NME CASE STUDY:Genre: Traditionally just Indie / rock but now also includes other genres (hiphop / dance etc) thrown in for good measure but never pop music.Sales:/ readership
Currently around23,924 per month.
NME and Q suffered sales declines of almost 20% year-on-year in a tough first six months of 2012 for the music magazine
Guardian, 2012. It was recently announced that IPC Media, the publishersbehind both NME and Uncut ,would cut 150 jobs.
New Musical Express
, popularly known by initialism
, created by Theodore Smythson, is a music
journalism publication in the United Kingdom, publishedweekly since March 1952. It started as a musicnewspaper,and gradually moved toward a magazine
format during the 1980s, changing from newsprint in 1998.It was the first British paper to include a singles chart, inthe 14 November 1952 edition. In the 1970s it became thebest-selling British music newspaper. During the period1972 to 1976, it was particularly associated with gonzo journalism (self-involved reporting), then became closelyassociated with punk rock through the writing of Tony
Parsons. An online version of
, NME.com, was launched in 1996.It is now the world's biggest standalone music site, with over 7 million users permonth.
House Style:Traditionally associated with independent / punk and indie music scenes the
NME aspires to show music artists as talented artists and often features ‘classicartists’ on the cover. It
musicians but also attempts to show the ‘wartsan all’ rock music lifestyles. It encourages fans to be part of this brand by
encouraging them to go to gigs and read reviews of bands and artists
“The fearless champion of new British music since the 1950s,
it was the print equivalent
of Radio 1’s John Peel”
.Its move to an online platform is a result of declining sales and its website is much morepopular with over 7 million unique visitors a month
‘NME’s reputation is built on our ability to sniff out the best emerging artists, and it’ssomething we take very seriously indeed,’ he said. ‘We all know that people spend less
on actually purchasing music today than they did in the past. This means that with less
money being pumped into the labels, they’re much more hesitant to sign bands. ‘Couple
this with the transient nature of music blog culture where people demand a new bandevery day, it becomes increasingly difficult to predict which artists are more than just a