The music industry is continually changing and evolving to keep up with modern society and cultural trends. Although some aspects and requirements are a constant, it is important to evaluate the current state of play, the fluctuations, and be realistic. We should take advantage of the facilities we do have access to now, and be creative.

Modern recording budgets are often being cut to a fraction of what they once were, or even cancelled altogether, which means projects may end up relying on personal funding or development of an artist through their producer or management rather than from a record label.

Labels are understandably cautious about investing in new artists for fear of little or no return. Artists are expected to have already created an underground following, to have an image or a sponsor. A guaranteed song placement and synch rights would go down nicely too.

The problem with taking an artist from their underground circuit and trying to turn them mainstream, or taking a new artist and trying to throw them straight into the commercial playground, is in retaining their ‘cool’ factor. Doing this over a ten to 15-track album is costly and a big commitment from a label, even if these days the major labels act as more of a distributor/plugger. I think we should go back to doing more EP-style releases – ‘projects’ that contain around five or six songs. 

This way, the artist, management, producer and label, can focus on generating the best songs for a mini project, rather than stuffing it with filler songs. It also helps focus the project toward a particular market. If the project doesn’t work, it also means there has been less money spent on it.

Something that is also interesting to consider is that with this way of working, you also have the option to release alternative projects, or remix projects alongside the main release, perhaps targeted more at the clubs or the underground circuit, or maybe just a live or acoustic project. Not only does this expand your audience and exposure possibilities, it can also bring in more revenue.
Two different projects mean a wider spread of radio and club play and if someone is a fan of one project, there is a good chance they will purchase the other one, too. Remix and underground releases can help with achieving this ‘cool factor’ requirement, adding credibility to an artist, by having an equal and opposite force present alongside the more mainstream-focused project.

It is also good as a producer to split your work into at least two parts, under different aliases – one for your own independent projects and compositions and one for more commercial releases and remixes, allowing you to take advantage of different types of work available whilst maintaining your name and credibility for your other projects.

Taking the concept of equal and opposite throughout your work ethic can produce very creative work that helps you stand out.   Combining opposite music genres can work well. Imagine rock and classical, drum and bass and opera, reggae and country and western – although it may sound unusual at first, you can quickly realise that there are endless possibilities to create something new and appealing.