Héliophonor: le rock qui sent bon le sud !

On les a rencontrés autour d’un verre de pastis pendant notre #BMTT: du ‘rock progressiste’ qui sert des mélodies tantôt jazz, tantôt ‘métaleux’, mais toujours bien musclées; c’est un premier EP réussi pour le groupe Marseillais.

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Souvenez-vous, souvenez-vous….

Au printemps dernier nous décollions de nos bureaux au Cargo pour prendre la route accompagné du studio mobile Road Studio. Direction: un tour de France de 15 jours appelé le #BMTT – Bustle Music Tempo Tour –.

Et bien nous en a pris.

Quelle incroyable opportunité de rencontrer ainsi la scène française en plein essor!

C’est dans ce cadre, autour d’un pastis que nous avons rencontré Héliophonor, lors de notre halte dans la cité phocéenne co-organisée avec Parnas’, un pré-label à l’accent qui agit sur la région.

Porté par une chanteuse et une batteuse

Héliophonor, c’est donc un groupe de la région d’Aix-Marseille, porté par une chanteuse et une batteuse. Et oui, on le souligne, car d’abord les femmes ne sont que rarement mises à l’honneur dans ce monde ingrat de la musique, mais surtout car clairement ça donne une plastique bien particulière à ce joli projet. Le groupe s’est alors monté autour de 5 musiciens aux goûts pas forcément très linéaires au premier coup d’oeil….c’est vrai qu’entre Muse et Haken il y a différents courants de rock. Mais c’est justement ces différentes influences qui ont permis à Ana-Belen, Jade, Cyril, Loïc et Julien de créer leur son à eux, dans un style très clairement ‘alternatif’. Comme alternatif veut tout et rien dire, on retiendra surtout le côté très ‘rock progressiste’ du groove qui sert des mélodies tantôt jazz, tantôt ‘métaleux’, mais toujours bien musclées!

‘Divagate’, un EP très varié

Le groupe a pris temps de mûrir leur projet, et pas sur n’importe quelle scène. Héliophonor a ainsi joué au​​ ​Marathon​ ​de Salon-de-Provence​ ​(édition​ ​unique),​ ​au ​​Tremplin​ ​Pop​ ​Rock​ ​d’Orange​​ ​en​ ​mars​, et au ​​​Printemps​ ​des Grandes​ ​écoles​​ ​pendant​ ​le​ ​Printemps​ ​de​ ​Bourges​ ​en​ ​avril​ s’il vous plaît! De quoi roder un premier projet.

Enregistré et mixé par SunLab Records à Marseille, ‘Divagate’, est assez varié pour un 5 titres. On écoute avec plaisir ‘Inside’ pour lancer la journée sur quelque chose de bien ‘péchu’, puis on part au boulot sur ‘Vide de sens’ ou ‘Divagate’ pour se laisser porter dans les transports. Belle performance sur un nouveau projet.

 

Porté aujourd’hui par le pré-label Parnas’, Héliophonor se prépare maintenant à la scène….gardez un oeil !

Et en attendant, découvrez les sur Bustle Music

Charly Sidibé: l’apogé de ce que ‘fusion’ peut vouloir dire

C’est avec un immense plaisir qu’on vous présente le premier titre du prochain album Liptaakon de l’artiste burkinabé de renom en sortie EXCLUSIVE sur Bustle Music!

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On vous avez déjà présenté  Charly, le chanteur Burkinabé, lors d’un de nos déplacement à Ouagadougou, mais rapidement, via un chouette, mais ancien, clip-vidéo.

Cette fois Charly arrive en force sur Bustle Music, avec en EXCLUSIVITE le premier titre de son prochain album.

C’est une bombe !

Ce titre est littéralement l’apogé de ce que ‘fusion’ peut vouloir dire !

On y retrouve un groove africain typique de l’Afrique de l’Ouest, avec des pointes de jazz et bien sûr des mélodies portées par le fulfudé, la langue nationale peul. Cocktail explosif de notes aériennes de chora, des vibrations de l’arc à bouche, du rythme effréné des percussions, des solos de guitare et du timbre joyeux du balafon, Charly nous présente avec ce titre une musique traditionnelle ET moderne, bien à l’image du carrefour de rencontres qu’est Charly Sidibé.

Pour reprendre quelques éléments de biographie, Charly à l’âge de 10 ans a fait ses premiers pas musicaux à Bobo-Dioulasso dans l’orchestre de la « voix des pionniers », une structure créée à la faveur du régime révolutionnaire du défunt président Thomas SAnkara.

Tout en poursuivant sa scolarité, le jeune chanteur intègre différentes formations musicales tant à Bobo-Dioulasso qu’à Ouagadougou. En 1999, il décide de mener une carrière solo et enregistre à Abidjan son premier album intitulé ‘Complaintes’, ce qui lui vaudra d’être sélectionné pour participé en tant que « découverte jeune talent » à la première édition de ‘Burkina Musique Tour’. Charly sera ensuite invité à s’exprimer avec de nombreux artistes de passage au Burkina Fasso (Habib Koité, Rido Bayonne, Ray Léma..)

Bousculant les idées et clivages classiques, c’est un avant-goût de l’Afrique de demain que nous propose déjà Charly…on attend impatiemment le reste de l’album LIPTAAKON !

Venez découvrir et soutenir Charly sur Bustle Music !

Cyrille

Maray Fuego: the rambling accordion

When Maray Fuego plays, it’s like a circus performance, but in music!

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Ljubljana, January 2012.

It’s late afternoon. The pale wintery sun barely manages to warm up what will be a classic cold Balkan night. Nonetheless it gives a beautiful light over Ljubljana city centre. At the bottom of the ‘castillo’ -the little castle-, in this beautiful Austro-Hungarian city, music’s coming up from one of the bridges, adding to the beautifulness of the day.

It’s pure acoustic accordion. And straight away we’re seduced. Accordion can be either sad, or overly-clowny. But in Maray’s hands, it’s sweet, it’s soft, and it’s actually quite funny too!

It’s like a circus performance, but in music! That’s probably coming from her talented lineage, from the various influences her music is a convergence of, such as punk, gypsy jazz and smoky lounge music, but also from her own experience having travelled the world.

Maray’s grandparents were artists themselves, while her mother is a vocalist and her dad’s a guitarist. Literraly ‘born into it’,  little Maray has travelled across the USA following her parents’ band to various music festivals. She got from it the passion of playing music and travelling, tuning her ear and learning to live on the road.

This has lead her to be part of lots of different projects, from solely playing music (Hot Damn Scandal band) to touring part of circus performances (like what she was doing when we caught her in Ljubljana that day, aside her show within Squidling bro Circus).

Shame we couldn’t make it to the marquee, but at least we got her dancy music in the box!

You can listen and support Maray on our fair music streaming platform!

And keep your eye open….she’s a rambler. She can be down your street anytime 🙂

Cyrille

Juda Jay: when West coast hip hop meets with the French Touch

Bustle Music is that fantastic opportunity to take onboard the cultural exchanges resulting of people moving and exchanging around the globe.

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Carrying on our music world tour, this week we are in California (USA) mingling with Juda Jay in the well known hip hop ‘west coast’ scene. But that’s not entirely true. Because Juda actually lives in Paris now,  offering us a rather interesting mix between 2 of the capital of the urban culture.

Quick bio. Juda Jay is ‘California boy’, born in Los Angeles and raised in the San Francisco Bay area. Hip hop was big there in the 90’s and millennium’s. Juda made his first steps as an artist embracing the overall hip hop culture and notably graffiti where he got his artist’s name ‘Juda Jay’ from. He had his first attempts in music too, but really, it’s only after moving to France that his music career would take off. Indeed there, he’s learned to adapt his style to capture the essence of rap, by empowering the text to express emotions we can all relate to.

‘California raised with a French touch’

Juda mixes west-coast influences and French vibes, where flow and melodies mixes with no clash. From the artist himself: ‘Each song is a new journey and a new sound, California raised with a French touch’. His music tells stories of his new life in France, as an Afro American, and relates to the youth of immigrants but also to his version of the American dream of going for what you believe: ‘we just live our life, sometimes we do it right, sometimes we do it wrong. But at the end of the day it gets done our way’.
A strong text, a nice melody, a bit of West coast hip hop meeting with the French Touch…it’s all on his Bustle Music’s!

Funding music: a new path away from incoherence and lack of transparency

Musicians but international rock-stars make very little income. If we admit the fact that they actually should be financially rewarded for their music, then what’s not working in the current system? An overview of the ‘backstage’ of the music industry reveals that there is a big incoherence and a lack of transparency, that we would like to point out.

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* source ADAMI – 2017

Nowadays artists pay to get distributed

Why is that so incoherent?

A step back is enough to realise that if artists pay to get distributed, and listeners pay to listen, then it’s the middle link that captures all the value.

What’s interesting here is that in fact  the so called middle link covers 2 actors: the distributor (Sony ou Universal), and the distribution company (Spotify or Deezer). And the system is so twisted that distribution companies also pay a lot to the distributors, making them losing lots of money too! But we’ll not start crying for them either; they’re all valued at billions euros anyways.

But as we can see it’s not a circle where everyone ‘gets’ something. It’s a ‘double one-way system’ toward distributors. And that does not work.

But more profoundly, does a chef pay to cook you food? Or a captain to pilot an aircraft? No! Of course not. So why should it be the case in music?

The chef or the pilot get a chunk of what’s earned by selling the product or service (a nice meal, a flight…). And it used to be like that in music too. It’s just changed in the late 90’s, and that change has been amplified with the digital revolution, and it gradually got commonly accepted by everyone.

 

Pitch black negotiations between distributing companies and distributors

As a listener, when paying a subscription to a music service, I’m assuming that the distributor and the label get a fraction of the money, but that most of it go to the musicians.

How naive was I.

Reality is quite different.

As explained earlier, my money goes from my hand to the distribution company, then to the distributor, then to the label and then eventually to the musician. But what’s being negotiated between the distribution company, the distributor and the label is pitch black. It quite easy to understand why. How quirky the system is, it makes both distributors and distribution companies wealthy. Job’s done. It is easy then for a distributor to say that it ‘gives back 100% of revenues’ to the labels or the independent artists. But has anybody ever asked….100% from ‘what revenues’?! Shame; the answer it quite interesting. Simply from the revenues negotiated between the distributor and the distribution company.

 

Being critical is easy.

We know.

And we wouldn’t start should we not have something else to offer.

It’s a system where artists don’t pay to get distributed, where the distribution company shunt aside the distributor to go directly to the artist or its label, and where in a full transparent circle everyone plays its role with the musician in the centre.

And that system’s called Bustle Music !

Cyrille

Seb Fletcher: le Pacifique à portée d’oreille

En plein milieu du Pacifique, Seb Fletcher pratique un jazz teinté de Blues et de Bossa: prêt à voyager dans les eaux turquoises de Tahiti?!

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Quand on parle de jazz, on pense tout de suite à New York, Londres ou Paris.

Pourtant la beauté de cette esthétique c’est de s’être exportée à peu près partout où il y a des musiciens, tant ce style permet une ouverture d’esprit musical tout en ‘jouant’ avec la musique dans une approche parfois un peu intellectuelle mais le plus souvent décontenançante.

Nous avons été surpris de découvrir lors de nos exploration musicales des ‘bastions’ du jazz méconnus du grand public, et plus surprenant encore, peu connus d’un public plus ‘jazzeux’. Je parle ici de Zagreb (Croatie), Addis Abeba (Ethiopie) ou Paramaribo (Suriname) par exemples. Et plus surprenant encore, c’est quand loin des ‘foyers musicaux’ nous découvrons des petites pépites! Alors laissez vous transporter…en plein milieu de l’océan Pacifique, dans cet archipel qu’est la Polynésie française pour rencontrer Seb Fletcher!

Comme beaucoup de jazzeux, Seb Fletcher est ‘tombé dedans jeune’. Et sa formation ‘classique’ se sent dans sa technicité. Poly-instrumentalist Seb a su par ce talent plutôt pratique de jouer de plusieurs instruments explorer les différentes influences qu’il a traversées, notamment le Blues, la Bossa Nova, le funk mais aussi le local. C’est ainsi qu’il a pu également jouer avec des artistes reconnus, s’intégrant avec plaisir dans différentes types de formation et styles.

Auteur, compositeur, interprète et ingénieur du son, Seb conduit ses projets du ‘bout en bout’, ce qui donne une cohérence incroyable à sa musique et une belle fluidité. Ses influences diverses donne à son jazz un côté ‘non-jazzeux’, très coloré sans pour autant tomber de l’amateurisme.

Il n’y a qu’à appuyer sur play, et assez facilement on est à Tahiti, pieds dans un sable blanc et yeux dans l’eau bleu turquoise du lagon!

Cyrille

Tendekasha De Feat: reggae from Australia

Reggae comes from Jamaica in the 60s; but he’s travelled a lot with the rastafari diaspora; proof here with Tendekasha….straight from far away Australia! 

cd baby ten APRIL 2017

 

Tendekasha De Feat was born in Luanda in Angola. He migrated to Portugal aged of eleven as a war refugee. At that time he found solace in music, and versed himself into diverse genres via his father’s wide music collection. He started singing and play percussion, and eventually moved to London aged 23 years old to further his music development.

Tendekasha suffered from war trauma from his early years in Angola. But it’s in this emotionally heavily loaded past that he’d find some of his inspiration. It’s quite naturally that he connected with reggae music, and mixed with Jamaican influences, to say the least, his soon managed to expressed a simple pacifist music. And that music has helped him overcome his youth adversities.

It easy to start connecting with Tendekasha, as his melody gets to your heart straight away. Not to mention his texts. Tendakasha focus on ‘classic’ reggae themes, such as promotion of true multiculturalism, anti-racist movement or promoting love, harmony and universal respect. But in the context of his history, those words take an extra profoundness.

Now as an artist & radio broadcaster Tendekasha has settled in Australia, finding there the peace he needs for his artistic works such as ‘Inner Tune’, released in 2017 and already on our fairstreaming platform!

You’ve like Tendekasha’s story? Play his EP & support him on Bustle Music ! 

Cyrille

81 264 subscriptions for fair music streaming

Spotify, Apple Music and Deezer (SAD) have 100+ million subscribers; that’s $12 billion to cash in every year, but actually they lose millions and artists get peanuts. Yet an alternative model exists, but might not take off because as a company it’s not backed-up by donations, and as a social enterprise it’s not backed-up by investors.

Let’s come back on a 6-year music revolution in progress!

2012 : hitchhiking from Paris to Vietnam while recording music is great source of inspiration

CDs are declining, MySpace is down, Spotify and Deezer exist but stay low-profile. It’s the big time for illegal downloading and home-made music producers thanks to SoundCloud. From my spot in Bristol (UK), as a music producer, I’m programming more and more ‘world music’ artists. The wind’s clearly blowing in the direction for diversity. But I don’t know much of the music world outside the UK or France really. Time for ‘Bustle Around the World’, a 6-month music exploration that will take Ben (my cousin and creator of ‘métrochanteur’, a tube map of musicians playing in Paris’ subway) and I mainly hitchhiking from Paris (France) to Saigon (Vietnam), meeting and recording artists all along the way.

 

The conclusion is simple: music is bubbling and internet is booming. Let’s put the two and two together.

2013 : a simple idea, geolocating music on a map

It’s all well said, but we don’t know how to create a website.

Fortunately a friend of a friend, back dev. in a small start-up & music fan was a bit bored and ready to jump on a crazy project. The 3 of us created a ‘charity’ to give us a bit of structure, and started working on a simple idea: by geolocating music on a map, it would be possible to ‘surf the world in music’ and get that diversity everyone was all about.

To start with a prototype, we’ve used Soundcloud as our music server, synchronising the music on google maps: bustle.eu was born. Happy days, local artists could be visible at a global scale!

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2014 : the dark age of bustle.eu

We had to accept a bit of a reality shock at that moment.

If my westerners music friends found the concept ‘cool’, streaming was still not yet democratised for listeners. And really, as an artist, should you need to have your music ‘on line’ for demo., well the Berlin based company was doing a great job. I put all my hope of all those musicians we had met during the first tour in the Balkans, Middle-East or Africa. However back in those days if these guys were indeed looking for more visibility, bustle.eu was too ahead of the game for their internet standards.

We were on stoll.

2015 : ‘visibility is key’ said a musician from Suriname, ‘but why do we need visibility for?

To get some fresh ideas, I jumped on the opportunity to sail (yes, yes!) from Europe to South America, and run a second music tour there. During 5 months, on my own on the ground this time, I travelled by the road down the East coast from Georgetown (Guyana) to Buenos Aires (Argentina), scouting for artists, meeting as many people from the music world I could, presenting the platform to everyone I’d bump into.

And here came the answer: ‘visibility is key’ said a musician from Suriname,’because nobody knows we even exist! But why do we need visibility for? To broadcast our music & get bookings, aka to make some revenues.’

The one month it took me to sail back (yeah, why not?) gave me enough time to assess the situation. Apple had just announced they were releasing a ‘streaming music service’, meaning that streaming was or would become massive (Remember: who’s made mp3 become big? Apple and their ipods! So yes, I was again ready to see the brand with an apple leading another music tech. breakthrough.) At the same time Youtube, Spotify and Deezer were paying the artists per click. It was peanuts, but I liked the idea. And with streaming becoming more democratised it could be possible to play on the mass to generate a pot of money enough to create ok revenues for artists with no add. My first thing touching ground on the Channel Islands was to rush to a telephone box and call my friends: ‘I’ve got something; it’s called ‘stream & fund’!’.

Back to work, to upgrade our platform with a stream & found system. Having in mind the bad adventure of Grooveshark, we grew the team up with a specialist in IP law. And having admitted the importance of a built up community to do B2C, we also got a community manager to work with us. No need to mention that everyone was working generously for free evenings and weekends. But boom, November 2015, bustle.eu V2 was on!

2016 : charity vs. company ?

It did not take me long to quit my job and gather the team: ‘guys, we’ve got it! Traffic is stable at 300+ visit/month. People are loving our ideas! Look, if we split 60% of the revenues for the artists, and 40% to pay the publishers, the servers and ourselves, we’ll be not rich but ok. The only way to move up: we need time, and money. And a bit of support. Who’s in?’

And believe it or not, 2 of them were crazy enough to say yes! And not the lasts: the developer and the jurist.

Showing how serious we were

Problem: as a charity we could not raise money -other than donation-, nor borrow some. And we had priced a rework of the platform at 4 months worth of 3 people work + 30K € for web-design, plus 3 months to breakeven including a new digital com. specialist, making a total of 80K €.

Our only option really was to set up a limited company (actually ‘SAS’ cause it’s in France), and fuel it with all our savings. 40K €. Showing how serious we were, and how ready we were to take on all financial risk we applied to join the incubator programme of ‘Paris&Co’, Paris’official incubator. And not only did we get selected among the 350 applicants, but also we got a ground of 30K €! I moved back to Paris summer 2016 feeling we were ‘rocking’. And that’s where the fun began.

First we had to set up our own servers and rework the front design trying the arising framework Vue.js. Very cleverly our CTO pushed to code the platform in the cloud, plugging various services (authentication with Auth0, storage & transcoding with AWS) together on Heroku. The idea was to keep a platform as flexible, easy running and low-cost as possible. At the same time we tackled a complicated topic: the legal side. Diffusion, distribution, edition…do we need a three party contract (artists –  bustle –  listener)? If SAD weren’t contracting artists straight away – you had to go through an aggregator-, there were to be a reason. But no. Nothing legally prevent an artist to be distributed directly. However this does not mean that playing the ‘music distributer’ is easy. We eventually -few months after!- set up our ‘web-licence’, and in December 2016 we proudly launch bustlemusic.com, supported by a crowdfunding campaign ran by 2 new team-members in marketing & digital communication. Of course the site was only open for artists at that stage, but with our €10K raised, 2016 was ending well!

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2017 : to stay or not to stay

Coming back from West Africa in January where I had been prospecting was like heading toward a wall. Only 10 artists had joined. And we were a good 3-4 months before commercial launch, yet we were running out of cash.

No other choice than playing ‘all in’ or stop the adventure

Our bank had been very clear: ‘you guys love music; good on you. But please, don’t ask us for any loan’. We unsuccessfully tried to apply for subventions or competition. Each time the answer was quite the same : ‘Come on! If Spotify loses 200 million a year, what’s the odd for your service to make it. Money should go to projects that have a future’. One of us had inherited of a bit of money; well there were no other choice than playing ‘all in’ or stop the adventure. Strength by 80K €, we took onboard another ‘music person’, in charge of developing the catalogue, and we attacked the next challenge: the payment system.

Indeed collecting money on behalf, and distributing the way you want is HIGHLY regulated to prevent the development of money washing machines. Fortunately ‘marketplaces’ had recently appeared on the web. But none were running ‘immaterial services’ such as ‘use of intellectual property’. To show you how complicated it was, we even asked the French Ministry of Finance. But this was to ‘disruptive’ for them to have a thought on it. I let our CTO work on it while I went to West Africa  again, to nurture our partnership with labs there, and present the project: we received a warm welcome in Ivory Coast. Eventually we found a way through using ‘MangoPay’, and thanks to our good work, in May 2017 more than 50 artists had signed in: we were ready to roll out our fair streaming platform!

Exploration is part of our DNA. So we got two trainees on board, and part of the team set up for a 15-day road trip through France to present Bustle Music to the French music scene and relay our adventure on the social networks. This allowed us to identified few structures which are quite interested to become our future focal points. Laurent Coulondre, one the top French jazz musicians, decided to become our Godfather, new artists were coming up every week, but still there weren’t barely any listeners…and once again cash was running low.

“I ’m a real business man”

Early July we sit down to take a step back: 80% of people uses playlist on streaming services. So instead of developing new cool features (a social way to interact between artists and listeners, geolocating venues…) we would focus on putting up playlist, while focussing the com. toward influencers and webzines. We de-scoped our ‘Balkan Tour’ – a summer tour in East Europe in partnership with a mobile studio -, and put down our salaries (relax, just for us the 2 founders). And I would be looking for Business Angels and donations.

The influencer thing went nowhere, but the dev. went fine: now every week you’ve got a new playlist taking you through the world in music!

As for the money, Business Angels had the usual same answer ‘Music? Solidarity? Whouahah! Come on; I’m a real business man’, and Foundation went ‘Very sorry guys, but you’re a company. We only donate to charities’.

We’re on stoll again.

So here we are.

For 4€/month, you can enjoy a unique catalogue of artists we’ve been scouting through the world, laid out every week on our playlists.

At the end of each month, 60% goes very transparently to the artists, proportionally to how much they’ve been listened.

It’s clean, fresh, 3.0 and sustainable.

Yet we need 200 people to take their subscription to start raising money, and 81 264 to breakeven.

We still have lots of ideas for new features (offline, user experience, geolocating labels and venues…), but we cannot count on the public sector, on banks nor investors.

We can only count on you, to carry on our fair revolution of music streaming!

The Bustle Music Team

Musiciens, venez retirer vos royautés!

Après 18 mois assez intenses d’imagination, de schémas, d’itérations et de développement, c’est fait: les musiciens peuvent maintenant entrer leurs coordonnées de carte bancaire… et se faire payer les revenus de l’exploitation de leurs oeuvres sur Bustle Music!

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La base du système ‘Bustle Music’ est en place!

La ‘base’ de notre système, c’est le fait que:

  • les musiciens peuvent charger de la musique sous licence sur la carte,
  • les auditeurs prennent des abonnements,
  • l’algorithme de répartition répartit les revenus proportionnellement à l’écoute,
  • les musiciens retirent leur argent.

De là, ce ne seront que des développement d’’amélioration’ 🙂

 

On a en tête:

  • Des mise en avant par playlist (ah non, ça aussi c’est déjà en place en fait!),
  • Une amélioration de l’interface, pour rendre plus ludique et esthétique les marqueurs, parcours musicaux,…
  • Le off-line, qui permettra d’écouter sa musique dans le métro, dans les zones à faible internet,
  • Des interfaces de communication et connection entre artistes & auditeurs, qui permettront aux artistes d’envoyer des ‘géo-notifications’ sur un concert à venir…
  • La géo-loc. des bars, salles de spectacles,…

Et ce n’est que le début d’une longue liste!

 

Un système transparent, mais beaucoup de pays sur ‘liste noire’

La sortie de notre système pour retirer de l’argent, ou ‘pay out’, est l’occasion de revenir sur quelques caractéristiques de ce modèle de paiement.

Encaisser de l’argent de la part d’autrui pour en redistribuer tout ou parti est TRÈS réglementé. Et on le comprend. A l’heure du terrorisme international et des ‘ransomelware’ (ces logiciels qui piratent des centaines de systèmes en une seule nuit), ces pratiques de ‘place de marché’ pourraient être la nouvelle génération des blanchisseuses d’argent. Vous allez me dire que c’est bien ce que font Airbnb, Blablacar, Ulule ou Ebay. Bien sûr, mais comme nous, elles ne le font pas ‘directement’. En effet l’agrément pour y être autorisé par l’Autorité de Contrôle Prudentiel et de Résolution (ACPR) prend plusieurs années, et coûte des millions. Comme les autres, nous passons donc par des prestataires spécialisés qui eux, ont cet agrément.

Dans le cas de Bustle Music, nous passons par MangoPay.

En plus de l’aspect purement ‘réglementaire’, MangoPay s’occupe de stocker et de sécuriser les informations bancaires, et de s’assurer que les ‘acheteurs ‘(chez nous les mélomanes) sont bien solvables et que les ‘vendeurs’ (chez nous les artistes) sont bien les ayant droits. Pour aller plus loin dans l’explication, vous comprenez bien en lisant ce paragraphe qu’en fait les fonds transitent par des ‘portefeuilles électroniques’ chez MangoPay directement du mélomane aux artistes (pour 60%) et à Bustle Music (pour 40%)….et que donc seulement ces fameux 40% passent par le compte en banque de Bustle SAS.

La transparence est totale!

 

Malheureusement MangoPay, comme tout le monde, est soumis aux règles internationales. Et quand il s’agit de flux financiers, ceux-ci sont TRÈS contrôlés. Supposons qu’un pays soit sous embargo international, alors aucune entreprise ne peut faire d’échange avec ce pays. Et y transférer de l’argent comme revenus de l’exploitation d’oeuvre culturelle est un échange.

Le pire… c’est que la liste des pays ‘blacklisted’ (sur liste noire…mais ça sonne plus ‘thriller’ en anglais :-)) …est plutôt longue en fait. On y trouve des pays comme la Syrie et l’Irak (ah bon?) ou le Panama (étrange, un pays sans remous), mais aussi la Biélorussie, l’Angola ou les îles Marshall.

Nous aussi, nous ne sommes pas complètement convaincus par cette histoire de pays sous embargo. De loin cela donne l’impression de priver des populations d’outils pour se développer. D’autant plus quand ces embargos sont imposés par UN seul pays et non pas la communauté internationale.

Mais une plateforme durable et éthique est d’abord légale.

Il n’est donc pas question de mélanger ‘utopie’ et ‘mise en place d’un outil pragmatique de développement collaboratif’.

Néanmoins nous ne serions pas une startup de ‘solution-focus dreamers’ si nous ne réfléchissions pas à des moyens pour que les artistes des pays sous embargos puissent recevoir leurs dûs; affaire à suivre!

Cyrille

MARIANO MAZZA: c’est ‘cool d’être classique’

Bustle Music c’est l’occasion de revenir sur des idées préconçues ! Et non, la musique classique n’est pas réservée à quelques européens poussiéreux ! Petit tour en Argentine où c’est encore ‘cool c’est classique’.

Mario deux

Accompagné de sa guitare qu’il manie à la perfection, Mariano Mazza propose de découvrir sur Bustle Music ses petits exercices pour dompter les cordes. Etudiant en musicologie à Buenos Aires, le jeune Argentin sait de quoi il parle, et il nous le prouve en musique sur « Pratica en el Techo ». Formé à l’école de guitare du grand Francisco Tarrega (guitariste espagnol de la fin du 19ème siècle), Mariano joue donc en position assise, la guitare posée sur la cuisse gauche sur un petit coussin. Et si les cordes restent pincées, l’attaque fait plus penser à de la harpe qu’à un ‘rif’ de Jimi Hendrix. Preuve que l’école sud-américaine de guitare reste l’une des grandes, Mariano joue dans plusieurs orchestres classiques. Mais c’est sur un toit où il pratique ses exercices, dans les premières lueurs de l’automne que nous l’avons rencontré. L’histoire en musique d’un artiste résolument branché, qui fait honneur à une grande tradition musicale sud-américaine.

N’en perdez pas une miette, cette jolie leçon se savoure avec plaisir.

Cette artiste vous a plu? Découvrez en plus en l’écoutant et en la soutenant sur Bustle Music !

Jason & Cyrille,