You’ll hear it a lot: music streaming is broken. The model does pay artists – just not very much. If an artist is earning $0.0003 per stream then, well, even a million plays is only going to gross a few thousand. And that’s before tax and other associated costs.
Increasingly, therefore, artists are looking for other avenues to promote themselves. Whether that’s through increased gigs, live streams, exclusive social media channels, merchandise, or other creative ways. Part of that includes giving fans the opportunity to own music too – in the physical sense.
I’ve been buying records for 25 years now. By which I mean across all formats: I’m one of those odd generations who grew up through the whole vinyl, tape, CD, MiniDisc, digital and streaming eras. Indeed, I owned several hundred vinyl records at one point in time, as that’s just how underground dance music was done back in the day.
Take the power back
Well, how about things going full circle and artists looking to reclaim their value? I recently purchased a vinyl album that is only available on vinyl. You won’t find Brazilian producer Bungle’s Long Distance LP in any other format – with 90-second digital snippets to preview tracks the only taster you’ll get.
I love the exclusivity as much as I love the message. Now, it wasn’t cheap from Obkron Records’ Bandcamp page – but that’s precisely the point. The Long Distance LP is a four-plate album of 45s, as is typical of DJ-friendly one-track-per-side presses, at £48/$65 (before shipping).
Obviously it’s a somewhat Catch-22 scenario, as many people won’t have the access to play vinyl records – nor necessarily the desire (or the space) to set up such kit. That means this limited press (of 400 copies) will have limited reach, but that only really makes me love it more.
Not a solution for all
Now, I’m not suggesting this is a solution for all artists or, indeed, all fans. But in this specialist genre it shines a stark spotlight on how the system has changed – and that ‘tracks for pennies’ isn’t going to fly with all artists.
Bandcamp’s digital downloads section is much more weighted towards the artists, by the way, so should absolutely go straight into your bookmarks. There are many self-relesaing artists on there – and not only from the electronic music scene.
(Image credit: Future / Mike Lowe)
There has been a so-called ‘vinyl resurgence’ of late, but this hasn’t been positive for all music scenes. Record Store Day, for example, is a wonderful concept – in theory. But it didn’t take long for the corporate labels to cash in with limited special editions at inflated prices. Many store owners were against it, as voiced in Rupert Morrison’s Guardian article from 2022.
I remember some years ago, Hospital Records’ then-CEO, Tony Colman (London Elektricity), speaking on the label’s podcast about how major labels were disrupting the order for financial gain – breaking the smaller labels’ calendar cycles in the process and delaying releases as a result.
It’s all about balance, therefore. But in the case of Bungle’s long-player – even as the instigator for conversations about value (and I mean that from myriad perspectives) – it’s a great statement piece. Not that I purchased for that reason: I bought it because I think it’s a beautiful piece of work.
The message this release can spread in the culture – of not only underground music, but artistry and the industry as a whole – ought to speak volumes. Which is why I wanted to highlight this album in a more mainstream forum – so even those who can’t enjoy its music can hear its message.
