Following the recent overhauling of Twitter, The Music Void ponders over similarly strange rebranding examples in the music industry. While some cases reflect the megalomaniac stance of the owners, others mirror the geopolitical changes, the power of social media and public opinion. The latter often contradicts the principles of artistic freedom.
Sefi Carmel is a sound designer and composer who has worked on Hollywood films directed by Ridley Scott, John Woo, Chris Columbus, and Kevin Reynolds. He is also the co-founder of Sphere Trax, a website that uses artificial intelligence to help musicians, film and video game producers, and other professionals find the perfect music for their projects.
Founded in 2009, Sofar Sounds took up a niche presenting to the world up-and-coming artists at unexpected secret venues, mostly at people’s homes. With their headquarters in London, the company quickly grew into a global network of music events organisers based in 36 countries before the outbreak of the pandemic.
The recent Universal Music Group-brokered deal with the French music streaming service, Deezer, has been the subject of much debate. Martin Mills of Beggars Group, Darius Van Arman of Secretly Distribution, Stephan Bourdoiseau of Wagram Stories, and Emmanuel de Buretel of Because Music joined forces in a post in Music Ally that confronts the pros and cons of the user-centric versus pro-rata streaming models.
Apple is one of the greatest companies on earth. They produce products that are unequalled in consumer technology. But like any company, they release products that are flops in the marketplace. Apple, unlike a lot of other companies, knows how to bury their stiffs like they never existed.
The music streaming industry has witnessed remarkable growth over the past decade, with streaming services becoming the primary mode of music consumption for millions worldwide. However, with rapid expansion come concerns of potential market saturation and challenges related to subscription models.