anotherblock’s upcoming drop features Walker, a DJ/electronic producer with deep gaming cred, and demonstrates how rightsholders can maximize music IP’s value via NFTs. 

anotherblock, the fast-growing marketplace for music royalty NFTs, is following on its first rapid-fire sell out drops to offer shares in the streaming income from Alan Walker’s track, “Alone, Pt. II,” a pop-perfect ballad with vocals by Ava Max. Each of the 500 anotherblook NFTs gives holders the rights to 0.001% share of streaming revenue from the song. The drop hits October 20, 2022 and will be anotherblock’s biggest yet, totaling at least $44,000. 

This drop is the result of a partnership between anotherblock and The Very Good, a music management and publishing company based in Stockholm. It’s an example of how web3 can work for rightsholders in new and exciting ways. “Publishers are always striving to make the most of their catalog, while still honoring songwriters’ visions and engaging fans as much as possible,” explains anotherblock co-founder and CEO Michel D. Traore. “Royalty NFTs offer publishers a way to monetize their IP without sacrificing other business models. It’s an additional source of revenue that also reinforces an artist or composer’s brand with fans.”

“We’ve been exploring web3 options and are truly excited to work with anotherblock to issue our first music royalty NFTs,” explains Jakob Emtestam, founder of The Very Good. “We have an innovative track record and felt this partnership, with an artist like Alan Walker in the mix, was a great first step into this democratization of music rights and royalties.”

Walker’s work and life encapsulate the web3 music community’s overlapping love of games, music, and collectibles. An electronic producer with a massive YouTube following and several platinum singles, Walker is also a passionate gamer who let some of his early music be used freely by gamers. He’s held shows in League of Legends, launched his own mobile game, and become a playable character in PubG. “He’s a great cultural fit for our community,” Traore notes.

“One of the most widely discussed benefits of web3 is for artists, who can do more things with their rights, and for fans, and the direct relationship that results from these interactions. For the right tracks, publishers can also take an entirely new and potentially valuable approach, one that reaches fans and turns them into financial supporters,” says Traore. “We’re entering a whole new era of IP monetization and democratized access to rights as assets that will change the game for the better for publishers.”