Tag Archives: Membership

SUISA membership in numbers

More than 38,000 authors and publishers have instructed SUISA with the management of their rights. Where are they from, how old are they and are there more men or women who are composers? The figures and graphics below provide an insight into SUISA’s membership structure. Text by Claudia Kempf

SUISA membership in numbers

(Graphics: Crafft Communication)

Age distribution

The majority of members is between 31 and 60 years old. This is due to the fact that authors have an average age of 33 years when they join SUISA and that there has been a steep increase in new members over the last 20 years.

Age distribution

Gender

The overwhelming majority of active members are men. There is, however, a slight notable change: 45% of active female authors have joined SUISA in the last ten years.

Gender

Language composition

The language composition within SUISA roughly correspond with the linguistic distribution within Switzerland, except for the fact that French-speaking authors are represented in slightly higher numbers.

Language composition

Residence

Unfortunately, notifications on the change of address to SUISA sometimes gets forgotten. As a consequence, SUISA does not know the address of around 15% of its members. In the case where SUISA does not hold a valid correspondence address during a period of five years, the respective Rights Administration Agreement and membership lapse at the end of that year. The rights then fall back to the author and are no longer managed by SUISA.

Residence

Associate members, full members

Music creators and publishers are, first of all, accepted asassociate members. Once they have been registered for at least one year with SUISA and have reached the minimum threshold of CHF 2,000 in revenue from authors’ rights, they become full members with voting and election rights. Subsidiary publishing entities can never attain full membership status; this explains the high share of publishers that do not have voting rights.

Associate members, full members

Membership years

The graphics provide an impressive insight into the strong growth of new member numbers over the last few years, especially among authors. Compared to that, new memberships among publishers have remained constant for quite a few years now.

Membership years

All information correct as of April 2018.

Related articles
Since December 2017, statements are made available via “my account”Since December 2017, statements are made available via “my account” Thanks to the password-protected members’ area “my account”, our members can keep an overview of their distribution statements and distribution settlements. Many members asked us to stop the dispatch by post. We have taken this request into account and introduced the option to renounce on the postal dispatch. Read more
Dual memberships: SUISA, and what else?Dual memberships: SUISA, and what else? SUISA manages the rights for its members globally. You should carefully review and consider the relevant effort and income if you wanted to become a member of several authors’ societies. If you live outside of Switzerland or the Principality of Liechtenstein, you can also become a SUISA member. Last but not least, it is also possible to be a member of another collective management organisation in addition to your SUISA membership. The following FAQs are intended to summarise what you need to consider when contemplating a so-called dual membership. Read more
A bird’s eye view of SUISA’s 2018 General AssemblyA bird’s eye view of SUISA’s 2018 General Assembly On 22 June 2018, 208 voting members streamed into the Bierhübeli in Bern. They were there to participate in shaping the destiny of their cooperative society, and to take advantage of the opportunity to network and exchange information. Members, Board members, Executive Committee members, guests from cultural and political spheres, and SUISA staff – all were attending the SUISA’s 2018 Ordinary General Assembly. Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

More than 38,000 authors and publishers have instructed SUISA with the management of their rights. Where are they from, how old are they and are there more men or women who are composers? The figures and graphics below provide an insight into SUISA’s membership structure. Text by Claudia Kempf

SUISA membership in numbers

(Graphics: Crafft Communication)

Age distribution

The majority of members is between 31 and 60 years old. This is due to the fact that authors have an average age of 33 years when they join SUISA and that there has been a steep increase in new members over the last 20 years.

Age distribution

Gender

The overwhelming majority of active members are men. There is, however, a slight notable change: 45% of active female authors have joined SUISA in the last ten years.

Gender

Language composition

The language composition within SUISA roughly...read more

A bird’s eye view of SUISA’s 2018 General Assembly

On 22 June 2018, 208 voting members streamed into the Bierhübeli in Bern. They were there to participate in shaping the destiny of their cooperative society, and to take advantage of the opportunity to network and exchange information. Members, Board members, Executive Committee members, guests from cultural and political spheres, and SUISA staff – all were attending the SUISA’s 2018 Ordinary General Assembly. Text by Dora Zeller

A bird’s eye view of SUISA’s 2018 General Assembly

Voting in the packed hall of the Bierhübeli in Bern during SUISA’s General Assembly on 22 June 2018. (Photo: Manu Leuenberger)

Swiss Ländlermix, an ad hoc group consisting of Bruno Brodt, Jost Ribary, Dani Häusler, René Wicky, Robin Mark, Jacqueline Wachter, Kurt Albert and Stefan Schwarz, opened the General Assembly with a surprise folk-music medley. This cross-section of traditional and contemporary Swiss folk music got the public into the proper mood for the meeting.

Swiss Laendlermix

The General Assembly opened on a musical note with a medley of traditional and contemporary Swiss folk music by the ad hoc group “Swiss Ländlermix”. (Photo: Sibylle Roth)

Before the statutory business, a short film was presented showing the social media platforms launched at the beginning of the year. Apart from the SUISAblog, there are now SUISA Music Stories on Instagram, Facebook, and Youtube.

After the film, the General Assembly approved the annual report, management report, financial statements, cashflows, Notes and auditor’s report for the 2017 financial year. The Board and the Auditor were granted discharge for the reporting year, and the auditing mandate was renewed for 2018.

Amendment of the Articles and election of the Complaints Committee

The main business of the Assembly was the amendment of the Articles of Association. Andreas Wegelin explained why the Articles should be aligned with the Liechtenstein Collecting Societies Act and the EU Directive on Collective Rights Management (CRM Directive). He mentioned the main changes, namely: non-discrimination rules, additional powers to the General Assembly, and greater influence for members. After various suggestions, questions and clarifications, the General Assembly approved the proposed amendments with no negative votes.

The General Assembly also approved the list of candidates for election to the new Complaints Committee. Board members Marco Neeser and Christian Fighera, as well as Danièle Wüthrich-Meyer as external representative (Vice President of the Federal Competition Commission), were elected by a large majority. The same applied for substitutes Roman Camenzind and Zeno Gabaglio (both members of SUISA’s Board) and for external representatives Daniel Alder and Gregor Wild (both attorneys-at-law and members of the Federal Arbitration Commission). Bernhard Wittweiler, Head of SUISA’s Legal Department, was designated Chair of the Complaints Committee. He is a member ex officio of the Complaints Committee and does not have to be elected by the General Assembly.

Natalie Riede

Publisher Natalie Riede (in the picture), a representative of the Swiss electronic music scene, was elected to the Distribution and Works Committee. (Photo: Manu Leuenberger)

Natalie Riede was elected to the Distribution and Works Committee where she replaces Guido Röösli. Through her publishing house, Black Music Management, Natalie Riede has been member of SUISA since 2014; her main focus is on electronica and she represents the Swiss electronic music scene.

In her presentation as Guest Speaker, Danièle Wüthrich-Meyer, President of Swissperform, outlined the activities of the five collective administration societies from the formal, statutory perspective, from the consensual contract- and Articles-based perspective, and from the factual angle.

Podium

SUISA’s Executive Committee reported on the 2017 business year. On the podium, from left to right: Irène Philipp Ziebold, Vincent Salvadé, President Xavier Dayer, Vice-President Marco Zanotta and Andreas Wegelin at the lectern. (Photo: Sibylle Roth)

Vincent Salvadé and Irène Philipp then provided information about the current business year. Andreas Wegelin reported on the Mint Digital Services joint venture and explained a number of current political developments which were liable to impact SUISA’s business activities. Lastly, Urs Schnell, Director of FONDATION SUISA, reported on the business year of SUISA’s foundation for musical promotion.

SUISA’s President, Xavier Dayer, closed the General Assembly, which had been as substantial as it was interesting, at about 2 pm. He indicated that the next General Assembly would be held on Friday, 21 June 2019, in Biel.

After the meeting, participants were invited to a buffet lunch in the garden of the Bierhübeli, where they had the opportunity to exchange views and pursue discussions with other participants and with SUISA staff members.

Related articles
Exploitation rights in the EU and review of SUISA’s Articles of AssociationExploitation rights in the EU and review of SUISA’s Articles of Association Liechtenstein has been – other than Switzerland – a member of the European Economic Area since 1995 and must, as such, accept a major proportion of the European Union legal provisions. What do EU exploitation rights have to do with the revision of the SUISA Articles of Association? Read more
131.4m Swiss Francs for composers, lyricists and publishers131.4m Swiss Francs for composers, lyricists and publishers It was with satisfaction that members of the SUISA Board approved the results of the previous year during their meeting at the end of March 2017. The total turnover was 3.2% higher than that of the previous year. An overall amount of CHF 131.4m can be paid out to rights holders. The Board has, in addition, decided that a supplementary distribution of 7% shall be carried out on top of all regular distributions in 2018. Read more
Dani Häusler: “A lot of what we have in our folk music comes from classical music”“A lot of what we have in our folk music comes from classical music” Dani Häusler is one of three nominees for the Prix Walo 2018 in the category folk music. Häusler started playing the clarinet already at an early age and is nowadays active in several formations. At the 44th Prix Walo event, SUISA presents the award in the category folk music and has asked the nominee some questions in writing. Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

On 22 June 2018, 208 voting members streamed into the Bierhübeli in Bern. They were there to participate in shaping the destiny of their cooperative society, and to take advantage of the opportunity to network and exchange information. Members, Board members, Executive Committee members, guests from cultural and political spheres, and SUISA staff – all were attending the SUISA’s 2018 Ordinary General Assembly. Text by Dora Zeller

A bird’s eye view of SUISA’s 2018 General Assembly

Voting in the packed hall of the Bierhübeli in Bern during SUISA’s General Assembly on 22 June 2018. (Photo: Manu Leuenberger)

Swiss Ländlermix, an ad hoc group consisting of Bruno Brodt, Jost Ribary, Dani Häusler, René Wicky, Robin Mark, Jacqueline Wachter, Kurt Albert and Stefan Schwarz, opened the General Assembly with a surprise folk-music medley. This cross-section of traditional and contemporary Swiss folk music got the...read more

Since December 2017, statements are made available via “my account”

Thanks to the password-protected members’ area “my account”, our members can keep an overview of their distribution statements and distribution settlements. Many members asked us to stop the dispatch by post. We have taken this request into account and introduced the option to renounce on the postal dispatch. Text by Claudia Kempf

Since December 2017, statements are made available via “my account”

SUISA members with access to the password-protected membership area have been informed via a personal infomail since December 2017 if a new settlement is available in “my account”. (Photo: Rawpixel / Shutterstock.com, edited by Manu leuenberger)

During autumn 2017, more than 14,000 members with access to “my account” were informed that they would only receive statements upon request in future. Only a minority have since asked for the postal dispatch. Online access to the distributions therefore corresponds to a requirement supported by the majority. The pdfs which are listed in a clear order and can be easily navigated as well as the overview of the annual remuneration is something that is appreciated by our members and that makes the postal dispatch obsolete for many.

With the fourth quarterly distribution dated 15 December 2017, registered users of “my account” will be informed in person for the first time when a new statement is available for download in “my account”. About half of all authors and publishers for whom a settlement had been created received an infomail and have checked their distributions directly via “my account”. Only 0.1% of the e-mails could not be delivered. The introduction of this new type of dispatch has thus been successfully introduced.

We do try to contact those members to whom we could not deliver the infomail – if possible – in person. If this is not possible, the access to “my account” is blocked and the member is requested in writing to provide a new, valid e-mail address. Please therefore remember to inform us of any changes to your e-mail address without any delay.

Do you also wish to be informed as soon as a new statement has been created for you? This is where you can order the access for your personal account: www.suisa.ch/my-account

Related articles
Always on top of things thanks to “my account”Always on top of things thanks to “my account” More than 14,000 members are already using our member portal “my account”. More than half of all new registrations of original works during 2016 were done online. Why do more and more members regularly use “my account”? Thanks to the password-protected members’ area “my account”, our members keep an overview of the most significant SUISA matters such as settlements and work registrations. Read more
SUISA settlement dates 2018 – and one improvementSUISA settlement dates 2018 – and one improvement SUISA shall stick to its established settlement dates in 2018. They comprise, in the main, four quarterly settlements as well as various supplementary settlements spread across the coming year in analogy to the previous year. From the 2nd semester of 2018 onwards, settlements of international collections shall be switched over to a quarterly distribution frequency. Read more
Dual memberships: SUISA, and what else?Dual memberships: SUISA, and what else? SUISA manages the rights for its members globally. You should carefully review and consider the relevant effort and income if you wanted to become a member of several authors’ societies. If you live outside of Switzerland or the Principality of Liechtenstein, you can also become a SUISA member. Last but not least, it is also possible to be a member of another collective management organisation in addition to your SUISA membership. The following FAQs are intended to summarise what you need to consider when contemplating a so-called dual membership. Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

Thanks to the password-protected members’ area “my account”, our members can keep an overview of their distribution statements and distribution settlements. Many members asked us to stop the dispatch by post. We have taken this request into account and introduced the option to renounce on the postal dispatch. Text by Claudia Kempf

Since December 2017, statements are made available via “my account”

SUISA members with access to the password-protected membership area have been informed via a personal infomail since December 2017 if a new settlement is available in “my account”. (Photo: Rawpixel / Shutterstock.com, edited by Manu leuenberger)

During autumn 2017, more than 14,000 members with access to “my account” were informed that they would only receive statements upon request in future. Only a minority have since asked for the postal dispatch. Online access to the distributions therefore corresponds to a requirement supported...read more

Always on top of things thanks to “my account”

More than 14,000 members are already using our member portal “my account”. More than half of all new registrations of original works during 2016 were done online. Why do more and more members regularly use “my account”? Text by Claudia Kempf

Always on top of things thanks to “my account”

Via our online portal “my account”, members enjoy personalised access to SUISA matters – via a single keystroke (Foto: Manu Leuenberger)

Thanks to the password-protected members’ area “my account”, our members keep an overview of the most significant SUISA matters such as settlements and work registrations.

Settlements always to hand as navigable PDFs

All settlements of the past five years can be accessed online at any time. The settlements in PDF format are user friendly as our members can navigate their way around in settlements that span several pages simply by using their mouse. Upon clicking on a work title in the table of contents, the respective detailed list of the work usages will be displayed, whereas a click on the SUISA number leads to the sound and audiovisual recordings’ list.

The total distributed amount for a year is shown in a cumulated way. It is visible at a glance which amount was paid out by SUISA over a year. Members who have access to “my account” can, in future, renounce on the paper dispatch of settlements. If a new settlement becomes available, a notification will be sent to members in future.

Access to personal data at any time

In the user profile, personal data such as postal addresses and payment addresses can be accessed. This area is currently being expanded so that members can amend their details directly in their profile section. Registered pseudonyms and relating IPI numbers are also included in this area. For publisher members with sub-editions or several main publishers, all information can be accessed via a login.

My account works database

With a personal user account, SUISA members can specifically search online for provisional works via the portal “my account”. (Photo: Screenshot www.suisa.ch)

Optimised search functionalities for provisional works

Users have the option to search specifically for provisional works in our works database. Provisional works come into existence when they appear on reports on music use submitted to SUISA by users and the work has not been registered with SUISA at all or under a different title. The income generated for such provisional works is, however, held back from payment until the works have been registered and/or been linked to existing works. Read more about provisional works in the article “Why are there undocumented works in my works database?” (article in german) in SUISAinfo issue 3.12.

Efficient registration of works and sub-publishing agreements

Online work registration is simple. Since 2017, the IPI number of SUISA members can be searched within the registration process and be implemented into the notification. Publishers have benefited from the option to register sub-publishing agreements via the portal since spring this year. Thanks to the link to the SUISA systems, online registrations are processed more quickly and efficiently.

Mobile-friendly and future-proof

Of course, our SUISA platform is compatible with mobile devices such as tablets or smartphones. The membership portal is therefore available and accessible at any time and from anywhere.

We continue to expand our service range offered and to add new functionalities and services. We shall keep you informed on any related news via SUISAblog.ch, suisa.ch or in our SUISAinfo magazine.

Access to “my account” is open to every SUISA member. Request a login or your personal online user account at:

www.suisa.ch/my-account

Related articles
SUISA member services: one look back, one look forwardSUISA member services: one look back, one look forward Quicker pay-outs due to quarterly settlements, simpler data processing via online works registrations, digital access to statements via “my account”, more efficiency via online forms … What’s next – settlements in “real time”? Will there be no more paper dispatched in future? Read more
Play abroad, communicate with SUISA at homePlay abroad, communicate with SUISA at home How do I get access to my copyright remuneration for my concerts abroad? What do I need to consider when registering works with SUISA if the co-author of my song is a member of a foreign collective management organisation? Important and frequently asked questions on international musical activities are answered in the following. Read more
SUISA settlement dates 2017 – an overviewSUISA settlement dates 2017 – an overview SUISA members whose works are performed, broadcast, reproduced or used online a lot can look forward to receiving remuneration at least four times per year for their work on lyrics or compositions or their publishing activities. In 2017, SUISA will continue with its quarterly distributions that it had successfully introduced previously. Minor modifications serve the purpose of distributing the income swiftly and cost-effectively. Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

More than 14,000 members are already using our member portal “my account”. More than half of all new registrations of original works during 2016 were done online. Why do more and more members regularly use “my account”? Text by Claudia Kempf

Always on top of things thanks to “my account”

Via our online portal “my account”, members enjoy personalised access to SUISA matters – via a single keystroke (Foto: Manu Leuenberger)

Thanks to the password-protected members’ area “my account”, our members keep an overview of the most significant SUISA matters such as settlements and work registrations.

Settlements always to hand as navigable PDFs

All settlements of the past five years can be accessed online at any time. The settlements in PDF format are user friendly as our members can navigate their way around in settlements that span several pages simply by using their mouse....read more

To be continued: Our success story, spanning more than 90 years

The General Assembly of our Cooperative Society will take place on Friday, 23 June 2017, in Zurich. Members will have the opportunity during the General Assembly to co-determine the destiny of their cooperative society. Apart from the positive results of the annual accounts for 2016, SUISA is also going to report on the Joint Venture Mint Digital Services, co-founded with SESAC, plus on the developments regarding the copyright revision and the debate on the ‘service public’. By Andreas Wegelin, CEO

To be continued: Our success story, spanning more than 90 years

SUISA founded the Joint Venture Mint Digital Services together with US authors’ society SESAC. The project helps improve the competitiveness of SUISA in the online music market. Shown in the picture: Andreas Wegelin, SUISA CEO (on the left), and John Josephson, Chairman and CEO of SESAC Holding. (Photo: Hannah McKay)

SUISA can look back on a successful financial year 2016. Thanks to the positive year-end result, we are able to pay out more than CHF 128m to those who are entitled to receive a payment. That is more than ever before in the successful history of the Cooperative Society SUISA, spanning more than 90 years.

We are also doing well in terms of our costs. An average cost coverage deduction of 12.37% shows that we have the costs under control. If you take the reoccurring supplementary distribution of 7% into consideration as a contribution to the costs, the actual percentage amounts to 6.75% of the pay-outs to those entitled to receive a payment.

SUISA improves its competitiveness in the online market

Members will have the opportunity during the General Assembly to co-determine the destiny of their cooperative society. Apart from the positive annual accounts, we are also going to present the newly founded project for the improvement of SUISA’s international competitiveness in the online music market.

Together with the US authors’ society SESAC, we have founded Mint Digital Services as a Joint Venture back in February 2017. The JV enterprise offers services in relation to the administration and processing of online music licences. With this JV, we emphasise our strategic direction, i.e. to offer rightsholders an efficient and cost-effective administration.

Wanted: Active participation of our cooperative members

There will also be news on the legal framework conditions. AGUR12 II has passed a compromise for the attention of the Head of the Ministry in the EJPD (Federal Department of Justice and Police, FDJP); we are now waiting for it to be substantiated in a legislative draft.

Please do take part in our General Assembly. Only your active participation ensures that SUISA will be there for its members as a Cooperative Society in future.

See you on 23 June 2017 in the Kaufleuten Zurich.

Related articles
Attend the SUISA General Assembly 2017 and take part in the decision-making processAttend the SUISA General Assembly 2017 and take part in the decision-making process SUISA’s ordinary General Assembly shall take place on Friday, 23 June 2017 in the Kaufleuten Festsaal in Zurich. How did financial year 2016 go? Who will be newly elected into the Distribution and Works Committee? What’s next for the “Service Public” at SRG? What are the aims of the recently created JV Mint Digital Services? Read more
Commentary on SUISA’s annual results for 2016Commentary on SUISA’s annual results for 2016 SUISA can report a very successful financial year 2016. The result reflects an all-time high regarding the income from domestic copyright exploitation. In the Cooperative Society’s history of more than 90 years, this is a record sum in terms of remuneration that is due for distribution. The average cost coverage deduction remains low – about CHF 88 per CHF 100 of the income collected can be paid out to authors and publishers that are entitled to receive such remuneration. Read more
SUISA member services: one look back, one look forwardSUISA member services: one look back, one look forward Quicker pay-outs due to quarterly settlements, simpler data processing via online works registrations, digital access to statements via “my account”, more efficiency via online forms … What’s next – settlements in “real time”? Will there be no more paper dispatched in future? Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

The General Assembly of our Cooperative Society will take place on Friday, 23 June 2017, in Zurich. Members will have the opportunity during the General Assembly to co-determine the destiny of their cooperative society. Apart from the positive results of the annual accounts for 2016, SUISA is also going to report on the Joint Venture Mint Digital Services, co-founded with SESAC, plus on the developments regarding the copyright revision and the debate on the ‘service public’. By Andreas Wegelin, CEO

To be continued: Our success story, spanning more than 90 years

SUISA founded the Joint Venture Mint Digital Services together with US authors’ society SESAC. The project helps improve the competitiveness of SUISA in the online music market. Shown in the picture: Andreas Wegelin, SUISA CEO (on the left), and John Josephson, Chairman and CEO of SESAC Holding. (Photo: Hannah McKay)

SUISA can look...read more

“As a songwriter, you’re some sort of a lone wolf”

Debrah Scarlett already enjoyed international fame before releasing her début EP “DYS(U)TOPIA” in mid-March. Prior to that, the Norwegian-Swiss musician joined SUISA. Text by guest author Markus Ganz

Debrah Scarlett: “As a songwriter, you’re some sort of a lone wolf”

New SUISA member: Joanna Deborah Bussinger who has adopted the pseudonym Debrah Scarlett. (Photo: Stian Foss)

“I prefer to play it safe and don’t place expectations in myself and others that are too high”, explains Joanna Deborah Bussinger when asked about her future plans. It was not least because of this kind of caution that the 23-year-old avoided the risk of turning into a fleeting pop starlet that has to waive the control over its career. In 2013, the daughter of a Norwegian mother and a Swiss-Italian father had taken part in the Norwegian version of the talent show “The Voice” – and reached the semi-final.

“I didn’t even want to win”, she adds with a smile, “otherwise I would have had to subject myself to tricky conditions.” Still, she doesn’t want to miss the experience she gained there any less than the experience of representing Norway in the Eurovision Song Contest in 2015, where she reached eighth place under her pseudonym Debrah Scarlett together with her duet partner Kjetil Mørland.

Trying out new things

“I do like to face fascinating opportunities and challenges”, Joanna Deborah Bussinger explains. “Even if I am scared at first, I nearly always learn something from the experience.” This also applies to her commute between Switzerland and Norway. She grew up in her native town of Basel and moved together with her mother and her two brothers to Norway when she was six years old. At the age of ten, she decided to try out “what it would be like to live with her father in Basel”. When she turned 21, she moved back – “rather intuitively” – to Norway. “That was a point in time where a lot of things were open and nothing stood in my way.”

Her family also played a major role regarding her professional career. “My parents have always told me: If you want to do something, then do it.” Another characterising effect for Joanna Deborah Bussinger was that she comes from a family which had been art and music enthusiasts for generations. Her mother is a painter and singer, her father plays the piano and writes poems. “When I was five years old, I didn’t yet know that I wanted to become a musician but that I had to express myself somehow, whether visually or musically. Music turned out to be the most natural medium and means for me to create my own world.”

Fuelled by feelings

When she was 15, Joanna Deborah Bussinger began to play the piano and to write songs. Soon she took singing lessons and attended the preparatory class at the Academy of Art and Design as well as the prep class of the Jazz Campus in Basel. She became more and more active and was a singer with the project ‘The Rumours’, for example. What she really wanted to do, however, was to develop her own music. The début EP “DYS(U)TOPIA” which was released mid-March does, despite its many stylistic influences sound remarkably independent and proficient, and it isn’t just the captivating singing but also the dreamy atmosphere that stands out.

Joanna Deborah Bussinger has written most of the songs at home so far, alone in front of the piano. “I have, more recently, also started to collaborate with other musicians. It is exciting to try something that you wouldn’t do alone at home, after all, as a songwriter, you’re usually some sort of a lone wolf.” Most of her songs are fuelled by a feeling, present around her, and for which she was trying to find a melody. “From this, a theme usually emerges and I soon realise while I am composing which direction the journey will take.”

Still going in 40 years’ time!

Music has become her “language”, as she spoke several languages since childhood and yet never managed any of them to perfection. “Music allowed me to express myself properly.” Nevertheless, she also writes song lyrics subtle and pensive at the same time, which reverberate even more once they are sung. They are always in English even though this is neither her mother’s nor her father’s tongue. “Strangely enough, it feels better for me to write personal lyrics in English. It provides the story with a certain distance, as if I had experienced it three years ago and would now only sing about it.”

Joanna Deborah Bussinger hopes that her career will continue to develop steadily; she is already working on a début album. “I try to do what I can and all members of my great team are doing the same, helping me in Basel, Berlin, London and Oslo. Still, I want to keep a nice, slow pace, not too fast, so that I don’t get under commercial pressure. After all, I still want to make music in 40 years.”

Comforting knowledge

With such long-term plans in mind, SUISA also plays a role, even though Joanna Deborah Bussinger has only recently joined as a member. “I had not really seen the sense in a membership of a collective management organisation for copyright before, as I had not published my compositions at that time.” This changed since she has been signed to the management and label ‘Radicalis’. As the company has its offices in Basel, she decided to become a SUISA member even though she is still living in Norway. “This way, the specialists at Radicalis can check any questions directly with SUISA which is also known for the fact that settlements are made quicker than at any other collective management organisation.” She doesn’t know yet what exactly she can expect from SUISA in terms of royalties. “But I think it’s great for all musicians that this kind of cooperative society exists. After all, it simplifies our lives with its work and defends our rights – to know that is really comforting.”

Concerts:
4th – 6th April at the “Zermatt Unplugged Festival”.

www.debrahscarlett.com, Debrah Scarlett’s official website

Related articles
“New York forced me to be original” Basel-based musician Manuel Gagneux has caused quite an international stir with his utterly unusual style mix of his project Zeal & Ardor. The composer and artist of dual Swiss-American nationality has recently joined SUISA. Last year, Zeal & Ardor seemed to appear out of nowhere with their mix of gospel, slave song, blues and black metal. The renowned US-American magazine Rolling Stone wrote the following under the title “Best Metal Records of 2016 So Far”: None of this year’s songs sounded “as strange, unfathomable and wonderful” as “Devil Is Fine” by Zeal and Ardor. Read more
Dual memberships: SUISA, and what else? SUISA manages the rights for its members globally. You should carefully review and consider the relevant effort and income if you wanted to become a member of several authors’ societies. If you live outside of Switzerland or the Principality of Liechtenstein, you can also become a SUISA member. Last but not least, it is also possible to be a member of another collective management organisation in addition to your SUISA membership. The following FAQs are intended to summarise what you need to consider when contemplating a so-called dual membership. Read more
Carrousel: “Sometimes a toy piano helps when you’re looking for a melody” | plus video – Chromatic, cheerful and charming – thats the sound of Carrousel’s chansons. Hard to imagine that they are created in the sparseness and solitude of the Jura landscape rather than in the backstreets of Paris. “At the beginning of our cooperation, we tried working from Paris”, Sophie Burande laughs with her crystal-clear and yet warm voice. “Thanks to a stipend of the Canton Jura it was possible for us to work and live in Paris for half a year.” She and her life partner Léonard Gogniat found the energetic lifestyle, just as the rich cultural offering, rather stimulating. “But in the end, we preferred to come back to Switzerland.” Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

Debrah Scarlett already enjoyed international fame before releasing her début EP “DYS(U)TOPIA” in mid-March. Prior to that, the Norwegian-Swiss musician joined SUISA. Text by guest author Markus Ganz

Debrah Scarlett: “As a songwriter, you’re some sort of a lone wolf”

New SUISA member: Joanna Deborah Bussinger who has adopted the pseudonym Debrah Scarlett. (Photo: Stian Foss)

“I prefer to play it safe and don’t place expectations in myself and others that are too high”, explains Joanna Deborah Bussinger when asked about her future plans. It was not least because of this kind of caution that the 23-year-old avoided the risk of turning into a fleeting pop starlet that has to waive the control over its career. In 2013, the daughter of a Norwegian mother and a Swiss-Italian father had taken part in the Norwegian version of the talent show “The Voice” – and reached the...read more

SUISA member services: one look back, one look forward

Quicker pay-outs due to quarterly settlements, simpler data processing via online works registrations, digital access to statements via “my account”, more efficiency via online forms … What’s next – settlements in “real time”? Will there be no more paper dispatched in future? By Irène Philipp Ziebold, Director

SUISA member services: one look back, one look forward

You want to register your work with SUISA while you’re in your rehearsal cellar via your tablet, or check your statements electronically? No problem – thanks to the web portal “my account”. (Photo: Archimede / Shutterstock.com)

In the last few years, SUISA has already implemented important measures which yielded more efficiency and higher quality for member services. The layout of the statements has also been reviewed. Since their redesign, they contain even more detailed information than ever before. Distributions thus became more transparent. In autumn 2015, SUISA introduced quarterly settlements. Since then, members receive the remuneration due to them at least four times a year.

Since 2015, members can electronically access their settlements via the web portal “my account”. An update was carried out at the beginning of March 2017 regarding the online service range offered by SUISA which members can use via “my account”: the works registration has been simplified, members can search specifically for roles in relation to their own works (e.g. Arranger), sub-publishing agreements can now be registered online and the web portal layout has been optimised for the broad range of end devices.

A works registration at SUISA via a tablet while you’re on the road, while you’re rehearsing in your cellar at home or during a meeting with your co-authors somewhere abroad? Thanks for “my account” all of this is possible.

From paper to electronic mail-outs

Paper forms (hardcopies) will be replaced by soft copies. Electronic data processing makes efficient processing possible. SUISA constantly checks what is possible from a technical point of view and what actually makes sense with regards to the range of member services offered. In this context, it is also important to consider members’ interests and wishes.

Do SUISA members want to receive all settlements and the relevant settlement details on paper? Or is the majority of members of the opinion that there should only be electronic statements now?

It is obvious that costs can be saved by not printing settlement statements out any longer to be mailed out by post. What speaks against renouncing on a paper dispatch is the fact that up to now only half of the active membership holds a log in for “my account”. Moreover, it is known that some members continue to regard hardcopy statements as a necessity going forward.

Taking all of these aspects into consideration, the range of member services is currently discussed; especially the pros and cons of the various offers have to be weighed up. Decisions will be made in the course of 2017.

Settlements in “real time”?

Every now and then we are asked by members whether we are planning to run distributions in “real time”. This would mean that, as soon copyright remuneration e.g. for a concert has been collected, it would be immediately paid out to the entitled parties . There are no longer settlement dates for all members but each member would receive their money separately as soon as it becomes available.

The technological requirements could – with some rather significant effort – be developed for such a process. The entire process from collection to pay-out would have to be analysed from scratch. Particularly our distribution rules would have to undergo a major overhaul since many provisions are not compatible with a real-time distribution.

As a consequence, the question remains whether such a system and process migration really corresponds with the needs of the majority of our members and whether quarterly pay-outs might not already satisfy the need for efficiency?

More service, more advice

We continue to monitor and test the service range offered to our members. The rule of thumb is: as much service as possible! Numerous automation processes such as data processing could – as already mentioned – be introduced by means of new IT applications. These enable a more efficient processing and offer the chance to use the resources thus freed up in another way.

The time that has thus been gained will be used for a competent and personal advisory service to our members. Apart from all the measures to increase efficiency, the personal contact to our members continues to be a core concern of SUISA. We will not lose sight of the quality assurance of SUISA member services.

Related articles
SUISA settlement dates 2017 – an overview SUISA members whose works are performed, broadcast, reproduced or used online a lot can look forward to receiving remuneration at least four times per year for their work on lyrics or compositions or their publishing activities. In 2017, SUISA will continue with its quarterly distributions that it had successfully introduced previously. Minor modifications serve the purpose of distributing the income swiftly and cost-effectively. Read more
Right in the middle of it and in full swing to improve the service range offered to members A glance on the service range offered by SUISA for its members shows: During the last few years, there have been innovations which brought about more efficiency and quality. Among these are more detailed settlement statements, the web portal “my account” and the digitisation of member files. These improvements signify a continu-ous process with SUISA right in the middle of it – and in full swing at it, as the follow-ing outlook shows: New: quarterly distributions. “My account” is undergoing further development. We are modernising the technology of our works database. Our member services are also subjected to a fundamental review. Read more
New online forms for SUISA customers – Since the beginning of 2016, SUISA has made new online forms available to its customers.  The aim of the new service range offered is to simplify the notification process for music users. SUISA also benefits from this online procedure due to the efficiency of the data processing options. Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

Quicker pay-outs due to quarterly settlements, simpler data processing via online works registrations, digital access to statements via “my account”, more efficiency via online forms … What’s next – settlements in “real time”? Will there be no more paper dispatched in future? By Irène Philipp Ziebold, Director

SUISA member services: one look back, one look forward

You want to register your work with SUISA while you’re in your rehearsal cellar via your tablet, or check your statements electronically? No problem – thanks to the web portal “my account”. (Photo: Archimede / Shutterstock.com)

In the last few years, SUISA has already implemented important measures which yielded more efficiency and higher quality for member services. The layout of the statements has also been reviewed. Since their redesign, they contain even more detailed information than ever before. Distributions thus became more transparent. In autumn 2015, SUISA...read more

“New York forced me to be original”

Basel-based musician Manuel Gagneux has caused quite an international stir with his utterly unusual style mix of his project Zeal & Ardor. The composer and artist of dual Swiss-American nationality has recently joined SUISA. Guest contribution by Markus Ganz

Manuel Gagneux: “New York forced me to be original”

New at SUISA: Basel-based Manuel Gagneux of Zeal & Ardor. (Photo: Matthias Willi)

Last year, Zeal & Ardor seemed to appear out of nowhere with their mix of gospel, slave song, blues and black metal. The renowned US-American magazine Rolling Stone wrote the following under the title “Best Metal Records of 2016 So Far”: None of this year’s songs sounded “as strange, unfathomable and wonderful” as “Devil Is Fine” by Zeal and Ardor. Said album will now be officially released globally, and international live performances will follow.

Broadly influenced style

It is not out of nowhere that this solo project by Manuel Gagneux has appeared, after all. He grew up in a musical home in Basel, where there was a piano that always invited to tinkle the ivories. Such are the memories that the 28-year-old shares during an interview in his cool and gloomy basement practice room in Kleinbasel. His mother is an Afro-American singer, his Swiss father has been playing percussion with the salsa formation Picason and in the funk band Grand Mother’s Funck for many years.

They sent their son to take saxophone lessons but Manuel Gagneux couldn’t get on with this instrument at all. At the age of 15, he began to play the guitar because he loved Rock and Metal – well, he still does. Soon, he fell in love with Black Metal because “it was the most extreme music around back then”, he admits with a laugh. “Of course I know now that a lot of things surrounding Black Metal are questionable”.

Looking for a challenge

Manuel Gagneux has already proved with three astoundingly versatile and pop-like albums of his solo project Birdmask that he does not want to be nailed down when it comes to his style. These albums were mainly created in New York where he had moved to in 2012, since he found that the Basel music scene was not challenging enough. “If you do something in New York, you can be sure that there’s someone that does it better. That requires a certain kind of humility but also forced me to be original, something I actually appreciated.”

Looking for a new creative approach, he followed unusual paths. On the internet forum 4chan, he posted the question which two music styles would be incompatible, intending to use it as a kind of exercise to combine them into a song in half an hour. Someone replied “Black Metal and nigger music”. While Manuel Gagneux didn’t find that too funny, what with his Afro-American mother, but he found it musically stimulating.

Combine the incompatible

The singer and multi-instrumentalist thus went on a search for original material of Black Music. He had particular success in the online archive of the US-American ethnologist Alan Lomax. He took his inspiration from songs sung by slaves in the fields, for example, and repeated them by singing parts of them in a modified manner, then combined them with Metal riffs and even added electronic sounds to three of the songs.

Following a trial & error method, he was able to combine these different elements, Manuel Gagneux adds. “The first songs turned out to be awful”, he recalls and rolls his eyes. “But at some point I realised that it would be best if I opened the pieces with Spiritual Music, as it has a welcoming effect: You want to bop along, join in. Metal Music, on the other hand, is like a slap in the face, and you can give the music an enormous push with that.”

From a solo project to a band

Manuel Gagneux played all instruments himself, apart from the drums which he programmed, as he does not regard himself “as a gifted drummer”. He also recorded everything with his laptop and “a simple microphone” and engineered it. “I only used bad equipment, but that was also an advantage”, he grins.

What he probably means: The recordings really don’t sound perfect but it amplifies their authenticity. In order to be able to give a captivating performance during his coming tour, he has assembled a band with five musicians – and he’s already writing new material for it – his album is, after all, only 25 minutes long.

“There’s no two ways about it”

Before his career kicks off properly, Manuel Gagneux registered with SUISA. His parents had already told him early on that he ought to become a member. “I used to laugh it off. And my opinion of SUISA was ambivalent because some of the bands had told me that they would not be booked by clubs because they had to pay SUISA fees.”

His manager, David Burger of Reelmusic, had, however, warmly recommended that he become a member, because there’s simply no two ways about it. He has no expectations as of yet what benefits this could bring him for definite. “I am a new member and have therefore got no clue what I can expect.”

Tour dates in Switzerland and adjacent regions:
14 April 2017 Czar Fest Basel, 3 May 2017 Magnolia Milano, 4 May 2017 Usine Geneva; he has also planned some summer festival performances.

www.zealandardor.com, official website of Zeal & Ardor

Related articles
“Nothing, nothing at all beats a well-written song” The international success with Bonaparte is the current highlight of the long-term songwriter career of Tobias Jundt. He penned several hundred titles, spanning a wide stylistic variety, even for or together with other artists. Born in Berne, and now living in Berlin, the composer passes on his knowledge and experience as a guest lecturer at the Zürcher Hochschule der Künste (Zurich University of the Arts) in the subject “songwriting”. An interview with the SUISA member who has been nominated for the Grand Prix Musik in 2016 and performs with his new formation, Mule & Man, at the Festival Label Suisse in Lausanne. Read more
Play abroad, communicate with SUISA at home How do I get access to my copyright remuneration for my concerts abroad? What do I need to consider when registering works with SUISA if the co-author of my song is a member of a foreign collective management organisation? Important and frequently asked questions on international musical activities are answered in the following. Read more
Camilla Sparksss: “A lovely Christmas present” | plus video A former monk’s hermitage serves as the birthplace for new songs by Camilla Sparksss. To this day, the view over the lake landscape from there seems rather idyllic. Looking more closely, however, you realise that the landscape is cut in half by the motorway’s north-south axis and the runway of the Lugano-Agno airport. The same applies to Camilla Sparksss: things are not all as they seem at first glance. The musician, born in 1983, shows a mellow and affectionate side during the interview – not her wild side we know from her stage appearances. She grew up in Canada, and her real name is Barbara Lehnhoff. When she turned 17, she moved to Ticino, where her mother has her roots, in order to study. Soon, she got to know and love the Ticino rock guitarist and songwriter Aris Bassetti, and started to play music with him under the band name Peter Kernel. Read more
Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

Basel-based musician Manuel Gagneux has caused quite an international stir with his utterly unusual style mix of his project Zeal & Ardor. The composer and artist of dual Swiss-American nationality has recently joined SUISA. Guest contribution by Markus Ganz

Manuel Gagneux: “New York forced me to be original”

New at SUISA: Basel-based Manuel Gagneux of Zeal & Ardor. (Photo: Matthias Willi)

Last year, Zeal & Ardor seemed to appear out of nowhere with their mix of gospel, slave song, blues and black metal. The renowned US-American magazine Rolling Stone wrote the following under the title “Best Metal Records of 2016 So Far”: None of this year’s songs sounded “as strange, unfathomable and wonderful” as “Devil Is Fine” by Zeal and Ardor. Said album will now be officially released globally, and international live performances will follow.

Broadly influenced style

It is not out of nowhere that...read more

“Nothing, nothing at all beats a well-written song”

The international success with Bonaparte is the current highlight of the long-term songwriter career of Tobias Jundt. He penned several hundred titles, spanning a wide stylistic variety, even for or together with other artists. Born in Berne, and now living in Berlin, the composer passes on his knowledge and experience as a guest lecturer at the Zürcher Hochschule der Künste (Zurich University of the Arts) in the subject “songwriting”. An interview with the SUISA member who has been nominated for the Grand Prix Musik in 2016 and performs with his new formation, Mule & Man, at the Festival Label Suisse in Lausanne.

“Nothing, nothing at all beats a well-written song”

With his new project, Mule & Man, Tobias Jundt (lying down) can be enjoyed together with Kid Simius (standing up) during their live concert at Les Docks during the Festival Label Suisse on Saturday, 17 September 2016. (Photo: Melissa Jundt)

What does the nomination for the music award of the Federal Office of Culture (BAK)?
Tobias Jundt: I am, of course, honoured that my art is recognised and appreciated as such. Especially when you create something that is usually neither here nor there and thus cannot be squeezed into a pigeon-hole, it takes quite some time until you will be recognised as an artist with your own language. With such a huge variety on offer, it is basically impossible to compare or rate the creations of some with the works of others. But after 30 years as a songwriter, I am rather flattered that I am given the opportunity to be a representative of the cultural language of my country as one of the possible musical parts.

The BAK presents the music award 2016 in the run-up to the Festival Label Suisse. The Festival in Lausanne attracts mainly Swiss music from various genres to the stages over a three-day period. Access to the concerts is free. Why does Swiss music need a music award from the BAK and a Festival like the Label Suisse?
I think we should consider ourselves grateful to live in a country where the government takes time to honour the arts and luckily has the necessary change in the pocket to temporarily and considerably simplify the creativity of the prize winners with this award. All of the nominees would continue to relentlessly do what they do anyway, in order to face the high seas of life, even without the award. We should thankfully accept the fact that the BAK supports us with this and provides a silver-lined breeze for our sails.
Festivals are places where you can discover things. The audience discovers music bands, artists meet other artists, collaborations are forged and, somewhere, a Schwyzeroergeli fan falls in love with a Stockhausen follower. Festivals, do, however, never replace an artist’s concert experience a whole evening provides, but they are very important as events where expression can be exchanged and even collide. It is always the right choice to campaign for a broad and liberal-minded culture.

“You need stamina, a tireless will to attack and a stoic persistence when it comes to realise your artistic drive.”

You once said in an NZZ interview that it was only possible to survive in Switzerland with mainstream pop music or in one of the heavily subsidised genres such as jazz or classical music. What has to change so that the diversity of Swiss music creations will attract more listeners, both at home and abroad?
It’s a problem that a musical niche related only to Switzerland is indeed rather small, so that it cannot really be exercised as a main profession but only ‘on the side’. You therefore either have to be active in a genre where you can generate a lot of turnover, or in a subsidised sector, or tackle a bigger territory. The latter requires a lot of stamina, a tireless will to attack and a stoic persistence when it comes to realise your artistic drive. Unless the motivation for this artistic insanity comes from deep within yourself, there is no real driver for the majority of Swiss people to risk their existing quality of life. You do actually have to be a little bit crazy to want to renounce on it at least temporarily in order to plough this rather tough musical field. During my travels, I repeatedly meet very active Swiss expats. It isn’t the talent that is lacking, it is the attitude.

You have been living in Berlin since 2006 and are now settled in there. How can you ‘be’ as a Swiss songwriter abroad and how is Swiss music, in your opinion, perceived abroad?
Most people of this solar system fall in love with Switzerland and what it represents. You often forget about that when you sit on the mountain too long. If I write music for other artists in Berlin or New York, nobody ever asks me where I grew up. The aim is always the same: to write the right work for a specific phase of an artist. That involves either aspects of commercial success or artistic reinvention. And when I perform my songs as a soloist appearing as Bonaparte from Beijing to Wellington, nobody asks me where I am from either – even though I do quite like to add that I am Swiss – especially as it distinguishes me from those out there and because it is an important part of my being. In order to prevail, you need to have an alert mind and soak in and apply the various parameters of the different cultures. Everyone can do that, irrespective of where they’re from.

“I claim that Switzerland has one of the best collective management organisations in the world. SUISA is where I belong as a composer.”

You live in Germany, but you are a member of the Swiss SUISA. Why?
I claim that Switzerland has one of the best collective management organisations in the world – and that’s an opinion shared by quite a few international authors. I say this with a clear conscience and out of my own free will. I was a member of BMI in the USA in the past, and I also run a publishing company which is a member of GEMA. All well and good but SUISA is the place where I belong as a composer. I really enjoyed the time under Poto Wegener and, due to his support, I began looking into copyright more intensively. The good relations to SUISA have stayed in place and I really appreciate the mutual exchange and respect.

You lecture the subject “songwriting” at the Zurich University of the Arts. Can you learn how to write a hit? Which tips do you give students for composing on their way?
I usually advise them to forget everything they think they know. I like to ask them to write songs as humans and not as musicians. Of course, analytical and theoretical knowledge and practical techniques help us to find a quicker way out of musical cul-de-sacs. But at the core of finding ideas, there isn’t much difference between us and Mrs Mountainvalley who whistles a little melody while having a shower in the morning. You can, of course, just like in every situation in life, learn a technique – whether it’s holding a club as a golfer or using Kamasutra positions as a lover – which allows you to write good songs at any old day of the week. But there are many and enough good songs already – you need to rather try to write songs with a certain je-ne-sais-quoi: songs which still have a raison d’etre even to be let loose onto mankind in their genre, even after the life work of a, Lennon-McCartney an Udo Jürgens, an Igor Strawinsky or Daft Punk. This doesn’t always work, but that’s what the songwriter has to get up for each morning – for the attempt to write a song which, in its own way, enriches the world.

“The most important thing that still exists, especially today, is the musical idea.”

A musician on a concert stage is not necessarily at the same time the songwriter, who is often forgotten in comparison with the star in the limelight. How can composers step out of the artists’ shadow when it comes to public perception?
The question is, do they have to. I only sing the songs that I cannot expect others to perform. The psychological pressure that a front man and artists have to sustain, can – in the long run – be rather exhausting. A songwriter, however, can act in the background, sit in front of their piano somewhere, unnoticed, and simply focus on the core of the music. And believe me, the most important thing that still exists, especially today, is the musical idea. Nothing, and nothing at all beats a really well-written song which cleverly combines craft and original ideas. There may be hope for all who thought that there had been too much speak of the devil. I am rather glad that I have a dozen pseudonyms at SUISA – these are songwriter roles into which I can morph depending on the style, genre or mood and that aren’t even known to my closest friends. I like it that professional songwriting sometimes simply remains a secret between the piece of paper and myself. If a musician does something odd on stage, everybody will talk about it the next day. If a composer creates a little string quartet, naked, while eating two spoons of peanut butter, nobody cares two hoots about it. I really like that. It’s important that we as composers exchange our views and that our rights are well represented through the change of the times.

Composing music for third parties or performing with Mule & Man on stage – what’s the thrill for you of these two activities?
I did have some elitist phases in my life, where I only considered this kind of free jazz or that type of soul to be worth listening to. But at the end of the day, I am suffering from musically inflicted polyamory, and love all kinds of music with a passion, but also have to co-invent. I get satisfaction from composing string or wind arrangements, protest songs, punk chansons, film score, electronic music, experimental fiddling about with noise or country music for the deaf. I like it that you can take from this bottomless cornucopia of combinations and possibilities between the composer and the listener.

Links
Bonaparte, official website
Mule & Man, official Facebook fan page
Label Suisse, website of the Festival
Schweizer Musikpreis (Swiss music award), website of the Swiss Federal Office for Culture (BAK)

Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

The international success with Bonaparte is the current highlight of the long-term songwriter career of Tobias Jundt. He penned several hundred titles, spanning a wide stylistic variety, even for or together with other artists. Born in Berne, and now living in Berlin, the composer passes on his knowledge and experience as a guest lecturer at the Zürcher Hochschule der Künste (Zurich University of the Arts) in the subject “songwriting”. An interview with the SUISA member who has been nominated for the Grand Prix Musik in 2016 and performs with his new formation, Mule & Man, at the Festival Label Suisse in Lausanne.

“Nothing, nothing at all beats a well-written song”

With his new project, Mule & Man, Tobias Jundt (lying down) can be enjoyed together with Kid Simius (standing up) during their live concert at Les Docks during the Festival...read more

“Your soul is reflected in the Blues”

Yannick Nanette joined SUISA in 2015. The singer, guitarist and harmonica player from Mauritius lives in Lausanne and constitutes the Blues band The Two together with Thierry Jaccard. They already had performances at the Montreux Jazz Festival and Zermatt Unplugged. In the US, the duo made it to the semi-finals of the International Blues Challenge in Memphis. Text by Michael Welti

“Your soul is reflected in the Blues”

New SUISA member: Yannick Nanette, based in Lausanne. (Photo: Y. Nanette)

“My dad played the guitar and sang – and as they say ‘like father, like son’”, writes Yannick Nanette. He is half of The Two; a band which has dedicated itself to the Blues. “In the Blues in its entire depth and released truth, your soul is reflected”, he continues. He finds himself in the music and where it takes him.

Yannick Nanette grew up on the island state of Mauritius. “My uncle often listened to Louis Armstrong, Fats Domino and Big Bill Broonzy. I did not understand a lot of what was said, I was still small. But I loved the rhythm, the movement, the expressiveness”, the artist remembers. “Apart from these links to the USA, I found a similar timbre within traditional Mauritian music, the Sega, with the voice of ‘Ti-Frère’ or – newer – with Eric Triton: the same wild strength, a happy seriousness and the desire to be independent. That is absolutely understandable, after all, the Sega dates back to the times of slavery.”

“Blues is still very much present today”, Yannick Nanette writes. “You just have to switch on the TV and watch images of people which eat each other in the name of comfort and individualism. Slavery of the 1800s is over. The ‘strange fruits’ which Billie Holiday sang about do no longer hang on the trees, but above us hovers man’s monstrosity in its entire spectrum. Modern slavery is colour blind. It’s not about black or white; cotton today is money, and mankind bends over backwards to serve it.”

Sweet Dirty Blues

At the age of 13, Yannick Nanette began to play the guitar and to sing. Four years later, he discovered the harmonica on a bus ride heading for Port-Louis. A regular passenger behind him was a harmonica player called Ignace. “During the one-hour trip the sounds on the back seat were whirling and swinging. That was incredible!” Yannick was fascinated and asked the musician whether he would teach him how to play the harmonica. The man said yes.

Today, the 33-year old lives in Lausanne. The band The Two which he founded together with his friend Thierry Jaccard, published its first album in 2014, called “Sweet Dirty Blues”. In the meantime, the two have played at over 130 concerts, among those festivals in Croatia, Denmark, Italy and France.

SUISA membership

At the moment, Yannick Nanette only finances a part of his cost of living with the music. “I am a student at the moment and work on the side as a teacher. The two ‘supporting legs’ generate just about enough money so that I can support myself and pay my insurances etc. From a philosophical standpoint, I earn my life and live thanks to music”, Nanette adds.

The SUISA membership gives Yannick Nanette a big advantage: “I can delegate the rights management, knowing that a competent and experienced organisation such as SUISA is looking after that. That makes things easier and relieves some time pressure. The time thus saved can be re-invested into creating my music. I am content and hope that SUISA will continue to do such good work. I also expect transparency from SUISA, after all, mutual trust is important for continuity.”

www.the-two.ch, official website

Collapse article

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

Yannick Nanette joined SUISA in 2015. The singer, guitarist and harmonica player from Mauritius lives in Lausanne and constitutes the Blues band The Two together with Thierry Jaccard. They already had performances at the Montreux Jazz Festival and Zermatt Unplugged. In the US, the duo made it to the semi-finals of the International Blues Challenge in Memphis. Text by Michael Welti

“Your soul is reflected in the Blues”

New SUISA member: Yannick Nanette, based in Lausanne. (Photo: Y. Nanette)

“My dad played the guitar and sang – and as they say ‘like father, like son’”, writes Yannick Nanette. He is half of The Two; a band which has dedicated itself to the Blues. “In the Blues in its entire depth and released truth, your soul is reflected”, he continues. He finds himself in the music and where it takes him.

Yannick...read more