Arquivo de Tags: entrevista

Dirk Schade interviews Markus Schneider

07 December, 2012 | Exchange

Markus Schneider is considered one of today’s most important and respected European music journalists. He worked as a TV-journalist in the 90′s, translates and writes about music and pop culture since the mid-eighties for magazines and daily papers in Germany and Switzerland, theses days predominantly for Berliner Zeitung and Frankfurter Rundschau, Tages-Anzeiger Zürich, and Rolling Stone.

In this interview, conducted by BRMusicExchange’s PR Dirk Schade, Schneider talked about Brazilian music and its projection throughout Europe.

How interesting is music from Brazil for the music journalists and German radio stations?

Generally speaking, with the digital evolution in full effect, I don’t really think geography matters all that much any more. In a more specific way it’s still always difficult to find a way around the traditional dominance of Anglo-American and native pop music in Germany.

So from a professional POV there has to be some kind of unique selling point (besides the music) to catch the interest of the media – as it happened for example with Arto Lindsay or the baile-craze in clubs some years ago when DJs/ producers like Diplo or Will.I.Am were charting Brazilian sounds on the mainstream map.

What can musicians from Brazil do to catch the interest of the German media?

I think it helps dramatically to have a local amplifier/distributor who is able to raise some interest. Journalists’ computers are flooded with new music daily so they tend to file and filter. A generic label like „Brazilian Pop“ will more likely be filed under „Let’s see if I’ll find time for this“ than „great Brazilian Pop on highly estimated Indielabel X“ or word-of-mouth promoting like „don’t miss the Brazilian support of cool US-Band X or DJ Y“. There are also festivals like the ones in Berlin’s HKW, that present global pop off the dominant routes to a broader minded audience than the average pop or world music folk. Of course… see 3

How important are digital media for promoting artists in Germany/Europe? Should people also use the traditional elements like CD‘s or print advertising?

Amplifying by social media like Facebook or a Youtube buzz seems to be helpful. Not for me, though. Professionally, I still trust in the traditional channels. But of course buzz works as an attention-filter. As far as CD and print are concerned – I think it depends. Editorial offices are being spammed with Cds and paper. So again, it’s important to fall into some kind of attention filter, a reliable label, promoter a.s.o

How would you recommend Brazilian artists or agents get started in Germany?

Find someone who knows about German pop business and is connected, record distributors, bookers, and the likes. Then, as in every country, travel – the German word is „ox-tour“, meaning you open for better known bands and maybe find attention. Contact specialised promoters, bookers, journalists and distributors who will know the networking channels, radio or tv stations (net or landbased), editorial boards of papers and magazines. (Bribe them to come to Brazil Seriously speaking, this is of course how national music boards work: Invite a group of relevant people to get to know the local scene and they will likely be more readily triggered to listen to music from the respective country.). Know your genre (and the competences of your local contact), a Samba band needs – needless to say – different handling, location, programmes and background than, let’s say, experimental baile funk or doom metal.

When you think of Brazilian music, what artists come to mind?

A whole lot of Bossa-people from the 60s of course, Jobim, Gil, Veloso. I got a bit interested after first listening to stuff like Getz/ Gilberto, Charlie Byrd et al as a jazzloving kid. Soul Jazz compilations of Tropicalia and post-Tropicalia; Daniel Haaksman’s Baile funk compilations. Diplo’s global disco; N-1; Babe, Terror (saw them at a HKW Festival); Arto Lindsays productions.

Do you have any musical favourites from Brazil?

I still like the old singer/songwriter Bossamusic quite a bit. I am, for reason layed out before, I guess, quiete uninformed about current affairs. A good example of how rather randomly music from beyond my regular paths finds its way to me is Juana Molina’s „Son“ I had it in my year end top five of 2006 because I liked her new take on traditional Bossa Nova (I thought she was Brazilian) after following a recommendation on Simon Reynolds’ blog – good example of the randomness of attention-triggers.


Interview with Mario Christiani – Managing Director of music2deal (Hamburg/Germany)

24 November, 2011 | Exchange

Music2deal:

music2deal.com is B2B community for the music industry. It is like MIDEM online or myspace but only for professionals as every single registration is checked for acceptance by  local representatives in over 30 territories. Music2deal is main topic is “networking and dealing with music” and the design of music2deal suits the needs of professionals to give them the best possibilities for matching, dealing and networking in a business context. www.music2deal.com

Mario Christiani:

Mario Christiani is the owner and managing director of music2deal. He started as a musician and studied economics at the University of Hamburg. He founded the very first version of music2deal in 2002.

Contact: Mario.Christiani@music2deal.com

Interview:

How interesting is music from Brazil for the music journalists and business people?

Brazilian music will be more on more in the focus due to FIFA world cup in 2014. So there is a great chance in the next years to make Brazilian music more popular in other countries.

What can musicians from Brazil do to catch the interest of the German media?

First of all they have to make good music independent from the media in Germany, France or UK. As the FIFA world cup is coming closer there will be a need of “typical” Brazilian music and some people will also look besides this “mainstream” so that also “non-typical” Brazilian music might be also discovered. To use the situation musicians and business people from Brazil should set up the basis for a success and build a business network in Germany/Europe and start to become known.

How important are digital media for promoting artists in Germany/Europe? Should people also use the traditional elements like CD‘s or print advertising?

Digital media is getting more and more relevant. But for now I would recommend a mix with traditional elements.

How would you recommend Brazilian artists or agents get started in Germany?

The first step is to contact people from the music biz in Germany. With the right people and with the right product you have the best possibilities to enter the German market. You could find most people on facebook and LinkedIn. Facebook has more or less a private focus whereas LinkedIn is a business community. Both are great but they are not made for the suits of the music business. Independent of the fact that I am the managing director I would join www.music2deal.com as there were more than 5.000 music business professionals and many of them are from Germany.

A registration is for free.

When you think of Brazilian music, what artists come to mind? Do you have any musical favourites from Brazil?

I do not think that many people know one Brazilian artist in Germany. Ivete Sangalo was mentioned in the media as the Madonna from Brazil but not many people known her before in Germany. Most people and also myself think about samba, happy music, colored dancers and sunshine when they think about Brazilian music.


Interview: Holger

17 March, 2011 | Artists

Could you give a brief synopsis of the band’s career?

We started in late 2006, but our first concert was in May 2008. In October of the same year we released our first EP, “Green Valley”. In the beginning our sound was molded in rock because was what we used to listening. After “Green Valley” many things changed, we started to play in festivals, listening different kind of music, playing with so many different bands, making concerts in and outside Brazil. Furthermore we started to hanging out at night and to take contact with the electronic world. From these experiences are the songs in our debut album, “Sunga”, released in September 2010 by Trama. Currently we are promoting “Sunga”.

Are you on international tour? What is the schedule?

We’re on our fourth tour for North America. Today we are gonna play in Louisville (KY) at a house party. Since we arrived were 10 shows in 9 days between Canada and the United States. Within this tour we are taking part in two festivals, SXSW in Austin and the Canadian Music Week in Toronto, which has already happened.

You were praised for Canadian Music Fest. How has been the reception from the public and this experience?

It has been great. We bring a different reading of Indie Rock by being Brazilians. I hate titling our sound as Indie, but I think it’s easier, especially for them (the public). It’s nice to see people following us around here.

How did the opportunity of this international tour? Is it the first time you play outside Brazil?

This tour came from other we have ever done. You need to create a network that is slowly increasing. Brazil has won more space here with bands that are taking risks, good examples are Bonde do Role, Garotas Suecas, CSS, Copacabana Club, Database, Cassim e Barbária. We must expand this network and these bands are very helpful.

For those who still don’t know, how would you describe Holger’s sound? What does influence you?

We’re influenced by anything that makes us rock the body or head. We hear a lot different kind of music, Jorge Ben has been constantly on this tour. But we also heard a lot of electronics, hip hop, axé, digital cumbia, old and new music. Lately we have been constantly compared to Smashing Pumpkins, which makes us happy.

The Sunga album was extremely commented. Could you tell us a little about it?

“Sunga” is our life, for it we left our families, friends, parties, girlfriends, wives. “Sunga” is who we are, it´s a portrait in an album form. We did the songs in 2009, and recorded it in 2010 with producer Roger Paul Mason from New York. Roger is a friend of Brian Mcomber, drummer of the Dirty Projectors, and closely friend of us. He thought that Roger would help us achieve the ideal sound for the new songs.

And what are the next band plans?

Compose new songs. ABSOLUTELY. But we cannot dedicate ourselves fully to this, because we are promoting “Sunga”. As more we play, more we want to compose new songs. We have many ideas that have not been worked out and we eagerly await our next album and touring.


Interview: Fabiana Cozza

24 February, 2011 | BrMusicExchange TV

Samba singer Fabiana Cozza is considered one of the most important names of the new Brazilian music. In a scenario where samba is seen as a genuine Rio de Janeiro rhythm, she frequently wins the public’s attention with her accent from São Paulo.

Fabiana is paulista, born in the heart of the bohemian neighborhood of Vila Madalena, and sings samba beautifully. As most musicians, she started her career singing in local bars and managed to, gradually, conquer larger crowds.  Nowadays she shows off her work overseas, being frequently spotted in bars and theatres across Europe, Japan and North America.

In this interview to Brazil Music Exchange’s Blog the singer talks about her career, her first international concerts, the warm reception outside the country and the enchantment that Brazilian music seems to cause on foreigners. “People like the Brazilian artist, we have a lot to give to these people, in the sense of cultural richness”, she says.

Fabiana also emphasizes the importance of career planning and warns: “You can’t just go to a different country and do a concert. You have to promote it, and the person who is helping you, organizing your things, has to plan that minimally – a thing that I only learnt on my second trip”.


River Raid in Kuala Lumpur

22 February, 2011 | Artists

The River Raid band from Pernambuco is ready to pack! Winner of the national phase of the Global Battle of Bands, GBOB, they were selected to represent the Brazilian indie scene in Malaysia, and performs in Kuala Lumpur on February 25.

We searched for the musicians that, before boarding, talked a little bit about the event.  Check out:

How important is the GBOB in the independent scene?

GBOB is a competition that happens since 2004. Here in Brazil was the first year that happened. It’s one more opportunity to independent bands disseminate their work and draw the attention of the media. Also, the award to the mundial phase winner band is very interesting. Besides a share in cash ($ 10,000.00), the winner is entitled to record an album and tour with 10 dates in London, outside all marketing that is done upon the winning band.

How did this opportunity? How did you do to participate?

Who told us that in 2010 there was a national phase of the contest was one of the organizers. Any band can participate, simply register with the site of the GBOB Brazil and pay the rate. This year the selective took place in Recife, Rio de Janeiro, Porto Alegre and Sao Paulo.

How was the first stage?

The first stage took place in Recife, among the jurors were Paulo André (Abril Pro Rock) and two journalists and music critics of the city. Only this is a tremendous opportunity for independent bands, to have a feedback from Paulo André, curator of the biggest music festivals in Brazil there, watching a perform of your band is a great chance!

You won the national stage – what it means to you?

Represents a great responsibility and an honor too, we were delighted to win the national stage in Rio de Janeiro, we played at Circo Voador with Nação Zumbi. And once again, the jury made ​​the difference: Victor Kelly (A & R at EMI), Marcelo Lobato (O Rappa band) and Richard Schott (Billboard journalist). Altogether there were 120 bands entered in Brazil.

Now, you are going to represent Brazil in Kuala Lumpur. What are the expectations?

We are traveling with the idea of ​​giving the best, as we always did until today, if we gonna win or not the mundial final stage is hard to tell. But winning the national stage the way it happened for us is a victory.

And how are you preparing for the event?

The preparation has no secret, just need practice a lot. We will perform own two music, just as it was in the stage of Recife. We chose “Team Up” and “Summer” that has a very direct language and up. Besides being two songs that were in the Top 500 of the 16th Billboard World Song Contest.

The River Raid is releasing “In the Forest”. Could you talk a little about the album?

We released in Fortaleza in the second half of 2010 and we are scheduling the release in the rest of Brazil. The album reflects a new moment of composition of the band. The first album has compositions from various stages of the band’s career, that we entered the studio to write and record. It’s an album more mature in terms of harmony and melody, which does not leave the rock style that we always have, but has more pop compositions as well. The album was recorded with the support of the Ministry of Culture (Lei Rouanet).


Bruno Amado and the relation APEX/BM&A

08 February, 2011 | Music Market

Do you know APEX? Do you know that the BM&A’s work is related with association? We talked with Bruno Amado, the project manager integrated sectorial Apex-Brazil and BM&A, who told Brazil’s Music Exchange Blog a little more about this partnership on behalf of Brazilian music! Check out:

What is Apex? How does it work?

The Brazilian Agency for Export Promotion and Investment are responsible for the promotion of Brazilian products and services in international markets. This is their mission, which also extends to support the internationalization of Brazilian companies and to attract investments to the country. All actions, projects and activities are guided in building the country’s image as a supplier able to meet the most demanding markets.

The basis of the work of APEX-Brazil are partnering with the private sector, always looking to expand the number of exporting companies, open new markets for national products and services and strengthen the Brazilian presence in traditional markets. Focused on six production complexes – agribusiness, home and construction, entertainment and services, machinery and equipment, fashion, technology and health – the Agency develops projects with entrepreneurs from over 70 sectors of the economy in all regions of Brazil, encouraging to integrate the international fairs, trade missions, exhibitions, business meetings.

How the relationship/involvement between APEX-Brasil and BM&A began?

The first sectorial project in partnership with BM&A occurred in 2004 with an idea of ​​supporting the internationalization of Brazilian independent music. Since then, there have been four editions of the project that have enabled the Brazilian participation in major international fairs and events, besides providing the arrival in Brazil of opinion leaders in various markets that here they have the opportunity to be in contact with musicians and bands from various regions of Brazil.

What is the position of Apex-Brazil for export Brazilian music?

Apex-Brazil has been supporting the music industry since 2004. It’s important to say that the project supports Brazilian musicians and music produced in Brazil, regardless of its genre. The APEX-Brazil’s function is to support trade promotion in the music industry. Today we are in the fourth edition of the Sector Project in partnership with BM&A, and this partnership has sought to evolve with technological and cultural innovations of recent years. The business model in the music industry is undergoing radical changes and, currently, the export of CDs are virtually nonexistent. The main focus of actions are the licensing and digital distribution of musical content in Brazil, the sale of concerts and tours of artists abroad and licensing of soundtracks for games and audiovisual content.

What is the importance of encouraging the culture exchange?

Undoubtedly, the spread and internationalization of Brazilian music generate an interest and curiosity about Brazil. With the proximity of the World Cup and the Olympics, we have a very favorable environment to promote our culture and our products. It is important to be prepared to not to lose the business opportunities arising from such positive exposure for our image worldwide.