Earlier today, the pop-up you see in the image above appeared while I was watching the latest Kanye West video on the popular music blog Hip Hop N More. At first, I thought the message was a mistake. I thought I had possible clicked a link to a mobile version of the site, or that the site had an app it wanted me to download, but I soon realized both ideas were wrong. In fact, I had made no mistake at all. The above pop-up was promoting a new platform that creates push notifications whenever new content is posted to a site. It’s 100% optional, and it only works for users of Google Chrome or Mozilla Firefox, but it could very well be the next great user retention tool for online stores and blogs alike.
Created by PushCrew, a new startup still establishing their presence online, these blog based push notifications are being marketed as a way to engage your subscribers with your communication even when they are not present on your website. The tool is easy to install, requiring just moments of time, and once live requires very little upkeep. I’ll let this explainer video show you what I mean:
Sounds pretty simple, right? Certainly seems that way.
I never saw myself as someone who would consider push notifications of any kind to be a good idea, but in an age where traffic often still determines whether or not writers get paid anything at all for their work I’m coming around to the idea at an alarming rate. After all, whether or not users actually engage with this tool is entirely up to them, so content creators should not think twice about making such tools available to their audience. These notifications will make a bigger impression than Twitter or Facebook on users, and every single notification will automatically link back to your site, thus furthering your visits per post with each click.
It’s worth noting that Hip Hop N More is not the only site using this technology in the music world. So far, we’ve found more than a dozen sites covering half a dozen genres that all allow users to opt-in for notification through PushCrew technology. One site in particular, I Care If You Listen, even appeared in a case study that ran on the company’s blog. Here’s an excerpt:
Thomas is on a PushCrew free account. (PushCrew free account lets you send unlimited notifications to upto 500 subscribers forever.) So far, he’s sent more than 20 notifications with click-rate hovering in the range of 4% to 18%
I Care If You Listen is a music blog that Thomas has been running for more than 5 years now. On Twitter, he has a strong following of more than 60k subscribers. And an active email list to whom he regularly pushes out updates.
He found PushCrew and decided to give the free account a shot. He has a little over 150 subscribers in his PushCrew account. The best click-rate that he got was 18.18% and the average click rate stands at 11.29%. In each of his notifications, he uses UTM parameters in the landing page URL so he can trace all metrics about his subscribers in Google Analytics. I asked if the metrics were any better or if they’re following the same pattern as other communication platforms to which he replied, “I’ve been able to see better engagement from the notifications, in terms of bounce rate (lower), pages per sessions and session durations (both higher). People engage slightly more with our content coming from a push notification.”
Time will tell whether or not website push notifications catch on, but for the time being you might want to consider implementing PushCrew technology on your music blog. After all, who does it hurt? People who don’t want it never have to use it, and those that do can have it for free. Everyone wins!
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.
I couldn’t tell you when I first felt like I was punk, or that I belonged to the quote/unquote “punk community,” but it was probably sometime in my early teen years. Blink-182 had converted me from a person who simply enjoyed music to someone who believed they needed music like they needed their next breath with the release of Enema Of The State, and from there my love for the alternative world grew like vines on the side of an old brick house. If there was a show nearby, I was there. If there was a new album on display at the record store that claimed to be pop punk, hard rock, or edgy in some way, I wanted to hear it. More often than not I probably bought that record as well. For me, it was impossible to have too much of a good thing, and in many ways that belief still stands true today.
It wasn’t until I reached college and the age of discovering music online arrived that I really began to consider the numerous styles of music that existed outside my audio comfort zone. Even though I was quick to find artists outside the world of rock I enjoyed, my admiration for their art was something I largely kept to myself. After all, every moment of my life in music before that time had been defined by my love for all thing alternative, and it was in that genre that I found a sense of community that I had not known in my hometown or through school. While other kids had friends in the so-called “real world,” my closest companions often lived on a CD, mp3, or (for a few years) audio cassette. Bands were my friends, and their songs were the stories we shared when no one else wanted anything to do with us. Punk, and I am admittedly using that term in the loosest sense of the word, had kept me company through thick and thin. I didn’t know if I could ever feel as close to anything as I felt to the alternative community, and as a result I feared venturing away from it for fear it may turn its back on me.
That may sound silly to you, but the above is entirely true, and I think it may be true for many others as well. When you find yourself associating who you are as a person with the thing, scene, or group that first made you feel free to express yourself it can be incredibly hard to consider even the smallest change because you worry that thing, whatever or whomever it may be, won’t love you anymore. What’s even worse is that you also begin to fear that no one or no thing will want you either, which is preposterous, but as a young person still finding confidence in yourself it seems as likely as anything. So you stay stagnant, preventing yourself from having a chance at being or trying something new, and in my experience that complacency will eventually lead you to feel less and less interested about the world of music, as well as art in general.
Hands Like Houses are an Australian rock band that formed in 2008 and quickly found international acclaim thanks to alternative sound that played well with what was popular in the genre at the moment. The group found a home in Rise Records, a label known for setting trends in the alternative world, and in 2012 the group released their debut LP, Ground Dweller, to critical and fan acclaim. The band then toured extensively, touching down on several continents, and then in 2013 another record (Unimagine) hit shelves. More positive reviews were received, more tours were planned, and the group once again found themselves in a global whirlwind of press and publicity that would find them being face-to-face with throngs of followers from every corner of the planet.
By the time Hands Like Houses found themselves celebrating the dawn 2014 they had already accomplished more than most bands ever hope to achieve. They had risen through the Australian music underground, caught the attention of one of the biggest alternative labels in the globe, and managed to build a dedicated international following that continuously showered the group with praise. No one could have blamed the group if they chose to write and release another album that sounded similar to the two they had already released. Heck, the band probably could have toured with the same group of bands they had always toured with as well. Hands Like Houses had enough going for them at that point that such decisions would have felt obvious, albeit safe, but as you can probably guess based on the rest of this post that is not what happened.
Starting with 2014’s Reimagine EP, Hands Like Houses began a sonic pivot that found their sound trending more towards mainstream rock than ever before while still retaining the alternative edge that had always been a cornerstone of the group’s music. Reimagine was little more than reinterpretations of material from the group’s previous LP, but it offered the group a chance to showcase a side of themselves audiences hadn’t really heard before, and fans of the bands were quick to express their pleasure in the change. Some were admittedly turned away as well, but that was bound to happen regardless of what the band chose to release. Some people simply hate change, and there is no way you can, well, change them.
Fast-forward another two years and Hands Like Houses are preparing to release their third full-length album, Dissonants, on February 26. The arrival of the record marks an end to the longest period that Hands Like Houses have gone without releasing new music, and it’s clear from the opening track “I Am” that the time away was very much needed. This album, more than any other release in the Hands Like Houses catalog, feels like the most authentic representation of who the band is and what they hope to convey through their music. That is not to say the group was ever dishonest in either respect, but listening to Dissonants makes it clear that some of the group’s earlier material had far more influence from the genre and culture it was produced in than what the band may have intended. This record, front to back and back to front, feels like a wholly authentic release created without any desire to cater to a specific scene, sound, or genre. Whether it’s the bouncy riff of “Perspectives” or the radio ready sounds of “Stillwater,” this album is a pitch perfect representation of what the men of Hands Like Houses have become over the better part of the last decade. It’s diverse collection of ideas and emotions presented without restraint, and it’s without a doubt the best material the group has ever released.
When I hear Dissonants I am reminded of that period in my life when I feared what might happen if I admitted to myself and everyone else that I had interests outside of punk. Like so many artists and music professionals, I thought my value to the world was equal to my standing amongst my alt/punk peers, and it wasn’t until I shook this thought from my head that I found true happiness and purpose in my life. I am punk, just like Hand Like Houses, but neither me or the men of that band are punk and nothing more. We are all humans, and as such we are influenced and inspired by a wide array of art, experiences, and conversations that all mesh together to make us the people we have become. My hope, like the hope of Hands Like Houses, is that I can show my true self to the world and be accepted just as I was when I thought being punk was all I would ever be. Life has taught me that such acceptance is possible, and Hands Like Houses new album has reminded me of that fact once again. The hardest part is taking it upon yourself to make a change. Once you do that, everything else will being to fall into place. Life might not be what you thought it would, but it won’t be as bad as you feared either. Just be you. No matter what, just be you.
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 2016. 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: As a YouTube Channel Manager, for both The Hollywood Reporter and Billboard’s YouTube channel(s), you should be comfortable working cross-functionally with colleagues across multiple disciplines to ensure our content is positioned for success, and our viewers enjoy the best experience possible. You should also expect to initiate and manage day-to-day operations and partner relationships (across talent, advertisers and YouTube itself), including fielding and prioritizing incoming video content; monitoring content trends and performance; fluidity with hands-on content management and mastering of Content ID; and creating periodic reports (external and internal) on video performance. Ensuring month over month growth of core YouTube KPIs including subscriber numbers and monetization, while also increasing awareness of and traffic to owned-and-operated video hubs will be key determinants of your success.
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. Support the growth of the Allen & Heath’s social networks and expand our end-user reach. Ensure the sales team and channel partners are equipped with the latest news and marketing tools to support their promotion of the brand and products in the field.
Job summary: You are a highly motivated, independent, analytical, creative self-starter with a knack for executing on various global initiatives amid an ever-changing environment. This role works alongside multiple company teams, including Licensing, Editorial/Social, Supply Chain, Business Intelligence, Royalty Accounting, Brand Marketing, PR, Business Development and Product Development, and demands the ability to work cross-organizationally with colleagues of various levels.
Job summary: The Social Media Marketing will manage online and social media projects and channels .This individual must be an expert in boosting You tube views and Sound Cloud . The Social Media Marketing Intern will also coordinate monthly and weekly content development, scheduling and publishing.
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: Hasbro Studios is seeking a Music Marketing Manager to serve as principal liaison with LBE licensees (new & existing) from the time a deal is executed until end of term of the license. The primary role of position is to handle development and production issues and communication between Hasbro and licensee, as well as internal Hasbro communications. The Individual will also develop efficient attraction approval process with LBE/Studio Creative Director, GBTs and outside consultants; managing approvals between Creative Director, GBTs and other parties.
Job summary: World Famous is seeking a Studio Manager to help us be as organized, smooth-functioning and welcoming as we are creative. This position is a mixture of executive assistant, admin duties as needed and overseeing client services. We are seeking a dynamic individual whose favorite thing in the world is to organize, someone who loves to keep things tidy, bring order to (mild) chaos, plan get-togethers, someone who takes great pride in how they treat guests, and also will work well within a fast-paced creative environment.
Job summary: Oversee the day-to-day workflow of the Music Department within the College of Fine, Performing and Communication Arts. This will be the key contact person for ensuring a smooth operation for those external constituents conducting business with the department as well for faculty and staff seeking assistance with the processes of internal business within the University.
Job summary: As PM lead of Uber Music & Media, you will lead design, implementation, and optimization of programs to create a rich music & media experience in Uber partner vehicles. You will build upon today’s implementation of rider-controlled music in cars, and work closely with Uber’s Business Development team and Media partners to explore and implement new ideas in this space. What can you do to truly personalize and differentiate the Uber experience? Your performance is measured both by the impact of the features & products you launch, and by your ability to work closely with and enhance the productivity of a high-performing cross-functional team that includes counterparts in Engineering, Design, Business Development, and Operations.
Job summary: Responsible for maintaining awareness of The Smith Center brand and promoting performances and events through publicity and media relations efforts.
Job summary: Red Bull Sound Select is an artist development program that delivers the best in new music, supporting a group of curated artists through 200+ yearly events and festivals, in-studio collaborations with leading creators, distribution, and marketing from the Red Bull network. The program will be expanding into 7 new countries in 2016. The Project Manager, Red Bull Sound Select Artist Relations will oversee artist onboarding for 6 Red Bull Sound Select countries and manage 5 major artists campaigns each year. He/she will play a fundamental role in the longterm success of the program, as these artists will be core case studies for the program to build on in its international expansion. This is an opportunity to market artists without traditional music industry boundaries through Red Bull’s studio, producer, festival, and agency relationships; unique partnerships; and your and the artists’ creativity.
Job summary: Alternative Press Magazine is seeking a smart, self-motivated and resourceful individual to join our team as our Marketing Coordinator. Our company is headquartered in Cleveland, Ohio and prospective candidates will preferably live in the general Northeastern Ohio area. Candidates should be highly organized and adaptable to our dynamic work environment. Qualified applicants will have had experience in similar marketing roles (preferably within the media and entertainment industry).
Job summary: Lead, develop and execute consumer engagement and ecommerce campaigns in collaboration with UMG owned and associated labels. The Director will be the key point person at the label level for all direct to consumer activities, including but not limited to initial artist strategy, product development, marketing and eCommerce. This person must be the organizing force and leader in commercializing direct to consumer campaigns and other integrated artist rights (e.g. ecommerce, experiences, touring). This person must be skilled at influencing and collaborating with all label departments (product managers, digital marketing) and artist management, and will be responsible to organize, plan and collaborate with labels in the execution of marketing campaigns for artists not only across release and touring schedules, but also “off cycle” promotions of artist relevant commercialization opportunities. He/she will be responsible for overseeing and managing all D2C stores including identifying, planning and executing against revenue opportunities for stores, merchandise recommendations, pricing, design, social media, crm and other label marketing initiatives.
Job summary: Pandora is looking for an experienced Account Strategist who has a background in digital or radio advertising with a proven track record of building and maintaining strong client relationships. This individual will partner directly with the sales team to build strategic media partnerships while providing a high level of client service for assigned Advertisers, Agencies and internal Clients.
Job summary: We currently have an opening for the position of Music Publicist / Account Manager and are looking for an intelligent, independent creative thinker with an analytical approach and a proven track record working in music publicity. Our ideal candidate is an original thinker who brings something new to the table. This individual must have a strong passion for the entertainment field (music in particular) and be able to professionally communicate with clients, journalists and other industry professionals.
Job summary: The Marketing Director is responsible for the advertising and marketing of all events in Atlanta and Alabama including events at Philips Arena, Infinite Energy Arena, Fox Theatre, Cobb Energy Performing Arts Centre, Lakewood Amphitheatre, Chastain Park Amphitheatre (Concert Series), Oak Mountain Amphitheatre, Music Midtown Festival and all outer market shows in Georgia and Alabama.
Job summary: You will join the US Marketing Team to manage existing and build strategic partnerships. To achieve our goal of increasing our footprint in the US and increase the number of subscribers, we want to grow Deezer distribution through the telecom channel.
Job summary: Live Nation is seeking a qualified individual for a Project Manager position. This detail oriented position requires excellent organizational skills, professional interaction with management personnel, vendors, clients of all levels, an ability to work efficiently, accurately and effectively under pressure, and ability to complete and prioritize tasks in a timely manner. The ideal candidate will have proven experience in staff supervision and recruitment, and customer service. The ability to communicate with respect and diplomacy across all levels of business is essential to this position. Maintaining knowledge of current ticketing trends in entertainment industry is an essential element to this position.
Job summary: As a Music Manager, you are responsible for the daily operations of the Music/DVD Department, ensuring that they are consistent with our bookselling culture, world-class customer service focus, digital initiatives, and operating and merchandising standards. You assist with interviews and in the development and evaluation of music sellers. You foster an employee-centric environment and focus the team on maximizing sales and productivity.
Job summary: The Sr. Manager, Strategic Partnerships is a key member of the Strategic Partnerships team within the Brand Marketing department. This role will be responsible for creating relationships and programs with brands that put Pandora in new categories and conversations and enhance our brand equity with specific audiences. Reporting to the Director, Strategic Partnerships within the Brand Marketing organization, this person will execute brand partnership projects from initial evaluation through completion, maintaining senior level marketing finesse and client management throughout the process.
Job summary: Reporting to the Vp Of Marketing, the Harmonix Marketing Manager will sit at the heart of marketing Harmonix products. As the central strategist and go to market expert for each product the Marketing Manager will be responsible for building and executing their marketing plan for their assigned titles.
Job summary: The role of Department Coordinator is to organize, execute, and complete department needs. This includes scheduling, registration of students, the management and promotion of department events through email blasts, posters and program design. Additionally, this position works with prospective students, providing information about the department and the Presidential Scholarship in the Arts which includes coordinating the scholarship applicants and audition weekend.
Job summary: Spotify is creating the world’s most personalized music service, and the way we communicate to listeners is an integral part of that goal. In support of this mission, we’re hiring a Product Owner for our marketing automation and notifications platform. The objective is to reach the right user with the right message at the right time, helping them discover music or enjoy a great listening session.
Job summary: Provide key input into development of strategic and tactical marketing campaigns. Serve as project manager. Communicate with artist management. Provide budget oversight. Evaluate effectiveness of campaign
Job summary: The Festival Specialist is responsible for assisting the Festival Manager in all aspects of their role’s business scope. This includes the development, management, production and success of all business unit (BU) sponsored music festivals; as well as assisting cross-functionally with On-Premise Marketing on large scale and big moment activations. The ideal candidate should be passionate about live event production, experiential marketing, festivals and both the nightlife & music scenes. This position will operate cross functionally with On-Premise Marketing/Sales, Culture Marketing, Operations, Activations, Consumer Collecting, Brand, Key Accounts and outside vendors to drive Red Bull’s relevance within the festival landscape. The Festival Specialist will ensure quality event execution at larger A-Top festivals/image building events as well as leading the development and on-site execution of select A-Image and A-Volume festivals/events including multi-city tours.
Job summary: The Orchard seeks an enthusiastic individual for the Digital Advertising Department with a passion for music, film, video, and other media. This passion must be personal, but also exist as an academic interest in how these media are positioned within culture. To continue to advance our groundbreaking services to clients and owned/operated properties, You will report directly to the Director of Digital Advertising.
Job summary: Cox Media Group – Miami Radio has two part times positions for an Event Crew/Activation Specialist. Are you pursuing a career in Communications, Media, and/or Marketing? We are looking for outgoing, hard working and creative individuals to join our Marketing/ Promotions team. Responsibilities include working on location at radio station events, live broadcasts, interacting with listeners, social media activation and clerical duties. Knowledge in video recording, editing and Photoshop are a plus. Ideal candidate is energetic, efficient and capable of multi-tasking in a lively fast paced environment. We are seeking a highly results oriented and talented individual with a passion for original entertainment to join our growing marketing team. The right candidate will be a team player who takes initiative with excellent written and verbal communication skills. All employees are expected to bring a positive attitude to the work place and be cheerful, cooperative and productive and to perform other such duties as may be required for the efficient operations of the stations.
Job summary: Universal Music Group is seeking a Manager, Consumer Engagement Operations to manage and support creation and operational execution of consumer engagement campaigns, products, D2C stores and marketing campaigns. The Manager will be the first line of command for the UMG Consumer Engagement Operations team in all D2C projects assigned, including involvement in artist strategy, product development, marketing and ecommerce, and help with collaboration with label departments (product managers, digital marketing, and artist management, etc.) during the release setup. He/she will be responsible for overseeing and managing operational details associated with all D2C stores.
Job summary: Harmonix is looking for a music supervisor and music business expert, who has sophisticated knowledge of the music industry and who will be responsible for securing music/artist participation for inclusion in the game, add-on content, advertisements, trailers, promos, partnerships or any other form of visual media. The ideal candidate will act as the liaison for Harmonix with the music community. The role also includes engaging the music community from a marketing partnership perspective in order to leverage the artist/music in the games to create additional exposure and marketing opportunities. The level of partner participation varies from social posts by artists and gaming partners to in-game artist participation, live performances, advertisements, retail executions, etc. The music marketing partnership director will be responsible for fulfilling all marketing needs and driving execution from a music perspective.
Job summary: As part of our new vision for the future, we are looking for an excellent, aggressive, career-minded professional for the position of Associate Director, Public Relations for Florida Grand Opera. Ideal candidates will have a strong knowledge of opera, a minimum of four years’ work experience in opera public relations or a closely related industry, as well as a Bachelor’s degree. Personal strengths must include strong attention to detail, knowledge of opera, hands-on experience with social media, and strong verbal and written communication skills. Ideal candidates will be self-directed, able to work independently and bi-lingual in English and Spanish.
Job summary: We are actively looking for a self-motivated Box Office & Client Service Coordinator. This detail oriented position requires excellent organizational skills, professional interaction with management personnel, vendors, clients of all levels. The ideal candidate will have proven experience in ticketing software, client and customer service service. This position will oversee the day to day operations of the Box Office Department within the scope of generally accepted procedures and practices for a major clients nationwide.
Job summary: Consumer conversations and relationships fuel the work of Nike Marketing. It’s the fuel that has built one of the most recognizable brands in the world. Nike Marketing captures the science, art and emotion of Nike’s innovations and connects them with the hearts, minds and souls of athletes. The pros in brand strategy, advertising, digital engagement, product presentation, consumer analytics and more foster consumer connections via channels ranging from Nike Stores to social media. They approach marketing in a way that only Nike can: taking risks, pushing boundaries and inspiring consumers to be champions.
Job summary: The Marketing and Communications Associate is responsible for facilitating and overseeing the execution of all marketing and communications functions for the organization, with an emphasis on digital marketing. The Associate reports directly to the Marketing and Communications Strategist and interacts with web developers, graphic designers and other vendors that are identified by the organization to work on select projects.
Hello, everyone! We’re a day late posting this update, but rest assured that all is well at Haulix HQ. We have some big changes on the horizon, and starting with this post we are going to reveal some of what lies in store. Before we get there however, we would like to begin this recap with a song we have had on repeat all week long. Check this out:
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:
Haulix is now relying on Microsoft Azure, and as a result we are more powerful than ever before. This was the first and biggest piece needed to make our long-planned relaunch happen, and now that it is in place we can finally focus on pushing this massive update to the public. It won’t happen overnight, of course, but before Spring arrives we plan to have an entirely new platform for clients and press to enjoy.
Blog news:
With all the planning and work being put into the next phase of product development we have admittedly put our blog efforts on the back burner a bit. That said, we are still churning out 5-10 original columns every week, including our podcast (Inside Music). We may not be hitting the same quantity we did three months back, but we believe the quality of what we create is better now than ever before. Don’t believe us? Head over to the archives and see for yourself.
That is all the news we have to share this week. Have a wonderful weekend and be sure to check back tomorrow for a brand new Job Board.
In the world of internet remix kings there are few names more recognizable than Electric Bodega. The product of a collaboration between two music wizards, Mike Cash and DJ Klutch, Electric Bodega has been providing the world with club-ready remixes of music’s biggest hits for the better part of the last half decade. At the dawn of the new year, the group took their musical pursuits one step further by sharing their first original material, “Faded,” with the world. That single came with the announcement of the group’s debut EP, which will soon be available, and we knew we could not wait any longer to talk to the duo about their current projects and future musical ambitions. So, emails were sent, schedules exchanged, and right before the start of February we hopped on the phone and made this feature happen.
It’s hard to explain what it is about Electric Bodega’s music that we find so endless fascinating, but we know the recipe to their success begins with energy. The material Electric Bodega creates, be it a remix or an original, always carries enough energy to wake a coma patient, and we mean that in the best way possible. It is impossible to hear the music of Electric Bodega without immediately feeling your spirits life and your feet begin to move. They are a cure for the modern blues, and with their debut EP right around the corner they seemed poised to be everyone’s favorite DJ/production duo by the end of 2016. Take time now and get familiar with their story:
Haulix: Thank you both for taking time to speak with me today. How is New York handling the winter?
Electric Bodega: We’re in Staten Island right now. Its been crazy so far, but you never really know what is going to happen. They amp the weather up for weeks and then nothing happens, or it rains (laughs).
H: How has 2016 been treating you so far? Seems like you’ve been pretty busy since you dropped “Faded” right around the beginning of the new year.
EB: Yea, things have been good for us so far. We’ve been trying to get our debut EP together, which is pretty much done right now, but that has been taking a lot of our time. We have this other single, “Locked Up,” out right now. It’s also on the EP.
H: I was reading about that song. Can you tell me a little more about it?
EB: Yea, so with this record we linked up with Netousha Monroe, who is the featured guest, and we basically built the song around her performance. It’s a song that has been a favorite of ours for a minute now, and we are really excited to share it with the public. Compared to “Faded,” it’s still a club record, but I would say this is more of a song for the ladies. It’s on more of an RnB vibe where “Faded” was more of a turn-up record. We really want this record to showcases everything we are capable of.
H: Let’s talk about the EP a bit more. You said the record is basically finished at this point?
EB: Yea, we were just in the studio doing some mixing, but everything else is pretty much complete. We were hoping to have the full EP out by the end of January, but “Faded” started to gain some traction and we didn’t want to rush out the record if we didn’t have to right away. We’re looking to have the record out by the end of February now, but its all for a good reason. “Faded” has been getting love from places like Hot97, so we feel we can spread everything out a bit.
H: Just to be clear, this is the first proper EP from Electric Bodega?
EB: Yes. This is the first EP from us, and it contains all original material.
H: Is this something you have been working towards for a long time? I know remixes have pretty much been your bread and butter for a few years, so I’m curious if original material is what you want to pursue more and more in the years ahead.
EB: Definitely. The remixes, for us, were more of a way to get our names on the map. It is way easier to get someone to take a chance on a remix of a popular song than it is to sell them on original ideas. That is how Electric Bodega came to be, in a way. We were both getting a bunch of love through remix work, that’s where we come from, and we eventually to combine our skills. This EP made sense now. People have been feeling our work for a bit, and sometime last year we really felt like we reached a point where focusing on our original material was what we had to do in order to grow. We want to collaborate with artists, and it can be hard to get people on your remix. We’ve had a few big names, like French Montana, but with original material we’re hoping to do even more collaborations moving forward.
H: I’m sure remixes will stay play a part in your career, right?
EB: Of course. We’re working on two big remixes while we speak.
H: Can you tell me the songs?
EB: One is a Hopsin track, and then the other is The Weeknd’s “Might Not Make It.”
H: What is the usual turnaround time for a remix?
EB: I think we’re pretty quick. We basically decide to work on something and we do 90% of the record in one night, then it takes up to a week for us to do the other 10% (laughs). It’s a really fast process for us now, but after that first big push it can take us a couple days to finish things up and make sure everything is just how we want it to be.
H: With everything you have planned material wise for 2016, can we expect to see Electric Bodega hitting the road as well?
EB: We’re definitely trying to take our show on the road. We have been in talks with people from Arizona, California, and everywhere else. We will get out there eventually.
H: What would you say are your main goals for the year ahead?
EB: Touring, Grammys. We’re really trying to spread our brand and push more original material. As a group we have been known for our remixes, so we’re excited to see how people react to us once they hear our EP. I don’t think it sounds like anything we’ve done, and as a result it’s going to take people by surprise. We’re more than remix artists, and that will be clear once we get this material out there.
H: One more thing before you go. When we started promoting the fact we were having this chat with you people begged us to ask whatever became of the Electric Bodega Soundcloud account. You had a thriving page once, but it’s no longer available?
EB: [in unison] They’re the worst. A lot of people are going through this right now, a lot of producers, but they just pulled it. They pulled everything from our page in one big move. We do have a meeting with them about getting it back up soon, but yea – they took it down like they have many other pages.
We are on Audiomack, and while it isn’t as big as Soundcloud it is a very dope platform and company that we have been able to work with a lot so far. If and when we have our Soundcloud back we will still keep our Audiomack page, and everything we have released to date is available there, as well as downloads. We probably won’t be allowed to post remixes on Soundcloud anyways, so using Audiomack might be a better option.
Instagram has long been the go-to platform for anyone hoping to share photos and short videos of their lives with the internet, but in recent weeks the company has gone to new lengths improve brand relations and provide long-desired improvements to their platform (account toggling, video view counts). Social media tips and tricks are talked to death as is, but considering these new innovations now seems as good a time as any for a quick refresher on how artists can make the most of their IG marketing efforts. Whether you’re new to the platform (which probably means you’re also a new artist – HELLO!) or simply trying to figure out if having an IG account even matters for your musical endeavors, the followings tips offer easy to apply techniques that we guarantee will deliver results.
Strategize first, post second.
Your band or solo music account is not your personal account and it should not be treated as such. Where the former offers spontaneous insight into your life, the latter needs to offer a far more focused look at your life. Before you can begin to do that in a meaningful way you should first decide what it is you want the world to see and how you want those images to reflect the music you create. Who are you as an artist? What do you represent? Be real with your audience and those who connect will engage regularly in the content you share. More importantly, they feel as if they know you in a way simply hearing your art does not allow.
When you do post, make sure you provide fans with quality content
The basic outline for musicians on Instagram is the same everywhere you look, and that’s because it works. You want to share your journey from the bottom to the top, along with all the highs and lows that ensure in between. You want to share the place where you write, the studio where you record, life in your van (be careful on this one), life on stage, life in the green room (this one too), and the day you make your big signing announcement, as well as various newsworthy tidbits like tours and song premieres. Your brand’s Instagram should sell your music through photos and video the way your music sells people when they hear it through speakers or headphones. This is the visual representation of yourself as an artist, and as more users begin to follow each post’s impact on your overall image will grow in perpetuity.
As always, communication is key.
Did you really think you could get away with simply posting images and videos on Instagram? Fans are going to react to the things you post and you should respond whenever possible. Talk to the people who care enough to talk to you (except the haters – never engage those trolls), and be sure to @them so they know you are speaking directly to them despite being connected solely through the internet.
Use meaningful hashtags. Yes, hashtags can and should have meaning.
We’ve all had our fair share of fun with #silly and #meaningless hashtag use, but if you want to make the most of your Instagram following you would be wise to take the pound sign a bit more serious moving forward. A hashtag can make people aware of a new album, tour, single, or any other development you could hope to market.
Hashtags can also bring people together. Take defunct emo rock deities My Chemical Romance, for example. Their fans, the creatively named MCRmy, uses #MCRmy whenever posting about the band online. Fans then use this hashtag to connect with others who enjoy the group, which in turns strengthens the fan base as a whole. Black Veil Brides’ fans have used a similar technique, with followers of that group posting #BVBarmy in their tweets and IG posts. Again, fans connect with each other while also sharing fun or meaningful media related to the group. The brand is spread, as is news about new albums and tours, all while fans are connecting with one another and developing a community built upon mutual admiration for the band. Everyone wins!
Make your Instagram a unique destination
While Ingstgram does allow users to share posts on other social media platforms it’s important to remember that not everyone will be connected with your brand on every site or app. With that mind, you should make an effort to treat each online community as its own hub for your group. Do not assume the people on Facebook know about the promotion you have on your IG and do not assume people on IG will want to give you a ‘Like’ on Facebook. Some of them probably don’t even have a Facebook!
Make your IG community a unique place to engage with your music and fans will begin to view it as something special, which it is. This will aide in developing your online community, as well as increase overall engagement with your audience. It also means more work, but it’s 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.
We talk about a lot social media platforms and the various ways they can improve one’s position in the music industry both as an artist and as a professional. We’ve covered how Twitter and Facebook make constant engagement a breeze, as well as how emerging platforms like Snapchat and Periscope make your interactions with the world at large even more personal. What we haven’t covered, and what we honestly never thought we would have to cover, is the proper use of LinkedIn. However, after several weeks of strange messages and friend requests we have found there is no getting around the fact people still don’t know how this professional networking platform is meant to work, so here we are with a quick explanation.
LinkedIn was founded in 2002 and promoted as a business-oriented social networking service. The mission of the company has more or less remained the same since that time, though several new features and tools have been implemented along the way. I cannot speak with any authority as to what founders of the site thought might happen when musicians and music professionals joined their service, but given the way their site functions I highly doubt they ever anticipated LinkedIn being used as a platform to pitch journalists, label owners, booking agents, and the like on new music. Why would they? The vast majority of the service’s users, and by that I mean far more than 90% of those with an account, work outside of the entertainment industry. Of those that do work in entertainment, only a small fraction of people work in music, and only a tiny fraction of them have any reason to pitch someone about a new artist or album.
This math may have your mind spinning, but let’s cut right to the chase: There is never any reason to pitch someone about a band, album, or tour through LinkedIn. Doing so is the modern day equivalent to distributing your press releases through MySpace bulletins circa 2006. People might see them, but will they care? More importantly, will they act on them?
In the decade I have been active in the music business I have probably received dozens, if not over a hundred, friend requests on LinkedIn from bands and low budget (aka no budget) PR firms. You know when these requests come in because instead of receiving an email that reads “John Jones wants to connect” you receive something like “Death By Unicorn Blood wants to connect,” or “Rich Money PR wants to connect.” For the life of me I cannot think of a single reason anyone would ever accept these invitations. Unlike other social media platforms, which are built with brands in mind, LinkedIn and its users put very little value into the amount of connections someone has unless they’re matched by numerous endorsements for a particular person’s professionals skills. Simply having a large numbers of connections does not impress anyone, nor should it!
In that same time, and especially in the last several weeks, I have received numerous pitches asking for content in regards to records, signings, tours, and everything in between. The quality of these messages usually ranges from piss poor to only somewhat terrible, and since LinkedIn isn’t built with media-sharing in mind there is never much content to browse. If anything, messages will end with a large amount of links asking you to do the leg work.
To further explain the types of messages that shouldn’t be sent, here’s an actual pitch that recently hit my LinkedIn account:
Hey James,
My name is [removed to protect identity] and I am the founder of [Anonymous PR firm]. I’ve got several great punk rock bands with new or recently released albums I want to tell you about. I see you used to work at Under The Gun Review, so I assume you still write about music somewhere. If you want to interview these artists or perhaps get a download of their music, just let me know and I will shoot you over a link. Also, can I have your email? I was going to call you, but I thought that might be a bit forward.
Here are the bands:
[Punk Band A] – This group rules! They just played a tour with [unknown band A] and [unknown band B] across Southern Arizona. The response was huge and we expect big things in the future.
[Punk Band B] – The pride of Alabama! This band has been playing music together since the members were 14. They just graduated high school, but they are quickly establishing themselves in the greater punk scene. The band has submitted their music to Warped Tour’s battle of the bands contest three years in a row, and each time they place fairly high.
Again, if there is ANYTHING you need at all, let me know.
Sincerely,
[A bad publicist]
There are a number of issues with this email. For starters, the person admits to knowing I don’t write about music for a certain publication before assuming that I still do write and that I would want to cover their bands. My LinkedIn profile clearly outlines where I work and what I do, so the opening sentence has already informed me that this person did very little research before contacting me. Secondly, they offer me free downloads of music without knowing a thing about me. What if I left my old job because I pirated a bunch of music? What if I run a leak blog on the side? Neither of these are true, of course, but the person contacting me doesn’t know that.
Furthermore, the publicist behind this email makes the assumption I not only check my LinkedIn messages regularly, but that I also do business through LinkedIn. While I cannot speak to what most people do with their LinkedIn account, it’s very unlikely that many view the service as a place to do actual business. At most, people use LinkedIn to connect with professionals they don’t know and then use that connection to find the proper avenues for contact. The publicist above did do that, but not until AFTER they decided to go ahead and pitch me. That’s what my dad would call “jumping the gun.”
At this risk of talking to much about what should really be a pretty straightforward factoid: STOP MISUSING LINKEDIN. If you want to connect with industry professionals who may be able to help get you a job or if you want to connect with someone so that you can learn how to properly send them pitches, fine, but every other topic of conversation you might message someone about should be reserved for other platforms and messaging services. Send an email or make a call. Heck, you might have a better chance of getting noticed and taken seriously through Twitter than LinkedIn. It’s all about presentation.
There are million ways to be discovered in music, but there are several million ways to waste time by promoting yourself in all the wrong places. LinkedIn, as it is today, is the wrong place to promote your new music. Just don’t do it.
The following post is the latest in our ongoing content collaboration series with the fine folks from SonicBids. If there is ever a music related topic you cannot find covered on our blog we highly recommend giving their site a visit. Heck, go ahead and make them a bookmark. They’re great people doing great work for the same reason as us: They want to see the industry continue to grow for many years to come.
Being a musician involves wearing many hats. Most great musicians have mastered the art of both practicing their chops alone, and displaying those chops in front of large crowds. As an introvert, you may feel more comfortable practicing alone, but that doesn’t mean you can’t be an amazing performer as well; you might just have to change the way you approach performance in order to make it work for you. Here are some tools introverted musicians can use to improve their stage presence and overall performing abilities.
1. Throw away the misconceptions
Many people (including introverts themselves) have misconceptions about what introversion actually means. Susan Cain, bestselling author of Quiet: The Power of Introverts in a World That Can’t Stop Talking, points out that shyness and introversion aren’t the same, even though most of us assume they are.
“Shyness is the fear of negative judgment, and introversion is a preference for quiet, minimally stimulating environments,” she writes. Barbra Streisand, for example, is someone that most of us would immediately identify as being comfortable in front of other people, but not so, says Cain. “Barbra Streisand has an outgoing, larger than life personality, but a paralyzing case of stage fright: she’s a shy extrovert.”
Another misconception is that introverts get stage fright. But even if you’re a shy introvert, that doesn’t necessarily mean you have performance anxiety. (By the way, if you’re curious to see if you’re a shy introvert or not, you can take this online shyness test developed by researchers at Wellesley College.) Most shy people are moderately shy and can get by just fine in front of people despite their shyness. It’s only when this shyness becomes extreme that it can lead to cases ofperformance anxiety (which, by the way, it something you can conquer, just as other performers like Barbra Streisand have).
2. Develop a pre-gig routine
Just like in other areas of DIY musician life, introverts have the upper hand over extroverts in some ways when it comes to performing. Psychologists have found that introverts often make better public speakers than extroverts, because introverts tend to take more time to prepare and think things through. So while your extroverted bandmates might be chatting it up with fans or other musicians before the gig, you can feel justified in taking this time to go over the setlist in your head, warm up your voice, or simply spend some quiet time alone.
3. Prepare some topics for between songs
Sometimes the most daunting thing about performing is not playing the songs, but thinking about what to say between songs. Because introverts don’t tend to be as quick on their feet as extroverts in social situations, it could be a good idea to prepare some topics beforehand to help fill those awkward silences if you’re the one tasked with talking to the audience.
4. Know when to fake it…
As Cain has pointed out, introverts don’t always act like they feel. “Introverts are capable of acting like extroverts for the sake of work they consider important, people they love, or anything they value highly,” she says. This is because of a phenomenon she calls Free Trait Theory, which says that people are born with certain natural dispositions, but can successfully act against these dispositions when pursuing “core personal projects.” So even if you don’t feel like going up onstage every time you have a gig, you can learn when to turn on the extrovert tap, so to speak.
5. …and when to be real
At the same time, going too far into Free Trait territory can be dangerous for your stage presence, if not for your personal health. According to research from Cambridge University, faking your personality for too long could lead to health problems such as decreased immune system functioning. Plus, there’s always the danger that you could get tired of pretending to be an extrovert onstage and come across as fake and awkward.
It’s also important to remember that performing onstage isn’t the same as interacting with people at a party or a networking event; while it may serve you well to act more gregarious than normal in a networking situation, you might actually have more luck capturing the attention of fans on stage simply by being real. Sometimes you can actually exude more energy simply by standing stoically rather than jumping around like a spastic monkey.
6. Take time to recuperate
Both extroverts and introverts need time to recharge. Research has found that extroverts feel less stressed at work when they take time throughout the day to be social. If this is the case, then it would follow that the opposite is true for introverts. If performing takes a lot of your energy, then naturally, you’ll want to take time after each gig to regain that energy.
Even if you don’t feel comfortable at all onstage, it may help to think of performing as part of your art, just like writing songs or recording an album. It may be the part you dread the most, but for your fans, it could be the best way to experience your music. You may find performing exhausting, but if you learn to do it right, your fans will find it exhilarating. And after all, isn’t playing music all about creating amazing experiences?
Casey van Wensem is a freelance composer, musician, and writer living in Kelowna, B.C., Canada. You can hear his musical work at birdscompanionmusic.com and read his written work atcaseyvanwensemwriting.com.
On this episode of INSIDE MUSIC, host James Shotwell calls Drowning Pool vocalist Jasen Moreno to discuss a wide range of topics, including his band’s new album. Moreno has been with Drowning Pool for two albums now, but in reality he has been close to the group since the days before they signed their first record deal. James asks Jasen about that time in the band’s life, as well as about the material on the group’s latest release. Moreno’s passion for rock and roll is as strong as you’re likely to find, and we’re grateful for the opportunity to hear his reflections on a life in music.
The music you hear in this episode of Inside Music is taken from Drowning Pool’s new album, Hellelujah, which is available now wherever music is sold.
You may already know this, but Inside Music is now available on iTunes! Click here to subscribe.
The following article was created with assistance from the fine men of Whosah. If you don’t know about this amazing group and the unforgettable music they create, follow this link and get familiar before you’re caught looking like a fool.
Let’s face it- everybody who has run sound or a musician has at least a small handful of shameful war stories about how the other side has totally blown it at a gig:
“The sound guy didn’t know what he was doing and the mix sounded terrible.”
“The frontman cupped his hands around the mic and kept pointing it into the monitor.”
etc. etc etc.
The reality is, the relationship between the venue or headliner’s audio crew and the bands involved is the most important relationship in putting on a great show. You need each other. It doesn’t matter how well prepared the band is to perform, if they aren’t working well with the sound crew, the vision of the performance won’t translate to the audience with nearly the impact it could if the sound person and stage techs are completely on board with that vision.
Always assume you’re talking to someone who’s smarter than you- who’s a person who might surprise you when you get to know them.
I’ve stage-handed for 17,000+ attendee festivals, been the A1 at convention centers, and designed and installed AV systems in small Universities- but when I walk into a venue with skinny jeans and drum set, nobody I talk to knows what my background is. Conversely, how can I walk into a venue and assume to know the background (or lack thereof) of the guy standing across from me who’s running sound or stage teching that night? There have been times when after the show, I find out the guy mixing used to work for Journey, Steely Dan, or Prince. The stagehand could have just come off a tour with All Time Low or Hey Violet and be working this show as a favor for a friend. You never know what someone’s contacts are, and you never know what their chops are like until you actually interact with them. In this case as in any, always assume the best in the people around you.
Be friendly and personable.
Now, I can tell by their demeanor that many of these guys have been treated like crap over the years, but if I avoid the pitfall of being the stereotypical arrogant, diva musician, I may be surprised at the wealth of resource in front of me. I might even make a friend. Memorize their first name and use it regularly when speaking with them. It doesn’t happen often, but sometimes that friend I make at the soundboard references me to a local band who just sold the place out last night or gives me the contact of a promoter who puts us on a sweet show next time we’re in town.
More than that, it’s just generally a sad and disappointing reality that many bands are disrespectful or dismissive of sound crew. I’ve met some of my closest friends through this industry- as a general trend sound guys are some of the most selfless, generous, and authentic dudes and ladies out there. If you lead with a friendly handshake and a smile, you might be surprised by the connection you inadvertently make.
Be accurate and specific in your rider.
You’ll make a bad impression early on if you don’t pass along your tech information or if you walk into the venue and the first thing you say is, “oh yea, that email was wrong. We actually also have….” Not only does this make the sound guy roll his eyes and probably not like you, but it will also take you twice as long to set up for your soundcheck and will have you playing catch up the rest of the night before doors. Not fun. Much better to plan ahead with specific information so that everyone’s on the same page. Make sure your technical rider is crisp, clear, as simple as possible, and up to date.
Leverage your gear so that processes are streamlined. The time it takes you to load onto stage and be ready for soundcheck should take no more than 5-8 minutes.
I’m a little bit of a fanatic on this. In order to avoid any need for a monitor guy and to significantly reduce stage volume, I built my band a custom in-ear-monitor rack controlled by everyone’s iPhones. This system contains 5 wireless in ear systems, a digital mixer, and a splitter for all the channels going to front of house for every show. Regardless of venue or stage size, this setup is pre-configured and tested fully at rehearsal. It has labels on everything, and has repeatable steps for assembly each time we set it up. Each person in the band has a rough aspect of this system he is primarily responsible for, but everyone is at least vaguely aware of how it all goes together so that during setup time we’re always ready to help each other out if one part needs more time than another.
Now, I recognize that not all bands are equipped financially or tech-minded to be able to have a system this robust, but the principles still apply to any band. Label all your equipment. Have general responsibilities on stage for who sets up what. Have labels (color coded if possible) for all your cables and other common equipment so you can quickly glance at a pile of gear and know which one is yours. Preset as much of each member’s equipment as possible off-stage before your allotted setup time, so that when it’s your turn, all you’ll need to do is lift your rig onstage in 1-2 trips and patch into the system.
There’s are several huge wins you’ll earn for your band if you take on this mentality. First, it’s never a bad thing to be thought of as “easy to work with”. For sidemen and sound dudes, this is the best way to earn a positive regional rep. Second, it makes you an easy book as support for a big show- if they know you aren’t a lot of work and you have a professional changeover time, you’re more likely to be asked back. Third, being a quick setup means you’ll have more time at the show to interact with your fans and meet new people, which is still the number 1 way bands build a following. The faster and simpler your setup is, the more time you’ll have for this critical face-to-face interaction.
Always be explicitly thankful and grateful.
Not only is this just a good rule of thumb for how to do life, but it is a simple, unassuming way you can breathe life into the day of the guy running sound. It’s one of the most thankless industries to work in, and one in which the people slave away on crazy hours for often very low pay. While these types of folks might typically come off as a little gruff and weathered, a simple, non threatening way to meaningfully “see” them is to just thank them explicitly and behaviorally throughout the gig. Truly, your fans experience of your show would not be even possible without them, and when human beings feel valued and appreciated, they always produce their best work.
