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Independent music

January 31, 2023

This article is about independently-produced music. For the "do-it-yourself" music aesthetic associated with indie, see Lo-fi music. For other uses, see Indie music (disambiguation).

Independent music (also commonly known as indie music, or simply indie) is music produced independently from commercial record labels or their subsidiaries; this may include an autonomous, do-it-yourself approach to recording and publishing.

Arctic Monkeys, a British indie band

As a genre term, "indie" may or may not comprise independently produced music. Many independent music artists do not fall into a single defined musical style or genre, with their self-published music being able to be categorized into diverse genres without the expectations associated with commercial music. The term 'indie' or 'independent music' can be traced back to as early as the 1920s: in the context of referencing independent film companies. It was later used to classify an independent band or record producer.[1][2]

Record labels

Main article: Independent record label

Independent labels have a long history of promoting developments in popular music, stretching back to the post-war period in the United States, with labels such as Sun Records, King Records, and Stax.[3]

In the United Kingdom during the 1950s and 1960s, the major record companies had so much power that independent labels struggled to become established, until the launch of new concepts like Virgin Records.[4] Several British producers and artists launched independent labels as outlets for their work and artists they liked; the majority failed as commercial ventures or were bought by the major labels.[3]

In the United States, independent labels and distributors often banded together to form organizations to promote trade and parity within the industry. The Recording Academy, famous as the organization behind the Grammy Awards, began in the 1950s as an organization of 25 independent record labels including Herald, Ember, and Atlantic Records. The 1970s saw the founding of the National Association of Independent Record Distributors (NAIRD), which became A2IM in 2004. Smaller organizations also existed including the Independent Music Association (IMA), founded by Don Kulak in the late 1980s. At its zenith, it had 1,000 independent labels on its member rosters. The 1990s brought Affiliated Independent Record Companies (AIRCO), whose most notable member was upstart punk-thrash rock label Mystic Records, and The Independent Music Retailer's Association (IMRA), a short-lived organization founded by Mark Wilkins and Don Kulak. The latter is most notable for a lawsuit involving co-op money it filed on behalf of its member Digital Distributors in conjunction with Warehouse Record Stores.[5] The adjudication of the case grossed $178,000,000 from the distribution arms of major labels. The proceeds were distributed amongst all plaintiffs.

During the punk rock era, the number of independent labels grew.[3] The UK Indie Chart was first compiled in 1980, and independent distribution became better organized from the late 1970s onward.[6] From the late 1970s into the 1980s, certain UK independent labels (such as Rough Trade, Fast Product, Cherry Red, Factory, Glass, Industrial, Cheree Records and Creation) came to contribute something in terms of aesthetic identity to the acts whose records they released.

Around the late 1980s, Seattle-based Sub Pop Records was at the center of the grunge scene. In the late 1990s and into the 2000s as the advent of MP3 files and digital download sites such as Apple's iTunes Store changed the recording industry, an indie neo-soul scene soon emerged from the urban underground soul scenes of London, New York, Philadelphia, Chicago and Los Angeles, primarily due to commercial radio and the major labels' biased focus on the marketing, promotion & airplay of pop and hip hop music during this period. Independent labels such as Dome Record and Expansion Records in the U.K. and Burger, Wiener, and Ubiquity Records in the U.S. and a plethora of others around the world continue to release independent bands and music.

Going major versus staying independent

Many acts choose to go from an independent label to a major label if given the opportunity, as major labels have considerably more power and financial means to promote and distribute products, sometimes increasing the chances of greater success.[7] Some acts, however, may choose not to go to a major label if given the opportunity, as independence generally offers more freedom.[7]

Similarly, others may become independent label acts after having already experienced recording on a major label. Bradley Joseph asked to be let go from his major label deal with Narada/Virgin Records and subsequently became an independent artist. He says, "As an independent, business is a prime concern and can take over if not controlled.[8] A lot of musicians don't learn the business. You just have to be well-rounded in both areas. You have to understand publishing. You have to understand how you make money, what's in demand, and what helps you make the most out of your talent.[9] But some artists just want to be involved in the music and don't like the added problems or have the personality to work with both". Joseph suggests newer artists read and study both courses and pick one that best suits their own needs and wants.[8]

A successful independent label with a strong musical reputation can be very appealing to a major label. Major labels look at independent labels to stay current with the ever-changing music scene.[10]

If an act moves to a major label from an independent, they are awarded greater opportunity for success, but it does not guarantee success. About one in ten albums released by major labels make a profit for the label.[11] Some artists have recorded for independent record companies for their entire careers and have had solid careers. Independent labels tend to be more open creatively, however, an independent label that is creatively productive is not necessarily financially lucrative. Independent labels are often operations of one, two, or only half a dozen people, with almost no outside assistance and run out of tiny offices.[12] This lack of resources can make it difficult for a band to make revenue from sales. It can also be more difficult for the indie label to get its artists' music played on radio stations around the country when compared to the pull of a major label. A testament to this fact could be that since 1991, there have only been twelve independent label albums that have reached the number one spot on the US Billboard 200 Album Chart. However, dozens of independent albums have reached the top 40 of the Billboard 200.

Many current artists use their own resources to produce, record, market and release music through Spotify, SoundCloud, and other streaming platforms with social media in a direct, do-it-yourself manner allowing creative distribution.[13]

Distribution methods

Some independent labels distribute their own product while others distribute via a major label. Independents may be owned by a major label who then distribute for them.[14]

It can be very difficult for independent bands to sign to a record label that may not be familiar with their specific style. It can take years of dedicated effort, self-promotion, and rejections before landing a contract with either an independent or major record label. Bands that are ready to go this route need to be sure they are prepared both in terms of the music they offer as well as their realistic expectations for success.[15]

Major label contracts

Main article: Recording contract

Most major label artists earn a 10–16% royalty rate.[16] However, before a band is able to receive any of their royalties, they must clear their label for all of their debts, known as recoupable expenses. These expenses arise from the cost of such things as album packaging and artwork, tour support, and video production. An additional part of the recoupable expenses are the artist's advance. An advance is like a loan. It allows the artist to have money to live and record with until their record is released. However, before they can gain any royalties, the advance must be paid back in full to the record label. Since only the most successful artists recoup production and marketing costs, an unsuccessful artist's debt may carry over to their next album, meaning that they see little to no royalties.

Major label advances are generally much larger than independent labels can offer. Major labels are able to offer artists advances in the range of $150,000–$500,000. Some smaller independent labels offer no advance at all; just recording cost, album packaging, and artwork, which is also recoupable. If an artist gets no advance at all, they owe their record company less money, thus allowing them to start receiving royalty checks earlier; that is, if sales warrant any royalty checks at all. However, since the record label typically recoups so many different costs, it is actually to the artist's advantage to get the largest advance possible because they may not see any royalties checks for quite some time; again, that is, if sales warrant any royalties checks at all. Another advantage of getting an advance; the advance money the artist owes the label is only recoupable through the artist's royalties, not through a return of the advance itself.[17]

Independent label contracts

Independent label contracts typically resemble contracts offered by major labels because they have similar legal liabilities to define before representing an artist. There are differences, however, usually with regards to less advances, lower studio costs, lower royalties, but fewer album options. Due to financial constraints, independents typically spend much less on marketing and promotion than major labels. But with lower royalties rates typically paid to artists and lower production and promotion costs, independent labels generally can turn a profit off lower volumes of sales than a major label can.

Although not common,[18] there have been instances of profit-sharing deals with independent labels in which an act can get as much as 40–50% of the net profits. In this type of contract, the net gain after all expenses have been taken out are divided between the label and artist by a negotiated percentage. However, deals in this form can take longer for an artist to gain any profits, if at all, since all expenses – such as recording, manufacturing, publicity and marketing, music videos, etc., are also taken into account. Only if an independent artist becomes vastly popular are deals of this type more advantageous.

Independent labels rely heavily on personal networking, or "word of mouth", to expose their acts.[19] Independent labels tend to avoid high budget marketing tactics, which usually does not fall in the budget of an independent label. This of course contributes to the overall lower production cost, and may help the artist to receive royalties sooner, if warranted. Major labels tend to watch indie label artists and gauge their success, and may offer to sign acts from independents when their contract is up. The major may also request to buy the contract of the act from the independent label before the contract is up, giving the independent label a hefty financial payment if they choose to sell the contract.

Competition between independent and traditional publishing

Independent music sales volume is difficult to track, but in 2010 independent retailer CD Baby claimed to have sold over 5 million CDs during its lifetime.[20] CD Baby no longer reports its number of CDs sold, but in 2010 claimed to have paid a total of $107 million to artists over its lifetime and currently claims that this figure is now over $200 million.[21]

Apple has announced that they have sold over 16 billion songs through their iTunes service.[22] Most of this is "mainstream" music, and doesn't reflect access by new content producers to the market, but it does indicate significant competition with traditional CD sales.

Whether the sales from non-traditional sources come mostly from tapping into an expanding market or from siphoning sales away from traditional CD distribution is difficult to assess in the face of the RIAA's claim that music piracy causes 12.5 billion dollars' damage to the US economy annually.[23]

See also

References

  1. ^ ""Indie" vs. Independent – What's the Difference?". Vigilante Detective. Retrieved 2018-02-22.
  2. ^ Record Label Pursuit: Mistakes made by Upcoming Artistes 2018-10-08 at the Wayback Machine, Featnews.com, October 08, 2018.
  3. ^ a b c Rogan, Johnny (1992) "Introduction" in The Guinness Who's Who of Indie and New Wave Music, Guinness Publishing, ISBN 0-85112-579-4
  4. ^ "Record labels that rocked our world". The Independent. 2008-01-17. Retrieved 2018-02-22.
  5. ^ Jeffrey, Don (June 10, 1995) "Retailer Sues Majors for CD Price Fixing" in Billboard Magazine, Billboard Publishing
  6. ^ Lazell, Barry (1997) "Indie Hits 1980–1989", Cherry Red Books, ISBN 0-9517206-9-4
  7. ^ a b Agnew, Harriet (17 February 2018). "France's indie music labels find their voice". Financial Times. Retrieved 2018-02-22.
  8. ^ a b Wheeler, Fred (2002). . indiejournal.com. Archived from the original on 2004-11-01. Retrieved 2006-12-21.
  9. ^ Polta, Anne (2007-02-08). . Minnesota: West Central Tribune. Archived from the original on 2008-03-29. Retrieved 2007-02-18.
  10. ^ "Deals That Await Successful Independent Music Labels – Christopher Knab". Guitar9. 2016-08-01. Retrieved 2016-09-16.
  11. ^ . Archived from the original on 2006-03-24. Retrieved 2006-04-26.{{cite web}}: CS1 maint: archived copy as title (link)
  12. ^ Barclay, Michael. . Exclaim.ca. Archived from the original on 2007-02-09. Retrieved 2016-09-16.
  13. ^ "Music Festival Blog | United States | Vibe with Ade". Music Festival Blog | United States | Vibe with Ade. 16 February 2018. Retrieved 2018-02-22.
  14. ^ Ricci, Benjamin. "Independent Labels: What's the Deal?". Performer Mag. Retrieved 2016-09-16.
  15. ^ McDonald, Heather (2006-06-19). "Indie Music Band Tips: Finding A Record Label". Music.lovetoknow.com. Retrieved 2016-09-16.
  16. ^ . Archived from the original on 27 May 2013. Retrieved 30 May 2013.
  17. ^ Ricci, Benjamin. "Independent Label vs. Major Label Contracts". Performer Mag. Retrieved 2016-09-16.
  18. ^ News, B. (Jul 7, 2006). "EMI and new music label plan profit-sharing deal with artists". The New York Times.|
  19. ^ Morris, C. (Aug 25, 2001). "Beating the indie odds?: Label entrepreneurs make a go in tough market". Billboard. Vol. 113, no. 1. p. 80.
  20. ^ . Azoz.com. Archived from the original on 2016-09-17. Retrieved 2016-09-16.
  21. ^ "About CD Baby – The CD Baby Story". Members.cdbaby.com. Retrieved 2016-09-16.
  22. ^ "Apple: 16 billion iTunes songs downloaded, 300 million iPods sold". Engadget.com. Retrieved 2016-09-16.
  23. ^ . Recording Industry Association of America. Archived from the original on 2015-12-18. Retrieved 2015-12-25.

Further reading

January 31, 2023
independent, music, this, article, about, independently, produced, music, yourself, music, aesthetic, associated, with, indie, music, other, uses, indie, music, disambiguation, this, article, multiple, issues, please, help, improve, discuss, these, issues, tal. This article is about independently produced music For the do it yourself music aesthetic associated with indie see Lo fi music For other uses see Indie music disambiguation This article has multiple issues Please help improve it or discuss these issues on the talk page Learn how and when to remove these template messages This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Independent music news newspapers books scholar JSTOR January 2009 Learn how and when to remove this template message This article may primarily relate to a different subject or place undue weight on a particular aspect rather than the subject as a whole Specifically record labels contracts and music publishing Please help by spinning off or relocating any relevant information and removing excessive detail that may be against Wikipedia s inclusion policy September 2016 This article is written like a personal reflection personal essay or argumentative essay that states a Wikipedia editor s personal feelings or presents an original argument about a topic Please help improve it by rewriting it in an encyclopedic style May 2018 Learn how and when to remove this template message Learn how and when to remove this template message Independent music also commonly known as indie music or simply indie is music produced independently from commercial record labels or their subsidiaries this may include an autonomous do it yourself approach to recording and publishing Arctic Monkeys a British indie band As a genre term indie may or may not comprise independently produced music Many independent music artists do not fall into a single defined musical style or genre with their self published music being able to be categorized into diverse genres without the expectations associated with commercial music The term indie or independent music can be traced back to as early as the 1920s in the context of referencing independent film companies It was later used to classify an independent band or record producer 1 2 Contents 1 Record labels 2 Going major versus staying independent 3 Distribution methods 3 1 Major label contracts 3 2 Independent label contracts 4 Competition between independent and traditional publishing 5 See also 6 References 7 Further readingRecord labels EditMain article Independent record label Independent labels have a long history of promoting developments in popular music stretching back to the post war period in the United States with labels such as Sun Records King Records and Stax 3 In the United Kingdom during the 1950s and 1960s the major record companies had so much power that independent labels struggled to become established until the launch of new concepts like Virgin Records 4 Several British producers and artists launched independent labels as outlets for their work and artists they liked the majority failed as commercial ventures or were bought by the major labels 3 In the United States independent labels and distributors often banded together to form organizations to promote trade and parity within the industry The Recording Academy famous as the organization behind the Grammy Awards began in the 1950s as an organization of 25 independent record labels including Herald Ember and Atlantic Records The 1970s saw the founding of the National Association of Independent Record Distributors NAIRD which became A2IM in 2004 Smaller organizations also existed including the Independent Music Association IMA founded by Don Kulak in the late 1980s At its zenith it had 1 000 independent labels on its member rosters The 1990s brought Affiliated Independent Record Companies AIRCO whose most notable member was upstart punk thrash rock label Mystic Records and The Independent Music Retailer s Association IMRA a short lived organization founded by Mark Wilkins and Don Kulak The latter is most notable for a lawsuit involving co op money it filed on behalf of its member Digital Distributors in conjunction with Warehouse Record Stores 5 The adjudication of the case grossed 178 000 000 from the distribution arms of major labels The proceeds were distributed amongst all plaintiffs During the punk rock era the number of independent labels grew 3 The UK Indie Chart was first compiled in 1980 and independent distribution became better organized from the late 1970s onward 6 From the late 1970s into the 1980s certain UK independent labels such as Rough Trade Fast Product Cherry Red Factory Glass Industrial Cheree Records and Creation came to contribute something in terms of aesthetic identity to the acts whose records they released Around the late 1980s Seattle based Sub Pop Records was at the center of the grunge scene In the late 1990s and into the 2000s as the advent of MP3 files and digital download sites such as Apple s iTunes Store changed the recording industry an indie neo soul scene soon emerged from the urban underground soul scenes of London New York Philadelphia Chicago and Los Angeles primarily due to commercial radio and the major labels biased focus on the marketing promotion amp airplay of pop and hip hop music during this period Independent labels such as Dome Record and Expansion Records in the U K and Burger Wiener and Ubiquity Records in the U S and a plethora of others around the world continue to release independent bands and music Going major versus staying independent EditMany acts choose to go from an independent label to a major label if given the opportunity as major labels have considerably more power and financial means to promote and distribute products sometimes increasing the chances of greater success 7 Some acts however may choose not to go to a major label if given the opportunity as independence generally offers more freedom 7 Similarly others may become independent label acts after having already experienced recording on a major label Bradley Joseph asked to be let go from his major label deal with Narada Virgin Records and subsequently became an independent artist He says As an independent business is a prime concern and can take over if not controlled 8 A lot of musicians don t learn the business You just have to be well rounded in both areas You have to understand publishing You have to understand how you make money what s in demand and what helps you make the most out of your talent 9 But some artists just want to be involved in the music and don t like the added problems or have the personality to work with both Joseph suggests newer artists read and study both courses and pick one that best suits their own needs and wants 8 A successful independent label with a strong musical reputation can be very appealing to a major label Major labels look at independent labels to stay current with the ever changing music scene 10 If an act moves to a major label from an independent they are awarded greater opportunity for success but it does not guarantee success About one in ten albums released by major labels make a profit for the label 11 Some artists have recorded for independent record companies for their entire careers and have had solid careers Independent labels tend to be more open creatively however an independent label that is creatively productive is not necessarily financially lucrative Independent labels are often operations of one two or only half a dozen people with almost no outside assistance and run out of tiny offices 12 This lack of resources can make it difficult for a band to make revenue from sales It can also be more difficult for the indie label to get its artists music played on radio stations around the country when compared to the pull of a major label A testament to this fact could be that since 1991 there have only been twelve independent label albums that have reached the number one spot on the US Billboard 200 Album Chart However dozens of independent albums have reached the top 40 of the Billboard 200 Many current artists use their own resources to produce record market and release music through Spotify SoundCloud and other streaming platforms with social media in a direct do it yourself manner allowing creative distribution 13 Distribution methods EditSome independent labels distribute their own product while others distribute via a major label Independents may be owned by a major label who then distribute for them 14 It can be very difficult for independent bands to sign to a record label that may not be familiar with their specific style It can take years of dedicated effort self promotion and rejections before landing a contract with either an independent or major record label Bands that are ready to go this route need to be sure they are prepared both in terms of the music they offer as well as their realistic expectations for success 15 Major label contracts Edit Main article Recording contract Most major label artists earn a 10 16 royalty rate 16 However before a band is able to receive any of their royalties they must clear their label for all of their debts known as recoupable expenses These expenses arise from the cost of such things as album packaging and artwork tour support and video production An additional part of the recoupable expenses are the artist s advance An advance is like a loan It allows the artist to have money to live and record with until their record is released However before they can gain any royalties the advance must be paid back in full to the record label Since only the most successful artists recoup production and marketing costs an unsuccessful artist s debt may carry over to their next album meaning that they see little to no royalties Major label advances are generally much larger than independent labels can offer Major labels are able to offer artists advances in the range of 150 000 500 000 Some smaller independent labels offer no advance at all just recording cost album packaging and artwork which is also recoupable If an artist gets no advance at all they owe their record company less money thus allowing them to start receiving royalty checks earlier that is if sales warrant any royalty checks at all However since the record label typically recoups so many different costs it is actually to the artist s advantage to get the largest advance possible because they may not see any royalties checks for quite some time again that is if sales warrant any royalties checks at all Another advantage of getting an advance the advance money the artist owes the label is only recoupable through the artist s royalties not through a return of the advance itself 17 Independent label contracts Edit Independent label contracts typically resemble contracts offered by major labels because they have similar legal liabilities to define before representing an artist There are differences however usually with regards to less advances lower studio costs lower royalties but fewer album options Due to financial constraints independents typically spend much less on marketing and promotion than major labels But with lower royalties rates typically paid to artists and lower production and promotion costs independent labels generally can turn a profit off lower volumes of sales than a major label can Although not common 18 there have been instances of profit sharing deals with independent labels in which an act can get as much as 40 50 of the net profits In this type of contract the net gain after all expenses have been taken out are divided between the label and artist by a negotiated percentage However deals in this form can take longer for an artist to gain any profits if at all since all expenses such as recording manufacturing publicity and marketing music videos etc are also taken into account Only if an independent artist becomes vastly popular are deals of this type more advantageous Independent labels rely heavily on personal networking or word of mouth to expose their acts 19 Independent labels tend to avoid high budget marketing tactics which usually does not fall in the budget of an independent label This of course contributes to the overall lower production cost and may help the artist to receive royalties sooner if warranted Major labels tend to watch indie label artists and gauge their success and may offer to sign acts from independents when their contract is up The major may also request to buy the contract of the act from the independent label before the contract is up giving the independent label a hefty financial payment if they choose to sell the contract Competition between independent and traditional publishing EditIndependent music sales volume is difficult to track but in 2010 independent retailer CD Baby claimed to have sold over 5 million CDs during its lifetime 20 CD Baby no longer reports its number of CDs sold but in 2010 claimed to have paid a total of 107 million to artists over its lifetime and currently claims that this figure is now over 200 million 21 Apple has announced that they have sold over 16 billion songs through their iTunes service 22 Most of this is mainstream music and doesn t reflect access by new content producers to the market but it does indicate significant competition with traditional CD sales Whether the sales from non traditional sources come mostly from tapping into an expanding market or from siphoning sales away from traditional CD distribution is difficult to assess in the face of the RIAA s claim that music piracy causes 12 5 billion dollars damage to the US economy annually 23 See also EditUnderground music Indie music scenesReferences Edit Indie vs Independent What s the Difference Vigilante Detective Retrieved 2018 02 22 Record Label Pursuit Mistakes made by Upcoming Artistes Archived 2018 10 08 at the Wayback Machine Featnews com October 08 2018 a b c Rogan Johnny 1992 Introduction in The Guinness Who s Who of Indie and New Wave Music Guinness Publishing ISBN 0 85112 579 4 Record labels that rocked our world The Independent 2008 01 17 Retrieved 2018 02 22 Jeffrey Don June 10 1995 Retailer Sues Majors for CD Price Fixing in Billboard Magazine Billboard Publishing Lazell Barry 1997 Indie Hits 1980 1989 Cherry Red Books ISBN 0 9517206 9 4 a b Agnew Harriet 17 February 2018 France s indie music labels find their voice Financial Times Retrieved 2018 02 22 a b Wheeler Fred 2002 Interview with Bradley Joseph indiejournal com Archived from the original on 2004 11 01 Retrieved 2006 12 21 Polta Anne 2007 02 08 Continuing Journey Bradley Joseph sustains music career with songwriting recording Minnesota West Central Tribune Archived from the original on 2008 03 29 Retrieved 2007 02 18 Deals That Await Successful Independent Music Labels Christopher Knab Guitar9 2016 08 01 Retrieved 2016 09 16 Archived copy Archived from the original on 2006 03 24 Retrieved 2006 04 26 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Barclay Michael King Cobb Steelie Simply Rational Exclaim ca Archived from the original on 2007 02 09 Retrieved 2016 09 16 Music Festival Blog United States Vibe with Ade Music Festival Blog United States Vibe with Ade 16 February 2018 Retrieved 2018 02 22 Ricci Benjamin Independent Labels What s the Deal Performer Mag Retrieved 2016 09 16 McDonald Heather 2006 06 19 Indie Music Band Tips Finding A Record Label Music lovetoknow com Retrieved 2016 09 16 Indie of Major Lee amp Thompson Archived from the original on 27 May 2013 Retrieved 30 May 2013 Ricci Benjamin Independent Label vs Major Label Contracts Performer Mag Retrieved 2016 09 16 News B Jul 7 2006 EMI and new music label plan profit sharing deal with artists The New York Times Morris C Aug 25 2001 Beating the indie odds Label entrepreneurs make a go in tough market Billboard Vol 113 no 1 p 80 Welcome to Azoz com Archived from the original on 2016 09 17 Retrieved 2016 09 16 About CD Baby The CD Baby Story Members cdbaby com Retrieved 2016 09 16 Apple 16 billion iTunes songs downloaded 300 million iPods sold Engadget com Retrieved 2016 09 16 RIAA Who Music Theft Hurts December 18 2015 Recording Industry Association of America Archived from the original on 2015 12 18 Retrieved 2015 12 25 Further reading EditFonarow Wendy Cagur Empire of Dirt The Aesthetics and Rituals of British Indie Music Wesleyan 2006 ISBN 0 8195 6811 2 Retrieved from https en wikipedia org w index php title Independent music amp oldid 1132451095, wikipedia, wiki, book, books, library,

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