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When it comes to discovering new music nothing beats the good old radio. That’s according to the results of an Edison Research survey which finds that 35% of Americans, who try to keep up with the latest music, consider FM/AM radio their number one source to keep up with the latest trends.

Personal recommendations are also popular when it comes to music, with 21% of the respondents mostly relying on their social circle to stay up-to-date. Among the plethora of online music services, surprisingly, YouTube is the most important one for music discovery, 9% of the respondents find new tunes on Google’s video portal.

Via Statista

Don’t lie, you likely had or still have Michael Jackson’s Thriller in your record collection, and tried to moonwalk – badly.

Designer Jacob O’Neal is here with an animated infographic to help you get back to the 80s with style.

Global digital music revenues reached an all-time high of $5.9 billion last year as revenues from streaming services, both ad-supported (+17.6%) and subscription-based (+51.3%), saw strong growth that outweighed a slight decline in download sales (-2.1%).

Looking at the past five years, downloads are still up by more than 50%, however, the recent slowdown suggests that the download market may have peaked, while streaming services such as Pandora, Spotify and iTunes Radio are just taking off. Considering the slowdown in download sales, it makes perfect sense that Apple is reportedly thinking about launching an on-demand streaming service that goes beyond iTunes Radio.

Via Statista

From Mashable:

With the rise of services such as Spotify, Pandora, iTunes and countless others, it’s clear that digital music is booming. But when it comes to music discovery, new listeners bypass these apps and tools for a class device — the radio.

According to a new report from Edison Research and Triton Digital, AM/FM radios remain the most popular method of finding new artists. Word of mouth via friends and family is the second most popular, with YouTube nabbing the third spot.

The data is based on a survey given to 950 Americans older than 12, who said that staying up-to-date on music is “very important” or “somewhat important.”

In 2013, global digital music revenues reached $5.9 billion, up from just $400 million in 2004. The lion’s share of digital music revenue is still generated by paid downloads, although streaming services (subscription-based and ad-supported) quickly catch up. In 2013, global download revenues declined by 2.1 percent, while subscription-based and ad-supported streaming revenues grew 51.3 and 17.6 percent, respectively.

Via Statista

From The Economist:

The technologies for reproducing music have continually changed since 1877 when Thomas Edison introduced the phonograph’s engraved wax cylinders. These gave way to superior sounding Gramophone discs made of shellac, and later, vinyl records. (Some 3m are still produced annually for the niche market of DJs and audio nuts.) The analog formats—including cassette tapes and the short-lived 8-track—were superseded by digital formats, like CDs and MP3 files. Once digital, music could be shipped over the net; the product was intangible, distinct from any physical container. This also meant that sales could go from a “stock” to a “flow” and from a good to a service. Unhappily for music execs, the income from online delivery like streaming is a fraction of what is generated from downloads (or LP records of yore). The bigger they come, they harder they fall, one and all.

From Consequence of Sound:

A few years back, I was avoiding my family on Christmas by listening to Arcade Fire’s Neon Bible. With all the grace and couth in the world, my cousin slugged me in the arm and asked what I was playing. I told him, and he responded that, because he was unfamiliar with them, it must be “hipster bullshit.” Oh, and “They’re probably not as good as Pennywise,” he added. Since then, most of our interactions have dealt with me trying to quantify and explain what really is or isn’t “hipster bullshit”, with any well-thought arguments about cultural context and artistic merit met with “Whatever, tool-bag.” Next time around, however, I’m just gonna slap the “The Hipster Music Index” right in his Affliction-wearing grill and do a little two-step.

Created by Priceonomics, the “The Hipster Music Index” is a way to confront “humorous generalizations about hipsters” by using “data capabilities to shed light on the hipster condition.” Priceonomics used two primary criteria to discern just what exactly the average hipster listens to: positive Pitchfork album reviews and how much traffic/attention any given artist’s album review is receiving via Facebook. So, just what did they uncover in their pursuit of higher knowledge?


As Priceonomics explains, “For a given Pitchfork Review Score, the trend line uses a linear regression to predict how many Facebook likes you’d expect the album to receive given its critical acclaim. By our criteria, the further below the line a blue dot is, the more hipster the band. (It’s high quality but obscure.) Dots above the line represent more mainstream (not hipster) bands.The model appears adept at separating critically acclaimed but mainstream bands (Arcade Fire, The National, et al) from the critically acclaimed but obscure (Fuck Buttons, Sun Kil Moon, et al).”

Using that methodology, the “researchers” then compiled a list of the 25 most hipster bands. That is, the bands with the most critically acclaimed albums that aren’t widely shared on Facebook:

hipsterindex01 (1) hipsterindex02

Continue reading the rest of the story on Consequence Of Sound