After being eliminated earlier this season, Redfoo returned to the“Dancing with The Stars” finale to perform his hit single “Juice Wiggle”. Tyler Boone has officially released his music video for his single “Austin.” He and & his band will perform with nine-time Grammy Award winner Sheryl Crow at the9th Annual First Flush Festival on May 24th.
Michelle Knight released her inspiring single “Survivor” after her kidnapping ordeal recently appeared as a People magazine cover story.
Ross Copperman’s track “Hunger” was featured on “The Vampire Diaries” and immediately jumped up the iTunes Pop charts.
Twilight Saga actress Nikki Reed released a new single “Fly With You” and is quoted saying, “The most important part is that a percentage of the sales will be given to help #SavetheWildlifeWaystation.”
THREE new domain name have been added — .dance .video & .social.These domain names along with .band and .rocks are available for you to purchase so can set your brand apart. Learn more about the benefits of unique domain names and the special introductory pricing.
Happy Thursday! It’s been a great month already and we’re psyched to see what summer will bring for our TuneCore Publishing Administration Artists. Per usual we’re checking in from our Burbank, CA office to keep you up to speed with our songwriters, pitching, and sync placements. Finding music publishing administration to be somewhat of a daunting subject? We get it! That’s why we’re here to help you out – learn more about TuneCore Publishing here.
Southern California native, Kelley James, has built an impressive career over the better part of the last decade by creating deep brand partner relationships and near non-stop touring. James shares the stage with artists like Sara Bareilles and O.A.R., plus performs at high-profile corporate events for brands like Oakley, Wheels Up, Casamigos Tequila, Red Bull and Golf Digest.
Combining acoustic guitar, freestyle vocal riffs, and the beachside vibes of his home state, James creates a unique pop style all his own. Having released three albums in the past five years, his latest, The Pattern Transcending, reached the top 20 on the iTunes Singer/Songwriter charts.
TuneCore Music Publishing is thrilled to be working with legendary 60’s bubblegum rocker, Tommy Roe. Roe made waves with his chart-topping hits, “Sheila” and “Everybody”, both of which he played when he opened for The Beatles at their first U.S concert in Washington D.C in 1964.
Georgia Music Hall of Fame inductee, Tommy Roe, has continued to release music and his newest album, Devil’s Soul Pile, shows his gravitation from his famous bubblegum rock style to a more lyrically and musically mature sound.Devil’s Soul Pile, Roe’s first album administered by TuneCore Music Publishing, includes not only new songs, but older catalog songs like “Memphis Me”, which Roe resurfaced and recorded for the album.
SYNC & CREATIVE
In addition to our Sync & Master Licensing Database, our creative team continuously works to place TuneCore administered copyrights across all visual media. Recent pitches include music for several TV shows including Longmire and Rizzoli & Isles, Runner starring Nicolas Cage, and multiple sports programs like NASCAR on Fox and the 2015 FIFA Women’s World Cup.
RECENT LICENSES & PLACEMENTS
Younger “Status Update”
Writer: Thomas Sturm
Narcy (aka The Narcicyst, aka Yassin Alsalman) has been writing, recording and producing music for 15 years. Born in Dubai to Iraqi parents, Narcy moved to Montreal at a young age and would go on to spend much of his life immigrating back and forth between Canada and the United Arab Emirates and Dubai before settling down in Montreal and hitting the studio to pursue a career in hip hop.
Tell us a little bit about when you first knew you wanted to create music.
Narcy: I wouldn’t be able to tell you the exact moment. But watching Michael Jackson in the late 80s and early 90s just kill it with the videos and songs. He had this delicate balance of a message with incredible harmonies. It was a universe on its own. That made me want to create.
Then the subversive nature of comic books and how that is connected to hip hop. Emcees like Doom and Yasiin Bey, Black Thought to Chuck D. The ability to invite you into an experience through words, moved me. It taught me to express myself freely.
I think I knew I wanted to make music when I heard Enter the 36 Chambers by Wu-Tang Clan. It made me feel unique having that with me in Abu Dhabi in ’96. It was a mind blowing album experience.
How have you used your personal experiences as an immigrant and the way people from the Arab community are viewed and treated to communicate a message in your lyrics? Do you consider yourself a ‘political’ artist?
I get asked this all the time. I think it’s important to acknowledge there is an imbalance in social power and positioning for the ‘immigrant’ or what public narrative addressed as a brown mass. I am not a political artist. Politics is made to divide people into groups. Music is made to tap into the emotional and spiritual essence of life; in its simplest and complex experiences.
To keep it simple; my social identity as an “arab-X” is politicized. There are so many presuppositions about where we are from, who we are, what our intentions are. Like we are one giant pulsating people. The diversity that we have in ALL communities, our differences are our only commonalities. I am not a political artist, I am a person that has been politicized publicly. It is bound to seep into my music. It’s a part of my life.
How important is the idea of the ‘independent spirit’ within the Arab hip hop community?
As someone who grew up between two sides of the world divided, I had to find a sense of independence. Everything from the brutal regimes at ‘home’ and the hidden hands from where I live, North America – made me want to disassociate. So when I started making music, I always wanted to be independent. The rise of Arab hip hop came with the digital era. It gave us access and the ability to connect and work. Independence went hand in hand with the internet and access. Therefore, Arab Hip-Hop is an independent movement, despite the commercial manipulation of the music through television in the East.
As an independent artist, how have your marketing strategies developed both in terms of career growth and changes within the industry? What platforms do you feel give artists like yourself the best opportunities?
I had to realize quick that I am battling a grander narrative and ‘image’ that I can’t counter by being myself. I saw a lot of things backstage, in offices, in meetings, that made me realize our experience is new; no one knows how to really ‘market’ our experience without corrupting it. The cultural currency of what we do has to be as much in our control as the financial currency it creates.
Being seen as an Arab artist helps with press, since our countries are always in the news. If you rap about it, they will cover it. If you don’t, they won’t. I had to find out who I was, who Yassin is, why do I make music, what do I want to share from my day to day with people. I made my brand about who I am and how it relates to you, being that we are one community of human beings.
Honesty was my first strategy, with myself and my audience. Then there are literal roll out strategies, with content and interactive art projects with listeners online. When I released Leap of Faith for example, we set up an open source blog and asked people to share their leaps in life. People told us about death, life, the highs and the lows – it was beautiful.
Find out who you are. Then use social media, Twitter, Instagram, to really share your life artistically. Set your boundaries and go.
Tell us a bit about your production process. How has LANDR impacted the way you approach finalizing your music?
LANDR has been great to find out what you want to do with your sounds. It gives you an immediate version of your song that you can design for a specific space. You want to go to a club and drop the new song you recorded? Hit the high mix and take it with you. I think it’s a technology that is going to grow and become more intuitive, the future is going to be a breeze for these kids!
Landing a placement in Furious 7 has to feel good! How has the success of this movie impacted your career and fan base?
I’m very aware of the hype so I stayed away from a lot of the press around the film when it dropped. When I finally found out, someone tweeted at me and said “Is this @TheNarcicyst in the #Furious7 soundtrack?’ I knew it was in. The connection with Abu Dhabi being where I grew up, and the film being a tribute to a friend of all involved, Paul Walker, it was a beautiful moment. “Hamdulillah” is my most personal song to date, before World War Free Now. It felt like the stamp to introduce the new album. The fan base grew and I had a tremendous amount of feedback online. All thanks to TuneCore!
What kind of role has TuneCore played your musical journey thus far?
I think I started using TuneCore when it first popped up. I didn’t want to use any CD duplication sites or websites that don’t aggregate your work. TuneCore was a game changer because you upload your work and there you are, everywhere. It’s a good way to get into the necessary channels, but its up to the artist to really push for people to know about the project.
It has brought me a steady stream of income that helped fund my music further and build my business. It helps an artist sustain their career, track their audience by country, age, etc. Then finally, I got the Furious 7 placement through TuneCore. That was a huge look that came from being in their roster of indies. They have a hands on, not a hands in, approach to artists.
Tell us more about your upcoming album. Both from a lyrical and production standpoint, what can longtime and new fans expect?
World War Free Now is a literal and philosophical Idea. I am saying to the public, NO MORE WAR. I am saying, we are currently fighting a societal war, internationally, for our ultimate freedom and equality. I believe this has been happening for years, before the Arab spring even. Lastly, I am saying, this is an album free of war. At the beginning of the album, we leave war behind us. We accept the injustice to never be justified. By ‘we’, I mean me. Haha. It’s an alternate perspective on my past and future.
It’s probably my most succinct lyrical project. I spent a lot of time crafting the bars like Willy Wonka. I rewrote verses and chiseled them down for months. The music is very lush. There are moments on the album where there are no lyrics. I wanted the music to speak as much as the lyrics. It’s a short dense record. I wanted to make a listening album, something you can drive with on loop and decipher more and more as you go. A long burner.
I am not interested in rapping only anymore. Hip-Hop culture for me has always been a savior to culture in general because of its ability to transcend space and its’ ability to blend several cultural spaces. I want to sing, I want to produce, I want to express feeling, not opinion. So this is an introduction to that.
New York, NY (April 29, 2015) – TuneCore, the premier digital music distribution and publishing administration service provider, announced today that artists have earned more than $36 million in Q1 of 2015, a 5% increase versus the same time 2014. Those earnings were driven by 2.8 billion downloads and streams. Since 2006, TuneCore Artists have earned over $541 million from over 15.2 billion downloads and streams.
The growth of international music consumption is fast becoming an important source of income for independent musicians. Emerging markets like Chile, Guatemala, Hong Kong, Poland and Turkey have experienced major growth, seeing 134%, 70%, 48%, 68% and 180% increases (respectively) in artists’ earnings. Committed to artists getting their music heard worldwide, TuneCore continues to grow their 150+ digital music partners, and in Q1 added these leading music services: Play.me (Italy) and Zvooq (Russia and surrounding countries).
Artists continue to entrust TuneCore Music Publishing Administration to register and collect their worldwide songwriter royalties resulting in the number of managed compositions growing to over 300,000, a 20% increase (Q1 2015 vs. Q1 2014). Songwriters are also reaping the benefits of additional revenue from synch and licensing deals that are negotiated on their behalf. Recent high-profile placements include: HBO’s hit series Girls, cable series Better Call Sauland recently released feature film Furious 7.
TuneCore hit the ground running at the start of the New Year and launched an ambitious initiative to further bolster high-profile exposure opportunities for artists through a series of live performances, special events and strategic brand partnerships. The TuneCore Live monthly showcases kicked off these efforts and featured some of TuneCore’s best up-and-coming talent. The showcases consistently pack the historic Bardot Club in Hollywood and introduce attendees to a wide range of musicians, including, Olivver The Kid, Nova Rockafeller, Sam Outlaw and more! The successful TuneCore Live showcase also went down to Austin, Texas during SXSW Music in March (where 1/3 of the artists performing have distributed their music with TuneCore) and featured a full roster of exciting independent TuneCore artists.
Giving Fans VIP Access to Artists
DropKloud, an innovative free app that gives fans VIP access to exclusive artist-curated Kloud content, debuted at SXSW 2015. This unique platform allows fans to pick up Klouds from their favorite artists, giving them pre-release tracks, exclusive videos and photos. SXSW event attendees were able to access new music from artists like ZZ Ward and Angelique Kidjo as well as new talent playing at the TuneCore Live showcase.
TuneCore will continue to focus on its key principle of getting more artists’ music to more people worldwide and providing the artists with the means and tools to build indie careers. Knowing the importance social media plays in promoting music, TuneCore Artists will soon be able to optimize the way they share their music across all their social media platforms with the new web application, MSCLVR.co. The DropKloud app will continue to add new functionality for even greater engagement for both the artist and the fan. Also look out for new initiatives to provide further high-profile exposure for artists.
“We’re so proud to see our artists succeeding and we’re thrilled to be able to offer them the continued support and tools needed to advance their careers,” said TuneCore CEO Scott Ackerman. “It is amazing to explore all the different ways independent artists can connect with fans, reach new audiences worldwide and maximize their earnings. It’s such a exciting time in the music industry and for TuneCore, building off of the strong start of the year, we are looking forward to even greater things to come in 2015.”
S3RL (aka Jole Hughes) is a producer, DJ and musician based in Brisbane, Queensland who caters to a dedicated base of house and rave music fans. Specializing in ‘UK hardcore’, a genre that evolved over the ’90s as house and techno music took on more complex layers, beats and breakdowns, S3RL has released and distributed dozens of singles via TuneCore since 2011. Around that time, he established EMFA Music, his own label, and beyond needing a distribution partner, S3RL was seeking publishing administration support as well.
Given his location, a widespread fan base, and the need to collect worldwide royalties from his songs, we’re psyched that S3RL calls TuneCore his publishing and distribution home! We got the chance to interview the busy producer and catch up on how publishing administration has been a vital part of his musical journey so far:
What made you curious about TuneCore’s Publishing Administration services initially?
How were you collecting and managing your songwriter royalties before becoming a TuneCore Music Publishing Administration client?
I was doing it all manually myself. I had multiple labels to deal with and even more stores to keep track of.
Were there any surprising sources of revenue that you discovered upon entering into a publishing deal with TuneCore?
Well, most recently it would be YouTube. I knew there would be a decent income from YouTube but no where near as much as it ended up being.
How important is the ability to collect royalties internationally to you?
Very important. My main fanbase is overseas so getting international coverage is vital.
What has been the most lucrative publishing revenue stream for you?
Overall it would be iTunes, then followed by Spotify.
How has the royalty collection contributed to the momentum or development of your musical career?
It has been a very important contribution. I’ve been able to focus more on aspects of music I would have normally had to put aside thanks to TuneCore taking care of the ‘paperwork’ side of things.
What kind of trends do you see when it comes to publishing among artists in the UK hardcore scene?
A lot of arists in my (relatively small) scene are trying to cover these aspects themselves. I have recomended TuneCore to a lot of them and they have all agreed it’s the way to go.
What’s an educational tidbit you’d share with independent artists who may be confused by music publishing?
I’m still confused about publishing myself so I’m probably the last person to ask when it comes to educating others about it. I’ve always seen it as the part of producing that ‘I don’t want to know about’ [laughs]. That’s another reason why I’m with TuneCore.
Hot off the heels of our exciting Believe Digital acquisition announcement, we’re pleased to update you with news from our sunny Burbank, CA Publishing Administration office! New artists, exciting pitches, and rad placements ahead…
Comprised of Adam Brooks, Andy Fischer-Price, and Allie Gonino, The Good Mad is an indie-folk trio that have found success through both acting and music. Gonino and Brooks both starred in the ABC Family hit TV show, The Lying Game, while Fischer-Price has acted in various TV series and lent his voice to several animated movies including Monsters University.The Lying Game took notice of their musical talent, and together they recorded and performed several songs on the show.
Often compared to Mumford & Sons and The Lumineers, The Good Mad’s folk style combines harmonies, violin, and acoustic guitar while letting their country-music background shine through. These multi-talented musicians most recently released their newest EP, Face Your Feels, in January and continue to find time to play shows while having busy acting careers.
California natives, Private Island, have filled their newest EP, A Good Look, with their brand of unique and catchy beach-groove rock songs. Vocalists Christian Lum and Michelle Guerrero’s dreamy vocals give this alt-rock band a retro vibe while Roger Mawer and Cameron Anderson’s rhythmic guitars give their music a funky, dance feel.
Private Island plays shows regularly around the Los Angeles area, and are currently in pre-production for their next single, set to be released this summer.
SYNC & CREATIVE
In addition to our Sync & Master Licensing Database, our creative team continuously works to place TuneCore administered copyrights across all visual media. Recent pitches include music for The Last Witch Hunter starring Vin Diesel, several TV shows including Under the DomeandGraceland, and a broadcast commercial for Subaru.