5000 http://5000mgmt.com Artist Management. Tour Management. Lecturing. Mentoring Tue, 06 Jun 2017 16:25:48 +0000 en-US hourly 1 NOVO AMOR AT HOXTON HALL, LONDON, 16 MAY http://5000mgmt.com/novo-amor-at-hoxton-hall-london-16-may/ Tue, 07 Mar 2017 10:00:13 +0000 http://5000mgmt.com/?p=5159

]]>
DENZEL HIMSELF UNVEILS THRASHER, ANNOUNCES DEBUT EP http://5000mgmt.com/denzel-himself-unveils-thrasher/ Mon, 20 Feb 2017 13:00:22 +0000 http://5000mgmt.com/?p=5137 Continue Reading]]>

‘Pleasure’ is the debut EP from Denzel Himself, a 22-year-old recording artist and producer from outer London. All ten tracks were written, recorded and produced by Denzel himself – the accompanying video for Thrasher was self-produced and directed also – hence the moniker. Pleasure will be released on Friday 14th April via Denzel’s own label Set Count Worldwide.

Today, Denzel Himself shares the first track ‘Thrasher’, now premiering via Noisey here.

Though ‘Pleasure’ weaves a path through a hip-hop landscape, Denzel is no archetypal rapper, with a widescreen vision for his art as singular as it is diverse. Throughout Pleasure an array of influences are subtly mined, from the melodic R&B of ‘Mister (a J*DaVeY cover)’ to ‘Thrasher’ and ‘Cherry (Hot boy)’, alluding to Denzel’s love of punk. Lyrically, Pleasure is unusually thoughtful, wrapping a deeply personal, brutally honest lyrical content around a resonant, atmospheric canvas, as Denzel’s flow nods to hip-hop’s legacy while sounding utterly unique.

Pre-order EP here, stream Thrasher on all platforms here

For further information please contact Natalie Quesnel at Yes Please

Denzel Himself: WebsiteFacebook, Soundcloud, Twitter, Instagram

]]>
PROTECTING ARTISTS AND ART http://5000mgmt.com/protecting-artists-and-art/ Wed, 25 Jan 2017 12:47:47 +0000 http://5000mgmt.com/?p=5124 Continue Reading]]> On Monday 30 January, Andy and Ine Hoem will debate and discuss the health of musicians, using Ottar Bjerkeset’s research paper ‘Symptoms of anxiety and depression among Norwegian musicians compared to the general workforce which can be read here. The conversation will be moderated by Guttorm Andreasen and is presented by MØST

]]>
THE MUSIC INDUSTRY MUST DO MORE TO SUPPORT MUSICIANS’ MENTAL HEALTH http://5000mgmt.com/the-music-industry-must-do-more-to-support-musicians-mental-health/ Fri, 06 Jan 2017 09:56:28 +0000 http://5000mgmt.com/?p=5113 Continue Reading]]>

“This archaic of view of the tortured, suffering artist must end immediately. There is nothing to aspire to in this illusion”

Formerly recording as East India Youth, William Doyle has written for i-D Magazine on the issues surrounding the lack of support in the music industry for artists suffering from mental (and physical) health issues. Read it here.

 

]]>
WILLIAM DOYLE RELEASES ‘the dream derealised’ http://5000mgmt.com/william-doyle-releases-the-dream-derealised/ Thu, 24 Nov 2016 17:46:25 +0000 http://5000mgmt.com/?p=5034 Continue Reading]]> album-cover

Nine new tracks titled ‘the dream derealised
now available to download from Bandcamp
for £1 or local equivalent

“All proceeds from this short (mostly) instrumental album will be donated to the mental health charity Mind.

These nine abstract and lo-fi pieces were recorded during the summer when focusing on creating them helped guide me through a difficult period of anxiety, panic and a regular dissociative feeling called derealisation.)

This was made at a time when doing something creative in a quick and immediate fashion felt vital, and doing so helped carry me to a new place. I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves.

What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

– William Doyle, Brighton, November 2016


Mind on Twitter, Facebook, Website
Telephone +44 300 123 3393

Text (UK) 86463
Email

]]>
NOVO AMOR ANNOUNCES FORTHCOMING EP, DUTCH AND GERMAN SHOWS http://5000mgmt.com/novo-amor-announces-forthcoming-ep-dutch-and-german-shows/ Tue, 22 Nov 2016 09:15:27 +0000 http://5000mgmt.com/?p=5030 Continue Reading]]> novo485

Multi-instrumentalist, songwriter and producer Novo Amor returns will return in the early hours of 2017 with a new EP entitled ‘Bathing Beach’. Audiences in the Netherlands and Germany can be the first to hear its songs during a short run of shows centred around a Eurosonic Noorderslag Festival performance in Groningen, Friday 13 January, and tickets are now on sale as follows:

10 BERLIN Grüner Salon  Tickets
11 HAMBURG Nochtspeicher   Tickets
12 AMSTERDAM Paradiso  Tickets
13 GRONINGEN Eurosonic  Tickets
14 COLOGNE Artheater  Tickets

Facebook, Soundcloud, YouTube, Instagram, Twitter

]]>
CHALLENGE, REBUILD, EMBRACE, SUSTAIN http://5000mgmt.com/challenge-rebuild-embrace-sustain/ Tue, 04 Oct 2016 14:41:58 +0000 http://5000mgmt.com/?p=5007 Continue Reading]]> plakat-fb-coverbilde-851x315px

Tired of formulaic music industry Conferences, Daniel Nordgård, Lily Armstrong and Andy Inglis decided to do something about it. This is Sørveiv Conference, attached to the Sørveiv Festival. Kristiansand Norway, 28-29 October 2016. Here is our mission statement. Here are our Speakers. Our Program will be announced very soon.

]]>
JOHN UREN – PARASOL http://5000mgmt.com/john-uren-parasol/ Fri, 16 Sep 2016 08:28:49 +0000 http://5000mgmt.com/?p=4976 Continue Reading]]> A darkly majestic, discordantly beautiful score in this work for large ensemble and electronics from John Uren, a new, Manchester-based composer we’re now managing. Premiered 16/06/2016 in the RNCM Concert Hall, Manchester, by the RNCM New Ensemble. Conducted by Tom Goff

]]>
ANDY CONTRIBUTES TO HARKIVE http://5000mgmt.com/andy-contributes-to-harkive/ Thu, 14 Jul 2016 06:26:11 +0000 http://5000mgmt.com/?p=4926 Continue Reading]]> harhkive
Andy was asked to contribute to Harkive, an annual, online music research project that gathers stories from people around the world about how, where and why they listened to music on a single day. Since launching in 2013, the project has gathered over 8,000 stories, creating a unique snapshot of the many listening cultures, habits and practices that exist on that day with the resulting analysis leading to a useful, informative and interesting resource for anyone interested in Popular Music.

You can read his contribution here.

]]>
WHY I NEED TO PAY FOR MORE FOR MUSIC http://5000mgmt.com/why-i-need-to-pay-more-for-music/ Sat, 11 Jun 2016 06:32:39 +0000 http://5000mgmt.com/?p=4891 Continue Reading]]> phil_jacket

The single greatest failure of the music industry in my lifetime was its inability to convince people that £15 for an album wasn’t expensive. Imagine someone giving you a pint glass, charging you £15 and saying you could refill it with beer as often as you liked for the rest of your life. That’s as close as I can get to articulating music’s worth to me. 

So I pay for music, and hope to always pay for music, because my morality tells me that anything of value should be paid for. But I’m not paying enough, and I feel bad about it.

I use Spotify, or the MP3s I have in iTunes. I mostly use Soundcloud for unsigned stuff if someone’s asking me to manage them or they’re just after an opinion, and occasionally I’ll play something on YouTube, some old minimalist techno track I used to have on 12”, before the internet came along and facilitated the theft of music and the proliferation of cat memes. 

My Spotify subscription is via my Vodafone contract, and as CMU’s Chris Cooke pointed out recently the future of the music business is partly in the hands of telephone companies, as long as labels and artists continue to sit on their arses and let someone else push the idea of paid subscriptions to consumers. Well anyway, I pay £10 a month to listen to as much music as I want. It’s madness, but I realise the boat named Music Has an Intrinsic Monetary Value has long since been shipwrecked on The Rocks of Content, and I’m not here to argue for a return to CDs and the abolition of streaming services. I don’t have beef with streaming services as platforms; they’ve had a significant role in giving recorded music economic value again. 

In 2012, Erased Tapes released a Nils Frahm album called ‘Screws’ for free. Just him and a piano. I downloaded the MP3s. After a couple of listens I realised I was going to have it on repeat for a while, so I asked Nils and the label via Twitter if I could wire them some money for it, 1€ per track. They gave me a PayPal address and I went ahead. I’ve no idea how they split the 9€ between then, but I felt better about having paid it. 

Since then I’ve conveniently listened to music via Spotify while they pay the artists I like (and the artists I manage) a pittance. Aye, I know the deals some artists have with their labels has an impact on what they earn, but regardless, Spotify’s pro-rata system is unfair. If my £10 went only to the artists (and their labels) that I listened to, I wouldn’t have a problem. But it doesn’t. The pro-rata system means my £10 goes into a large pot with everyone else’s £10, and from that pot each artist gets given a percentage of the overall income based on how many streams they have. Some of my £10 goes into the pockets of artists I don’t play, and don’t like. Some of my £10 goes into Avicii’s pocket. That’s a tough thing to live with. It can’t be beyond the streaming companies to look at what each subscriber plays each month and allocate 70% (or whatever the deal is) of the subscriber’s £10 to those rights holders only.

My colleague Daniel Nordgård, a researcher at University of Agder’s Department of Popular Music in Kristiansand has published his findings on the digitalisation of music, and reports that the majority of people today pay more for recorded music than they ever did. He and I, on the other hand, pay nothing compared to our old habits. We represent a fraction of the market and our spending has relatively speaking evaporated when compared to the days when we both bought enough vinyl and CDs to force our parents out of their own attics.

In recent years I’ve allowed cognitive dissonance to get in the way of what’s morally right: complaining about how Spotify pay artists while continuing to use Spotify, so I’m contacting all the artists whose music I’ve played a lot to ask if I can pay them £1 or $1 or 1€ per song that I’ve liked enough to return to multiple times. I’m also contacting artists who’ve sent me music with a view to working together, or because we already work together. Getting paid as Jenny Hval’s International Advisor doesn’t mean that I shouldn’t pay for the two albums she sent me before release. She created art, it has value, I value it highly. I’m utterly in love with Braids yet paid them not a penny for the countless times I’ve listened to their music. It doesn’t make any sense. I should probably pay labels too. They’re not having an easy time and I care about that. I’ve already met with embarrassed resistance – “just buy me a pint next time you see me” – and silence. Many people feel uncomfortable talking about money. Some probably think it’s just weird. “There’s this guy trying to give us money for our album… can’t he just buy a physical copy?” Not really; I don’t live anywhere, so can’t amass ‘stuff’. “Go to a live show and buy a T-shirt?” More stuff I don’t need and have no space for in my bag. I just want to listen to music and pay what it’s worth to me.

In my most optimistic moments, I can maybe imagine the streaming services (including YouTube) making some very small concessions to those who’re lobbying for a more equitable payment structure, but nothing more than that. I can’t foresee a significant departure from the pro-rata system, which leaves those of us who place a high value on music and who wish to act on it with less-than-perfect methods. My way is hardly scaleable, though it wouldn’t take much for bands to set up a simple payment system and publicise it. And who I choose to pay is subject to my own judgements, whims and ethics. Hardly scientific, but it’s something, and the best I can come up with on my own.

However we choose to do it, I believe we need to challenge the models that have been negotiated in our absence and do more to create sustainable models to ensure our artists are free to create and present their art.

Any ideas?

 

With thanks to Daniel Nordgård, Kate Hewett, William Doyle and Howard Monk for critical analysis
Picture: expressing my unironic love for Phil Collins. Jacket required

]]>