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May 14, 2025
almark

Subvert – join the resistance

When was the last time you released music and it found a few people, even 10 who were like-minded and wanted to see more of your work? This may sound like a dream in our modern day, but I assure you, this was the Internet before 2014, but they have caused us to forget about it. Imagine a place where your music matters, where you as the artist can find a real group of people who want to discover and dig into your actual catalog? We who lived in those days remember it and that memory is still fresh in our minds, thanks to places like, SoundCloud, Tumblr, and of course Myspace..

At this hour, we are living in such a time where the threat to the indie artist is the greatest and what do people do when they feel threatened? They fight for change. That change starts with you, and what you do about it, or where you release music and where you listen.

Streaming companies have taken over the scene and with the acquisition of Bandcamp in 2022, we have lost, the last indie platform to release direct to, in fact, the new owners ‘twice over’ fired many who were on the original staff. The major labels themselves are all holding the cards now and you’re left holding the bag. Now there are other efforts such as Nina Protocol so we wait on them to become larger but – with as much arbitration going on, no one can really do anything about it. Bandcamp was the last hope we had, and what independence was ours, now belongs to them. How can you really thrive in a ad-driven social media society that requires you to be a marketing rep, where your music does not hold its merit or find like-minded people?

They’ve duped the public into believing that ‘this is the best place to live and play, but you can’t move ahead unless you drop that new single, create content, upon content, or push yourself to death’s door just to be found by a small few.’ Tiny fragments of people might trickle in now and then and by the end of the day, you either hate being a musician or you hate releasing music. “this isn’t how it’s suppose to be” even in the real world, you have more from your effort by talking to strangers in a coffee shop at least, or the store – and that is what Subvert plans to do, give The Internet back its balance, its place of rest.

Artists were suppose to be the value of the era; the art that helps us enjoy believing, there is something good in the world. – #WEATNU

– With big tech pushing us down daily, no one, not even the major artists have a place to live online. If YouTube takes down your music, Spotify might complain about your music being ‘bot-driven‘ or worse, removing your whole catalog, not to mention paying you only if you achieve 1000 plays per song. These are the kind of things we question right now, those things are in the minds of the artist who uploads to Bandcamp – I wonder what will happen in the near future now that my so-loved platform I have relied on since 2010 is now owned by the bad guy?

Subvert takes the stage, finds a way around all these changes, and gives us back the power, by making us co-owners with them. What a concept in terms of the modern internet where the next billionaire might pop up today, taking even more digital real-estate from us.

#WEATNU

What is going to happen when they buy up all the small .com domains and .fm and what not? No freedom left and we better do something right now to stop it. Start making websites, push the music out of social media, put it on your homepage, make places that people want to come to visit – form web rings (again). The mind-set is strong these days, and people are tired of being bought out by big tech, but your music matters and so do your fans. The future holds the key and the vision is a marketplace that lets your music find its listener, its group of fans, not breadcrumbs falling from big tech’s table. 

When subvert formed they realized that it was time to do something before we lost it all, and streaming might becoming the de-facto way to take in music, this of course, is a travesty. If all the digital download and direct download sites go away, they will have complete control, and labels such as Warner Bros and Universal will hold all music captive. Do you want that? I don’t, no thank you, and we need to stop it from happening. WEATNU is actively taking part in spreading the word across the board to everyone, all artists, all supporters, anyone who makes music, anyone who loves music about – Subvert.

They are in fact doing things the right way, providing a marketplace as a ‘successor’ to Bandcamp and giving us all something very soon – ownership – where we as the label, artist, supporter have a share in a company – together – where a platform never changes without request upon the board. There is no worry about a 3rd party coming in who are shareholders, and investors who are quietly changing things that you hold dear. The marketplace becomes the free internet we will own, not one owned by outsiders who aren’t music-driven. Subvert it taking back the scene and continues to draw over 5000 into their website. (their marketplace will be an influence for others in the future and help us grow a thriving scene for the artist on other websites)

With the right amount of people and those with a heart for change, we will see a future for the indie artist that doesn’t have to force people to listen. The old way of posting till you drop – ends – social media has become that late night informercial that continues to play until you either go to sleep or turn it off, it is twice dead now. We’re in a time of re-runs and complete boredom through ad-content and requirements from these companies that if you work hard enough, people will find you. It’s all for nothing, but we will press on and move with those who are breaking us out of our bubble.

Join Subvert – and get your free zine, if you live in the US.
Their free PDF will outline this future we will have in 2025.
Their hope is a level playing field, and all supporters can take part in them.
As things develop, so will our articles about this.
Their platform will be a place where our artists and many others will release for years to come.

Act now before the window closes, they are taking in a limited amount who are the co-owners with them, and WEATNU is one honored to be one of them as their 600+ labels and growing.

Almark – #WEATNU Digital Magazine – May 2025

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April 29, 2025
almark

Echostation returns as sub-label

Once part of the 6 streaming internet radios we call portals from WEATNU [OUR] Online Underground Radio. – Echostation was an underground beacon for the experimental dance scene on twitter in 2015. Now it returns as a sub-label to WEATNU Records. The time was right as we are now 10 years as a movement from 2014, and coming soon this summer of 2025.
A new line-up is evolving, and some are releasing from WEATNU to Echostation Records – new artists can also join us by releasing their experimental DJ sets right through us. EchoStation specializes in some of finest underground techno and dance alive today, along with dj mixes from the superior experimental sound – deep house – DnB – electronica – liquid dub and more. -stated from our Bandcamp page. It’s an exciting time to take in these artists, some could be just starting in the DJ scene and some artists who have been doing this for much longer in the industry. Artists such as Jazzykat – US, who has been with us since day one, AMNIOTIC – NY, and just as long, has been releasing tech-house for many years with WEATNU, Breezy – UK, who releases electronica as well.

On either side, home musicians or abroad, they just want to get their works heard, and noticed.
We’ll have the music sent direct to our Bandcamp and even Beatport, along with streaming, and YouTube. Echostation will be the center of the underground sound for dance electronica for us for years to come. We want to grow with the community and form bonds with the scene, connecting with other groups and spreading the word that the internet hub called WEATNU is the place where you will be heard without compromise.
Be sure to bookmark our Bandcamp, so when the artists begin to release, you’ll see them.

https://echostation-records.bandcamp.com/
Keep up with us on Substack daily – https://substack.com/@weatnurecords?utm_source=user-menu

Almark – #WEATNU Digital Magazine – April 2025


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April 26, 2025
almark

The Transmission Revolution

Artists go where they are wanted, and if not for past events, we may have not found ourselves in this next phase. Upon the day when Transmission Nova broke ground, the post-punk community joined us. But something new is happening, a French movement is here, and WEATNU has become “the resistance — and they the revolution.” Both sides working to bring awareness to the forefront of the underground. The hearing of their voices, in a cold wave setting. Transmission Nova is allowing them rise up and others hear their cries, their music is heard and credit belongs to them. The post-punk scene is set in stone, and since 1977 – it’s been enjoyed by a select few.

Moving forward into the early 80’s through the – bat-cave scene, then shortly after, becoming goth, and thanks to Joy Division – and Bauhaus, among many others, we have post-punk in all its glory, then becoming Industrial, and finally, dark wave. The cold wave scene appeared somewhere along-side the budding post-punk era and later via artists such The Frozen Autumn. Transmission Nova flies its banner as alt-90’s / shoegaze, Indie rock | punk, post-punk and goth, all of which are guitar rock in the most obscure. From the sound of Peter Murphy or the catchy hooks of The Cure, even modern acts of today, such as, She Past Away, those influences are still thriving into the new era. During the collaboration between Japan’s – Mick Karn and Peter Murphy there was a melding of the minds to form such a sound, namely Dalis Car.

Complete passion and talent comes from an artist holding their guitar, the band, the bassist, the drummer and the vocalist, and since the new age enveloped all these, the early 70s were a time for the organ, now turning into a synthesizer. When these worlds became one, we had the new wave movement and finally synth-pop. Post-punk was always, a mood ‘in the dark’, and I think a lot of us agree that for the most part many wouldn’t understand its history or the background behind it.

Thanks to groover.co, discovering WEATNU years ago, and asking for our reviews from their platform, this French revolution has occurred. Groover is helping our label grow, and giving us more artists from a greatly talented pallet of musicians, and we are grateful for such an opportunity. Artists such as The Memory of Snow, J. – VELEVA – and soon to join, a long-time friend of ours, cold wave artist Thalie Némésis – each from France.

They understand what the passion and soul of the music becomes, as enlightened and elemental, it turns into sound. Transmission Nova engages with artists worldwide, as far as Russia MONOPLAN and in the past UK, via Combover Beethoven, Tee – Marshall from Australia, Except Elephant, Amsterdam, Status Oblique – Australia, – angel on fire – Canada – who has been with us since the start of 2015 and writes post-rock soundscapes and vocal transitions, as artist Jason M. Norwood.

Our alternative artists from the US include Torran, Queens, NY, Mike Brunachini, Jamestown, NY, with his piano pop project; SchizoBunnyPsycho from Oklahoma who more recently joined us, bringing her version of indie pop, in a guitar setting. Each of these artists, each of their souls are burning like a hot fire and bringing new stories to the landscape – in the modern underground. This revolution of guitar and passion will continue for years to come.

Almark – #WEATNU Digital Magazine – April 2025

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April 17, 2025
almark

We are the New Underground

When both sides meet up under a mountain, while drilling for years, a tunnel is connected. Our movement has been drilling endlessly since 2014, hoping to get past that hard wall that is so difficult, but with the right people, artists and communities around us, we have finally accomplished this feat. The artist was drilling under the same mountain we are so covered by. The mainstream, and modern internet with its walled gardens, and opinions, that hold us down and house us in due to old rules that no longer apply (the music industry and forced ‘content’); were not allowing us to branch out. But the human spirit is powerful thing, it finds ways outside of prisons. The Internet is a tool, a communication center and a space to share ideas. – WEATNU – is one such idea for the experimental scene, a – machine – that continues to help the unknown experimental musician, because experimental music in general is important. Artists are seeking to be found, not by means of modern ways, or an overly active social media lifestyle, either with branding or intense marketing schemes, but actual passionate music and a longing to be heard. We are the community, we are a place for people to gather in a hub online, the city, the center of the indie scene for these musicians, – as artists – with our obscure audio paintings, that are on display for all to see; while passerby’s notice them.

By tunneling under the norm, we have achieved a new underground, one that ensures survival of the artist, without being a detriment to them and offering them free tools, radio, magazine, interviews, – label releases and podcasts. – People want to find like-minded fans in an overly-stimulated online world. This is a place where the attention of the fan is on you, and with the help of ‘both sides’ the artist and the movement, communities are created. They not only connect left and right under the mound of rock which covers us, but by way of other tunnels, connecting us across the world, in the place where it matters, where you find organic people, like small net-labels in the past, even outside the internet. Where a follower loves your music for you, not just your style, not your brand, and certainly not your viral status. These are the artists we house and people notice and take a stand against these norms that so plague us daily. –

  • The musician wants to make music for the sake of loving their work, and others who aren’t musicians, don’t necessarily understand, especially today in a hyper-driven Internet society. Websites use to be the place where the artist was found, even YouTube. This movement and its artists are moving forward under those tunnels connecting together to other communities, their artists, fans, and branching out selecting across the digital sea we are under because of actual footwork, and seeking out among a network online through communication and collaboration.
    We are seekers not only for others to listen but for a career in our music, that is final goal.

Because of this connection, we have achieved victory as a movement, with over 500 artists helped in ten years, and many countries who have released along-side of us. The label/s we house and highly passionate and talented musicians has caused WEATNU’s vision to become accomplished. Now a visual place to show ourselves and the fans who are unknown will find us, by way of podcasts in this year and beyond. The future of the indie artist is not IG, Twitter, Threads, or the like, it is you. You are the artist, if passion for the music is lost, what do we have left? We are not ruled by algorithms, or big tech, but by the human heart, – that simple nature to create song, and write, because you love to make music.

  • All of us, the very indie artists themselves are this driving force to behold, and your stories will be told to others who haven’t heard them before. Just like in the beginning those 10 years ago during the summer of 2014, now once again, and one artist at time, visually you will be heard. We must unite and break down the walls that separate us, that tell us we can’t be heard without major marketing or spamming social media daily. #WEATNU is promo itself because of your self-promotion, and you are the artist, not a product but a team of strong people who love their music and simply want it to be found. This next evolution of WEATNU marks our 10th year as a movement, we are a city with other communities around us – We are the New Underground. We are all one!

Almark – #WEATNU Digital Magazine – April 2025

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March 21, 2025
almark

End algorithmic control

“Our music, our passions, the connections we form, the fans we lose, are all lost because of the control these tech companies have over us. The next generation is taking down the walled garden we have all been under for 10 long years. The control must end, it must fall like the great wall that separated two countries long ago. The human spirit can’t be pushed down forever. It has become akin to 1984.”

“There is a great divide separating us online”, the musician cannot find their fanbase, that once attainable organic group of people who are interested naturally in your craft. The artist who paints, or the filmmaker who directs, the creator who invents and wants to reach their audience. From the small business owner who wants to sell her flowers, or trinkets online to a fresh list of people. The once free Internet that we all had is now controlled. We are in a walled garden. Even our thoughts are encased in a digital prison. – Imagine if you will your home being boarded up with barriers on all sides, and you can’t talk to your neighbor, you can’t find new friends in that coffee shop, because they install cubicles that reach the top of the ceiling. This is digital tyranny and we have to get the word out and let others know what is happening.


WEATNU for 10 years has spoken out about the unfair music industry, and we are the new underground. We are musicians, the artists the people that these systems are hiding, one from each other and also from groups who may find them by discovery alone.

The tech giants that all came up like skyscrapers around our fair city, the old internet are now in full control over our daily lives. We – live and play – online, and we pay our ISPs for this, but these companies are not playing by the rules. They funnel our posts, our music, our links, our passions and our purposes into a computer program that dictates and directs where and who should see what we have posted on social media, YouTube, Instagram, and the like.

People rely on these companies because it’s all we have, and because there is no way around this, they are controlling their user-base by unethical means, they change the algorithm just when you think you have it understood; there is ‘no’ transparency. The rulebook is closed and no one knows the secret.

We have been whittled down to ‘content creators‘ the very things we love to do are hindered, hidden and lost to a sea of 1’s and 0’s online, only to be fed into a machine that Google, Facebook, TikTok, even Twitter, which have all the cards, hold all the power and where people use ‘with good faith’ that their posts and passions will be seen for all. They are walled off from their friends and even their families by showing them a feed of useless garbage to distract them, so that shareholders are appeased.

The artist has no way to break free, no way to expand and show their works to others. The Internet didn’t use to be this way, it was a free enterprise, where thoughts and uniqueness was upheld. Now we have no freedom to speak of. Musicians are without a fanbase, and fans likewise without new music. We have to fight to be heard, more than we should, or attain viral status which is absurd. We are fed ‘cookie cutter’ artists who seem to rise to the top, instead of the next Prince or Bowie. We aren’t allowed to find natural progression to make a simple living from our works.

Where are the leaders of the new music? Where did pop culture go? The musician needs to be heard, and WEATNU has been fighting for 10 years to help them. This is no different, and it is a hope that the word is spread far and wide to get them heard. Congress needs to know how much control these tech monopolies really have over us. The algorithm is hurting the arts and art is needed in a dull and dismal world.

There are studies being done on the effects that this level of control is having over society in a whole. Entire generations are leaving that world and going back to simple tech, just to have a normal existence.
Where do we go to share our music and art, music videos and films we put intense passion into?
It is hard to say, but until these barriers are removed, we have little to no freedom.
The websites of tomorrow are our last hope.

Almark – #WEATNU Digital Magazine – March 2025

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May 22, 2024
jmnorwood

Interview: Mike Brunacini

“Hailing from, Jamestown NY, Mike Brunacini is revisiting the vintage end of retro piano pop. Mike’s music takes us back to the yesteryear, a time long-past with a current modern invigorating sound, re-captivating those once great songs of the past. Influenced by the likes of Ben Folds Five, Billy Joel, Elton John, among others; a most prolific song writer and musician. His story is just as important as the music he creates. Releasing his latest music on Transmission Nova – special thanks goes out to Jason Norwood for doing this interview with him.”

Jason Norwood: One of the first things that struck me when listening to the first single from “Dying Leaves & Naked Trees”, “Four Way Stop Sign” is the imagery. You painted a small-town picture in the lyrics, do you draw a lot from Jamestown when you’re setting a “scene” for a song?

Mike Brunacini: Yes, a lot of the visual inspiration came from growing up in a small rust-belt town. My whole life I’ve been looking at these old factories where they used to make furniture. Jamestown was once known as the “furniture capital of the world”. I never had the chance to see that version outside of sepia photos. I’ve always longed to experience what it was like when this town was booming. A lot of people I grew up with have that “I hate my hometown” mentality, but it isn’t just here. That’s the message of the song. This is happening all over.

I should also mention that the cover art is a photo of Jamestown that I took when I was in high school. Fun fact.



JN: The idea of looking at old photographs, or old memories, is a theme that has grown stronger on this album compared to your last full-length, “Summer’s End”. Do you have a concept or a direction in mind when you start working on an album, or do you just let the songs happen?

MB: I have a history of swapping that thought process every other album. I’ll do a big concept album and follow it up with an album of stand-alone songs. I love concept albums and they make writing lyrics a lot easier for me. But once I finish a concept album, I end up having left over ideas that didn’t fit… or short little story ideas that only need one song.

As far as old photographs and memories go, that’s one of the big overarching themes of my writing in general. I’m obsessed with the passage of time in an unhealthy way. I lost of lot of important people in my life when I was around 11-14 years old, so there’s this impenetrable wall up between my childhood and now and it makes going back in time even more desirable.

JN: I notice that when you’re writing about the past, there’s a journey involved, not simply picking up the photo, looking at it, and putting it down. Does that also go for the style of the music? I can picture myself in my dad’s big Pontiac in the late 70’s, listening to some of this on the radio. And who, musically, inspires you?

MB: I like to think there’s a musical journey as well. I always focus on a strong melodic foundation, but the arrangement is where the journey kind of happens. I like to add little ornamental touches that change each repeated section so that the 2nd chorus or 3rd verse sounds new in some way. I also try to really focus on writing lyrics that match what the melody is trying to say. I take a long time to write lyrics… I’ve got dozens of song starts waiting for lyrics to come.

Ben Folds is someone who is an obvious inspiration to me. But less obvious might be someone like Steven Page (formerly of “Barenaked Ladies”). You hear that band name and think of a few goofy singles, but when he wrote a sad song, it was dark. He has a way of writing these incredibly catchy melodies that almost trick you into singing these lyrics until you really think about it. Wow… this song is about THAT?!

JN: That’s something I experienced when listening to your albums–that dichotomy sometimes between the lighter feeling of some of the music and the lyrics that can get a bit darker. How does Aftergloom, your other project, set itself aside from the material you release under your own name?

MB: Aftergloom is a side project I started when I realized it wasn’t going to sound like my usual stuff. I also just liked the name Aftergloom and the idea of starting something fresh and new. I was really inspired by Leland Kirby’s The Caretaker “Everywhere at the End of Time” project. I was also diving deep into the waters of dreamcore, weirdcore, and other internet aesthetics. I think it has something to do with how they capture the feeling of a childhood fever dream. It all feels so familiar, yet it isn’t.

The goal for Aftergloom is to tell a story spread across 3 albums. It’s called “Don’t Wake the Dreamer” and the premise is that of a young woman escaping the grieving process through her lucid dreams. Instead of moving on, she manifests her deceased parent in her dreams, unwittingly bringing to life a brand new being who realizes it needs the dreamer even more than she needs her dream.

Musically I tried to, I tried to blend the sounds of dreamcore and weirdcore with a more grounded retro singer/songwriter type of vibe. It may not make sense at first as the album starts out sounding relatively normal, but the deeper you go, the stranger and dreamier it sounds.

JN: I noticed more synth work, but with the omnipresent piano. Is the piano the instrument you generally start off with when composing?

MB: Most of the time, yes. Occasionally I’ll start with an acoustic guitar, but I almost always end up bringing piano into it. I guess it comes from growing up listening to so much Ben Folds and Billy Joel.

Another fun fact, I started Four Way Stop Signs on a guitar!

JN: What does the process look like for recording? Do you record at a home studio and/or a professional studio?

MB: I record in my home studio which is up in my attic. I had to finish the space myself and I’m hardly a handyman, but it’s alright. Every spring and fall a few bats end up trapped inside, but I’ve figured out a way to safely return them outside. I usually start with a piano demo and build it up from there. At some point, I’ll remove the original piano demo and arrange a part more specific to the direction the arrangement is going.

One of my favorite parts of the process is arranging the backing vocals. It’s hard, time-consuming work, but I always love the results when I put the effort in.

Mike Brunacini in the studio.


JN: Do you play all of the instrumentation on a record?

MB: Most of the time, yes. Summer’s End had a few guests. Kameron Staten on saxophone. My wife Kristen on flute. My cousin Rand (of Ookla the Mok) on backing vocals for a few songs.

But on the new album, it’s all me. That’s mainly due to the time-constraints of having a full-time job and being a dad. It’s hard to find time to get a bunch of working adults together.

I have a future album in the works with live drums by Rosalie Hewitt. I’m hoping to be a bit more collaborative with that one. The goal is to try to record everything as “live” as possible. While still delivering a clean mix.

JN: I saw a post from you this morning about stereo equipment, and you release your music on vinyl. Do you think the physical format is important to experiencing your music in the middle of all these streaming services?

MB: I think the physical format is important to experiencing any music. I appreciate the convenience of streaming… it really is an amazing thing. But I prefer to listen to music on dedicated equipment and using dedicated time. I don’t have any argument about music sounding better here or there. I just like the inconvenience of needing to deliberately pick something off the shelf, place is on a turntable, clean it, play it for 15-20 minutes, get up and flip it, clean that side, and then listen to the remaining 15-20 minutes. It kind of forces you to pay attention because you need to actively participate in the process. I think that’s a good thing, but I completely understand why not everyone will agree with me. There really isn’t a right or wrong way to listen to music. If you’re listening to my music on cheap wish dot com earbuds while you multitask in a crowded room, I’m happy to have you along for the ride and grateful that you’re listening at all!



JN: So, what’s next for Mike Brunacini, aside from that live collaboration? Does the creative process continue solidly for you or do you get some time in there to breathe a bit? Do you perform live?

MB: I’m very excited to release this upcoming album “Dying Leaves & Naked Trees” I think it’s my best yet and I hope everyone ends up feeling the same about it. I have Aftergloom’s – Don’t Wake the Dreamer Pt. II ready for release at some point. It’ll be available online and as a VERY limited cassette run. After that I’ll be finishing up Don’t Wake the Dreamer Pt. III (the final installment) and that sort of live in the room album. I’ve been working on writing the album after that… but I don’t really have any lyrics yet. I’d love to work with a good lyricist at some point. A sort of Bernie Taupin to my “Elton John”.

I rarely play live. I haven’t been able to find a venue for sad unknown original songs yet. Maybe if I could get a band together, but that’s tough with how busy everyday life is. I’ve always been more interested in writing and recording anyway. My dream scenario is to be late 60’s Beatles or Brian Wilson. Just writing and recording music in a studio.

#WEATNU Digital Magazine – May 2024 – Jason M. Norwood
Introduction words by Almark

Follow on threads: @mikebrunacini
Bandcamp: https://mike-brunacini-transnova.bandcamp.com/
Official Site: https://mikebrunacini.wixsite.com/mikebrunacini
Linktree: https://linktr.ee/mikebrunacini
Kickstarter: https://www.kickstarter.com/projects/mikebrunacini/dying-leaves-and-naked-trees-on-vinyl

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August 21, 2023
almark

The Nightwalker – Nobody Can’t Escape From Karma

Finnish artist The Nightwalker comes to WEATNU Records with his debut release (Nobody Can’t Escape From Karma)
Le Clotêt Avec Garcés hails from homeland of Catalonia, originally releasing under a folk-grunge album in 2015 and moving this year to an electro sound. Producing music in the cold north under the land of lights. The Nightwalker brings influences from GusGus and classic electro. His music has been heard worldwide.
Hearing the melody that penetrates the heart and soul, you’re soon not to forget this tune.

“Nobody Can’t Escape From Karma” by The Nightwalker
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August 1, 2023
almark

The great musician exodus

“If there is anything musicians need more, it’s an audience.“
Some might think that being a musician is a power trip, quite the contrary, it is a way to cope with ones own feelings. It alone helps bring emotions forth, from inside of a person and reveal what is hiding in our soul. We don’t do it to please others, but a simple need, or outlet must occur. People in general need art, and art helps the world feel. Without art, we all die inside, and dying inside is not something we want in a post-2000 world. Musicians need to share their work, it isn’t always for a career, but the side of an artist that most don’t realize, is that they are naturally performers. Something is brewing inside of you when you want to share your most intimate private moments, your music, with strangers, in hope that someone may discover you.

But those days are coming to a close, and while bleak as it may sound, the reality is a hard one to grasp. It’s a bitter pill… You can hope all like, and simply make music and you do it for the love of it, but your audience is nill to nothing. As it becomes more difficult for the artist to be heard, either through pay to play social media and other places, musicians in gross are leaving the internet. They simply pack up and leave, one by one, every day. You can follow this through Twitter, watching certain people toss their bags to the side of the road and say, “see ya, I thought my music was interesting, but I guess that isn’t so.”

This alone is a pandemic, and no one can do anything to stop it. Big tech is not helping, so we have to release music to other places and may never find our audience. A once ‘ray of hope’ is now diminished into a feeling of dread, wondering, “who will listen?” There isn’t much to say, there isn’t much to welcome, I bring you no kind words, but the truth. Musicians in general are their own audience; musicians listening to one another, and the fans of the world, finding the next pop wonder instead of the independent artist, who works even harder to be heard and finds little to no help getting their music discovered.

YouTube at one time would help boost the artist, but that was long ago, and Twitter, the same value, but as filters were put in place, we lost our freedom to be heard. This is a travesty of epic proportions, not to mention unfair. But then you might say, “just pay promo and you’ll find your audience.” This might be fine if the artist had money, but a starving artist is a starving artist for a reason. The days of free for all internet are long over.

Ask anyone in the music scene at this time and they will tell you, from the indie label to the free promoters and bloggers, “it’s hard, and we’re all suffering.” This comes from the world shutting down, and people don’t know where to find music. The tight grip from streaming services and lack of free promo has caused this to happen. Social media and Google have become censorship = socialism. We were warned about the loss of net-neutrality years ago. And we are all kept from seeing each other, in this digital wall all around us. The moguls who loom over us, with their tightly gripped wad of cash in hand, purposely find ways to “milk the system”. So… is there is a way out of this?
Pay it forward as much as you can, and help one another in this time of need, as #WEATNU has always done, simply put (artists helping artists.)

You become the fan of your fellow musicians, because, in no time soon are these juggernauts of the industry going to allow us to move forward. They stamp out art without regard, even if your music costs nothing, as they simply don’t understand the magnitude of doing this. Your fans are lost in a sea of digital 1’s and 0’s and it isn’t getting easier. Someone had to speak up about this, someone needed to, it’s up to the artist to find a way to correct it.


#WEATNU Digital Magazine
July 31, 2023

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June 29, 2023
almark

Synthesis Noir (EBM/Industrial) sub-label

A new generation of Industrial, Darkwave, Coldwave and EBM artists – take flight, as we start to build up our artist list for 2023. Another welcome addition to the already existing list of labels that are provided here.

One of (6) internet radios that #WEATNU had during 2015 has just been born.

Having our 3rd sub-label set for Industrial and dark electro type genres, just seemed like the right timing.
As the label continues to create more options for the listener, allowing in the known and unknown artist who poses “great talent.” Synthesis Noir promises to be something new.

While during the beginning of the movement of We are the New Underground, our roots were Industrial, IDM, Ambient, Dark ambient, and from that day forward the digital underground scene continues to morph and evolve and we release what is sent our way. One more label added to the landscape, one more option for the artist. These labels of #WEATNU help to target various scenes of the music landscape.

If you’re into classic Industrial, Electro, and EBM, then Synthesis Noir will be a place to keep an eye on.
Our sub-label may include some goth-crossovers from Transmission Nova label as well.
A newer audience will find this great music and the #WEATNU machine will continue to grow.
Free to join, and great benefits allotted to the artist.
Other genres may include Futurepop, witchhouse, and many sub-genres that come to us.
If Transmission Nova is to guitar post-punk, then Synthesis Noir is to Coldwave and digital wires.

#WEATNU Digital Magazine – Almark
June 2023

Follow our Bandcamp: https://synthesisnoir.bandcamp.com
Twitter: https://twitter.com/SynthesisNoir
Post your music direct to our network to be considered, or
https://network.weatnurecords.com/public/d/12-synthesis-noir-industrialdarkwave-and-ebm-sub-label/14

Contact direct below

https://weatnurecords.com/contact/

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