, it was Andy Rourke from The Smiths. I don’t know why, it’s maybe because I met him really early on, the first tour we done was with Ian Brown and Andy Rourke was playing with him on a couple of songs, so I kind of met him and stood mumbling at him for 20 and he was like “I don’t know one word you’re saying”. I was just star struck. We went to see the Raveonettes and Sharin (Foo) was playing bass guitar again, the last few times I seen her she hasn’t played but she was great as well and she looks really good with it. That’s the only thing, you always come away a little self-conscious about the way you look.

KI: How do you feel your live shows have progressed, do you feel your live shows are getting bigger?

PD: Aye, it’s good but because we went to America so much and Europe there was a year and a half where we didn’t play in Britain. We jumped from like 400 people in a venue, and then it was an Academy tour, which was 2000. They both have really really good points. Now we’ve come back, we’re a little bit smaller again, like tonight is 600 and there is something about that that suits us really well. We could play to one person and have the time of our lives playing together. The smaller venues create that buzz of electricity. It’s good playing any venue, we played stadiums with U2 and then we played to like 100 people and that was great.

KI: Do you always think about your Scottish fans when you’re doing albums?

PD: We do but we try to write firstly for ourselves so it feels good for us. We’ve been lucky we’ve been blessed with great fans all over the world. The fans seem to dig what we do, sometimes, it’s better to go in without any pre conceptions and just do what feel natural to you. We are always very aware that Scotland has been amazing to us and that’s why when we can we always tour here first. We’re playing five nights in Scotland on this tour, it’s mad and they’re amazing nights.

KI: What’s your funniest tour story?

PD: The first ever gig of Euphoric Heartbreak was in Shetland and after it we were in the hotel bar. It was this really nice place with really old wood everywhere and an old fire place and this guy and his girlfriend came in. This guy was from Stirling and he said his party piece was kicking himself in the head. He sat down in this bar and started kicking himself in the head and it was the weirdest entertainment I have ever seen. It actually got to the point you’re like “Right mate, gonnae stop that now”. His girlfriend wasn’t even bothered, she was like “He does it all the time; you don’t need to live with him”.

KI: When will you be releasing Later…When The TV Turns To Static?

PD: I think around April or May. There’s going to be a single in March, we’ve not decided yet. The album is 99% done, we just have to put the track listing together so once we do that we’ll start thinking about singles. I think we’ve got January off to get the artwork, track listing and singles and B-sides done. James usually has a vision for the album, we really respect that. He will always listen to our opinions but we know him that well, that if he feels something works better we will go with that. We have complete faith in that.

SeMPeR Fi Album Review

IMAGE: FACEBOOK.

SEMPER- FI   

Forever Faithful.

Glasgow six-piece bring it home on their début album.

The natural home for this 12 legged beast to live, breed and stalk its prey is on stage in front of a live audience, and it shows.

            Some bands merely adopt the live show, Semper Fi were born and raised in it, they thrive on it and have taken their first trip out of the wilderness to deliver one of the most explosive yet focused self financed L P I’ve ever heard.

            Back in 2008 Semper Fi burst onto the Glasgow metal scene as a fist pumping, sonic head-banging five piece with something to prove. Speaking back in 2009, Monthly Metal @ The Vale said; “Semper Fi were first up and a fine noise these guys made, multi-textured and powerful. Forty five minutes passed like 15. The fans still wanted more.”
            Now after four years of gigging, competitions, line up changes, bloody noses and a blood alcohol level that would impress Odin, the wait is finally over.

            Of course trying to capture their thunderously rhythmic live sound was always going to be the hit or miss for this band and thankfully the mark has been hit with laser-guided, sledge hammer precision.

  The opening Duh, Du, Duh sets the pace perfectly here; a slow, melodic guitar intro that kicks into a five minute fist thumping anthem of a song laced with hard rock rhythms and fierce metal break downs.

            Speaking of metal, Retribution as well as having what drummers like to professionally call a “tricky pain in the a***” drum intro, has a sinister underlying tone, giving Burns free reign to push his vocals big and to the breaking point (almost). Death Insurance brings back that live rock groove and sludge’s it up nicely with thick, bass lined double kick. Aeon is a fantastic drop to a slow, guitar solo woven, unashamed heartfelt love ode. It fits in here like Pantera‘s Cemetery Gates did back in ’91.

            Actually getting back to that sinister tone for a moment Intro-mental has an extremely fitting name, a LOUD, powerful, foot stomping song.

 That picks up the pace thunderously for Sex Me Free‘s catchy intro, big  chunky riffs and a vocal pitch that could lead an army. Which leads us right into Exit Wounds, the audio equivalent of watching a slow-motion car crash, crunchy and paced just right to make it impossible to turn away.

            Now bring in the Thrash! Dig Yer Grave is a balls to the wall deep end thunderous song your punching bag will learn to hate. There is a surprise brake in here that if you see coming you better be in a fucking band.  Euphoric goes to show that a song title doesn’t have to be a cryptic, psychological riddle and a welcome breather too, the pace dropping down to Aeon’s tempo but sonically more reminiscent of something like Alice in Chains.

There’s an ongoing joke about how unappreciated        Bass players are in metal. I blame Cliff Burton (or specifically the Mix down of …and Justice for   all) but not in Semper Fi. Case in point University for the Dead,  which opens with a plucky ass bass intro and layers a finger tripping psychedelic solo half way through before plunging into a  three minute mosh-pit frenzy. A transition you won’t even realise happened until you notice the song hasn’t changed.

            Overall this album impressed the hell out of me, not a single filler, fight smart pacing with song lengths you rarely see outside the progressive scene, and a unique sonic texture of fresh rhythmic metal.

If this album was an event it’d be a triathlon 4/5 highly recommended.

For news, updates & details on the album release check out: http://www.facebook.com/semperfiglasgow.

Words & opinion ; Matthew MacArthur.

R-Patz: “I Do” or “I Don’t”

Is the relationship doomed to end? Robert Pattinson and Kristen Stewart are said to be more loved up than ever before, so a source says. Another source has revealed that Rob hasn’t fully forgiven her for her affair and is ready to end the relationship.

So which is true? Ever since the 22 year old actress cheated on her boyfriend with Rupert Sanders (director of ‘Snow White and The Huntsman’).

It is said the relationship has not been the same. However, a source has revealed that Kristen is doing everything in her power to get back to the way things were. She even went to spend Thanksgiving with his family in London. During this trip, his sisters in particular, made her uncomfortable and unwelcome.

The tension did not hinder the actress; a source says who was on the same flight with them back to New York. Unaware, they were seen cuddling up watching a romantic movie and sharing kisses on the plane.

The Twilight famous couple were also found having a disagreement on where to say “I Do“. They have been juggling between the choices of a tropical location and London. Kristen confessed to giving Rob the wedding his family always wanted for him on one condition a source revealed: “Still, his mum always wanted him to have a very traditional church ceremony with a big fancy reception and Rob and Kristen have agreed that they’re willing to do it to make her happy – as long as the family can truly forgive Kristen”.

 

What do you think? Will the relationship power through or has it reached an end just like the movies?

By Shannon McClurg

Allah-Las Review

By Kimi Inglis

Los Angeles four piece Allah-Las debut self-title album is the reinvigoration of all that was magical about music. Their debut album was released on the 28^th of November on Innovative Leisure Records, and was produced by friend and singer/songwriter Nick Waterhouse.

Allah-Las debut is a refreshing reinvention of 60’s pop music, pushing away from the recent overload of urban music in modern society. Sonically, it is a different take on psychedelic music which has favoured the band, making their album more intriguing.

Allah-Las have been playing together since 2008 after three of members met while working in LA’s most loved record store Amoeba. The band has gradually accumulated powerful lyrics of conflicted emotions and longing, primarily on (Tell Me) What’s On Your Mind.

Lyrically, this track shows the progression from desperation to cement the relationship to numbing oneself of all emotional turmoil. Its fusion of layered guitars and optimistic melody enhance the lyrical anguish within the song.

The album creates a sombre mood with low key tracks and trippy guitar melodies, making the listener long to be in a 60s. Standout track Vis-à-vis is the heart wrenching story of the breakdown of a prominent relationship.

The track targets every emotion, nostalgia of memories and melancholy longing to delve into the past to save the relationship with lyrics “and now that what we had is gone I just want it back when I see that photograph”.

The album depicts true despair, yet keeping upbeat musically, metaphorically suggesting the conflicting emotions of the band toward their love lives.

The production on the album is a true delight with a brilliant use of reverb on the vocals giving the music rustic feel.

Allah-Las have created a genuine piece of art-work with their debut, definitely worth listening to.

Cheryl Cole tour review

 By Michele Kennedy    

When you’ve held the title ‘nation’s sweetheart’ like Cheryl Cole, it seems that things can’t get any better but with her first ever solo tour proving a huge hit with fans, Cheryl’s ongoing success just gets better.

Diving straight into her debut solo tour, Cheryl swan-dived on to the stage at Glasgow’s SECC to her track, Sexy Den a Mutha, to an eager 12,000 ‘soldiers’.

Her hair tied into what the internet tells us is a new “corn-row” style; she later changed into a leather skirt and jacket performed a number of Girls Aloud favourites such as The Promise, Biology and Love Machine. Unable to attend the show, Black Eye Peas front man and close friend of Cheryl, Will.I.Am, appeared as a 20ft projection to sing with Cheryl for their Duet single 3 Words.

Cheryl’s iconic dancing is always a treat; however, she appeared to outdo herself when performing a melody of her number one singles: Fight for This Love and Call My Name. She admitted to using only American dancers for her tour: “‘it’s the culture difference, they bring something new.” The decision didn’t go down well with a few of her fans: “Nice to see Cheryl Cole supporting the English…. all American dancers on her tour.” Another added, “To be honest I think @CherylCole should have supported and used British dancers for her first tour instead of American ones!”

For me the surprise of the night was the brave decision to talk through the crowd to the small platform stage at the centre of the arena. Some lucky few, including myself, had the rare opportunity to have Cheryl standing only a few feet away. She waved at the as she passed in her elegant blue dress, stopping for a brief moment to engage with myself and the crowd: “hello Glasgow its lovely to see you, i want you to sing your little Scottish hearts out to the next track”

All in all, Cheryl’s ‘A Million Lights’ tour was a huge success and well worth the several hours I queued for tickets.