Good afternoon, everyone. Thank you for finding a few minutes in your busy schedule to browse our company blog. Life has been rather hectic around HQ this week, and like many of you we are anxiously awaiting the arrival of the weekend. Before we get there however, we want to take a little time to reflect on everything we have accomplished in recent days. We also want to share this killer song with you, which has become something of an anthem for us as of late:
As I mentioned above, each and every weekend we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.
Development News:
After a few weeks of teasers regarding the new platform we’re sorry to say this week arrives with no new updates from the Haulix Dev team. Our small team is doing the kind of work that would usually be handled by 10 or more developers, and the progress they’ve made so far is nothing short of stunning. We cannot wait to share our new platform with all of you, but right now we must ask that you be patient just a little while longer. We hope to have all work completed by the end of November, but we cannot guarantee when the updated site will launch just yet. Maybe next week.
Blog News:
This was a weird week for a our blog team. James Shotwell, Marketing Coordinator for the company, actually abandoned his post behind a computer to travel to Pennsylvania for a speaking engagement at Mansfield University. While there, James engaged the student body with tales from the front lines of the war on piracy, as well as stories from his career in the industry. All that said, James still managed to churn out a bundle of great content, which you can find links to below:
That is all the news and updates we have to share this week. Have a fun Halloween weekend and be sure to stop back in on Sunday for an updated Job Board.
This is the latest post in our ongoing collaboration with Sonicbids.
Many singers realize that learning good vocal and breathing technique is all part of becoming a better musician. Mastering these techniques gives you control over your voice in order to create resonant tone qualities and stylistic inflections that work best for each song. However, there are deceptively big details that many singers overlook, which can affect their overall stage presence.
There’s a difference between being a good singer and a good performer. While a good singer can create the most beautiful tones, a good performer can connect with his or her audience, which is essential in order for people to fully appreciate the craft. Here are three ways you can make that happen.
1. Know what you’re singing about
This seems like an obvious point, but it’s easy to only get the tip of the iceberg on this one. It’s not that difficult to memorize the text of a song, as people can do that from just listening to it enough times. True performers, however, realize that there’s more to a song than the lyrics that they’re singing.
For every song, there’s a character singing it. Whether it’s a jazz ballad or an aria from an opera, there’s a very specific person (or at least a certain type of character) linked to the text. People can more easily connect with singers who are completely immersed in the meaning of the song. Study the lyrics in depth and, using the lyrics, try to give a detailed explanation of what type of character you would be portraying, what said character is going through, and what emotions are going through the character’s head.
It’s important to note that it’s possible for a song to have multiple interpretations to different people, as everyone has various experiences in their lives that shape their view of the world. However, it’s up to you to ultimately decide what the song means to you and convey it through your voice.This is where your artistry starts to emerge. Once you have a thorough understanding of the song, you know how to use your voice to emulate the character and how to proceed.
2. Move with purpose
Audience members listen with their eyes, especially with singers. While this sounds contradictory, many people have their eyes on the singer, watching his every move astutely as he sings his repertoire. Therefore, it’s important to know how to best use your body to reinforce your voice, because motion serves the music. Singers have some freedom to move as they sing so that they don’t feel restricted, but the amount of movement you can effectively use depends on the type of song. There are, what I like to call, two Ts for determining appropriate movements: text and tempo.
Building off of the first point, learning the meaning of the text helps you to learn how your character would move. For instance, if you’re singing a jazzy, sexy love song, you may want to carry yourself like Jessica Rabbit and strut your stuff (I’ll leave that to your imagination). I’m just being silly, but you probably already have the idea by now. Be mindful of any movement habits (nervous ticks) you yourself might have, such as tapping your legs with your hands, swaying your body back and forth, and so on. These habits will most definitely be distracting and should be broken. The hardest part about this is that you probably won’t notice it unless you force yourself or someone else points it out to you.
Tempo-wise, slower, more intimate songs usually don’t call for a lot of movements or anything boisterous, as those elements can distract your audience from the music. This can prevent you from creating a believable character, thus creating a disconnect. Remember, you are emulating a character. On the opposite side of the spectrum, faster, more energetic songs can allow the singer to incorporate a bit more movement without drawing away from the music. Your movements should reinforce your singing, not take away from it. However, finding out what movements to use can be tricky, which brings me to the final point.
3. Practice in front of a mirror
Practicing in front of a mirror, as you probably have already guessed, will help you find out how you and your movements appear to audience members. Using the previous two points, you can start putting it all together. Learn what motions will and will not work for your character type, as well as how big or small your motions need to be. These concepts are essential for creating the stage presence you want to have. The ultimate key is self-awareness.
These methods are for your own personal study as you develop your artistry, but don’t forget that the best way to get better at performing is to perform for others. No matter what level of experience you’re at, ask for feedback whenever you can so that you can have a fresh set of eyes and ears telling you what you do well and what you need to improve on.
Karlton Timmerman is a freelance multi-instrumentalist and singer-songwriter, focusing in jazz and classical music. He also works as a private instructor specializing in saxophone and voice. And if anyone asks, yes, he can do the Carlton.
The following post is not about growing up in the music industry, but rather growing up in general. James Shotwell, editor of the Haulix blog, shares his recent battle with grief and discussed the various ways he feels that avoiding the truth of a situation has stunted his personal and professional development over the last year. We’re sharing it here because we feel it’s important for young professionals to understand how handling their personal affairs directly relates to their ability to do their job as professionals, and we hope it makes a difference.
For the past year I feel as if I have been traveling through the same small town again and again hoping to find a new street to stroll. That town’s name is grief, and it wasn’t until about 48 weeks into what I imagine will be at least a 52 week sentence that I realized this was so.
My best friend died. I’ve said and written this sentence more times than I can count over the past year, and in the process I’ve told myself it was true a little more with each use. I knew a part of me knew it was true from the moment my phone rang as I was just being seated for a film screening for a 2014 title whose name I’ve long forgotten. I remember collapsing in the hallway of the same movie theater I still frequent 2-3 times any given week, weeping, feeling as if my spirit had momentarily been sucked from my very being. I have glimpses of calling my mother and my fiancé, Lisa, telling them each the truth while gasping through sobs and wiping snot on a bench outside a screening for Gone Girl that was seeing a heavy amount of foot traffic. I couldn’t tell you how I got outside, but logic says I walked, and then my fiancé arrived to take me home. My best friend wasn’t dead just yet, but he was dying, and he would be gone before I could arrive no matter the means I took. I would have given everything in my bank account to pay for a flight, and I know my family would have chipped in if they thought it could help. We couldn’t make it. All we could do was wait, several hours, until confirmation finally came.
You might not believe this, but I actually found out about Justin’s death from Facebook. I was visiting his page while saying prayers to God, George Carlin, and every fallen family member I thought might be able to help when I saw someone post a comment reading “RIP” on his page. I knew things were far too dire for this to be a sick prank, and moments later my phone rang. It was Justin’s sister, and she didn’t really say anything at all. I think I asked if something had happened, and all I heard in response was a mumble buried in an urgent fight against oncoming tears. I apologized, as we all do in moments of loss, and after a few shared tears we hung up the phone. Lisa was coming up the hall from the kitchen as I hung up, and I jumped to greet her, sharing the news while collapsing in her arms. She had grown extremely close to Justin over the years as well, but in that moment she knew she had to be the strong one for both of us. I don’t know that I have ever thanked her for that.
The last time I saw Justin was in Cleveland over the summer. He had just crossed the three month mark on his latest hospital stay and I made good on a longstanding promise to come visit him. Having a job that allows me to work from home has its perks, and in this case I was able to travel during the week and put in hours while Justin underwent daily dialysis (often followed by naps, which allotted for even more work time). He never wanted to talk about his illness, and he would do his best to silence any doctors or nurses who tried to speak too directly about any specific treatments. Though he was sick for several years he always made it a point to keep details about his sickness at arm’s length from myself and our closest friends. It was his way of protecting us, but as you can imagine it never sat well with anyone.
During our time together on this trip we laughed over memories from our time in college, before Justing was sick. We talked about the girls we met and the adventures we shared. The time we got our car stuck in the woods on Justin’s 21st birthday and he missed the opportunity to have a proper night of drinking, and the time we drove to Ann Arbor for what turned out to be a sold out concert and drove three hours straight back to campus. We also played a lot of X-Box, which was the number one distraction Justin had from his immediate surroundings. He kicked my ass. It was a lot like being back in the dorm, but this time one of us was very, very ill.
At night, Justin and I would head to the rooftop of the Hospital and look at the city of Cleveland. Justin hated the view, and having seen a fair share of cities myself I wasn’t fond of it either, but it was what we had and we passed time poking fun at the city’s excitement over the return of Lebron James. We were even joined by a friend, Jacob, and together we sang Bob Seger’s “Night Moves” while the Tigers lit off Fireworks. Writing it now makes everything seem kind of like a schmaltzy climax to a John Greene novel, I know, but we wouldn’t realize the importance of those moments until many months later.
The only time we spoke about Justin’s sickness was when he made a simple request, and that was that I contact all our friends if he lost his battle. And trust me, it was a battle.
So after I collapsed into Lisa’s arms in that hallway, and after we eventually made it to our bed for several minutes of sobs, I remembered the request of my best friend. I started with our closest friends, and every single one was its own Earth-shattering moment. It was something I will never forget, and it’s something that I don’t that I will really discuss outside of this post. The calls with our closest friends were somehow the easiest, as the anticipation for Justin’s passing had already made its way through our immediate circle. Justin and I also shared friends whom he spoke to far more frequently than myself that he also requested I call at the same time, and those were the hardest moments of all. Speaking to people I hadn’t had a deep conversation with in months, if not over year, to say our mutual friend had just died was an impossible task that felt increasingly difficult with each number I dialed. It was necessary though, and I know Justin asked me to do that because he knew it would force me to deal with the reality of his passing far quicker than I was likely to on my own. He was always looking out for me like that, but as you might guess from the beginning of this story I somehow found a way to avoid truly facing those facts until the last few weeks.
My close friend Ben came to visit in September, just before Justin’s birthday, and we both remarked on how hard it was to come to terms with the fact he had indeed passed. When he left, I was fine for a week or so, but I couldn’t shake the feeling something was gnawing at me from the inside. For days I felt like my heart was sitting uncomfortably in my chest, and I was checking my pulse regularly with the idea I was perhaps having a very small scale panic attack. I eventually broke down at 3AM one morning, again alerting Lisa, and I confessed to her the regrets I had been carrying since the moment I knew of Justin’s death. The conversations we shared that I didn’t know how to guide, or the things left unsaid. I confessed how facing the fact my best friend, who was younger than me by nearly two years, could die meant facing the fact I was going to die all over again absolutely freaks me out to no end. I think we all forget that essentially everyone fears death on some level, at least temporarily, and when we feel like we’re the only ones who understand the concept of no longer being among the living it gives us a sensation our grandparents might describe as ‘heebie jeebies.’ That has been true for everyone I’ve ever known, every writer I’ve ever admired, and arguably anyone intelligent enough to grasp basic concepts of existence.
Please understand. I poured all of this out at 3AM to a woman who, up until the point I shook her while fighting back a massive breakdown, was sound asleep following a long day trip from Boston to New Jersey and back again. This woman is a saint, and she deserves a puppy (too bad our apartment is too small for one).
Getting over the Anger stage of grief by diving face first into the Bargaining phase, I spent the following days looking for signs in anything and everything to let me know I wasn’t losing my mind. Justin was on my mind constantly, as were my own battles with mortality, and I was looking for any excuse to avoid the fact those thoughts weren’t going away. No matter how hard I tried however, I could not work. I could not create. My mind was stuck, and I proceeded to become even more lost in my own thoughts and sadness. I could recognize the pain in my chest, but I couldn’t accept it. To be honest, I still struggle to. I feel it though, and I know it’s there. I know my body is telling me to deal with the loss of Justin and move on with my life, and I am trying to listen.
Today I was speaking at a college in rural Pennsylvania, and when I finally finished for the day I took some time to drive around and unwind. I had read about how the town was once eyed by gas companies, who worked to establish 3 major hotels in the sleepy hillside town of under 10k only to later abandon their plans decades ahead of schedule. I had wondered if there were any other repercussions from the move, and I think I found my answer in the numerous unmarked dead end streets I encountered. These weren’t road in the middle of the town, obviously, but rather those left on the outskirts as if to point towards opportunities that were never developed. After three or four of these intersections I stopped and rolled down the windows to let the silence of the moment sweep over me. I don’t know if it was the Pennsylvania air or the fact I am mentally exhausted from a day filled with conversations, but in that moment I realized how much my past year resembled this tiny town. I had underdeveloped opportunities everywhere, dragging down myself and others, all because I had been running from the fact that my best friend died. The November day that brought the worst phone calls I have ever received is fast-approaching, and I didn’t even take time to consider that I hadn’t properly dealt with Justin’s death until somewhere around October 5 of this year.
The strange part is, having realized what it is that I’ve been struggling with for so long I’ve since begun to feel like I am growing in leaps and bounds. I feel as if I am seeing the world through fresh eyes, and I am beginning to notice other things about myself that I perhaps have been fighting as well. Thoughts about what I really want out of life, and what I plan to do to reach that point, if I am able to at all. I like to think of it as finally seeing the ‘big picture’ instead of being obsessed with the details, and I’ve gotta say that it seems quite beautiful. I wish Justin were here to see it, but I know I will carry a piece of him with me wherever I go. He’ll be the person I dedicate my first book to, and the first name on the acceptance speech I keep just in case I ever do something that allows me to make one of those corny speeches. I’ll toast his life with our friends, and we’ll share stories about him until our time comes.
At the end of his posthumous autobiography, George Carlin is discussing his plans for a Broadway play about his own life when he says that reunion is the one thing we all seek in our lives, and I realize every day how true that is. Reunion with the past and with those that have passed, to some degree, is something each of us seeks in our own way. Call it a religion, call it a belief, call it whatever you need to feel complete. There must be something to that. It’s rare that every being in a species longs for the same high concept thing, at least as far as we know, so it must all mean something. How can it not? If reunion is what we all seek there must be something to it, and I’m sure when we get there it will be great. The wait will be hell, but it will be worth it.
James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.
There is nothing easy about taking on the responsibilities of marketing your new song or album, but if handled correctly the reward for your efforts will vastly outweigh whatever difficulties you faced along the way. That has always been the appeal of DIY promotion, and today there are more artists than ever taking matters into their own hands. Some admittedly have a better grasp on key marketing concepts than others, but I’ve always thought there is something to be learned from every marketing campaign you see. For example, you may not be in a Canadian metal band with a brand new high concept album being prepped for release, but if you take time to understand how someone in that position is dealing with the need to find exposure for their efforts you may learn a thing or two that can be applied to your future promotions.
With that in mind, I want to introduce you to Silent Line, which just so happens to be a Canadian melodic metal band with a brand new high concept LP that is being released later this week. The band has been around for the better part of the last decade, and along the way they have self-released everything they have produced, but this new record marks the first time the group has attempted a concept album. I thought it would be interesting to see how the members are marketing their release, especially given the fact they have no label to help them get the story of their LP in front of influential industry leaders, and thankfully for me the band was happy to oblige my request for an interview. You can find highlights from our conversation below, as well as a sample of the band’s new album.
I said this above, but it bares repeating: Even if you do not have a metal band of your own I can guarantee you that there is something in this feature that will aide you with your next release. Promoting a concept album is one of the most difficult tasks in metal PR, especially for a band that is still working to be recognized on a national level, and what works for the members of Silent Line will almost certainly work for your next release. Pay attention, take notes, and apply the lessons presented here to your own situation. The similarities may surprise you.
H: Let’s start with the basics. While I’m sure there are many Silent Line fans in this world who will read our interview, I’m willing to wager there are a lot of readers who will discover you through this feature. Please take a moment and introduce yourself.
SL: Hi everyone! We’re a melodic metal band from Edmonton and we’ve been around in one form or another since about 2008. We’re pretty laid back until it comes to our live show, then we’re all business and focusing on making it the best, most professional set we can each and every time. Most of the time, we are planning for the next show or album and jamming whenever we can, our nights usually end with a few dead cases of beer and some greasy pizza.
H: I want to talk about your new album, Shattered Shores, but before we get there I’d like to talk about the band as people. I’m told you originally met in high school?
SL: Yep, we started jamming covers of our favourite bands like In Flames at the local “Rock Jams” which were a glorified talent show specifically for music. They were really amazing experiences at the time and was the only chance we had to play live until we were old enough to play bars. Myself and Randy were in the same grade, Andy was a grade or two below us, and Adam was ahead of us. We were introduced to Adam – who is a bit older than us – through a mutual friend who knew Adam played drums, quite the matchmaker he turned out to be. TL DR; we grew up in a crappy town and our only option for a passtime was to find other people and friends who loved music as much as us and wanted to dedicate their time to practicing!
H: Was metal the genre you immediately gravitated towards, or were their other bands and sounds created before you settled on what would become Silent Line?
SL: We’ve always been pretty set on making metal, it’s what comes naturally to us. We were called “Variance” before we switched our name, but we had the same songs and lineup so it was essentially the exact same thing. Really early on, in 2006, we were yet to develop our sound; at first we had “songs” that were just a bunch of riffs mashed together and didn’t have vocals. By the time we switched our name toSilent Line we had the whole first album written.
H: We might as well address your name now, as I’m sure it’s got many curious. Can you tell us a bit about the story behind Silent Line?
SL: Well… to be honest we are a bunch of video game dorks. On every CD there are multiple references to games we hold close to our hearts. For example, Born of a Dying Star, the song Titan’s Winter is a map from Heroes of Might and Magic III, on our first album, One Body Blade, the song Phoenix Down is from the Final Fantasy series and Attacker Takes Damage is an item stat from Diablo II. Our name doesn’t stray far from this sort of thing, it is from one of the most played games in our lives: Armored Core: SilentLine. Between it and Diablo II, our highschool years disappeared. On Shattered Shores, though, the term “…silent line” is incorporated into the song Erosion and refers to a lack of communication in a desperate time.
H: You’ve been releasing music since 2010 (One Body Blade), but your new LP is the first time you have created a concept album. What initially inspired you to turn your creative focus in this direction?
SL: It’s been something that I’ve personally wanted to attempt for a long time. I’m a huge fan of Coheed and Cambria and, if you aren’t a fan and don’t know, every album except their newest release are all concept albums. I think it makes the album feel more complete and cohesive. It’s like every song fulfills a purpose and belongs to the whole and with a deeper connection than a random assortment of songs that were written at roughly the same time and thrown on a disc. Having a riff or lyric appear in more than one spot connects those two ideas together and, for me, helps me appreciate the artist’s message a little more.
H: With that said, can you tell us a bit about the concept behind ‘Shattered Shores’?
SL: The main idea can be taken in two different ways: one is that we are truly stranded on this island, and the other is that it is a metaphorical island inside of ourselves that we are stranded on. Either way, we have no memory of how we got there and no idea when it will end. It was written from a dark place, but, as some songs depict, with hope for the future. We wander the wastes alone in seemingly a never-ending remorseless winter broken only to bring about an inferno and there is an ever-present fear inside of us that we can’t identify. For example, the song “Black and White” is about aging and discovering not everything is simple, most decisions you saw as being black or white before are actually shades of grey and much more difficult and complex than you originally thought. Basically, everything is written from an individual’s perspective on this island and their travels and endeavors, but everything could be taken as a metaphor to real life situations. I hope that makes sense, it can be hard to explain the mess that is in my head.
H: It’s easy to understand how some may view that concept as a depressing one, and I guess that is going to be true for any story addressing feelings of isolation, but when listening to the record I get the sense you don’t see it as a doom and gloom narrative. How do you view the parable being shared?
SL: It started out being quite dark, but in the end I view it as a very stiff middle finger to depression. Yes, it is dominated by images and feelings of sadness, melancholy, and hopelessness, but the message is that no matter how bad it seems there is a ray of light somewhere ahead, even if you don’t know it. “Summersong” was written last but carries the concept of hope in times of hopelessness; as we could see the rest of the album coming together, it just felt right and came naturally. “Embrace the End” is similar, and does close the album. It should be an up-and-down experience that in the end leaves you elevated and defiant.
H: What came first, the concept or the songs?
SL: By a very slim margin a few songs came first, but by the second or third song we had the basic idea and the title worked out and everything flowed from there in roughly equal parts.
H: How did you shape the narrative through the music? Was someone in the responsible for making sure your story made sense?
SL: We incorporated a lot of rain and storm effects, they’re always present somewhere in the background even if they aren’t audible all the time. The music is more laid back but more powerful – at least in our opinion – than our last albums. On Shattered Shores we concentrated more on the overall feeling of the songs than the intricacy and complexity of each drum fill and riff. No one was responsible for making sure our story made sense: Andy wrote the lyrics for a few songs and I wrote the lyrics for the others and everything tied together nicely.
H: Member Mike Burton produced the record. Has he produced everything you’ve released? How does having a member with studio access and know-how help the band? Are there any drawbacks?
SL: Fortunately for this interview, I am the one writing it and if there is anyone more adept at shitting on myself than I am, I haven’t found them yet. We’ll start out with the benefits first though. I did indeed produce all our releases, and One Body Blade was my first real project ever, but Born of a Dying Star was co-produced with our old keyboardist Morgan Szucs. The major benefits include a lot of money saved – well, after purchasing all the incredibly expensive studio gear – as well as being able to take your time since you are not on the clock with every note you pick. There is room to be picky and strive for perfection in this sort of environment. If that take had a crappy out-of-tune chord, redo it. If that vocal take was 95% there, scrap it and go for the extra 5%. Also, the amount of orchestrations, weird effects we experiment with for hours, and Pro Tools witchcraft on this album could simply not be done if we were to send it away for mixing somewhere else. Much of the orchestrations were added one at a time, sometimes subtracted only to be added back again. All of this eats up expensive studio time but since we own the equipment and plug-ins, this wasn’t an issue. We can create our own backing tracks for live use and bounce personal practice tracks for each band member (our drummer Adam would have each track as you hear it on the album but with all of the drums muted). An album with so many moving parts would be hard to communicate our intentions to someone else and would likely end up with us frustrating the hell out of them. As for negatives, the most detrimental point is that you get far too close to the mix and it is hard to be objective. Is that snare good? Does the guitar tone sound as amazing as you think it does or is it actually a wall of angry bees? I’ve always hated my mixes the second I am done with them, nothing is good enough. This album stands out in that we got Jens Bogren to master it, so he was able to provide mixing feedback as well as his magical mastering skills! I am quite terrible at guitar in comparison with so many people I know, so some of the takes were numbering in the hundreds. I’m not afraid to admit that. The only thing I am “good at” on guitar is writing our songs and the occasional sweep-picked lead run. We have been practicing our nuts off though and we are quite able to play all of this live. I think every band goes through a panicked phase when their new stuff is done. “Shit, we have to play that now?” At least for us, every album we make we try to challenge ourselves beyond our current skill level.
H: Shattered Shores is being self-released, which is admittedly what initially drew me to this album. You don’t see many metal bands taking the release of a concept record into their own hands, but with Burton on the boards I get the sense you guys prefer having control of your material. Did you try for a record deal prior to settling on a self-release plan?
SL: We did send our previous albums away to the big boys like Metal Blade, Nuclear Blast, and Century Media to name a few. We also sent press kits and albums away to smaller labels as well. It’s a brutal market out there and instead of waiting around we decided to take matters into our own hands.
H: To be fully transparent, you have hired someone to help promote the record. Is this your first time working with someone in that capacity?
SL: Yes we have! And it is the first time. It’s also the first time we’ve paid for professional artwork and mastering. We’re now wishing we did this before since Jon and all of Asher Media Relations have incredible contacts and have worked their ass off to promote our album. It’s not something we would hide, we know several local bands who have also hired promotional help, it would be impossible to do in addition to the album and still have a life.
H: What have your experiences been like thus far? Has bringing an outsider made a noticeable difference in your reach or exposure?
SL: Most definitely it has, we’ve got some articles and tunes up on Bravewords and MetalNationRadio with more to come, including you sexy bastards at Haulix Blog. But seriously, we really couldn’t have done this on our own, the best way to promote is to hire people who are skilled and have contacts from years of work. We have to support each other, and we are not afraid to pay fellow Canadians and support their careers in music as well.
H: Do you feel it’s better to outsource individual needs such as publicity and retain control of everything than signing a record contract? Is DIY your plan, or do you ultimately hope to sign a record deal?
SL: It’s hard to answer since we have never been on a real record contract, but it goes without saying there are some horror stories involved that make us happy we retain all our material and copyrights. If we had a vetted and reviewed contract in front of us and it would mean we could tour full time and release music, then we would jump on it in a heartbeat. It’s what we’ve always wanted to do after all.
H: What advice would you give to other up and coming artists who may be trying to promote their own unique release?
SL: If you’ve got something you really want to promote then do whatever you can to get it out there. We sat by as our last albums were released and received little coverage since we didn’t do anything except set up a release show. As a band there are only so many things you can concentrate on and achieve at any one time. Don’t spread yourself too thin or compromise on anything.
H: What goals do you have for the coming months, and what would you say is the biggest obstacle standing in your way?
SL: We’re organizing a big release show with some of our fellow Edmonton bands. This means that we are playing the full album Shattered Shores front to back, which is going to be a feat in itself. Planning the show to be a handful too.
H: Do you have a plan to overcome it?
SL: Lots and lots of practice and perseverance. We just had a practice session on October 3rd and we completely shit the bed on one of the songs, we couldn’t play it to save our lives. The next day we got it nearly perfect after just a few run-throughs. There are always going to be obstacles, there are always going to be failures, but it’s not the end of the world. As the old Trailer Park Boys saying goes, “That’s the way she goes, boys. Sometimes she goes, sometimes she doesn’t cause that’s the fucking way she goes.”
H: Well if good music is a sign of career potential I think you’ll be just fine. Before I let you go, do you have any final thoughts or comments to share?
SL: Thanks so much, the last comment hit us right in the feels. We can’t thank people enough for spending some time listening to our music, even if they’re not fans. The response so far has been amazing, and we need to thank the online magazines, promoters, publicists, and our promo company enough for the awesome job they have done. We just hope that people get as much enjoyment out of listening to our new album as we did making it! Thanks for the great questions.
On this episode of INSIDE MUSIC, host James Shotwell calls Eden Rohatensky to discuss her numerous projects, as well as what it’s like to be an artist who is coming up entirely in the digital world. Eden has been building a strong and dedicated following online for the past for years, and in this conversation she sheds light on the realities of indie music in 2015. She also talks about her plans for the future, which may or may not include efforts to mount proper tours. Whether you’re a longtime fan or someone completely unfamiliar with Eden’s music, this is one episode you don’t want to miss!
You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.
For the better part of the past decade Family Force 5 have been known as a genre-defying rock band with a message of positivity too boisterous to be denied. Their music, much like their live show, is a chaotic combination of everything that influences them channeled through a very focused desire to bring joy to the world. That mission is a far greater undertaking than many may suspect, and its one the band has had to work at each and every step of the way. As much as people may claim they want something that makes them feel good, getting music fans to step outside their comfort zone is typically a fairly difficult task. People like what they like, or so they think, and the men of Family Force 5 offer a gateway to new musical horizons.
Recently, the member of Family Force 5 outlined plans for a fall tour that will see them bringing their unique sound and message to fans across the country. This will be the group’s first proper tour since wrapping a stint on Warped Tour over the summer, and the anticipation for their return is palpable in music scenes from coast to coast. To be aware of Family Force 5 is to know there is music that defies classification, and to understand that enables you as an individual to live outside the stereotypes we see everyday. Family Force 5 are a beacon for individuality, and nearly everyone who enjoys their music does so because it serves as a reminder that is okay to be yourself in every situation you encounter. You might not always fit in, of course, but no one fits in all the time. We are all weird in our own ways, but through the music of Family Force 5 we’re encouraged to celebrate those differences rather than attempt to hide them.
It’s probably clear at this point that we’re big fans of Family Force 5, which is why we jumped at the opportunity to speak to the member known as Fatty about the group’s history, as well as their plans for the new tour. It’s a far more serious interview than most of the coverage you will find on the band, but it’s littered with moments of lightheartedness that remind you to never take life any more seriously than you have to because it’s simply not worth the stress. You can find highlights from our conversation below.
H: Hey there, Joshua. Or do you prefer I call you Fatty? I don’t really know what the social norm is in this situation?
FF5: Fatty is awesome..I’ve been going by it for so long that it’s more like my God-Given name.
H: As we conduct this interview there is less than two weeks to go until your next US headlining tour begins. How are you feeling headed into the fall run?
FF5: I’m super excited for this Fall run: 1. I love to play live music. 2. We’re going to be playing a mix of both old and new music!
H: Fun and high energy stage antics are a staple of the Family Force 5 stage show. What kind of training and/or preparation goes into preparing for a run such as ‘Tour Stands Still.’
FF5: Well, that’s a great question! We’ve definitely gotten a routine down by now; while still trying to keep each tour and set unique to the last show our fans have seen. That being said, it usually starts by brainstorming production, IE: Lighting, Backdrops, Music Interludes, stage props, etc. Then, the final touches of our stage clothes really help polish the look and feel of the tour. We try to keep it different every time
H: Many fans likely last caught you live during your time on Warped Tour over the summer. How was that experience?
FF5: We had a really great turn out at Warped Tour! Being on Main Stage was definitely an honor. Not only did our long time fans come out and fill up our signing line, but we also were able to pick up some new FF5 fans and are very grateful for the experience!
H: How does being on a tour like Warped help with marketing versus spending the summer on the road with two or three other artists? Do you find those festival runs help bring in more new fans than smaller tours, or is it a pretty even mix?
FF5: Warped Tour is a great place to be put in front of fans that would have never seen or heard of our band. On other tours we do it’s usually just the people that have heard of us that come out to see us. But, it really is great to see new faces and win new people over.
H: We’re less than six months from the 10-year anniversary of your label debut, Business Up Front/Party In The Back, arriving in stores. You had already been a band for over a decade when that album dropped, but it’s a special date nonetheless. Have you put any thought into how you might celebrate the occasion?
FF5: Yes, I’m going to buy my wife another dog. We already have two.
H: So much about the alternative music scene has changed since 2006. The number of bands who were popular then and are still going today are very few, and even less have managed to make it this far without a significant hiatus at one point or another. With the exception of your brother Solomon (Soul Glow) departing, FF5 has remained in tact and active through it all. To what do you attribute your continued success?
FF5: Hard work, and the LOVE of music! Plain and simple!
H: With all the fun had, both on stage and through interviews, do you ever worry about whether or not people take what you’re doing seriously? I’ve always found that listeners believe there is a fine line between music that is pure fun and music they write off as cheesy or for lack of a better word, silly.
FF5: For us, people are either Hot or Cold. You either love us, or you don’t love us. But I hope you love us. 😉
H: I’ve been fortunate enough to interview members of the band before, and I’ve read quite a few interviews with you and other members over the years, but for whatever reason I never see people talk about your father, Jerome Olds. I’m only 28, but I have loved his music for a long time. “I’d Rather Be Flying” is a personal favorite. Did you spend much time with him on the road as a child?
FF5: Yes
H: The kind of music you’ve created through Family Force 5 is so distant from the music your father made, but I have always been curious if you’ve considered covering him? I think it might be crazy enough to work.
FF5: we have we just have not done it yet
H: Speaking of potential new music, when will the world hear more original creations from Family Force 5?
FF5:we will be playing new music on the tour we are on right now until the new album comes out
H: What is the creative process like for you? Is songwriting a constant process, or something you specifically set aside time to address?
FF5: It’s a little bit of both. We’re always bouncing ideas off of one another; but we definitely set aside specific writing times through out the entire year.
H: I understand every career is different, but I believe there is something everyone in music can learn from a group currently celebrating two-plus decades together. What comprises the ties that have kept the bond between members of FF5 strong all this time?
FF5: Haha, we haven’t been together for two-plus decades…it’s just coming up on one. But, our friendship, family, and faith definitely helps keep us all together.
H: Looking ahead to the future, what are the biggest goals you have for the group? Continued success is the obvious choice, but I’m looking for specifics.
FF5: Consistently creating inspiring music.
H: I appreciate you taking the time to speak with me. As I mentioned before, I’ve been following you for a while and love to see your continued success. Alternative music needs more artists that believe in the power of simply having a good time, which is one thing I believe FF5 promotes, and I’ve always wanted the chance to take a slightly more serious look at the inner workings of it all. So again, thanks. Before we depart, do you have anything else you would like to share?
FF5: Keep comin’ out to shows!! We love the support! And keep livin’ the dream!
If you’re anything like me, you probably started the day by recognizing that the start of a new work week had indeed arrived and then immediately began shaking your fists at the sky in anger. Monday is rarely anyone’s favorite day, and from what I have seen firsthand it feels safe to say it’s the one day of the week some people outright hate. I guess to them the arrival of the work week symbolizes the end of their quote/unquote freedom, and as a result they head into the office/factory/restaurant/store with a negative outlook already on their mind. This leads to bad attitudes, which only makes the experience of being at work worse, and for some reason it also seems to make time slow to a crawl. We’re not about that life, and we hope this post can do the same you that the song contained within it did for us.
Music is a very subjective thing. Every album you love is hated by someone in the world, and every album you hate has throngs of fans in various cities and towns. The song that makes you happy may make others sad, or you may cry while everyone else starts to dance. Subjectivity is part of what makes any form of art great, and in the case of music it also makes most things very personal. The vast majority of musicians tries to connect with listeners by sharing their most emotional moments, and that is how it has been since the dawn of popular music. Far more rare are popular artists whose music exists to promote meaningful change, but if you look hard enough they can be found, and their message needs to be heard.
Enter Shikari are Rage Against The Machine for the kids born during, after, or just before the Zak De La Rocha lead band first burst onto the national music scene in 1992. They’re UK bred world travelers who see the planet as one global community and write songs promoting unity through compassion and hard work. They want to better the world, but understand real change starts within. Through a one of a kind take on punk they convey their battle cries to a fan base of thousands eagerly waiting for the next piece of perfectly balanced, yet undeniably anarchic rock based life advice to be released, all while pushing the genre boundaries to the absolute extreme. The band’s latest release, The Mindsweep: Hospitalised, is actually a remix record, and they’ve brought along some of the most promising names in electronic music to help alter their work.
Now there are two very important things happening here. First, Enter Shikari are furthering the potential reach of their message by attempting to appeal to a new set of music fans while giving current followers something new to enjoy. Second, and perhaps most admirable, they are bringing a number of hardworking musicians into the thriving community of passionate music supporters they have been nurturing since their inception. Enter Shikari are broadening the horizons for both their fans and professional friends, all while potentially furthering their career at the same time, it’s a win-win for everyone involved, and it comes at a time when the world desperately needs a band focused on something more than romance and heartache.
This may be a simple music industry blog, and Haulix may be a small company in the big scheme of things, but are better off than 90%, if not more, of the world’s population. We live in the richest nation, we never worry about having food or water, and we all have access to health care at a moment’s notice. On a more personal level, we know we are loved. We have the confidence to be who we are because we have family and friends who believe in us, and as cheesy as it may sound there is not a lot else you could really demand out of life. We have everything when most have barely anything, so it’s on us to be the force for positive change they need, and the same goes for you. If you’re reading this now you have more power than most of the world’s population and you have a responsibility, perhaps even a moral duty, to use it for good. To help your fellow man, woman, and child to live a life as good, if not better than your own.
Enter Shikari urge listeners to consider all of this, as well as what they want out of life for themselves, and then provide the soundtrack for your efforts to change. They’re there with you, rooting for you and reminding you that this global community is looking out for you as well, and we have to hope we get as good as we give. We have to believe that is we welcome are fellow humans with opens arms and minds that they will treat us the same. If not now, then in time, and while we wait we can strive to further better ourselves. Life is about the constant pursuit of happiness, and that means you are always in motion, always making the most out of life. To do that you have to be honest with yourself about who you are, how you could be better, and what you need to do to get there. Again, Enter Shikari exist to provide the soundtrack.
You may not consider yourself a fan of EDM, but that doesn’t mean the latest Enter Shikari release is not for you. On the contrary, I’ve found it’s often the albums that most challenge our comfort zone that most influence change. There is something about the way those records force the listener to engage with the music that helps further reinforce a song’s message, and in the case of Enter Shikari that means learning to see the world around you in a whole new way. As vocalist Rou Reynolds once wrote, “Countries are just lines drawn in the sand with a stick.” You are part of a global community, and whether you choose to believe it or not your well being is connected to every other individual on this rock we call home. You may be a citizen of whatever town you call home, but you are also a citizen of the world, and as such you should take an invested interest in what is happening to our shared home. Be the force for change you want to see in the world and you will influence others to do the same. Then, and only then, can we start to better existence for ourselves and our fellow man. Enter Shikari know this already, and with releases like The Mindsweep: Hospitalised they are trying their hardest to make sure that message is spread far and wide. Don’t miss out.
James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2015. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: The FADER is looking for a dynamic and strategic Project Manager. This is an opportunity for someone to make his or her mark in a successful and fast growing environment. Day to day responsibilities will include overseeing The FADER clients, executing branded events and content programs, coordinating activities between multiple internal departments, financial reporting and maintaining the overall health of client/agency relationships. Position will report to The FADER Marketing Director.
Job summary: We’re looking for a motivated, creative and analytical Email Marketing Manager to run the day-to-day operations of Goldstar’s email channel. The Email Marketing Manager’s focus is on the planning, execution and analysis of daily email promotions to 5 million members in 26 major U.S. metros, using our in-house email platform.
Job summary: The Programming & Special Accounts Manager reports to the Director of Programming, assists with all programming responsibilities and helps support live concerts on performance nights when necessary at the discretion of the Programming Director. In addition, this person will operate as the point person for a specific corporate sponsorship account and a number of off-site programming & cultural initiatives and provide support to other departments when required.
Job summary: UEG is an artist management company who represents rock, country, and pop artists at an international level. We have offices scattered across the nation, with our main office being located in Austin, TX. UEG has been a flourishing, boutique company managing artists of all types for the past 20+ years. We are looking for a new intern for our Austin office to oversee some of the day to day aspects of artist management, with a special emphasis on media management.
Job summary: Under the direction of the Marketing and Communications Director, assist in the writing, design, production, and distribution of marketing and communications tools and materials in accordance with editorial and graphics standards. Assist in implementation of organization’s engagement strategy on web, social media, and mobile platforms.
Job summary: The primary responsibility of this position is to manage and coordinate 95.9 The Fish Digital and New Media assets, including our in-house support and externally branded websites, digital initiatives, Facebook/Twitter/Instagram, mobile app, special sales and promotional projects, digital newsletters, listener clubs and programs and other projects within the scope of this position. Daily activities might include regular website maintenance, digital and traditional content creation, newsletter production, usage statistical analysis, ratios, click-through analytics and other empirical data, banner ad creation, custom landing pages, scheduling of audio and video streaming pre-rolls, interfacing, and supporting and collaborating with other digital content coordinators.
Job summary: Execute PR & Social Media plans in close collaboration with the team at Allen & Heath HQ in the UK. Generate compelling stories which connect users with the brand; then disseminate the content through media, social media and case studies for the web site and email distribution.
Job summary: Counterpoint Press is seeking a Publicist with at least 1-2 years of publicity experience, preferably with a trade book publisher focusing on high quality fiction and nonfiction. The ideal candidate will have exceptional written and verbal communication skills, a proven ability to juggle projects and duties, demonstrated organizational skills along with creativity and a passion for books and reading. Applicants must have a BA in English Communications, or a related field, as well as some relevant internship or working experience. Candidates must have impeccable attention to detail, the ability to be proactive and problem-solve, and a communication style that instills confidence in authors, editors, and agents.
Job summary: Established classical music public relations firm seeks colleague with ability to communicate with press and classical music performers. Imagination and ability to interest journalists in our clients are a must and work well in a friendly, small non-corporate environment. Looking for a self-starter with genuine love of classical music, computer knowledge, and strong verbal and writing skills. Classical music background, press contacts, and previous PR experience desirable. Responsibilities include: writing press releases, artist biographies, pitch letters, social media postings and newsletter items; placing stories with local, national, and international print and electronic media; coordinating interviews with clients and journalists, efforts and strategies with outside publicity and management firms as well as artists. Salary, benefits and position commensurate with experience. Applications without cover letters will not be considered.
Job summary: This vital, customer-focused position strives to serve our valuable customer base with knowledgeable and timely communication, efficient data entry and aggressive follow-up/issue resolution. This position is centered on taking customer orders over the phone.
Publicist (Nacional Records / Cookman International – Los Angeles, CA)
Job summary: The candidate will play a key role on all Nacional releases and Cookman projects, taking responsibility for the publicity and promo activities of our Artists and outreaches. They will report directly to the head of the company and collaborate closely within the team.
Job summary: To provide artistic, musical and administrative leadership for the Dartmouth Symphony Orchestra. Recruits and trains performers. Plans and conducts rehearsals and performances. Responsible for associated administrative duties.
Job summary: As part of Sony Music’s digital marketing team, the Digital Marketing Specialist will promote artists and grow online communities for Sony Music artists using a combination of internal and partnered resources including websites, social networks, wireless services and other digital tools.
Job summary: The successful candidate needs to have at least one year professional work experience in a media related field and a strong working knowledge of social media, videography, graphic design and photography. Candidate must have the ability to work well with all departments and maintain a positive attitude in an often hectic work environment. The position requires a self-motivated, hard worker who understands that sometimes work must be done outside of normal business hours. The position includes the coordination of content from our radio station websites to the public, assisting in our social networking campaigns, production of short video segments, gathering measurement data, and helping to maintain quality among our six web properties.
Job summary: We are looking for a Brand and Creative Coordinator that will play a critical role in supporting the supporting the global brand and creative team, organizing and coordinating team- and project-related operations and processes. This team develops strategy, creative tools, content, and experiences that drive Spotify’s creative and communication agenda with various audiences, including fans, consumers, artists, creators, labels, business partners, and more. Programs the team leads include brand identity and guidelines, on-platform advertising, marketing programs in paid/earned/owned channels, large-scale experiential programs like Spotify House at SXSW, and more. Above all, your work will impact the way the world experiences music.
Job summary: Represent three iHeartMedia Las Vegas brands, KPLV-FM, KSNE-FM and KWNR-FM at remotes and appearances. Serve as the ambassador between the radio station and the listeners. Work among a team that will include promotions, programming and sales. This is a part-time position/that will be no more than 20 hours a week. Weekend and night heavy. The managers for the iHeartMedia Promotions Team request a two week written notice for any time off requested. Major holidays and “black out” periods must be approved by the department’s supervisor.
Job summary: The Associate Marketing Director is responsible for planning, supervising, administering and evaluating programs that meet or exceed attendance and ticket revenue goals for orchestra events and maximizing the visibility of the orchestra in the community. The Associate Marketing Director will plan and manage all marketing activities, including but not limited to: public relations; advertising; season subscription and renewal campaigns; all ticket revenue and audience research.
Job summary: An Artist Manager works on behalf of groups or artists to promote the artists’ careers and run their business affairs. Their job is to secure the best work for their clients, for the best fee.The job may include: negotiating contracts and fees, finding and booking events and venues that match the artist’s career strategy, advising on career decisions, publicity and promotion, helping them on career decisions such as which record producer to work with, or which songs to perform, and managing media relations on their behalf.The Artist Manager’s work is very competitive and can be intense and sometimes stressful with long hours. Artist Managers are frequently required to attend their artists’ performances in the evening or over weekends.Most Artist Managers advance by building a strong reputation for good client services, and attracting more top performers onto their books.
Job summary: Responsibilities include reviewing video and other materials to determine clearance and related issues; conducting research to evaluate the status of copyrighted and trademarked materials and products, invasion of privacy, defamation and rights of publicity, and other legal issues. Negotiate licenses and releases for uses of copyrighted or trademarked materials such as film clips, artwork, photos, music, and ensure each license properly addresses essential terms and protections. Prepare correspondence advising staff on status of clearance issues; administratively support department as required.
Job summary: Rogers & Cowan has an exciting opportunity for a senior level Account Director in our rapidly expanding Entertainment Marketing Department. Ideal candidates will have 8+ years of public relations experience working with Entertainment Marketing brands. This dynamic group works across various categories of lifestyle marketing including television, luxury brands, celebrity personalities, entertainment attractions, non-profit foundations and global media events.
Job summary: An Artist Manager works on behalf of groups or artists to promote the artists’ careers and run their business affairs. Their job is to secure the best work for their clients, for the best fee.The job may include: negotiating contracts and fees, finding and booking events and venues that match the artist’s career strategy, advising on career decisions, publicity and promotion, helping them on career decisions such as which record producer to work with, or which songs to perform, and managing media relations on their behalf.The Artist Manager’s work is very competitive and can be intense and sometimes stressful with long hours. Artist Managers are frequently required to attend their artists’ performances in the evening or over weekends.Most Artist Managers advance by building a strong reputation for good client services, and attracting more top performers onto their books.
Job summary: The Marketing Manager is responsible for the execution of all advertising and promotion-related events regarding print music for Word Entertainment. The Marketing Manager will effectively, efficiently and economically communicate information about all Word Music products to core customers base and beyond, while helping generate sales for those products. The Marketing Manager will be responsible for the complete product set up for the print marketing department, and other administrative duties as needed.
Job summary: Performing Arts Studio and Special Needs organization seeking very responsible staff member to help develop and increase clients and market events. Perform planners/coordinator duties, social media promoter, oversee flyer distribution teams and assist in development of promotional campaigns. Execute programs to grow our email database. Assist in launch and coordination of events. Serve as the liaison between our studio and public. Organize monthly events. Create and maintain relationships with local establishments. Launch new membership programs. Organize classes, art shows, music events, etc.
Job summary: Need experienced project manager, who is driven by deadlines, able to work in chaos in the music industry and knows how to encourage and maintain employee relations. Must be very knowledgeable from feasibility to closure while maintaining budgets, timelines, and people skills. Must have strong management skills and be familiar with marketing, sales, training of new hires and social media in the entertainment industry of today in order to lead directors in project management. Must commit to 1 year contract. Working with projects in sponsorships and non profits are an extreme plus!
Job summary: This person is eager to build relationships and value in our community. This person also wants to be a part of a successful and growing radio company who highly values our brands, our talent and our family of employees. We hire great people, we provide them support, tools and freedom to execute creativity and develop their talent and brands…and in return we expect a high level of performance.
Job summary: Work with Artist Relations Manager, Red Bull Sound Select and Red Bull Sound Select Program Director to define and continuously evolve Red Bull Sound Select’s curator network strategy
Job summary: We are seeking a multi-talented marketing associate to assist in creating an effective, cross-platform communications message for Copious , a 21,000 square-foot facility in the Brewery District, featuring an event space, restaurant and bar, and the new music venue, Notes . This is a full-time, associate level position.
Job summary: Are you passionate about music and audio? Are you enthusiastic, outgoing, passionate and knowledgeable about consumer audio products like headphones and speakers? If you are an avid Bluetooth user, an audiophile, and on the cutting edge of premium sound knowledge 2020 Companies has immediate opportunities for people just like you as a Brand Ambassador for JBL!
Hello, everyone. Thank you for taking a few minutes to browse our company blog. Things have been a little slow this week, but that is due more to our staff battling colds than a lack of ideas. We’re currently bundled up on couches, and by the time a new week arrives we hope to be back in tip top shape. Until then, we thought it best to recap our week, as well as share a song that we think everyone will be talking about soon. Enjoy:
As I mentioned above, each and every weekend we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.
DEVELOPMENT NEWS:
Since our updated platform is still a month away from launch we thought it might be fun to share two new features coming to Haulix that we feel will benefit clients immensely:
– Press Release Creator (no more need for MadMimi or MailChimp)
– Drag and drop customization on all promos and press releases
We will continue to unveil additional changes/updates in the week(s) ahead. Stay tuned.
BLOG NEWS:
If you wanted to know who made us sick, go ahead and blame blog editor James Shotwell. For the past week James has been growing increasingly sick, and at this point he has no voice at all. We’ve forced him into bed rest, so hopefully things will pick up next week. In the meantime, use these links to catch up with our latest content offerings:
As someone who has given nearly a decade of their life to the world of music journalism I am constantly on the hunt to find those who will populate the next generation of music writers. My hope is that by sharing their stories here on this blog we can bring the kind of awareness and support to their efforts I never had myself, and I like to think that so far we have accomplished that in one way or another. I know I have found numerous new voices to love and follow since launching our Blogger Spotlight series, and I sincerely hope you feel the same. There are many talented writers out there, but most never come across anyone willing to shout their praises from the rooftop. I guess in a way singing their praise has become part of my job, and today I want to introduce you to one young woman with a blindingly bright future in music you won’t soon forget.
Meghin Moore does not have a site of her own. So far, Meghin has played the contributor role at a number of popular blogs, most notably lead by her time at Modern Vinyl. I came across Meghin’s work earlier this month while researching some young pop punk bands, and I was immediately taken back by her strong interview skills. It’s rare to see someone just starting out who understands that artists hate to be asked the same silly questions every time they get a microphone shoved into their face, and from what I have seen Meghin has made a very clear effort to be anything but what people might expect. Her interviews with bands range from personal to silly, with questions of inspiration appearing alongside those inquiring about donut preferences. Through it all Meghin maintains a fun, yet serious tone that really engages the reader, as well as the artists she is speaking to.
I knew right away we needed to have Meghin on our blog, and lucky for us she was willing to answer some of our questions. You can find highlights from our conversation below.
H: To help us begin, why don’t you go ahead and introduce yourself, as well as the outlets you have contributed to so far.
MM: I’m Meghin Moore. Currently, I’m living in Fredericksburg, Virginia, nestled between D.C. and Richmond, which are two cities I absolutely love. I’m also the interview lady over at Modern Vinyl, where I’m coming up on my one-year anniversary with them! Before that, I wrote for a very little site based out of Seattle called Hiibye, which helped me go from a “news reporter” train of thought over to one of a “music journalist.”
I graduated from Penn State back in 2013 with a degree in broadcast journalism. I wrote for the student-run news organization, Onward State, during my junior and senior years. During my time with them, I interned at WTOP, a wonderful news station based in Washington, D.C., where I spent a lot of time writing for the radio station’s website. When I was a freshman at Penn State, I briefly wrote for ForTheSound, but I stopped because I put more of a focus on academics and athletics over everything else that first year.
H: I’m told you’re still relatively new to the world of writing. Can you tell us how you initially got your start in music journalism?
MM: Yeah, I’m still getting the hang of things, and I know there’s a lot I still have to learn. In order for me to talk about my start in music journalism, I need to go back to my middle school roots, where I was constantly talking about new bands I discovered and how I wanted to share that information with my friends. I’ve always wanted to work in the journalism field, and as I’ve gotten older, I’ve gone through various phases. Initially, I wanted to be a television news anchor. That phase lasted from my later elementary school years through my sophomore year of college. I shifted gears a little, stuck with the broadcast route, but was considering international reporting. That phase didn’t last very long, because I fell in love with the world of web writing and digital media.
Throughout all of that, my friends and family told me that with my love of music, as well as my love of blogging, I should look into music journalism. While I love paying attention to the news, and still have that yearning to go out and be a reporter of some sort, I always keep coming back to music journalism. It’s a little weird how that works. It’s something I’ve been looking into over the past year, and I’d say I’m fairly happy with where it’s taking me!
H: Speaking of your origins in music writing, can you tell us where your inspiration to write stems from?
MM: My inspiration stems from my journalism experience. When I interview a band, I tend to ask some fairly unconventional questions, and that’s because I want to know about stories that bands and artists might not normally talk about in interviews. I blend my journalism teachings in with a hint of creativity, just to mix things up a bit.
With that said, I grew up reading magazines like Rolling Stone and Alternative Press, as well as various music-related websites. I also watched MTV News religiously as a kid, back when there was more of a focus on music on that channel. I’d say some of my inspiration comes from writers at those outlets, such as Rolling Stone’s Rob Sheffield and Matt Taibbi, MTV News’ Kurt Loder, as well as Alternative Press’ Annie Zaleski, to name just a few. I also grew up listening to the AP Podcast, which has also inspired me over the years.
H: As for music, who were your early favorites? Most people don’t get into music unless someone or some group my a big impact on their childhood/teen years.
MM: This is a really tough question for me to answer, because I’ve been surrounded by music for as long as I can remember. I could end up writing a novel about this! My earliest music memory is going through tapes and tapes of The Lion King soundtrack. Ultimately, my mom decided it was time for me to stop ruining cassettes, and bought it for me as a CD. Later on in the 90s, I would play CDs by Aqua, the Spice Girls, Britney Spears, *NSYNC and other boy bands, as the pop music craze really sucked me in. I can’t really remember a time when I didn’t have a tape player, a CD player, or even an iPod with me, just to keep music with me as I traveled to and from school. When I was a fifth grader, my backpack was filled with more CDs than anything else for me to listen to on the bus. As I got older, my tastes started to become more refined. In middle school, I was introduced to The Get Up Kids and Dashboard Confessional by my father, who bought A Mark, A Mission, A Brand, A Scar and Guilt Show because he thought I’d like them, and because he liked their album art. Jack’s Mannequin (and all of Andrew McMahon’s projects) has been one of my favorite bands, which pretty much catapulted me into what I listen to now, as a 24-year-old. I’d say that my 7th/8th grade years had an immensely huge impact on me, and that 2005 was a pivotal year for me, both musically, as well as in terms of my personal life. Even today it’s hard for me to pick favorites; it’s a constantly rotating list.
H: I first came across your work when you interviewed Well Kept Things for our friends at Modern Vinyl. Have you had the opportunities to conduct many interviews at this point in your writing career?
MM: I have! Writing for Modern Vinyl has been great, because I’ve had the opportunity to speak with some wonderful artists and industry folk. The ones I’ve done for MV have been a lot of fun. Admittedly, I know my interviewing skills could use some work, but I’m constantly learning about what works and what doesn’t. I think that writing for Onward State, taking a plethora of hands-on broadcast journalism classes at Penn State, as well as being an on-camera personality for my school district’s news program during my high school days have helped my interview skills.
H: Do you enjoy interviews, or is there another style of writing/feature you prefer to create?
MM: Interviewing is great. I’ve always been full of questions, and I love being able to have some sort of dialogue with people. One of the best things about interviewing is actually getting to hear a narrative of sorts from the artist’s mouth. It’s always fascinating to hear tour tales, their history and whatever else they have to say. It’s also great when artists talk about social justice issues plaguing the scene today, and try to help open up that dialogue within their interview.
I guess besides interviews, I like creating playlists, and to an extent, lists. I don’t do many of those as often as I do interviews, but when I do create those pieces, I tend to pour a whole lot of creativity and thought into them; almost as much as my interview questions!
H: When it comes to piecing together materials for artist features, what kind of research do you do?
MM: I put a lot of research into what features I put together. I scour the Internet for their social media accounts, just to see what’s going on there. If I’m not familiar with an artist, I listen to as much of their music as I can. I try to take a step further than is probably necessary, and look at other interviews they’ve done, especially the more recent ones, just to make sure that I’m not asking something that they constantly get asked. Sometimes it can get a little banal and repetitive to have to answer the same question over and over again; people who follow the band want to see new questions answered. I try to make features a bit personal as well, bringing in any interesting tidbits I find on their social media accounts if I can; one of the most recent examples of this is in my interview with Well Kept Things, where their only interest on their band Facebook page is Paula’s Donuts –obviously I’ve got to ask them about that!
H: Without taking into consideration the time spent writing a feature, which I know can run the gamut from minutes to hours or even days, how much time would you say typically goes into the features you create?
MM: It really does depend. I’ve cranked out some features in a few hours, while it’s taken days for other ones. I don’t want to throw something out there haphazardly. I think a lot of the time that I take when creating features is based on me double and triple-checking it over and over again, and going through and making sure that I’ve picked out any errors before it goes live. It helps to have some great editors who help me out, and I’m really thankful to have Chris Lantinen and James Cassar on my team. They’ve been extremely helpful.
If you add in the time that I research a band for a feature, that will change things as well. If I’m familiar with a band, it doesn’t take as long, but if I’m not familiar with a band, that can take at least a few hours to go through and listen to what they’ve got out there. It’s just hard to put a specific figure on something like this, because it starts to all blend together and I’ve always been bad with numbers.
H: Your dedication to creating quality work is evident in everything I’ve seen so far, but knowing how blogging works I assume you are not getting paid for the hours logged. Passion doesn’t pay the bills, so why do you continue working so hard?
MM: Passion doesn’t pay the bills, yes, but it can lead to bigger and better opportunities in the future…at least that’s what I keep telling myself. I’ve been job searching since I graduated for my first “big” journalism career, and it’s been rough at times, especially since the world of journalism can be so competitive. I keep working so hard because I know that one day, my hard work will get noticed, and I’ll gain more recognition and start to kick things off from there. The other reason why I keep working so hard is because it keeps me busy. If I’m not off working on a Modern Vinyl piece, or even figuring out how to tweak my resume for the umpteenth time, I tend to lose focus and fall into a rut. Staying busy helps keep me happy and focused.
H: If writing about music could be a launching pad that helped you get into another industry endeavor, what other areas of the business would interest you?
MM: Honestly? I don’t know. With my background in broadcast journalism, podcasting would be cool, or even hosting or working with a radio show at some point. I’ve always been fascinated with the music industry itself, but never really put a lot of thought about what I’d get into if writing about music was a launching pad. I think it’d be cool to go into PR, and actually work with bands to get press releases out and to coordinate things. Like I said, there’s still a lot I need to learn about the inner workings of the industry, but just thinking about a future in it keeps me optimistic.
H: What would you say is the greatest lesson you have learned about the music industry from your time writing about it?
MM: It’s a lot darker than I initially thought it was, and as I’ve gotten older, I’ve realized that it’s not as easy to break into. As a woman, I know I’m eventually going to run into issues like many others before me have dealt with, and that thought terrifies me. Sexism, misogyny and sexual assault/harassment are still hugely problematic, and unfortunately, I had a brush with it at Warped Tour as a teenager. Now that I’m at the age of being a twentysomething, I’ve realized that shows, festivals and concerts really need to be safe places, no matter where they are. Sadly, I’ve read stories of women who have experienced similar issues while actually working in the industry. It’s really discouraging, and one day, I’m hoping to see a bigger change emerge in the scene. Respect is key here. Respect people, and they’ll respect you back.
H: If you could offer one piece of advice to those just now considering a career in music or music writing, what would you say?
MM: To someone just now considering a career in music, or even as a music journalist, I would say do what makes you happy. It shouldn’t matter what other people think of your work. If you’re absolutely happy with it, and have a lot of passion, don’t let that stop you from going after what you want! There’s always going to be people out there who don’t want to see you succeed, and people out there who will criticize your every move just to try to break you down. Don’t let anybody get to you; just follow your passion. I guess that’s two pieces of advice, but they really go hand-in-hand with each other.
H: If we fast-forward to one year from now, where do you see yourself?
MM: It’s hard to predict where I’ll see myself a year from now, but I do see myself loving what I do and continuing to write about music as a side project. No matter where I end up, I know that this music thing is still definitely going be in the picture. It’s something that’s just stuck with me for years, and I don’t see that going away any time soon unless something drastic happens that completely turns me off of it.
H: What is the biggest obstacle you face right now in your professional life, and what are you doing to overcome it?
MM: The biggest obstacle is actually finding and holding down a nine-to-five job; something that can support and hopefully advance my music writing. As I mentioned earlier, I’m stubborn, and my job search has been filled with more disappointment than I initially thought it would be. I’m two-and-a-half years out of college, and I’ll be honest, it’s been a rough, rocky journey for me. I’m trying my hardest to actually get myself out there, to find a great job in the journalism industry. I’ve been working on my resume, I’ve been trying to figure out how to write better cover letters, but at the same time, I’m trying not to let my disappointment in my search finally get to me and break me down. I feel like the biggest obstacle in this is also my lack of proper experience. It goes into that cycle of finding a job, only to get rejected because you don’t have enough experience or the experience that someone’s really looking for, but to get experience is hard because nobody wants to hire you.
H: I think that is all I have for now. Before I let you go, is there anything else you would like to add?
MM: I just want to thank you for giving me the opportunity to answer some of these really insightful questions. They really made me think! I’d also like to thank Chris and James (again) for being absolutely awesome editors, and letting me be a part of the Modern Vinyl family. The past year has just been incredible by working with the site, and I look forward to seeing what the future holds for the site.
