Music Labels and the Work they do: Focus on Big Scary Monsters Recording Company - Essay Example

? Music Labels and the Work they do: Focus on Big Scary Monsters Recording Company Contents Introduction 3 2. Record Labels 3 2 The Music Label 3 2.2 The Independent Music Label 4 3. Big Scary Monsters Recording Company 4 3.1 The Company 4 3.2 The Music 5 3.3 The Bands 6 4. Conclusion 6 Music Labels and the Work they do: Focus on Big Scary Monsters Recording Company 1. Introduction Behind the magic that creates the sound that moves generations, inspires lovers, and expresses the frustration of the youth is a record label that has put their energy into promoting an artist’s work. Music is an art, but it is the business of music that provides access to that art. Technology, marketing, and relationships are the tools of the record label as it creates a connection between the artist and the public. An artist who accomplishes their work through simple means of just developing the song and playing the chords will never fully have the opportunity to have that music mean anything. The art of music happens between the musician and the listener, and without either side, the artistry does not truly exist. The lubricant between the musician and the listener is the music label that opens the door between them so that the art can happen. One of the music labels that have emerged as an independent label is Big Scary Monsters Recording Company. This UK label has been responsible for releasing the works of artists such as Andrew WK, Get Cape Wear Cap Fly, and Kevin Devine. One of the advantages of an independent label is that while it is interested in profits and business, its lower overhead and less intensive position in the music industry allows it to support lesser known artists (Baskerville 2006: 54). As an independent record label that has gained some momentum, Big Scary Monsters is in a position to promote lesser music artists while still generating revenue enough to support their promotion. 2. Record Labels 2.1 The Music Label Wikstrom (2009: 17) defines the music industry as a copyright industry. The concept of the copyright is what provides the industry the methods through which to commodify music. The copyright is the way in which rights are designated so that people in the industry can get paid for the sale of a piece of music. The record label is responsible for defining and distributing the music so that it can be consumed. One of the important points that must be understood about music is that music consumption and music sales are two different concepts. Consumption is the act of listening to music, while sales is the number of times music is sold. The dilemma of the current music label is that while consumption has increased, sales have decreased (Hutchison, Allen, and Macy 2012: 1). The music label must find ways to increase revenues in an environment that has not been conducive to sales. In this day of corporate conglomeration, the large record labels are more often a group of record labels all under the same corporate umbrella (Baskerville 2006: xix). A music label is built with a group of departments that work towards the distribution of music. The marketing department is responsible for planning the marketing for the music. The promotion department will more often be focused on making sure that the music gets played and that it can be heard in public formats, such as on the radio (Lathrop and Pettigrew 2003: 3). 2.2 The Independent Music Label Independent labels have the freedom to more fully develop a wider range of artists. This should not be taken as an indictment on the music industry. The label is the risk taker who is investing in an act in order to generate revenue for the artist, the musicians, the writers, and all the people who are involved in making music (Harrison 2008: 70). The bigger the label, the higher level of revenue is needed in order to support the livelihoods of all those involved (Broven 2010: 2). An independent label, or an indie label, has the freedom of a starter kit rather than a full on program from which they can focus on artists who are in development or are off the beaten track in relationship to trends and fashion. An artist who does not fit into mainstream music may find a venue through an indie label that they could not otherwise find (Selby 2008: 3). 3. Big Scary Monsters Recording Company One of the problems with a major recording label is that there are shortages on resources with only a select few artists getting the majority of the capabilities of the company. Where a major label will not nurture and help an act to grow, independent labels are hungry enough to work towards the development of their artists so that the musician has the opportunity to learn and grow (Schwartz 2009: 5). Big Scary Monsters Recording Company was founded in order to create a place for artists to begin their journey, or to create their own unique journey. An Indie label may put out a series of singles that arrive periodically or they can be part of the grooming process for the larger labels. The definition of an Indie label can be anything from something that is exclusive or more boutique style to that which is a part of the larger machine, creating artists so that they will be ready for the larger part of their career. They can simply put out records or have wide scaled promotions for emerging bands (Kalmer 1). 3.1 The Company One of the sure signs that a music label is independent is that the name of the company will be something that is outside of what is expected and sometimes with a sense of whimsy. Big Scary Monsters Recording Company is one of those companies. One of the background reasons for the name can be seen through Billboard Magazine’s concept of the fear of big record labels from an article by Bambarger that stated “People always talk about record companies like they’re these big scary monsters” (p. 86). Big Scary Monsters, or BSM, was started by Kevin Douch while he was still in school. In the final two years of his secondary education he was determined to define his future, although the record label did not begin producing work until several years later (LinkedIN 2012). The company is based in Dalston, East London, but was formed in Oxfordshire near the beginning of the new millennia. In 2011the company became a part of the Pink Mist, a linked collection of independent labels that use combined resources to release and promote their music (BSM 2012). Pink Mist is co-owned by Douch with a stated purpose that it is “a collective of like-minded independent record labels looking to work together to pool their resources and strengthen their position in the UK market” (LinkedIn 2012). Pink Mist works with Holy Roar and Blood and Biscuits Records to date in order to achieve its purposes (BSM 2012). As a one man operation, some of the operations are required to be outsourced. Everything from the graphics for his CD covers to some of the promotional services that the label must produce can be outsourced to an extent to take some of the burden off of Douch. Although Douch has a hand in artist development, contracts, marketing and publicity, some of his other duties such as record sales, artwork, and the development of new media sources can be outsourced in order to alleviate his work load so he can focus on his artists. Pink Mist was created in order to collaborate with other independent labels so that the work load could be alleviated to an extent. Pink Mist supports BSM as well as Holy Roar Records, Blood and Biscuits, and Tangled Talk Records. Through Pink Mist the four labels can pool resources and widen their reach for their artists, creating a collaboration that is beneficial for all (Pink Mist 2012). 3.2 The Music In an interview with Exploding in Sound blog, Kevin Douch discussed some of the work that he was doing. One of the goals was to start touring in the US with some of the label’s bands as they have already released music in the US on CD format. When asked by the interviewer what the most important role of the label was in 2010, he answered by saying that “having someone with a bit of knowledge and experience to help you with working towards your goals as a band is the biggest asset us labels currently boast. Whether that comes in marketing ideas, gig promoter contacts, planning, being able to tap you into an existing fanbase or whatever else, it’s a set of skills young bands don’t always possess” (Exploding in Sound 2010). He goes on to explain how changes in the industry have changed the purpose of the label. Douch said “A couple of years ago distribution probably would’ve been the big one, but tools are now readily available to get your music onto iTunes and, unfortunately, the state of the physical market here in the UK isn’t very good at the moment, so although this is obviously still very important, I wouldn’t necessarily see it as the main reason for a band to go looking for a label” (Exploding in Sound 2010). One of the recent releases of the company was from a now defunct band called Colour, the album called Anthology. Released on vinyl in December of 2012, the album came in the now sold out colour of red haze or in traditional black. As an example of the dedication to vinyl that the label has displayed, this album provides the listener with the rich sound of an album which has been replaced by the perfected, but less dense sound of digital. The album is an example of the kind of promotion that Douch does through his company and even though he is the only person doing all the work, he finds unique and music based concepts to promote the sound he represents (BSM 2012). 3.3 The Bands The label currently shows 23 different bands working with the company. The focus is on indie, emo, and variations of rock that are not along mainstream genre expectations. The type of music that Douch represents is the kind of rock that has a difficult time fitting in with a larger label, even though the hope is that these bands will break into a larger culture of music listeners. Along with Andrew WK, Get Cape Wear Cap Fly, and Kevin Devine, the company works with Algernon Cadwallader, Crash of Rhinos, Gnarwolves, Hymns, Matt Pryor, Shapes, and Toe (BSM 2012). The company is a one man operation, with Douch doing all of the work (Exploding in Sound 2010). He has no employees and outsources different aspects if needed or if possible. The label may be small, but it has produced an impressive amount of work with cutting over 100 releases since it began (LinkedIn 2012). Andrew W. K. is an example of an artist that fits into the type of label that BSM represents. Andrew W. K is described by BSM as “A beacon of light spreading a feeling of joy, happiness, freedom and possibility which transcends the boundaries of music, Andrew not only creates moments these people will never forget, he also boasts a Curriculum Vitae most could only dream of” (BSM 2012). Although this sounds gentle and full of goodness, Andrew W. K. is also described as chaos, his sound riotous and hard impact. An intelligent musician, he releases his music with a blow of power into his audience. 4. Conclusion The example of BSM shows that one man in this age can do the work of many. BSM is run by Kevin Douch and has had an impact on the London music scene through the promotion of a wide variety of bands. The purpose of the music label is to provide tools for an artist to reach their audience. Big Scary Monster Recording Company is an example of how the music industry has changed, the capacities of one man to run a number of artists allowing for independence in a very meaningful way. The advantages of an independent label can be great for music that is developing or struggling to find a position in the industry. Douch has developed a business that has had an impact in London and is poised to impact worldwide with the right bands at the right time. . Bibliography Bambarger, Bradley (23 May 1998). 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