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Ashbury Heights disband

(109 posts)
  • Started 1 year ago by rageofsadako
  • Latest reply from azrael2393

  1. Didn't see this posted anywhere here yet, thought it might be newsworthy- it's from the official FB page. There's a petition and everything too:

    The short version
    .by Ashbury Heights on Monday, October 11, 2010 at 10:49am.
    Ashbury Heights turned five this year. This should be a cause for celebration but after the last 24 months of constant fights and arguments with our label this band has begun feeling like a prison. For this and many other reasons I do hereby announce that I am disbanding Ashbury Heights.

    This band was never meant to be a niche act, circumstances outside of our control made us sign with a niche label however and in hindsight it was probably not a good idea. It is quite clear that there is no future for us within the confines of the obscure Germanic subgenre that we've been a part of since our conception. After five years of hard work we're still not selling any records and during that time we've had less than 20 paying gigs. I want you to know that we have tried to savour each and every one of these as if it were our last.

    We've soldiered on despite catastrophic results mainly because of the few but stalwart fans that have gathered around our banner, you have all been amazing. You have given us strength and purpose when we had nothing and you've kept us going through the long nights because we wanted to be worthy of your praise.

    But lately the situation has gotten worse and gigs are fewer than ever, we can no longer justify the amount of time this project is taking up considering that it doesn't give us anything solid in return.

    We have expressed a wish to leave our current record label and try our luck under different management. Part of the blame for our lack of success at least, must be attributed to their lack of marketing.

    We should of course also be prepared to acknowledge the possibility that our music is rubbish and all our fans simply have awful taste (bless you). In that case this would have to be the very definition of the expression 'good riddance', no?

    Naturally, if such a thing was to be true then our label is also guilty of having terrible judgement in picking it's bands. Oddly enough they have refused to negotiate in any way and even claim that any songs I ever make in the future belongs to them. Our contract really does give them the right of ownership to everything I do musically but it's hard to understand why they would choose to maintain this standpoint considering that they've never made any money off of us so far. Why would they want to keep me under contract when it never gave them anything in the first place?

    I feel that after five years with them without any real progress it wouldn't be fair to ourselves or to the fans to allow them to continue their mismanagement of our music. Therefore I will not be releasing any music at all until the matter has been resolved. When and if we can get out of our contract with our label, Ashbury Heights may be reunited but until then all my musical projects are on hold.

    We'd like to express our gratitude to all the tour managers, bus drivers and other heroes who have supported us through the years and to the small and exclusive group of promotors who dared to take a plunge and book a small and unknown act such as ourselves despite the financial risk. A thanks also goes out to our booking agent Jan Winterfeld who's always seen to it that the few gigs we've landed have been wonderfully organised.

    I would also peronally like to thank my band members through the years: Yaz, Johan, Kari and Tomas. You helped keeping this rusty train rolling. Thanks.

    And of course, our amazing fans.

    Unfortunately a great chunk of you who have expressed approval of our music, hail from countries we've never visited. It's a shame that we haven't been able to perform live in places like Australia, Mexico, Canada or the United States. To all of you fans over there we express our heartfelt thanks for the unyielding support and lament that we never got to meet you on the road.

    To the people we did meet down that road, we salute you all. You have been wonderful and you have cheered even though steadily failing health meant our last performances have been pretty awful. We really do love you, you're the one good thing we'll remember from all of this.

    We'll see you down the road.

    Anders Hagström

    Timrå

    2010-10-11

    Posted 1 year ago #
  2. Apexxx

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    SIDE-LINE MODERATOR

    sucks alot. i really liked Ashbury Heights.
    but i guess thats what happens when you dont read the fine print of a contract.

    Posted 1 year ago #
  3. kr-lik

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    again ?

    Posted 1 year ago #
  4. @Apexxx: hm, if a band doesn't sell enough to get the label a breakeven... ? Loyalty comes from two sides. Not talking about this band in particular.

    Posted 1 year ago #
  5. raedarius

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    I quite like the band, there's something about the male vocals that sounds like a cross between a folk singer and Patrick Hernandez. This could quite easily be a cover version of a folk song:

    [+] Embed the videoGet the Video Plugins

    Or an update of this:

    [+] Embed the videoGet the Video Plugins

    My recollection of their live show was of Fraggles jumping around though...

    Posted 1 year ago #
  6. djtekslave

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    It is good music but at the end of the day it remains synthpop, if there was money to be made in that niche we'd know by now.

    Posted 1 year ago #
  7. Apexxx

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    SIDE-LINE MODERATOR

    sideline: well even when a band signs a contract with a label, and i understand both need to make money, but from what Anders said in his FaceBook post, he cant make any music under any band name without OoL owning it. that is what I meant about not reading the fine print. no label should have the right to own everything a person does artistically. but if it was in the contract and Anders signed it, well its his fault.
    plus it didnt sound like they did much to promote Ashbury Heights. They are definitely good enough/catchy enough that Im surprised they were not more well known around the world.
    but hey, what i know about this situation is only from his post on FB. maybe OoL has a different side. but im certainly not here to get in the middle of this. just expressing an opinion based off of one social media blog post. :)

    Posted 1 year ago #
  8. ketoujin

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    ähm...to make synthpop and dream to reach a mainstream audience sounds quite 80s to me.

    Posted 1 year ago #
  9. The Other Sumez

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    Is it does me or does the guy really come of as a jerk in that press release / facebook blarg?

    Seriously if that's how you feel about your music, or music in general, you shouldn't even bother starting a band.
    And if all you want is a career, try studying law or medicine instead, you'll have a lot more success than as a crappy synthpop band. I now dislike Ashbury Heights even more than I did before.

    Posted 1 year ago #
  10. Aww, you're on a small label and you're not making much money? BAWWWWWWWWWWWWWWWWWWWWW

    Cry more, beetchez.

    Was ambivalent, now I can but laugh.

    Posted 1 year ago #
  11. djkrat

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    If he signed a contract for say... 10 albums, he is pretty much fucked. If its only 3 or 4 i would just finish the contract and go elsewhere with new stuff. If its 10 he can do like The Clash did, and start releasing double, triple and quadruple albums. :D

    Posted 1 year ago #
  12. stevenf37

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    Didn't they just re-release their first album and ep? Isn't this a GOOD sign, meaning that their first album and ep sold out, and there was enough demand and support to re-press it?

    Posted 1 year ago #
  13. Here's our point of view: http://www.side-line.com/news_comments.php?id=45274_0_2_0_C

    Posted 1 year ago #
  14. @ Bernard - 100% agreed.

    Posted 1 year ago #
  15. Meh. Read your contract. Manage your expectations. I don't know the specifics, but in my band's case, our label set up a few shows, but we were on our own for the bulk of them and building our own "hype", if you want to call it that. Twenty paying gigs in 5 years? Maybe lower your expectation of "paid" I can't count the number of free and $5 shows I've played. I do it because I love it and if I can make a little money doing it, so much the better.

    (Pssst, bands, if you're not filling to capacity, fuck the cover. Don't let $5 stand between you and a new fan. I can't tell you how many people we let in our shows for free that ended up becoming show regulars paying the $5, bringing friends, etc later.)

    Posted 1 year ago #
  16. dr_chop_chop

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    #1 don't sign multi-album deals

    #2 don't complain about your gothic label when there are hundreds of bands that would love to have that level of marketing

    #3 don't bitch that you're only playing to gothics when your CD cover features a latex-clad woman and a dude in a mesh shirt

    Posted 1 year ago #
  17. djtekslave

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    I work at a bank, I lend money to businesses, a label does a bit the same by investing money in a band.

    I expect my clients will use my support and make it happen for themselves, i expect them to be good business people, to go out, be seen, find contracts... basically, fend for themselves.

    Why would a band expect everything from their label just because they fronted money ? Did you ever see a bank operating a restaurant or a building company ? Did you ever see a bank finding contracts and clients for their own clients ? No !!!!

    In short, if you want more shows, go out and find them, if you want to sell more records, go to your fans, be personable etc...

    Posted 1 year ago #
  18. djtekslave

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    Also for all of us followers of the Out Of Line label who have given you a chance, bought your albums, gone to your shows, thank you very much for treating us of ''the confines of the obscure Germanic sub-genre''.

    Fuck You !

    Posted 1 year ago #
  19. Besides, industrial/synthpop/EBM is not a Germanic subculture.

    Posted 1 year ago #
  20. E101

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    It's refreshing to see that more people from the internet peanut gallery are finally acknowledging that a band's failure is not always the big bad label's fault, despite what they (the disgruntled bands) claim. Too many of them think their job is done once they sign a contract and submit their masters, and then get pissed off when all they receive is a big fat reality check in place of a royalties check.

    Note to the neverending waves of naive bands who still somehow think that signing to a label in this scene is a good idea or even makes any sense anymore:

    - Just because your little label presses 500 or 1000 copies of your CD, it does not mean that they will all sell. 99.9% chance that they either never will or it'll take 2-3 years to do it.

    - Just because your little label shipped out 250 copies of your CD to mailorder shops or about-to-be-out-of-business distributors, it does not mean they are actually sold until at least 30, 60 or 90 days pass - a window of time which still allows them to be returned.

    - Just because other bands on the same little label as you might be doing better popularity wise, it does not mean they have received bigger & better promotion or marketing. And if they did, it's likely because they already have a proven track record that justifies it. Check your ego.

    - Do not forget that a label usually has to sell enough copies of your CD to at least recoup the advance they might have given you, so don't expect to see one red cent of profit by your first, second or even third statement.

    - Pull your heads out of your asses and remember what kind of embarrassingly small scene you're in. No label in it is "big" no matter how supposedly established they are or how many bands they might have signed, so quit expecting anyone other than electrical tape bound spooks with shitty hair & make-up to talk about you... exclusively online of course because they have no other place to do it. By default you're already in a niche market - which you already secretly know since you're probably only in it yourselves because you've seen how shockingly easy it is for ANYONE with a computer & mouse to get known or signed no matter how undeniably devoid of talent or skill they are.

    - Realize now that it does not matter how many shows you "headline" or open for as long as they're in shitty dive bars that can only pull in 25 people to stand around looking bored while you do industrial karaoke on stage on a Sunday night. Your crowd doesn't have any money, so no, you're not going to magically see a huge sales jump in CDs or merchandise at all. And more bluntly, your live show, which is likely pretty ridiculous, will probably do more harm than good for you because it's so stupid.

    - If you're a North American "band" that signs an exclusive contract with a European label who will not license it to anyone in your own country, you're fucking retarded. Same goes of any European bands who do the same with a North American label.

    - Just because YOU think you sound like Covenant or Suicide Commando or Skinny Puppy or NIN or VNV Nation or Combichrist or whatever the fuck you think is popular and cool to compare yourselves to, it doesn't mean anyone else will and it will never guarantee insta-popularity.

    - If you're one of the countless lazy bands whose only online presence is running around posting to your shitty stolen themed MySpace page or free Facebook page in place of a PROPER website with some actual EFFORT put into to it, you're already just another disposable number in people's eyes and no amount of "friends" or "likes" in the world will ever change that. Just look for yourself; how is it 300 people "like" you on Facebook or are your "friends" on MySpace, yet you've only sold 26 copies of your CD or only got 40 downloads on digital stores? THAT'S your alleged "fan base" pal - get used to it.

    - No one gives a shit who you've opened for since we all know how & why local yocals are tapped as opening acts, who you've remixed, what Depeche Mode track you unimaginatively covered like 8000 bands also already did before you, what position you hit on some irrelevant chart like DAC, or how great your album was reviewed in some obscure bullshit zines that no more than 10 people have ever heard about like Chain DLK or whatever else. So shut up about it.

    - Realize that your contract doesn't amount to a whole lot of anything if it's with a one or two man sized obscure indie label being run out of an apartment, so don't talk about it like it's substantial. Is your European label going to pony up the thousands of dollars it would take to sue you if you broke your contract? Give it a try and find out - they won't. Just like there is fuck all you can really do if they break the contract on their side. They barely have any money and you definitely don't have any, so quit talking about it like it can make or break you. The only option either of you likely have is talking smack about each other online, maybe file a few copyright disputes on music streaming/selling websites, and maybe continue to release music without either one's continued permission or authorization. Oh noes.

    - Whining on the internet about how popular you COULD be, how many sales you COULD have if there wasn't illegal downloading or if your label was better, and claiming how popular you supposedly are on torrent sites (sure sure) is never cool regardless of how habitual it is for people like VAC or DSBP to do. Good music still sells, so if you're not seeing any sales, it's probably because you stupidly signed to an indie label who (surprise surprise) doesn't know what they're doing OR your music frankly sucks no matter what your sister, bar buddy or MyTwitFace followers tell you.

    - Get a REAL job and quit thinking that you're going to "make it" between taking orders at a drive-thru by day and overhyping your band on the internet by night. This scene is no different than porn stars who think this is their step to making it in the mainstream. Save for the one in a million exception, it's just not gonna happen. Ever. Accept it or get out.

    Posted 1 year ago #

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