The NBT Review 52

(read a great review with Farrad on the NBT homepage.. http://nbtmusic.de/page4.php )

The Time Is Now – Farrad (Beulah’s Baby Entertainment)

Welcome to the Pop Dramatic, landing, bang in the centre of the smoke, wrapped in enigmatic articulate harmonies and covered by pressing bass squelch, Farrad displays his intent, his desire to capture our dance-Soul from the opening track, Misunderstood, a sly mix of Prince Gymnastics and the modern strut.

The cool thing is, Farrad doesn’t let the Tech, the FX and the Hustle drown out the soul, his sweet vocalizing holding sway, adding warmth to the extravagant arrangements.

And then the third track, an instant club classic, the one that makes you want to attempt complicated moves and boogie the night away, this is edgy delightful seductive bubblegum of the highest order, breathtaking and imaginative, simply Pick Your Face Up Off The Floor is one of the tracks of this year so far.

Now that he has captured us, the twist, the trip the worship of the beat continues, sure there are ghosts on this dance floor, in the neon reflections, but these spirits are fashionably in the NOW, fresh and alluring. With this set every track a potential single.

Listen out too for the electrifying ballad, Destiny, where the voice soars against shivers of strings, and some sultry gospel sneaks into the night waltz, and the surprise RocknNewWave of Twisted, where Farrad’s true sense of adventure shows itself in all its metallic sheen.

If this excellent collection isn’t enough for you, there is also a scintillating album of ‘’Pick Your Face Up Off The Floor’’ remixes available on Farrad’s Homepage.

http://farrad.com/

 Catch Trax from this collection on the NBT Podcast going out on the 16th March 2010

http://nextbigthing.libsyn.com/

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The CyberPR (Ariel Publicity)New Media Pioneer Interviews 16

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New Media Pioneer: Pete Cogle, one of the podcasters at the Association Of Music Podcasting

Host of  the PC Podcast, featuring eclectic music from around the world: http://pcpodcast.blogsome.com and

The Dub Zone, featuring the very best dub reggae: http://thedubzone.blogsome.com and

PCP{2}, a deeper look into the musical genres explored in PC Podcast: http://pcp2.blogsome.com

 

Plus he is the co-host of

Made In The UK, featuring some of the very best UK music, for the world: http://madeintheukshow.co.uk

AMPed, the weekly digest of the Association of Music Podcasting at: http://musicpodcasting.org

Q: How can a podcaster become a part of Association of Music Podcasting (AMP)?

 

Firstly, you need to have produced at least 5 episodes of your podcast. We want to make sure you don’t “podfade” after your first couple of episodes.  Secondly, all of the music must be podsafe. AMP is about the music that doesn’t get airplay on mainstream radio. Unless artists have specifically made some of their music podsafe, we can’t play it.  We also charge a small membership fee, which helps with hosting and other activities.

 

Most importantly you need to be good at podcasting. Before becoming a member, your podcast will be peer reviewed. We take into consideration the podcaster’s passion about their music, their broadcasting style, the quality of their broadcasting equipment, the quality of the music they play and even the sample rate they create the podcast at.  Not everyone makes the grade.

 

Q: What is the background story on how AMP came about? 

 

AMP’s history goes back to late 2004, long before I joined. Chris MacDonald, Derrick Oien, Bob Goyetche and Jason Evangelho all had important parts to play in setting up the association long before podcasting became a mainstream term.  Back then, Apple was reluctant to accept music podcasts into their iTunes store, because they were worried about licensed music being freely distributed under their umbrella.  AMP became the first association to offer Apple a “safe harbour” knowing that AMP member’s podcasts would be podsafe. AMP was also the first association to offer episodic downloadable media, and start creating a library of music. This library later went on to become a profit-making enterprise as the Podsafe Music Network.

AMP was, and remains, a non-profit making association, and after a hiatus in mid 2005, George Smyth got things moving again. After revamping the website and building some tools to automate the process of making a collective podcast, the AMPed podcast became a weekly event in the podosphere.

I joined the association in March 2006 and have been a regular contributor since then.  Like many new members, initially I just submitted tracks to be played on AMPed, and occasionally became the host.  More recently I’ve taken over a few more duties, like webmaster and membership secretary.  Now many of the members have regular roles maintaining the podcast feed, making sure we all submit music on time, organizing the host rota and hosting the show.  Everyone gets to do as much as they want to do. We’re a good team.

 

The best thing about the association is that we all have a voice. We’ve had some great suggestions from new members and old members alike and we keep moving forward.

 

Q: How do you go about choosing which shows to feature on http://amped.musicpodcasting.org/?

 

Each podcaster can submit a track to AMPed each week.  If everyone submitted a track the show would be 3 hours long, but we generally get enough submissions to fill a 40-60 minute show. It’s entirely up to the podcaster which tracks they want to play, but as they have only one track to chose, it means AMPed ends up being the best of the best. AMPed is also work and child safe.

 

The week’s host is the final arbiter of what tracks make the show, and the running order. All the hosts have a different style and like different kinds of music, so it’s as much of a journey of discovery for them as it is for the listeners. I’m sure some of the hosts groan when I’ve submitted a track sung in Russian or Cambodian, but hey, I like that stuff, and I think the listeners deserve to hear it. You don’t hear that on mainstream radio!

 

Q: How does AMP keep changing?

 

Every new podcaster brings a new perspective on how to promote their podcast and their favourite music. We have members who really understand Search Engine Optimization (SEO), and we’ve completely revamped out website, http://musicpodcasting.org to pull in all the latest information from our member’s blogs and podcasts, straight to our front page.

 

We have other members who are really passionate about social networking, be that via Facebook, Myspace or last.fm.  We’ve recently started using Twitter to publicize when we have new podcasts available, and we’re looking at using Twiturm to “tweet” podcast “samplers” of the shows out to people on the move.

 

We also want to hear what our listeners have to say, so we’ve created a survey on the main page of our website http://musicpodcasting.org. They can tell us what they think of the show, what we do right, and what we should be doing better.

 

 

Q: What changes in content laws, broadcasting rights, etc. have affected any podcasters being able to air their music?

 

Back in 2004, there were no clear guidelines, but, as I mentioned, Apple were worried about allowing music podcasts into the iTunes store, especially after the legal ruling in the MyMP3.com case.  Because all AMP podcasts were vouched podsafe, this gave Apple the solution they needed and all the AMP member podcasts were approved.

 

Since then, many content laws and broadcasting rights have been suggested, and these vary from country to country. AMP has always been international and we have podcasters based in the US, Canada, UK, Germany, Portugal, Australia and even Nepal, so it’s not easy to see which rules would apply. There are also more stringent rules for streaming services, than there are for podcast downloads, but as long as we keep within our guidelines of using podsafe music, we can continue producing podcasts.

 

Today there are a large number of resources that podcasters can use to get podsafe or Creative Commons licensed music, such as IODA Promonet, Magnatune, Jamendo and Music SUBMIT as well as the Podsafe Music Network, and, of course, Ariel Publicity.  We also get music from other sources such as Myspace, last.fm and from the artists directly, but we do need to make sure the artist, manager, or label gives us permission first. Ariel Publicity is a great service for us, because we know all the hard work has been done beforehand and we can legally play the music.

 

Of course, nowadays everyone knows what a podcast is. When AMP first started, artists were quite unsure of our motives or even what a podcast was.  It’s great to see some of the big artists like, Tom Waits, Bloc Party, Nick Cave or the Manic Street Preachers leading the way and making some tracks podsafe. This encourages up and coming artists to do the same.

 

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel that podcasts will have the same effect as well?

 

Absolutely!  I wear a T-shirt that says “Podcasting Is Selling Music” and another one of our members talks about “Promotion Not Piracy”. 

 

Myspace is great for artists to allow listeners to hear their music, but the listener has to go searching if they want to find something new.  If you find a podcast that you like, you can let the podcaster be your guide. We’ve all heard from listeners that they’ve bought an album that they never expected to like because they’ve heard it first on a podcast. 

 

I’ve played bands back in 2006 that none of my friends had heard of, and now they’re playing the main stage of the largest festivals in Europe. OK, that’s not all down to podcasting, but it’s part of the process. Mainstream radio only picks up on bands when they have a major record deal. Podcasters are playing the music months, even years before then.

 

If you want to hear something you’ve heard before by the Beatles or the Eagles, then feel free to go to Myspace or listen to mainstream radio. If you really want to hear something really new; something recorded this year, recorded yesterday, something that’s not even finished yet – then listen to a podcast!

 

 

 

The CyberPR (Ariel Publicity)New Media Pioneer Interviews 12

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New Media Pioneer: Erik Sturm of Bohemio Radio

 

Bohemio Radio is a listener supported radio station for independent artists around the world. They know what it is like for an artist to promote their music, while trying to maintain a creative flow. Now they can express themselves through independent radio without all the hang ups.

 

http://bohemioradio.com

http://myspace.com/bohemioradio.com

 

Q: How long have you been broadcasting?

A: Bohemio Radio has been broadcasting since December of 2007

 

Q: In your opinion, what does a good song need to consist of?

A: A simple melodic progression, accompanied by harmony, rhythm, & soul.

 

Q: What is your favorite band or favorite genre of music and why?

A: I prefer music that has not been scathed by the commercial mainstream. Genres like food keep the menu interesting as all palatable substances have their place in time.

 

Q: What changes in content laws, broadcasting rights, etc. have affected you most?

A: Performance rights fees and the FCC

 

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel podcasts have that power?

A: MySpace is a wonderful platform for marketing; however it requires extended effort from the artist to promote their successes. In a information hungry society with little time or none at all, a podcast can supply you with the extended entertainment at minimal efforts.

 

The CyberPR (Ariel Publicity)New Media Pioneer Interviews 7

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New Media Pioneer: Dave of Daves Lounge Podcast

http://www.daveslounge.com
http://www.myspace.com/daveslounge

Daves Lounge is a weekly podcast that showcases the best in chillout, trip hop and downtempo music found on the Internet.

Q: How long have you been broadcasting?

A: I did some college radio back in the early 90s, but I didn’t really do my own show again until I opened Dave’s Lounge in 2005.

Q: In your opinion, what does a good song need to consist of?

A: Wow, that’s a really open question. There are lots of things that make a great song, but for the most part, it just needs something to hook the listeners. Cliche as it sounds, the hook does bring you back. That hook, however, could be anything — a catchy chorus, a solid guitar riff or keyboard pattern, a quality sample loop, or even just a certain vibe that makes the listener want to listen multiple times.

It’s a different sort of hook for every genre. The thing that makes people want to listen to Thievery Corporation is different from what makes people want to listen to, say, B.B. King or early 80s Michael Jackson. But there’s always something there to catch people’s ear, and sadly, I don’t think I can describe it any better.

Q: What is your favorite band or favorite genre of music and why?

A: I got into trip hop in the mid 90s after being a total hip hop junkie for much of high school and college. It takes that feeling you get when you find the perfect 2 or 4 bars of a record and make something entirely new with it, and it combines that with a melodic element in a way that just works. I first heard it in 1989 when Fresh 4’s cover of “Wishing on a Star” was in heavy rotation on my local R&B station, and I figured all R&B was going in that direction — except I didn’t hear that sound again until 1995, when Portishead unleashed “Dummy” on the world.

Trip hop and downtempo electronica can be very versatile as a genre, so much so that people try to split it into a hundred subgenres. But it all works for me, and even though it’s mostly designed for a chilled out mood, a good song can get me pretty excited. (Not that you could tell from my podcast voice, of course…)

Q: What changes in content laws, broadcasting rights, etc. have effected you most?

A: I try not to concern myself with specific laws, really, though I keep an eye on them. I just abide by some very basic rules for my show. I don’t play music from RIAA labels, and I avoid cover songs (although I’ve inadvertently broken that rule once or twice). I stick to legal outlets, like the Podsafe Music Network and IODA Promonet — which are excellent resources for podcasters seeking music — and anyone who emails me and asks me to consider their music will get a listen, provided they fit into the genre of my show. (Punk rockers and bluegrass fiddlers who try to be my friend on Myspace get on my tits. A little research never hurt anyone.)

Most of all, though, I only work with people who want to work with me. If I don’t have permission to play your song, I’ll email you and ask permission. 49 times out of 50, the artists will grant it, because they want the exposure. If they don’t reply, though, I respect it and move on.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel podcasts have the same power?

A: In theory, yes. In practice, it’s a little trickier. People do buy music they hear on my show, and I’ve made it as easy as possible for my listeners to do so, but it does seem like many people just listen to the podcasts themselves and leave it at that. Why buy the cow, y’know? It’s a bit of a double-edged sword for me, too, because I want to put out a great show each week, but I also want people to go out and support these musicians, because they help make my show what it is. (This is one reason why I don’t ask for donations on my show. It never felt right to me to take cash on the backs of other people’s creations.)

Still, what makes a good music blog or music podcast is the unified voice behind it. Here’s one person saying, “This is a great song, and you should listen to it.” It’s the reason certain DJs are so popular in electronic music: they have a good ear for good tunes. It’s easier than ever to get music out there, but because there’s so much of it now, we still need the gatekeepers and tastemakers to guide us to the good stuff. That’s one part of the music business that won’t go away any time soon. We’re just seeing a slow transition of those gatekeepers from radio and TV to the Internet.

The CyberPR (Ariel Publicity) Interviews

NBT is extremely happy to have the RETURN of the Ariel Publicity/Cyber PR Interviews.

An aggressive cheerleader for independent musicians, Ariel Publicity built its reputation by working primarily with indie artists. They give back to the independent music community by educating artists through their website, and Ariel has been honored to speak at music conferences such as SXSW, NEMO, and The PMC.

In this new series of Q and A sessions Ariel talks to Pioneers and Groundbreakers, those people who business it is to adventure and explore deep with the New Media. Those whose Blogs and Podcasts and Internet shows truly make a difference for the independent artist in this thrilling time.

New Media Pioneer: Michael Butler of Mevio( see picture) and the Rock and Roll Geek Show

http://www.mevio.com

As the premier social media community, Mevio is the only network providing single-click access to the best in new media in audio, video, podcasts, and music to be delivered to your computer, iPod, mobile device, or television.

Q: What is the background story of how Mevio came along?

A: Mevio was originally Podshow. The company was founded by former MTV VJ Adam Curry and his business partner Ron Bloom.

In 2004 Adam had been messing around with audio blogging, before the term podcasting existed. He and Dave Winer were experimenting with adding enclosures to rss feeds and podcasting was born. Soon, podcasters were starting shows and shortly after, Podshow was started. They signed some of the early producers including my show (The Rock and Roll Geek Show), Dawn and Drew, Yeast Radio and some others.

 

Back then, people were playing whatever music they wanted on their shows. Then people started getting worried that the RIAA may not like that so Adam and some other creative minds started a place for bands who actually wanted to be heard on podcasts to post their music and The Podsafe Music Network was born. Shortly after, Adam and Ron asked me to quit my job as a house painter and work with artists on the network. 4 years later, it is THE place for bands, record labels and content creators to connect.

Q: What do you see the future of Mevio being?

A: I can’t speak for the entire company, since I only work on the music network but my goal is to have every record label, band and aritst on the network. I want independent content creators to have as much power in the music business as radio stations had in the good old days. It is my dream to have back catalog available to podcasters. I can’t speak for everyone but as a content creator, I want to play not only up and coming independent artists but also bands that were a part of the soundtrack of my life.

Q: What is your favorite band or favorite genre of music and why?

A: I am partial to 70’s rock and punk because that is what I grew up listening to. My favorite bands are still Cheap Trick, AC/DC, Aerosmith, Ramones and Joan Jett.

Q: What changes in content laws, broadcasting rights, etc. have affected you most?

A: When I reach out to some of the major labels to try to get their artists on the Podsafe Music Network, some of them still think that posting an mp3 on a website is piracy. The indies have been posting mp3s on their own websites for a few years not but the majors are a little harder to convince. That being said, the majors are now starting new media departments so there may still be hope for the dinosaurs.

The Podsafe Music Network now deals with some of the largest digital music distributors and independent labels in the world and I am really proud of that.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel podcasts has the same power?

A: I think the labels are slowly realizing that by releasing a song from their artists to blogs and podcasts does more good than harm and can actually help break a band. For example, last year, there was a band from Australia called Airbourne. No one in the US or Europe had ever heard of them. I started playing them on The Rock and Roll Geek Show and listeners seemed to really like them. They emailed the band and let them know they discovered them from my show. Soon after that, got a CD from the band’s management and offered an interview with the band. I interviewed the band and continued to sing their praises. Now that band has taken the country by storm and has released one of the best selling independent hard rock records this year.

 

The NBT Music Columns : The CyberPR Blog (Ariel Publicity)16

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This will be the last Column from Trevor for a while as he takes leave to wander the world and conduct his very own music tourism

. Man Behind The Monitor: Norvell Molex Jr  and The Jazz Suite


Trevor:  The Jazz Suite states to listeners, “It is guaranteed you will hear music that you never heard before.” What do you do to ensure this?

Norvell:  With the Internet become a main part of life and business finding music became an adventure! There is so much music out there between established and un established artist’s that it is incredible!! I mean the Internet has exposed me to jazz artists in Italy, France, Indonesia, Spain, and Lisbon just to name a few countries. With the world as your source for new music it is not that hard to guarantee that you can play something that your listening audience has not heard before. I personally have a Love for music that has been with me since childhood so Podcasting is a natural fit for me.      


T:  Where do you find your music for the show?

N:  We find the music every where …. We get some from you guys Ariel Publicity, and Myspace.com, GraggeBand.com, Broad jam, Airplay Direct, small internet driven labels like Blue Canoe Records, direct contact with the artists, or there manager’s. The music business is in such a traumatic time it is a time for growth and change I would call the music industry the eternal child for it never grows up, but it is always learning and evolving.

 T:  How has your experience with hosting on MyPodcasts.net been? Would you recommend in to an aspiring podcaster?

N:  We have been truly blessed because I started at this as a novice, but because of Mypodcasts.net it’s truly been educational. Jeff Dyson the owner has been remarkable. I just recently recommended Mypodcasts.net to someone who wanted to start a podcast. The rates a reasonable and there are constant improvements to better your experience with the service.

T:  You’re also found on TheJazzSuite.net, where else can we find your show?

N:  Not to boast, but when we creating this show we took a day or two and saturated as many Podcast Directories as I could!!!!!! It worked I also had to concentrate on the presentation I want the listener to enjoy what the hear because they are taking there precious spare time to listen to what I’ve been blessed to do. Back to the main question I’m on Ski Valley Radio British Columbia, and 95 Laser in France, We have an Ok listing in Google, and other search engines.


T:  You were also featured in Podcast User Magazine talking about Podcasting and Jazz, for our readers who haven’t read the article, what was the essential point you were trying to convey?

N:  Writing that article gave me a chance to express my thoughts in two areas of which I have contention with the music industry and how jazz is represented. If you look at music today the battle’s that are being fought are over information! That’s right Information no longer do we allow company’s to tell us what we like via the internet we go out and find it. The article really focuses on how jazz has not been allowed to grow like other musical segments; I tried to chip away at the stereotypes associated with jazz. My goal was not to talk down to the reader, but create a hunger to find the different segments of music that have sprung from the seed’s planted by jazz. Like any other music jazz holds history, memories, and future dreams yet to be played here is my definition of jazz:   

“I will say that jazz to me is a “musical metaphor for what we wish to say and what we can’t say in life. As the melodic tones dance through our ears we inter pit a verbal response for a musical emotion. –Norvell A. Molex Jr.”

 

To read Norvell’s full article at Podcast User Magazine, go to:

http://www.podcastusermagazine.com/ issue 21

 

To catch the latest show visit:

thejazzsuite.mypodcasts.net

The NBT Music Columns : The CyberPR Blog (Ariel Publicity)15

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The Man of the Night 

An Interview with Guy David of Night Guy Podcast

 

After starting with an electronic music podcast in Hebrew, The Night Guy found a desire to expand his audience and chat about his life a little; thus in January 2007 – despite a brief delay of the intended launch – the first English episode of The Night Guy podcast aired.  The debut was part musical and part autobiographical, and in August of 2007 the format expanded to Night Guy Electronic and Night Guy Rock.  Today we sat down with Guy David, the broadcasting guru behind the Night Guy podcast series.    

 T: We recently spoke with Anji Bee, who is both musician and podcaster, just as yourself, tell us a little about you music and also if you see the dual role of podcaster/musician as an emerging trend?  

G:  I think allot of musicians are discovering the podcasting media as a means of promoting their music. That’s how I started back in March 2006 with my first podcast, The 16th. I think both podcasts as a media and music have allot in common. They have many parallels  in structuring and the amount of creativity that goes into them. That might be the reason that so many musicians are drawn into podcasting lately.

T:  Do you play your own tunes on your podcasts?

 

G:  On The 16th I play my own tunes. That’s what this podcast is about really, my own music. On the Night Guy podcast I played my tunes on the first episodes since I was talking about my life, and some tunes where relevant to what I was saying. I also try to match other music to what I’m talking about. I currently focus more on other people’s music since there are so many great musicians who should be heard, and I want to help out any way I can. I also want to celebrate my love of music by playing the music that I like, and I happen to like the music of independent artists more then the corporate record companies driven junk.

T:  What got you involved in second life and what benefits do you see in it as a form of social media?

 

G:  I came into SL out of curiosity, then I discovered there’s a thriving art community in SL. I’m a digital artist as well as a musician and a podcaster, and I discovered it was really easy to open a virtual art gallery in SL, so at first I tried to use it as a means of promoting my art. Later, when I got more involved in podcasting, I discovered there are many podcasters hanging around in SL. Since I live in Israel, it’s the closest thing I have to meeting them, so I started hanging out on Podcaster Island and Podshow Island and lately on Edloe and Nowhereville where most of my podcasting friends hang out. I’m also planning on performing my own music in SL partly using a stream and partly using virtual music statues I created especially for this. Music has been one of the most exiting things to come into Second Life. Where else would I be able to see Lovespirals live? There are no geographical limits anymore, only time zone limits.

 

T:  Any other forms of emerging social media/social networking your  involved with that our readers may not be hip to yet?

 

G:  I guess I pretty much go to the same places everyone goes. I have a MySpace page, a FaceBook page and I also Twitter allot. Social networking is about communicating with other people, so I just hang out where everyone is. I see no point in hanging out in a virtual empty room 😉

 T:  What advice would you have for an aspiring podcaster in building listenership?
G:  Podcasting is a community. Collaborate. Find podcasters that are going your way, doing things that are either close to what you’re doing or things that you find interesting. Take The Chillcast with Anji Bee for example. One of the first podcasts I listened to is Dave’s Lounge, and they did this thing where they switched for one episode, Anji did a Dave’s Lounge episode while Dave did The Chillcast. That’s how I found out about The Chillcast. Now I listen to both regularly.  Find innovative ways of collaborating with other podcasters, and people would have a better chance of hearing about you. I’ve been a consistent participant on the 100 Words Stories podcast’s Weekly Challenge (http://podcasting.isfullofcrap.com), and I know that not only some of my listeners come from there, but also some people I now consider friends came from this.

T:  What’s next for Night Guy? 

G:  The Night Guy podcasts are now in hiatuses. I’ve been developing a new comedy podcast in Hebrew, so I took some time off to do this. When they return in mid March, there would be some changes in them. Night Guy Electronica is going to be based on the playlists from my old Hebrew podcast for now, while the scope of Night Guy Under The Rock is going to grow and include more music genres. On Night Guy I’ll be focusing more on interviews, short stories and essays about the future. I’ve been fascinated about some of the developments I’ve been reading about in the fields of Nanotechnology (building machines on molecular scale) and Claytronics (matter that can be shaped in the real world the way CG graphics shapes virtual matter on a computer), and I want to talk about how those things would affect our lives in the near future.

 

For more from Guy, check out NightGuy.podshow.com