RouteNote Blog » music download

Guvera’s Ad Supported Music Site: Review Video

Finchy — Sat, 01 May 2010 09:31:23 +0000

Guvera is a music download platform that seems to be getting a lot of press lately. The team has put together a great video to explain what their service is all about. Let us know what you think and if you would want to put your music onto their service.

Nokia Announces Their “Comes With Music” Service will be Opening in Mexico, Italy and Sweden – March 11, 2009
Auza – We Just Press Play – December 20, 2011
The Rapture – How Deep Is Your Love (Dimitri From Paris Erodiscomix) – December 6, 2011
RouteNote Artist Directory and Download Store is Here – January 19, 2011
OpenLBL: Free Mp3 Tracks Daily for all Genre’s – January 13, 2011

New Hot Chip Album, Tour – One Life Stand

Dashiel — Thu, 28 Jan 2010 11:13:53 +0000

Hot Chip are previewing their new album ‘One Life Stand’ over on the Guardian’s website (unfortunately only fully available in the UK), via We7′s streaming service.

The album itself is a return to their previous form, mixing heavily electronic beats and samples with roomy, live sounding instruments at will, but always with delicate care and attention, Baroque sounding string synths, trashy Pixies-esque drum kits, steel drums, marimbas[?], vocoders [ sorry Justin ], and flagrantly dance sounding bass lines nestle in together under the distinctive semi-falsetto vocals rising above the tracks, blending elements of electronic music from the last two decades together in a disctinctively stylish way.

Hot Chip may not have the bass-thumping force of other electronic acts like Simian Mobile Disco and the Chemical Brothers, but this album drips energy and musicality. Check out the video of the album’s title track they’ve posted on their Dino-space – if you like it you might consider catching them on their current tour, visiting most regions of the UK before moving on to Europe and America, full listings below.

You can also pre-order the album from their website, getting yourself a free bonus track in the process (but sadly obviating the need for a digital distributor, ho hum…)

Hot Chip – One Life Stand (MySpace Exclusive)

Hot Chip | MySpace Music Videos

Hot Chip Live Tour – 2010, One Life Stand

Glasgow – Academy – Fri 12 February
Edinburgh – Picture House – Sat 13 February
Nottingham – Rock City – Mon 15 February
Leeds – Academy – Tues 16 February
Newcastle – 02 Academy – Thurs 18 February
Manchester – Academy – Fri 19 February
Birmingham – 02 Academy – Sat 20 February
Bournemouth – 02 Academy – Mon 22 February
Bristol – 02 Academy – Tue 23 February
Norwich – 02 Academy – Weds 24 February
London – 02 Brixton Academy – Fri 26 February
London – 02 Brixton Academy – Sat 27 February
Holland (AMSTERDAM) – Five Days Off Festival – Saturday 6th March
Brussels (BELGIUM) – AB Club – Sun 7th March
Paris (FRANCE) – Bataclan – Monday 8th March
Cologne (GERMANY) – Live Music Hall – Wednesday 10th March
Hamburg (GERMANY) – Uebel & Gefaehrlich – Thursday 11th March
Berlin (GERMANY) – Astra – Friday 12th March
Frankfurt (GERMANY) – Mousonturm – Sunday 14th March
Lyon (FRANCE) – Le Ninkasi Kao – Monday 15th March
Toulouse (FRANCE) – Bikini – Tuesday 16th March
Milan (ITALY) – Magazzini Generali – Thursday 18th March
Oakland, CA (uSA) -Fox Theatre- 16th April
Chicago, IL (USA) – Riviera Theatre – 19th April
Toronto (CANADA) – Koolhaus – 20th April
New York (USA) – Terminal 5 – 22nd April
Washington DC (USA) – 9:30 Club – 24th April

Hot Chip Discuss Song Writing and Building an Album – February 9, 2010
New Broken Social Scene Album, Tour: Forgiveness Rock Record – February 22, 2010
Beck and Jamie Lidell Mash Up A Feisty Feast – February 9, 2010
Digital Distributor RouteNote Signs 3 New Online Music Stores – Deezer, Napster, Thumbplay – January 29, 2010
Hot Chip Announce New Album – November 10, 2009

Warner Goes Shy on Music Startups

Dashiel — Tue, 26 Jan 2010 15:29:37 +0000

Warner Music Group has had mixed experiences with investing in music startups; losing out heavily on their purchase of Imeem and Lala, and their bad experiences look like preventing them from investing in any other online startups. Their spokesman Stephen Bryan, during a panel at Midem, pointed out the difficulty of trying to run a company subsidiary with opposite interests to its owner. Imeem and Lala were attracting customers with as much music as possible for as little investment (whether that be in terms of ad views or dollars paid), while WMG was concerned to make as much money for each stream or download of every song in their catalogue. A reluctance to find themselves in this ‘stuck in the middle’ position again and the money they burnt means that they profess reluctance to own any more services.

Bryan did state that they’re very happy with their relationship with Spotify, which is going from strength to strength in terms of both users and advertising revenue. The less likely WMG is to invest in new services, the better Spotify will be pleased, as Warner will be more likely to channel all their efforts into promoting their content with their part owned partner.

Spotify, MOG, Streaming, Piracy and the Future of Digital Music – November 13, 2009
HP Launches Proprietory Music Service – January 27, 2010
Hulu, Vevo, Spotify – Embattled EMI embraces new revenue streams – November 19, 2009
BlueBeat – Psycho Acoustic Crusher – November 6, 2009
Spotify trying to break into American Market – November 5, 2009

The Knife to Release Darwin-Based Opera

Dashiel — Thu, 07 Jan 2010 14:37:13 +0000

The Knife, in collaboration with Berlin DJ/producer Mt. Sims and Boltondeutscher Planningtorock, have been collaborating on one of the more bizarre sounding projects of the past year – an Opera celebrating Charles Darwin’s origins of the species [perhaps hoping to replicate the anti-creationist success of the Jerry Springer Opera]. It’s been comissioned by the Danish performance group Hotel Pro Forma, who’ve created many other such pieces of quirky music and theatre together with other European artists.

The development of the project has drawn from a multitude of sources, and the list of influences on The Knife’s website seems like something from Hesse’s Glass Bead Game:

‘Tomorrow, In A Year’ is a unique musical project. Richard Dawkins’s gene trees have formed the basis of some of the musical composition, artificial sounds have been mixed with field recordings, with the music inspired by everything from the different stages of a bird learning its melody, to a song based on Darwin’s loving letters about his daughter Anne. These are compositions that challenge the conventional conception of opera music.

The collective are to release the studio version of the opera ‘Tomorrow, In A Year’, on the 1st March 2010. You can listen to the first track from the forthcoming album on Soundcloud by clicking here [a download is available if you subscribe to their mailing list]; atmospheric, cleanly produced, intricate and odd – like a sonic cross between a Kabuki play and a Rubix cube, with Fever Ray over the top of it. Whatever that means, it’s odd, and interesting.

Shameless Self Promotion – memotone – November 1, 2009
New Hot Chip Album, Tour – One Life Stand – January 28, 2010
Spotify, MOG, Streaming, Piracy and the Future of Digital Music – November 13, 2009
Posting MP3′s for Free Helps Drive Sales – November 11, 2009
Hot Chip Announce New Album – November 10, 2009

Shameless Self Promotion – Jingle Cats

Dashiel — Fri, 25 Dec 2009 11:00:26 +0000

[Edit: Merry Christmas - stop reading blogs and go eat some turkey]

Artist Name: JINGLE CATS

Genre: Holiday

Location: HOLLYWOOD, CA USA

A long time ago in the frosty North Pole, nine kittens were born on Christmas Eve at Santa’s house. Mrs. Claus found them on the porch. They were very hungry and she gave them some milk. The mother was nowhere to be found. Mrs. Claus brought them into the house and set them down in front of the Elves. They mewed and purred with joy because they had been outside quite a long time. When Santa came home from delivering gifts to all the good girls and boys he put on a Christmas record and an amazing thing occured. The Jingle Cats began to sing along with the music. Everyone laughed and cheered and the Jingle Cats brought joy to the entire North Pole that year. Now, with each Christmas, the Jingle Cats ride with Santa on his sleigh and sing songs along the way. Many ordinary cats can hear them even when they are high above the clouds. All cats know about the Jingle Cats and they look out their windows for them each Christmas. If your cat winks in your eyes you will know that he has seen the Jingle Cats riding high. Oh what a joyful sound.

YouTube Video:

New Hot Chip Album, Tour – One Life Stand – January 28, 2010
Kutiman – Thru You – March 12, 2009
New Features and Capabilities Added by Steinberg for New Cubase 6 – February 7, 2011
Apple Pull Grooveshark iPhone App – August 19, 2010
My Favourite Funny Music Videos – July 16, 2010

Spotify, MOG, Streaming, Piracy and the Future of Digital Music

Dashiel — Fri, 13 Nov 2009 17:22:05 +0000

The debate on music piracy is a bit like that on global warming; vocal and vehement, and extremely polarised (pardon the pun). Evidence can be produced to support the most extreme opinions, and is wrangled over until those in the middle don’t know what is believable. Consensus seems to be that even though music pirates are active music fans, and likely to be buying music as well as ‘stealing’ it online , piracy is damaging to sales of actual music tracks, although this may be slightly offset by increased gig attendance and other types of premium content purchase – box sets, t-shirts etc.

It also seems to be accepted that legal methods of ad supported, free-to-the-consumer streaming is the best way of combating the rise of piracy – the great user experience that Spotify has been able to offer has seen it expand faster than it can deal with; attracting users to use a great free streaming service isn’t hard, but finding a way of profiting from all those users is, balancing ad revenue against streaming and licensing costs, and Spotify’s launch in the States has had to be delayed while they evolve their model, and figure out how to move people onto their £10 a month premium service.

While they figure this out, MOG is stepping up to the plate in the States with their £5 a month subscription only model, that allows playlisting and file searching in a pretty similar way to Spotify’s interface [see the video at the bottom of this post]. A poll conducted by Demos (a company that sends people out with clipboards) suggests that revenue (income and adoption) would be maximised at the £5 price point:

But this doesn’t account for the costs inherent in delivering the amount of music that people tend to consume through such streaming services; leaving the computer streaming music all day, an individual could incur a lot of charges for their service provider.

So which footpath of digital development is going to turn out to be the music superhighway of the future? In my humble opinion, it’s going to come down to user experience: if we discount piracy as a viable future for the industry (no revenue means no artists) then we’re left with paying per track, either for streams or downloads, or for a month on month subscription service. These will remain as competing options, probably with iTunes still in pole position of the download market, given it’s current market dominance, and the relentless success of the iPod and it’s cousin the iPhone, and for the rest it’ll come down to whoever provides the slinkiest, most versatile service for whatever the music industry decides is the rock bottom price per stream, plus the minimum streaming cost. I for one hope that the big 4 accept thatad-supported music streaming is the best and only real way of putting an end to piracy, that they come to terms with the smaller license fee and infrastructure that will be demanded by this model. Of the options currently available, I think that Spotify has the most user friendly platform, I’m proud that we’re working with them, and I suggest that you upload your music to their service, via RouteNote’s digital music distribution platform right…. Now.

Emusic Signs Warner Music Deal – January 12, 2010
BlueBeat – Psycho Acoustic Crusher – November 6, 2009
Blink 182′s Tom DeLonge To Release Freemium Album – Angels and Airwaves – February 1, 2010
Warner Goes Shy on Music Startups – January 26, 2010
Bid To Buy The Orchard Raised To $2 By eMusic Owners – January 15, 2010

Posting MP3′s for Free Helps Drive Sales

Dashiel — Wed, 11 Nov 2009 15:51:58 +0000

Australian blogger Andrew McMillen recently hosted a panel on the digital music industry in Perth, on which sat Simon Wheeler – director of digital at Beggar’s Group, an amalgamation of some big indie labels here in the UK [they're on the same road as my old primary school ]. Mr. Wheeler has some pretty progressive and pragmatic attitudes to online promotion, and some forward thinking methods that it might be useful for artists to replicate in their own spheres.

“…we know that fans are passionate about an artist, and they’re very excited about a new album. So to be able to give them something to satiate that demand somewhat has been quite effective. There’s also the purpose of giving people a piece of music to ‘try before they buy’, if you like. We get a lot of love and a lot of coverage in the blog world, because I think our artists are very suited to that world.

We don’t give music blogs free reign, because you’d find that each blog would post a different track from the album, and so ten minutes after you’d publicised the album, people could just go and download the whole album (laughs).

So by making available one chosen, one focus track from a new album – much as you take a track to radio – there’s kind of an unwritten dialogue between us and the bloggers. We don’t tell them to post it, we don’t say they can’t post it; if people post the whole album, we’ll definitely say they can’t do that, and we’ll get it taken down. But they understand that if we post an mp3 to one of our label sites or blogs, then they won’t get any grief from us at all [if they repost it to their blog].

This really helps focus the campaign around a lead track, much as you do when taking a track to radio. There’s no new science here; this is just what the record industry has been doing for decades. We’re just applying that to the digital age.”

Making a few tracks available for streaming or download online is a great hook for pulling people into an album or gig ticket purchase – that’s one of the major reasons myspace was such a success, bands need to connect with fans these days. Blink 182′s Tom Delonge is of the same opinion: [via Hypebot, via Techdirt, via The Guitar Center]

Current Music Environment: Music Marketing Demographics – January 25, 2010
Shameless Self Promotion – memotone – November 1, 2009
New Hot Chip Album, Tour – One Life Stand – January 28, 2010
High Profile Artists Accept File Sharing – January 25, 2010
Vevo’s Launch Lands It On It’s Feet – January 21, 2010

BlueBeat – Psycho Acoustic Crusher

Dashiel — Fri, 06 Nov 2009 17:00:39 +0000

We picked up on Blue Beat’s strange decision to start streaming otherwise unavailable tracks from the Beatles’ back catalogue without the right’s owners permission, but it turns out their infringements are much more widespread. As music business news site Hypebot has just reported, they also claim to have the rights to sell music from AC/DC and Dan The Automator right through to Frank Zappa and ZZ Top. A totally spurious claim, based on this piece of US copyright legislation:

17 U.S.C. § 114(b):

“The exclusive right of the owner of copyright in a sound recording under clause (1) of section 106 is limited to the right to duplicate the sound recording in the form of phonorecords or copies that directly or indirectly recapture the actual sounds fixed in the recording. The exclusive right of the owner of copyright in a sound recording under clause (2) of section 106 is limited to the right to prepare a derivative work in which the actual sounds fixed in the sound recording are rearranged, remixed, or otherwise altered in sequence or quality. The exclusive rights of the owner of copyright in a sound recording under clauses (1) and (2) of section 106 do not extend to the making or duplication of another sound recording that consists entirely of an independent fixation of other sounds, even though such sounds imitate or simulate those in the copyrighted sound recording.”

A piece of law designed to allow people to make different tracks using parts of the original piece – sampling the Amen break [1:45], or nicking a riff off Labi Siffre [2:10], but not intended to cover what Blue Beat have done, which is to re-record the song pretty much wholesale. Their defence [via Ben Sheffner's blog] is pinned on their hopes that their copyrighted PsychoAcoustic process creates a new piece of intellectual property, that they own… basically they contend that some hocus-pocus like changing the file from a WAV to an MP3, playing it on a My First Boombox and re-recording through a microphone in a glass of milk, or some other magical process of transformation that ends up with the same noise at the end, will be enough to transform their ‘version’ into a derivative work rather than just a rip off. Unlikely. If anyone out there was thinking of it, we’d ask you not to try and upload anything similar to our digital music distribution service. The precise details of why BlueBeat consider their process to constitute a method of creating a new artefact aren’t online yet, but I’m looking forward to seeing what they say in their next filing on the 10th of Nov.

Spotify, MOG, Streaming, Piracy and the Future of Digital Music – November 13, 2009
UK Digital Bill Will Raise ISP Subs by £25 Per Year – January 6, 2010
Music Piracy – Back and Forth On Damages In US Courts – January 28, 2010
New Hot Chip Album, Tour – One Life Stand – January 28, 2010
HP Launches Proprietory Music Service – January 27, 2010

Shameless Self Promotion – Max Tosi

Dashiel — Wed, 04 Nov 2009 18:41:29 +0000

All those who love the beatnik side of Stephen Bishop, the albums of James Taylor – above all those prior to Flag – the masterly melodies of the Beatles, and the soft acoustic atmospheres of Ink’s Liv Taylor, simply have to listen to Let Me Ride. They will not be disappointed.

Max Tosi, originally from Cremona, a lengthy transit in Milan, but Sardinian by adoption (resident in Sassari for the last 11 years), gives the impression of having just stepped out of the Troubadour on a balmy evening in the mid-seventies with his live-act cassettes tucked under his arm. In effect the album Let Me Ride, although a studio album, has all the warmth and spontaneity of a confidential acoustic set recorded live in a small club. Priceless emotions for those who were brought up on bread and Mud Slide Slim or for those who for years have dreamed of travelling under a Californian sun towards San Buenaventura on the Fwy 101.

Genuine passion, love for the ballad, artisan attention to detail and simple instrumentation with light touches of strings and brass. Ten original compositions, ten instant soft-focus snapshots which, for better or for worse, appear to have been taken on an old-fashioned Polaroid. No bluffing, only the fragile, inexpressible charm of daily sensations, of little stories told with a delicate and at times almost naive touch. Review by Franco Fusilli

http://profile.myspace.com/maxtosi

Colorless-man by user309147

Shameless Self Promotion – Landerim – November 2, 2009
Shameless Self Promotion – memotone – November 1, 2009
New Hot Chip Album, Tour – One Life Stand – January 28, 2010
The Sometimes Happens On A Friday Playlist – January 22, 2010
Warner Signs Content Deal With Hulu – January 14, 2010

Shameless Self Promotion – Landerim

Dashiel — Mon, 02 Nov 2009 18:33:28 +0000

Ambient/Psychedelic/Folk, Brooklyn, New York

Landerim is a band named after a word made up by Robert Wyatt on his album
“Rock Bottom,” featuring Larry Demellier (drums, keyboards, vocals), Derek
Knott (guitar, bass, keyboards) and John McGuire (keyboards, guitar,
atmospherics). Jessica Bailiff sings duet and backing vocals, and
Producer/Shimmy-Disc Founder Kramer played bass, flute and sang backing
vocals on a couple of songs.

The band was formed by Larry Demellier who asked a couple friends to help
out with some ideas and song sketches. Influences include Robert Wyatt,
Brian Eno, Jon Hassell, Harold Budd, John Cale, Gene Clark and the Byrds,
Love, Nick Drake, Talk Talk, Scott Walker, Big Star and Pink Floyd.

Most of the pieces were worked up very quickly and recorded immediately to
capture the ideas that geled the most before they became stale and
rehearsed. The emphasis is mostly on the spaces in a piece of music: very
minimal, sparing and quiet arrangements with long flowing chords and few
notes. There are some pieces with vocals and some instrumental sections;
all created to be fleeting vignettes.

www.myspace.com/landerim

Flatfoot Back To Dryden by user309147

Shameless Self Promotion – memotone – November 1, 2009
Shameless Self Promotion – Max Tosi – November 4, 2009
New Hot Chip Album, Tour – One Life Stand – January 28, 2010
The Sometimes Happens On A Friday Playlist – January 22, 2010
Warner Signs Content Deal With Hulu – January 14, 2010

RouteNote Blog » music download

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