When I open the popular social media platforms today, my feelings differ drastically from that from the early years. I missed MySpace, but for a long time I pressed out everything from Facebook with a highly motivated manner that there was to get the exchange, nerd-nonsense, fame and feeling for me. The same was repeated later with Instagram.
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Today I actually only get a bad mood on these and similar apps. There is simply nothing to get except for frustration, hatred, advertising and the end of the world. For a long time, I have hardly been out of freely there, but have stuck, or, like so many others, also rely on these toxic needle tubes – in my case to make texts and events visible.
Spotify, the prominent streaming primus, I have long exempted from this digital disappointment series. It was about consuming interesting content. In addition, the service seemed to be somewhat in peace. Quite crowding-out performance, if I’m honest, because it has long been no secret of how the hypercapitalist bizarre world is reflected in delimited tech billionaires, especially at Spotify. At least I have always looked away more and more active – fueled by the fragile argument, elsewhere it was the same in the end and you can’t do anything against these shops anyway.
But I take the most recent upgrade from Daniel Ek, who founded Spotify in 2006 in 2006
The thing with the money
Living from music has never been as difficult as today. The income from sound carriers has broken so drastically that the at least acts over it still achieve relevant profits. For many musicians: on the inside beyond the superstar status, record productions are more of advertising, sometimes even grant projects. The live market cannot collect the deficit and win at the immense ones that streaming platforms such as Spotify generate with the music of others, the artists themselves: inside only a fraction.
- Remuneration for 1000 streams:
– Tidal 11.50 euros
– Apple Music 6.76 euros
– Deezer 6.22 euros
– Amazon 3.70 euros
– Spotify 2.86 euros
– YouTube 0.63 euros
(Source https://streamingscheellen.de/)
The thing with the content
Last year in May that Spotify founder Daniel EK was enthusiastic about the fact that music was only content, which can be created for free. This fits the appreciation for music acts, which can be seen in their low remuneration alone. He reacted to the shitstorm, which EK was exposed to after his statement, and apologized for the “Clumsy Definition of Content” that he used. In that case, Clumsy should mean something like “clumsy”. Well then …
The thing with content II
Various indie artists are currently posting: inside, which, like all others, are dependent on streaming, questionable events.
See here for example.
Spotify takes countless plates from his servers without warning. On the grounds that one [lies: irgendwelche Bots] If the music would have used other bots to obtain higher streaming numbers. The musician Oliver Minck quotes a message from his digital distribution:
“Spotify has found that the majority of the streams were artificial on some of your tracks. For this reason, the release (s), which contained this/this track (s), were removed from Spotify.”
The fact that Minck, like many other affected acts, can prove that there was no irregularities on his album. Back to the relevant platform, he no longer gets his content, because at the latest there has been no reckoning to these hermetic companies since the modern KIS, and instead you are sent by unsuccessful chatbot hells until you finally give up. Case Closed. The Spotify servers get rid of countless annoying small acts. What the streaming service thinks of them was already clear at the end of 2023. Since the group announced that they only reward songs when their streams have exceeded the 1000. Incidentally, this acted under euphemism in our own communication: “We modernize our license system.”
The thing with The Velvet Sundown
A AI band like The Velvet Sundown has recently “earned” a very large reach about various placements in the relevant Spotify playlists. The actors behind the non -existent band describe those as a “synthetic music project” – in the self -description of Spotify it says “This Isn’t a Trick. It’s a Mirror”. Obviously no bot has taken off to her associated ascent, which is only due to artificial influence. In her case, EK’s statement seems to apply: music is just only content and costs almost nothing. So it wouldn’t be more beautiful – for the group – if you no longer have to make smaller acts withdrawn, but at some point the money flows directly back to your own synthetic soundalics? Or should no longer flow, because the AI is so smart, but not in Gema.
Was something else? Oh yes, war!
In 2024 Spotify had taken 15.67 billion euros. It may be naive if you want this money fairly to the artists: inside without the Spotify no cent, should be distributed. After all, it didn’t need the current global predator corporation capitalism to shit your favorite acts. At the time, windy managers, nasty contracts or unscrupulous record companies had taken over. But what Daniel Ek is now doing with the money of the user: the inside was again made headlines again. As early as 2021, EK invested in an arms start-up that, in addition to fighter planes, also produces AI-supported kamikazedrohnen. In 2025, he increased his participation in the company for another 600 million euros. Without in debates about defense of wanting to get in defense, it should be allowed to ask yourself whether music listeners: Inside, the money really wants to find the money for your monthly premium subscription.
The band Deerhoof attracted a lot of attention last week with a cozy statement. Due to the participation in the Helsing weapon company, take your music from the platform. In her Instagram post to Causa you can read, among other things:
“Spotify is flushing itself down the toilet. Eventual artists will want to lead this already Widely Hated Data mining scam masquerading as a ‘Music Company.’ It’s creepy for users and crappy for artists. (Deerhoof)
(In German: “Spotify is in the process of making himself out. At some point, the artists will want to leave this already hated data mining fraud group, which disguises themselves as a ‘music company’. It’s creepy For the users and lits for the artists. Music will have to exist, but this digital method to quickly get rich will surely be overtaken soon. “)
Here it works To the entire posting of Deerhof On Instagram.
The thing with the data mining
That’s right now, now that Deerhoof mentioned that again, that’s also part of the user experience! On the one hand as a wrapped, the funny, bright statistics gadget at the end of the year-and on the other hand as a further source of income for the group. Because Spotify in no way only uses the collected user data to generate music suggestions or to facilitate the creation of playlists. The data is also passed on to advertising partners and rights holders of the music industry.
The thing with the conclusion
Well, everyone may draw from this collection: r their own conclusions, but don’t be surprised if you can no longer find me on this platform.
tl; dr / too long; Didn’t read
Hey, have you already checked the horny synthetic act the velvet sundown?
Total fresh! The future of music sounds how battery acid drinks from a dog droppings bucket feels. Although that is not true, it is more like that when you hear this AI rock that the end of man in music will simply listen to boring.
What has happened so far? Here all pop column texts at a glance.
