ContentSphere - Music & Media in an Online Culture - Art & Content

Zoe.LeelA - Lush Electronic Soul From Berlin

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Tue, 09 Feb 2010 19:31:22 +0100

Sometimes, things simply happen. There are a few coincidental moments which start a whole chain of terrific encounters. Now, if this leads to discovering new music, it gets a full-fledged Mike-Masnick-“connect with fans” experience. Somewhat surreal, yet very real.

It’s been about two weeks ago when I received a tweet from netlabel Rec72. They recommended an artist to me, Zoe.LeelA - in particular because of ContentSphere’s Creative Commons focus.

To be honest, I get a LOT of recommendations, links, or artist followers via Twitter. And I really like that. I follow each and every person back who’s in the music business. That’s the premise. But I don’t have the time to check back all music (which is a shame).

Luckily, I did this time.

Zoe.LeelA’s EP “Queendom Come” went straight into my playlist. Sure the guy (or girl) from Rec72 doesn’t know my likes and dislikes… but he aimed into the blue and hit exactly.

It’s electronic music, spiced up with a grain of hip-hop, and a good deal of soul. Let me put it that way. Where Sarah Fimm tends to be more percussive, Zoe.LeelA’s tunes have that melodic hook that keeps stuck in your head. It’s one of that rare occasions you are glad they do.

Apart from Sarah Fimm, it is (at times) that Ladytron comes to mind, or Charlotte Martin’s “Stromata”. Or even Massive Attack’s “Mezzanine”.

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Recommended Music: "Ambient Circle" (Germany)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Wed, 06 Jan 2010 13:23:00 +0100

CC-BY-NC-ND by Ambient Circle

Today’s act I’m going to introduce to you is no band. Neither it’s a solo artist. You might call it a project. And it sure has developed in a way not expected.

Ambient Circle is a collective of various participants located in Germany’s North-Rhine area. Every now and then, they get together to play electronic music sessions. They are entirely focused on electronic ambient music, and it’s just twelve sessions they did so far. This includes public and private sessions.

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DIY-Marketing #3: Georgia Wonder Serving Fresh Ideas in Reducing Recording Cost

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Mon, 23 Nov 2009 12:04:02 +0100

Go support Georgia Wonder!

Georgia Wonder is Stephanie Grant from London and Julian Moore from Portsmouth. We got to know each other via Andrew Dubber’s blog and Twitter. You’re searching for a pop/rock/folk band serving beautiful tunes and a brilliant female voice - buy their tracks. You can even choose if and how much to pay for downloads. Or you may order a physical copy.

Julian Moore and Stephanie are never short of clever ideas to add to their marketing. And they are really running the marketing themselves. Blogs, videos, Bandcamp, iTunes, We7, Twitter, homepage, mailings (email as well as snail mail), Facebook etc. - it is time consuming but they’re constantly connected to their fans.

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Do We Need Music Conferences?

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Mon, 19 Oct 2009 00:00:04 +0200

Do We Need Music Conferences?

Music Conferences provide numerous possibilities to make business, network and discuss with your colleagues, share knowledge with your peers and discover new talents and industry trends – so they say. But do Music Conferences really provide added value and do they fulfill what they promise? Does the industry need conferences to develop to the next step? What are the reasons for the increasing amount of conferences all over Europe?

I came across this when browsing this year’s program to Luxembourg’s Sonic Visions festival and - you guessed it - conference.

Obviously, the question is a more rhetoric one. At least I hope so. Too bad if announced panel’s conclusion would be to reduce and cut conferences. Of course, some conferences appear dispensable. Actually, changes in music industry indicate that some sort of conferences has become redundant.

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Recommended Music: "The Bony King of Nowhere"

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Tue, 13 Oct 2009 13:26:00 +0200

While planning for my upcoming blog posts I thought it might be a good idea to feature some new and rather unknown artists now and then. Hey! This is about music - and if there’s someone real good who deserves to get more attention… let’s do it.

You may remember that when I reviewed the Peter Doherty gig months before I mentioned the opener to be worthwhile getting their own article. Here it is.

The Bony King of Nowhere - that’s what they are called. Actually, “they” means “he”. Because it’s Bram Vanparys from Ghent in Belgium plus supporting musicians.

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Farbwerte - Lohnenswerte Perspektiven auf SchwarzRotGold

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Sat, 03 Oct 2009 22:40:00 +0200

Es gibt Tage, die ich bevorzugt ohne Medien im Innern meiner Häuslichkeit zubringe. Karneval. Silvester. Abseitig dieser schaurigen Tage kann man entweder der Natur frönen oder sich als unauffälliges Café-Inventar in wunderbar umtriebigen Stadtdschungeln genüsslich dem Menschenstudium hingeben. Nicht so an diesen aufoktroyierten Tagen, die stets im Marketing-günstigen Bundling mit Emotionspaketen einschließlich Nicht-Echtheitsgarantie daher kommen.

Warum der Artikel? Warum heute? Warum innerhalb eines Medien- und Musik-fokussierten Blogs?

Wir schreiben den 3. Oktober, Tag der Einheit, diesmal 2009. Wenn der Tag (glücklicherweise) auch nicht eine solch ausgeprägte Eventcharakteristik hat wie die oben genannten, so tragen die geliebten Medien mit Sondersendungen, MovieFilmFilmMovies, Kurzserien, Dokumentationen, Performances, Ratespielen und Leipziger Allerlei doch das ihnen Mögliche dazu bei.

Ein Tag zum Zurückziehen. In die eigene, solipsistische Welt.

Gäbe es da nicht Veranstaltungen - und hier finden wir wieder den Bezug zur Site-gemäßen Umgebung - die tatsächlich Anlass, Kultur und Charakterstudien zusammenführen. Auf angenehme Art und Weise. Und mit der Option, neue Blickwinkel zu finden.

Farbwerte - eine Ausstellung, geöffnet vom 02.-11.10.2009 in Berlin. Ort ist interessanterweise die ehemalige Staatliche Münze Berlin, wo Reichsmark, DDR-Mark, D-Mark und Euro geprägt wurden.

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all2gethernow: Amanda Palmer's going for it again - at Berlin! #afp #a2n

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Sat, 12 Sep 2009 01:10:48 +0200

[Most recent update from 09/24: Review of Amanda’s concert (incl. appearance of Neil Gaiman).]

Here’s the latest & hottest & absolutely stunning terrific update on all2gethernow: None other that Amanda Palmer, legend of DIY marketing comparable only to Trent Reznor, is coming to all2gethernow. We are in an absolute frenzy she’s willing to do a Q&A session as well as a one-off gig. A kind of impromptu one. True AFP style.

[Update: Going to Berlin?]

For anyone who’d like to go to Berlin to see Amanda but don’t know how, here’s two options. First, you might become a member of all2gether’s mixxt community and search there. Secondly, there’s The Shadowbox Net to hook up with like minded people to share cost of travel.

[Update w/details on location, time etc.]

Date: 17 September 2009

Location for both Q&A session and concert:

Münze Berlin, Molkenmarkt 2, 10179 Berlin. Map (look for #camp)

Details Q&A Session:

Time: 17:45-19:15
Room: “Zählwerk”
Ticket: 1-day only / 12 EUR (incl. access to all #camp sessions on 17 Sept - that includes Wim Wenders, btw)
Tickets available here.

Details on Gig

20:30 - [doors open]
21:00 - Siva. (http://www.myspace.com/sivaofficial)
22:00 - Voltaire
23:00 - Amanda
01:00 - [closing]

Entry for the concert only: free, donations for the artists welcome. Any donation goes directly to the artists.

Retweet heavily - and don’t you dare to NOT be there…

During the Q&A session, she will be joined by Georgia Wonder from UK, another act who chose DIY marketing. Georgia Wonder’s folk goes rock goes pop you can enjoy on Thursday afternoon. It’s worth a listen… you won’t come across a voice like Stephanie’s that often in these casting days.

all2gethernow: 10 weeks of work, 12+ presentations, 50 sessions, no budget.

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Sat, 12 Sep 2009 00:03:29 +0200

The number of exhibitors was said to be low. Due to online piracy.

This is what Dieter Gorny, CEO of German Body of Music Industry (BVMI) told the public when Popkomm (founded by Gorny), Germany’s most important and one of Europe’s largest music business conferences was cancelled on 19 June.

Then, Jana Herwig, addressing Berlin’s music scene blogged from Vienna: “Can’t you do anything about it and make it happen yourself, bottom-up style? #unkomm”. She coined the hash tag paving the way. By 7 July at the founding meeting, all2gethernow was born.

It took us little more than 10 weeks to prepare for an event including festival, barcamp and conference on exactly the same date Popkomm 2009 should’ve been taking place. There’s two camp days packed with about 50 sessions and the conference presenting 12+ speaker slots.

Not everyone was able to fit an appearance into his personal schedule that quickly.

Nevertheless, all2gethernow amongst others features

Melvin Benn (Director of Festivals // Mean Fiddler)
Amke Block (CEO // Audiomagnet)
Julie Borchard-Young (“The Metropolitan Opera Live in HD”)
Andrew Dubber (NewMusicStrategies.com)
Jim Griffin (Choruss)
Paul Keller (Project Lead // Creative Commons Netherlands)
Laurent Kratz (CEO/CoFounder // Jamendo)
Gerd Leonhard (MediaFuturist.com)
Alexander Ljung (CEO/CoFounder // SoundCloud)
Tim Renner (CEO // MotorEntertainment)
Kilian Steiner (Director/Legal Advisor // GEMA)
Wim Wenders

This event has no budget but great sponsors. Anyone of us is in it for the matter.

all2gethernow - a new music and culture convention.

The GEMA Presumption as an Entry Barrier (Pt. 3/3)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Thu, 03 Sep 2009 10:56:47 +0200

At all2gethernow, I am going to discuss the topic as a part of the #camp. Furthermore I’m participating in the discussion on “Collection Societies and Rights Management”. Hopefully, many of you will join us to discuss. Those who can’t be there in person, please join our community. There, you will be able to submit suggestions and comment on anything.

So, please take this series of articles as some kind of basics to what I’m going to discuss with all of you at all2gethernow. No matter whether it’s online or offline. Posts are published day by day.

[English translation of part 3 is coming soon. Due to organisational tasks at all2gethernow, it will take an additional one or two days to translate. Since the text is available in German already, I just posted it in advance for all German readers.]

Teil 1&2 findet Ihr hier:
“Die GEMA-Vermutung als Markteintrittsbarriere (Teil 1/3)”
“Die GEMA-Vermutung als Markteintrittsbarriere (Teil 2/3)”

Glaube ist gut, Wissen ist besser.

Gleichgültig, wie das Urteil eines (notwendigen) Sachverständigen zum Thema aussieht, der Beleg für die Verfügbarkeit einer hinreichenden Größe frei lizensierten Materials muss vor Gericht erbracht werden. Denn die GEMA-Vermutung ist gängige Rechtsprechung und wird erst vor dem BGH endgültig widerlegt werden können. Aber die Schwierigkeit liegt in der Nachprüfbarkeit. Der GEMA liegen neben ihren stets aktuellen Geschäftszahlen natürlich auch die Zahlen der zu verwertenden Titel vor - wo aber sind die belegbaren Zahlen frei lizenzierter Stücke?

Aufmerksamkeit.

Darüber hinaus hat die GEMA Pressesprecher und Lobbyisten. Nicht die Künstler, die ihre Werke GEMA-frei anbieten. Für die Verbraucher existieren letztere Künstler nicht. Selbst wenn international renommierte Künstler wie Trent Reznor oder die Smashing Pumpkins Titel unter Creative Commons veröffentlichen - die Masse des Publikums nimmt es nicht wahr. Es erscheint unwichtig. Die meiste Beachtung für diese Aktionen, Marketingstrategien und teilweise auch Geschäftsmodelle wird den Künstlern durch das Web zuteil.
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The GEMA Presumption as an Entry Barrier (Pt. 2/3)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Thu, 03 Sep 2009 10:12:07 +0200

For parts 1&3, please go here:
Part 1, Part 3

There are two issues, and each one constitutes a well functioning entry barrier in itself. But, in conjunction they are seamlessly joint: The GEMA presumption, and closely linked the free licence composers’ and providers’ scattered acting.

Why are they that closely linked?

First off, GEMA is responsible for maintaining the GEMA presumption. Secondly, GEMA does not allow members to license selected works under Creative Commons. Free licence composers are kept out of the market without having any organisation representing them. It is plain to see why Germany’s collection society does not want to offer billing and administration of Creative Commons licences (although they could get a good revenue by doing so). But, in the end this results in increasing the demand an alternative to today’s common collection society. Latest by launch of an alternative platform, organisation or institution the GEMA presumption is going to fall. Now this isn’t at all what GEMA wants.
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The GEMA Presumption as an Entry Barrier (Pt. 1/3)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Wed, 02 Sep 2009 08:49:12 +0200

For parts 2&3, please go here:
Part 2, Part 3

Note.

Quite often, in any part of this article I’m using the term “free licensed” or “free licences”. That might be a bit misleading. Please take your time to understand it in the meaning of “independently licensed from any collection society (in particular GEMA)”. It does not mean that for example Creative Commons licences are always free of charge. The range of Creative Commons allows for different licences (in contrast to GEMA by the way).

Most of them (at least with music) will probably be free of charge for private use. However, commercial use in most cases depends on certain conditions and the explicit permission of the author plus paying a licence fee.

I’m aware of the fact that the line between private use and commercial use is not that clear, and it is not explicitly defined by Creative Commons. The definition rather relies on the author being the licenser. But in case you are about to license a work - just ask the author if the purpose you are intending is considered private or commercial use. The metadata of any work licensed under Creative Commons should allow for a contact option.

A slight case of overbombing.

Unfortunately, usage of content licensed by Creative Commons or other free licences in Germany pretty often fails because of the so called GEMA presumption. As of now, due to this presumption, if played, performed or copied for commercial use or in public in Germany, every work of music has to be reported to German collection society GEMA. This applies for composers playing their own music as well as for songs not licensed with GEMA - say, Creative Commons. This is confirmed and supported by German jurisdiction.

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Trent Reznor Explains Online Music Business

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Fri, 10 Jul 2009 09:37:41 +0200

I just stumbled upon this via an article at TechDirt. But, it’s Trent Reznor again who has something to say - and it’s absolutely essential to every musician out there. Maybe labels might consider reading it too. It’s his “thoughts on what to do as a new / unknown artist” these days.

Funny thing is, when posting this to the NIN forum Reznor obviously was on his way to Luxembourg… I’m still suffering from the aggressive light show yesterday. But the NIN gig was a pure intoxication of virtuosity & entertainment.

Reznor’s point is straight forward and easy to understand.

Bottom line is, master music & online tools, work hard, deliver something good - and sell something unique other than music. Because you can’t rely on selling (recorded) music in itself. Music is ubiquitous. And it’s free. Cash is about extras.

Some advice by Reznor is about what to avoid and what to do in particular. The aspects he mentions do remind me a lot of Andrew Dubber’s ebook “The 20 Things You Must Know About Music Online”. For a free download go here for the English version (German version).

Germany's GEMA: Resistance is (not) futile

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Sun, 28 Jun 2009 21:25:00 +0200

I don’t know whether this one has hit US shores already - or if there is any other country that knows about it. But there’s something going on in Germany.

Again, it’s about licensing. We already had our share of GEMA within the past few weeks (see Rapidshare and Jamendo). Read about it at ContentSphere, or do it over at TechDirt. GEMA, Germany’s only collections society, still is surprisingly entertaining (if you’re into cynism).

But, there’s some uprising fresh breeze, and it’s coming from Germany’s most southward located town: Sonthofen.

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Cellonaut: On Music Industry, Self-Marketing, Financing 2.0, and Free Content

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Fri, 05 Jun 2009 02:06:12 +0200

The interview is now online on Vimeo in full (German language). To view part 4 & 5 right here on this site, just click the link for more. To read any article related to the interview, simply click the tag for Wolfram Huschke.

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Wolfram Huschke: Transcription of Interview, Pt. 1/5 (Music)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Tue, 02 Jun 2009 21:06:49 +0200

Photo by Sehy under Creative Commons BY-NC-SA License

Wolfram Huschke: Transcription of Interview, Pt. 1/5 (Music) by Wolfgang Senges is licensed under Creative Commons Attribution-Noncommercial 3.0 Germany License. Permissions beyond the scope of this license may be available by contacting http://contentsphere.de.

Our interview is arranged at 4pm. While staying at Trier (he’s going to have a second, more improvised concert the next day), Wolfram Huschke is spending his days… no, that’s not quite correct. His days are filled with practicing, rehearsals, interviews, and even preparing for more projects. So, I’m invited to General Music Director Victor Puhl’s house where Wolfram Huschke is guesting.

After a short chat with Victor Puhl, Wolfram disappears somewhere downstairs. Then he’s back, and I must say, I wasn’t surprised at all to see Wolfram Huschke grab his Cello while I set up my MacBook. As you will see, he does not let the instrument go for one second during the interview. It doesn’t fit in terms of seriousness but I can’t help thinking of a ventriloquist with his puppet. They both are one. It is one voice that talks to you.

Q1: Musical impact

ContentSphere: You’re playing cello for four decades now. That’s quite a lot. Then there’s the scope of music you play which is incredibly wide. So, where do you get your influence from? Apart from (Johann Sebastian) Bach and (Jimi) Hendrix who you are mentioning - are there any other contemporary musicians having impact on you?

Wolfram Huschke: I think it’s much similar to Twitter: Everything tweets on the timeline. What’s music to me? There’s music in silence, here’s music right in the instrument itself, and within the atmospheric’s pressure there are tiny tunes swinging all around. Each change of condition results in different melodies.

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