[EN] Netlabels & the recent trend of repurposing Jamendo (or other netlabels) stuff

In the last months I noticed that many netlabels have started a new trend: instead of releasing new and unpublished music, they just repurpose albums that have been already published on Jamendo or tracks that have been already published for other netlabels. I don’t want to do examples, because this post must not be read as a personal attack to somebody in the scene. Who deals with netlabel scene on daily basis like me already knows the “examples” im referring to, while the not-so-much-addicted netaudio fans probably won’t care a fuck about this technical and niche post anyway.

As I said, I don’t want to attack anybody, but I’d just like to understand the meaning of this repurposing trend. What’s so cool into adding your release code before the title of an already released album, dear netlabels admins? Where’s the cool part into releasing compilations of already-released netlabel music? Is it lazyness or something like that? Do you have some spare webspace and bandwidth to waste? Do you hate so much releasing new stuff? Can’t you just share your music selections doing a textual tracklist + mp3 links like many others in the scene already do?

Sarcasm aside, I just wanna understand the sense of this trend. It creates lot of duplicates and lot of caos in the free music scene (that is frustrating!), so i hope there’s a good reason behind this new trend.

My opinion is that netlabel scene must be different from Linux distributions scene*, so please try to keep the cloning and the duplication of the same stuff out of our world, if you can 😉

* inside Linux world, maybe you know, there are tons of amateur distros that are mostly big distros + some author’s customizations (like 2-3 additional packages that are not included into stock Ubuntu, custom icon, custom theme etc): this creates just caos and waste of resources.


19 Responses to [EN] Netlabels & the recent trend of repurposing Jamendo (or other netlabels) stuff

  1. Michael Gregoire ha detto:

    I’m assuming not, but I sure hope you’re not referring to what I do at blocSonic. If so, you need to read our about page again: http://blocsonic.com/about


  2. Michael Gregoire ha detto:

    Just to add more clarification what I do is not merely “repurpose”. I get a hold of source lossless files and provide the music fully packaged with complete liner notes and distribute in lossless FLAC and 2 MP3 formats. The release is compiled and rendered with normalize volume levels.

  3. eldino ha detto:

    No no Michael, im not talking about you, you know i like your style and your philosophy 🙂 im talking about some young but mostly unknown netlabels that seem they have started a trend or somthing like that 🙂

  4. Michael Gregoire ha detto:

    I thought so. Though my paranoia got the best of me. LOL

  5. eldino ha detto:

    Yeah, you are not a newcomer anyway, and as far I know, you didn’t started repurposing whole jamendo albums yet 😉

    blocSonic has got a sort of “philosophy” behind it and i talked about your view about netaudio in an earlier post, u know, that one u read tho 😉 (for the others: im talking about this one: https://eldino.wordpress.com/2007/06/19/en-an-open-letter-to-mike-gregoires-an-infrastructure-for-take-over-article-blocsoniccom/)

    what i wanna do with this post is to point out people’s attention to this new trend, because I don’t think that a “netlabel scene as jamendo mirroring” is so cool 🙂

    we have to maintain out identity, in my opinion.

  6. Michael Gregoire ha detto:

    Yes, you’re right. There has to be some creativity and purpose injected into a release, otherwise why do it?

    BTW… I never did respond to your open letter, did I? If not, I apologize. Perhaps two years isn’t too late for a response? 🙂

  7. eldino ha detto:

    Nope, u never replied 🙂 As far i remember, you just said u read it etc.. 🙂 It’s never to late to answer 😉

  8. Michael Gregoire ha detto:

    Ok, I’ll add it to my todo list. It took me a while to balance everything related to releasing, my freelance design work and my day-to-day life. I’ve gotten a bit more organized about everything out of necessity. I’ll prepare a response in the coming month.

  9. eldino ha detto:

    nice 🙂 pingback/trackback/advice me when it’s up, i’m curious to read it and share knowledge 😉

    in my opinion, netaudio scene is often too much silent, not so many discussions, not so many articles, but just tons of music releases (mostly crappy hehe) 😀 we have to work on that someday in the future :p


  10. Catching The Waves ha detto:

    I sometimes re-release complete sentences in a new review. 😉

    Is re-releasing really such a big problem, except for very dedicated netaudio fans? It’s so difficult for netlabels to get publicity that its perfectly understandable that labels should “piggyback” on Jamendo’s success. It’s all about the numbers, E. 🙂

  11. tu_force ha detto:

    I never heard about this before but I have to say I have nothing to do with Jamendo.

    I don’t understand the purpose of re-releasing free music stuff, if those guys want to be involved in the netaudio scene then they should create a website like Rowolo and do some free promotion for original labels instead of ripping off their tracks.

    As the original poster said, this is a total loss of resources and a waste of bandwidth.

  12. dkeifer ha detto:

    Just recently I released a Cagey House album through Free Range Beats. Marc, who runs Free Range (and who’s a really good guy, by the way) puts albums up on bandcamp and lastfm–sort of the way other netlabels use the internet archive.

    I know it’s not really what you’re talking about, but it seems related. Sort of, anyway.

  13. Danni Lessot ha detto:

    Ci sono in effetti moltissime etichette che prendono musica da altre (vedi ad es. BeatPick – almeno agli inizi). Questo è possibile credo grazie alle licenze Creative Commons. Sinceramente credo che le poche etichette originali siano ancora Magnatune e Jamendo. Per la musica classica invece c’è OnClassical (loro producono addirittura le registrazioni e hanno qualità altissima). Nota però che sia a Magnatune che ad OnClassical le licenze CC non coprono i files ad alta risoluzione ma solo le previews: ecco spiegato perché non si divulga il materiale di queste due.

  14. eldino ha detto:

    Sorry for late answers, i have unstable connection 🙂 let’s reply:

    @Catching The Waves
    Well, actually it’s not a problem (except for ppl like me who download the whole catalogue of every netlabel), since just few young netlabels are following this trend, but if the number will grew up, yeah, it will be a problem in my opinion 🙂

    i dont want a netaudio scene as in “Jamendo clone”, netaudio must rest != Jamendo 🙂

    u got the sense of my post, i totally agree with you 🙂

    well, what u say/did is more social networking-related, and I think that social network is a great tool for netaudio activists. I’d implement Social Networks (Twitter, Last.fm, Facebook…) in every netlabel around, because it could be a lot useful to get new fans and listeners. Spread the netaudio word in 160 characters 😛

    @Danni Lessot
    Beh Magnatune, Beatpick e soci non sono esattamente parte del movimento netaudio, ma ad ogni modo è vero che questo “ripping off” di traccie/album altrui è possibile grazie alla licenza Creative Commons. E’ uno degli svantaggi diciamo, esattamente come la GNU/GPL lo è nel mondo linux 😐

  15. embe ha detto:

    Hi Eldino,
    like ‘Catching The Waves’, i really don’t mind this kind of rereleases: i have no time to spend on Jamendo, because it’s not structured enough, therefore i follow the netlabels who filter by style, and if they rerelease something, i know what kind of release to expect. For example: i have no problem with Professor Kliq’s album “[jamendo32636] [rec72 – 018] The Scientific Method 2: Experiments in Sound & Perspective” both on Jamendo and Rec72:


  16. joan ha detto:

    direi però che che le net label come magnatune e beatpick non possono replicare solo in virtù di pubbblicazione precendente in cc. devono avere un regolare contratto firmato dagli artisti in quanto vendeno anche per film, tv e pubblicità (settore molto delicato). in quest’ottica è semplciemente l’artista che ha voglia di essere su piattaforme possibile (ed è giusto). e penso che sia vicnecente la net label che ha piu successo in far guadagnare o promuovere l’artista, piuttosto chi pubblica per primo. ciao! joan

  17. Density of Sound ha detto:

    Well, you’ve also got previously released stuff being reposted on freemusicarchive.org now as well… I don’t really mind I suppose.

    I kind of agree with eldino dice, talking about the real issue being quality – that a large percentage of releases aren’t actually very good – then again, that’s the beauty of the scene as well, that there really aren’t any gatekeepers, so whilst you might have to wade through ,ten, twenty albums before finding something great, you also don’t get some of the real oddities filtered out by the ‘taste’ of labels

    I recall a great statement by Jahtari (i think it was) at one of the netlabel conventions which critiqued the lack of breadth in the style of many releases. This concerns me more than rereleases tbh.

    Great site by the way, glad to have found it.

  18. eldino ha detto:

    @Density of Sound
    thx 🙂 following ur tweets and ur blog rss feeds now 😉 Peace!

  19. Harald Walker ha detto:

    Artists and netlabels invest a lot of time and money, so it is understandable that they use any possible means to reach their audience. If republishing on other netlabels or netaudio platforms helps to get more exposure, why not? For me as netaudio DJ/collector it can lead to duplicate downloads but that hasn’t really been bothering me.


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