<\/p>\n
I asked my friends on Facebook<\/a> what they’d like to see more of on the Projekt email list. One of their suggestions was behind the scenes of running a label. What it takes, what I do, what I’ve learned. So today’s email is about EXPOSURE. If you’d like to reply, please visit this blog on the Projekt site and post your comments.<\/p>\n <\/a>\n InsideProjekt: EXPOSURE<\/p>\n In 2011, you regularly read this type of exchange:\n Artist: Spotify doesn\u2019t pay enough\n Spotify: You get exposure\n Artist: You can die from exposure<\/p>\n Yes. We all loved repeating that witty retort when Spotify launched and Daniel Ek was trying to convince us that getting paid micropennies was OK because we got exposure. \u201cExposure? I\u2019ve been doing music for twenty-five years, I\u2019m established. I don\u2019t need exposure. I need to get paid for sales!\u201d<\/p>\n Now, six years later, I\u2019d like to backtrack and kind of agree. We need exposure. All of the artists on Projekt need more people listening to our music. Sure, YOU are aware of Projekt bands, YOU like listening to our music. But in the wide world, we\u2019re unheard of, we\u2019re mostly unknown, and we don\u2019t sell very many records. We need more people listening to our music, so hopefully more of them will purchase something.<\/p>\n When I launch an artist\u2019s album, there\u2019s a spike of attention in the first month. Then interest quickly fades away. Unless the band is touring, or making new videos regularly, or doing something else to keep their name out there, an album is generally forgotten within a few months. In the old days, there was longevity, and albums were still selling half a year later. Now? Not so much.<\/p>\n What\u2019s there to do?<\/p>\n Streaming gives artists ongoing exposure because it\u2019s frictionless. Casual listeners don\u2019t have to pay. They check out music they might not otherwise bother with or get around to.<\/p>\n I believe that \u201cfree\u201d should be under the artist\/label\u2019s control. We should make the decisions about this. I know we cannot control the amount we get paid by streaming sites, but we can control what is available on streaming.<\/p>\n In that regards, I also begrudgingly agree with Ek: streaming has cut back dramatically on Projekt music pirated and available at illegal locker site. Compared to 2011, I only find 10% as much music on those sites. Why? Because streaming is easy for listeners. Why bother illegally obtaining an album, when there are legal methods to hear the music at no cost?<\/p>\n [Back to the subject of \u201cfree\u201d being under the artist\u2019s control.] Have you noticed that Projekt gives away name-your-price downloads at our Bandcamp store<\/a>? It\u2019s not because I\u2019m crazy (well, not exactly), and partially because I\u2019m feeling generous. The main reason is because people will listen to free music. There were over 800 downloads on Mercury’s Antennae A waking ghost inside<\/a> when I put it up at name-your-price last month. That\u2019s about 797 more people than would have paid to download the album in the same period. You were probably one of the people who grabbed it. Thanks! I hope you enjoy their music. Mercury\u2019s Antennae have a recent album (Beneath the Serene<\/a>) that you might enjoy as well. <\/p>\n This is why I give music away, to expose you to great artists on the Projekt label.< I\u2019ll give you an album with the hope that you'll come back and make a purchase of their other albums. Does it work? Meh, hard to say. We sold 5 copies of Beneath the Serene while we were giving away the debut. I would think those purchases were from people who discovered the band via free.<\/p>\n Exposure. Does it work?<\/p>\n Well, it makes more people aware of the music. Does it lead to sales? Maybe. Does anyone get rich off it? Definitely not. It\u2019s part of a building process. It\u2019s promotion \/ publicity. Back in 1994, I\u2019d buy half page ads in Alternative Press. Did that $500 or $750 (or whatever it cost) pay off with sales? It\u2019s hard to say. Probably a few sales( 50?); but I don’t think any ad did better than breaking even. The more important point was exposure.<\/p>\n Hey, wait! Back two decades ago we paid for exposure. Now we get paid (in micropennies at streaming, or donations at Bandcamp). This is a point I make to artists. Projekt used to pay a lot of money to get artist\u2019s name out, we had to buy ads and give away hundreds and hundreds of promo CDs (that all ended up in the used bins). Now we get paid in micropennies. <\/p>\n Unfortunately, it\u2019s harder than ever to make a living in the music industry, and seeing those miniscule trickles of cash is frustrating when comparable-sized artists used to sell thousands of albums. <\/p>\n These are new (and insane) times.<\/p>\n It took five years, but I see the logic behind things we were once opposed to. I\u2019m not stuck in a 1997 or 2007 perspective, I\u2019m looking at now and seeing what works for Projekt. The label has to do what we can, to be heard.<\/p>\n We have to try new ideas.<\/p>\n Funny, because that was the argument I used to have with people (from San Francisco) about eight years ago. They said I was a dinosaur who didn\u2019t understand the new economy. I said, \u201cGive me examples of how this is suppose to be profitable.\u201d Well, I don\u2019t know if we\u2019ve proven it to be profitable, but we have seen that it is part of the way a band gets heard in 2017.<\/p>\n Strange days.<\/p>\n Sam<\/p>\n Projekt’s two new releases for March 17th:<\/p>\n\n\n\n\n \n \n Lorenzo Montana: phase IX\nPurchase the CD (limited edition of 300) for $14 at Projekt<\/a>. Bandcamp download code included in the package with your order. Stream & download at Bandcamp<\/a>. Italian soundcomposer Lorenzo Montana’s first American solo-release; these electronic, ambient mindscapes form nine phases of a trip of the psyche focusing on the floating \/ experimental side of his work. He’s collaborated with Alio Die on Holographic Codex (Projekt, 2015), and released 15 albums to date, including the 5-CD Labyrinth collaboration series with Pete Namlook (founder of Germany’s Fax label). \n\n\n\n \n \n\n Erik W\u00f8llo: Different Spaces\n Purchase the 2-CD for $17 at Projekt<\/a>. Bandcamp download code included in the package with your order. Stream & download at Bandcamp<\/a>. High Res Studio Master at Spotted Peccary<\/a>.A diverse and sweeping tapestry revealing wide-ranging and wide-angled electronic compositions. The music traverses the different spaces that occupy an artist\u2019s creative thoughts across mesmerizing landscapes of distinctive panoramas, rhythmic realms, and engaging, engulfing atmospheres.\n \n\n\n\n","protected":false},"excerpt":{"rendered":" I asked my friends on Facebook what they’d like to see more of on the Projekt email list. One of their suggestions was behind the scenes of running a label. What it takes, what I do, what I’ve learned. 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