"Kids these days, they’re all goth—or into house music. I don’t even know what you’d call the kind of music that kids are into. When I was younger, guitar music was still the thing and had been forever, so I’m happy when people say that we’re the band that still plays guitar music."
"What might be keeping the music industry from developing successful new networked models is the centralized holding of a majority of existing music rights in the hands of a very few. Apple, Spotify, Pandora, and all those to come in their wake have only to negotiate with the major labels before launching products that the rest of us have to accept or reject. A true 21st-century partnership for the music business would include musicians and music fans in a far more substantive role."
"My BMI royalty check arrived recently, reporting songwriting earnings from the first quarter of 2012, and I was glad to see that our music is being listened to via services including Pandora and Spotify. Galaxie 500’s ‘Tugboat’, for example, was played 7,800 times on Pandora that quarter, for which its three songwriters were paid a collective total of 21 cents, or seven cents each. Spotify pays better: For the 5,960 times ‘Tugboat’ was played there, Galaxie 500’s songwriters went collectively into triple digits: $1.05 (35 cents each). To put this into perspective: Since we own our own recordings, by my calculation it would take songwriting royalties for roughly 312,000 plays on Pandora to earn us the profit of one— one— LP sale."
— Damon Krukowski of Galaxie 500/Damon & Naomi breaks down just how little bands earn from streaming services— and details what the music business’ headlong quest for capital means for artists today— in our new feature, "Making Cents".