ANNOUNCING THE KURB 50/50 RECORD DEAL IN NEW ZEALAND

The kurb 50 / 50 record deal for Aucklanders and North Islanders.

Kurb is a provider of digital media services for artists at the forefront of new models and developments in the music industry.

We are introducing a new concept in artist management initially to Auckland, New Zealand and then extendingit to the whole North Island of New Zealand.

The Kurb 50 / 50 Record deal.

Basically it works like this.

The digitisation of the music industry has begun to collapse the whole business into a tighter, more niche driven operations, more focused, providing higher value to a smaller audience through a greater range and diversity of products and services then before – but at much higher margins.

In the past a record deal bound an artist to their label exclusively and under limiting financial and creative conditions, including effectively mortgaging the band into debt to pay for the production, marketing and distribution of their album.

BUT THIS IS WHAT WE’RE DOING:

Under Kurb 50 / 50 Kurb is signing the finished recordings themselves, Ideally, at least 40 minutes worth for an “album” project.

And kurb will provide every expense in manufacturing CD’s and providing physical distribution within New Zealand.

Kurb will be responsible for collecting all revenue, distributing 50% OF ALL REVENUE to the artist and providing the artists with legitimate sales and activity reports not less than once a year.

SO WHAT DOES THIS MEAN FOR THE ARTIST?

The artists commitment is in having already produced the music. Kurb’s commitment is in taking whatever steps the album requires to reach digital distribution and to produce as many CD’s as we feel is fit to meet demand so at least the artist’s mother can buy one.

PLEASE NOTE: KURB will set the price of the music as we see appropriate, we are likely to give some of the music away free online, and set the price of CD’s at $NZ10 – AND THE BAND WILL HAVE TO PURCHASE THEIR OWN CD’S AT HALF PRICE.

- this may seem tough. But remember who’s paying for everything!

IF I discover the artist has been selling CD’s they’ve manufactured themselves the contract will be forfeit AND I will be PISSED OFF.

That’s pretty much the only hard and fast rule.

KURB makes the CD’s, distributes and monetizes the content online, giving the artists half the money – ARTISTS don’t make thier own CD’s of the recordings to sell.

So (I feel like I’m repeating myself but this must be made clear) what that really means is:

ONCE THE ALBUM IS RECORDED THE ARTIST IS UNDER NO OBLIGATION TO PROMOTE THE ALBUM OR WORK FOR OR WITH KURB IN ANY WAY AGAIN.

BUT ONCE IT’S DISTRIBUTED . . . NOR ARE WE.

We will be pushing the recordings that we sign that prove they can make money. If certain songs or material can’t be monetized then . . . we can only do so much.

What is hoped for is that a true organic partnership is arrived at where everything that Kurb does to create opportunities to monetize the content, also enhances the artists brand, and everything the artist does builds brand recognition that increases the value and appeal of the recordings.

THREE POTENTIALLY NEGATIVE SCENARIOS FOR THE ARTIST

1: The band takes off and the album turns over tens of thousands of dollars, and guarantees a residual income. Kurb continues to collect 50% and the artist decides to release in future completely independently. The artist may decide to retain kurbs regular online artist management services starting at $200 p/month.

2: Despite distribution and promotion, absolutely no one is interested in the album whatsoever. The artists mother purchases a CD for $NZ10, the artist receives $5. Given the result, we decide to recognise that this arist is a low priority for our label.

3: You’re a teenage former child performer with breast implants and have just spent 50k on producing your album and another 50k on your Video and other associated content production expenses. You’re going to need a publicity budget of that again to even dream of recouping and . . . I don’t have that much money. You should probably try and sign with a major label.

WEAKNESSES:

Artist management: I am responsible for your songs, for management of your digital content, not for you. performances and endorsements and such is totally up to you, you should maybe get an agent. If you want to talk about merchandising you can either talk about doing that with us or . . . look after it yourselves or otherwise. Ask nicely and I will probably do some posters for your show.

Publicity. I know the addresses of the Radio stations, the Television stations and the Magazines. I know how to make a press kit. I know how to lick a stamp. But I am not friends with anyone who works at these places and that’s basically what a publicist is. If you’ve got 5k or so it might help there – you might get on TV. And no, I don’t want to “go you halves”.

OKAY I’M INTERESTED, WHAT NOW?

kurbpromo – AT – gmail dot com

027 6848250.

The very best time to call me is lunch break. That is MY lunch break. 5pm-7pm.

I HATE “MEETINGS” AND WILL AVOID THEM AT ALL COSTS. DON’T BE OFFENDED.

You know how much time I’ve spent sitting around talking about things that never happened? TOO MUCH.

I’m going to be really fussy at first before I get into it and loosen up a little bit.

I’m not relying on this being successful, but it would be nice, I guess.

I want an act that’s already performing every month with quality recordings, and a half decent website. I want an act that’s committed to blogging and/or regular production of video content.

Don’t be disheartened if we’re not interested initially. When and if I start scaling up, I can afford to be more lenient in regards to quality control.

PLEASE BE AWARE: I HAVE KNOWN PERSONALLY AND WATCHED 4-5 BIGGISH ACTS IN NEW ZEALAND GROW FROM SCRATCH. THEY WERE ALL PRETTY MUCH DRIPPING WITH TALENT FROM DAY 1 AND IT WAS OBVIOUS IT WAS JUST A MATTER OF HOW AND WHEN.

MAYBE I know my stuff. or MAYBE you just gotta be THAT good.

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