Albini forgive cuz I just stole your title and fucked it up ?.


The problem with Noise, is that as an improvised expression on a fresh approach or reactionary answer to commercial harmonic compositions, it is damn repetitive, spastic often stacato random, without a focus and if done as merely reactionary or as a jazz cliché, freejazz signature, it has little or no appeal beyond being that tired cliché, the trick is in the Kevin Drumms and of his Ilk or Likeminded, doing both acoustic and electronic work, to still seek out a sonic territory of exploration and colored with a musical longing, noise that works like a halfway rock outfit, it is more interesting in that it gives more context and direction, than that of noise being a naked purist exercise, working freely within the parameter of making none music, music.

Noise might be an escape from pop theatrics but then it also lands flat on its face in unapologetic self importance. Music as an intellectual exercise void of harmonic vision or attempt to communicate is just noise and not a revelation or creating a detail within the muck, like bad art there can be bad noise. Like most free arts, the parameters of quality are inevitable, for there to be good noise there must be bad noise and the harsh noise crowd has to be surpassed in order to generate an evolution of noise, with branches that envelope both expression, impression, influence, result and statement of intent.

Is that so fucking hard to understand? It has been done to death!
Static isnt revolutionary no more, it is perhaps an answer to the one-word question of NOISE? But it is not an exercise to be repeated when you make noise out of white noise you are really going for points over substance, like the repetition of John Cages Silences, there is a lesson in it just not one worth performing or presenting as a valid expression, or as an expression with validity.

Correct me if I?m wrong!!!

Seriously do! If I have blind-spot that prevents me from enjoying this experience within this art in anyway, please try to free me from my Misconceptions.

The Picture is of SVARTE GREINERS setup @ Mono in Oslo before Xmas. It was Fantastic more dronish and ambient but a blending of noise elements with the harmonic potential of the guitar as something unmusical to fashion an expression beyond tonal clichés.

The guitar as a none guitar intrigues me, I have seen also Lasse Marhaug perform noise with a guitarist once at BLÅ, Oslo this also was a great experience in the blend of the two sound-scapes of noise and harmonics creating a communicative freedom laden expression without the sentimental coding of pop or rock music. It is much like Nietzsche love of the composer Wagner for his music being Grandiose, sentimental and pompous all qualities which he later grew too recent the music for, but what grew instead?

My own musical appreciation has grown as a story from inaction to action to reaction, Jaded by all manners of formula music, just gratifying mathematical precision in its execution. Music against music, in music is often the reactionary seeds of anti music, as a statment against  trends subcultural uniform and such, in being purely reactionary a reaction is only a negative mirroring of the counterpoint or action to guide the reaction thus noise is often just that a insolent reationary mirroring pop music, in its anti pop language.

Improvisation and atonal expression beyond a mental genera and creating a lessening of predictable expectation, of course new clichés grow from this but at least it is a reaction like punk intended, that forsakes popular appeal beyond what the conventions are able to corrupt in order to exploit something that punk spite its attempt was unable to do from its conception.
Sex pistols became POP from year one, like Merzbow did with noise in some ways also?

You gotta Start in the margins then refine your expression from that point on, much like punk started as a pile of shit and became a waxy polished turd, almost like moose-dropping earrings.

So? I don?t know like I said put me straight?
I dont like jazz and i hate blues.... for very much the same reasons.....people who like blues, i judge you and find you every major way.

picture stolen from somewhere
Question what is the visual index of noise? just wondering.

ALL EARS all the time

ALL EARS of Oslo Norway, is Celebrating 10 Noisy years of improvised music, a Gem hidden in plain sight or as hidden as well as any underground event can be.

Last year was noisy, gritty and hidden inside a chocolate factory under deconstruction, with contemporary music blended with electronic and digital noise, jazzy improvisations and more performance related comedic performances resulting in related sound-scapes, it had it all well almost.

I?m a bit of a guitar whore which I hope by the nature of this blog is becoming evident. (The closest i came to an electric guitar was this harp)
And this year ?EARS? had none not to say it was required but the instrumental emphasis was void of an analogue dronish landscape that satisfies me, measured up to last years periodic acts which seemed to hail more from a rock based sonic backdrop. Obviously they love upright bass guitars and saxophones, Damn those instruments feel like one trick ponies at times.

This year ALL EARS followed ?Fabrikken? the same locality organizers down to VULKAN another hidden-away rustic building site minus the chocolate (also Henie Onstad art center on the last day). This year a blend was not the same as last year, more jazzy and acoustic and less of a mixture of all flavors, I hope for a better blend next year the crowd and arrangers had gone for a more adult respectable and jazz inviting spread, not by any means meager but a bit more monotheistic than the lowbrow to highbrow I had expected with young noisier acts superseding the mature more respectable performers of this go around. You had your Kevin Drumm and 3 noisemaking Koreans and the French noise Duo but still it felt a bit stripped of the punkish element of noise that has that everything goes plus a fuzz box feel to it, that drags us all down to a more base level, it was to polite and civilized.

Still I say all thumbs up for ALL EARS the venue for improvised brave expression may it blossom to its fullest potential every year from now on.

Keep your eye on their site ( and around new years scrounge up about 700NOK for a festival pass and drop expectations and cynicism and experience something new or old close your eyes and become one with the water of the ocean, or not?

With love from the anal retentive listener

?I?m mad as hell and I?m probably going to take it some more" I love paraphrasing this WRONG.-..FYI.. its from Network.. Only WRONG!!

It was an experience seeing music played infront of a big piece of visual art,
just reconfirming my Audio visuial sensibility.


Lessons learned; The Feedbacker needs more umph I learned, in order to create the velvety sweet tones, that daddy craves. thus FEEDBACKER 5.0 had to go back to the drawingboard and get a makeover, since the last posting,

Here it is; Stronger faster and more velvety, with the Puny 1W amp made into a
3w powerhouse that screams like a horse.

Some other stuff has also been happening:  some Hannah Montana inspired Modifications that may or may not result in sonic goodness. Modified to be performers and noisemakers, played until they disintegrate.

Feedbacker SONICS Update

Nye SONICS Feedbackers v. 1.0-4.0 utforsker feedback leveranse, og fanging mer kommer.!!
Tips og råd er velkommen :)
Samt IJIN (orchestra) demoe 004  Americanized og 005 Nordberg er snart tilgjengelige.

Ijin (allein) demo 002 Northway and down er mulig å kjøpe på

Solmania unearthed

Gjennom en mail samtale med en kollega  ble ved en tilfeldighet en japansk gitarist/støykunster nevnt ved navn Solmania eller Masahiko 'Masaki' Ohno. Så jeg sjekket det ut på Youtube, der fantes det noen videoer Ohno han og hans orkester opptredener, for meg var dette heller underveldende enn overveldende, men det var hans gitar kreasjoner som fanget min oppmerksomhet. Ikke at jeg syntes han anvendte dem vel i sine opptredener da støyen var så massiv og uten distinksjon at man kan knapt merke at det er mer enn en overstyrt gitar med en masse gædd av effekter.

Gitarene minner mye om Gitar/harpe konseptene jeg selv utviklet i etterkant av ?Transfer composition?, med 2 type instrumenter på en gitar kropp inspirert av Danelectro sin coral sitar.

Transfer compositions malings-gitar/harper. Og en Coral elektrisk sitar fra 60tallet (eller kopi)

Uansett dette var og er om Solmania hvis creasjoner er vanskelig å finne info om  annet enn at det er nok bilder av tingene hans spredd over nettet til å se at han har en mange forskjellige gitar modeller.


IJIN: LIVE @ Pecha Kucha Night Oslo, Norge
Foto: Carl Fredrik Berg

My first recordlabel & IJIN @ Pecha Kucha night Oslo/Norway

My first recordlabel & IJIN @ Pecha Kucha night Oslo/Norway
Med noen tekniske problemer. under selve presentasjonen.

ART needs an Ambassador

Her er min ambassadør inn i kunstverden; my first recordlabel Logo T shirt. Begrenset til 60stk.

I noen Tidligere blogg innlegg har jeg plantet frø om behovet for nytenkning rundt kunst og kommersialisme og Gud forby; Merchandising.
Les: Art Delivery System

Rammstein sitt ûber fantastiske Dildo/CD box sett, Merchandising som Kunst?

Den Overførbare ide- The Transferable Idea
Merchandising er ganske betjent tema for det kan fort virke gimickey og forbilligende særlig i et så selvhøytidlig marked og miljø som kunst miljøet, men Merchandising fungerer i en viss størrelse uten blemmer og skam innen undergrunnsrock og electronica og hip hop scenen.
Dette er fordi de forstår alternative distribusjons modeller, samt kultivering av fan-kulturen, den samme fan kulturen eksisterer i kunst livet bare i andre former, da promotering og kultivering skjer knyttet til lansering og eksponering relatert til kunstverk evt. Mini media intervju m.m. Kunst tilhengeren har ingen kontinuerlig kanal til kunstnerens virke. Siden kunst er superprodukt og exponering en av dette produktet skal bevare ekslusivitet, over eksponeres ikke arbeidet og tilhengeren får enten katalog å forholde seg til eller det vinduet av tid en utstilling vises.
Man selger i musikk bransjen CD utgivelser, utover dette er det en etablert merchandising kultur med fans/tilhengere  som  konsumerer merchandise fra flere band samt folk som bare liker produkt designen og ikler seg disse t skjorter, capser, hoddies, buttons m.m. Merchandising i slike scener går forbi Brand for promo og blir et produkt på lik linje med det kunstneriske produkt det representerer.

Factory records med sin unike design og systematiske estetiske katalog som ikke engang krevde en bands sinatur.
 eksempel Joy Division.

Whatever the Fuck Works!
T skjorter, buttons, plektre, posters, kataloger og hva enn man kan få sitt trykk evt. logo på!
En kunstner er sin egen myntenhet og brand navnet blir synonymt med kunstnerens eksponerte arbeider. Kunstens store hindring er forelskelsen i superproduktet dette forhindrer deseminering av kunsten forbi dokumentariske midler.
Bruk undergrunnen, både i kunst og musikk og kopier om mulig de idealistiske formidlings modeller?
I kunst speiles samtid, fortid og fremtid, tankene om dem og utprøvde ideer, slik ideer om fanzine og blogg nå gjenopptas, anvendes og videreutvikles utenfor sine sedvanlige medie modeller.

"One shirt we had was the very popular "This Is Not A Fugazi Shirt" shirt, worn by punk/emo/music fans everywhere. Fugazi is one of those bands who are anti-commecialization, opting instead to sacrifice their profits to make sure the music gets out to fans. CDs are marked with both their price as well as an address to send money to buy it, in case your local record store won't follow their insistance on the $10- and $11.99 max sticker price, and their live shows are legendarily still priced as low as can be - I recall seeing prices of $6, $10, $12 for shows that have come here over the years. Fugazi also did not sell merchandise like t-shirts, because they were a ripoff to fans and went against their ethic. Someone, however, cleverly decided to sell not-Fugazi shirts and as such, they were bootleg shirts that are perfectly legal. Nowhere on the shirt does it claim it IS a Fugazi shirt, and makes the point obvious in big, bold blue letters. But in doing so, it aserts that it is indeed a Fugazi shirt, just as does Magritte's painting of a tobacco pipe, titled Ceci n'est pas une pipe ("this is not a pipe"). (I won't get into the fact that his work really is not a pipe, but a painting of a pipe. It doesn't suit my purpose here, but poses all kinds of interesting philosophical questions that I'll let you ponder.)
"Fugazi worked out their DIY aesthetic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. They were also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Their inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. At some venues, particularly on the east and west coasts of the U.S., Fugazi was unable to get ticket prices below about $10. However, they never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, small-scale independent rock contemporaries, Fugazi's performances and tours were nearly always profitable, due to their low business overhead costs, and MacKaye's keen sense of audience response in given regions"

Fugazi band: Wikipedia
For Mer om Fugazi og deres filosofi
HER er en artikkel som var interessant..

Les (blogg innlegget): The Problem With Music: by Steve Albini

DIY Igjen
90tallets idealistiske plateselskaper fra punk og hardcore undergrunnen, utviklet et anti kommersialistisk system hvor ?do it yourself ? var et sentralt begrep, tanken var og ikke å inngå i det økonomiske profesjonelle system, pop institusjoner og industri, men skape et eget miljø som kun forsynte en nisje med sine egne kulturelle relikvier gjerne håndlagede og eksklusive.

Mestring av Silketrykk er veien til DIY merchandicing

Det handler om og Formidle et budskap med mild populisme, invitasjon og en ydmyk appell til publikum. Hvis ikke kunstnere ikke utvikler en sensitivitet for formidling så gjør de sine egne arbeider irrelevante og i et stadig ekspanderende kunstfelt med signatur og sjanger død er formidling og utvikling av visse kvalitetsbegreper essensielt. Samt kultivering av en tilhengermasse utenom kunst institusjonen.  Lag kanaler for formidling; nettside, blogg og sosial nettverk, Kunst er vanskelig nok å finne og om du maler har du bare et eks av hva enn du gjør så ikke vær gnukk med å vise det! Kunstnere forplikter også å utvikle tanker om sin forståelse av kunst ofte med håpløst patetiske resultat og noen få ganger såpass opplysende at det er å regne som filosofi verdig kunsthistorisk pensum relevans.

Shepherd Fairey er en (street art) kunstner som leker med propeganda utrykk og er ikke redd merchandising; bøker, poster tshirts, gitarer osv.Men han har kanskje gått et skritt videre nå?"Known for his DIY street art OBEY in the late 90′s, and more recently for his Obama ?Hope? poster, artist Shepard Fairey is teaming up with Saks Fifth Avenue for their latest marketing effort.The campaign includes Russian Communist inspired artwork on limited-edition bags, window displays, catalogs and an in-store presentation, all hitting stores on March 12."
Se mer om dette her?

Vi (som i oss kunstnere) produserer ikke bare Bilder som representerer vår utsikt til verden og innsikt i vårt møte med verden, vi skaper også en lesning av verden styrt av individuelle perspektiv og abstraksjons signaturer så individuelle at de krever ofte en forklaring, nøkkel eller historikk dette er også ditt produkt forbi ditt superprodukt, slik kan kunst i likhet med musikkverden skape noe helhetlig.

Case and point; Picasso og hans Guernica, et prakt eksempel på kunstnerisk signatur og verdens anskuelse.
Eller? salvador Dali og hans arbeider som krever sin symbolske håndbok. er ikke særlig fan av verken sine arbeider men deres ikonske status taler for seg selv å skaper en prototype for kunstnere i dag om hvordan skape seg en kommunikativ idetitet og her særlig Dali og hans sterkt populistiske tilsnitt.
Ingen kunne posere som mr. Dali.

The Problem With Music: by Steve Albini

Stjålet Fra:

This oft-referenced article is from the early '90s, and originally appeared in Maximum Rock 'n' Roll magazine. While some of the information and figures listed here are dated, it is still a useful and informative article. And no, we don't know how to reach Steve Albini.


The Problem With Music
by Steve Albini

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course.

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave.

Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.

These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another laborer or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyways, it doesn't cost them anything if it doesn't work. 15% of nothing isn't much! One day an A & R scout calls them, says he's 'been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y'know what -- he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude.

They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself.

Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties. Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer--one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be great royalty: 13% [less a 1O% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, an no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they're actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There's a gold mine here! The lawyer Should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not.

Advance: $ 250,000
Manager's cut: $ 37,500
Legal fees: $ 10,000
Recording Budget: $ 150,000
Producer's advance: $ 50,000
Studio fee: $ 52,500
Drum Amp, Mic and Phase "Doctors": $ 3,000
Recording tape: $ 8,000
Equipment rental: $ 5,000
Cartage and Transportation: $ 5,000
Lodgings while in studio: $ 10,000
Catering: $ 3,000
Mastering: $ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000
Video budget: $ 30,000
Cameras: $ 8,000
Crew: $ 5,000
Processing and transfers: $ 3,000
Off-line: $ 2,000
On-line editing: $ 3,000
Catering: $ 1,000
Stage and construction: $ 3,000
Copies, couriers, transportation: $ 2,000
Director's fee: $ 3,000
Album Artwork: $ 5,000
Promotional photo shoot and duplication: $ 2,000
Band fund: $ 15,000
New fancy professional drum kit: $ 5,000
New fancy professional guitars [2]: $ 3,000
New fancy professional guitar amp rigs [2]: $ 4,000
New fancy potato-shaped bass guitar: $ 1,000
New fancy rack of lights bass amp: $ 1,000
Rehearsal space rental: $ 500
Big blowout party for their friends: $ 500
Tour expense [5 weeks]: $ 50,875
Bus: $ 25,000
Crew [3]: $ 7,500
Food and per diems: $ 7,875
Fuel: $ 3,000
Consumable supplies: $ 3,500
Wardrobe: $ 1,000
Promotion: $ 3,000
Tour gross income: $ 50,000
Agent's cut: $ 7,500
Manager's cut: $ 7,500
Merchandising advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Publishing advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Record sales: 250,000 @ $12 =
Gross retail revenue Royalty: [13% of 90% of retail]:
$ 351,000
Less advance: $ 250,000
Producer's points: [3% less $50,000 advance]:
$ 40,000
Promotional budget: $ 25,000
Recoupable buyout from previous label: $ 50,000
Net royalty: $ -14,000

Record company income:

Record wholesale price: $6.50 x 250,000 =
$1,625,000 gross income
Artist Royalties: $ 351,000
Deficit from royalties: $ 14,000
Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000
Gross profit: $ 7l0,000

The Balance Sheet: This is how much each player got paid at the end of the game.

Record company: $ 710,000
Producer: $ 90,000
Manager: $ 51,000
Studio: $ 52,500
Previous label: $ 50,000
Agent: $ 7,500
Lawyer: $ 12,000
Band member net income each: $ 4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked.

Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana's "In Utero".


IJIN in action Vol. 2


Les mer i arkivet » Januar 2011 » Desember 2010 » September 2010


34, Oslo

My first recordlabel er et billedkunst møter musikk prosjekt, hvor musikk sin påvirkning av billedkunst illustres gjennom guitar hacking (SONICS) og performance. Se documentasjon av dette på For kontakt:



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