YOU ARE THE REASON
almost home
No title available
NASA
roma★
taylor price
occasionally subtle
RMH
Peter Solarz
i don't do bad sauce passes
d e v o n
No title available
Not today Justin
No title available
hello vonnie
tumblr dot com
trying on a metaphor
Kaledo Art
oozey mess
styofa doing anything
seen from Türkiye
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from United States
seen from Venezuela
seen from United States
seen from Japan
seen from United Kingdom
seen from Netherlands
seen from United States
seen from United Kingdom
seen from Canada
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from United States
seen from Saudi Arabia
@warsawofficial
https://www.instagram.com/psykonautmusicproduction?igsh=a2htazd6amc2c2o1&utm_source=qr
Check out the page for my music production business please 🙏 and send me a message if you need help releasing your music.
Trying to get this full time by summer
https://www.instagram.com/psykonautmusicproduction?igsh=a2htazd6amc2c2o1&utm_source=qr
Check out the page for my music production business please 🙏 and send me a message if you need help releasing your music.
Trying to get this full time by summer
everyone's heard of this, right? per ap article of apr 8, 2026:
Jacobs went on to record more than 10,000 concerts, with increasingly sophisticated equipment, over four decades in Chicago and other cities. Now a group of devoted volunteers in the U.S. and Europe is methodically cataloging, digitizing and uploading them one by one. The growing Aadam Jacobs Collection [link to internet archive] is an internet treasure trove for music lovers, especially for fans of indie and punk rock during the 1980s through the early 2000s, when the scene blossomed and became mainstream. The collection features early-in-their-career performances from alternative and experimental artists like R.E.M., The Cure, The Pixies, The Replacements, Depeche Mode, Stereolab, Sonic Youth and Björk.
you're given a million of whatever you just googled, how is it going?
good
bad
great
awful
aAAAAAAAA
results
“Michelle Yeoh”
That’s just the plot of Everything Everywhere All At once innit
"I help indie and electronic artists craft emotionally resonant, cinematic tracks by blending precise mixing, custom synth soundscapes, and
I don’t have a big following here, but I am trying to advertise anyhow. I just launched my music production business. In addition to wanting to work more with music as a passion and working on my debut album, I am trying to get work to earn money so I can buy a new studio computer. my laptop is just not cutting it anymore. I can’t install the latest software, and my applications lag, which makes producing my own and others’ music challenging but doable.
But 6000USD is a lot to give out of pocket. On my website are links to some of my previously released music. I would highly appreciate anyone who wants to hire my services or spread the word or help me by donating.
Go to paypal.me/paolanoelle and type in the amount. Since it’s PayPal, it's easy and secure. Don’t have a PayPal account? No worries.
Thank you for the support ! It means a lot to me
Now I’ve added a Kofi page with a webshop where I am selling presets and templates. Check it out!
Support Psykonaut Music Production
sometimes you're better off dead there's a gun in your hand it's pointed at your head you think you're mad too unstable kicking in chairs and knocking down tables in a restaurant in a west end town call the police there's a madman around running down underground to a dive bar in a west end town ......
Smells like the ‘80s: Bauhaus during soundcheck before their gig at Sporting, Athens, Greece, in 1983.
(via)
The music industry has a funding problem
Earlier this month, Newcastle-based indie singersongwriter Sam Fender released his fourth studio album, People Watching, and embarked on a week of media duties talking about what influenced the new album. In an interview with the Sunday Times, Fender talked about his working class upbringing, and how difficult it was for an artist without a moneyed background to make it in the music industry today.
Sam Fender. Hannah Victoria Kenyon for Strong Island.
“The music industry is 80 percent, 90 percent kids who are privately educated,” he said. “A kid from where I’m from [North Shields, Newcastle, UK] can’t afford to tour, so there are probably thousands writing songs that are ten times better than mine, poignant lyrics about the country, but they will not be seen because it’s rigged.”
It was like a lit match to tinder. Many artists spoke up confirming that they were currently facing challenges staying afloat in the music industry despite hitting many of the milestones that traditionally looked like success in the music industry. Many talked about how funds were the main things separating them from their peers who had ‘made it’. Many others have talked about how money has hindered them from taking steps that would greatly advance their music careers.
Beloved artists like Little Simz and Rachel Chinouriri have over the last few years had to cancel international tours that would never add up for an independent artist without the backing of a major label, or great personal expenses. Songwriter Kate Nash, who was in the news recently for turning to OnlyFans to sell pictures of her arse to fund her upcoming tour in a campaign she called ‘Butts For Tour Buses’, estimated that the production cost of each show she puts on a single night, costs her about $10,000. A cost even half of that would be devastating to a kid starting out in music with no savings.
Little Simz. Dave J. Hogan/Getty Images
There is another aspect to this discussion. Last week, British indie songwriter Ellie Dixon was asked on her social media about the phrase ‘industry plant’, a highly contentious word meant to indicate that an artist has not authentically reached the level of success they are at, and instead owe it all to some undisclosed industry connections that were allowing them access to avenues of career growth unfairly.
On surface level, this would seem to be something that only adds to the woes of independent, hard-working musicians, once again locked out of opportunities that should’ve rightfully been theirs if only some golden child with the right connections hadn’t swooped in and snatched their livelihood right out of their hands. In reality, who and what this ‘industry plant’ really is, is less clear. Often, it is used as a catch-all phrase to indicate that you don’t think someone deserves the plaudits they are receiving. But whether or not a certain kind of music is inherently deserving of success or not can only ever be a matter of subjective taste, and so something as concrete as having insider connections, becomes a matter of opinion where stylistic preferences become equated with worth, and the word loses all meaning.
Rolling Stone magazine, in a recent article defending the rising rap star Doechii, wrote a good piece about how the phrase is being misused to discredit artists who have put in all the work themselves over the years, only to be unfairly torn down by people’s fundamental misunderstanding of the phrase.
Doechii receives her Grammy for Best Rap Album. Photo by Kevin Winter/Getty Images for The Recording Academy.
Money in music is a really important conversation to have, namely in that it is simply not possible to sustain a career in this (or any) industry without it, and that artists, the backbone of the industry, have seen increasingly diminishing returns on it. We find ourselves returning to the music industry of old, where as rents go up and incomes for independent artists dry up, many musicians find that it makes sense for them to rely on traditional record label deals.
This has been enough for many people to start lobbing the accusations of ‘industry plant’, somehow mistaking having a label put any investment into an artist as some sort of insideous and undeserved, unfair advantage, as if the music industry was exclusively meant to be run from bedrooms of one and from behind YouTube and TikTok accounts.
If anything, artist development is only a recently neglected area by labels, opting to let artists themselves be the creators, marketers, publicists, cinematographers, bookers, promoters, merch and poster graphic designers and much more, all on that lucrative label budget of $0.00.
Who can afford to do all that? An artist that can either afford not to have a full-time job outside of their self-employed music career, or someone who can afford to pay others.
Which brings me back to the discussion about wealth in music. Sam Fender was completely right when he spoke out about how hard it is for working class artists to break through. The Dublin-based singer CMAT (incidentally, on tour supporting Fender at the moment) talked about how she wanted to write a guide on how working class musicians can make it in this treacherous industry, because to realise that everyone living your dream is doing it on the back of wealth you can never cough up is quite demotivating. Working class artists slog for a decade before being recognised at the level that the backing of a label could achieve in a year, there is no hiding from this. (Also, CMAT only half-jokingly said this but she is right: rich kid music also just lacks bite. There’s an urgency and potency to working class music that genuinely holds up a mirror to society that an artist who doesn’t have to face every aspect of the world sometimes simply cannot put into words in the same way. It is absolutely crucial that we do not lose working class voices in art.)
CMAT live. Sean McMahon
So really, we need to focus less on tearing down working class artists with unfounded accusations of being ‘industry plants’, something that also seems to disproportionately be levelled at women, musicians of colour, queer artists and other marginalised communities by men who cannot understand their success, and we must focus more on preserving the funding and pathway programmes that have historically tried to place working class artists on the same footing as richer artists.
The problem with the music industry isn’t so-called industry plants— it’s that funding in music stays at the top while grassroots artists suffer. Spotify CEO Daniel Ek is reportedly worth 7.5 billion USD, while Canada has lost 15% of its small music venues since the beginning of 2020. The UK, where the Music Venue Trust keeps clearer track of the state of grassroots music venues, reports that the UK loses a grassroots venue every two weeks currently. When burgeoning young talent don’t have the venues to hone their talent, make their mistakes and develop their sound and stage presence, future stars are lost forever, working class or otherwise.
So good on Sam Fender. Himself a working class kid, he’s done something good for working class musicians everywhere even just by starting this important conversation with a platform as large as he has built for himself.
And these are Mercury Prize-winning (and nominated) artists! If the best and brightest of your countries can’t afford to make music, you’re killing your industry. Support grassroots schemes — education, venues, rehearsal spaces, bylaws that don’t leave budding musicians with 4-digit fines for getting better at their craft, and some sort of industry ladder so that when the grassroots actually do the incredibly hard work of breaking new artists, there is a mid-level above the grassroots to give them further and bigger opportunities. You can’t simply go from playing dive bars to stadiums, there has to be infrastructure in the middle for mid-level success. Otherwise all you’re left with is industry insiders and rich kids with nothing to say.
He would do numbers on tumblr
hate when you mishear a lyric and look it up and yours is better
I didnt know liam gallagher was an oasis guy i thought he was a 34 yr old gay guy microcelebrity on twitter
People are reblogging this post so in my defense I just want to say that I only had shit like this to go off of. Between the posts themselves and the fucking pfp how was I NOT supposed to think that this was some diva
"I help indie and electronic artists craft emotionally resonant, cinematic tracks by blending precise mixing, custom synth soundscapes, and
I don’t have a big following here, but I am trying to advertise anyhow. I just launched my music production business. In addition to wanting to work more with music as a passion and working on my debut album, I am trying to get work to earn money so I can buy a new studio computer. my laptop is just not cutting it anymore. I can’t install the latest software, and my applications lag, which makes producing my own and others’ music challenging but doable.
But 6000USD is a lot to give out of pocket. On my website are links to some of my previously released music. I would highly appreciate anyone who wants to hire my services or spread the word or help me by donating.
Go to paypal.me/paolanoelle and type in the amount. Since it’s PayPal, it's easy and secure. Don’t have a PayPal account? No worries.
David Lynch
by Richard Ansett
1999
Retro Music Earrings // Retroelo on Etsy
ITS OCTOBER EVE YALL VAMPIRE SEASON IS COMINGGG
