Books and Music in 2016

A new year starts, and with it my list of music and books for the previous year.

2016 was an interesting year musically. The year started with the release of Kokori's first album, Rootkit. Kokori, an industrial duo from which I am 1/2, had released several EPs and singles in the past, but Rootkit not only is our first album, but our best work so far, IMHO. Later in the year, "The Sky Is Concrete, The Stars Are Bullet Holes", one of the album's tracks, was also present on the "Passo A Passo" compilation, and Enough Records' CC Meeting mixtape. Also from my musical projects, Merankorii - my solo project - released the single "1666", 350 years after the Great Fire of London occurred, with a track that came from the 2014 album "Synthetic Works".

Matt Howden's projects "Sieben" and "7JK" had an excellent new album each. "The Old Magic", under the Sieben moniker, is available with the companion CD "The Other Side Of The River", which manages to be the highlighted disc from the bundle. While 7JK changed its formation slightly, the new album manages to be even more powerful than the first one, and from it I'd like to highlight the opening track "Liftoff For 7JK".

Sol Invictus is back, and will present us with a new album in 2017, one which I plan to get. For a band with such an huge discography and without a big sonority variation along the years, this is the kind of band one can easilly fall into skipping one or another release. However, in 2016 the single "The Last Man" was released, and boy - those are two strong and surprising tracks. I can't vouch for the album yet, but this single is a must-have.

The obscure and mystical project GVAR leaked again, this time the album "Mirroah". More mature than its debut "Vraii", the parallel-universe DVARish concept is kept strong, and GVAR stays as a must-follow project to every DVAR fan.

Luigi Rubino (probably best known as Ashram's pianist) released a new solo album, after its 2009 debut. The new album is not surprising - it packs what one would expect - but it is still a very pleasant album to listen again and again. Also unsurprising but excellent is the latest Ordo Rosarius Equilibrio album, "[Vision:Libertine] Part III - The Hangman's Triad". Conceptually and lyrically, they keep fresh and strong, as they keep being polishedly detailed sonoricly. While it would be hard for an ORE album to be surprising without them re-inventing themselves, this album is more cohese than their last few, almost competing with the genious "Make Love, And War" of 2001.

As far as books go, in 2016 I managed to read a bit more than in 2015, but still not enough. From those, I re-read the whole MegaTokyo series of Manga, and crossed it with the paralel series of books that are now being released as "Megatokyo: Endgames". Endgames is an MMORPG (some) Megatokyo characters play, and the events that happen in that virtual world obviously cross into their players' relationships... While the Endgames books can be read as fantasy novels, they wouldn't excel as such. But the fact that they're descriptions of what happens inside a virtual world - specially one that exists inside a fictional (Megatokyo) world entices me. With four volumes out there of the saga, I read three of them during 2016, and the fourth is alredy on my pile of books to read really soon.

Unsurprisingly, the rest of my list has Sci-Fi books. I've read and enjoyed Ernest Cline's two novels (Ready Player One and Armada), and picked up on a saga I was planning to read for a while now: the Enderverse. I read the Ender's Game a long time ago, but only in 2016 I decided to pick up the rest of the saga, reading the rest of Ender's Saga. It will be no surprise to have The Shadow Saga on my 2017 favorites list. Finally, I read "Altered Carbon", a book that was given to me. While this wouldn't probably be my kind of scifi, this futuristic crime novel was very enticing. You'll probably soon hear about it, despite it being from 2002, since Netflix is working on a TV series based on this saga.

If you want to read more stuff like this, check out my 2015 list. Otherwise... see you next year!

Kokori news

A consequence from the fact that I almost stopped blogging is that those of you who still read this blog and were used to follow my musical endeavors through it were left in the dark.

I did refer at some point that I am 1/2 of a post-cyberpunk industrial duo named kokori. But from then until now, kokori has released three EPs and one single, besides participating on several compilations. Here's one of the tracks from our "Release Candid Hate" EP, so you know what I'm talking about:

But the flow never stops, and we are at this moment on an ambitious project - a crowdfunded compilation.

With your help, Kokori is going to be part of an awesome 3 tapes compilation. Metaphysical Circuits, a tape label from our good friend Christian of The Beard Of Snails Records (R.I.P.), is aiming to release "400/100", a three-hour, 43 track triple cassette compilation. An epic, eclectic statement, spanning ambient excursions, techno textures, slick synths, cinematic guitars, song-craft, improvisation, wyrld jamz, and no-fi noise melodies, this project has everything to be a must-have compilation, and we're proud to be a part of it with one new, exclusive track. Alongside with Kokori will be musical projects like Palm Era, TAKAHIRO MUKAI, Vejgaard Ambient, Northville Tunnels, The Child of a Creek, Stephen Connolly, Strange Mountain, cryptic scenery, Geoff, Les Bicyclettes de Belize and more. But why with your help? Well, because this endeavour needs you as much as you need it: your funding and pre-order will make it happen, and in the process you can even get some extra goodies. Find all about it on its campaign page!

Books and Music in 2014

As tradition mandates, here's my yearly post about music release and books I've read the previously here.

Click on the images for details.

Top 10 music releases of 2014

Top 5 books I've read in 2014

You can also see last year's list.

Books and Music in 2013

Another year gone. Just like in years before, here's a recommendation of music and books, from what has been released during the year (in the case of music), and what I've read in 2013 (for books). Note that there are other, great 2013 music releases, that I only got my hands on in 2014, and those aren't on this list. Without further ado:
Books:

* Neal Stephenson - The Mongoliad (Books 2 and 3)
* Iain M. Banks - The Hydrogen Sonata
* Cory Doctorow's fiction - The Rapture of Nerds and Pirate Cinema
* Music - Looking For Europe
* Tech - Videojogos em Portugal
Music:

* Kokori - Release Candid Hate (Vinyl)
* Gvar - Vraii (Cass)
* Charanga - Borda Tu! (CD)
* Dismal - Giostra Di Vapori (CD)
* Mindless Self Indulgence - How I Learned To Stop Giving A Shit And Love Mindless Self Indulgence (CD)

100.000 tracks played on Last.fm

Remember 2008, when I did a blog post called "50.000 tracks played on Last.fm"? That's right, the counter just doubled, and I now have 100.000 tracks scrobbled there (the image on your side is a screenshot, click to enlarge).

Besides the screenshot, and taking into account what I've written about in the "50.000 tracks" post, I decided to turn this event into another blog post with a little analysis of the data on it. This isn't really a blog post about "music I like" or "what you should listen to", but I also recently wrote a blog post about my "top 10 albums of 2011" on Noori Records' website, so you might what to also read that one.

First of all, the disclaimer I wrote in 2008: "Last.fm doesn't really represent what I listen: lot of the time when I'm at work I listen to what Last.fm plays to me (which limits the choice), and when I'm at home, I'm usually listening to things that will not end scrobbled: CDs, Vinyls or Cassettes. Still, this is probably the biggest (public) data available of what kind of music I dig, and it's pretty cool that I've reached 50K: now you can give some credit to what those numbers show."

A couple of updates to that text, tho:

• I had "ins" and "outs" in scrobbling this last few years. After Last.fm stopped being free, I only scrobbled what I've listened on my own laptop's music player, at first. That of course excluded the tons of other music streaming sources I've found, including online services, mainly archive.org. There were some periods in those scrobbles that were different: at some point I was a daily user of T61 (until they threw away their great service to replace with the good-looking yet uninteresting one they have now), and they had once a way to synchronize T61 with Last.fm, so I "went back scrobbling" at that time. Other periods like that happened, and lately I've been using Google Music as my "cloud music player", both at work and on my smartphone, and I've been scrobbling again since then, using a nice Firefox extension to scrobble Google Music plays to Last.fm. Oh, speaking of smartphone, since I changed from a Blackberry to an Android phone, I've also been scrobbling whatever I listen on my smartphone. Which isn't much, really, I stopped being a "portable music" kind of guy for years now...
• This is not, probably, the "biggest (public) data available of what kind of music I dig", I started working on having my personal collection of music public on Discogs, and while the collection isn't all there (yet?), I bet that's a better source of information about what music I have and how I rate the release...

Well, apart from that... What do the numbers and statistics actually say?

• Unsurprisingly, Merankorii is still my mostly played band. But there's no surprise there, is it? I mean, as I said in 2008: "What can I say? I am a fan of my own work, or else I wouldn't bother doing it...". It won't come as a surprise, then, that Kokori is at 4th (another band I created in the meantime), +ko+ko+ is in the 5th position (a musical project with two full-length albums released... on my label, and the last one mastered by me), Ambiansu is at 8th (this was a side-project of mine, that released one album and one other track for a compilation), and will even probably justify why RedSK is on the 12th: my label released a split CD between Merankorii and RedSK... and I spent a good number of months listening to RedSK while building Merankorii's side, and spinning the CD after it was finished.
• Tenhi and Empyrium swapped with DVAR and Marilyn Manson which is surely no surprise for me. While I still love both Tenhi and Empyrium, I managed to get my hands on much of DVAR's discography, and, well... DVAR are GODS. Of course, their short tracks providing 20 or 30 tracks on a small album helps, but that's honestly not the reason: I have "DVAR urges" regularly, and each time I have one of those I spend three or four days in a row listen to little more than DVAR... As for Marilyn Manson, it is not that I really started to feel the need to listen more of it, but when I started using Google Music I uploaded a small part of my extensive Marilyn Manson collection to Google Music, and now I have 746 different Marilyn Manson tracks on Google Music (from 4208 tracks there), and since many times when I'm listening to Google Music at work is a simple random "shuffle", it keeps playing Marilyn Manson tracks...
• The only other new entry on the top artists list is Caprice. I referred them in 2008, but at that time I only had two of their albums and I had just knew them. Now I have a lot more CDs from them, and the "Kiwitt! Kiwitt!" (their best, IMHO) had quite a few spins on my computer. I haven't listened much of them lately, tho, but they're working on a new album nowadays, so - who knows? - maybe you'll still see them on my "200.000 tracks" post in eight years ;-)

If you're curious and want to check out one of this bands or my Last.fm profile, here's the link.

A long needed blog post

I should have written lot's of things on this blog that I've been delaying for a long time... And accumulating issues. Here's a short summary, so I can throw this behind my back:

Activism

ANSOL, the Portuguese FSFE sister association "Associação Nacional para o Software Livre" (National Association for Free Software) is being revitalized, and I am now its direction's Vice-President for the years 2011-2012. If you wondered why I seemed with even less time this last few months, this is probably one of the reasons for it. We've been doing lot's of things, lately organizing the Portuguese event for Software Freedom Day or participating in a Public Consultation on which Open Formats should the country's computer systems use. Today isn't really a "good news" day regarding Free Software in Portugal, since the two parties now in the Government changed their minds since last year (when they were opposition) and decided to reject a proposal that would make the country spend 50% less in Software Licenses by using Free Software.

Music

I've been more silent in 2011, but that doesn't mean I haven't been working. In fact several cool things happened: in March I've released a new album, for the first time in vinyl. A release party was held, here's a small fan-made video of the show:

In August, the latest Merankorii album, "Alain", was released in both cassette tape or tape + CD editions. Here's one of its tracks:

Merankorii - Intermezzo by A Beard of Snails Records

And for December there are also news - some things I'm not yet well sure to publicly state, but one is for sure: I'll be playing live in Lisbon at the 20th, and you're invited to go. Feel free to RSVP in one of the several places where the concert is announced:

• Reverbnation
• MySpace
• Last.fm
• Facebook

I've also participated in various compilations, but let me highlight two of them, because not only (in one case) it has Merankorii, but because both feature new tracks from Kokori, my industrial duo, that spent the year writing what's going to be, eventually, the best album ever: Necktar 2017 Volume 3 and Icaro I. Here's Kokori's track on Icaro I:

What Else? Well... lot's of things, really ;-), but I guess this blog post is already long enough for a "catch up". I intend to do more of these, but this is not a promise ;-)

The "Music Industry" does it again

It never ends, the tactics are old but they keep using them - oddly enough they keep working next to politicians.

The sales of music in Portugal fell 40% in the first semester of 2011, comparing to the same period of 2010, according to the Portuguese Phonographic Association (AFP).[1]

They attribute this fall to so-called "piracy" (the unauthorized copy of copyrighted material), failing to explain how to they infer the correlation, and ignoring the studies that suggest exactly the opposite. Worse: still according to them, "this is the hugest fall in a total of 50 different markets in the world", and those include countries with both a bigger and a smaller piracy rate, suggesting that actually there's no relation at all.

But why do they want to suggest such a relationship? Well, AFP requested a meeting with the Culture State Secretary, where they intend to ask the Government to introduce a gradual response law[2] in order to "stop piracy". Such a law would make people considered guilt without the right to a fair trial, take the right to privacy to every citizen, make people pay for a (private) service they can't use, and take off Internet access to an whole family because one of its members was simply accused of doing "piracy" (all together ignoring the fact that Europe is opposed to such kind of laws[3]).

Also interesting to see is that AFP doesn't really care that much into actually doing what they can - without any law changes - to reduce piracy: take for instance into consideration the research[4] that concludes that dumping DRM has both the effect of increasing sales and of reducing piracy, and compare it with the pro-DRM stance they have.

All in all, and to sum up, the answer politicians must give to this kinds of tactics of requests is really simple. AFP's Eduardo Simões stated that piracy destroys the income of musicians, authors, artists and record producers. The answer to such an allegation can only be: "Where's proof?"

[1] http://blitz.aeiou.pt/=f77109

[2] http://en.wikipedia.org/wiki/Graduated_response

[3] http://www.edri.org/edrigram/number6.17/3strikes-opposed-isoc-europe

[4] http://arstechnica.com/tech-policy/news/2011/10/a-game-we-all-win-dumping-drm-can-increase-sales-while-reducing-piracy.ars

Stop claiming <insert mature technology here> is dead

There. Does this graph seem to represent a dying format? Yup, I don't think so. Stop saying cassette tapes are dead. You did the same for vinyl, and now you're calling names to yourself...

Update: By popular demand, I started updated this graphic once in a while...

Updated graph, still according to the data available on Discogs, at the 2nd of February 2012:

Updated in 19/07/2013:

My Top 10 albums of 2010

As some of you might know, I have a tiny record label called Noori Records, besides being a musician in the musical projects Merankorii and kokori.

So, Noori Records is celebrating the change of year by asking its artists to do their "top 10 of 2010" lists, and I've done mine there too. Here's the quick list (read the article for some kind of review and more information about each record):

• 20th March 2010 (2xCD, Cabinet Pin)
• Sol Invictus – The Bad Luck Bird (7”, Auerbach Tonträger)
• Antimatter – Alternative Matter (3xCD + DVD + Book, Prophecy Productions)
• V/A – Whom The Moon A Nightsong Sings (2xLP or 2xCD, Auerbach Tonträger)
• DVAR – El Mariil (CD, Shadowplay Release)
• Kokori – init() (EP, A Beard Of Snails Records)
• V/A – Now That’s What I Call Retro-Futurism Vol. 1 (2xFloppy, Diskette Etikette Rekords)
• +ko+ko+ – Ovo (Single, Witte Dood Records)
• +ko+ko+ – Parasite (Single, Witte Dood Records)
• V/A – Maere Compilation

On a completely different matter, if you're in Portugal (and since I doubt I'll get back blogging soon) check out this events going on really soon now:
KDE 4.6 release party, next saturday afternoon;
Debian Squeeze release party, next saturday night (gives time to go to both parties);
Portuguese Talkers dinner 2011 (19 years!)

Happy Music Day! Here's how to celebrate...

Today is the International Music Day, and here are my suggestions for you on how to celebrate it... by giving you the info about 10 free (and legal) downloadable albums:

20th March 2010

Today is a day to celebrate Music, but there's an "event" that celebrates music monthly. On the 20th of each month, musicians all over the world are invited to create, compose, interpret and record one song. That means no ideas from beforehand; no writing, performing, recording, mixing, mastering of the track before or after that day. For those who like the concept but don't know how to make music, you can also contribute by making the artwork for one of the month's editions. Today, I'm leaving you the link to "20th March 2010", a double CD showing you what this artists do in one day, and what do they do when they're not limited to 24 hours.

Aural Apocalypse September 15th, 2010

After a monthly celebration, an weekly one. Aural Apocalypse isn't a propper release, but an weekly podcast, allways with great music (mainly Neofolk, Dark Ambient, Neo-Classical and Medieval) and witty comments, including "news of the apocalypse" and a bit of history in the first episode of each month. That's right, this is one of my tasks for every wednesday... The episode I'm recommending you is the one that features for the first time my music (one Ambiansu track), and also refers Noori Records. But, if you like it, don't forget to check out every other episode, this is great stuff indeed.

2 Years Of Torture Compilation

But the international music day is not weekly nor monthly, it's yearly. Another yearly usual happening is for record labels to celebrate their own aniversaries. On February 11, 2010, Love Torture Records turned 2 years old. To celebrate, they have put together this amazing compilation, which I here leave for those who are fans of heavier/harsher sounds. Music styles found here greatly vary, but they are mainly experimental, electronic, avantgarde and noise tracks.

Noori Records 2009 sampler

And after the previous item, I had to show you another yearly label release, this time not to celebrate the label's aniversary, but to celebrate one year of releases. This is the Noori Records 2009 sampler, a lot softer release than what you'll get in the previous recommendation, with Merankorii playing "dark-ambient Jazz", Betray-Ed with its neofolk, +ko+ko+ with their industrial dark ambient, and Ambiansu with two experimental tracks. Every of this bands have more freely available music, so if you like any of them, just follow the links to their own websites...

Various Artists - Falésia 3

Still in the "label compilations", but this one is different: Enough Records (a really nice Portuguese netlabel you should get familiar with if you aren't already) decided to make a compilation devoted to Portuguese projects surrounding the dark ambient genre neighbourhood. After the success of the first and the second, they ended up doing a third (and possibly the latest). This one includes projects like Dyman, Sektor 304, Ambiansu and +ko+ko+. After listening to this, and if you like it, don't forget to check the first Falésia (3 CDs worth of material) and the second one (2 more CDs).

Zero Is Enough

Also from Enough Records, and also in the dark ambient vein, even if with more cinematic elements, comes "Zero Is Enough", a mixtape I made using only Enough-released free music, scanned from the complete catalog, from the earlier releases to the latest stuff. This mix tape is a special made for the RadiaLX event organized by the free radio "Rádio Zero", and was aired (online and offline) for the first time on that event. The excelent cover artwork was made Francisco Noá, in his first collaboration with Enough Records.

Do What Thou Will

Another compilation that is, in itself, a celebration of music, is "Do What Thou Will", a ritualistic compilation created out of the concept of "doing what thou will" using as the starting point an 11 minutes unprocessed and raw acoustic piece of ritualistic sounds, created by "Akoustik Timbre Frekuency". The result is simply this: 333 minutes in 35 tracks and 2 videos, by the artists invited by ATF...

Nouvel Ordre Mondial [A Tribute to Ministry]

Another kind of free compilation, this time a tribute. Ministry was a well known industrial band with 27 years of carreer, until its mentor Al Jourgensen decided to retire the band in 2008. It's discography had many phases, from its initial EBM and experimental Synthpop, passing from thrash, until the latest releases in a more metal vein. But if you think its discography has many styles and variations, you have to listen to what other artists decided to do with its compositions for this tribute: from the almost neo-classical piece from Patient to the thrash metal from the Evolutionary Armageddon covers, you have here something of all - an interesting tribute album in many aspect, and a must-have for Ministry fans.

Meranata

But if sometimes several artists join together to celebrate the tracks of another band on a tribute, some other times bands just decide to enjoy and play with each other tracks. This album is such a case. TVK netlabel invited Merankorii and Nata "to rework tracks from each others back catalog in any way they saw fit resulting in the split release (in more ways than one) that is MERANATA. This is what happened in the aftermath of that experiment. Two very different approaches, but with much common ground."

Necktar 2017 volume 2

"Necktar 2017 volume 2" is a futuristic/electronic compilation with 92 tracks and more than 8 hours of music. It intends to be "A mere journey through time, the great work of anachronistic alchemists, the apiary of a network of precognitifs... Difficult to define Necktar 2017, till the first cycle is not achieved. Currently it is a compilation of hors norme (not normal) music for free sharing, articulated in several thematic episodes. For know what it will be ultimately, unless we can travel through time, it won't be until 2017." In other words, this cycle of compilations intend to be a musical Sci-Fi predictive work, showing us how will be the world in 2017. This "part 2" is concentrated on "Random / Perception / Cycles : Reproduction". This year's volume (part 3) is already in the works, and is going to be about "Macro / Perception / Micro : Evolution".

The Impact of Illegal Downloads On Total Sales

One frequent rant of mine is the fact that there's no credible study about the impact of "illegal downloads" (not my wording) on total sales, and that, yet, there are lots of policies being made based on plain wrong "studies".

Lately, many things are happening (including arguments behind the approval of the Gallo Report) around Tera Consultants' "Study on the impacts of digital piracy on the EU's creative industries" (March 2010). If we carefully read the report (yes, reading more than just the abstract), thou, we find lots of interesting things. For instance, the fact that the study didn't research the "impact of illegal downloads on total sales", but, instead, decided to have a non-scientific approach to find some kinds of "average values" from the eight "relevant studies" on the issue. Well, in fact, they used the summary from those eight relevant studies presented on Oberholzer-Gee & Strumpf (2009 - a working draft). And here, I have a couple of things to highlight:

1) Instead of using Oberholzer-Gee & Strumpf latest release paper, they decided to use a working draft;
2) Instead of using Oberholzer-Gee & Strumpf conclusions (that can be summed up as "file sharing can be blamed for part of recorded music revenue declines, [but] that hasn’t eliminated artists’ incentive to create and consumers have benefited from increased choice"), they decided to use only a decontextualized table from that report;
3) Many flaws were pointed to the Oberholzer-Gee & Strumpf research, but let me talk about one: while in their 2005 paper, where they found no negative impact of illegal downloads on total sales, they used their own data, in this new paper - guess what - they used the same as Tera Consultants: a non-scientific approach to find some kinds of "average values" from the eight "relevant studies" on the issue.

So, let's look to those eight "relevant studies":

• Hui and Png (2003) - If you actually read the article you see that the authors acknowledge that:
  
  • their data is completely dependent of the piracy numbers provided by the IFPI (mind you, the most interested party)
  • they acknowledge that they ignored the need to research the demand-side externalities positive impact of piracy on sales (as proven to be needed in Conner and Rumelt (1991); Nascimento and Vanhonacker (1988); Shy and Thisse (1999); Takeyama (1994))
  • in the same way, they didn't estimate the positive impact of piracy on sales thanks to means of more effective price discrimination (as proven to be needed in Bakos et al. 1999; Besen and Kirby 1989; Jacob and Ben-Shahar 2002; Liebowitz 1985; Takeyama 1997; Varian 2000)
  • Last, and yet the most important (in my opinion), their study only analyses data until 1998 (that's right, 12 years ago!), and they highlight that this is all data "before Napster" (dare I say, now, "before p2p", "before torrents", "before pirate bay", "before web 2.0", "before social music services", ...), and that's a really important behavioural shift, that probably changed all the ecosystem of illegal downloads and their impact on total sales
  In other words, this study should not be considered;
• Peitz and Waelbroeck (2003, 2004)
  
  • they use as data source the IFPI World Report of 2003 that provides industry data from 1998 to 2002. As pointed before, IFPI is the most interested party in influencing the results, so the validity can be argued;
  • they assume, because they don't know how to estimate, that the quality of music (which englobes que quality of the music release - compare, for instance, a signed limited edtion 12'' 2LP with the album in DRM-encumbered 128K digital file...) has no influence in buying habits (assuming, thus, that the number of people who use "piracy" to "try before buy" is zero, which is obviously wrong - simply ask your friends);
  • they assume that each "act of piracy" is equivalent to the loss of a CD sale (which is obviously wrong), and then...
  • they assume that you can do a direct correlation between the rise of usage of p2p networks and the fall in music sales, just because they saw a bigger fall in sales at the same time they saw a fall in music sales
  • They state that with broadband, non-piracy times can be spent doing a number of "replacement activities" other then enjoying music, and so people have less time - thus attention - to the music market. Yet, they fail to try to correlate attention-shift with loss of sales
  • In the "Discussion" section, they point out several flaws on their model (like the fact that they don't measure "intensity" in piracy activities, or that they aren't considering the non-renewal factor (the industry failed - at least until 2004, where the study focus - to keep their renewal cycle, when people were buying the same album in a different format, cassette replacing the vinyl record, CD replacing the cassette or vinyl, we just weren't seeing people buying the album in a DRM-encumbered digital format after having it on CD or a "previous" format) as a cause of loss of sales). Yet, they decide to ignore those observations on their conclusion...
  In other words, this study should not be considered;
• Zentner (2006) - Now, this is actually an interesting study, it just isn't a good study to taking a conclusion on our particular issue. In fact, as the origin dataset did neither contain information on quantities of music purchased nor on intensities of music downloads, he assumed that it was not directly possible to calculate the impact on record sales, and thus, for that specific part, he decided to assume things (and that's stated quite obviously on the article): "if 15 percent of the population downloads music, if downloaders are twice as likely to buy music than nondownloaders, and if – conditional on buying – downloaders and nondownloaders buy the same quantity of units". Notice that he didn't get inspiration for this assumptions in any study at all.
• Michel (2006)
  
  • The author states that "a possible problem with this approach is that computer owners who did not engage in file sharing may have decreased their music purchases for reasons unrelated to file sharing (yet inherent to owning a computer)", which is not considered in this study. As stated previously, it is fair to assume that there is an (unaccounted) percentage of non-sales directly related to this fact;
  • An analysis in this study's "Table 1" suggests that trends and influences greatly vary year by year, possibly in a two-years basis. This is actually why the researcher has data from 1995 until 2003, and yet can only assume a relation between file sharing and CD sales in 2002-2003. Also, in "Table 4" analysis, the author concludes that "the relationship between computer ownership and CD expenditures [, the only relationship being studied in this paper,] weakened from 1998 to 2003. In III.B), the author identifies other four reasons why this paper might not be valid, but the really important thing to quote is in the conclusions section, when the author state, above all, that "results should be used carefully when predicting the long-term viability of the music industry in an environment where record labels (or artists) compete directly with free file-sharing services". While it is arguable what the author means with "long-term", with the previous data we can assume that a) we can identify 2 year cycles, b) in 5 years the relationship weakened, so, if that trend is maintained (which is arguable, but wasn't in Mars' report) nowadays, 7 years later, the relationship might be completely dissipated, so...
  ...taking the previous items in consideration, it is fair conclude from the article data itself that this study can't be considered valid nowadays;
• Montoro-Pons and Cuadrado-Garcia (2006) - This study doesn't appear anymore in the table in the final version of Oberholzer-Gee & Strumpf's paper;
• Hong (2004, 2008) - This study was centred only and exclusively on the impact of Napster in 2000. As stated before, and shown by the other papers, we can't infer the current correlation between "piracy" and music sales from some event that happened a decade ago;
• Leibowitz (2008) - the conclusion of this paper, and on Oberholzer-Gee & Strumpf's paper, is quite different from what's presented by Mars' study: in fact it concludes that if we consider all markets (where the universe was 89 different US markets), we cannot relate internet usage with changes in music sales;
• Leung (2009) - This is a nice study made by using data from college students of seven different undergraduate classes (from the tone of the paper, I'm assuming this is on USA, but I'm not sure). We're talking about heavy music consumers with no money (they buy four or five digital tracks per month, and one CD every two months). The study implicitly also shows, while it's not its focus, that those students would buy more if they had more money (or if the cost of CDs, iTunes tracks and iPods was less than it is). So, I'll argue that this is a nice study but only representative of a small subset of the global "pirate" reality, specially different from the EU reality, where we have differences like the fact that more than 40% of our countries don't have access to the iTunes music store. Actually, I can go ever further, and tell you my belief (no, I don't have any study showing I'm right or wrong, that's the real issue on this blog post...) that, since you can see that this college students consume nowadays much more music than others (for instance, people with 15 more years than them, even if those others have a lot more money) that it was the setting in which they live - including the cultural influences made by the existence of "digital piracy" - that made them such music fans, and when they grow to have more money, they will be better consumers than they are nowadays. In other words, this is a nice study, but one that only proves that there are lots of dimensions to the problem which need to be researched until we can take any scientific conclusion regarding the impact of piracy in music sales.

So, what I have to say about Tera Consultants' study, and everything else that uses it as a base to take a conclusion or decision? Only that I'm really ashamed, as an European citizen, that we pay blind attention to any study, specially studies commissioned by entities like ICC, whose body of members include three of the four major labels.

Pequenas Conversas, É Bom!

"Pequeno É Bom" is a monthly meeting about independent editions. I've participated several times on this meetings, and there are some videos where you can listen (in Portuguese) to my points of view regarding the independent edition. Here are the movies:

XVI FEIRA LAICA

XVI FEIRA LAICA
Dias 26 e 27 de Junho
14H-20H
Bedeteca de Lisboa | Olivais | Portugal

Now with sixteen editions, the biggest Portuguese independent fair returns to its most regular place, for two days of cultural fair trade, networking and music. Highlighs in this edition for the concerts going on during the event, activities for kids with Mini-Laica (opportunity for kids to trade things they don’t want anymore) and story telling; the traditional second-hand stall (books and records); the “Science Is My Mother” wall in the expositions space in Bedeteca and a typography workshop by Oficina do Cego.

Poster by José Cardoso

I'm going to be there during all the event, in Noori Records' stall, and invite you to also come and say hi. More information (in Portuguese) can be found at Feira Laica’s website. See you there!

Ambiansu - Tagebuch

Many of you know that I have a one-man-band called Merankorii, but only a few know that I also have another musical project, called Ambiansu.

After interviewing M., the person behind the one-man-band "Ambience", whose latest album "As Dez Esperas" I considered one of the 10 best albums of 2007, we kept contact, and one thing leading to another made us want to try something different. The result, Ambiansu is more or less what you could expect from a fusion of Merankorii and Ambience styles (and something that people are generally describing as better than any of those two projects alone, but I'll leave that for you to decide).

Almost two years later, we had a musical project with one album released: "Tagebuch".

Tagebuch is an opus of 5 pieces, a mix of what's classical with what's disruptive, and what's traditional with what's unconventional. Instead of entering into much details, I'll instead ask you to listen. It was released in a 500 copies limited edition CD in card box, and it costs only 8€ (postage included). And the best part of it? If you buy it until the end of the year, for each CD you buy, I'll offer one to a library.

Before you ask: no, we don't intend to have the album for sale in digital form. On the other hand, it costs less than your typical mp3 album, I'll offer one to a library with each purchase, and you can always rip it to your favorite format and give the CD to a friend (yes, this is a promise that we won't charge you for "piracy" or any other of those silly things).

So, what are you waiting for? ;-)

Reasons to buy cassette tapes

Last weekend a friend couple ended up the night coming home for some tea, chess and chat. I changed the record in the player to the beautiful white marble Fire + Ice's "Birdking" vinyl, and that led to a conversation around music, where I, perhaps annoyingly, ended up bragging about my music colection showing this or that vinyl or CD, mostly talking about artwork, limited editions and what attracted me about this or that album. Nothing too extensive or boring (I hope, for their sake).

At one point I showed the latest C-Utter release (actually because of its artwork and packaging, uncommon for a tape), and got as a reply "now that's something I don't understand". It was simple: my friend understands everything about why I prefer physical to digital (music-wise), and what's the attraction about vinyl records or (more commonly understood) CDs. But cassette tapes? Why? They went to their homes before I had the chance to reply, but the question stood on my head. So here's one possible reply:

Most people that buy cassette tapes do it by fetishism. I can understand that, and it's more or less similar (or even a sub-case) to the "physical release fetishism), and, like every other fetishes, it actually has an emotional part, not mandated by reason. But that's actually not my case, not in the particular case of cassette tapes. I want physical releases, and a cassette tape is a physical release - and that's as far as I can go fetishism-wise.

So what are the reasons why I buy cassette tapes?

Well, one of them is that... cassette tapes are cheap. Really cheap. No, I mean it. As an example, I can tell you about my second to last cassette tape purchase: a Thanatos album. I bought it directly to the record label that released it - at the time in two formats, tape and CD. The CD version costs $13.98, the tape version (the last copy, I suspect) cost $0.99 (or something like that, I don't want to lie, but if it wasn't that it was only a couple of cents less). See the difference? Exactly the same album, different formats. Well, I listen to tapes anyway, I have tapes anyway, it's not like I have a burden, or that I'm buying a lesser version. For me, it's more or less the same, only super-cheaper. Is this a reason or what?

But there are other reasons. That C-Utter cassette, "Urban Hermits", was only released on tape. The same thing about Astra Autisma's latest, self-titled, release. And this is more common than you would believe. So, what to do? Refrain from having that album or buying it on tape? No question here, this is a great reason to buy compact cassettes.

Finaly, the most arguable one, but one that I'm paying more and more attention (maybe because I am also a recording artist). Preservation. Yes, you heard it right. People talk to me about the cassettes saying "but they break the tape, heat messes with them, they're unreliable, it takes a lot of time of putting it back together when something happens with its tape"... but they're not looking to two crucial (for me) aspects: not only tapes "degrade gracefuly" (the sound gets poorer, but it doesn't just stop working, unlike CDs or digital files), but they actually have more longevity. What does that matter? Well, my music colection is actually already crumbling to dust. Several CDs unplayable, one cassette tape dead (recorded in 1976, 33 years ago), and counting. What percentage of it will I be able to play out in a decade? Will my grandsons be able to listen to the music I created? To me, preservation matters. Oh, sure, you can shoot me a "if you want preservation, go vinyl!". And I agree. But tapes are way cheaper to manufacture, so there's lots of music on tape you can't find on vinyl.

I understand if you still think buying tapes is silly. Really. Also, I don't mind :-) But, there, here are my reasons (or at least the ones I can remember of at this time of the day, my cup of tea is already empty, which must mean this blog post is bigger than it should) to buy compact cassettes.

Taking the "name your own pricing" model one step further

There are many ways from which I could explore this issue, but as you can probably see by the lack of updates on this blog, I don't really have much time to write about this - I have more important and/or interesting things to do... Anyway, this blog post can work in three ways: 1) to tell you about one experiment I did, how it went, and what will I do now that the experiment is over; 2) to improve my comment on André's blog post about Portuguese people (in Portuguese), where he states that "Portuguese people think that everything that has to be paid is too expensive"; 3) to improve my comment on Miguel's blog post about tips and tip jars, where he says that some tips are "socially accepted" while others aren't...

Yesterday, the 2nd of April 2009, my micro-label Noori Records released its first "Pro CD Audio" (a term generally used by labels and distributors to describe Audio CDs that aren't CD-R's), a limited edition beautiful (as you can see in the picture) compilation called "April in Jazz".

I've been playing in my mind with the concept of the "name your own pricing" model in my mind for a long while: first it was the Nine Inch Nails experiment, releasing an album for free in digital format, selling it also as a physical release that soon was sold-out, and Radiohead's "In Rainbows", where people could choose how much to pay for the (digital version) of the album. From March 2008 I decided to let people buy Merankorii digital tracks at the price of their choice, and in May 2008 I wrote about why wasn't all my music free. Yet, and after many hours thinking, reading and learning, I decided to take the "name your own pricing" one step further.

At the 2nd of April, "April in Jazz" was released, and got sold out. News about the album release were spreaded via e-mail to Merankorii and Noori Records fans and friends, and because I was more of less afraid of the results I decided to tell first (and it ended up being only) about it to Portuguese people (because shipping costs are less that way). And so, the challenge was made:

[...] and doing it in a very special way: you choose the price. That's right: it was your money that made this release possible, so you are the ones who have the right to tell how much is it worth to you, how much you're willing to pay.

There are several things that you have to think about this: probably the most important one is that I wasn't selling the CD on a widely available website where everyone could click and buy, I was talking to true fans, and only to them. Still, here are some data about the results of the experiment:

• More than 50% of the buyers paid more than I would ever dare to ask for a CD;
• I hadn't a "price" in mind, but the price I would probably choose for this release is the same as the lowest price people paid for the CD;
• If the edition had the double of its size, and everywhere else paid 0 € for it, and those other copies needed to be shipped to the moon, it would still be profitable;
  
• 20% of the people who bought it didn't like to have to choose how much to pay for it.



• WOW, Noori Records and Merankorii fans totally ROCK.

So, is it true that Portuguese people always think that everything is expensive? I don't think so, if you make them wanting to get it (whatever 'it' is you're trying to sell). So, is it true that people won't tip artists? No, I don't think so - but you'll have to make them comfortable in doing so. Having a tip jar in Merankorii's website never helped me getting money (well, I got $0.20 :-)), but when people feel they have to pay something for something, they can be very generous. What about this experiment, what will happen next? I really don't know, but one thing I'm sure of: I'll keep thinking and trying to test several models that feel right for everyone: artists, labels, fans, buyers, freeloaders, everyone. If it's fair, it's good for everyone. And I don't think that putting buyers in the position of "OK, now I have to chose an amount to pay for this..." isn't that fair, that good, and, as I stated before, not everyone liked the idea. So, I probably won't do this again. But that doesn't mean that the experiment isn't worthy - it is, and a lot. It let's you be a lot more transparent with your community, and the community will show a lot more about themselves.

Think about it.

[Merankorii - Angellore] new album released!

[Updated with link to an online store selling this CD]

Merankorii's 7th album, [Merankorii - Angellore], was released yesterday, 15th February 2009.

This album, a split with Angellore, shows two faces of the same story - We - one noisy and urban (Merankorii), and the other neofolkish and pagan (Angellore).

The album was released in a 60 copies limited edition by NgH Productions, and it is the first Merankorii album in a printed CD.

If you're interested in buying it, feel free to contact me here's an online store selling it. The album price is 8€.

I hope you'll enjoy this new album!

New free stuff ('cause free is what you like)

This is a quick post, just to let you know a couple of things, both related to my musical projects.

First of all, my Metal band "Mordor" is officially setting itself "deceased" with the release of its last track, for free, in a 2CD Metal compilation: Carrying the Deadly Blast Vol. 3&4 is a free, Creative Commons licensed, double CD Metal compilation, feature tracks from bands like FluiD, Odium, Mordor, Nihil and Elgibbor.



The other news is about the first movie of a promising couple of directors: Playground is a short movie made in Blender, with a Creative Commons license and a soundtrack by Merankorii.

Here's the movie.



Enjoy!

2008 is over, welcome 2009

2008 is over. It's peak, for me, was obviously the 27th of December, the day of my marriage. Being a married man is... not that different. I have a ring on my finger now, and that's a difference, but the really nice thing about being married is actually living with Paula, something that could happen without the ring :-) Anyway, the wedding went really well (and I even did something I wasn't expecting, and acted like a crying baby for a couple of minutes), and our honeymoon was excelent. Now that I'm back to "real life", working again, there are things that change. Living with Paula is awesome, but the adaptation has quite a few funny episodes. For instance, who gets to control the waking alarm and choose at what time it should be set to fire up, in which side of the bed is its place, or - most importantly - if it will wake us up by playing CD (my choice) or radio (Paula's choice). Or, for that matter, what CD should we be listening to at this very moment: I just had to change CDs! O:-) Oh, and where will we get space to store those tons of excelent books Paula have? She argues that we should use the space reserved to my tons of excelent CDs, but that's obviously not the right answer :-D

Another news from me is that I have now, as a birthday/Yule gift from her, a Stylophone. It's a cute little musical instrument, and a quite addictive one. I wonder how much time will it take to "suddenly disappear", as I tend to play it quite annoyingly for hours. Don't worry, I only plan to release stylophone-played tracks that were previously approved by her :-)

2008 was an intense year for Merankorii: two albums released ("A Viagem" and "Split") and participation in a few compilations: "Anti-Nuclear Music Compilation", "Killing In The Name of Reverend Murder ...Is Our Business (Vol. 1)", "Evocation", "The World Of All Evil" and "Okkulth Magick I". In this year I kept the "one track per month" iniciative, meaning that each month I published one new mp3 of Merankorii into the wild. One real interesting thing about this experiment is that, even if all my music is licensed with a Creative Commons license, there are a few Merankorii fans that, while liking the music enough to want to listen to them, don't actually want to pay for it. Thus, I'm pleased to make them happy by releasing one track per month. It's great to have the feedback I got from this: both from people telling me "thanks" for the iniciative, and from those telling me "hey, when is this month's track? Will I have to wait for the last day of the month to get it?" :-) 2009 will surely bring you more Merankorii news: I can tell you that Merankorii's 7th album is going to be released really soon now!

Speaking of music, and because people tend to do lists every time an year ends, here's my "top 10 2008 albums" list, that exclude everything with the hand of Merankorii or Noori Records. Here is it (without any relevance to the order, they're ordered by "when did I buy it"):

• Caprice - Kywitt ! Kywitt !
• ThanatoSchizO - Zoom Code
• Edo Notarloberti - Silent Prayers
• V/A - Fairy World IV
• Ashram - Ashram (2008's re-edition)
• Les Fragments de la Nuit - Musique du Crépuscule
• Sol Invictus - Lex Talionis (2008's re-edition)
• Marilyn Manson - The Early Years, Volume 2
• Cranes - Cranes
• V/A - La Nuit des Feés 2

Actually, this is the best time to revise my list of "best from 2007":

• Dismal - Miele Dal Salice
• Antimatter - Leaving Eden
• Tenhi - Folk Aesthetic 1996-2006
• V/A - Fairy World 3
• Ambience - As Dez Esperas
• Corde Oblique - Volontà d'Arte
• Knox Om Pax - Laudanum
• (r) - In Pink
• V/A - La Nuit des Feés
• Sol Invictus - The Killing Tide (re-edition box)

I guess someday I'll take some time and do the same for 2006... But not today.

Why I don't rent movies

Three associations of rental movies stores, one Portuguese, one Spanish and one French, joined efforts and created an "anti-piracy civil movement". While I could argue that "civil" is a bad word to describe such movement, this wouldn't catch my eye for long, but it did, since they created that movement for the purpose of getting the Telecoms Package to be approved by the EU Council without the emend 138 (that states that whatever the Package says, personal rights should not be trumped over), and they actually managed to get what they wanted. Anyway, when confronted about how bad for European citizens it would be if the amend was dropped, they failed to justify why they don't like it, and instead mumbled over and over about piracy piracy financial losses piracy piracy piracy... I tried, for three days, to get them talking about 138, and why they don't want that, but instead of getting a justification, I've heard tons of things about piracy and how bad their business was.

During the discussion, and because they felt that I must be pro-piracy (which I actually am not) because I don't agree with them, they tried to confront me by asking a curious thing: what was the last time I rented a movie?

Now, more sober from the discussion, I started to think more about that question. There are lot's of people that never really were into renting movies, but that's not my case. My reply was something like "for years", but now, thinking more about it, I can say with some certainty that the last movie I rent was more or less four years ago. Why?

Well, I lived in Lamego in my youth, and there I never was really into renting movies. The offer there was poor (and last time I checked it was even worse), so there was really no point in spending money and rent a movie when I could spend the less drinking beer, hanging out, or even acting like a potato couch and seeing silly TV shows. When I moved to Coimbra all was different. Specially in my first years there, I was quite addicted in cultural stuff: almost every day I had a concert to see, a theatre play to attend, and exposition to watch, a movie to see. I spent lots of money in one of the cinema's there, where I usually watched all the movies that were shown in that venue. Also, I used to attend to every thing that was going on the Academic Theatre (TAGV): mainly movies, plays or concerts. And I also started renting movies, specially when with friends: we would get a couple of movies, crash in someone's house, and do a "movie party". Life started getting busier and busier, but it wasn't uncommon to see me browsing in Tintarella's shelves, since that particular movies rental store had a quite nice stock of recent and good alternative movies, European cinema and science fiction, and a catchy section with weekly highlights. In my latest years in Coimbra, sometimes I was found in the middle of the night with a couple of friends on the multimedia room of one University department, watching a just-rented movie.

Then I came to the big city of Lisbon, and I never rented a movie again. Do you think it is my fault? First I lived in Carnaxide, now I really live in Lisbon. I know where a/the movies rental store in Carnaxide is: I went there exactly three times, sold there used CDs, bought there one second-hand CD, and their movies selection was... unattractive. I live in "real Lisbon" for almost three years now. And I never saw a movies rental shop.

Now, do you really think that it is my fault that I never rented a movie anymore? Is it caused by piracy? No way. I don't rent movies because I don't have the habit of doing so, I don't know any rental store and I don't feel any urge of finding one. If you take into account that I used to be a client of that kind of stores, their "industry" lost a client. They did not know how to keep me. They failed as business people. They did a bad job. They are doing a bad job. They can throw rocks to piracy, freedom, rights, or anything they like. They might even get the chance to implement any laws and regulations they dream of. They will never have a successful business until they realise and admit their flaws and mistakes. Hurting people is not a way of making them your clients. Slowly, really slowly, the music industry is starting to learn their lesson. Movies rental businesses should too.