Notes from the forest #3

🧨 A.Fruit Interview + Mix

In this must read interview, the Moscow-born artist delves into the inspirations behind her unique sound, reflects on music’s role during challenging times, talks about her efforts to support women in the industry, and reveals how she stays true to her artistic vision in the ever-evolving world of electronic music. Great questions by Maxime Temam from We Are Studio (France).

I must warn everyone that this mix is really heavy. I would recommend using it for a workout or for shaking off stress after work at home. Maybe listen with someone who shares your love of “weird” music and has an extremely cute bass face, or enjoy it alone while admiring your own extremely cute bass face in the mirror. Listen with the state of mind where you want to stop thinking and let your mind dance. – A.Fruit

A.Fruit just released a new track called Hummingbird Moth.

🐽 Another Black Mirror Spotify Epsiode

Liz Pelly, is it really necessary to keep going on with negative views about music streaming services? Molly White has the perfect reply:

So what's the deal this time? Faceless LLC's work with ashamed NPC's on PFC content. Say what?!

Spotify conspired to farm out ghost content, often substituting for known artists, to pay out less to artists.

If you like a story that turns from conspiracy theory to a script of Black Mirror then go ahead and read the captivating excerpt of Liz Pelly’s new book Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist in Harper's Magazine (via CDM).

I think I know at least one company that generated 'Perfect Fit Content' for Spotify. The owner and his freelance employees were not critical but satisfied with the arrangement and no one involved “felt unethical, like some kind of money-laundering scheme”. That real music could be devaluated by taking up shelf space on Spotify occured to nobody. Their counterparts at Spotify felt similar:

The managers of the PFC program justified its existence internally in part by claiming that the participating musicians were true artists like any other—they had simply chosen to monetize their creative work in a different way.

"What does decontextualization of music mean?" I was asked last week at a one-day workshop organised by the Office for Economic Development to examine Leipzig's music industry and develop strategies for its growth. I brought up the term when we discussed the global threats to music business by streaming platforms. As an example, I pointed out that the names of the music labels that release the music are given, but are not linked, so that you can't discover other artists on that label. The reaction was a nice silence of "Why do you consider that even a problem"? Today I would ask a counter-question: Do you know the artist you're listening to is real?

All this points to a disconcerting context collapse for musicians—to the way in which being an artist and the business of background music are increasingly entwined, and the distinctions of purpose increasingly blurred.

Ted Gioia made a meta point on Spotify's cost-avoidance revelation by Liz Pelly:

Major record labels have empowered and supported Spotify during its long history. Spotify is their adversary, not their partner. The music media isn’t much better—these new revelations came from a freelancer publishing in Harper’s, not from Rolling Stone or Billboard or Variety. But I am grateful for independent journalism, which is now my main hope for the future.

Bonus read: Why - of all genres - ambient music producers are being bulldozered by royalty-free soundtrack company Epidemic Sound. I wonder what they were thinking when they came up with the name for that service.

⏰ Keychange Open Call

There should be a complementary programme for men so that they can experience the necessary change of perspective and learn from it - I would certainly apply.

The Keychange Leaders Talent Leadership Programme (TLP) is a six-month training programme aimed at women and gender-diverse individuals who want to become leaders and agents of change, driving actions towards a more diverse, inclusive, and equitable music industry.

Apply until January 13th on the website.

💊 Ash teaser trailer

🎛 What I'm working on

One of the best years for my label Defrostatica is coming to an end. I've been able to make some big improvements in how we handle sales with the new Eddy App. It's a game-changer for us and the artists we represent, especially in terms of transparency for the past, present and future.

The close collaboration with my friend Simon aka Sun People is increasingly bearing fruit and I couldn't be happier with all that we have achieved in the area of A&R and beyond. We have signed the promising producers wrk.dat (Germany), La Dame (Belgium), Uneven (UK) and DJ Strawberry (Turkey), signed fantastic remix artists such as Jana Rush (USA), The Untouchables (Belgium), Pura Pura (France), Alley Cat (UK) and Jermaine Soul, and supported Leipzig-based artists such as Schmeichel, Shane Lizard and DjBadshape. The new mini-various-artist series 160 Vol. 1 has picked up speed with Hone Sound (Denmark), Portway & Slinki and Team GB (all UK).

Not least because we had to cancel a planned event in Leipzig this year, we want to organise another Risky Bass Night in the coming anniversary year - just like we did in autumn 2023 with Arcane (UK) and Yorobi (NL).

Big thanks to the professionals I had the pleasure to work with: LXC & Bob Macc (mastering), Christian Kroneck & Aiax (artwork), Jelle @ Clone & Addy @ EPM (distribution), Charlie & Jamie @ Hypefilter (promotion). Special thanks to the many djs and radio hosts who supported the artists and our music in their shows.

I like to thank all fans who actually bought our music - your support is what makes the label work sustainable.

If you're not familiar with my label, Defrostatica, and the footwork, jungle, and techno hybrid bass music that we've released this year, I've put together a playlist of all the tracks called Class of 2024: