Independents

Independent music companies
On a simple level, independents are seen as being at the opposite end of the institutional spectrum from the Big Four music majors
majors
independents
EMI
Sony Music Entertainment
Warner Music Group
Universal Music Group

Some independents
Beggars – includes Beggars Banquet (Charlatans), 4AD (Pixies), XL (White Stripes, Prodigy, Dizzee Rascal)
Rough Trade – The Smiths, The Strokes, Belle and Sebastian, The Libertines, Arcade Fire, Antony and the Johnsons
Domino Records – Franz Ferdinand, Arctic Monkeys

Differences from majors:
Defined as not being owned by another (larger) company
Definitely not part of a major music company
When an independent company becomes very successful, it may well be a target for takeover by a major music company

Similarities to majors:
Some indies are bigger than others:
may be just one music label, but may own a range of music labels
Will have artists / bands signed to them, just as majors do
The process of production, distribution and exchange is similar to that of the majors, but on a smaller scale

Independent / indie labels are often thought of as
producing more authentic music (in contrast to mass-produced, manufactured music from the majors)
seeing music as creative art, rather than commercial product
giving their artists more artistic freedom to produce the music they want, rather than fitting into an existing music formula that has been proven to sell

Perceptions ofmajors and independents
Have very little money
Produce obscure music by artists that no-one has heard of
Their music is hard to categorise, so gets called “alternative”
Are not so motivated by profit
Have lots of money
Promote mainstream artists
Produce standardised, formulaic music
Sole aim is to make more money
But how accurate are these perceptions?

Domino Records
Visit http://www.dominorecordco.com/ to consider Domino Records as a case study of a UK independent:
How is the label structured?
Consider the range of artists signed to Domino and the styles of music
Do they fit into one genre
Do they fit the stereotype of ‘alternative’?
How does it distribute / allow its music to be consumed?
How has the internet helped the success of the label?

majors v indies MYTHS
MYTH: artists on indie labels produce “alternative” (non-mainstream) music that will not sell
Arctic Monkeys
Franz Ferdinand
The Strokes
Oasis

MYTH: artists on indie labels are all “breaking new ground”
It can be argued that the most successful artists are just recycling past musical styles and images

MYTH: the output of the Big Four majors is all standardised, formulaic material.
All of these have an indie image, but are / were contracted to the majors:
Radiohead - Parlophone - EMI
Sonic Youth - Geffen - Universal
Green Day, My Chemical Romance, Funeral for a Friend - labels owned by Warner Music Group
The Kaiser Chiefs - Universal (after indie start)

MYTH: the majors do not allow “alternative” artists creative control, and do not really support them
It can be argued that the majors can allow more risk-taking, because they can cover any losses through their more profitable mainstream artists.
“Alternative” artists can draw on the strength of a major music company to market and distribute their music

majors v indies PROMOTION
The size and strength of the majors means they can
put more money into promoting their music (advertising campaigns, appearances, radio airplay etc.)
secure better distribution of their music (getting it stocked in shops)
Awards ceremonies, like The Brits, act as a promotional vehicle for the majors.

majors v indies PROMOTION
Independent labels can be swamped by the power of the majors in promotion and distribution.
However, awards like the Mercury Music Prize, that are based on musical performance rather than production budget, advertising hype or sales, can help promote independent labels’ artists
XL’s Dizzee Rascal, 2003
Domino’s Franz Ferdinand, 2004
Rough Trade’s Antony and the Johnsons, 2006

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Independents

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