IMNZ Newsletter: Streaming Skyrockets…

IMNZ Newsletter: Streaming Skyrockets…

THE

IMNZ NEWSLETTER.

October 6 2017

Kia ora all – we have plenty of interesting long-reads for you in this week’s newsletter, from here and around the world – because knowledge is power!
Welcoming New IMNZ Members 
Sandy Mill
With over 25 years in music as a songwriter, vocalist, percussionist & DJ, Sandy Mill has a diverse list of releases, collaborations, live and guest appearances here in NZ and the UK.
Website
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TY – Morning (Official Video) 
INTERNATIONAL AND INDUSTRY NEWS

APRA AMCOS Celebrate Massive Year of Growth as Streaming Skyrockets 
The Industry Observer reports: APRA AMCOS have today released their annual Year In Review report, covering the 2016-2017 year, and have announced a banner year of growth, with streaming proving to be the driving force behind the industry’s success.

Announcing their figures today, APRA AMCOS have shown that the total amount of royalties paid to songwriters, publishers, and affiliated societies equaled $335.9m, showing a 17.7% year on year growth. The next highest area was that of streaming royalties, at $62.2m, which saw an unprecedented 127% year on year growth.

Likewise, video on demand royalties rose by 69.9%, live music royalties by 15.9%, and royalties earned overseas rising by a brilliant 13.6%.

APRA AMCOS Chief Executive Brett Cottle appeared to be rather ecstatic with the results of the last year. “A particularly pleasing aspect of APRA’s revenue growth during the year was that international revenue – at $43.5m for the year – grew at almost exactly the same rate (13.5 per cent) as domestic revenue,” he said. “Suggesting a level of rising and sustainable success by Australian and New Zealand songwriters on the global stage.”

The Year In Review report also outlined a increase in most other areas as well, showing that the APRA AMCOS group revenue rose by 16.1% to a massive $386.6m, while APRA international revenue rose $43.5m, a 13.6% increase on the previous year, and a 99.5% increase since 2013.

Additionally, the report also outlined that the amount of songs and compositions paid by APRA AMCOS is at a huge 1,305,817 for the previous year, while the number of businesses licensed across Australia and New Zealand sits at 145,189.

Brett Cottle closed his report by stating that after 28 years with APRA AMCOS, he would be departing the association. However, he noted that the short-term goals of APRA AMCOS would consist of focusing on “securely deploying our new CLEF system, completing all of the preparations required to go-live with our joint licensing venture in Australia with the record industry –OneMusic Australia, and expanding our Pan Asian digital licensing operation.”

For more information on APRA AMCOS’ 2016-2017 Year In Review, be sure to check out their website.

NZ On Air NewMusic Funded Singles – September 2017
Artist Song
Alae Too Strung Up
Alien Weaponry Kai Tangata
Bailey Wiley Penultimate
Bakers Eddy If You See Kay
Balu Brigada Overlap
Bespin Microbes
Chores Losing You
Delaney Davidson So Far Away
Dictaphone Blues Bang Bang Bang
Disasteradio Sweatshop
Doe Hadfield Summer Fever
Emily Fairlight The Escape
Frills She’s Got Love
Helen Corry Strike
Jed Parsons Get Lost
Jordi Webber Love You Forever
Kimbra Human
Louis Carter ft. Vince Harder The Greatest
Naram Bobby Was a Gangster
Saski Independent
Thomston Acid Rain
Tunes Of I Kiss The Sky
Unchained XL ft. JessB & Nuel Nonso But Do They Know
APRA AMCOS’ Head of Revenue Talks Industry Mistakes, and How to Avoid Them 
The Industry Observer Reports: APRA AMCOS’ Head of Revenue Richard Mallett has penned an opinion piece for TIO readers on the state of the music industry, covering the rise of the curated mega-playlists, the biggest mistakes the music industry is making, and his suggestions on how best to move forward given the benefit of hindsight.The piece follows the release of APRA AMCOS’ Year In Review data yesterday, which announced streaming royalties had grown an unprecedented 127% to $62.2M, while the total amount of royalties paid to songwriters, publishers, and affiliated societies equaled $335.9m, a 17.7% year on year growth.Read Mallett’s op-ed in full below:For 16 of my 22-year tenure within the Revenue Department at APRA AMCOS, global recorded music revenues were on the decline. Now, for the first time since the turn of the century, those numbers are on the increase – evidenced by the 127% year on year increase in our collections from digital music services, which is on the back of last year’s 140% increase on 2014/15 collections.The music industry needs to learn from its mistakes in order to overcome future challengesFrom sheet music to vinyl to cassette tape to CD to MP3 to streaming – each new format, device and success has come with unforeseen challenges. I’d argue that 17 years ago when illegal downloads right hooked the industry – we clearly weren’t ready for the challenge. Indeed, when Spotify launched in this territory a little over five years ago, the streaming model was met with varying levels of consternation and backlash, but Spotify, Apple Music and similar digital music services are now being referred to as the industry’s knight in shining armour. It’s nothing new to say but it’s worth restating that the music industry needs to learn from the mistakes of our recent past and future proof ourselves against the challenges that come with success.

So, five years later and with the benefit of hindsight the challenges accompanying the successes of streaming are much clearer. Initially the challenge, financially but also largely on principle, was opening access to unlimited, a-la-carte music options on freemium (ad funded) services with little compensation to music creators. Today there are growing calls to abolish the free tier. I would like to say it’s only a matter of time – but perhaps that is too optimistic. The numbers, however speak for themselves, and when subscription – or premium tier – streaming services deliver 500% more per stream to rights holders than ad funded – or free tier – services, the countermove is clear. Abolishing the free tier will increase returns to songwriters and industry and reset the tone of what is an acceptable use of copyright for emerging technologies. There was never a business case for giving away CDs to your prime customer-base to drive the purchase of the same – and I’ve not read or heard a persuasive argument that it’s any different for streaming services.

The second and more complex challenge has been the rise of the curated mega-playlists. Ironically, while playlists have buoyed the appeal of streaming services and opened up global audiences to Australian music (a good thing!), algorithms and powerful playlists curated by overseas teams are a very real threat to the local industry. The success of a song on personal devices has shifted seismically from the consumer to the invisible curators and their swag of algorithms.

2018 will be the year of the home networking device
The driver for our collections from digital music services over the last couple of years has been through the bundling of those services with other products, primarily mobile phone plans.  We expect to see a new wave of streaming uptake in 2018 via the mass penetration of home networking devices. Where Netflix benefited from easy availability of the service on traditional equipment that people already view TV content on, music hasn’t really had the same ease. However, with an expected push in this market for the likes of connected speakers (Apple’s Homepod, Google’s Alexa and Amazon’s Echo) or devices in vehicles (Tesla), should result in further growth in digital music consumption.

So, consider then, what happens to your listening habits when you introduce in-home and in-vehicle devices en masse: literally, physically, taking control out of your hands and fully into the hands of the man behind the curtain.  Of course you can still program the service through your phone or other device, but in reality the off shore playlist has more influence than ever, and Australian (or New Zealand) content less chance than ever – unless you land a spot on one of those coveted lists.

It’s true that we have work to do exporting and introducing our music to these northern hemisphere curators, but it’s also true that something needs to change here at an administrative level. Perhaps a Streaming Services voluntary Code of Conduct that makes clear suggestions toward local content quotas or visible in-app representation. I mean, browse through the Genres & Moods section on Spotify and why is there “Folk & Americana”, “K-Pop” and “Latin” but not an “Australian” icon?  Answer me that Daniel, and don’t tell me it’s down to demand when you also have (but with no disrespect to the genres) “Classical” and “Sleep”!

Won’t someone please think of the Value Gap?
Self-regulation aside, there was one key move missing from our defensive repertoire in 1999 – decent, fair and strong copyright law – backed by supportive governments. Had the regulatory framework been water-tight or amended quickly to deal with new technologies, perhaps Australian entrepreneurs would have been inclined at the time to invest in digital music services and Australia would have its own home-grown Spotify or Apple Music?And perhaps Australia wouldn’t have been forced to cohabit with the Digital Millennium Copyright Act and its offspring, the value gap, which continues to unwaveringly support advertising-funded User Generated Content and Social Media services and completely ignore the continuing collateral damage that brings to our songwriters and recording artists because of one-sided take-down policies.

Lessons to be learned
If ever there was an area to echo a King Canute-like acceptance of the futility in fighting against the tide, this is it.  We must accept that the music industry often lies at the forefront of technological change, and that partnering willingly and early with new services to provide access to music will facilitate the best possible leverage to support our artists.  At the moment this includes specifically licensing digital music services to provide background music to restaurants and retail stores (something that is actually against the terms and conditions of those services) and looking slightly further ahead, perhaps to enable the further rollout into virtual reality shopping malls!

Google takes on Shazam with ‘Now Playing’ smartphone feature
Last night’s Google press event also saw the unveiling of the company’s new own-brand Pixel 2 Android smartphones, complete with a feature that treads firmly on Shazam’s toes by identifying music that’s currently playing nearby. The feature is called ‘Now Playing’ and here’s how it was described on-stage. “With Now Playing, you see the song name and artist on your phone. The music is identified without your pixel 2 sending any information to Google,” said the presenter. “On-device machine-learning detects what music is playing and matches it to a database of tens of thousands of song patterns.” More excitable journalists than us would be scrambling to label this a ‘Shazam-killer’ although there are currently clear limitations: the limited catalogue compared to Shazam, which DOES send information to its servers and can thus match patterns against a huge catalogue of tracks. Also ‘Now Playing’ appears to be a Pixel 2-only feature for now, rather than something available across other Android smartphones. Still, automatic music recognition developed by Google is bound to raise more questions about Shazam’s future, especially if Apple at some point follows suit. Source: The Music Ally Bulletin.
Spotify expands its partnership with Google Assistant
After Google’s press event last night, Spotify put out its own related announcement: an expansion of its partnership with Google around the latter’s Google Assistant voice-controlled helper. Owners of a Google Home smart-speaker have been able to control Spotify using voice commands since its launch, but now those commands will work with Google Assistant on other devices too: Android smartphones included. People will be able to link their Spotify accounts to their Google device and set it as their default streaming service, for ‘OK Google, play Discover Weekly’ type thrills. Spotify and Google’s partnership is one to watch: at the latter’s event last night, when it showed the streaming services supported by its new Google Home Max speaker, Spotify got joint-top billing with ‘YouTube Music’, with Google Play Music relegated down the presentation slide with other third-party services. Meanwhile, the decision to bundle a year’s YouTube Red subscription with the Home Max may be a pointer to YouTube being the lead music brand for Google going forward, as it merges with Google Play. Despite the fact that YouTube Red has been positioned more as a video service in the past, bundling it with a screenless smart-speaker is a rune worth reading as the industry gauges what Google is up to around music.
Source: Spotify – http://tinyurl.com/yc4lgobna
SoundCloud Adds Playlist Stats, New CEO Promises More For Creators
Hypebot reports: The first announcement under new SoundCloud CEO Kerry Trainor is aimed straight at the creators who made the audio streamer so popular. It’s a new playlist stat, which offers new ways to understand where plays are coming from and the people behind them.SoundCloud has launched a new playlist stat, available on the web and on its creator app  SoundCloud Pulse which shows creators who’s sharing their tracks in a playlist, and how many plays are being generated from the playlist.1.2 million creators are featured in playlists on SoundCloud daily.Check out what the new stats module, which includes both a ranked list of playlists a track is featured on and the total number of plays, looks like on the web below.In addition to the new playlist stat, SoundCloud also recently rolled out a refreshed visual experience for stats on the web. Some of the stats benefiting from the redesign include top listener and top country, which are now even easier for creators to uncoverSoundCloud says that more features are in the pipeline designed to “create an even better experience that fully supports creators no matter where they are in their career.”

Microsoft Surrenders to Spotify and Kills It’s Own Music Service 
Mashable Australia reports: Spotify is trouncing its music streaming competitors, and Microsoft has bowed to this reality. On Monday, Microsoft announced it will shutter its own music streaming service, Groove Music Pass, and encourage its subscribers to migrate to the streaming giant Spotify.In a press release, Microsoft acknowledged that streaming has become the dominant way people now listen to music (it now far outpaces digital downloads, with over 60 percent of U.S, music sales coming from streaming subscriptions versus 19 percent for downloads), while tactfully admitting that Groove, which grew out of Xbox Music, simply couldn’t match the catalog and user experience offered by Spotify:In an effort  to not simply leave their faithful Groove subscribers in the lurch — with their carefully constructed playlists left to dissolve away — Microsoft says that “Groove Music Pass customers can easily move all their curated playlists and collections directly into Spotify.”To further ease the transition frustration, Microsoft also says that some Groove subscribers, who paid $9.99 a month for the streaming service, are eligible for a free 60-day trial of Spotify Premium (which also costs $9.99 a month). Just like Groove’s service, Spotify Premium allows listeners to stream ad-free music. Microsoft is facilitating the transition by directly linking instructions in the Groove app on how to switch to or create a Spotify account.Microsoft will keep the Groove app around, but it won’t stream music; instead it will be for users’ existing libraries of downloaded music (which most listeners aren’t into these days).Spotify is the logical partner for Microsoft since the other major players in streaming are Apple Music and YouTube, both owned by direct competitors.

As of July, Spotify says that it has over 60 million subscribers, and over 140 million listeners who are not subscribers. Apple Music, which debuted in the summer of 2015, recently announced that it has half the number of Spotify’s subscribers, at 30 million.

According to the Music Consumer Insight Report, in August 2017 YouTube received 1.3 billion visitors who came specifically for streaming music — although most of these listeners aren’t subscribers. YouTube’s ad-free subscription, YouTube Red, is rumored to have far fewer subscribers than both Apple Music and Spotify, at perhaps some 1.5 million as of early 2017.

Music streaming hasn’t simply outpaced digital downloads and the purchase of CDs, it’s now responsible for supporting America’s recorded music industry. According to the Record Industry Association of America, steaming subscriptions now account for six out of every 10 dollars Americans spend on music.

YouTube Watch Time and Reach Is Surging in Australia 
The Industry Observer reports: Contrary to what the know-it-all kid says next door, YouTube’s dominance in the streaming space is showing no signs of diminishing.

The giant user-generated platform’s reach and watch time is surging in Australia, according to numbers presented at YouTube’s annual Brandcast summit in Sydney this week.

Nielsen Australia’s head of media Monique Perry revealed the service reaches 14.6 million Australians each month with an average watch time of 20 hours and 59 minutes, according to a report published by AdNews, with younger audiences proving particularly hungry for content.

According to the findings, 87% of 18-39s spend almost 27 hours glued to YouTube each month, with a similar band of 25-54s logged on for about 23 hours. Older demographics are also chewing up time on YouTube with some 60% of consumers aged 55 and over found to spend 12 hours and 17 minutes each month.

And in a nod to its career-altering propositions for the creative community, the number of Australian creators with more than 1 million subscribers, an elite circle that includes Troye Sivan, has more than doubled in the past year to 65.

According to AdNews, Google managing director Jason Pellegrino set a “conciliatory tone” with his presentation. “This year was less loud and brash, more humble and a promise to listen,” the new title enthuses.

What the speakers didn’t address, however, was the smoking hot issue of the “value gap” and the sums generated for music creators and investors.

Some 1,800 delegates rolled up to this year’s event, which Google stages to showcase YouTube’s suite of offerings to marketers in these parts.  “We need to do a better job to control ad placement on our platform. We’ve worked with you to make changes to our controls, our enforcement and our policies to make the platform even stronger,” Pellegrino said from the stage, Mumbrella reports.

“You have all taken the time to work with us to find out what works best for your brands. These conversations have not only made our relationship stronger but they have enabled us to more deeply understand your brands. It’s helped make YouTube a better place for advertisers, users and creators.”

Just last month, YouTube reported 1.5 billion monthly worldwide users and issued a handful of updates that the streaming powerhouse said would introduce a “new level of functionality and a more consistent look” for consumers. Earlier this month, YouTube’s global head of music Lyor Cohen told the MusicMatters conference in Singapore his mission at the company was to help break the artists for the labels. To increase the advertising CPMs for their content and to build a subscription business that shows the industry that our funnel converts.”

INDEPENDENT MUSIC COMPANIES ARE BEING SUCKED INTO THE MAJOR LABEL ECOSYSTEM. ARE THEY GETTING A GOOD DEAL?
The following MBW blog comes from Paul Pacifico (pictured above), CEO of the Association of Independent Music (AIM) – a trade body which works in the interests of the UK independent music community, and a global compatriot of Independent Music NZ (IMNZ).

The idea has very much come of age that artists are able to build independent music businesses as entrepreneurs by plugging in to the global digital music system through a series of service deals that enable them to keep full control of their rights.

But does the sales pitch actually deliver for these self-releasing artists and smaller independent labels? What is the true cost of doing business?

Many calculations in the music industry today are based on a company’s market share, but not enough people recognise that this calculation is often based on the proportion of market share distributed by a company, rather than the actual share of the market for which it owns rights.

This is fine when the value passes through the distributor efficiently and its clients (labels and artists) benefit properly from the full value generated by their work – but there are questions here that need to be answered.

As has been well documented, Spotify is expected to list on the New York Stock Exchange in the coming months. This is expected to generate a sizeable windfall back to the music industry as music companies who picked up equity stakes when licensing the platform in its early days have the opportunity to cash in those holdings by selling them on the open market.

However, as an independent label or self-releasing artist, your choice of distributor could well be the deciding factor in whether or not you get your fair share of that particular pay day as the major labels have taken a tranche of Spotify equity that includes the value of the independent share of market they distribute.

Independents have long signed up to share the proceeds of these sorts of deals with their artists through initiatives like the Fair Digital Deals Declaration (FD3) of 2014.

Pressure from artist organisations such as the Featured Artists Coalition (FAC) has also succeeded in securing commitments from at least Sony and Warner to share the proceeds of the Spotify IPO with artists signed directly to those labels. (Universal is yet to make a public commitment to do the same.)

However, independent labels and self-releasing artists who distribute through majors and whose catalogues make up an important part of the value coming back to the industry are unlikely to benefit as things currently stand.

Artists and Independents using services such as ADA (owned by Warner), The Orchard (owned by Sony) or Caroline (Universal) look like they will miss out – whereas independents who are either direct members of Merlin or use a distributor that is a Merlin member (the independents’ licensing body) will share in the benefits of all of the deal terms with platforms.

On the one hand, it might be argued that small players taking advantage of the enormous global infrastructure available to them when distributing through a large corporation will inevitably have to pay a considerable cost, but the Merlin examples proves that this does not have to be the case.

However, this article does not seek to assess fully the pros and cons of independent vs major distribution but to look at the key question of whether independent entrepreneurs are free to choose their channel to market – and whether can they can opt to change suppliers with relative ease when their deals come up for renewal?

If customers can’t realistically change suppliers in a market, then the market is in danger of becoming stagnant and uncompetitive, stifling innovation.

This is in stark contrast to a fluid and healthy market that competes on the basis of service and price.

This question is especially relevant right now in the wake of a swathe of acquisitions by major labels of independent distributors – such as The Orchard, Essential, Phonofile and Finetunes.

Many entrepreneurs that deliberately chose an independent distribution channel are now sucked into the major label ecosystem whether they like it or not.

Distribution is often considered a pretty dry area of the supply chain and many entrepreneurs in music are often much more focussed on the music than they are on the nether regions of back office processes, but in the digital supply chain, dereliction in this area could become very costly indeed.

The problem in the distribution market is that, having signed up to a service, it can be extremely difficult to move. Metadata is not always registered correctly and can muddy the chain of title. Some distributors may change or issue new ISRC Codes, and fragmentation in the neighbouring rights landscape complicates matters even further.

Distributors should compete on pricing of course, but also the data they are able to provide from services and stores, which is not always standardised. They should compete on their ability to analyse and present this data – through dashboards or other user interfaces.

Some distributors punch above their weight in specialist markets and others in terms of other added-value services they offer so although size can matter, biggest is not always best. It is also worth considering whether or not you want a potential competitor to have more data on your business than you yourself have access to.

A key conclusion is that too many independents are currently trapped by the invisible handcuffs of the sheer scale and difficulty of the task of switching services. Ultimately, this delivers poor value back down the value chain to artists.

The situation reminds me of the bad old days of the retail banking sector, where it was almost impossible to switch banks as the nightmare of moving Direct Debits and other payments made the task herculean.

That sector was revitalised by the banks’ cooperation and commitment to helping customers move if they wanted to through the ‘Current Account Switch Service’. This unleashed an era of competition through service and innovation which could serve as a salutary lesson to the music distribution market.

For my part, I would suggest the time is coming for distributors to subscribe to pre-agreed standards by which they facilitate a healthy switching market, using standardised data feeds like DDEX to enable the transfer of services by customers giving the chance for both Majors and Independents alike to benefit from a thriving, creative and diverse music market that encourages creativity and entrepreneurship to flourish.

This is all the more important in a landscape made up of increasing numbers of micro-labels and self-releasing artists who may come to rely on this flexibility in the future as their businesses grow and prosper.

The music market should be there to service them and to articulate a healthy value proposition for the services on offer.

If the desired future is a democratic and meritocratic music industry offering open and fair access to the market, a key pillar must surely include a transparent and efficient digital supply chain.

We should all remain committed to delivering exactly that.

NEW RELEASES

Anthonie Tonnon Presents Two Free Hands And Announces EP 
New IMNZ member Anthonie Tonnon is releasing a single and announcing a new EP and national tour in November.

The song, titled Two Free Hands, is Tonnon’s first imprint from two years of international touring and experimentation. It is a sound that will be familiar to those who saw his recent shows supporting The Chills around New Zealand.

Produced in tandem with longtime collaborator Jonathan Pearce, Two Free Hands features contributions from Anna Coddington on vocals, fellow band member Stuart Harwood on percussion and drum effects, and Elizabeth Stokes (The Beths, Sal Valentine and the Babyshakes) on french horn. Thom Healey (Tiny Ruins, Dunes) mastered the song.

Dunedin artist Daniel Blackball Alexander made the artwork, which will also grace a four-track EP, out on November 3rd. This will be an EP in the original ‘Extended Player’ sense, with a collection of songs connected to the single, including a new collaboration with Wellington electronic producer Michael Upton, under the moniker Jet Jaguar.

While the song is available on all music and streaming services, the EP will only be available from Tonnon’s new website anthonietonnon.com, Bandcamp, and on physical CD during the tour. The EP is now available for pre-order via Tonnon’s website or Bandcamp.
Tour information is listed below.

Ciaran McMeeken Releases #GiveAHome For Amnesty International
On September 20, thousands of musicians performed in people’s homes in over 200 cities in a world first for Amnesty International’s ‘Give A Home’ global concert series.

New Zealand was the first country to kick off the worldwide event with Sofar Sounds living room gigs in both Wellington and Auckland featuring Ciaran McMeeken, Theia, Tiny Ruins, Estere, Opal House and Miles Calder.

In the lead up to the Auckland show, Ciaran McMeeken penned a track with the same title as the concert series – out today – with all available proceeds from purchases and streams to be donated to Amnesty International.

Of the Give A Home track McMeeken states;  “I wrote this song from the perspective of a child losing their parents in a war torn country. It really weighed heavy on me how fortunate and privileged we are here in New Zealand and also the importance of the fact that if we are able to help and give, even in a small way, then we must. I truly hope this song can be of some solace or comfort for people out there”.

“Ciaran has written a really beautiful song. To offer it up in this way speaks volumes to his compassion and Amnesty International is really pleased to see him champion refugee rights. People like Ciaran welcoming refugees and taking action to offer support will make a real difference for people who have lost everything and are trying to rebuild their lives. On behalf of all people around the world working to welcome refugees, thank you for your stand.” Meg de Ronde, Campaigns Director at Amnesty International NZ.

Erica McQueen, Team Leader from Sofar Sounds Auckland agrees; “Sofar Sounds is all about bringing people together through music. To have Ciaran put himself in the shoes of those we want to support with Give A Home is truly special. It helps us to connect with the cause in a unique and powerful way”.

Purchase #GiveAHome

The Solomen Cole Band Release Video For Bruises
Bruises
 the album received rave reviews and reached No.19 on the NZ local album charts, and number 11 on the Independent NZ Music Albums, The Solomon Cole Band were also nominated for the 2016 Taite Music Prize. They describe their music as “Blues Melancholy Rock ‘n’ Rock Redemption (made with the dark arts)”.
Bruises unleashed the band’s full arsenal of blues with a melancholy, raw and ethereal sonic rock power and the infectious trance like stomp of redemption and soul power. The ultimate blues crossover, they’ve opened for Martha Davis & The Motels, My Baby(Europe), The Animals (UK), The Supersuckers(US) and more.
Taken from the title track of their debut album, Bruises, video director Amber Beaton has captured a candid and stark interpretation of the song with a brooding vocal performance from Solomon Cole (and featuring backing vocalist Sophia Faalogo).
Beautiful and haunting at the same time, the track explores a ghostly portrayal of domestic violence, redemption, sorrow and regret. A deeply personal reference to his own childhood, Solomon Cole tells the tale in biblical allegory to protect the innocent, and sets it against director Amber Beaton’s astonishingly nuanced visual narrative.

Watch ‘Bruises’ Here

Feature Length Documentary On New Zealand Indie Legends ‘The Chills’ Confirmed for 2019

Hey music & film fans – there are twelve days to go on the crowdfunding campaign – let’s do this!

The film chronicles band leader Martin Phillipps’ unyielding pursuit of music in the face of tenuous fame, depression and addiction. This is a dramatic story of triumph over tragedy, of music’s importance in our lives and of a gifted artist’s personal sacrifice.

The production company has recently launched a Kickstarter campaign making available some extremely rare and unique opportunities for fans of the band.

• Rarities such as artwork by Phillipps
• A mystery box filled by Phillipps with selected iconic memorabilia
• Much sought after limited-­‐edition music
• Once-­‐in-­‐a-­‐lifetime opportunities to spend time with Phillipps, and more

This is a unique opportunity to connect with The Chills and be a part of a very special New Zealand documentary film.

To learn more, visit the official crowdfunding page or connect with the filmmakers via social media.

Pledge Your Money Here! Let’s Do This!
ON THE LIVE FRONT

Modern Māori Quartet Thats Us! Album Tour Final Shows! 
Modern Māori Quartet and Annie Crummer continue on their tour with stops in New Plymouth, Wellington & Taupo this week! Before finishing up the That’s Us! album tour in Whangarei, Auckland and Whakatāne next week!

Get tix at WWW.MMQ.NZ

Venue Changes for Wellington & Auckland! The Wellington show is now at Te Whaea: National Dance & Drama Centre while the Auckland show is at Powerstation.

ON THE LIVE FRONT

Anthonie Tonnon Announces NZ Tour
Anthonie Tonnon will take Two Free Hands around New Zealand in November with a set of early evening shows that include The Dunedin Public Art Gallery, The Wellington Museum, Christchurch’s Blue Smoke, and two nights at the Grey Lynn rendezvous point Freida Margolis.

Since releasing Successor, an album which picked up nominations for both the Taite Prize and The APRA Silver Scroll, Tonnon has toured extensively, supporting The Veils and Nadia Reid in North America and Europe, and The Chills on a thorough tour of New Zealand, as well as his own headline tours in the USA and Australasia. Over that time, Tonnon has developed a one-of-a-kind show that combines both electronic and traditional instrumentalism, theatricality and dance.

This tour will be a chance to experience the show in refined environments around the country.

Tour Dates: 
Sunday, November 5: Christchurch –  Blue Smoke, early show at 4:00 pm
Thursday, November 9: Dunedin – Dunedin Public Art Gallery,  7.30 pm
Friday, November 17: Wellington – After Hours at Wellington Museum, 8.30 pm
Sunday, November 19 and Monday November 20: Auckland – Freida Margolis, 7.30 pm
Tickets for all shows available from anthonietonnon.com or undertheradar

Join Us For The Last EVER Record Collectors Fair! 
November 4 will see the return of Klaus and the crew to host the next record collectors fair at Freeman’s Bay Community hall. If you are selling vinyl, and want to represent yourself and your vinyl related products and services, contact Klaus on 021 166 5182.

There will be refreshments available for the duration of the fair, and music will be played from vinyl sources throughout the day. Many of the vendors have expert knowledge about music on vinyl, and can help you track down and find the stuff you are looking for.

Expert knowledge for the setup, care and maintenance of turntable is also available from a number of people assisting at the fair.

Over the years, Klaus and the team have had consistent support from: Shore Hi Fi, Takapuna; The Hi-Fi Store, Apollo Drive Mairangi Bay; and Paul Money Hi-Fi, Albany. All of these guys have an ongoing, long-term commitment to demonstrating what vinyl replay is capable of, and can be contacted for expert advice during the business day.

Early Bird entry time :  9am – cost $10.00
Public entry time : 9:30am  – cost $5.00
Finish time :  2pm

More Information
IMNZ Charts Playlist
Check out this weeks IMNZ Charts Playlist on Spotify
IMNZ on Bandcamp
Check out our artist collection on Bandcamp and follow us!
This Week Last Week Weeks In Title Artist Label/Dist Cert
1 2 3 Fabric The Black Seeds BlackSeeds/Rhythm/DRM
2 1 2 That’s Us! Modern Maori Quartet MMQ/Rhythm
3 6 168 We Rise Devilskin Devilskin/Rhythm/DRM plat

View the full Top 20 IMNZ Album Chart at indies.co.nz

This Week Last Week Weeks In Title Artist Label/Dist Cert
1 1 3 Wairua Maimoa MaimoaMusic/DRM
2 3 3 We’ll Never Know Kings ArchAngel/DRM
3 2 105 Wandering Eye Fat Freddy’s Drop TheDrop/Rhythm/DRM plat

View the full Top 10 IMNZ Singles Chart at indies.co.nz

This Week Last Week Weeks In Title Artist Label/Dist
1 1 4 We’ll Never Know Kings ArchAngel/DRM
2 9 3 Slow Mo Raggadat Cris BlessUp/Border/DRM
3 2 4 Wairua Maimoa MaimoaMusic/DRM

View the full Top 10 IMNZ Airplay Chart at indies.co.nz