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BandLab launch new publishing tool where artists get 100% of revenue

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BandLab has announced the launch of BandLab Albums, a new self-publishing tool that will allow musicians to release and sell unlimited singles, EPs and albums freely and on their own terms.

The new platform allows BandLab artists to have complete ownership of their creative output, as well as controlling their own pricing when it comes to monetising their work.

There are no cuts taken from artists, meaning that 100% of revenues will go straight into artists’ pockets to allow the development of further work.

CEO of BandLab, Meng Ru Kuok, said: “Our users are at the heart of our product. Beyond the continued development of our next-generation solution for the music creation process, we’re incredibly committed to supporting our growing base of creators at each stage of their creative journey.

“We want that journey to last a lifetime, and releasing Albums is an important step in allowing our artists and independent labels to create sustainable revenue streams for themselves whilst keeping them completely in control and ownership of their own content.

“We’re really looking forward to seeing what artistic statements our users will make with Albums, and hope that the ability to earn from creating will empower more people to make music.

Since launching in 2015, creators have flocked to BandLab’s cloud-based music production platform which integrates music making, mastering and collaboration tools, and, with its later release, providing professional tools to help artists sell their music as well.

BandLab is available as a web version, iOS, and Android app. As of May 2020, BandLab has over 20 million registered users from over 180 countries. BandLab has been experiencing significant growth in 2020, averaging one million monthly downloads, and 10 million tracks saved on the platform monthly.

The post BandLab launch new publishing tool where artists get 100% of revenue appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Neil Young condemns use of his music by Donald Trump

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Neil Young; Donald Trump

Neil Young has condemned the use of his music by US President Donald Trump ahead of his Fourth of July speech at Mount Rushmore.

Before Trump’s speech, three of Young’s songs were heard blasting from the speakers – ‘Rockin’ in the Free World’, ‘Like a Hurricane’, and ‘Cowgirl in the Sand’. Young took to Twitter to voice his disapproval.

Young continued with a subsequent tweet, voicing his support with the native Lakota Sioux people.

This is not the first time Young has publicly denounced the association of his music with Trump. Five years ago, Trump similarly used ‘Rockin’ in the Free World’ to mark the launch of his US Presidential candidacy campaign.

Representatives of Young issued a statement soon after damning Trump’s use of the track. “Donald Trump was not authorized to use ‘Rockin in the Free World’ in his presidential candidacy announcement,” the statement read. “Neil Young, a Canadian citizen, is a supporter of Bernie Sanders for President of the United States of America.”

However, Trump’s camp later told TMZ that they “paid for and obtained the legal right” to use the song for their campaign launch.

Young has been particularly vocal in his distaste for Trump. Most recently, he shared a number of protest songs from across his career as part of the sixth episode for his Fireside Sessions series. The episode included his own song ‘Lookin’ For A Leader’, which saw Young editing his lyrics to criticise Donald Trump and his reaction to the recent Black Lives Matter protests.

This was preceded by an open letter penned by Young to his fans in early June that voiced his support for the Black Lives Matter movement while describing Trump as a “poor leader who is building walls around our house”.

Young released his 40th studio album ‘Homegrown’ on June 19. NME gave it a five-star rating, describing it as “a shimmering diamond well worth unearthing”.

The post Neil Young condemns use of his music by Donald Trump appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Jason Isbell shares his demo of ‘Maybe It’s Time’ from ‘A Star is Born’

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Jason Isbell

Jason Isbell has shared a demo version of ‘Maybe It’s Time’, the song he wrote for the 2018 film version of A Star is Born.

In the film, Bradley Cooper plays Jackson Maine, an alcoholic rockstar partly inspired by Eddie Vedder. Maine plays ‘Maybe It’s Time’ at several points throughout the film as his own song. His version of the song peaked at #93 on the Billboard charts, his first placing as a musical artist.

The new release is the first time Isbell’s version of the song has been made available. It’s out on Bandcamp today as an acoustic demo, alongside an unreleased song entitled ‘Alabama Sky’. It’s out in time for Bandcamp’s revenue waiver – stream/purchase it below:

Vedder performed a cover of ‘Maybe It’s Time’ during a gig in Arizona last year. Isbell later tweeted out his appreciation to Vedder for covering his track.

“Holy shit Eddie Vedder sang my Bradley Cooper song in his set tonight,” he wrote.

“That is by far the strangest sentence I’ve ever composed but it’s certainly a huge honour. I was 12 when ‘Ten’ came out and by god I learned how to play every song on it.”

Isbell and his band the 400 Unit released their last album ‘Reunions’ in March of this year.

The post Jason Isbell shares his demo of ‘Maybe It’s Time’ from ‘A Star is Born’ appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Prince’s sound engineer details how she created his infamous vault and saved his masters from the Universal Music Fires

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Prince

Prince sound engineer Susan Rogers has revealed how she created the artist’s infamous vault and saved his masters from the 2008 Universal Music Fires.

Rogers worked with Prince as an audio technician from 1983 to 1988. In an interview for Double J’s Take 5 podcast, Rogers revealed that she began to collate Prince’s vault as a “practical matter” when the artist would demand old reference tapes.

“When I first started working for him, he would sometimes say to me at 2 or 3 o’clock in the morning ‘bring me this tape or that tape’. I realised I have to know where all these things are, ’cause how would I know this obscure stuff that had never been released,” she explained.

“I started working with the women who worked in his office, and I asked for their help. Let’s collect all these tapes and start a database…With [a] personal computer we were able to start forming a database of all the tapes – the two inch, the quarter inch, the half inch – and then I got really ambitious. I started calling faraway places that might have some of his tapes.”

Rogers goes on to explain that her tape-amassing project expanded beyond the Minneapolis studio where she worked with Prince, contacting Sunset Studios, and Warner Brothers to retrieve his masters.

“Now, I did not know that you’re not supposed to do that,” Rogers laughed.

“Technically, if you’re under contract the label owns those masters. I would talk to the person in the tape closet and say – ‘Hey, Prince has asked me for this, he wants this for some thing or another, and I’ll send it right back’. We never sent it back.”

Rogers explained that it was this decision to keep copies of the tapes that prevented Prince’s masters from being lost in the 2008 Universal Music Group Fire, which wiped out tens of thousands of tapes from artists including Elton John, Nirvana, Queen Latifah, R.E.M, Beck, Tupac, and many more.

“It would have been a lot safer if people had their own vaults.”

The interview comes ahead of the archival release of Prince’s ‘Sign ‘O’ the Times’ Movie 4-Disc Deluxe Edition, set to feature 63 unreleased tracks when it arrives on September 25. Listen to the full chat with Rogers here.

The post Prince’s sound engineer details how she created his infamous vault and saved his masters from the Universal Music Fires appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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