Just what is a distribution deal? And in today's digital world you may ask - can't I do that myself? Peter Baker gives us the lowdown on distribution and aggregation. 

"As a distributor, we look to help artists with advice, planning, release structure & delivery to digital & physical outlets, but state no claim on ownership of content."

This interview is one in a series with speakers at this year’s NZ Music Month Summit, which throws a spotlight on the music industry.

Tell us a bit about your role/work: 

As owner/operator for Rhythmethod Distribution and general manager for digital music aggregator DRM, we run a pretty tight ship with a small crew so it's definitely all hands on deck! Everything from answering the phone, packing boxes, paying bills, planning meetings, having meetings, talking to artists, listening to artists, making plans with artists, talking to retailers, talking to Digital Service Providers… I do a lot of talking. Every day is different, but generally there’s always a lot of talking.

In the digital age do we still need record labels? What could a label do for me that I couldn't do myself?

That’s an interesting question and not a simple one to answer. Ultimately yes, I believe there is still a need for labels. Each artist will have differing aspirations & goals, so courses for horses, but what labels can provide is long established and trusted relationships with retailers (physical and digital), streaming services and media. The labels I’ve been fortunate to work with over the years truly value their artist’s creativity and work with them to deliver their works to market in the best possible manner that is aligned with the artist’s own goals. They want their artists to succeed and have a lengthy career.

How has the average record label business model changed?

Everybody’s moved & moving with the times, there’s still a greater need for transparency across many aspects of the income chain, but I suppose the biggest change I’ve seen over the past 20 years is the involvement of big corporate brands and why they are now being associated with artists & their music.

Explain the difference between a 'record deal' and a 'distribution deal'?

Can’t really speak on 'record deals' as I’ve never actually signed one or signed anyone to one. As a distributor, we look to help artists with advice, planning, release structure & delivery to digital & physical outlets, but state no claim on ownership of content.

What should I do when approaching a label and/or distributor? What are they looking for?

Obviously depends largely on where you’re at in your career & your expectations regarding the project in question.  It’s to be clear on releases plans, intentions & expectations, yet also be open to advice. It’s about building a relationship, understanding goals and working together. I generally get a gut feeling if we’re on the same page and it’s always got to be enjoyable.

What are the current opportunities and challenges in the music industry?

Music has never been more accessible & possibly at its widest level of consumption ever, so there’s plenty of opportunities. The hard thing is 'being heard'. A great song is a good start, but even these days many great songs don't get the attention they deserve.

What's your earliest musical memory? 

Buying Abba Arrival on cassette, but my first formative memory would be poorly recorded Barry Jenkin Dr Rock shows and hearing Echo & The Bunnymen, Joy Division, The Birthday Party & XTC for the first time.

Who would be in your all star band line up? (living or dead)

Not big on all star line ups, but I’d give my right arm to have seen 60’s psychedelic band, Love, circa 1968, The Velvet Underground circa 1969, Joy Division circa 1979, The Birthday Party circa 1980 and so so many more
 
What was the last gig you went to? 

Auckland City Limits, great day, Fat Freddys Drop, Houndmouth & The National were off the hook.

What's your big idea for 2016?

Enjoy the moment. I think it’s too easy to get distracted by stuff that doesn’t really matter!

About Peter Baker

Rhythmethod is New Zealand’s largest Independent Distributor, with over 15 years under it’s belt and a host of established relationships with International labels like the Beggars Group (home to XL, 4AD, Matador and Beggars), Sub Pop, Tru Thoughts, Soundway, Revolver (U.S.) and Drag City – alongside Australian partner Inertia with we share a large number of licensed releases.  New Zealand based relationships include multi-platinum selling acts like The Black Seeds, Fat Freddy’s Drop, Tiki and Flight Of The Conchords. Fat Freddys Drop debut album Based On A True Story has sold over 150,000 copies, currently 9 times Platinum and has the honour of being New Zealand’s highest selling Independent local release. 2012 saw Peter take over the General Manager role for Digital Management Rights New Zealand. DRM NZ has grown to be New Zealand’s most respected digital aggregator for local content.

• Peter is speaking at the Understanding Record Labels session at the NZ Music Month Summit on May 28.