The decision among the big bands in Indonesia to be published from the record companies, which has sheltered them around more than eighteen years, must be a big question as well. Is it really that the major record labels have not attracted them, or whether by choosing an independent path, and selling their own albums into more profitable techniques?
Almost every person who wrestle in the world of music either soloists or groups, among the goals for his musical career is to enter the kitchen recording, creating albums, behavior, to the popular. And record labels that can accommodate them all. They accommodate the cost of production, promotion, and some even deliberately accommodate other supporting affairs such as gossip or sensation yag expected to break the sale of his album. Not all of them, but there are some.
Is it still a big record label to be a musician’s destination to plant his work there? A question that is answered by another question about a skeptic is in the country, who knows whether there are still people who think if a work is to be cherished in the copyright or not.
The question is in this plowing era of plowing, in an age that people have rarely cared for, if buying indigenous works is the breath for the country music industry players. Is there still a big record label that can be a handle?
In the mind of every layman whose first glare will be flamboyant to the music industry and major record labels, perhaps going into the element of the artist of a particular record label is a pride of its own. But what it can be directly proportional to the whole thing on offer like a sold album, and popular. Not to mention the division of results far adrift between the artist and the producer / the record producer.
Is it still a big record label to be a musician’s destination to plant his work there?
A question that is answered by another question about a skeptic is in the country, who knows whether there are still people who think if a work is to be cherished in the copyright or not.
A very concrete way to deal with this limping music industry is to return to the band itself. How they make their own market, powerful fanbase, and characteristic music. It seems that with such techniques will create the band or its musicians will survive in the industry, both mainstream and non mainstream. But if it is essential, shallow music will be rewarded with shallowness, too, to be easily understood and easily forgotten.
The logic is simple. With a fanbase of only 1000 people, the band or musician can last a long time in the industry, but with a list of all his fans making physical purchases, coming to the concert, buying his merchandise. Because that created the musician there is the audience / fans. That’s why the maintence fans are necessary and try not to have no distance between the artist and his fans. How the artist’s technique of maintence the fans so as not to feel bored with the work that the artist has to offer. With so many new innovations, fresh music, song lyrics that build, even personal closeness andai fans is friends.
But apart from that, hopefully this industry continues to exist, both mainstream and non mainstream. Every musician needs a place to work. For a very ironic matter is when a potential musician in the end is hesitant to submit his or her work to the label, because the proposition of fear will be the stigma built by the big label, which is where the market is everything. Which at the end of the music itself is caught in enjoyment pay attention to the song itself, without assuming if what he wanted to convey it try to get to the ears not a few people. And that’s why the music industry / record label should exist, to say or as an extension of a musician’s hand to work.