YouTube, social media and even Bitcoin are admitting musicians to scorn major names and croak it alone but the industry is contending back. Can creators use technology to bide truly independent?
” > meta>
The arrival of illegal filesharing on Napster in 1999 changed everything: it was a disagreement between a new format( MP3) and a new distribution networks( the internet ), both of which sat outside of the limitation of the usual music business. It uttered the first cracks in the music culture cartel and caused the underground a hotline to a world-wide public for the first time.
As with all utopianism, though, there used to be numerous mistaken messiahs. MySpace presented itself as a DIY revolution for masters, but spread itself very thin– it was simultaneously an audio actor, a blog, a photo hall, a video musician, a sales space and their home communities platform where the users were also the creators.
Other programmes learned from this and focused on doing one thing well: society( Facebook, Twitter ), video( YouTube ), audio( SoundCloud ), sales( Bandcamp ), ticketing( Songkick, Dice ), self-serve dissemination( TuneCore, CD Baby ), alternative fund( Pledge, Patreon, Kickstarter) and so on. This decentralisation of the music manufacture became its reimagining as a Meccano set- where underground acts could choice the services offered they demanded based on their needs.