IN RAINBOWS
I tend to listen to a guy like Trent Reznor. You-the-reader may or may not be fond of his band Nine Inch Nails, but you’ve got to give credit to his mastery of the new digital music market.
A post on his personal forum lays out details for breaking into a market that may seem dead or dying to corporate music execs, but if an artist can understand what fans of music want they can still obtain a rewarding and profitable experience from The Biz.
Reznor gets right to the point addressing what the elephant record labels won’t talk about, musicians can no longer make money selling just their album.
In today's fickle musicscape, it's no longer enough to release an album and pray that your fans download it on iTunes or shell out thirty bucks or more to see you on tour. Twitter missives about the In-and-Out burger you're munching while stopped for gas in Reno and what movie you saw on the plane en route to NYC are as essential to publicizing your band as a Myspace profile and playing shows 250 days a year. Facebook fan pages have forged faux personal connections with people who just ten years ago would have spent hours curating with almost religious fervor cassette and VHS libraries of music videos, performances and interviews, their index finger hovering over the 'Record' button like a hungry lion stalking a particularly plump zebra. With pop culture blogs capturing and commenting on celebrities’ every move, we've become accustomed to holding an all access pass to every area of an artist's life, except for one; the artistic process. Ironically, it's been Radiohead, a notoriously press-shy band that almost broke the Internet in 2007 when they released In Rainbows as a pay-what-you-want download, that has led the charge in bringing music to the masses in the form of the remix contest.
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