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Indian E-music – The right mix of Indian Vibes… » 2020 » February » 14


Bandcamp is an ecosystem; this guide explains how that can help your music grow

Delivered... Peter Kirn | Scene | Fri 14 Feb 2020 8:05 pm

Bandcamp can work best when you’re both an artist and a fan on the platform. And if you care about actually connected with people, that’s a big deal.

I’ve again teamed up with Riemann Kollektion to develop free tutorial material. It’s pretty fitting I think that this falls on Valentine’s Day. I remember a favorite grade school ritual was getting a shoebox and then spreading as many cute affectionate notecards to everyone in the class. (Definitely, you wanted some candy taped to it for bonus points.)

That’s totally the idea here – rather than being beholden to uncaring algorithms, corporate overlords, and banal charts, we can find some audience for our music by sharing the love.

Of course, to do that, you have to first navigate Bandcamp’s interface – both as a fan and as an artist. Here’s the guide to doing that:

Bandcamp can save us all over again [Guide] riemannkollektion.com

A complete set of power instructions for de-tangling its interface and finding love as a producer.

Riemann and Florian Meindl are really using Bandcamp effectively – even including a subscription to sounds.

https://riemannkollektion.bandcamp.com/

https://florianmeindl.bandcamp.com/

So there’s a business model here that is built around what artists and labels need – where you retain control, can offer flexible purchase options, and can make enough money and retain data to run as a business. But it’s not just that, I think, but the chance to participate in a larger community and ecosystem that is making Bandcamp so effective, even for weirder genres and artists that would otherwise get lost.

To sum up that larger ecosystem ethos, I see a few major points:

  • High-quality media files in an environment the artist/ label can actually control
  • An ownership-oriented (rather than rental-oriented) site and accompanying community (the people who like buying downloads and tapes and vinyl and merch)
  • Network-effect spread of music via a rich, supportive community, which in turn supports –
  • Music discovery via human editorial and individual users
Following, endorsements/reviews, email lists, the Feed, and even discovering music via individual users – the more you use Bandcamp, the more you start to appreciate what it can be. It feels good to feel good about online music again.

You know, other sites could learn from these things. But they’re built to maximize growth and revenue sharing at the top, not to best support human-to-human interactions around music. And that’s why the music landscape is so miserable right now for so many people, in a nutshell.

So all the little details of the Feed, “supported by” testimonials, mailing lists, and players that can be easily shared on other platforms — all of this adds up.

I talk about how to make the best use of that in this guide, and I hope we’ll dig deeper into getting a lot out of Bandcamp in the future.

You can find my music and – just as importantly, my beloved collection – on Bandcamp. (Artist page / fan page) I hope to follow some of you, too.

But do let me know what you think of the guide, as Florian and I hope to revise this and follow up with possibly more installments.

Bandcamp can save us all over again [Guide]

The post Bandcamp is an ecosystem; this guide explains how that can help your music grow appeared first on CDM Create Digital Music.

CRUSH ARIZONA IS HAPPENING THIS WEEKEND!

Delivered... Spacelab - Independent Music and Media | Scene | Fri 14 Feb 2020 5:00 pm
It's the Insomniac Events and Relentless Beats festival for Valentines Day in Phoenix, Arizona.

Rave Lothario Martyn Bootyspoon’s Sense and Sensuality

Delivered... Caroline Whiteley | Scene | Fri 14 Feb 2020 10:46 am

8220;I shit you not, I have a text from Janice from four minutes ago. ‘Hey, I miss you.’ I’m going to screenshot it.” The Janice he’s referring to is Janice Griffith, adult film star and friend of Martyn Bootyspoon (a.k.a. Jason Voltaire). The two met in Los Angeles a few months back when he played the city’s long-running A Club Called Rhonda party...

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Katie Gately: Loom review – nightmarish orchestrated despair

Delivered... Ben Beaumont-Thomas | Scene | Fri 14 Feb 2020 10:30 am

(Houndstooth)
Earthquakes, shovels and screaming peacocks are all sampled in a bombastic and occasionally ingenious album

A nail-bomb of grief explodes in this second album by US musician Katie Gately, trauma seeming to rip open its edges. It was written while her mother was dying from a rare form of cancer; the title suggests this horror looming into her life, but also somewhere she can thread it together and tie it down.

Related: Katie Gately: ‘I’m a pretty diehard Billy Joel fan’

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DJ Diaki: Balani Fou review | Ammar Kalia’s global album of the month

Delivered... Ammar Kalia | Scene | Fri 14 Feb 2020 9:30 am

(Nyege Nyege Tapes)
DJ Diaki’s debut is a speeding cascade of sound that skilfully re-creates the pounding atmosphere of Malian street party Balani Show

Recent years have seen some of the most exciting dancefloor-focused music moving further and further away from its spiritual homes of Detroit, Chicago, Berlin or London. Now, styles such as South African gqom or Angolan kuduro-techno are pushing their way into club sound systems with rattling tempos in excess of 200bpm and unpredictable polyrhythms replacing the familiar four-to-the-floor kick.

The work released by Ugandan label Nyege Nyege Tapes is among the most inventive of these styles. Encompassing sounds from the ground-shaking rhythms of Tanzanian singeli to the electro-synths of Ugandan acholi, the label has been challenging a recent trend towards often purposefully punishing “deconstructed” club music with their joyous reimaginings of east African music. Their latest release by Malian DJ Diaki is no less formidable. A stalwart of the Balani Show sound system – a party setup playing electronic, layered versions of the marimba-style instrument balafon – Diaki now releases his debut on Nyege Nyege.

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Pone: the paralysed producer making music with his eyes

Delivered... Anaïs Brémond | Scene | Fri 14 Feb 2020 9:00 am

Motor neurone disease has left the French hip-hop artist totally immobile – yet he still found the means to compose a remarkable album inspired by Kate Bush

Interviewing an artist who can’t speak is an unusual, almost meditative experience. I am in a small town outside Toulouse in south-western France to meet Pone, a beatmaker who helped shape the sound of French hip-hop in the 1990s. As part of Marseille’s seminal group Fonky Family, he produced hits such as Art De Rue, Sans Rémission and the hair-raising Mystère et Suspense, as well as 113’s hypnotic single Hold Up. But we are here to discuss Kate & Me, an instrumental beat album created as an ode to Kate Bush, and the first album in history to be entirely produced through an eye-tracking device.

The silence in Pone’s bedroom is punctuated by the amplified sound of a breathing machine, his torso slowly moving up and down under a blanket, and the playful mewing of his daughters downstairs. Every so often, his wife, Wahiba, stands up from the couch at the sound of her husband’s computerised voice. “Eyes, please,” is a request to soothe his eyes with sterilised pads.

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