3.4.2 INDEPENDENT RECORD LABELSIndependent labels are the forces of the world music market. We owe them the work of cleansing themusical genre, discovering artists, founding careers, risk-taking on projects of creation, and so forth.Furthermore they do not have the same restrictions as majors, who have to invest a large sum of money inmarketing for smaller amounts of shipment. However, the success of certain labels, such as Lusafrica,must not mask the reality of this sector, where a majority of small record companies work on a precariousbudget.With about 200 labels producing traditional and world music in the Irma’s database, the sector presents avariety of patterns:- Certain companies ally the activities of production and of distribution: Harmonia Mundi (WorldVillage, The Song of the World, etc.), Next Music (Sound system, Al Sur, etc.), Night & Day,Coop Breizh, Keltia Musique, Nocturne, Club du Disque Arabe, etc.- Others are part of the pioneers who contributed in establishing the reputation of French productionin terms of world music. They possess an important capital of catalogs today and continue toproduce: Buda Musique, Lusafrica, Ocora Radio France, Arion, Celluloïd, Inédit, Créon Music,Iris Musique, Label Bleu, etc.- Younger labels attempt to stand out by their differences, by developing original artistic concepts:Accords Croisés, L’Empreinte Digitale, Cinq Planètes, Long Distance, Nord Sud, etc.- Certain labels concentrate on one culture in particular: Gafaiti (North Africa), JPS (CentralAfrica), Oceania Records (Pacific Ocean), the Oz Production (Brittany), Ricordu (Corsica), etc.- Others like Cobalt, Daqui, Marabi and Rue Bleu are connected to festivals or event companies,whereas others like Nova Records, to media.Dynamic on their own niches of market, certain independent labels understood at a very early stage theinterest they had in diversifying their commercial partnerships. They therefore deal directly withspecialized operators (museums, cultural institutes, specialized wholesalers, etc.). With a lack ofmarketing operations, independent labels can develop communication strategies to arise the interest ofshop retailers. By starting the promotions upstream to the release of the album, they try to create a“buzz”and pass it to a media partner at the release of the album.The influence of concerts on the sales of records is enormous. Gilles Fruchaux from Buda Musique statesthat “it is the best marketing plan and the best way to enter into the diferent regions of France, if we workwith a competent booking agent”, because it is regional sales that make the diference. 20 000 to 30 000France Export Handbook–World Music
copies sold in France represents a good score for an independent label. However certain records do notsell more than 300 copies. This is a phenomenon, which is not very surprising if we take into account themass of units published each month.The strength of independents labels lies in their flexibility of action, their capacity of adaptation and theirpower to take risks on a commercial level, as they already do on an artistic one.Tips:For the launch of an album in France :• Identify a partner, ensuring the functions:- Of a human interface between the producer and the distributor- Of an advisor with a capacity of initiative to organize a promotional campaign for the release ofthe album• Coordinate the release of the record with the artists on stage• Launch the promotion of the album long before its release• Favor the sales of records in regional areas with an appropriate promotions plan and the presence of theartists.3.4.3 DISTRIBUTION AND SHOPSThe French world music market has flourished so much that it seems particularly blocked by thecontinuous flow of releases each week. Although we can find numerous imported records in independentdistributors catalog, the number of records available in France for each reference does not often exceed 50copies …In 2003-2004, independent distributors took over a part of the market from majors in crisis. Majorsmarketing operations are very expensive while shipments are reduced. However, the survival ofindependent labels shows that the decline is proportionally equivalent although the financial volume is notcomparable. The fact that French distributors are non-specialized does not favor the exposure ofindependent productions. Labels suffer from the movement of concentration in current independentdistribution and from the redundancy due to this.Whether independent or majors, all labels are confronted to the politics of shipment established by the bigchains of music stores. It is true that spaces dedicated to world music offer a wide variety of products, andare the only ones not to have decreased in surface. However, the period of exposure of all new releases isrestricted to three weeks, with reduced shipments, and the albums that have a slow sale are returned to theFrance Export Handbook–World Music
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- Page 15 and 16: •Artists: Tri Yann, Weepers Circu
- Page 17 and 18: Igor SZABASON (Director) / Isabelle
- Page 19 and 20: Agnès THOMAS82 quai de la Loire 75
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- Page 23 and 24: •Artists : Season 2004/05 : Lynda
- Page 25 and 26: Activities : Agent, concert promote
- Page 27 and 28: Laurent CASTANIE (Booking agent)Act
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- Page 33 and 34: William MUNERATO (Artistic director
- Page 35 and 36: Email : contact@tzigart.comWeb : ww
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- Page 39 and 40: Genre : music from Brittany (tradit
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- Page 43 and 44: Patrick ZELNIK (CEO)Gilles PAIRE (V
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Genres : Traditional music •Terri
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Les TEMPS CHAUDS17 bd Voltaire 0100
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JOURNALISTSGérald ARNAUD25 rue Ram
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•Television : Documentaries (Arte
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Specialized in : Music from Asia an
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•Press : Ouest-France (Rennes), C
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Fax : +33 1 43 58 62 26Email : gcas
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Quentin ROLLET (Assistant)Genres :
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Fax : +33 1 47 35 52 93Email : last
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David MONSOH (Product manager for w
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Sébastien NORMAND (Sales)Christoph
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Web : www.vibrations.chPierre-Jean
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Gaël HAMAYON (Press Service)Daniel