Dirtbag Artist Haliwel Releases New Music Video [Crack in the Frame]

 

Official music video for Crack in the Frame, the second single from Pandemic. Don’t have Pandemic yet? Get it here: https://mkt.com/hali…/item/haliwel-pandemic-digital-download or listen to it on any online streaming service.

Dead Animal Assembly Plant (DAAP) introduce “Rise With Me”

Dead Animal Assembly Plant’s official music video for song “Rise With Me” from the album “OFH: Prime Cuts.”

Witness as popular media exploits our obsession with violence and mass shootings in the pursuit of higher ratings. Explore the depths in which those minds twisted, on the brink of total madness, are fueled by their dark desires. Commanded by the priestess – an effigy of all that want but cannot have. They prepare to face their social obligations as agents of divine fear and delusional retribution.

*The version used for the music video was mixed by Marc Jordan and mastered by Howie Weinberg. The original appears on the album “Old Fashion Hellfire.”

– Directed, Filmed, Edited by Karl Whinnery http://www.hotkarlproductions.com
– Additional drone footage by Lance Reis http://www.kickass-designs.com
BandCamp: http://www.deadanimalassemblyplant.ba…
site: http://deadanimalassemblyplant.com
facebook: http://facebook.com/deadanimalassembl…
Instagram: http://instagram.com/deadanimalassemb…
Twitter: http://twitter.com/officialdaap
Custom outfits by: http://scensick.com
Zero mask by: http://facebook.com/dimensionxiii

Bob Lefsetz Explains Spotify

From: Bob Lefsetz <bob@lefsetz.com>
Subject: Spotify Payments
Date: January 11, 2017 at 11:07:35 AM PST

My inbox fills up with both the famous and infamous, the known and the irrelevant, bitching about Spotify payments, they think the Swedish company is the devil. They believe Daniel Ek got rich off the backs of musicians and this wrong must be righted, that there will be no harmony until he is dethroned and the service pays them a higher rate.

But Spotify is already paying out 69%+ of its revenues.

What’s the truth?

You’re being screwed by the label. And Spotify can’t say this, because the labels are their partners.

Of course there’s more to the story. Songwriters are getting the shaft, they are getting a lesser percentage than they deserve. And marginal artists are getting a tiny share of the pie. But assuming you’re playing for real, that people are actually listening to your music, that it’s not just posted on Spotify and hanging out in darkness, if you want to get paid cut out the middleman.

It’s kind of like what Amazon did. Getting rid of bricks and mortar (although they do have a couple of bookstores now, but really those are showrooms for Amazon products, flagship stores to display their wares, like the Sony store in New York, or the high-end outlets in Aspen). If you want to survive in the new world you’ve got to look at business differently. So, if you record and release your music independently, paying a one time distribution fee to Tunecore or the like, you’ll get all that revenue, assuming someone is listening.

Oh, Tunecore! What about Jeff Price, its old fired founder, bitching that Spotify is not paying on so many tracks? That’s a registry problem, that’s not Spotify seeking to rip-off rights holders, that’s the result of an archaic system wherein we don’t know who wrote what and who owns what. Does it need to be cleared up? Yes. Is it good Jeff is on the case? Yes, but this is not wholesale exposure of Mafia-like activity, but it’s a better news story than old, cranky musician who used to survive quite well under the old system is starving now, although that story gets a lot of ink too. Kinda like the endless physical book articles in the “New York Times.” You can’t separate the bias from the author, oftentimes writers are out of touch, they believe they can will the result they desire, but one thing we’ve learned in the past twenty years is the customer is ultimately in control, and the customer chose streaming.

But you’ve got an historical deal with a label that pays an incredibly low percentage, you’ve got a very low royalty rate, is this a problem? Absolutely. BUT IT IS NOT SPOTIFY’S FAULT!

Acts have been railing that they’ve gotten screwed by labels since their invention. A bit of progress has been made, but not enough. Having said that, if you’re a new act it’s your prerogative whether to sign with a label or not.

You don’t need the label for physical distribution, that’s a dying business, forget manufacturing and shipping.

You need a label for publicity and radio promotion. You can hire third parties for publicity. As for radio promotion? For all intents and purposes indies are closed out of Top Forty radio. So if you’re playing to win, you need a label, you’ve got to sign a deal. But, the terms vary depending upon the heat you come in with. Used to be heat meant the music, today it means the data. How many fans have you got, what are your social numbers, how much money are you making on the road? The less you need the label the more they need you, and this is reflected in the terms of the deal.

As for the money… The days of big advances are through. If it’s just money you need, you’re better off looking elsewhere. Making it yourself on the road or raising it via friends and family. Then again, the dirty little secret of the new world is that it’s so much cheaper than it was in the days of yore. Everybody can own Pro Tools, you can make the record at home, many famous acts do, and promote it for free online. And don’t be one of those wankers who e-mails me you’ve got to spend a lot of money and work with pros to have a great sound. Generally speaking that is true. But then you’re probably gonna sign a major deal and e-mail me you’re getting screwed by your label. Which way do you want it? Do you want to roll the dice for all the money or hoard it all at a small level? Because believe me, if you sign with a major and you actually hit, there will be plenty of coin. However, the label could end up with the lion’s share, certainly of the recording income.

And I think it’s abhorrent that royalty deals are such that artists pay for their records and labels own them. It’s not this way in the book business.

There are so many problems with label deals. And they need to be changed. But they’ve got nothing to do with Spotify’s payout.

This is akin to Ticketmaster, people bitching about fees, not understanding that the acts themselves are responsible, this is the only way to get income out of the commission stream. And if you saw how little a concert promoter makes after putting up so much dough for a show, risking so much, you’d probably have sympathy for them. But concert promoters woke up and started festivals, where they can make so much more since they own the event. Concert promoters evolved.

And you should too.

But chances are you want to be a star. And right now, in today’s cluttered internet world, the odds of doing that without a label are de minimis.

Then again, today everyone can play, and everyone can bitch. And that includes the never-will-bes and the old artists, akin to the screwed bluesmen, who’ve got deals so heinous they can never make bank.

But, once again, this has nothing to do with Spotify.

P.S. For the umpteenth time, I have no investment in Spotify, I make no money from the company. But Spotify put a huge dent in piracy, the problem everyone talked about last decade, and as a result of streaming services recording revenues are finally going up, our long nightmare is ending. You’ve got to live in the present, with an eye to the future, you can’t keep dreaming about an old love in a world without cameras, the audience loves the present and the audience pays your bills. Think of ways to satiate those who pay.

P.P.S The penny rate. There is no penny rate, it’s a percentage rate Spotify pays. But they came up with an approximate penny rate so oldsters could understand what they were making on streams. As more people subscribe and listen, the payment per stream will actually go down. Meaning you’re gonna have to have more listens to make the same amount of money. But listens are growing exponentially to the point where those artists at the top of the heap are quite well compensated. But if your listens are not in the millions, you’d better think of alternative ways to get paid. Used to be you could sell a few thousand albums and make money. That paradigm, unfortunately, is dying, although you can still sell CDs as souvenirs along with other merch at the show. Then again, is it Spotify’s responsibility to promote new music, especially the new and different, playlist it and bring it to the forefront? That’s a whole ‘nother issue.


Visit the archive: http://lefsetz.com/wordpress/?utm_source=phplist5702&utm_medium=email&utm_content=text&utm_campaign=Spotify+Payments

We All Rise Up Together

There are many musicians, promoters, booking agents, venues and fans that do not understand what I’m about to tell you. These vampires are in it for themselves; driven by egos or just because they just don’t get it. They haven’t been awakened. In contrast, there are humans in this business that make very little money from it and do what they can to support it. These people just love being a part of something bigger than themselves. Two of these wonderful humans are Erika Berry and Maggie De Los Santos.

Some of you may have worked with either of these wonderful ladies in the past. Erika, the former owner of Blue Max in Midland, Texas; now Someplace Else Club and Maggie who tends bar and ensures road weary musicians like ourselves and people who tend to the oil fields of West Texas enjoy watching some rock n roll.

It was a lightning stricken, cold and wet evening in Midland, Texas. Lightning bolts were crawling across the sky and reaching to the Earth for hours prior to our arrival at the Some Place Else club. On our way to the show we were notified that the house sound engineer had a family emergency the night before and would not be available. We have just driven for 2 days from San Diego to Midland, Texas and were concerned we wouldn’t be able to play our first show and also not have a chance to make a couple bucks to fill the gas tank. Being the amazing person she is and searching for a solution, Erika asked if we could run sound. Absolutely! Being the small club that it is and not having the house engineer there that evening provided some small issues with having enough microphones, stands and cables to ensure a successful show. So like any smart touring band should do, we provided a few of our own that we carry with us just in case. Failure to plan, is planning to fail.

QUOR was honorably sandwiched between two cool local acts; Wake The Weary and Thy Kingdom Denied. The show was a smaller show with an audience of about 30 people, but the energy that was coming from the stage from all the bands and radiating from the walls of the venue rivaled any large capacity venue. People were moshing, experiencing (IHBs) or Involuntary Head-Bobs, and were conversing and carrying on all night. It was a great night of music on a wet and cold night in the oil town of Midland, Texas.

The energetic and impactful night came to a close and QUOR said their goodbyes to Ms Berry and Ms Maggie; thanking them for being such gracious hosts and helping make the evening a success. After packing their gear at 2am, QUOR drove off into the oil fields headed to Austin.

The next day, while making the six-hour drive to Austin, I got an extremely strong sense that I left my personal microphone at the Some Place Else club. I didn’t remember putting it in my stage bag, nor did anyone else see it. So we sent Erika a message and asked her kindly if she could look around for the $120 Shure SM58 Beta. The one with only my lung butter and no one else’s. She said she would call Maggie or the club and find out. The tour went on through Texas, Oklahoma, and Colorado. A week and a half or so later we hadn’t heard back. No worries! We would send a follow up message. A few hours later, Erika replied with a positive identification of the microphone and that Maggie was going to put it in the mail and ship it to my home in San Diego. Two more weeks went by, we arrived home from tour, and still didn’t see the microphone.

I followed up with Erika again and asked politely if she knew what the status of shipping the microphone was and she kindly replied that Maggie had put it in the mail, but it didn’t get enough postage and had to re send. 5 days later I received my microphone.

I lot of people in this business are in it for themselves. A lot of people fail to look out for each other and to do the right thing. They walk around daily with a mindset of “It’s not my problem. So I’m not going to worry about it”. Every touring band has experienced this time and time again. This was definitely not the case with Erika and Maggie. They showed what being in this business is all about; teamwork, unity, and commitment to each other. They are true Dirtbags and even though they may not know it, they showed this Dirtbag how “We All Rise Up Together. Thank you for keeping it real.

 

Love,

Smitty