In late 2006, despite many huge offers from major labels, the band announced that they had decided to ‘go it alone’ on their own label, Ambush Reality, with assistance from their distributor Vital (PIAS).

The band’s debut album, Take to the Skies, was released on March 19, 2007 and on March 25 it reached number 4 in the UK Official Album Charts and went on to be certified Gold in the UK and sell 250,000 copies worldwide.

Enter Shikari have since licensed their releases to Tiny Evil Records n the USA, Which is an Interscope imprint and part of Universal. Ambush Reality have also signed a distribution deal with Warner Music in order to make the album Common Dreads and future releases, more accessible outside of the UK and also more widely advertised and promoted.

Second album Common Dreads was released through Ambush Reality on the 15th June 2009 and debuted at #16 on the UK top 40 album chart.

www.entershikari.com

Another issue was that the band was stuck in an oppressive record deal with Boomba. The arrangement saw very little money directed to the band. In 1999 Hamburg based Bitzcore Records who had been running the bands fan club and merchandise bought the contracts from Boomba. The band gave them their backing on the understanding that Bitzcore would never mention the word “reunion”.

Bitzcore then went on to re-issue the entire back-catalogue and a posthumous live album entitled Darkness Forever! Bitzcore’s master stroke was to record a tribute album with a line-up that includes Queens of the Stone Age, Nashville Pussy, Therapy?, HIM, Bela B. & Denim Girl aka German technopop star Blümchen. In order to promote this release Bitzcore produced a limited run of St Pauli Turbojugend Denim Jackets. These were in huge demand and when they saw one change hands on ebay for hugely inflated price they knew they were onto something. They then made it possible to order a jacket or “kutte” with your home town jugend on the back. (so long as you were able to order three – President, Vice-President and Ass-istant). These jackets have gone on to provide the band with a handsome income and showed that the Turbonegro fanbase were as strong as ever.

When Quart Festival approached the band in 2002 with the offer of more money for one show than they had seen for whole tours Turbonegro literally came back from the dead. The band continue to go from strength to strength with one of the strongest and most loyal fanbases of any band around.

www.turbonegro.com
www.turbojugend.net

Brian Joseph Burton is the man behind Danger Mouse who in 2004 sampled The Beatles without permission, mixing the Fab Four’s ‘White Album’ with Jay-Z’s ‘The Black Album’ to create the controversial and instantly vetoed ‘The Grey Album. EMI (copyright holders of the Beatles) quickly stopped the producer’s plans to release the album only to see Internet protesters organise a 24-hour free give-a-way which they named ‘Grey Tuesday’ – the album was downloaded 100,000 times far more than the 3000 copies Danger Mouse had originally planned to press up. EMI had had tried to put out a fire but had simply fanned the flames and made a star out of their target.

He went on to form Gnarls Barkley with Cee-Lo Green, who’s first single ‘Crazy’ was the first in the UK to go no 1 on download sales alone, and produced their albums St. Elsewhere and The Odd Couple. He produced the second Gorillaz album, 2005′s Demon Days, as well as Beck’s 2008 record, Modern Guilt. He was nominated for a Grammy Award in the Producer of the Year category. In addition, Burton worked with rapper MF DOOM as DANGERDOOM, and released the albums The Mouse and the Mask, and Occult Hymn.

Danger Mouse and Sparklehorse, an EMI artists whos albums Burton had produced, set about planning a unique project – ‘Dark Night of The Soul’ is 13 track album that features guest vocals from Julian Casablancas, Black Francis, Nina Persson, Suzanne Vega, Iggy Pop, Wayne Coyne and Jason Lytle – it is the sound track to an audio visual art callaboration with film auteur David Lynch who has produced 100+ page book of photography inspired by the record. The two were supposed to be released together but after a statement from Danger Mouse disclosing ongoing dispute with EMI the book was put on sale along with a blank CD-R and a label that read: “For Legal Reasons, enclosed CD-R contains no music. Use it as you will.”

When asked about the legalities of this decision Danger Mouse has said:
“I don’t know who owns the record, I just know that I don;t want to spend years in court trying to fight it. The worst thing that I could think of was is this record didn’t get out there and people didn’t hear it… If there was another way I would have definitely done it…

AS CD’s are slowly but surely confined to history, artists are looking at entirely new ways of raising their profiles and generating income. The recent partnership betweek UK house act Groove Armada and rum brand Bacardi is a good example of this. The deal: Groove Armada released an EP, backed by Bacardi, instead of a record label, through Bacardi-branded website B-Live Share. This was publicised through online social networks and aloowed users to gain access to more free songs the more they spread the word. The music was also later sold through itunes. Groove Armada also performed at a number of Bacardi-branded gigs around the world. The result was an award winning campaign that gained much recognition.

The two way benefits of this approach are clear. Groove Armada’s manager Dan O’Neill says: “A lot of the talk is about how brands are now using music, but I would suggest it is the bands that are getting more savvy about how best to use brands,”. Dan is also founder of music consultancy www.the-angle.com. he points out that being connected to a brand with a global awarness can have a huge impact on an artist’s profile. “One of the things that we hadn’t been able to do with a major was to take the music to as many places as we wanted.”

As well as being a reaction to changes in the industry, this innovative approach is a clear sign that consumers are evolving. People are much harder to reach by traditional advertising now.