by Mrs. Gunn

From Wikipedia:

Jarle Bernhoft, also known as Bernhoft, is a Norwegian singer, multi-instrumentalist, composer and lyricist.[1] Bernhoft is from Nittedal in Norway, but currently lives in Oslo. His best known songs are “Streetlights”, “Shout”, “Choices” and “C’mon Talk”.

Bernhoft was vocalist and songwriter in the band Span. The band broke up in 2005. Previously, Bernhoft had played in the group Explicit Lyrics with Fridtjof ‘Joff’ Nilsen, who joined him in Span.

Bernhoft has contributed on a number of recordings and concerts with mostly Norwegian artists, such as Hanne Hukkelberg, Dadafon, Bigbang and The Køhn/Johansen Sextet. He played in the band Green Granadas using the stage name Rod Hot.

He released his first solo album “Ceramik City Chronicles” on September 1, 2008. In January 2010, Bernhoft released a double live album called “1:Man 2:Band”, where one half is a recording from his solo show at a jazz café in Oslo (Kampen Bistro), and the other half is a recording from his concerts in Rockefeller and Molde Jazz Festival with a full band.

His second solo album, “Solidarity Breaks”, was released the next year in January of 2011. It hit Norway’s top 30 album list in second place starting in February[2] and as of August had been in the number one spot for nine weeks.[3]

In September 2011, Bernhoft appeared on The Ellen Degeneres Show after producers of the show found his video on YouTube. While on the show he played his hit song C’mon Talk.[4]

His website:

What’s interesting is his Terms and Conditions page. He has an entire web page devoted to legal speak.  Is he signed? He looks like it, but based on the name of his company, Jarle Bernhoft, which is listed under the terms and conditions of his website, I would say not. So he’s doing a great job at all the business stuff, too. Good music + good business skills = Successful artist.


Case Study: SBTRKT

by Mrs. Gunn

Quoted from:

SBTRKT: “I use Logic for most of my recording. I did [my album] in my living room. Even all the vocals were recorded there. Just a basic Mackie mixer, a Rhode mic, and a few analog bits of synthesizers, but nothing too heavy. I don’t have a lot of kits to be honest.

“I tend to write ideas and then sit on them for quite a while. I put them on my iPod and if I can’t listen to it for 20 seconds later on then I realize it’s a crap idea and we start from something else. I’m not someone who rolls stuff out and then that’s the finished product. I’m always going back to re-work the tracks. Especially for the album stuff.

“I generally put down bass and melodics first, and then try to put them in some sort of context. I have folders and folders of weird track names which I use when I’m looking for some inspiration and I’ll realize I’ve done something a year ago which has some sort of weird, cool direction I can use now.”


He wears a mask. He blends genres – dubstep with hip hop, soul, electronic. I guess they call it post dubstep. And he remains anonymous.

and now all the videos on TeacherTube…


Case Study: Ani DeFranco

by Mrs. Gunn

Ani DeFranco started her own record label at the age of 18, pressing her own CDs and selling them at her shows. She now runs a very profitable company and uses her success and fame to help grass roots charity work throughout the nation.

Ani DeFranco’s website, Righteous Babe Records. Notice the call to action, the street team, and the care to which the merchandise was created.

A nice article about the history of Righteous Babe Records:


Her music:



There was one show where she ranted about  piracy and how it’s affected independent artists. She wasn’t against downloading, or sharing music, but against companies making money off of such downloading with no royalties going to the artist. If I can find the rant I’ll post.

And non related but wanted to post – another rant –

Coutney Love’s Rant on the music industry





How to Make it in Music: a New Business Model

by Mrs. Gunn

Well, with the success of Nataly Dawn’s Kickstarter, a new business model for independent musicians has been born. Not all musicians are this successful, mind you, but the concept is still kind of the same:

1. Have a good product (sing well, play well, good music is good music, etc. etc. etc.)

2. Record your self on video live, either in your living room or at a performance OnCe a WeEk! Yes, it’s the discipline of once a week that’s hard. Create covers of game songs, popular songs, old songs, and good songs with a spattering of originals.

3. Play live. For free or pay.

4. Have a collecting place for fans – whether it be your webpage, or twitter, or facebook, YouTube, or whatever, have some place to announce from the stage, so that people can follow/subscribe to you.

5. Once you get 20,000 fans, make a CD, tour, etc. etc. Keep it honest and keep everything in house.

Got thoughts?Leave comments below. Coming soon – the 1 year “Make it in Music” challenge!


Feist Case Study

by Mrs. Gunn

Feist is putting out an album, and the way she is promoting it is to put up little video snippets of her music. Check it out at!

She is putting up one little video at a time, and it seems to be a really great idea. I also like her website. Simple and to the point.


Case Study: 3Oh!3

by Mrs. Gunn


This is a post (edited) taken from the Music Think Tank blog. The link for the post is:


3Oh!3 is worth studying because –
1. They write all their own songs

2. Two man band

3. Self produced 1st album

4. Warped tour

5. Signed with an indie label, Photo Finish Records

6. Collaborated with Ke$ha, Katy Perry, more

7. Kept it local while makin’ it big (Boulder, CO)

8. They talk a lot about their philosophy regarding making it in the music industry

9. They write popular songs

Whats you’re opinion? Do you think it’s true when they say they try to keep their merch cost low for the fans?  Have they sold out by going the record label route? Are they truly DIY? Check out their website and write your comments below.

Article below:


DIY Promotion, Songwriting and Pricing w/ 3OH!3

The Band: 


The People:

Sean Foreman and Nat Motte

Current Projects:

Just finished performing on Warped Tour, currently recording 4th studio album


Boulder, CO



When you think of DIY bands, chances are the acts that come to your mind are not on the billboard charts. At least not yet. When we first reached out to 3OH!3 for an interview, we had our doubts as well. However, as you will see below, 3OH!3 was born and raised in DIY ethos and continue to move forward with the same mentality even today. Needless to say, it’s worked out pretty well for them. Not so long ago, members Sean Foreman and Nathaniel Motte were sending their demos in cute little packages to every record label they could find the mailing address for. Today, even though they sell extremely well and collaborate with the likes of music’s biggest names (Ke$haKaty Perry), they remain grounded in the practices it took to get them this far in the first place. Give the interview a read — you’ll be pleasantly surprised at what they have to say, if not a little bit inspired as well! Reading about your background, it appears that you guys got discovered by doing what everyone tells you not to do: sending demos to labels. Was it really that easy or was there more to it?

Sean Foreman: Oh yes, the sending of demos. I must have missed the memo that you aren’t supposed to send CDs out to labels, because I definitely did. Not only a CD, but I literally hand crafted little cute suitcases with photos and another CD without the music video. I was the Martha Stewart of demos. Not that it helped, they ended up on the record label’s floor I’m sure, but nonetheless it was fun to do and I felt like I was championing our band. Our path to finding a manager and an agent and eventually Photo Finish (our label) was a much longer series of events. Every time I go into the photo finish office now I go through and listen to all the demos as tiresome as that can sometimes be, it’s also fun. Obviously you’ve progressed past that same grassroots promotion. Any outside the box marketing techniques that are working in particular for you guys today? How was it helping to produce the video add-ons for your latest release’s deluxe package?

SF: I don’t think we have progressed past that same grass roots promotion. We continue to do things that is entirely untethered from our label that Nat and I think of spontaneously. For our CD release for Streets of Gold we took over the planetarium in Boulder and created a personalized laser show for some new songs as well as performed for the handful of people. We continue to break the wall down between musician and fan with interviews direct on UStream or answering questions on twitter. We have always pioneered our marketing with either an image or an idea and worked out thematically that way. Thankfully all our art and graphics for T-shirts and CDs have been done by Nick Motte (Nat’s brother) and Andrew Kimmel in Boulder. So we always are on the same page about our overall aesthetic and it keeps it in house.

We placed extra add ons in our deluxe version of Streets of Gold, sort of like that demo, but a little bit more realized. Our long time friend Isaac Ravishankara flew out to LA while we were recording and recorded a sort of mockumentary that we all wrote. Additionally I drew a comic specifically for the deluxe. It was a blast to make a variety of pieces, not just music for the album, and hopefully the fans got something special out of it too. You’re both songwriters, something that makes you unique among top 40 acts. How much of an effect did writing all your songs in a snowy mountain cabin have on the vibe of Streets of Gold?

SF:  To be a song writer in the Top 40 is pretty unique. All those acts or artists you think are writing their own songs (and I mean even the ones that aren’t the most obvious) are walking into the studio with the song already written, ready to record. Nat and I not only write our own music but we produce it as well. I can count on one hand top 40 artists that do the same. Not that I’m patting myself on the back, although I wouldn’t have it any other way, it’s just a rarity in the business. Not to say we don’t collaborate. I think an artist would never learn anything without collaboration and thankfully we’ve learned a lot in the process of collaborating with certain artists and producers.

Colorado was a great place to write and demo out music because it’s first and foremost, home. There’s no glitz and glamour or the shady facade of LA to distract you. So Nat and I get down to the important task of just working and writing. We tried to demo out 2 to 3 songs and ideas a day. Which over the course of 14 days turns into quite the process but was essential. Because you’re both songwriters, you lead very busy lives in terms of collaboration with other artists. Any tips for musicians on balancing it all? Are there any specific tools or resources that help you with this?

SF: Balancing your life can be difficult, but for one turn off the TV. Work like you should with anything you love. Obviously if you have a job you have to work around that, but just put in the work. Music speaks for itself, but its voice can only travel so far without putting in the footwork. Nat and I might be considered weird by other artists because we don’t go into the studio at midnight and do drugs all night […edited for content…]. Nat and I get into the studio around 10 am and work until 8 or 9 PM and so do most other songwriters. Artists a lot of times need that magic hour of creativity and to be honest that might work for some people but I prefer to think that a good balance of work and creativity is usually better than a one in a million lightning strike of brilliance. Despite the fact that you guys are constantly touring, you’re revered for having an incredible live performance, rejecting the temptation to appear as exhausted as you actually might be on stage and thus enhancing the concert experience for fans. How do you manage to stay emotionally invested in show after show like that?

SF: Touring like we do can be extremely tiring. This might sound cliché but a lot of times we do go on stage exhausted and unsure but the crowd amps us up and inspires a new energy. We put so much work into our live show because we feel it is one of the most important things we do and thankfully our fans give back what we put out. When I caught up with you backstage at Warped Tour, you mentioned that you’re constantly trying to find a way to make your products as affordable as possible for the sake of your fans. What in particular does that entail, and do you think you sell more because of such a strategy?

SF: I don’t know if we sell more. I guess our aim to keep prices low isn’t an aim to reach higher profits and would make any business man cringe but we owe it to our fans. We know the price of our product, though it may be immaterial, and we want to keep that as low as possible for our fans. We consistently work with promotors that dont add surcharges to tickets, we sell our merch for reasonable prices when other bands hike them up. If you wish to read more about our struggle with price matching you can read one of Nat’s diatribes on our Facebook page.  We obviously wish to continue making music and it’s nice to be able to pay rent with what you do, but we also care very much for what the fan gets out of the experience and we can bite the bullet on price points if it means we are reaching a larger audience. What is the largest challenge facing 3OH!3 as a band right now?

SF: Well, as we mature as a band and as people we face new things everyday. Whether it is a lawsuit or a disgruntled promotor or even last night a meth head in Des Moines tried to attack Nat as he was walking out of the venue. We face new things every day but honestly we are still having a blast and face an exciting future. What excites you most about the music industry right now?

SF: The music industry right now is ever changing.  Someone brings something new to the table everyday that changes the game. I love the mixtape culture. The ‘I don’t […edited for content …]’ about money mentality of just releasing music. Its so immediate and I think it really works. It builds hype and helps the artist along. I’m also excited that the technology to record and produce is not in the hands of the elite — any kid in his basement can record an album and there is a lot of great stuff out there as a result.

TrueDIY is an educational series produced by Indie Ambassador. Through our video panelsindustry profiles and articles, artists and music professionals can educate themselves on general business topics, new technology and current industry trends.