JOHAN SÖDERQVIST

Well, how super cool is that!?

Excellent news!

Johan Söderqvist to Score Susanne Bier’s ‘Serena’

http://filmmusicreporter.com/2012/10/03 … rs-serena/

What, this hasn't had its international premiere yet?

Very sorry, but: No CD, no sale.

I don't download music, legal or not. I'll never pay money for mp3s or any soundfile.

Should the stop producing CDs entirely that will be the end of my (me?) collecting current scores.

A CD is essentially a collection of sound files on a physical object. The only difference is that it comes with album art / liner notes, and that someone else put the music onto the CD for you. I understand preferring a physical object but I don't understand refusing to listen to music just because its NOT available on a physical object.

It's not a trend , it's moving on, evolution. It's not something temporal that will suddenly go away. Our life is on the cloud now.

I prefer solids but if it turns into nothing but downloads then so be it, I'll always want to hear new music.

Good news for those who want a CD too! We talked with Johan and his CD EDITION FOR KON-TIKI is set to go out on MAY 13, 2013 with extensive booklet coverage of the music process behind creating the beautiful score.

http://scoremagacine.blogspot.gr/2013/0 … ut-on.html

love that cover

Beautiful cover for a beautiful score for a beautiful film.

I continue to find this attitude completely ludicrous.

It's like saying "well, I have bread, and I have cheese, and I have ham, and I have mayonnaise, but I'll never just make a sandwich myself. I always buy them pre-made. I appreciate the work that has been put into manfacturing the sandwich by a professional sandwich maker".

More to the point, this attitude is potentially harmful to the industry as a whole. We're a niche market of a niche market which never had made a lot of money in the first place, and with the global economy the way it is, for non-specialist record labels (I mean people other than Varese or La-La Land) to invest money into score CDs is a gamble at best, and a money-losing distraction at worst. Making the music available digitally allows consumers to hear the music without labels having to invest money in manufacturing, production costs, and distribition in a shrinking marketplace. It just makes financial sense.

If it's a choice between having the music digitally, or not having the music at all because CDs are too costly, I'll digitally every single time, and embrace every physical CD release as a nice bonus from an industry that doesn't need to provide that medium any more.

And that used sandwich's don't have resell value.

Facebook.

There's photos of audio cassettes on there all the time, trying to trick us into revealing ourselves by twinning these cassettes and pencils together and asking us for the link between them.

You're missing the point. It's simple economics. I'm not talking about specialist labels like LLL or Varese, who have the agreements with the unions and the studios to press smaller runs of physical CDs for the collector's market, or who are financially stable enough to bid for the occasional new release.

I'm talking about film-studio run labels like Watertower and Madison Gate, or labels with a much more diversified musical output, like Sony or Atlantic or one of the major pop labels. It costs money to license music, to physically make CDs, to print booklets, and to distribute products to physical stores - much more than it does to release a digital album. In this financial climate, studios and more mainstream record labels have finite amounts of money that they have to channel into projects that will provide them with the biggest return on their investment. Here's a hint: that ain't film scores. We are way way way waaaaay down the pecking order in terms of importance to bigger record labels, who will sell 10 million Coldplay albums, but maybe just 10,000 copies of a score for a small movie.

But they still want to get the music out - so they provide us with the next best option which is the most cost-effective for them: digital downloads. No distribution costs, virtually no production costs, a huge majority of fans are satisfied with the product, and they don't lose money, which allows them to reinvest their label-wide profits into future projects instead of dropping cash into a hole where they lose money on every physical score release.

I'm not talking about classical music, because the loss they make in production costs can be offset by the fact that they don't always have to pay royalties for classical pieces in the public domain. It balances itself out.

I have no idea what the situation is in Germany, but the iPod and the iPad and the eBook are pretty much ubiquitous here in the USA, and shows no sign of reversing. Digital sales have outstripped physical sales consistently for years - thats why Tower Records and HMV and book stores have been going out of business left right and centre. I'd like to see what evidence you have for your assertation that social media and iTunes are going out of fashion.

Also, I have no idea what audio cassettes and copper wiring has to do with your "rant" though.

Like I said before, if it's a choice between not having the music at all due to economic concerns about releasing physical media, or having a digital download available, I'll choose the digital download 100 times out of 100.