Updated: 1 April 2008 - Position Filled!
Thanks to all the great applicant’s.
Interested in working in the Music, Creative and IT industries? There is currently an opportunity to work with the Musicadium team. (more…)
Fantastic news through this morning! Musicadium artist Casey Barnes’ track ‘Tiny Dancer’ produced by Marco Demark has just hit No. 1 in the UK’s Upfront Pop and Club Charts.
This is an incredible achievement for the talented Casey and as one of Musicadium’s first signings we feel very proud to be associated with him.
Check out Casey’s Myspace here:
Musicadium interviews one of our first signed up artists, death metal Melbourne band, Vahrzaw.
Q. What styles and influences are on your latest album?
Scott[S]: Well, there’s the obvious black and death metal style with a few thrash riffs. As far as influences go, mine would be the early 90s death metal and 2nd wave of black metal, primarily the Norwegian scene. The newer metal is far too generic to influence me and is somewhat soulless.
George[G]: Styles – Black Metal, Death Metal, and Thrash. Influences – See our MySpace page.
Q. What did you think of the last Harry Potter book?
G: Harry Who? I don’t read kids books.
What is iTunes Plus? iTunes Plus is higher quality DRM-Free tracks that is now available on all the iTunes stores worldwide.
Apple® has launched iTunes® Plus, DRM-free music tracks featuring high quality 256 kbps AAC encoding for audio quality virtually indistinguishable from the original recordings—for just $US1.29 per song. (more…)
Musicadium takes some time out to have a chat with Musicadium Gold Coast based singer-songwriter Casey Barnes.
Q. What styles and influences are on your latest album?
Its a real mix this album I guess… some more up tempo rock tracks, but also some laid back ballads as well… I’m pretty confident that this is the strongest album I’ve done to date.
Q. What inspires you? What makes you wake up and think “wow that really matters?” what makes you want to write songs that make people sit down and think?
I just think it’s such a great job to be able to wake up and share music with people on a day to day basis…whether is be 5 people in a lounge room or 8000 in a concert. I hope when they listen to my stuff it puts a smile on their face… I don’t know how to explain it but music just seems to connect on so many levels no matter what mood you’re in. That’s probably one of the main things I love about it! (more…)
In the music industry, royalties are par for the course. Royalties mean the musical pie is shared by all. There are many scenarios where royalty sharing makes good, equitable, incentivised sense.
Digital distribution is not one of these.
Digital distribution in the strict sense is a once-off transaction. Much like post office sends your parcels in return for your postage costs, digital distributors send your digital files away for an upload fee.
Why then would it be necessary for the distributor to then take an ongoing percentage of the artist’s revenue? Whether it’s 9%, 15% or 30%, the digital distributor sits back skimming the cream off your musical milk, unendingly. And for what? Nothing more than a simple, initial transaction.
That’s why Musicadium returns 100% of royalties to our artists.
Simple really.
Musicadium – Australia’s Dedicated Digital Distributor – is set to launch at The Zoo on Wednesday, February 13 with a fantastic showcase of local acts.
The launch will feature Ranger (comprised of singer-songwriter Cameron Mckenzie, Adele from The Go-Betweens and Martin Lee of Regurgitator fame), recent Triple J favourites The Westminsters and Byron Bay based The Frankie band. (more…)
Sometimes it’s important to go over the basics.
Like, for example, why Musicadium exists at all.
Musicadium exists because distributing music digitally is hard. It’s so hard in fact that it’s beyond the reach of most bands out there.
Each online store, like iTunes for example, requires tracks in a certain technical specification.
In addition, all tracks require barcodes and ISRC codes to track what’s being sold and to generate royalty payments.
Unless you have an in-depth understanding of the ISRC code process and the ability to transmit perfect metadata to the online stores, you’re not going to be able to distribute your music digitally.
If you are an independent artist or label, looking to get your music released online, there is no chance that iTunes or eMusic will talk directly to you. They don’t want thousands of individuals inputting data to their systems every day. They entrust that process to major labels and aggregators who act as the single entry point for the online stores.
And the truth is, managing relationships with all those online stores is tricky and time consuming. That’s where Musicadium comes in. It’s a simple, one-off fee for a tricky, time-consuming process.
We are really good at it and that’s why we exist.
This month Musicadium profiles one of Musicadium’s first artists to sign up, Pete Hawkes.
Q. What styles and influences are on your latest album?
The Pete Hawkes/Phil Emmanuel album (lost souls entwined) is very different to anything I have done so far and is an errie/spooky kind of album, a dedication to the lost musical greats who were never known in their time, people such as Nick Drake, Eva Cassidy, Roy Buchanan and Danny Gatton who were ‘famous’ only after death. The music has a bit of Nick in the acoustic guitars, Danny and Roy in the electric styles, played by Phil Emmanuel, especially the volume swells on the electric but its a completely new blend.
The Hawkes/Swarbrick album (which is a re- release of an old Festival records album with ou ttakes and some of Swarbricks arrangements that never saw the light of day) is the session we did at Ian Blakes Blue Bear Studio’s which is my folk stuff, written in my own style, using alternate tunings mainly and unusual hooks and melodies although on several tracks you get Swarbricks lilting, idiosyncratic fiddle style that really ended up being THE folk fiddle style that came out of the UK and was prominent on Fairport Convention & Martin Carthy’s albums and many more. He did a very good job on Jemimma’s lullaby and Reuben’s Fancy I thought. The later was his title; he fell in love with my border collie (Reuben) and gave him the tune. (more…)
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