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It doesn't make sense to me.
Not that that's necessarily a bad thing, but:
They were some of my favourite artists before the latest albums. The latest albums were on commercial labels (with the exception of Bloc Party). If I'm making a horrible error here please correct me but it's the philosophy that getting "big" makes you commercial, based on a few key studies.
oh man, comedy glold
snow patrol have been on a major since 2003 / for their last three albums
athlete have always been on a major
idk, doesnt rly apply to me so i cant like SELF ANALYSE. YOU SEE?!??! I AM UNIQUE!!! or at least part of a smaller still subculture, with even LESS success in the world. or something.
Even if they don't end up losing self-control (look at Porcupine Tree) people will still assume it until they hear the finished product.
the required hit single
the label often has choice of producer and sound engineer/master & exc producer... so even if the songs are their.. they get made souless so they sound good on radio.
Its not the bands fault most times, it is because the label has control over much more than the pricing, pricing and release dates
I kinda liked the way Issac Brock broke Epics contract with Ugly Casanova by pretending none of the songs were written by him so it could be released under sub pop instead, speaking of Modest Mouse, Moon & Antarctica was on a major and is their best album... so not always the case.
Damn your eyes...
a band may get more money to expand/realise their ideas, but the label will want a return on its investment, so the outcome is usually a bigger, more polished, more mainstream sound.
that said the example that keeps coming to mind is Rings Around The World by SFA, which just about managed to be a change in direction and more cinematic without being entirely shit.
that it's not cool if it's mainstream. just part of the whole alt subculture. "if a lot of people have heard of it/like it, i can't like it". so lame.
has this thread been sent forward in time from 1997?
COWELL GETS ALL THE MONEY
Although underground bands don't seem to get signed to majors very much anymore. I suppose majors aren't in the position to take such risks. It's easier to just give a BRIT school alumnus a hipster makeover.
they love, even if it means losing money (hello, Factory). Most people who set up indie labels do so because they have a genuine passion for giving new acts an outlet for their music. Major labels exist to keep shareholders happy and, as such, quickly lose patience if their latest signing fails to deliver that big hit. Remember, we now live in a world where 'only' (ONLY?!) reaching number two in the charts now constitutes a failure.
I remember reading an interview with Alex Kapranos several years ago where he was asked why Franz Ferdinand had signed to Domino. His answer was simple: the majors the band spoke to said 'we could really do something with you' while Domino simply said 'we really like your music, can we put it out?'. The difference being that majors already have an idea of the kind of band they want to sign and look for the people they can mould to fit that specification, while indie labels tend to be more interested in finding something new and exciting, regardless of what they look/sound like. Sonic Youth managed to wrangle a contract with Geffen which gave them complete artistic control, but most bands picked up by majors aren't so lucky...
It's the shitness at the core of their being that will be enough to cause major labels to come sniffing about in the first place.
Major label money just gives those bands the resources to properly realise their shitness.
but I think there is some truth to it. I think having more money makes bands less resourceful; you can easily satisfy silly whims like bringing in a 30+ piece orchestra, whereas in the past the same band would probably have just played around with the song a bit more to give it the kind of feel they were looking for, forcing them to engage with it a bit more creatively.