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Haulix Recommends: Best Ex – “Gap Tooth (On My Mind)”

On “Gap Tooth (On My Mind),” Best Ex provides listeners a space to escape their worries and discover emotional catharsis in the wake of heartbreak.

It’s unclear who was the first artist to realize the best cure for sadness is movement. There were probably generations of musicians who understood this simple fact long before recorded music existed. People would gather in concert halls or theaters or around fires burning as high as the materials would allow, and they would dance while music played. They danced to shake off the worries of the world, to free themselves from the concerns of the day or what may lie ahead in the future. They did whatever they could to be fully present in the moment, and in doing so, reconnect with their souls.

Mariel Loveland, otherwise known to the world as the face and voice of Best Ex, is the latest in a line of musicians stretching back centuries to provide that excuse for escapism we so desperately crave. What sets her apart, however, is that she seeks freedom through processing emotions rather than running away from them. Her music creates a space where listeners can work through complicated feelings of love and loss while simultaneously giving them an excuse to move their bodies. It’s a fine line to walk, and it requires surgeon-like precision to master, but Loveland and her musical cohorts do so in a manner that makes such artistic expression seem easy.

“Gap Tooth (On My Mind),” the latest single from Best Ex, places the notion of caring for one’s self front and center. The track begins as any breakup song would, with an evident longing for a connection that has recently been severed, but as the first verse gives way to the chorus, a more grounded and rational way of thinking emerges. Loveland’s broken heart is begging for something immediate to soothe the wound, such as a kiss from a stranger or a night lived with reckless abandon, but her mind knows better. Life has taught her that trying to fill the void the exists when someone you love leaves with anything less than a more significant emotional connection will ultimately lead to a pang of more profound sadness. A wild night might be fun, but the next day she will wake with the same longing in her soul, so what is the point?

But there’s another problem, and it’s the key to what makes “Gap Tooth (On My Mind)” a compelling song. The recognition of what you should and shouldn’t do when soothing a broken heart does not help with the healing process. Loveland doesn’t want to find someone else, nor does she wish to forget everything she shared with this other person. What she wants more than anything, for better and worse, is the other person in the story. Loveland’s built her life around someone she wants to be with, and knowing that cannot continue has left her at a loss. The only thing she can do is work through the pain, and “Gap Tooth (On My Mind)” provides the perfect song foundation to do that through dance.

The beauty of dance is that it has no rules. We’ve all seen the reality competitions and social media clips of people moving their bodies in jaw-dropping ways, but those individuals are outliers in the world of dance. Most people, including myself, don’t move like that. I don’t know what I look like dancing, but graceful is not a word I associate with how I move to the music I enjoy. What I do know, however, is that allowing myself to get lost in sound and movement is the most freeing experience on Earth. With “Gap Tooth (On My Mind),” Best Ex provides everyone with the ability to shake off the pain and stresses of existence, and that is all any song can hope to offer.

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Miranda Lambert’s Secret To Success [VIDEO]

During a rare extended interview in Nashville, Miranda Lambert shared the one thing that makes all the difference in her career.

There is no one way to succeed in the music business. Some artists rise from obscurity like a rocket shooting toward the stars, while others slowly build a community of fans that elevate them to headliner status over many years and countless performances. Some artists never become as big as they should, but others get a taste of success and almost immediately fall into obscurity. The beauty and the pain of this business is that you never know what will happen, which can make some feel as though they have no control, but that is also what makes it so exciting.

Miranda Lambert understands the unpredictability of music as well as anyone. She has overcome countless obstacles throughout her journey to become a country superstar, including deals gone awry and songs that never connected the way she expected. Through it all, however, Lambert has kept her head held high. She respects the process, and she appreciates that every day presents a new set of challenges that must she must overcome if she wants to develop as an artist.

Recently, Miranda Lambert sat down for a rare extended interview at CRS 2020 in Nashville. During a conversation about her experiences in music, Lambert was asked what advice she has for musicians and music professionals alike. Check it out:

Lambert told the crowd, “If it’s a maybe — it’s a no.” But what does that mean? 

You cannot convince someone to believe in something you do not believe. Likewise, you cannot make someone love something you do not love. Authenticity is everything in the world of music, and it is crucial to be as real as possible with fans in every aspect of your career. Human beings have an innate ability to detect honesty and passion, even in recorded music. When you try to ‘fake it,’ for lack of a better phrase, your fans recognize the falsehoods and reject them.

If you want to make it in music today, then you need to be real with yourself and your fans. If you are not entirely into a deal or offer that comes your way, walk away. If the song you’re writing isn’t resonating with you, please take a break and approach your work with fresh eyes. Maybe you need to take the elements that work and use them elsewhere instead of continuing to develop something you do not believe in with every ounce of your being.

Does this approach to creativity mean it may take longer to get ahead than if you said yes to everything? Possibly. Will your fans respect you more for remaining true to yourself and your artistic vision? Absolutely. You don’t want to achieve success on anyone’s terms other than yours. Be patient, work hard, remain honest, and you will find success.

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What are Neighboring Rights and Royalties? [VIDEO]

Neighboring rights and royalties are one of the least understood aspects of the music business in the US, and unfortunately, the reason for that is mostly out of artists’ control.

In today’s music business, knowledge is power. Understanding the various ways people or companies may use your music and how you can earn from their use matters more than ever. Neighboring Rights is a term that relates to the royalties earned from the public performance of a sound recording. The performing artists on the recording and the copyright holder of the master recording are entitled to receive royalties every time it is broadcast on TV, radio, or any other live performance.

In short, neighboring royalties for performing artists and master owners are the same as the performance royalties are for songwriters and publishers.

All that will make sense to some of you, but others probably need a little more insight. We certainly did. Thankfully, our friends at The Modern Musician have a new video that further explores neighboring rights, and the royalties artists can earn through them. Check it out:

Perhaps the most interesting piece of information from the video above is that the US does not recognize neighboring rights. Broadcasters in the United States are exempt from paying license fees to performers and labels when a sound recording plays on terrestrial TV. As a consequence, the US does not have a traditional organization for the collection and distribution of neighboring rights royalties.

But why? Why doesn’t the US have a group responsible for this?

The answer goes back to 1961 and the Rome Convention for the protection of Performers, Producers of Phonograms, and Broadcasting Organizations. Only countries that are signatories to this convention recognize and pay neighboring rights and only performers who are permanent residents of these countries — or if the musical recording was made in one of the countries that signed — are eligible for these royalties. The United States is not a participant.

One consequence of the US decision to not recognize or pay neighboring royalties is that it hurts an artist’s ability to profit. In an era where physical media is declining, and competition for ticket sales is fiercer than ever, artists need as many revenue streams as they can find. Neighboring royalties would not change every performer’s life in a significant way, but it would put more money in their pockets.

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Haulix Recommends: The Amity Affliction

On their seventh full-length effort, Brisbane natives The Amity Affliction revel in the struggle to uncover the people we need to become.

Australian post-hardcore favorites The Amity Affliction are internationally recognized for their fierce lyricism and hard-hitting music. Their time in the spotlight has a devoted following of fans who wear their hearts on their sleeves with clenched fists and weary eyes. For them, the music The Amity Affliction creates is about more than trudging through the experience of existence. Fans know the group is writing to inspire rebellion, both from the world as we know it and from the people they were in the past, in hopes we all seek to reborn as better, more empathetic human beings.

The Amity Affliction reaches new heights on Everyone Loves You…Once You Leave Them. Matt Squire’s production gives the material a larger-than-life feel that envelopes listeners in a journey through heartache and personal development that strays far from predictable genre tropes. “All My Friends Are Dead” and “Soak Me in Bleach,” which lead the record and were the first to be shared from the album, celebrate the struggle toward progress instead of lamenting the hardships of life. They peel back the facade of artistry being some higher calling and reveal the emotional and spiritual battles being fought by the group’s members daily.

The album reaches surprising depths with “Catatonia” and “Forever.” The first addresses a friends’ suicide head-on, while the latter takes a very blunt approach to address vocalist Joel Birch’s bi-polar diagnosis. These topics are becoming more common in culture today, with a growing audience of people in various stages of suffering pleading for open dialogues. Still, The Amity Affliction is one of the few rock bands in recent memory to take a direct approach to the issues. They don’t view mental health as a problem for others to solve, but rather as something we are all responsible for understanding

Everyone Loves You…Once You Leave Them sets a high bar for all rock releases coming out in 2020. It’s no longer enough to write good riffs and easily repeatable lyrics that tell people to be resilient, persistent, or whatever cliche version of masculinity you’ve come to expect from modern hard rock bands. Music has the power to influence change, both globally and on a profoundly personal level. It’s an art form that has long needed a healthy dose of sincerity, at least as far as rock is concerned, and The Amity Affliction has delivered that in abundance with their latest LP. They have given us a soundtrack to working through the pain rather than ignoring it and to overcoming our demons rather than pretending they don’t exist. They are doing the work that is needed to lead better lives, and we are fortunate to be granted a front-row seat to their evolution.

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Major Labels are now Generating over $1 Million Every Hour From Streaming

According to a new analysis of official fiscal numbers, Universal Music Group, Sony Music Group, and Warner Music Group jointly generated $22.9m, on average, every 24 hours in 2019.

The streaming business is big business. That isn’t news, per se, but it is often hard to quantify what constitutes success on most streaming platforms. Some artists consider reaching one-million plays on any song a significant milestone. In contrast, others may see it as a disaster, and those varying perspectives make the entire world of streaming confusing to most consumers. What is, for lack of a better description, good?

Money is a different topic. Everyone agrees that making a million dollars in ant amount of time is a good thing, but making that much per hour? That’s practically unbelievable.

Our friends at MusicBusinessWorldwide have been analyzing the official fiscal numbers of major record labels, and in doing so, they stumbled across a fantastic data point. Universal Music Group, Sony Music Group, and Warner Music Group jointly generated $22.9m, on average, every 24 hours in 2019.

If we look at the last quarter of 2019, things get even crazier.

According to MBW’s number-crunching of corporately-reported recorded music numbers, Universal’s artists and labels generated $1.02bn from streaming in calendar Q4 2019; Sony’s generated $669m; and Warner’s generated $589m. In total, that meant the majors’ recorded music divisions collectively turned over $2.26bn from streaming in the fourth calendar quarter, which equates to $24.8m per day, or $1.03m every single hour.

Streaming revenue growth for Warner, Sony, and Universal year over year

Crazier still is the fact that these numbers are likely to continue growing in 2020. Growth in the streaming marketplace is slowing as the market saturates. Still, there remain many demographics and countries that streaming platforms are hoping to convert to subscribers in the years to come.

Where will it stop? More importantly, what will the artists making these numbers possible see from these massive revenue streams? We don’t have answers at this time, but we hope to have more information soon.

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The Social Network Artists Should Avoid

Your time is precious, so why would you waste it using social media that offers nothing of value?

Social media is a gift. For the first time in history, artists everywhere can grow and connect with a global audience in real-time. It’s a miracle anyone gets anything done when there are so many possibilities to connect and interact, but not every social media platform is right for musicians.

The only social media that matters for your career are the platforms your fans prefer. If you find a high concentration of your audience exists on Facebook, then that is where the major of your social media marketing should take place. If your audience engages more with Instagram or Twitter, then those platforms are where you need to focus your efforts. You want to make finding the latest information about your music and career as easy as possible for fans to find, which means going where they already are and working to leverage that platform’s tool for success.

But in all our years of social working study and analysis, there is one platform that offers nothing of value for musicians. It’s a place where professionals go to meet other professionals and browse job opportunities, but it offers no tools or design options for music promotion. In fact, we sincerely doubt the developers even consider musicians part of their target market. Still, every week, artists are incorrectly using this platform in a seemingly desperate attempt to connect with people in positions of influence that may be able to help their careers. We will let Music Biz host James Shotwell explain:

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Should You “Shoot Your Shot” To Get Ahead?

A post from recent GRAMMY award-winning producer and songwriter Finneas has sparked a discussion over whether or not people should take a chance on themselves.

What is your dream? When you imagine your career in music, who do you work with and where? If you had the chance to show those people or companies your talent, would you?

“Shooting your shot” is a popular phrase for people who risk embarrassment and being turned away to share their ideas. Recently, GRAMMY award-winning producer and songwriter Finneas tweeted that he feels creative people should avoid shooting their shot and focus solely on developing something themselves. We agree with him, to an extent, but there are times when taking a chance on yourself is the only way to get ahead.

For starters, the competition for attention in music today is fierce. There are countless artists sending messages to labels, publicists, managers, booking agents, and anyone else they believe can help their careers daily. You can choose to sit out that battle, but doing so lowers the likelihood that someone in a position of influence will find you and give you a leg up your career needs to reach its maximum potential.

There is also the fact that being “good” is no longer good enough. There are many gifted artists with great songs and carefully-crafted brands that will never receive the amount of attention they arguably deserve. To stand out in today’s industry, artists need all the help they can get, and the best way to find the right person to elevate your career is by going after the professionals and companies you want to know about your music.

Billie Eilish is an outlier. Finneas is an outlier. Chance The Rapper is an outlier. There will always be exceptions to the rule, but for every outlier that reaches the mainstream, there are dozens or more artists who get there by shooting their shot and networking with others in the industry. There is nothing weak or wrong with taking a chance on yourself and reaching out for help. We’ll let Music Biz host James Shotwell explain the rest:

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YouTube claims it paid over $3 Billion to the Music Industry in 2019

YouTube, one of the most popular destinations for music discovery and consumption, is citing huge 2019 payouts to change the conversation around its notoriously low royalty rates.

In a quarterly blog post released this week, YouTube CEO Susan Wojcicki praised her company’s relationship with the music industry. “YouTube offers twin engines for revenue with advertising and subscribers,” she wrote. “Paying out more than $3 billion to the music industry last year from ads and subscriptions.”

YouTube recently announced $15.5 billion in ad-supported revenue for 2019. Before you start believing the company gave nearly 20% of that money to the music business, take a moment to read Wojcicki’s comments again. The $3 billion paid to the industry is from a combination of ads and subscriptions (meaning YouTube premium subscriptions, which now number above 20 million worldwide).

That said, the $3 billion mentioned in Wojcicki’s report is pretty stunning. According to calculations published by Music Business Worldwide, the 2019 payouts account for one-quarter of YouTube’s lifetime payments to the music industry. MBW believes YouTube has overtaken or is close to overtaking Apple Music as the industry’s second-largest digital partner (behind Spotify).

These numbers are huge, but they are nothing compared to the video consumption rates YouTube has shared in recent years. In 2018, YouTube claimed that “more than 1 billion music fans come to YouTube each month to be part of music culture and discover new music.” In June 2019, a report came out claiming that music videos were watched just under two trillion times on YouTube in 2018, representing 20% of total views on the platform. $3 billion is a lot of money, but is it enough to represent one-fifth of the total consumption on the platform?

Wojcicki also shared the following insights about YouTube’s evolving relationship with the music business:

We’re also partnering with artists to support and amplify their work through every phase of their career. Dua Lipa was in YouTube’s first-ever Foundry program — our initiative to develop independent music acts. Justin Bieber and Billie Eilish have built massive global audiences by directly connecting and engaging with fans on YouTube. At just 18 years old, Billie is now one of the world’s biggest stars with five recent Grammy wins. And from its early days, YouTube has been a home for artists who found creative ways to use the platform to help expand their reach. In 2005, OK Go had one of the first viral hits with their music video, “A Million Ways.” Fans posted their own versions of the boy band-inspired choreography, and OK Go decided to make it official with a dance challenge on YouTube. We continue to see unknown artists make it big with a single viral hit. Last year, Lil Nas X’s “Old Town Road” became a YouTube phenomenon and the longest-leading single atop the Billboard Hot 100.

YouTube has long been criticized for its notoriously low royalty rates on views, but the numbers from 2019 show that image may be changing for the better. We’ll bring you more on the platform’s relationship with the industry as soon as additional details become available.

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The Vinyl Alliance Responds to the Apollo Masters Fire

The vinyl advocacy group speaks with optimism following the devastating blaze at Apollo Masters earlier this year.

The Vinyl Alliance, an advocacy group comprised of several industry organizations, issued an official response to the recent fire that destroyed Apollo Masters in California earlier this year. The incident raised concerns about the future of vinyl production as Apollo Masters was the primary source of a critical lacquer used in vinyl record creation. Still, the statement released by Vinyl Alliance is optimistic.

“There are already alternatives available,” says the group’s president Günter Loibl, “which will help bridge the shortage of lacquer discs. This can also be an opportunity to embrace new technologies and to strengthen collaboration within the industry.”

Within hours after the fire, Vinyl Alliance members got into contact with each other to discuss possible repercussions. Simultaneously, start-ups and individuals reached out to share their ideas. Soon it became clear that the impact on the industry will be limited in the long run as there are alternatives and options available to deal with the temporary shortage of lacquer discs:

  • MDC, the remaining manufacturer of lacquers, is rationing supply to satisfy the demand of as many customers as possible
  • Direct-to-Metal-Mastering (DMM) is a working alternative, which does not require a lacquer and is available worldwide
  • Several start-ups are planning to manufacture lacquers, and they are expected to enter the market in the coming months
  • New technologies such as HD Vinyl – a modern way to produce stampers without lacquers – are in development

Scott Hull, a mastering engineer in New York, remains calm: “For the time being we have to be more careful with how we use lacquers, but I doubt that the consumer will feel the shortage before our industry will come up with a solution.”

`Heinz Lichtenegger, CEO from Pro-Ject, believes in the future of vinyl: “Perhaps we can find a silver lining in this tragedy. Vinyl is an amazingly durable medium for music that has stood the test of time. We have seen cassettes, 8-Tracks, micro-cassette, reel to reel, Mini-Disc, LaserDisc, CED discs, etc. come and go, but the vinyl LP is more cherished than ever. It is a format important to the industry, to the artists, and to millions of fans! “

The main concern at this moment belongs to the employees of Apollo Masters. “They are the ones directly affected by this tragedy “, says Zack Tipton, CEO of Vinylize. “Our thoughts go out to them and their families.”

We will continue to cover the Apollo Masters fire and the vinyl industry’s response to its destruction in the coming weeks. Follow Haulix on Facebook and Twitter for more information.

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Metalcore vocalist renounces old lyrics

In a time when culture is evolving faster than ever, Emmure vocalist Frankie Palmeri is sharing his regrets over past lyrical choices.

When Frankie Palmeri’s band Emmure burst onto the music scene in the late 2000s, nobody was ready for the band’s brutally honest lyricism and devastatingly heavy sound. Throughout multiple releases, many under the Victory Records banner, Palmeri wrote about heartache and the anger he felt toward the world around him without consideration for how his word choices might impact listeners. He spoke of murdering exes, hurting his enemies, and having sex with his listeners’ girlfriends with total disregard for how his art might make people feel.

But that was another time. The world has changed a lot since Emmure burst onto the scene, and the affinity for ultraviolent, highly-profane lyricism fans of heavy music once enjoyed has waned. Some may see that as a bad thing, but others believe that creating music with more awareness of how things impact listeners makes the heavier areas of music more accessible to more people.

This week, Palmeri took to Twitter to renounce his past lyricism. In a multi-tweet post, the Emmure frontman wrote:

“Hanging out with someone who only listens to metalcore made [me] realize why regular people with healthy neuroplasticity don’t fuck with that genre of music and gravitate towards pop/rap. Talk about a fucking unnecessary onslaught of bullshit emotions.

“Trust me when I say; I emotionally and spiritually reject almost every lyric I’ve ever written. It all stems from material pain, a fragile ego, an inability to cope. It’s unfortunate anyone has ever identified with any of what I’ve said in my music. A lot [of] people are/were hurting.”

Frankie Palmeri via Twitter

You can view Palmeri’s original tweets below.

It’s hard to know what the lead Palmeri to make this announcement, but rumors of a new Emmure record being on the way have circled the internet for months. If so, Palmeri’s comments could signal a departure from the group’s previous efforts, which fans may or may not embrace.

More importantly, it’s is refreshing to see an artist reconsider their past actions through the lens of cultural acceptance and emotional maturity. Palmeri once wrote, “ask your girl what my d-ck tastes like,” and now he’s apologizing for it. That’s character development, and we could use more of that in the metalcore world.

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