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jeudi 14 février 2019

My very own definitive Valentine's Day lovesong playlist (avail. thru Soundsgood).

Sadly, some of the tracks I picked aren't available on modern legal streaming services, you may hop onto MixCloud for a more complete version of the mixtape.

vendredi 8 février 2019

February Sweete - Nouvelle playlist SDEP.com de saison !

Fresh tunes for fighting back the February winter blues - hand-picked with love & care by SDEP.com (avail. thru Soundsgood).

jeudi 24 janvier 2019

Winterlude - Nouvelle playlist SDEP.com de saison !

Fresh tunes for fighting back the January winter blues - hand-picked with love & care by SDEP.com (avail. thru Soundsgood).

vendredi 7 décembre 2018

Everybody's Happy Nowadays - Nouvelle playlist SDEP.com de saison !

Fresh tunes for fighting back the December riotous mood - hand-picked with love & care by SDEP.com (avail. thru Soundsgood).

vendredi 23 novembre 2018

Black Friday - SDEP.com

Fight back the Black Friday shopping spree with a gang of Black Something bands - hand-picked with love & care by SDEP.com (avail. thru Soundsgood).

jeudi 15 novembre 2018

November Refrain - New playlist - SDEP.com

Fresh tunes for fighting back the november rain blues - hand-picked with love & care by SDEP.com (avail. thru Soundsgood).

vendredi 19 octobre 2018

Of Red & Gold - playlist

Of Red & Gold

Fresh tunes for fighting back the autumn blues - hand-picked with love & care by SDEP.com (avail. thru Spotify).

Of Red & Gold

dimanche 9 septembre 2018

OUT NOW - AN EARLY BIRD - “Till Dawn” - Dead Bees recs. - Sept. 4th, 2018

An Early Bird: new single out on Dead Bees records

Stefano De Stefano is An Early Bird, a songwriter based in Italy aimed to craft heartfelt songs for bold-hearted people.

His career started 10 years ago as frontman of the Italian indie band Pipers, who released 3 records that brought the band to the attention of NME, Rockol, Rai, XFM, Balcony Tv, MTV and Virgin Radio.

Along the years he's been playing across Italy & Europe, sharing the stage with some of the finest acts of britpop era: The Charlatans, Ian Brown, James Walsh & Starsailor, Ocean Colour Scene, Jake Bugg, Turin Brakes.

"Till Dawn" (out on Sept. 4th) is the third single off An Early Bird's debut album "Of Ghosts & Marvels", which is due for release on Dead Bees records on October 5th.

Till Dawn Official Video



Recorded, mixed and produced in Venice by Andrea Liuzza.
Mastered by Aidan Foley at Masterlabs, Dublin.
Vocals, backing vocals, guitars, harmonica, dulcimer, acoustic piano by Stefano De Stefano.
Additional vocals, electric piano, strings arrangement, double bass, percussions and drums by Andrea Liuzza.
Artwork by Maria Ballarin for My Paper Tales.

lundi 21 mai 2018

GDPR - Everything You Always Wanted to Know (But Were Afraid to Ask)

The General Data Protection Regulation (GDPR) (EU) 2016/679

Effective 25 May 2018, this new European regulation will come into force in France, completing the French law N°78–17 of 6 January 1978, « Information Technology & Liberties » Law

“IT should be at the service of each citizen (…). It should not damage human identity, the rights of man, privacy, personal and public privacy rights.”

The aim of this new regulation is to preserve and guarantee these principles; and supply a clear framework for all involved. It is easier to ensure that these good practices are respected when they are embedded in clear directives that apply throughout the European Union.

I. What is meant by « Personal data »?

The CNIL considers a person to be identifiable when a file contains information enabling that person to be identified indirectly thanks to their address, IP, name, identity number, telephone number, photo, biometric print or any other type of information allowing a person to be singled out (place of residence, profession, gender, age…)

II. What does the text say ?

Two main objectives : reinforce citizens’ rights with respect to data processing and render companies who process data more accountable.

Rights defended by the text

- the right to oblivion: enabling citizens to ask for personal data to be deleted

- the right to data portability: consists in the ability to shift personal data from one place to another in a structured, widely used format so as not to be tied to a particular system

- the right to restriction: consists in the ability to request the suspension of data processing operations (and not deletion). Companies must therefore adapt their IT systems in order to stock data without the latter being processed or modified.

III. Complying with the Regulation

There are six key steps :

Stage 1: Appoint a Data Protection Officer

Appointing a Data Protection Officer for data protection is not mandatory for companies in the private sector. This depends on the type of business. If your activity is based on personal data, then a Data Protection Officer must be appointed. If personal data processing is a secondary activity in your business or represents small volumes, it is not necessary to appoint a DPO.

Stage 2: Personal Data Processing Mapping

Carry out an inventory to evaluate the quantity of data that your business processes itself or contracts out. Without a full inventory, it is impossible to evaluate the impact of the new regulation. The inventory is required by the CNIL under the denomination “processing register”.

Stage 3: Prioritization

The register also serves as a road map for the different tasks that need to be completed. Compliance priorities need to be evaluated according to the risks linked to the type of data collected and how they are processed.

Stage 4. Risk management

Nine risk criteria linked to data processing have been defined:

1. Evaluation or rating

2. Automated decision with legal or equivalent significant impact

3. Systematic surveillance

4. Sensitive or extremely private data

5. Personal data processed on a large scale

6. Cross-referencing the data

7. Data concerning vulnerable individuals

8. Innovative use or the application of new technological or organizational solutions

9. Withdrawal of the right to a benefit, a service or a contract

If the data processing operation corresponds to at least two of the above criteria, it is recommended that a Data Protection Impact Analysis be carried out. Proof of compliance with the regulation requires the preparation of records that should be kept updated.

Stage 5. Implementing internal processes

Protecting data effectively requires internal procedures to anticipate aleas: incidents, rectification requests, modifications, supplier changes…

Stage 6. Record-keeping

To prove compliance with the new regulation, records need to be kept and updated regularly.

IV. Impacts

Some examples :

Sending out newsletters

The rule is simple : the clear and explicit prior consent of the internaut to use his/her email address for marketing or commercial reasons is required. In addition, the internaut must be able to change his/her mind easily.

CRM & RGPD software : your software must be compliant

A CRM is a “data sub-contractor”. And your company is responsible for the data transmitted and also the responsible handling of these data by the CRM system in compliance with RGPD.

Measuring traffic requires consent of the visitor’s consent that can be withdrawn at any time

The pop-ups that are used on many websites, asking internauts to accept the use of cookies whilst they navigate on the sites, must be far more explicit. The internaut also reserves the right to withdraw his/her consent at any time.

Notify any violation of personal data

The new law requires official notification of any privacy/data breach to the control authority (ie. CNIL for France), within 72 hours.


Data processor any pretty much like robots according to Asimov:

A data processor may not injure any private data or, through inaction, allow any private data to come to harm.
A data processor must obey orders given it by human beings except where such orders would conflict with the First Law.
A data processor must protect its own existence as long as such protection does not conflict with the First or Second Law.


GRDP = General Data Protection Regulation
DPO = Data Protection Officer
CNIL = Commission nationale de l’informatique et des libertés (France governmental Commission)
CRM = Customer Relationship Management

GRDP Infography

vendredi 6 avril 2018

OUT NOW - AN EARLY BIRD - “Warning Signs” - Dead Bees recs. - April 6th, 2018

Format: Digital
Release date : April 6th, 2018

An Early Bird - Warning Signs artwork by Maria Ballarin for
        My Paper Tales

Stefano De Stefano is An Early Bird, a songwriter based in Italy aimed to craft heartfelt songs for bold-hearted people.
His career started 10 years ago as frontman of the Italian indie band Pipers, who released 3 records that brought the band to the attention of NME, Rockol, Rai, XFM, Balcony Tv, MTV and Virgin Radio.

Along the years he's been playing across Italy & Europe, sharing the stage with some of the finest acts of britpop era: The Charlatans, Ian Brown, James Walsh & Starsailor, Ocean Colour Scene, Turin Brakes.

First album "Of Ghosts & Marvels", anticipated by the single "Warning Signs",is due for release this fall.




Recorded, mixed and produced in Venice by Andrea Liuzza.
Mastered by Aidan Foley at Masterlabs, Dublin.
Vocals, backing vocals, guitars, harmonica, dulcimer, acoustic piano by Stefano De Stefano.
Additional vocals, electric piano, strings arrangement, double bass, percussions and drums by Andrea Liuzza.
Artwork by Maria Ballarin for My Paper Tales.

lundi 30 octobre 2017

10ème édition du Forum des Alternatives pour la Musique

La FLIM propose une nouvelle édition du FAM du 3 au 6 novembre à Toulouse. Il sera fortement question de positionnement artistique, à l'heure où la musique est fortement dématérialisée et disséminée sur la toile, cette notion nous paraît fondamentale pour redonner de la valeur aux créations et productions musicales que nous défendons.

En effet le positionnement artistique de la FLIM met en avant des créations originales indépendantes, locales ou nationales, via des labels indépendants ou auto-produits.
Le FAM c'est trois jours de vitrine de nos artistes, de nos directeurs de labels et de rencontres avec nos partenaires.

Affiche FAM #10



Soirée exceptionnelle au Taquin consacrée à la pop française indépendante, en collaboration avec le label français La souterraine. Réunissant des artistes aussi différents qu'Ernest Barbery, le flegmatic et Bertrand Betsch, cette soirée propose des talents insolites de la pop française underground toujours soucieux d'une singularité musicale ancrée dans le quotidien et l'intime et désireux de rencontrer un public curieux et varié.
Ernest Barbery évoque à la fois une rencontre entre pop électro et énergie rock, tandis que le Flegmatic, s'inspirant des songwriters américains lo-fi, brandit avec panache un folk français impertinent et rieur. Bertrand Betsch, hôte de nombreuses maisons de productions marquantes, continue de distiller une chanson pop mélancolique, et pleine de grâce.


Le lendemain le FALAB et en particulier le music lab d'Artilect nous accueille chaleureusement pour parler de création musicale et d'innovation. Lieu de lutherie expérimentale et de création de nouveaux concepts, le Music lab et ses makers affiche un positionnement singulier associant échange, apprentissage et innovation musicale. Un débat abordera le thème des supports de création musicales, vinyle, cassettes, réalité
augmenté, au delà du retour du vintage et de la gadgétisation en quoi donnent-ils de la valeur à la musique ou pas ? Comment un artiste émergent peut il s'approprier ces supports en lien avec sa démarche artistique ?


Enfin pour continuer notre réflexion sur le positionnement artistique, il faut aussi évoquer la nécessité des outils de diffusion en ligne. Le lundi au Métronum, un atelier consacré à l'optimisation des plateformes de ventes et de streaming équitables CD1D, 1D Touch et 1D -Midi-Pyrénées sera accessible à tous ; Ce réseau de plateforme créé à l'initiative de la fédération de labels CD1D il y a quelques années s'est donné pour objectifs de donner plus de visibilité aux labels et artistes indépendants et de rétribuer de manière équitable leurs productions dans un espace qui leur est spécifiquement consacrée, à l’instar de Deezer ou Spotify. Au moment où de nouvelles dispositions sur le streaming vont être mises en place en France, il est temps de faire le point sur les innovations précédentes toujours actives et créatives.


Pour clôturer cette programmation la FLIM sera également présente en soirée au SUPERLUNDI d'Artilect espace de présentation et d'échange de tous les makers et de leur projets détonnants.


Vendredi 3 novembre

soirée concert à 20h30 au Taquin

La FLIM en collaboration avec La Souterraine (http://souterraine.biz) propose un plateau pop française underground avec Ernest Barbery, Le Flegmatic, et Bertrand Betsch
PAF 8/10 €
Ernest Barbery (solo)

Ernest Barbery photo par Thomas Biarneix

"Ernest Barbery distille une chanson pop hybride qui puise dans l'électro avec un goût certain pour l'énergie rock des guitares saturées"

Le Flegmatic
(ex Angil & the hiddentracks)

Le Flegmatic photo par Diane Hion

"c'est la musique des classes moyennes désolées...Et Albi se transforme en Louisville, Kentucky. Une approche hexagonale et sombre du folk »
Thomas chant harmonica guitare folk et piano
Romain guitare électrique et folk
Album « bouleversement majeur », 2017 we are unique records / La souterraine

Bertrand Betsch
chant guitare clavier laptop

Bertrand Betsch photo de Pirlouiiiit

« L’un des secrets les mieux gardés de la chanson... Betsch offre désormais le kaléidoscope de chansons surfant sur les acquis de l’indie pop, ou
des romances au déchirement tzigane, ou des refrains d’amours éternelles sur fond d’orgue de barbarie fantomatique".
Album "la vie apprivoisée", Les Imprudences 2017

Samedi 4 novembre

Débat et rencontre au FABLAB (showroom d'Artilect) à 17h,
Entrée libre

La FLIM se joint cette année au Musiclab pour réfléchir à la conception de nouveaux  supports phonographiques qui redonnent de la valeur à la musique. Le Musiclab est un département du Fablab ARTILECT, lieu d'expérimentation toulousain des moyens et savoirs savoirs-faire DIY et numériques - organisateur cette année de FAB14, rendez vous mondial des fablabs. Investi dans la conception et la fabrication de nouveaux instruments de musique et enceintes, ce laboratoire géré par France Affidi a déjà donné lieu à diverses réalisations comme la table collective UJI conçues par Pierre Gautier et Frank Jubin, des sessions MAO et boeuf numérique et d’autres projets collectifs actuellement en R&D.

Débat :
les supports de production discographique ont ils encore un avenir ?

Vinyl, cassettes, retour du vinyl vintage ou , recyclage du software, oeuvre numérique, oeuvre d’art participative sont-elles encore nécessaires ? Simple marketing ou créent-elles un nouveau lien social, artistique avec le public ? Quel format de distribution pour ces nouveaux supports ?

Modérateur :
Frederique Malis (promoteur artistique et coach - membre FLIM)

Intervenants :
Axel Sinclair (artiste émergent)
Pierre Priot du label Dead Bees
label Useless pride (sous réserve)
France Affidi musiclab d’Artliect)

Lundi 6 novembre

Au Métronum et au Fablab,
Entrée libre

16h - 17h30 Métronum, (mixbox )
en collaboration avec la FLIM, 1D-Midi Pyrénées, 1D touch, BDP 31
atelier optimisation des plateformes numériques équitables 1D Midi-Pyrénées et 1DTouch :
une stratégie de monétisation pour les artistes et labels, des outils innovants pour les prescripteurs, médiathèques, …

Laure Delsaux coordination FLIM
Jean-claude Patalano de l'ABONKLUB de VINILKOSMO

18h30 - 22h au Fablab participation au super lundi d’Artilect
présentation des plateformes équitables 1D-Midi-Pyrénées et 1D touch
1D Midi-Pyrénées valorisation du patrimoine sonore local
1D touch, création du streaming équitable, une prescription intelligente, un nouveau
modèle économique …

Les lieux du FAM

Le Taquin

3 Rue des Amidonniers, 31000 Toulouse
Métro ligne B Compans Cafarelli


27bis Allée Maurice Sarraut, 31300 Toulouse
Métro ligne A Patte d'oie

Le Métronum

2 Rond-Point Madame de Mondonville, 31200 Toulouse
Métro ligne B Borderouge


La Fédération des Labels Indépendants de Midi-Pyrénées (F.L.I.M.) a été créée le 31 Janvier 2009. Elle regroupe à ce jour 23 structures, dont une vingtaine de labels indépendants de musiques actuelles en majorité associatifs, auxquels s'ajoutent des membres associés, et un disquaire indépendant toulousain. Les labels de la fédération totalisent plus de 400 artistes de Musiques Actuelles français et internationaux, dont ils assurent la production discographique sur le long terme, soit plus 450 titres déjà réalisés.

L'ensemble de la filière phonographique n'est pas aussi bien reconnue que d'autres industries culturelles comme l'audiovisuel et le livre, avec lesquelles, elle possède pourtant bien des points communs. Pour toutes ces raisons, et encouragée par un mouvement de création de fédérations régionales de labels en France, la constitution de la FLIM s'est imposée comme une nécessité; nécessité de mutualiser les compétences et les
ressources des labels indépendants de Midi-Pyrénées, dont le F.A.M est à la fois la vitrine et le point de rencontre annuel, pour les professionnels et le public.

Contact et Coordination

Laure Delsaux
06 84 43 46 42
laure.decibel  [at] gmail.com

Remerciements : nous tenons à remercier tous les participants, et bénévoles, tous les acteurs et équipes des structures partenaires.

mercredi 19 avril 2017

Agenda : Dead Horse One en concert au Cri de la Mouette, avec Hubris - Dead Bees records

Dead Horse One - band pic Bonjour,

Le groupe DEAD HORSE ONE (
Valence - Shoegaze - Requiem Pour Un Twister/Bertus) sera en concert à Toulouse le samedi 29 avril, au Cri de la Mouette, accompagné de HUBRIS (Toulouse - Krautrock) en première partie - organisation Dead Bees records

RSVP : https://www.facebook.com/events/201992803624654/

DEAD HORSE ONE couvre plusieurs genres incluant le Shoegaze fin 80's et le psychédélisme 60's.
Originaire de Valence, le quintet a publié en 2012 chez Cranes Records son premier EP intitulé "Heavenly choir of jet engines". Ayant reçu d'excellentes critiques étrangères, c'est tout naturellement qu'ils se sont produit à la 2ème édition du LIVERPOOL PSYCH FEST en 2013.
Leur 1er album "Without Love We Perish" produit par Mark Gardener (RIDE) bénéficiera d'une sortie européenne via une coréalisation des labels Dead Bees records et La Face Cachée (distribution Bertus).

Le mois dernier est sorti sur le label Requiem Pour Un Twister / Bertus leur 2ème album "Season Of Mist" produit par le Californien John Loring du groupe de shoegaze culte FLEETING JOYS.
Sorti en digital le 25 novembre 2016, le disque s’est classé directement dans les « 30 Meilleurs de France » du réseau FERAROCK.
Il a également été classé Meilleur Album de shoegaze 2016 par le blog de référence internationale Shoegazer Alive.

Les influences:

Like : https://www.facebook.com/deadhorseone/
Video : https://youtu.be/oHVHDOgf_io
Écoute : https://deadhorseone1.bandcamp.com/album/season-of-mist

Première partie : HUBRIS (Toulouse - Krautrock)

Le quatuor toulousain créé en 2016 signe un premier EP très prometteur. Écumant les salles Toulousaines depuis quelques mois, les voilà bien décidés à conquérir le monde.

Écoute : https://hubristoulouse.bandcamp.com/releases
Like : https://www.facebook.com/pg/HubrisToulouse/

Attention !
Horaire spécial pour cette soirée : ouverture à 21h et couvre-feu à 23h ; soyez à l'heure !


Billeterie : Festik!

Après 23h, la péniche Le Cri de la Mouette enchaîne avec les 10 ans de Champ'Caine records :

DEAD HORSE ONE - Tournée de printemps :

29 AVRIL -
Le Cri de la Mouette w/ HUBRIS - TOULOUSE
30 AVRIL - Le Pingouin Alternatif - ARTHEZ
05 MAI - Les Boissons Rouges - SEGRÉ
06 MAI - Le Supersonic - PARIS

Dead-Horse-One-band shot

lundi 19 septembre 2016

Why The Streaming Business Model Is Broken

Why The Streaming Business Model Is Broken

per stream revenue

So report are claiming more and more users are embracing the subscription streaming service. As a matter of fact, Spotify just passed the 40M milestone.
Should we actually celebrate? Is this good news for musicians, creators and all copyright holders? Or this just a revenue growth for Daniel Ek and his fellow startups moguls?

So here's the deal: streaming services are gaining more audience everyday, scoring more subscribers.

If the streaming business was just any business, this would make a great revenue raise for everyone involved, Daniel Ek, Spotify coding gnomes, you broadband provider, records labels, recording artists, songwriters...
But the music streaming business ain't any business. It's virtual. It's selling thing that don't even exist, but yet are available in countless supply. There's no selling out on music streams. As long as kids are hitting the "play" button, the services are delivering a fresh stream a music bytes. And all these are included in the user's plan.

That's the catch. Unlimited plans.

So here's some basic maths:
streaming revenue is fueled by ads and subscriptions - well, mostly subs, actually.
charges, on the other side are royalties and advances paid to distributors, labels, publishers... for each single stream.

Ever wondering which of those numbers are growing faster? Let's clear it out by making the per stream revenue breakdown over the past years.

per stream revenue

The streaming business model clearly fails to make profits from its tremendous audience acquisition.

The more people play stream, the smaller the piece of the pie to be shared with each copyright holder. The availability of unlimited streaming for subscription users makes it impossible to keep revenue in sync with spins.
The per-stream-revenue ratio keeps plunging down as more and more users make the jump and quit physical and even downloads to switch to streaming services. Even if a large fringe a them may subscribe to a plan, may it be Apple Music, Spotify, Deezer or Tidal, the revenue won't match the huge tidal wave of stream spins - over 200 billions as the industry expects for 2016.

This means that streaming services won't have any other options than lower the producers and publishers revenue shares. Who's gonna pay the price for this broken business model? Just as we feared, artists, creators... music makers.
Don't feel sorry about the big hit makers, they've got it all sorted, are getting paid advances when the regular guys get the dimes wired with a six months delay... and they will all needed support for the industry's big hot shot lawyers to negotiate guaranteed fees.

In the bottom line, the record industry of the digital age is just as evil as the old analog one: the chart winner takes it all!

mardi 27 octobre 2015

THE RUSTY BELLS lauréats du Prix des Jeunes Aventuriers 2015

The Rusty Bells


Le groupe toulousain The Rusty Bells vient de remporter le prix des Jeunes Aventuriers 2015, et sera la révélation invitée à rejoindre l'affiche du festival "Les Aventuriers", qui tiendra sa 11ème édition, du 8 au 17 décembre à Fontenay-sous-Bois.

Le duo, déjà cette année Révélation Converse, lauréat Hello Bank! et découverte KR Magazine 2015, aura ainsi la chance de se produire en première partie d'Hubert-Félix Thiéfaine, en clôture du festival le 17 décembre à la salle Jacques Brel de Fontenay-sous-Bois.

De retour de tournée, le groupe se produira également dans sa ville natale le 30 octobre pour rendre hommage à John Lennon au Bikini à Toulouse, lors de la soirée "I Love John" (organisation Progrès-Son / Le Bikini) et partagera la scène avec de nombreux musiciens eux aussi membres de la famille Dead Bees records ou associés : Sound Sweet Sound, Alone With Everybody...

"Run To Stay Inside", leur dernier single en écoute :

Contacter leur manager :
Mago & Co (Tété, Busdriver, Patrice, TTC, Blake Worell...) - magoandco@free.fr

Solliciter une interview : andresjez31@gmail.com

Autres Liens :

THE RUSTY BELLS : Run To Stay Inside (cd
                      single) Studio Graphique

mercredi 21 octobre 2015

What I Learned About the Record Industry by Carsharing with a Millenial

A couple of days ago I shared a car over a 250 miles trip back home after a family reunion week-end. I logged on on a French popular car-sharing portal and picked a ride home.

Riding with a Millenial

My ride happen to be 21 year old student driving back to Toulouse and college after a week-end with his folks.
The kid appears to be the average 20 something youngster. Drives a second hand car but flashes a shiny iPhone 5.
Looks and sounds educated. Average student kid, with a countryside background (yes, I do spend my week-ends in the French evergreen farmland).
As soon as we hit the road I cannot take my eyes off the car stereo's dashboard. The thing is stuck in some kind of a demo mode. Flashing features on its LCD screen on carousel mode. Featuring grand LED display. I wonder if my guy will turn the thing on, and what sound will come out of that thing.

After 50 miles driving on a winding road through fields and woods, we hit the highway. My driver relaxes, turns on speed regulator and offers to play some music.
"Wanna plug in your phone?" he says. I pass as my old thing of a phone's got a broken jack socket and I instantly wish I hadn't disposed my backpack in the trunk, enclosing my other phone along with other road trip best companions: books and sandwiches.
The kid grabs a jack cord, plugs it in, reaches for his phone and launches a random playlist off his library.

"So, you don't buy CDs, I guess?
No. I don't."

While the iPod app is in control, the stereo is still running its LCD overdrive. Keeps sending these obsessive stimuli to my eyes, grabbing most of my attention. This thing is obviously crying out for help. My help.
So I ask: "do you ever play some CDs in that thing?"
- No I don't. Sometimes some friends ride along and bring their own CD-r comps, but that's pretty much it.
- So, you don't buy CDs, i guess?
- No. I don't.
- Did you ever buy some?
- No. no. Never did.
And then he adds:
- I have this mate, he's into music. He's got this huge library. Like gigabyte of it. So whenever I need new music I just go to this guy"
- Oh I see.
- With every device operating a jack or USB connector, there's no point in using CDs, really.

I try then to figure out which legit music source he may rely on.
- Yeah, this and streaming services, they're killing the CD business. Do you ever use any of those? Deezer, Spotify?
- No, I don't. Some on my friends, they're into music, like hardcore, they do. but I don't, no.
- So, how do you tune into new music, fresh sounds?
- Oh, I just go online on Youtube and browse stuff.

There it is. Loud and clear. You can ditch all the fancy reports and studies about millenials' music consumption habits.
I have one of them sitting next to me in the car. And he's a living proof of this generation's global adoption of the digital age of music.

This generation never paid for music

This generation never paid for music

As he mentions it, there's a fringe of these kids keeping up with music, digging new sounds over legit streaming services, but most of his generation mates act just like he does.

This generation never paid for music. That's a fact. They were raised while MP3 rampaged the industry - remember those Naptster days? - and now they're adults it's free streaming time, Youtube and my-guy-with-shit-load-of-mp3 dealer of a friend.
Then, how will we ever be able to bring them to spend money over music?

Furthermore, they're another thing about those kids on my mind. They've always been living is a music saturated world. Music everywhere. Shopping malls, underground parking lots, elevators, telephone services... everywhere.
It's music non stop and it's free of charge. So how would they figure that listening to music comes with price?
When you look at it, in this generation's perspective paying for a streaming service isn't purchasing music but buying access to a convenient service. Not paying for the music but for reliable library sync between desktop and mobile, or offline use. Etc.

This generation's been raised to pay for apps and features, but not for a piece of art.
And this, is our biggest failure.