Marketing by Music: Making some noise

How do you go about finding the right band for your brand? Four music industry executives present those artists they believe to be very much in tune with adland.

FRANZ FERDINAND

Franz Ferdinand are typical of the new wave of alternative British bands breaking here in the UK and overseas. Signed to a small indie label, Domino Records, they have achieved that almost impossible position in the music world - they are cool yet accessible to quite varied audiences.

Franz Ferdinand also fit the "hot indie rock" label popular on music briefs of late. Many companies are prepared to pay top dollar for the association the band will bring to their brand and for the potential to talk to the right audience.

That said, Franz Ferdinand are choosy about what they will allow their music to promote. They gave The Guardian permission to use their song Matinee (the band were involved with editing a special edition of the Weekend magazine) and Take Me Out was licensed to The Sunday Times for a commercial for its The Month CD-Rom supplement.

More recently, Jacqueline was used in a Tennent's Lager campaign to promote the beer's involvement with the Scottish music scene.

Winning the Nationwide Mercury Music Prize this month rubber-stamped this band's arrival into the mainstream and has made Franz Ferdinand even more in demand from brands and advertisers.

Barbara Zamoyska is the head of film, television and advertising at Universal Music Publishing.

FAULTLINE

David Kosten is the artist known as Faultline. The advertising industry may well be familiar with his work with brands such as Philips, Vodafone, Lexus, Honda and Sony.

He is a recognised figure in the music world, too, having collaborated with the likes of Chris Martin, The Flaming Lips and Michael Stipe on his album Your Love Means Everything.

A musical roue with state-of-the-art programming, the aforementioned album contains some winsome tracks that have a happy knack of sticking around in the memory - a useful quality for a commercial.

Perhaps more so than some of his contemporaries, Kosten is not shy when it comes to getting involved in the creative process of putting a commercial together. He is keen to air his thoughts for a bespoke track or an existing piece.

Another rising star set for greater things is the Japanese artist Tomoyasu Hotei. He is influenced by artists such as Kraftwerk, Billie Holiday and David Bowie. If he were a film, he would be a cross between Escape from New York, Battle Royale and Paris, Texas.

Hotei is the man behind some of the most memorable music from Kill Bill (Uma's song - the best track on the soundtrack? Discuss). His music is haunting, creepy and evocative. Watch out for his new track called Fetish.

Adrienne Dunlop is the director of commercial markets at EMI Music.

PEDRO

When Pedro's eponymous debut album was released by Melodic last year, his tribute to hip-hop, free jazz, two-step, dub, folk and early electronic manipulation gained him acclaim as an inspirational musician from fellow artists and the music press.

His work combines natural and soulful sounds with electronic manipulation, which makes for an interesting accompaniment to a range of visuals in commercials.

Mostly what we might call "spacious" instrumentals, these compositions tend to complement voiceovers, dialogue and special effects rather than overwhelm them. His tracks have varied sync points - stops, starts, build-ups and breakdowns - that give an ad dramatic interest and underpin the visuals. Music critics have been varied in their acclaim for Pedro's work. "Genuinely original" and "unexpected", say some, "inspiring", "fresh", "quirky" and even"barmy", say others.

No stranger to the world of film and advertising, Pedro collaborated last year on the soundtrack to David Mackenzie's debut feature film, The Last Great Wilderness.

Earlier this summer, Pedro was briefed to compose the music for a Nissan commercial to be broadcast in Japan. He now has an ongoing relationship with the client and agency, having just completed his fourth campaign for the Japanese car-maker.

Currently in the pipeline is his Fear and Resilience remix project, which has drawn contributions from artists as diverse as Four Tet and Dangermouse.

The album is due to be released next month.

His second album is now almost complete. True to form, Pedro has taken a unique "acid freak-out meets The Neptunes" direction.

Dave Bartram is the head of UK media and marketing at BMG Music Publishing.

LUDOVICO EINAUDI

Ludovico Einaudi is a name that may not be very familiar, but his music is. It was his gentle and hypnotic piano that accompanied the memorable autumn campaign for John Lewis last year.

Einaudi has been popular with Classic FM audiences for some time and his live performances - in this country and in his native Italy - have been sell-out events. But the John Lewis campaign has brought his music to an even wider audience and, as a composer who is not happy to be ensconced in an ivory tower, Einaudi has welcomed his new-found celebrity with open arms.

Einaudi exudes Italian charm and sophistication but is as at home with a bottle of beer as he is with a bottle of fine red wine from his vineyard.

His grandfather was the first post-Fascist president of Italy. His father founded the Einaudi publishing house. The artist studied composition in Milan with the doyen of Italian musical society, Luciano Berio. He cites Steve Reich, Coldplay and The Red Hot Chilli Peppers as influences and claims the most exciting music today is being written by rock musicians.

Einaudi's fluent musical style - a mixture of melodic beauty and rhythmic stillness - has made him one of the most popular composers around.

Karen Price is the composer manager, film and TV, at Music Sales.

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