Report claims the global Recording Industry is worth $17 billion today (I know that sounds like a lot, but this is actually bad news)

Report claims the global Recording Industry is worth $17 billion today (I know that sounds like a lot, but this is actually bad news)

If I had $17 billion, I’d be the happiest ex-newswriter on earth (unless I was given the comedically-expectant stipulation that I had to spend it all in some unfortunately short period of time, I guess). But then again, I’m just one simple man. I’m not the Recording Industry, and I don’t routinely eat bowls of of emeralds for breakfast with diamond tooth implants.

As Digital Music News reported recently, the Recording Industry’s pockets continued to leak in 2009, according to the latest data from the, uh, International Federation of the Phonographic Industry (yes, this is a real thing). The global trade group reported a 7.2% decline in trade revenues last year, down to just over $17 billion. But that ain’t all. Physical assets also plummeted another 12.7% to $11.93 billion. Goodbye precious stones for breakfast; hello limestone quarry.

The IFPI shows that the US and Japan were the nations doing the most damage, with the United States slipping 10.7% and Japan tanking 10.8%. Collectively, the pair accounted for roughly 80% of the decline. Among nations whose contribution to the whole picture is a bit smaller, the scene was not quite as drastic. Smaller markets like Spain and Italy suffered far sharper percentage drops than the US and Japan, and digital sales actually offset the declines in physical sales in places like the UK, India, South Korea, Thailand, Mexico, and Australia.

But wait, don’t not turn that anti-frown upside down just yet. In almost all territories, digital formats are failing to recover what physical once commanded. And besides, The Big Picture still raises questions aplenty about the future of recording-specific revenues. In 2000, total industry revenues topped $36.9 billion. That means that the past decade has witnessed a 53.8% decline. So yeah, don’t worry; everything’s pretty terrible still. Anyone know where you can pawn some diamond teeth?

The Blow tour Northeast in May with new material

After taking a year-long hiatus from the whole “performance” gig, The Blow (a.k.a. Khaela Maricich) has announced that she will be performing in a select few cities in the Northeast during the month of May. With possible future plans of an LP and an EP in the works, Maricich will be stepping back into the realm of musical and conceptual performance with a newly introduced narrative stage performance to accompany her new tunes. If any of you naysayers need a little rousing in regard to the validity of this performance, Maricich has been developing the narrative aspect in the space of a workshop in collaboration with sound and installation artist Melissa Dyne. The shows will be accompanied by light and spacial aspects brought forth by Dyne.

What is bound to be unfortunate news to some, it appears that the new performance and output will not be in conjunction with Jona Bechtolt as both the last album (TMT Review) and EP were. Though, I promise that this will make you feel at least slightly better.

Expect new material sometime this year, and if you haven’t had a chance to see The Blow present the new material while opening for Vampire Weekend or performing at Harvard or The Baltimore Museum of Art, here are some more chances.

05.04.10 - Buffalo, NY - The Ninth Ward
05.06.10 - Portland, ME - Space
05.07.10 - Winooski, VT - The Monkey House
05.08.10 - Northampton, MA - Iron Horse Music Hall
05.10.10 - Hamden, CT - The Space
05.11.10 - Providence, RI - The Speakeasy (Local 121)
05.13.10 - Brooklyn, NY - Glasslands

• The Blow:

Carla Bozulich hits the European road… in two parts

Carla Bozulich, a.k.a. the girl who used to be in Ethyl Meatplow and The Geraldine Fibbers; collaborator with the likes of Nels Cline, Sarah Lipstate (Noveller), and Willie Nelson; and now leader of her own rawk band Evangelista, is heading out on two European tours. The first tour will see her hitting the stage solo (though flanked by Francesco Guerri on all the dates — not sure if this is a continuation of their Bloody Claws project or something different). The second tour will see her joining up with the rest of her Evangelista crew for another 10 shows, in support of last year’s Prince of Truth (TMT Review) on Constellation Records. This time around, Evangelista will be made up of Bozulich on guitar and vocals, Dominic Cramp on keys, Young Michael Tracy on drums, Andrea Serrapiglio on golden cello, and Tara Barnes on bass and vocals. See if her boat is sailing your way:

With Francesco Guerri:

04.30.10 - Brighton, UK - Freebutt
05.01.10 - Newcastle, UK - The Culture Lab
05.02.10 - Hull, UK - Adelphi
05.03.10 - London, UK - Cafe Oto
05.08.10 - Umeå, Sweden - MADE Festival

With Evangelista:

05.07.10 - Krems, Austria - Donaufestival
05.10.10 - Copenhagen, Denmark - Loppen
05.11.10 - Oslo, Norway - Cafe Mono
05.12.10 - Bergen, Norway - Landmark
05.14.10 - Goeteborg, Sweden - Koloni (Kulturhamnen)
05.15.10 - Rostock, Germany - JAZ
05.19.10 - Groningen, Netherlands - Vera
05.20.10 - Krefeld, Germany - Kulturrampe
05.21.10 - Brussels, Belgium - Maison des Musiques
05.22.10 - Bielefeld, Germany - Bunker Ulmenwall

• Carla Bozulich/Evangelista:
• Constellation:

Grails tour Europe in the spring, revive the Black Tar Prophecies series

Following quickly on the heels of an extremely productive period for Portland sonic benders Grails comes a tour of the Eastern end of the globe. Not only is the band giving Europe a good go-around, they’ll be resurfacing the Black Tar Prophecies series this spring with the release of Black Tar Prophecies IV May 11 on Important Records. Also planned around this time is a reissue of the first three Black Tar volumes, all on a single slab of black vinyl. Magic! Did I say this tour was following their most productive period? Looks like that period isn’t quite over yet.


05.04.10 - Utrecht, Netherlands - Tivoli
05.05.10 - Leuven, Belgium - Stuk
05.06.10 - Leipzig, Germany - Ut Connewitz
05.07.10 - Prague, Czech Republic - Klub 007
05.08.10 - Berlin, Germany - Friction Fest
05.09.10 - Athens, Greece - Sfentona Club
05.11.10 - London, UK - The Luminaire
05.12.10 - Birmingham, UK - Hare and Hound
05.13.10 - Manchester, UK - Ruby Lounge
05.14.10 - Glasgow, UK - Nice n Sleazy’s
05.16.10 - Minehead, UK - All Tomorrow’s Parties

• Grails:
• Important:

After 1,460 days (but hey, who’s counting) The Pernice Brothers finally release new LP, Goodbye, Killer

You’ve been through the five stages of grief. Denial, anger, etc. You’ve felt it all. Four years and no word of a full-on Pernice Brothers original studio recording since 2006’s Live a Little. Yet, as they say, time heals all wounds, and in this instance it apparently yields a faceload of all-new Pernice Brothers music/books/action figures. It turns out Mr. Joe Pernice has not been resting on his laurels, oh no! He has been making stuff. Crazy stuff. Stuff like writing a novel stuff and kicking out the jams.

It Feels So Good When I Stop, the first novel by Pernice, was published in 2009. A similarly titled soundtrack was also released on Ashmont Records, Pernice’s own label. The soundtrack featured covers of songs mentioned in the book. (Wow. Not to sound like your mom or anything but that is just NEAT.) Now he’s back with Goodbye, Killer, Pernice’s first full-band album since 2006. The lineup consists of Bob and Joe Pernice, James Walbourne (Pretenders, Son Volt, Peter Bruntnell), and Ric Menck (Matthew Sweet, Velvet Crush). The album is slated for June 15 release on Ashmont Records.

Joe Pernice has had a lengthy career with 13 full-length records to his name, performing as part of Scud Mountain Boys, Chappaquidick Skyline, and Big Tobacco. Mr. Pernice noted in a recent press release that he would be sticking with the good ol’ Pernice Brothers name from this point on, so as to avoid confusion. Thank you, sir. You don’t wanna get too close to alt-country Prince territory, at least when it comes to name confusion.

• Pernice Brothers:
• Ashmont:

This isn’t your daddy’s “Pac-Man Fever”: Les Savy Fav’s Seth Jabour scores video game soundtracks

So, there’s this Brooklyn-based art collective known as FAILE that teamed up with this other Brooklyn-based artist BAST to put on an art show together. Their idea was to create a show where not only do they redecorate old, upright video game machines, they also reprogram the machines to include brand new games. They christened the whole thing “Deluxx FLUXX Arcade 2010,” and it looks pretty fucking cool.

Now, if you’re a hardcore gamer like me, or even if you just enjoy the occasional game of Megaman, you know that most great video games have a great soundtrack that you can tap your toes to. So, I bet you’re wondering: “If all the games are re-programmed, then what happened to the great soundtracks that I can tap my toes to?!” Well, you can settle down, nerd, because a whole new set of soundtracks has been written, arranged, and digitized by Les Savy Fav’s own Seth Jabour, who turns in a danceable, synth-heavy (duh) soundtrack for each one of the newly-programmed games.

The art show opened in London but, via The World’s Best Ever, we’ve learned that the show is heading New York’s way and will run April 30 - May 27 at an abandoned store front on the Lower East Side. Now if only they could reprogram my editors so they’re not such assholes.



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