Who will dominate the future market: the title or album?
With the vinyl record, 45-33-towers and towers, the industrialization of recorded music in from the mid-1950s, in terms of variety, rock and pop, first obeyed a logic as . The album consisting of an accumulation of success published 45-laps. Then the artists eager to “create a work” began to think in terms of albums, with a beginning, middle, end. And the album became king from the mid-1960s.
With the fall in CD sales, which first hit single format, and especially the development of purchasing the title , the iTunes digital media library of Apple has imposed on the world of paid download, the notion of the album seems to have taken in recent years as a lame duck. Commercially, it is certainly the trend in the consumption patterns of large markets and pop varieties.
Statement shared
“A study we just made the last two years sales of our catalog of about 2 million titles reveals that only 10% of our customers buy an album as a whole, while 90% of them simply download two to three titles per album ” , says Denis Ladegaillerie of Believe Digital . Statement shared by almost all stakeholders, service or sales online streaming. With the notable exception of French Qobuz, who made the promotion of the album and the sound quality of his horses battle.
Suddenly, the musicians will they continue to consider the album as the reference model for the formation of a directory, a world and an artistic credibility? Or songwriting as individual entities will she now dominate artistically and commercially? Back to basics in a way. “I would advise players not to wait two or three years for the design of an album, says Ladegaillerie, but to publish three or four titles a year enabling them to ‘ be more in touch with their audience, developing a musical environment easier to create than a long format. ”
Some genres of music – especially music called “urban” (hip-hop, electro, dance …) – fit more naturally in this type of operation. Artists from these styles as Flo Rida , David Guetta , Skrillex or Katy Perry and drink to their regular public EP (four songs at the time of 45-laps) digital, often sold several million copies. However, the side of jazz, song, rock and pop, the tradition of the album is still strong. We talk and wait for the “album” of Diana Krall , U2, Madonna, Laurent Wolf , etc..
Head of production house Because (Manu Chao, Selah Sue , Amadou & Mariam, Metronomy, Sefyu …), Emmanuel Buretel seen to draw a divide between the products of multinational companies and those of independent houses. The first would focus on the sale and title and the manufacture of pipe makers, with the use of clusters of songwriters providing tailor-made for different artists – a model that Berry Gordy Jr. was organized in 1959 with the company soul Tamla Motown , often described as “factory tubes.” The second most devoted to career development and personalities built on the concept album.
“It is no coincidence that two of the best record sales in France this year are from independent labels: Adele (more than 17 million albums sold worldwide in 2011), singer of the British label XL, and Selah Sue, Because in ” believed to say Emmanuel Buretel.
Contracts “360″
The head of the French branch of the U.S. major Warner Music Group, Thierry Chassagne , believes as much in the future albums. He has also just re- label EastWest to develop the careers of new artists with this in mind. “The record sales is not our only source of income. We sign contracts called” 360 “which we manage the sale of music, publishing, production of shows, he says. For an artist to turn , it needs a real directory, renewed by the production of albums. It’s just that we are more demanding with the quality and consistency of these albums. ”
If there is division, it is rather on consumption patterns by region. “In the U.S., the dominant model is the paid download title by title . In France and several European countries, and streaming systems subscription offering to listen and download at will make it possible to listen to entire albums easily. ” The artists themselves, the most anonymous superstar, still predominantly want to subscribe to their name the flagship album of their career, for , bound to become legendary.
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