Interview: Patrick Walch from Noble Demon Records

Metal label is a quite controversial thing nowadays, not talking about some major labels but smaller ones. When I got the album, which was released on a completely new label Noble Demon, established in 2019, I didn’t believe it: it’s totally unusual thing, to found a Metal label in our almost digital and streaming era. It was really interesting for me to talk with somebody from the label and ask him questions I want to ask. Luckily, Patrick Walch, the founder of Noble Demon agreed to answer my questions, so in the beginning of March we had a long and interesting conversation about creating a Metal label, what does it do and of course does the band need a label in 2020 at all.

How did you get the idea to create a new label?

Well, first I started the agency for digital marketing a year ago when I left Nuclear Blast. I’ve been working for the biggest metal label for 12 years already and then I wanted to found my own agency for digital marketing services so I can offer all my knowledge what I have learn over the years to independent artists and also signed artists who need some extra support for social media, on-line marketing, digital release strategy and all it has to do with on-line and digital. Then I wanted to release some music digitally for some bands, which I did also for Sabaton, just helping them with the releases, video premiere. But then I thought “Ok, I can only do it digitally” because that’s my knowledge and I don’t need any more people but then I noticed that it doesn’t really work for Metal – just digital – especially in Germany here. Fans will always need physical product: they want to get vinyl, they still need the CDs.

Yeah, I noticed that thing especially in Germany, when people buy physical copies of albums.

That’s collectors’ thing, I think. If you start collecting things like ten years ago or 20 years ago, there is just no reason to stop it now because you just a fan of the music. You have a nice shelf with lot of vinyl that you collected over the years, maybe and there is new music coming out that you really like so you want to have it as a vinyl because there’s big picture you can look at. Maybe you will never unwrap it, you know, but it’s still something special! It’s limited, it’s not like digital way that can stream all the time. It’s something special and I get it when people want to collect it.

So I thought that I need other people in a team so I met a guy who I know for years. He knows the structure in a music business really good so he made a deal with our physical distributor. He is also co-owner of a film company, they do film production and film distribution so it’s a big advantage that we also can offer SYNC Licensing and publishing and that’s pretty much stuff there. I always thought I also need this in our house and offer this to bands because bands require that but I can’t do everything on my own, I just experienced in the music so that’s why I’m doing A&R now and of course digital marketing and on-line stuff. That’s perfect team up with someone who can complement everything that I can’t offer myself and that’s how it all came to life. Suddenly I was talking to some bands and they liked the idea and the set-up. Of course it’s a new label and a new name, no one knew it before but they knew the faces behind, they knew that I am experienced and that my partner experienced too, so it’s a lot of knowledge behind it. When it all comes together in combination, it’s a great small team which I really like because it’s so effective. I used to work in bigger teams, we always had long meetings and we need to get everyone involved, to get different opinions, try to find a solution for everything and now we just can decide everything on our own. Today we can discover band and we can sign them tomorrow and start releasing first single a few days later.

It’s always better when you can make the fast decision when you are in small team

Of course reality is not that fast but it’s great to have a possibility and to decide on our own if you want to work with the band. I found really good small young bands and I think it’s really hard to grow a band which doesn’t had any profile yet, that really don’t known yet and really started from zero, that’s really tough nowadays but we can still give it a try if we find that we really like their music and I think they have some potential. We can’t give it a try on a big label because the risk is just too big: you have to pay maybe hundred employee, investing marketing has a lot of overhead costs and for us it’s pretty easy so we can just give it a try and make it work or maybe it doesn’t. The worst thing is that we’ll waste some time and a little bit of money maybe but it is kind like a hobby, you can do what you like to for the bands that you like, just have the best for them and hope that it works. And if it doesn’t then… well, there are some other bands (laughing).

What’s different about Noble Demon from the other labels?

It’s a good question. I mean, some labels, especially the small one, they focusing on one genre like underground Black Metal labels or labels that just do stuff for their friends or stuff for their own. Now every band can start their own label and release their own stuff. But the bigger labels who have the bigger audience, they have bands from the different genres: Death Metal bands, Female Fronted bands, modern stuff, oldschool Thrash and another. That was one of key things that I think about when I started: should we start in one genre like Death Metal or Metalcore, which I like a lot, sign bands only in this genre and get really pick there hopefully and then one day spread out with other genres – but then all the fans that you’ve generate will be pissed off if suddenly you sign bands from the different genre. Or really just sign the stuff that I like myself, so it doesn’t matter if it’s fits together. The first release we did was Dawn Of Solace which is very clean vocals and melodic melancholic Finnish music and the next one we did was really fast and really evil Metal from Night Crowned. Probably there are not that many fans for both bands right now but it don’t matter so we’re generating fans from different genres, which I think is great.

I think you did a great job about Night Crowned album, by the way

Yeah, thank you. It’s really awesome that everyone was happy with everything: fans appreciated this and there’s a new label with pretty cool music. I don’t want to release too many albums and too much stuff but focus on some real quality stuff and then really work it properly; to take time and work everything really properly though. It’s more equality than quantity. I also still working on the agency side, it called Suricate Music and we don’t have any pressure so we don’t have to release a lot of new albums each week or each month. We can do that because everyone in our team has other job: my partner has a film company, I do my agency stuff so we don’t have to release that, we don’t have to make money quickly. That’s no pressure and we can really do whatever we like and of course I hope one day it will really get bigger and we can also make a living from it. But right now it is a great to make people happy. We are happy with what we doing, we can be proud of what we doing and the bands are happy – that’s most important for me because I was a bit concern in the beginning; even that everyone here is experienced in what he’s doing, we didn’t know in the beginning if it’s going to work out the way, we wished for it. And there a lot of new tasks now like product management and physical so we never really know if the things work out properly and in time and everything. There was the distributor, who changed the warehouse because of switching of the New Year, so for the first album already we had a problem with it: that’s new year, new label, new band and then new warehouse. That was really tricky and was pretty last minute but everything worked over well and I was really glad. But that’s not easy to achieve and that’s why I’m happy about that. Then Tuomas from Dawn Of Solace was really happy with our work, what we did and everything turned out pretty well for him that he didn’t need to take care everything himself, that he could also lean back and rely on what we doing.

I mean, that’s what it supposed to be like, when the artist can make a great music, deliver great music videos and we take care for the rest.

We make sure that we reach their fans, we reach new fans, we make a good timing and good strategy, good marketing and of course also work efficiently, not wasting a lot of money and then suddenly everything goes down. Really making sure that if we invest money, they invested in the right places and optimize everything just to know that the bands get bigger, they grow with us, which is easier for established label that has like ten thousands subscribers on YouTube and lots of fans on Facebook. It’s easier for them to grow a band with what they already get but we started from zero at the beginning: new YouTube channel, new Facebook Page, new Instagram. It’s not easy to explain it to a new band, to promise to a band to make them bigger because you can’t really be sure yourself. That’s why I’m really glad that everything worked off very well so far, there are already two bands, two albums released. I always happy when everything works well, that’s really awesome. I really looking forward to the next albums from these bands and also the next albums from other bands that we already have in the pipeline like No Raza which will be out on March, 20 and Gomorra: we just released a single and the album will be out in April. Talking about new bands for the next signing: initially we had a new album from the band each month but I think we’ll have a gap in May probably because we didn’t get to sign new bands quickly after first releases, so we just signing new bands right now but that will mean they recording things and then we’ll get the album, start making strategy and planning with the first thing that would probably take them on tour maybe on July. But still, I have a lot of new bands already I’m in touch with and it’s interesting because I have Black Metal band, Thrash, Power Metal, Heavy Metal, Death Metal and Dawn Of Solace which is melodic metal.

Why did you call your label Noble Demon?

I think about it for a while, throwing around ideas, different words that we liked and I summarized the thought of this kind of gentleman-gangster thing, this mix of evil but also noble. It’s like gentleman, very cool and sophisticated devil thing – it’s a bit difficult to find the right words for it. Then I found “Noble Demon” because it’s five letter-word each, it’s short and you can remember it so I really happy with it. Then we were looking for a logo and how to get this idea that we had in mind on the logo. I had lot of ideas and it would be a huge logo and lot of stuff put in there. My agency called Suricate Music and people were like “What is it?” and don’t really remember it well so I thought that it must be something easy now for the label and I think it works well. It’s not too evil but not crazy and cheesy. I think it’s a cool mix of all the attributes that I wanted to have on the label in just two words and one logo so I think it represents it very well and I got a lot of positive feedback about it.

Your label is a part of UCM.ONE Company or is it cooperation on equal terms?

It is more cooperation because that’s what I’m said: my partner, who’s handling this film company, he is the owner of UCM.ONE. We were thinking about what kind of legit form we should take – it is a founding of new company we got to invest a lot of money and get difficult sometimes. We thought that everyone will keep doing his job; we’ll just do cooperation and it’s running a legal name under the company which is already there. It is much easier, it saved us a lot of money and a lot of time so we started that way. It’s a cooperation between my partner and myself, the label is Noble Demon but the company behind it it’s UCM.ONE. The publishing company, which we also offer to bands and to our songwriters like Tuomas for Dawn Of Solace (he is also in this publishing company now) it is called UCP.ONE (“P” for publishing), it’s make that easier for us. I just got self-employed, nine month before I started the label so I didn’t really have any money, offices or anything to start it that way. It would have taken years to save money and to build something similar like that on my own. We teamed-up, brought all advantages together and it’s a combination. That’s how we started it and everything worked out really well.

How do you select the bands? By which criteria?

It depends… I mean… I got a lot of demos admission pretty much from the first day on, that’s a lot of stuff and really hard sometimes. From time to time I have demos like… People just send you a YouTube link without saying “Hi” or anything. Others really had a lot of effort to send you a nice e-mail and have a proper EPK, which I really appreciate so I can get an idea of a band and I don’t have to goggle it myself about their Facebook, their YouTube and here and there. But of course I always see if a site or a Facebook profile represents if the band can work professionally, which is also important because if you sign a band for two or three albums, you will work together for the next five or ten years maybe or even longer. It’s important to have someone you work with, who can be professional – not only creating music but also business and collaboration. Then you get in touch with people, it’s also important that you have some kind of connection, that you can also think about working together in a longer term and not being annoyed having to call someone or someone annoys you by way he writes e-mails. But for the selection and find which bands would fit to a roaster – of course I listen to the music and if I like it then I’ll dig deeper and see if they already have some streams on Spotify or if they have some fans on Facebook already and just investigate a little bit more. I’ll invest a little bit more time to research a little bit. But if I don’t like the music then it doesn’t make sense because I can’t really promote it because I also promote bands, I also A&R and promotion.

So it’s just only about your own taste?

Yeah, pretty much because I can’t really judge if it’s good music if I’m not experienced this genre.

If you are not into it.

Yeah, if I’m not into it. It’s really hard to because I speak to Spotify now about new bands when I pitch stuff or playlists or in touch with some influencers also, as well. I try to look for some cooperation on Instagram for example, if someone could use promo for music and reach the audience that way. And it’s hard to tell someone “Hey, we have a great new music video” or some music if I don’t really like the music myself and I can’t really tell why it’s awesome and why I like it. It would be a lie. And that’s what I think will be no effort because I want to do whatever I like with label and I don’t want to do something that I really feel. That’s why I said that we don’t have a pressure to release a lot of music so we can do whatever we like. Of course I look in advance and I see if there’s a bigger band. I see if there is a lot of potential, already have a lot of fans, it’s easier to decide “ok, let’s keep a try with them”. If there really small unknown bands then I really hesitate of course because it’s really hard to grow a band from zero as I mentioned. Only a few bands which are still unknown but the music is so much potential; I really like it and instantly addicted to it, so I think we have to give it a try somehow though. So, yeah, it’s always depends, it’s always a combination of if I like the music, if I see some potential and if they have some, at least, small fanbase. It’s always case-by-case: I got a lot of crap demos admissions but I got some true well-notched things which still rough. And I think if we’ll work on them properly and take some time to invest into them, not only with the first album but maybe after few years when they will be on tour and reach new fans. I think there will be some bands, which really deserve to become more successful and get a bigger audience. It just makes sense to show their music to more people in the world because there are so many good bands out there but people don’t know it because most people just follow the big bands that just been there for 20 years. It’s a shame that so many unknown bands, which deserve so much more support but I understand that the business our days is streaming and it’s gets harder to invest in a band.

We’ll talk about the streaming a little bit later; I have a couple of questions about it.
When I read the interviews with people from various labels, they all have a story about the band that they declined and after some time this band became really big and they regretted about this decision. From your experience, do you have this story?

Well, not yet, it’s a way too early.

I mean not only your experience with Noble Demon but your previous experience also.

I haven’t been in A&R, I only had a digital marketing and that kind of stuff but from Nuclear Blast, I mean there were also some bands which I heard some stories, not really sure if it’s true. There were also some bands that send their demos to Nuclear Blast like ten or 12 years ago and then they got bigger and then, of course, A&R was like “oh, fuck, we missed this”. But of course you can never tell, A&R is not like you can see the future but you can see if there some trends right now for some genres and if the band is doing a good music. Yeah, of course I always try to sign a good band and be successful with them but I mean you can sign like ten or 12 bands but only one of them will go to the roof, you never really know.

It’s hard to know what it will be.

Yeah, it’s also mix of timing and luck There are some bands which are really doing a good job and everything works great but they don’t get over certain level because… I don’t know. Because maybe fans don’t get it or maybe the press, media doesn’t really support them properly because they don’t like it. Maybe the same band would’ve work way better five years later or five years earlier because the time wasn’t right, you never really know. Even if there is a band, which get huge and I really missed it out on them, maybe it would still be a good decision for you because you don’t like the people there or they don’t like you. It doesn’t mean that you missed out of them because they got bigger, it’s always depends. Also for me when I started now, I think that if some huge band will come for me, which I could sign, that would be a huge success for us just to sign the band but I wouldn’t know if I could promise to that band to make the same good job as another bigger established label. You also need to be true to yourself and your business part, not really promise things that you can’t deliver later. So that’s why I think it doesn’t need to be a band that get really huge and very quickly because we don’t know if we could catch up with the demand. I’m pretty happy how the thing goes and it makes more sense to grow organically over the years and not getting huge from zero and then fall off again. I think it really makes sense to build step by step with each new band and not put too much pressure or expectations in everything. As I said it works now even better than we have expected.

Is it hard to say “no” to the band? And how do you do it in, let’s say, gentle way without insulting anyone?

It was a bit difficult for me in the beginning as well how to tell someone that I’m not interested in what they are doing but I really listen to the stuff that we get and even sometimes I like the music. Maybe they are not at the right level yet or maybe it’s not the right stuff for us because I used to tell that to a lot of bands that it hard for us, for small and young label to grow a small and young band. The big label and a small band case – the label can pull it to the next level. Or it’s another way around, if we would sign an established big band now that would help the label to get to the next new level, right? Or if both are in level, it helps to each other to get on the new level. But if everyone is pretty down to zero right now, it’s really hard. You just stuck as underground label, you don’t sign a lot of bands, work here and there but you won’t get the underground level. That’s what we need to avoid, especially now in the first year. I had to tell a lot of bands that I like the music but it’s just not enough for me to say “ok”. This is exceptional that I really want to do everything for that kind of music, for that band, so we have to focus on some other bands right now. You never know, maybe we’ll fine together in a few years: they had developed in the songwriting and in their style, their look and their professionality and we’re also another level in a few years – maybe then it’s a perfect match but for now it’s no.

Usually I ask the bands about it but now I have an opportunity to ask the man from the label: with the development of streaming services and digital platforms, what can label give to an artist nowadays, in 2020?

You mean to get the music promoted on streaming services?

I mean because of the evolution of streaming services and digital media somehow labels are not what it was let’s say 20 years ago or even ten years ago. What do label can give to an artist now, not only digital promotion, not only put the music on Spotify.

You mean in general? So in other words you mean why the band needs the label at all, why don’t they just upload their music themselves on some streaming services.

There are many ways. I mean for some bands, especially when it’s a small label, maybe sometimes it makes sense to stay independent and not every band would need a label. If you don’t really look for your success,

if you just want to have fun with your friends, play some music, play some gigs here and there in your local area and maybe release some music without a lot of effort and a lot of money invested, then you don’t need a label. But if you are looking for a worldwide success, if you want to reach a bigger audience beyond your own town and beyond your own country, it does have sense to have people on board,

if it’s a band manager or it’s a label or distributor; experience to have some contacts to the key market and people if it’s distribution, press and media in the key markets like US or Germany, especially Europe or maybe Asia, depending on your music. Also to booking agencies – I have a lot of requests from small bands, they say “Do you know the good booking agency for a music? And looking for a manager. Also I need a PR agency in Germany, I need PR for radio in UK and I need someone who checks with magazines in US and someone who pitches our music to Spotify” and all that kind of stuff. So it makes sense to have someone professional onboard, who can handle everything for you and in a structured way also, not just trying to do everything. Someone who is really experienced, who knows what makes sense because you can do a lot of stuff, of course: you can work full time all the time just for one band but you have to find out what to know from experience what makes sense at all and do the most important stuff in the structured way in the right time, for sure. I mean, there are some bands that really experienced, so someone in the band can do PR because they did it for the other bands already. Someone who’s maybe graphic designer or video editor so that’s would be great. Someone can do band management because the band need it. Some bands are really can do great music but also have some other skills, which are important for the music industry, then, I think, they can handle band management themselves and maybe even take care of some stuff, which label would take care of like running social media by themselves or booking online ads if they can, invest the money themselves, but it’s hard. I think, there are only few bands who can manage everything themselves because even if you are skilled and you have some money that you can invest, you still need to be experienced, especially at the digital area. It’s a lot of stuff and it’s changing all the time. Even if you did something two or three years ago for another band, it can be completely different now in 2020 because pitching works differently, the algorithms on YouTube are different now, maybe iTunes is gone next year, you never know. There are no downloads anymore, everything is just streaming. Maybe people will use music or maybe consume music on TicTok next year. So you have always to keep up with whatever is happening. And of course vinyl and CDs aren’t changing that much anymore but in a digital area it’s really difficult. You have to learn something new every day, keep up with the news and developments here and there, otherwise it’s just can’t keep up with other bands. You need a team of people who know which PR agency you can keep onboard, which distributor makes sense. It also makes differ if band need some cash as an advance to record an album or to make a music video, it definitely make sense. But also, you know, if you try to handle the streaming yourself, you get royalty statements from Spotify or YouTube, you can get really huge files which you can’t even work on them with your computer because they just too big. You also have to know other legit stuff, you have to know how to handle royalties and collecting stuff – there are so many things involved; also there is stuff like publishing and all the others. So, yeah, I think it have sense to have a partner onboard, who can manage all that value in the professional way.

Was it hard for you to make everything from the start?

It was bit hard emotionally to quit my job at Nuclear Blast because it was my real job actually; I really stuck there for 12 years. It was pretty cool for ten years to have a lot of great experience there, to meet a lot of cool people that way but then the job just wasn’t right for me anymore in the end, something changed I wasn’t happy with this anymore. So it’s a first big and hard step for me to do that, to start a new label it’s to start a new era for me. Of course, a lot of stuff changed every day and it was a bit difficult to get self-employed for the first time. There are so many new things that you don’t know about, especially in Germany: you have to care about so much leasing stuff and obsolescence here and there, taking care that you have the right insurances and so much stuff I never did before. So doing everything for the first time it was really interesting, busy and exciting times. But then it was great to work on my own terms, work whatever I like, when I like and the way I like it. It was really relief then later when things started to settle. When the agency worked while after a few months, we started with the label: a lot of new stuff, a lot of new processes, new timing, new partners, new bands. But it’s exciting, it’s fun. Of course in the beginning it’s always bit tough but when you get over the point, it’s really fun working that way because it’s exciting and new. As long as you can select yourself which bands you want to work with and which way you want to work with them, then it’s just really satisfying, for me, at least. I feel so.

You’ve heard a lot of bands in your life and you still do, I suppose. How not to burn out and not to get tired from the music?

I don’t know, I think I pretty much always listen to music somehow. Maybe sometimes it can be completely without music when you go for yoga or meditation – that’s really just getting back to yourself. Sometimes I don’t listen to Metal, so I might have some more relaxing music in a background like Blues or some more electronic stuff somehow, but of course, I think, 90 or 95% is always Metal for me. I don’t really listen to the bands I used to listen like ten or 12 years ago. I know that lot of people still listen to the same stuff and they will always be the biggest fans of Motorhead and Slayer but I think I always keep moving on. Of course there are some bands which are forever but I always listen to the new stuff and that’s how you hear new influences and you get more open-minded. You know, few years ago I was only listening to extreme stuff like Death Metal, Black Metal, Melalcore, Deathcore that has to be fast and aggressive. Last few years I got to be more open-minded about other stuff and really appreciate more craftsmanship in music, like Dawn Of Solace – I’d never listen to this a few years ago. So now I can really hear how sophisticated it is, if it’s not fast or aggressive with lots of tremolo but really get to the emotions more, so that’s a different level of experience and enjoy music. That’s why I think music can be so profound. You have to be open-minded; otherwise you’ll get bored very quickly. But if you somehow open-minded, I think it will never get boring. There are so many new bands now, you discover so much new stuff, especially on Spotify: if you recommended similar music that you like, algorithms are so good nowadays that you really hear a lot of great new stuff that way; also on YouTube, so it never gets boring, at least for me.

A bit trivial question, but can you tell me about your usual working day? How does it go?

(laughing) That’s exactly one year that I’m self-employed and I’m still struggling to get some proper routine. From time to time I think maybe I don’t need it. Sometimes I might work pretty very late in the evening, or maybe sometimes I work the whole night and then I will sleep longer the next day so it always depends. Sometimes I am with my girlfriend and then I walk the dog and do some grocery so I don’t work that much during the day but then I start to work in the evening or maybe also in the weekend, get more stuff done then. But of course I always available if there is something urgent then. When it’s time for release – they are out on Fridays – of course I will handle that in time but other stuff that is not so urgent, I will take care of that in the evening, at night or at the weekend: no phone is ringing, you don’t get lot of new e-mails each time. You can really sit down, focus on a few things and get some stuff done. It always depends but I’m more kind of a night guy so I might work the whole night.

But you need to talk to the people that work in offices anyway and you should do it in the daytime.

Yeah, I get this done as well for sure so I can also adjust meetings. I work with the band from New Zealand right now, they are 12 hours ahead of us, so I need also to find some time for them at night or in the evening which is here and 9 am for them and that’s pretty much the only time when we can get on the call together. But the good thing is my business partner form UCM.ONE he also does his other job for the film company mostly during the day and he is always available in the evening so sometimes we have a call in the evening, like 11 PM when no one else would answer the phone. Sometimes there are calls pretty late in the evening and we can talk about everything, that’s pretty cool.

And the last one: Noble Demon in five years, in 2025, how do you see it?

It’s a good question because we don’t have such a fixed plan, like “that needs to happen until next year, this needs to happen now and we need to make this kind of money to move on”. That’s a good thing that we are really flexible and open to whatever might happen. But now I just working with bands that I like and hopefully if more people hear about it, we have more releases out and a bigger catalog maybe after one or two years. I hope that also bigger bands get interested working with us when they see that we’re doing a good job and, get good releases out and everything works properly either. It would be great to have some big bands as well, some of my favorite bands it will be great to work with, just like I had back then when I worked for the Nuclear Blast. It was a lot of my favorite bands there, it’s always great to work with them and help them, do whatever you can do to push them. I think we just grow bigger in five years and we’ll be on top of things like it was at Nuclear Blast, to be one of the first, one of pioneers when there is something new. We always had like the first Metal app for some bands, the mobile app for Metal fans, the first biggest playlist on Spotify (the biggest Metal playlist for a while just until Spotify started to do their own playlists and push them). We also had an on-line poker game for Metal.

I’m looking for new things right now, I’m also looking to TicTok or stuff like Instagram stories that just pretty new to me as well because I don’t use it personally. I always learn new things whatever comes next, some artificial intelligent stuff or new algorithms on YouTube or new apps coming up, new streaming services, whoever knows. I’m pretty sure to check it out pretty early and make sure that our fans are first there. Currently I’m also working with a new mobile app, which is pretty cool, with another partner. There social media assembled into the app so you see everything from your favorite bands. You can just follow some bands – it’s a bit like Facebook but not with 2000 friends and some other brands – only bands and you can be sure you don’t miss out their posts.

As a label, it piss me off that in order to get new fans, you get to put precious content on social media and then in order to reach your fans, to promote the content, you have to pay Facebook, Instagram and YouTube to reach the fans that you generated.

So that’s why we’re working on this app, we’re closing this gap: the fans want to see the post from their favorite band and the bands want to reach their fans. But there is a man, who’s taking all the money in between, that’s we’re trying to eliminate with this app. Also fans will pay like 1.99 for subscription, before the money will go the costs of the app and the hosting will be covered. But it’s not like the Spotify, when it goes to the big pot and the big artist take the majority of it – it goes straight to the artists so it’s a fair model and it can be used for promotion for the artist. Also it’s so easy to use for fans, they can get the premium content from the artist and that’s that kind of stuff I think we should push more. Maybe in five years it would be like that and everyone can be more happy about streaming and not see it like “Well, we got 10$ from album, from distributor for the CD and now we get fraction of a penny from streaming”. Hopefully that it will be different business model and finally music will be finely managed and monetized; really use these possibilities that we have on the Internet, better than we’re doing right now.

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