RichieTenenbaum wrote:The Internet makes it easier to find these things. The existence of the physical media and stores has a minimal effect on people finding them.rudedudejude wrote:Yeah. The end about what he says about Spotify being about capital is really true, and reflective of what things are like today.
Interesting streaming article. Since being a paid sub I've barely bought any music except some rare vinyl, haven't had the need with a sub. That and soundcloud cover my listening needs but given the pittance they get I might think twice! Quite shocking.
Maybe they should be transparent with their royalties to artists, I guess it varies a lot but those numbers are shocking.
The issue that I have with this adapt or die mentality is that some bands won't adapt. And they'll die. Bands that release lush albums but don't like to gig. Someone like early belle and Sebastian. You know, it limits choice. Some bands might be amazing live, and their records be just kind o promotional material for their live gigs, but some bands don't want to do that. They want to release records. If HMV/FOPP goes where will people buy these records? I really hope that their demise causes loads of independents to spring up, but I don't think it will.
This isn't some romanticised view of the world you've got from watching High Fidelity on repeat, it's the reality. To criticise an industry for bands touring to make more money is bizzare, it has happened for decades and is easier now than it has been for decades for them to get a gig.
It doesn't limit choice, it does the exact opposite. The Spotify thing is irrelevant, if an artist isn't making enough from it then the service will die eventually, it's also a relatively small market share that it has so, again, not all that important.
After chasing sunsets one of life's simple joy is playing with the boys