bit torrent: wave of the future article
aaron pogue - reactor magazine - liveadaptevolverepeat interview (unedited)
dunivan + the myndliss crew 92.5 radio interview
matt anderson - soundclash music zine - bryant dunivan interview
matt anderson - soundclash music zine - senior sessions review
bit torrent: wave of the future - interview
1. How has putting your music online for free affected your popularity as an artist?
i dont think making my music available for free has necessarily affected my artistic popularity, i think its definitely helped people approach my music, knowing that im behind them downloading and sharing my music. i think that because im a safe downloadable artist in terms of the law, and im not affiliated with the riaa, it creates the propensity for my music from the radio and podcast creators point of view.
2. Have you benefited from it financially, via ticket/merch sales, donations, or otherwise?
ive benefitted in terms of donations, and some increased merch sales. but thats not why i did it, music is like a large pool that we all dip out of, at least thats what coltrane said, and i must admit as a musician i pull out of that pool and put back into it. i think for the furthering of music as a whole, its in its best interest to put it to the masses to judge it.
3. How do you think music is affected by the RIAA and the anti-piracy groups it funds?
the riaa has hit the lucky number too many times to count with their generated popularity trends. there are millions of solo artists, bands, and musicians, and less then 300 recieve all that attention. the sub genres that can become popular are all that people are exposed to, and with the dreams of young bands, this molds the players decisions in which genres to pursue. one must now be a dedicated music lover in order to be immune or break from the constant cyle of popularity that board rooms are deciding. the music that will be remembered in time is being picked by aging ceo's that are out of touch with younger generations, and the idea that music of our age can be seen as a regression because of those aging ceo's really scares me
4. Where do you think the labels fell short, resulting in fans turning to piracy?
i think they fall short in terms of the music they pick, its not challengeing enough to the listener anymore, music is art after all, so by definition it must incite emotion in the listeners. i dont think the music that is popular does that anymore, its all trivial issues, the big labels took the humanity out of the music by their system. i also think the big labels growth and their implosion is created by their mistreatment of the musicians. the musicians now can see that they can make more money out of the big labels than with them. most bands last i saw get like $1.61 in royalties on a cd, my cd's in their physical for get me like 2 or 3 dollars profit, which allows me to keep the records cheap, but also allows me to reinvest. i think now that some big artists are embracing the firestorm of putting their music out for free, helps their music as well as influencing new artists.
5. How do you think alternative distribution systems (like What.cd) will affect music in the coming years and decades?
i think that digital is the new form of music, the ipods and other media players are now being built into cars and stereos, so the files themselves will be the music. i think sites like what will become the basis for the label revolution, where instead of all the music being centrally located the labels will post torrents and files of only their artists. i think the communties formed by sites like what, will spurn a new movement in music that will i think help new artists grow much quicker, while growing in terms of styles and genres, well see rap disco or something completely new form alot more often. and artists will find their own voices, because it becomes a case in which the music is judged by its content and not by its pr budget.
bit torrent: wave of the future - article
>Music plays a dominant role in modern society. We use it as entertainment, comfort, excitement, and even therapy. It brings us together, giving us common interests and a starting point on which to forge new friendships. And like anything else, many of us wish to share our passions and discoveries with others. The internet has always fostered the exchange of information, with music bearing no exception. And as file-sharing networks like Gnutella and Limewire lead the way for more advanced networks like BitTorrent, the free exchange of music is both convenient and widespread. But how deeply can the sharing of music impact our lives? In the words of the RIAA-funded site www.musicunited.org, music piracy is "dramatically damaging to the entire music community".
The RIAA is a special interest group representing the major American recording labels, commonly referred to as the "Big Four". Armed with a "credible analysis" by a research group known as the IPI, the RIAA claims that an astounding $12.5 billion is lost annually due to music piracy. Of this, they say, $2.7 billion in wages and $844 million in tax revenues are lost, leading to a loss of over 71,000 US jobs. These figures are staggering by any means, even to the point where one may even question their validity. And as it turns out, the IPI has been widely criticized as a "phony institute" dedicated solely to corporate interests, taking actions for (and accepting donations from) such controversial clients as the tobacco industry and Exxon-Mobil. Its public statements and claimed "studies" are consistently scrutinized, refuted, and subsequently discredited by outside sources.
The RIAA themselves aren't much different, having been criticized for decades over excessively low and unpaid royalties, questionable business practices, and creative control over their recording artists. In 1995, pop group TLC fought back and took legal against LaFace Records, an RIAA member label with which they had a multi-record contract. Despite being one of the most famed musicians of their day, with an astounding 42 million records sold worldwide, the group. received only seven percent of their record sales. After covering managers, producers, and taxes, the artists were netting only $35,000 a year, leading to their bankruptcy and subsequent lawsuit. Though it took nearly two years for a settlement to come to fruition, it catalyzed what could be seen as a modern day revolution: the artists revolt.
Granted, it took a while. But over the next decade, more high-profile disputes were ignited, more lawsuits were filed, and more artists began abandoning the major record labels in favor of a more balanced, artist-friendly system. As time and technology progressed, the advent of the internet picked up where the record labels fell short. And the success story of Bryant Dunivan, an FAU anthropology major and independent musician, is a mere microcosm of the exposure that independent artists have found online.
Since his high school days, Bryant's passion for music has gone hand in hand with his views on the music industry and its roles in society. Standing true to his ethic, he recently released both of his studio albums on file-sharing site www.what.cd, free of charge. Despite being trumpeted as the "definition of indie" by Soundclash magazine, Bryant is quick to speak modestly. "I was out of my pressed copies, so I figured, 'why not hook it up for free?'" His plan proved successful, with over 3,000 copies of the record downloaded, and over 75 artists have since released their music on the site. "It's definitely helped people approach my music, knowing that I'm behind them downloading and sharing", the 21-year-old stated in a recent interview. "But that's not why I did it." He quotes famed jazz musician John Coltrane, referring to music as "a large pool that we all dip out of", and states that he only wishes to give back what music has done for him.
Mr. Dunivan, of course, is not alone. Hundreds of independent artists are turning to alternative distribution methods to release their music, often completely free and legal. In addition to downloading sites like the aforementioned www.what.cd, full-fledged "net-labels" have been created to release and support their artists' music. From 8BitPeoples' innovative electronic artists to QuoteUnquote's spastic punk rock bands, these labels offer the exposure and prestige of a traditional record label, while still fitting the pro-piracy, community-oriented views of its artists. So while the free exchange of music can be harmful to the corporations that attempt to monetize it, music piracy has proven highly beneficial to both the artists and the fans. In the words of the great Jeff Rosenstock, "We've gotta just move on out and let the kids keep dancin'."
liveadaptevolverepeat - interview
interview by aaron pogue - reactor magazine
Bryant Dunivan is a reggae artist who has developed a stark version of modern reggae fusing today’s electronic precision drumming and sampling with old school bass lines and unaffected vocals. Reggae artists are always happy to talk about the process of making music as well as throw in a well-thought-out critique on society...
Reactor: Why reggae?
Bryant Dunivan: I just love the soul of reggae music, it can make you happy even during the worst of your days.
R: Do you perform all the music on LiveAdaptEvolveRepeat?
D: The music was performed by myself (bass + spiel), Bill Cage (keys + production), and Tim Fox (drums).
I’ve been playing the majority of shows solo, just me on acoustic guitar. It really has brought some different versions of the songs, and one or two of the songs are going to be played by the new project band live.
R: Describe your recording process, for example, “Sky’s Dem Fallin’.”
BD: The guitar loop is a sample of “Cut the Cake” by Average White Band. The drums are played mostly via the Octapad, the bass is the Fender Mustang again through the direct out with a kick mic balancing out the sound. The “saxophone” is from Bill’s Korg Triton. For this record it was recorded using Cakewalk Sonar 4.
R: In mainstream media, what ratio do you perceive as truth to bullshit?
BD: I think theres more bullshit in a lot of the stories then truth now a days, in a world controlled by ratings and pleasing the powers that be the line is becoming very blurred on it, that’s why I question everything I see, read, and hear, to become more aware of the facts and form my own view on it. Its also sad to see how many media outlets only care about the “stars” of the world.
R: What do you think is the musician's most important role in society?
BD: For me the musicians most important role is to make folks think. I also think musicians should inspire people to form their own bands
R: Where do you live, how old are you?
BD: I currently reside in Fort Myers Florida, and am 21 years old.
R: How does one find/listen/buy your music and/or contact you?
BD: For updates regarding my musical goings on you can check out: http://www.dunivanmusic.com. To hear sound clips you can find some at http://www.myspace.com/bryantdunivan, and to purchase the record you can go to http://www.dunivanmusic.com/merch.html. The album is also available on itunes, just search for dunivan and it should come up or you can get the direct link off of http://www.dunivanmusic.com.
bryant dunivan interview by matt anderson
Bryant Dunivan - Interview
Interview Of: Bryant Dunivan - Independent Singer / Songwriter
Interviewer: Matt Armstrong
Interview via E-Mail
Date: March 1st, 2004
Matt: What made you want to make music?
Dunivan:Basically I was tired of the local scenes, and wanted something mytastes might prefer. Couldn't think of anyone who id want
a part of the music, so I decided to be a little out of the box and just write with me and the bass.
Matt: The Senior Sessions - Where did you come up with that name?
Dunivan:The entire cd was recorded coming up to or during my last year of highschool, and that's a very pivotal step in life from what I heard, so Iwanted to capture my life up to that point vocally and musically, so Iwould get stoned, record freestyles and then polish them up into songs.All during those stresses of being a senior
Matt: Your first EP was named "The Junior Sessions." Would you consider your new album a sequel release? Or was
the name to show how much you've grown when it comes to music?
Dunivan:I kind of go along a lot with the saying that "recording a album kindof captures you at a point in time" It did that for me. I recorded theJunior Sessions all on my pc, and it was the start to my music, but itcaptured a lot of the rawness to how I would practice. Basically itcaptured my growth as a bassist to the middle of my Junior Year of highschool (I started playing about then), and recorded that beast in aweek, then just let it out. Senior Sessions was a little different asfar as growth, I'm a better bassist now then back then, and found a wayto write songs with words and let the music flow in. The name is asequel release as far as the fact that they both have a great deal todo with when they were recorded, but def. doesn't carry over any themesin the songs or playing.
Matt: When did you first get involved in music?
Dunivan:Back in the day my buddies wanted to start a band, so they bought theirguitars and learned for a month or two, then I picked up the bass, andlearned along with them (self taught, unlike them) caught up prettyquick, then they stopped and I kept going with it. hearing sublime andtalking with fans about that also got me wanting to be involved inmusic as well.
Matt: What are some of your biggest influences?
Dunivan:Mike Watt, Sublime, The Ziggens, Pepper, Bargain Music, Snot, Incubus,Bargain Music, Ani Difranco, The Doors, Long Beach Shortbus, Long BeachDub Allstars, Ben Wayne, Badfish, Slightly Stoopid, theStart, FloppyRods,The Minutemen, The Sounds of the World, and the Universe
Matt: Out of all the music you've written, Do you have any favorites?
Dunivan:Two really stick out in my mind, Stepping Stone and Life, consideringthey were both recorded off the cuff, all on the spot, bass line andlyrics kinda came out... The rest just kind of combine together withthe exception on Half Spirit, that was basically me learning about asecret that id never even thought of before.
Matt: How is it being an independent songwriter?
Dunivan:It really keeps you open minded to things, I've started a record label,and written 2 records, and I am still loving music. I can do songs thatI enjoy (drunken or not) and still not have to deal with deadlines andthe other hassles of the recording industry, its also easier to docovers as not a lot of folks (no more then a few k) will hear this shit.
Matt: Your songs are mostly bass-guitar driven. Can you explain why you wrote them that way?
Dunivan:I didn't find anyone whose musical styles really meshed well with mine,sure I jammed a lot, but got tired of searching for people who Ithought would make the kind of music I wanted to, like reggae, ska,dub, punk...its not big in FL so not a lot of musicians really try tolearn the aspects of the reggae beat or shit like that...they all wannasound like Chris Carrabba
Matt: Who are your current favorite artists?
Dunivan:Mike Watt, Mike Watt, Sublime, The Ziggens, Pepper, Bargain Music,Snot, Incubus, Bargain Music, Ani Difranco, The Doors, Long BeachShortbus, Long Beach Dub Allstars, Ben Wayne, Badfish, SlightlyStoopid, theStart, Floppy Rods, The Minutemen, Dubcat, and a littleDescendents, Falling Idols...old shit
Matt: What are your plans for the future?
Dunivan: College at F.A.U., major in Anthropology, settle down...def. continue to write tunes though
Matt: Can we expect another release?
Dunivan:I am currently working on two releases, three if you wanna get down tothe nitty gritty...one is by a acoustic/bass/vocal act called thechillhoons, were writing material, although that is going really slow.I'm working on a Long Boad Records compilation, but that has been onhold since September. As for a solo cd, you can def. be on the look outfor that...writing has started and I've laid down thevocals/guitar/bass for one of the songs, it wont be going with thesequel theme of the last two releases, but its gonna be more of a operatype peace (read as: influenced by contemplating the engine room bymike watt). I really want to capture things that have led up to thepoint in time where I am at right now in life, so the writing will bemore on a personal note then the senior sessions.
Matt: Do you have any tips for future singers/songwriters?
Dunivan:Do it for fun and as a hobby, when you become obsessed with themonetary aspect of the music it takes a lot away from your experiences.Don't copy someone else's style...make it your own... shit likethat...and smoke a lot of herb...
Matt: Anything else you want our viewers to know?
Dunivan:I did inhale...check out dunivan.cjb.net or www.longboad.tk for moreinfo on our projects....expect a chillhoons cd out soon...
the senior sessions - 3.5/5
matt anderson - soundclash music:
About a month and a half ago, I received an email from a guy calling himself Bryant Dunivan. I had actually been talking with this guy on a message board community for some time before I had received this email, but that isn't important. Dunivan had seen my ad for Soundclash and asked me if I could review his latest CD for him. Since I am always looking for content for this site, I agreed happily. But once I received his CD, I discovered something rather unique.
The first track on this album kinda gets off to a slow start. In fact, most of the tracks are very repetitive. The only constant is the bass, for there isn't as much guitar and other instruments as I would like in an album. But thankfully most peoples tastes in music are very diverse... I'm just picky. The first track, oddly titled "Dot Dot Smiley Face" starts slow with a kinda repetitive bass-line... in fact, the baseline if the only thing in this, except for some rather colorful lyrics. The second song on the lineup is called "Half Spirit," another bass-driven song with colorful lyrics.
As the tracks continue on this CD, they make the listener realize pretty much everything that's going on around them, in a kind of semi-hippyism that really amazes me. there is a cover of Sublime's acoustic ballad, "What I Got" which surprised me because I had never heard a cover of that song before, and it was kind of interesting to hear that wonderful melody from a different perspective. The wonderful bass-controlled music on this album continues through the other tracks, which hold names such as "in Discovery Of," "Mind Crush," and "Herbal Journey." Some people could argue that this album goes on too long, with too many bass-lines that sound the same... and that the trippyism wears off after the half of this album.
I would tend to call those people either (A) Close Minded, or (B) Having Bad Taste. This album surprised me... leaped up from behind me and bit me in the *. When Dunivan told me that "You have never heard anything like this before," he was right. When it comes down to scoring crunch-time I am going to have to give Bryant Dunivan's new album, The Senior Sessions a 3 and 1/2 out of 5 overall Soundclash Score. it's not often that I describe music that can surprise people like this album did. keep up the good work, Bryant!