Welcome to Autumn Wind Productions

Welcome to Autumn Wind Productions. Featuring the work of artists from around the world, we hope to bring inspiration to people from all walks of life.

Money is a heated topic within the music industry. For record labels, music sales are still the golden standard for an artist’s success, but music is so much more than a monetary transaction. It’s often implied that the best way to support an artist isn’t necessarily through buying albums and singles, as that initial sales figures are broken up with only a portion of that going to the musicians.

As more and more listeners opt-in to streaming services, some may wonder how can they support an artist so that they can keep making music for everyone to enjoy? Read on for the profit breakdown behind music sales and where your money can go to support artists as directly as possible.

Let’s start with the landmark moment when Taylor Swift pulled her music from Spotify, which made headlines within every industry, from music to technology to entertainment. Swift’s stand against Spotify sparked a conversation about the impact of streaming services and what they owe musicians in monetary terms. Since 2014 however, the mood towards streaming platforms has been changing. It’s been a long term assumption that the music industry is on the downturn, a trend that has seen the sector’s revenue drop 43% overall since 1999. Whilst things might look dim, it’s not all bad news though. Fast Company points out that the rise in music subscriptions will be beneficial to record labels in the coming years, which is definitely a plus, but there’s still the issue of payment going directly to artists. As with our own argument, Fast Company comes back to Swift, but also to Adele who kept the streamers at bay for her highly successful album 25:

When it comes to playing live, being a band may have more implications than whose turn it is to drive. Two years ago, an anonymous source from major booking agency Degy Entertainment released a list of booking prices. For example, a venue could theoretically book successful HumanHuman discovery and alt-pop representative Lorde for $100K+. While the numbers may look high, keep in mind that the agents and managers take a cut, on average about 30% of the gross, before the artists receive their portion. Back in 2014 when these figures were first released, James Bay made $5-15K per show, but now that he’s headlining festivals and nearing the 850,000 likes mark on Facebook, so he’s probably making more, but it’s easy to imagine that his publicity, booking and security team is larger than before. Those jobs easily cost an artist about an extra $5-10K per month. The payout may be even less for bands with many members and for moderately popular bands concert revenue may depend on who owns the venue and if equipment is available so that other factors don’t eat into the cost. That being said, these figures are much more respectable than the pitiful return on streaming.

While you’re at a concert, pick up merchandise. T-shirts, tote bags, posters and even CDs make their way onto the merch stand as revenue staples for touring artists. At times, merch is like the popcorn of the music industry – they have the best Return On Investment for artists and listeners. For fans at concerts of smaller acts, the emotional ROI is arguably off the charts. Another option is online merchandise, through which an artist, especially a small artist, can tell how much interest is being paid to them from the number of sites visits, with the added bonus that this virtual attention could potentially turn into a financial investment. Back in November 2015, Jai Wolf released a limited set of sweaters and they sold out in one day. Additionally, Jai Paul fans will remember the frantic online scramble for the limited edition Paul Institute vinyl, which was available to buy for a short time via their membership-only website.

The following are examples of previously released work:


Vomit Orchestra – Antecrux CD

The debut full-length album from Vomit Orchestra took three years to record as the creator wished to make something with absolute flow, yet spontaneous and different enough to convey many different shades and colours to the listener.

“Antecrux is chalk full of many different paths of ambient experimentation, from beautiful light guitar drone melodies to every day happy light swing music… Antecrux is similar to taking a ghostly walk through the past… Sometimes the music takes on the form of noise and / or seemingly field recordings, but quickly finds its way back to guitar melodies and simple, yet elegant, keyboard anomalies” (Heathen Harvest)


Vomit Orchestra – Bridges Burnt

The experimental sounds of Vomit Orchestra revise what is known as reality, permeating the decomposition of spiritual blindness and absolute-nihilism. VO is “…dark, sure, mysterious and ominous maybe, but hardly overtly evil sounding. If anything, it’s more of some sort of fuzzy abstract ambience, there are guitars here and there, but they mostly pick out simple sad melodies or are smeared into blurry streaks. For the most part, the world of VO is a dark, deliriously dreamy, electronic, organic hybrid, haunting soundscapes that veer from whispery drone and whir, to caustic abrasive crunch, but spending most of its time in the former.” (Aquarius)

E.V.P. – Postmortem Canticles Of Necromancy CD

When you think the genre of dark ambient exploring morbid romanticism with esoteric paraphernalia and gothic horror has succumbed and absolutely has nothing to offer then comes someone to demonstrate that if you have enough bravery to explore and investigate (instead of keep copying or simulate others) the mixture of possibilities is infinite and there’s still so much to do to convince and impress. Yes, EVP with his debut reaches high in expectation and quality. All those dark medieval and fantastic landscapes that -Mortiis- tried to give birth to, this man fully summons now. The creepy and rawless atmospheres that -Tombstone- originally imagined, this project re-invent and improves. And finally the modern approach to the theme with a more dancey perspective still preserving the seriousness of the topic that -Ah cama sotz- has brought, EVP is able to follow without falling in the coarse copy. In terms of rhythm, atmosphere and content this work reaches higher standards. The final mixing is NOT perfect and theres some passages where there’s tiny mistakes in the transition of the sequences but that is irrelevant as everything tends to balance pretty well in the end. High regards to this project, surely one we should keep an eye on!

Reference: http://humanhuman.com/articles/three-alternative-ways-to-support-musicians