EightyOne

And I thought Amazon’s approach to online music distribution was radical!

It appears that Radiohead are making the most of being out-of-contract with Parlophone (EMI) by letting fans decide what they want to pay for their new album.

In Rainbows is out on the 10th of October, and is available for download at a buyer-defined price, or in a ‘print-on-demand’ box-set with the album on CD and 12″ vinyl, an extra enhanced CD, photographs and artwork, at a cost of £40.

It’s a very interesting approach to selling your new album. It’s not like Radiohead are an obscure band, and I doubt they’re short a few quid, but the slightly pricey box-set will be a must-buy for die-hard Radiohead fans and collectors, while the (potentially) cheap download version will help promote the band. I also expect that quite a few purchasers of the download version will go on to buy the box set.

From Boing Boing: Radiohead lets fans pick price for new album:

“[...] the box set (Glorious thick 12″ vinyl! and “enhanced CD”) is $80, but the downloads are name-your-own-price.”

“This is major, and it’s such a slap in the record industry’s face. An unsigned superband, treating loyal fans and customers like loyal fans and customers instead of thieves — what a revolutionary concept.”

Amazon recently launched their online music store, named amazonmp3. Unlike most other online music stores, though, Amazon’s offering is completely DRM free, and for this reason, the launch of the amazonmp3 store is a hugely significant event for the online music market.

There is already another large player in the DRM-free market — eMusic offer a completely DRM-free catalogue of independent music and is currently the second largest seller of online music behind iTunes — but amazonmp3 has some significant advantages. Needless to say, the Amazon name clearly already has a lot of trust in online sales, whereas eMusic is still relatively obscure, at least outside the US.

Amazon’s key advantage is that it is able to offer a completely DRM-free catalogue that also features music from two of the four major labels. It is also offering music on a per track/album basis rather than the subscription model used by eMusic — a far more attractive proposition for most people, I expect — but also at a lower cost than the iTunes Music Store. It is really taking the best bits of the two market leaders and undercutting them while it is at it.

I will almost certainly be using the service if/when it launches in the UK. The big draw for me is that it will work perfectly with the system I already use for portable music. The downloader used by the service will integrate almost seamlessly with iTunes on the Mac. Yes, on the Mac! As an iPod user, I rely on iTunes to sync music and manage podcasts for me (and I’m perfectly happy with this arrangement). Any tracks I download from Amazon will be automatically imported in to my iTunes library and subsequently sync’ed to my iPod. Nice.

Compare that with music from most other online music services, such as the now defunct Virgin Digital — their tracks wouldn’t even play on my iPod because of the Windows Media DRM, and that simple fact rules them out of something like 90% of the MP3 player market. Does that make any business sense?

Seeing such a big player as Amazon launching a DRM-free service with major-label support is a huge step towards creating the sort of marketplace that most online music consumers want, rather than a market that alienates customers, locks them in to services and technology, potentially encourages piracy as a less complicated route to obtaining music, and therefore seriously limits its potential to grow.

Instead, it will allow interoperability between computer platforms and portable devices, and give us the sort of market that consumers wanted all along — something more like the CD market, where you can purchase music on a medium that will play on any technically capable device without any added complications (rootkits and the like aside!). Hopefully the remaining two major labels will recognise and acknowledge the advantages of this approach and get onboard soon.

It’s been aaaaages since my last update on the development of the new Left Hand Red WordPress theme, and that’s because there hasn’t been much developing. Last week, however, I pushed myself to plow on.

The dark grey scheme wasn’t inspiring me much, so I’ve replaced it with a white/light grey scheme with red highlights, and ditched the single-column format with the addition of a second column for secondary navigation and blurb. I’ve only really been blocking things out, and it’s very much still ‘bare bones’, but once I’ve settled on a colour scheme and layout I will start introducing some graphics and styling touches.

I’m currently using a red background for hovered links (see below), which looks quite striking on the simple, monotone background.

I’m probably still going to use a single-column layout for single posts and pages. I’m also going to implement Gravatars for comments, which I have more recently added to the existing site.

Last night, Left Hand Red played an opening slot at the Hope & Anchor in Islington, London. The venue has quite a punk pedigree, with appearances by loads of famous bands dating back to the ‘Seventies, and it also serves as a ‘feeder’ venue for the Dublin Castle, so we were naturally quite excited to be playing there. Unfortunately, the reality didn’t really live up to the expectation.

Things didn’t get off to the best start when Russell, Jane and I ended up getting ourselves lost in East London, but in the end we were only about 15 minutes later than our prescribed sound-check time of 19:30. Being late for sound-check never creates a great impression, so we were relieved to see that the other bands were still sound-checking themselves when we arrived.

When our turn to sound-check came, we were told that we only had 10 minutes, so we hurriedly went about setting up. Disaster! My bass failed to produce any output at all! I tried a different lead, just in case, but going in to two amps and my tuner showed that I was in trouble. Fortunately, we were able to borrow a bass from another band, and did a rushed and very ropey sound-check through a couple of verses and choruses.

By the end of our sound-check, it was already time to start our set, so we didn’t even bother leaving the stage. We played through half-an-hour or so of our most gig-friendly stuff, and of course, gave it the usual gusto. The whole thing felt like a bit of an effort though. The monitoring made it difficult to hear what we were doing, and the tiny stage (and we’re only a four-piece) was cramped and difficult to move around. It wasn’t the ideal environment for getting in to a performance. The unfamiliar bass and an unusually mobile drum kit didn’t help matters, either!

In the end, I think we put in a reasonable performance, and there were some positive comments on how everything sounded. We’ve learned not to let setbacks get us down, and to put as much effort as possible whatever the venue, crowd or situation, and hopefully that helped the impression we left.

Russell had an exam the next morning, and Jane and I had to be up early for work, so we left shortly after finishing our set and speaking to some of the people who’d made the trip up from Sussex. It might have been nice to stay for the other bands, but I didn’t feel particularly compelled to hang around, either. So, after two-and-a-half hours of travelling, and just an hour-and-a-half in the venue, we were off!

We’re often told that we need to look outside of Brighton if we’re going to go further as a band, but I have to say that I’m not sure we’ve got much from our travels to the capital, either. The venues we’ve played in just don’t seem to match up to those in Brighton, and it doesn’t feel like we’ve achieved much extra exposure (but it’s always great to play to those who come to check us out or make the journey with us).

Maybe we’re spoiled for choice in Brighton, or maybe there’s so much competition in London that it’s hard to get in to the good venues. We are going to be looking outside of Brighton for future gigs, particularly in big Uni towns and cities like Southampton and Reading, and I’m sure we’ll keep trying London, too.

Apple boss, Steve Jobs, has publicly said he wants record labels to allow downloadable music without Digital Rights Management (DRM). Apple have been criticised (and even threatened with bans by several European countries) for the ‘Fairplay’ DRM on songs sold through the iTunes Music Store, which (deliberately or not) only allow the music to be played in the iTunes software or on an iPod music player.

However, I was always strongly under the impression that the inclusion of DRM was at the insistance of the record labels, which this request would seem to indicate. Without the DRM, they simply would not licence their music to Apple, so they have no choice but to include the ‘anti-piracy’ measures.

As well as limiting iTunes Music Store purchases to Apple software and hardware, the ‘Fairplay’ DRM restricts the number of computers a song can be played on, and also restricts things like how many times you can burn your legitimately-purchased music on to CD. Removing the DRM would mean that the files could be played on any software or hardware that supports the AAC format used by the iTunes Music Store, and copied, moved and, most importantly, played as the purchaser wishes.

Ideally, there would be no DRM in digitally distributed media, but if used it should be completely transparent to the user, and wouldn’t pose any restrictions to legitimate use. In reality, it does things like stop people watching high-definition versions of their legally-purchased Blu-ray discs on their legally-purchased players through their legally-purchased HD TVs, because one of the devices, even an AV cable, doesn’t support the required DRM.

I’ve personally had to register for licenses for content that I’ve created, heard pops in legally purchased, ‘copy-protected’ CDs that I’ve transferred to my iPod, and for some reason, my iTunes music library has four of the maximum five computers registered to it, even though we only have two. This hasn’t caused any problems yet, but could the next time I reinstall my OS or add a user to either computer.

Hopefully this is a significant step towards a DRM-free future.

Apple seeks online music shake-up [bbc.co.uk]

Update: A more detailed look at Jobs’ open letter, and further insight in to the Apple/DRM situation — Apple would “switch to selling only DRM-free music” if labels agree [arstechnica.com]