An actual email exchange, in chronological order. Emphasis in bold added for punctuation/comic effect.

On Dec 24, 2009, at 7:22 PM, scott wrote:

hello matt
this is scott from [some metal band]
could we do a metal version of this and put it on out new cd? we arent signed and all that jazz and would give ytou full credit for the song and all and even link it to you inside the cd jacket or anything else we could do? hit me back man please!!!

So far we’ve got three things:

1. They want to use one of my songs (that they didn’t name) on an album, presumably something to sell at shows and online.
2. They are not signed to a label.
3. Scott can not spell, punctuate, or capitalize.

It’s all good, though. Read on for my reply: Read More…

I just listened to a retrospective post from the talented Slau, the guy that produced Podsafe For Peace and I’m suddenly remembering what it felt like to be excited about podcasting again. If you were around for the birth of New Media (or if you’d just like to know what it was like working with all the other big names in New Media Music), you’ve got to take a listen to this. Slau released this as the latest edition of his own podcast, Sessions with Slau.

And yes, the Podsafe For Peace song is at the end of the episode!
Download Episode

The 1980′s are still trying to make a comeback, bringing their overinflated sense of self-importance with them.

A few weeks back I was featured in a WBUR on-air segment about performing live via UStream and selling my songs as a fan-driven Subscription Service rather than just making round pieces of plastic every year or two. The people at the radio station thought what I’m doing was innovative enough to give me nearly 8 minutes of air time during the morning drive. Then I got two comments like these:

That idea doesn’t sit well with everyone, including Boston musician and rock critic Dave Wildman. “I don’t know, it freaks me out,” he says with a laugh. Wildman likens Ebel to a talented street performer on the information super highway.
WBUR.org

It’s success if that’s what he wanted, definitely. If not…then no, he’s still got more work to do.

My guess? Dude still has a lot more work to do.
Justin Boland, comment on Hypebot.com

These two comments, though lamentably myopic, are understandable. Believe me, I can level with these opinions by making only one assumption: Their definition of “success” is stuck in the coke-filled limousine of Motley Crue, 1985.
Read More…

I am asked this question quite frequently by new musicians looking to expand their presence on the web. I don’t blame them; the legion of music sites are both numerous and constantly changing. Ten years ago I would have pointed you straight towards the great behemoth that was MP3.com, but we all know how badly that turned out.

If you want a small sample of the sites that feature my music, hit my Contact Page and check out the grid. Do I visit these sites regularly? Hell no… but some people do, and I need my music to be there. With so many options, how do you choose which sites to hit and which sites to ignore?

To be honest, most music sites are a waste of time. Unless it’s iTunes, Facebook, or Amazon, the only people that visit the site are other musicians. Not fans, other musicians. If you’ve ever played an open mic night, you know how this works: You’re onstage baring your heart and soul for a crowd of people who are disinterested and just waiting for their turn to do the same. Posting your music to these sites would be like trying to sell time-share condos at a telemarketing convention.

My advice, for the curious, is simple: Go where your fans are. I say “your” fans, not “the” fans because there are so few “music fans” and so many “songs about robots” fans or “electric bluegrass” fans. If your fans are into manga comics, go post your music on art sites that feature manga comics. Are you an activist? Go post your music where people are supporting the cause. If you don’t know what your fans are interested in, that should be your first step: ask them.

It’s so much easier (and effective) to spread the word in communities you’re already a part of, rather than trying to build a taller billboard than the band next to you.

I give Nickelback a lot of crap, I know. I also know that 3.7 gazillion people love that band. I hold up acts like Nickelback and Miley Cyrus as shining examples of boring, tepid major label waste product (which they are). Is it because they’re not edgy enough for me? No, there are plenty of bands that are edgy to the point where I can’t listen to them. The entire punk genre, for example, or some of Ben Folds‘ earlier work. Just because something is too misshapen to fit in the focus-group approval box doesn’t mean it’s good either.

I propose that music is like any other recipe; there are main ingredients and there are accents. A plain lump of chicken breast (Nickelback) is not, by itself, a meal. If all you ate were plain chicken breasts your taste buds would most likely atrophy and fall off your tongue. On the other hand, a diet consisting entirely of black peppercorns (punk) would burn your mouth and leave you starving to death.

This, I believe, is an oversight on the part of most major labels and some indie artists. So that mellow, 90-bpm rock song sold 20 million round discs. It’s a good cut of meat, sure, but it’s only one part of the meal. You don’t want the entire album (or the band’s entire catalog) to sound like that one market-ready radio-friendly überhit ’cause the fans will get bored.

Here’s a secret: The artists will too. Most artists (songwriters at least) have a diverse range of output. This is what drives guys like Garth Brooks to become Chris Gaines or George Carlin to be Mr. Conductor. An artist’s output should reflect their humanity as a whole, not just the radio-friendly side or the dirty underground side. An album, especially, should sound like a well-balanced meal tastes.

If you don’t believe me, open up a restaurant that serves only unflavored pasta and chicken. Let me know how that goes for you.

First things first, I must re-blog and disseminate the words of Moby:

the riaa have sued Jammie Thomas-Rasset of minnesota for $2,000,000 for illegally downloading music.

argh. what utter nonsense. this is how the record companies want to protect themselves? suing suburban moms for listening to music? charging $80,000 per song?

punishing people for listening to music is exactly the wrong way to protect the music business. maybe the record companies have adopted the ‘it’s better to be feared than respected’ approach to dealing with music fans. i don’t know, but ‘it’s better to be feared than respected’ doesn’t seem like such a sustainable business model when it comes to consumer choice. how about a new model of ‘it’s better to be loved for helping artists make good records and giving consumers great records at reasonable prices’?

i’m so sorry that any music fan anywhere is ever made to feel bad for making the effort to listen to music.

the riaa needs to be disbanded.

moby

I’m not a huge fan of Moby’s music, but I agree with him 100% in this case. You see, I’m a Christian artist. No, I’m not making CCM albums anymore, but I believe in a Christian philosophy which can be summed up as this: I believe that people will try to steal from me whether I am a tyrant or a beggar. What defines me and my nature is how I treat other people, even if they’re not concerned with how they’re treating me.

The RIAA believes that huge fines will deter people from file sharing, much in the way that capital punishment seems to be deterring people from killing each other. Those of us in the reality-based community understand that you will never keep people from stealing, all you can do is treat your legitimate customers like kings and make their experience worth more than the 99¢ track they’re paying for.

Update: And now Richard Marx, an artist actually “damaged” by this file sharing, has released a public statement decrying the verdict and siding with Ms. Thomas-Rasset, calling it “farcical”.

rev⋅o⋅lu⋅tion [rev-uh-LOO-shuhn] –noun

2. Sociology. a radical and pervasive change in society and the social structure
3. a sudden, complete or marked change in something

dictionary.reference.com

Back in the days when High Orbit was a weekly show, I named the spaceship the UTF Revolution. In those days there was an air of excitement, even fanaticism, about podcasting and downloads and new technology. The discovery that people could make and deliver content beyond the confines of TV, radio, and newspapers electrified the internet crowd. We called it a revolution. If the revolution started in 2004, it’s only beginning to come to a head now.

Revolutionary Communication

[flickr align='left' class='alignleft' hspace='5']photo:2602427250(thumbnail)[/flickr]If you’re reading this, chances are good you’re a fan of my music. You didn’t hear me on the radio, you didn’t see me on some prime-time contest show. You heard me on a podcast, in a virtual world, or on live video. I am doing nothing special; I am merely putting my music out there wherever I can. It is you who drive the revolution every time you use these channels. You make the choice to spend your time outside the pre-fab information streams set up by Rupert Murdoch and Robert Iger.

The past five years may have made this revolution seem… well, less revolutionary. After all, we’re not as jazzed up about the miracle of flight now that we can hop a shuttle from NY to Boston for less than a hundred bucks. Make no mistake about it, however, you are committing an act of rebellion with every new channel you support. The record labels and major networks are starting to realize they cannot make money anymore. Soon they will realize the nagging truth that some of us have been shouting from the town square for years: The artists and the fans no longer need them.

Revolutionary Thinking

Is that true? Are record labels obsolete? The answer isn’t a matter of sales figures or Billboard charts. The future of the revolution is in your mind. You must understand that as long as the old-media channels still claim a foothold in your brain, they are controlling you.

Here’s a revolutionary question:

If you’re a fan of my music, are you wondering when I’m going to get “discovered” by a record label?

If so, those record labels still control your brain. You are still chained down by a world where big companies decide what music is legitimate and what music is “just indie”. As the mon once said, “emancipate yourself from mental slavery.” Good videos don’t need a TV network, good news doesn’t need radio towers, and good music does not need a record label.

YOU are my record label. Yes, you. Do you like my music? Then my music is legitimate. I don’t need some guy in a crisp suit to own 80% of my artwork to make it good. All I need is for you to understand that as soon as you become a fan, you become part of my record label.

Revolutionary Action

[flickr align='left' class='alignleft' hspace='5']photo:2287769640(thumbnail)[/flickr]That’s right, you’re part of my record label. You are also your own TV and radio network. You are working for the best media conglomerate ever created; you contribute only what time and effort you see fit, you cannot be fired, and you are part of something truly revolutionary. In fact, depending on your iTunes playlist, you probably work for so many different record labels right now that your resumé should be 40 pages long. This revolution, however, cannot survive without action.

If you want to keep the revolution fueled, you have a few responsibilities (I’m not going to call them a manifesto, that’d be beating a dead analogy at this point).

• Evict the corporations from your mind.
  They aren’t the ones buying the music, YOU are. You are in control.
• Small sacrifices must be made.
  Have you bought an album? Picked up your favorite show’s official shirt/mug/chia pet? Congratulations, you are now a shareholder in the revolution.
• Grab your bullhorn.
  The #1 thing you can do to support your favorite artists and shows is spread the word about them. Whether they’re on a major label or not, all musicians need that key action from their fans.
• Show up for the battles.
  For musicians, it’s about live concerts and release parties. For podcasters, it’s the live recording events. Whatever division of the revolution you’re fighting with, they need warm bodies to man the barricades.
• Communicate, communicate, communicate!
  The artists, producers, and revolutionaries are only as good as their supporters make them. Talk to them. Comment on their blog posts, post your photos/videos in their Flickr group or Facebook page. Tell them what you like, what you don’t like, and most importantly where you want this revolution to go.

The Revolution Grows

Some of us have been a part of this revolution for years. Some of us just discovered yesterday that you can turn a Mac Mini into an entertainment center (yes, that’s a link to a how-to video). However long you’ve been a part of the revolution, make no mistake: the battle rages on. Until we’ve completely killed the notion that a show, artist, or band needs a major corporate partner to be considered “legitimate”, we are still subject to an oppressive regime.

Make the change happen. Take action, and long live the revolution!

Last night I had the best movie theater experience I can remember. Sure, the movie itself was some of the finest American cinema ever made, but that would be equally as true if we’d have waited for the DVD or iTunes download. No, this isn’t a review of Pixar’s new movie “UP”, it’s a review of the modern theater experience.
Read More…

I was a little disturbed this morning to see this pop up on Yahoo Answers. Someone, apparently, was looking for free downloads of one of my members-only tunes over at Matthew Ebel dot net. Granted, people have been stealing music since the invention of cassette tapes, but asking about it on Yahoo Answers? Really? I’m almost insulted. Shouldn’t you be trolling Pirate Bay forums or some other 7334 haxx0r chan board out there or something?

Unlike the RIAA, I’m going to assume that this question was prompted not by a desire to steal from me (I’m not kidding, folks, some months it’s literally a 99-cent difference between paying bills on time or late). Since Night Train is a Members-Only song that has now expired, there really is no way to legitimately buy it at this point. As a music fan myself, I’ve been stymied by this phenomenon quite frequently when looking for tracks on iTunes or Amazon.

I’m working on a solution right now.

If you’re an All-Access or VIP member over at Matthew Ebel dot net, please do me a favor and read up on the proposal there. It’s your site as much as it is mine, so please give me your feedback over on The Blog.

Hopefully I’ll be able to provide legal options for people soon, preferably without sacrificing the cool exclusives people have enjoyed for the past 6 months.

Springtime is kicking some serious ass here in Boston and i don’t get to enjoy much of it right now. I’m spending all day in my recording studio mixing the April live recording for Matthew Ebel dot net. It always gets this way at the end of the month, “crunch time”, but I will deliver what I’ve promised to my fans!

Even if it means no biking today.