Despite what the proliferation of streaming services may have lead you to believe, exclusivity in the music business is alive and well in 2016. Regardless of whether you’re discussing sales, streams, video content, or even written editorials, the demand from companies and blogs alike to lay claim to something no one else can offer has never been higher than it is right now. Even artists are in on the game, with Kanye West proclaiming Tidal as the only place he will ever allow The Life Of Pablo to be made available to the public online, or with Drake having his “Hotline Bling” video financed and premiered by Apple. The idea behind these moves is that it draws everyone’s attention to one place where the conversation is controlled by the party, or parties, responsible for the content being shared. It’s a concept known to many as windowing, and in theory it’s a real game-changer, but in reality it’s a process that ultimately devalues whatever content such activity is intended to promote.
“Windowing” is a term often thought of in relation to film, but in recent years it has become increasingly popular in conversations based around the music industry. The word refers to the idea of releasing a new piece of media in a select number of locations or to a select user set at first before later making the same content available in more places and to more people as it begins to age. In digital music, a windowed release would be one that is only available on Spotify or a similar streaming platform at first. Then, after several weeks or months has passed, the album is made available on Apple Music, Tidal, YouTube, and/or any other streaming platform you can think to name.
Sony Entertainment CEO Michael Lynton recently suggested that in future, we will see music releases being windowed like movies, with new music being made available exclusively on paid subscription services first, and only on free services later. Companies want to offer something their competition cannot, and as that trend continues the amount of money services will be willing to pay for exclusive access will rise. This mean labels and artists alike will be able to cash in on new material with a big payday up front as opposed to pursuing a traditional release and the uncertainty that comes with it. Windowing guarantees some return on investment, at least up front, even if the material isn’t all that great. After all, companies are paying for content, not quality.
The problem with windowing, especially in music, is that it assume consumers will change their behavior based on a corporate sponsorship that does not benefit them in any way whatsoever. Consumers have grown accustomed to having everything ever released available on demand, often for free, pretty much whenever they wish to access it. They have likely already chosen a streaming platform, or have at least used several free trials, and they have established a routine when it comes to new music consumption that they rarely deviate from. If they buy vinyl, a streaming exclusive won’t get them to use Tidal. If they pay for Spotify, a physical release of something might not find its way into their collection. This isn’t to say music fans are stuck in their ways, but they do tend to know how they prefer to engage with music and they rarely change their behavior without somehow finding it absolutely necessary to do so. Promises of better quality might work, which I suppose is the hope of hi-fi services such as Tidal, but the only people who care about such things are those who feel what they already have is not good enough.
Take Kanye’s latest, The Life Of Pablo, for example. The record, which was released exclusively on Tidal, reportedly helped the fledgling streaming platform more than double its total number of subscribers (from 1.5 million to 3 million), but it also lead to a boom in online piracy that quickly outpaced Tidal’s growth. Within 72-hours of the album first appearing online several torrent trackers reported the record to have already been illegally downloaded more than 500,000 times, and by the end of the album’s first week of release that number had already doubled. Kanye may see some return on those downloads in the form of praise from fans received over Twitter or another social network, but the real winners in this scenario are the pirate sites promoting the album’s illegal availability. Their pages have ads, often many, and they gain a few pennies for every click they receive. Times those pennies by a million or more and you begin to see real money, which will never reach Kanye or anyone he may be indebted to as a result of creating TLOP.
The short term gains of windowing releases in music is only a good thing when one does not consider the potential lost income and engagement that will arise from consumers forging their own path to your content. Instead of limiting access to material, artists big and small should be doing everything in their power to make their music available everywhere under the sun. Make it harder for people to find illegal links to your music by supplying them with endless legal options instead. Don’t limit yourself or your fans to just one service when you can use them all and have your content available anywhere on the planet at a moment’s notice. You might not receive a big check overnight, or even have the immediate press blitz you desire, but in the long run you will develop a more dedicated and engaged audience that is willing to put their money where their tweets are and financially support your efforts. That should be the ultimate goal for any artist, and it’s only possible by allowing your fans to be themselves and make their own decisions.
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.
The best music has the ability to transport us from wherever we are on this spinning rock we call home and place our feet in the shoes of another. Be it a bird in the sky or a first date at a punk rock show, music offers us perspectives and experiences in life that we may otherwise never be able to experience. For a few minutes, or maybe even just a few seconds, music allows us to shed the trappings of our skeletal cages and explore the endless possibilities of the imagination.
Romp, hailing from same New Jersey stomping ground that gave bands The Gaslight Anthem and Thursday their start, offer listeners the chance to view life through their eyes. Lead by vocalist and keyboardist Madison Klarer, the group blurs the lines between punk, indie rock, and revivalist emo to deliver anthem tales of love, life, exploration, and heartache with deeply personal lyrics that all but reach through the speakers and grab you by the collar. Like the influential bands that hail from their hometown, Romp find relatable in the minute details of existence. They find the simple beauty of a an everyday moment and through doing so create art that can and often will stop you in your tracks, or in the midst of yet another text, and demands you not only pay attention, but fully submit to the sonic adventure they wish to share.
Listening to Departure From Venus, the band’s full-length debut out this month on Bad Timing Records, is akin to sharing memories, problems, and aspirations with a close friend over coffee in the dead of morning or night. You know, when the sky is as quiet as the city streets and for a brief span of time you feel as if you and your friend are the only two people on the planet? This is album is like that, only in in musical form. Departure From Venus is a crash course on the band, its members, and who those members are as individuals channeled through anthemic choruses and hypnotic melodies meant to move your feet just as much as your soul. You could argue that other albums accomplish similar feats for their creators, and you may be right, but none of them hum with the emotional intensity or lyrical whimsy present in every note shared by Romp. This is their adventure, and they are guiding us as only they know how to do.
All of this musical magic would make a lot more sense if it had come from a band with years of shared memories and experiences behind them, but that is not the case with Romp. Two years ago no one in Romp knew the people who would soon be their bandmates, and it’s only because of a chance meeting through Tinder that the band even had a chance at being forged into existence. The fact their artistic chemistry mixes as well as it does at such a young age, both as individuals and a group, would be considered a miracle if not for the profound dedication and work ethic shared by the group’s members. You cannot find a person in alternative music who knows of Romp and does not swear by their talent. People have been cheering for this group long before they were being promoted by one of the hottest young alternative labels in music, and that fact speak entirely to their talent which, at the end of the day, is what always matters most.
As you head into this week, make time to experience Departure From Venus and allow yourself to fully engage with what you hear pouring through your speakers. Put down your phone, close your laptop, pour some coffee, and lose yourself in everything that Romp has to share. Their music, while riddled with angst, is as beautiful as anything laid to tape in the last year. It’s a sudden rush of pure energy and excitement for life, delivered through music, that will lift your spirits and make you think differently about the world around you, as well as how you deal with any hurdles in your way. Romp provides a soundtrack for self-acceptance that begs the listeners to embrace their every flaw with the same confidence as they do their strengths, and the best part of it all is that they’re only just getting started.
James Shotwell is the Digital Marketing Manager 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: My Country Nation is looking for an exceptional Social Media Producer to lead all social media efforts for this growing digital platform. The ideal candidate will be a social media guru and lover of country music and country lifestyle with an assertive drive to take ownership of MyCN’s social channels, creating a unique voice and producing superior content that aligns with social media best practices across all platforms.
Job summary: As part of the US Latin marketing team, the Manager, Marketing is responsible for the planning, development, pitching and execution of innovative marketing strategies to launch, brand and develop artists throughout the product lifecycle for assigned artist projects.
Job summary: We are looking for a Campaign Coordinator to join our Ad Ops Team based in our New York City headquarters. The Campaign Coordinator will be responsible for the day-to-day execution of our email marketing program. This role involves the creation, scheduling, deployment, and reporting of email materials.
Job summary: As a member of the Partner Marketing team, part of the Consumer Marketing organization at Spotify, you will be responsible for driving go-to-market strategy and life-cycle marketing for priority global priority partners with the aim of achieving key acquisition, engagement and subscription metrics. This position requires experience planning /managing integrated marketing campaigns, excellent communications skills, and the ability to collaborate cross-functionally on all initiatives. Reports into the Global Director, Partner Marketing.
Job summary: Oversee and direct aspects of day-to-day digital management. Responsible for creating and executing digital marketing and promotional plans across all areas of online including portals and distribution partners, artist websites, social media, new technology, CRM, SEM/SEO, third party lifestyle, and e-commerce. Responsible for nurturing and leveraging relationships with the artists and their management teams. Required to set goals and manage campaigns in an effort to optimize reach and revenue. Responsible for managing and interpreting departmental reports and partner data.
Job summary: The role will report to the Vice President of Casting, who you will work with to strategize and execute a plan for acquiring and converting new leads for our talent-casting service, as well improving client retention. You will manage a small team of product evangelists (“casting specialists”) and be tasked with sourcing and acquiring new leads, focusing on growing our network of casting directors, filmmakers, and companies that have productions to cast – from major and indie films to plays, musicals, web-series, commercials, music videos, explainer videos, and more.
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.
Hello, everyone. Welcome to the final recap of February 2016. It’s kind of hard to believe this year is already 1/6 complete, but that appears to be the case. Have you been tackling you new year’s resolutions, or putting them off? We’ve done our best to do the former, but it’s hard to resist a lazy weekend at home. One of the things motivating us has been music, especially this song:
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:
The new version of Haulix is coming along smoothly, though we are uncertain it will be ready for unveiling at SXSW as originally planned. As a result, we wish to keep most the details regarding the numerous updates planned under wraps. We will say that the new Haulix will be easier to use and offer better security than any of our competitors can claim. We have poured everything we have into this project, and we will continue to do so until it is as good as it can possible be. You deserve nothing but the best, and we will find a way to make it available.
Blog news:
Activity on the blog was up this week, but content creation is still taking a back seat to work on the new platform. We are quite proud of the material shared as of late, so please take a few moments to experience everything we have prepared for you. The best way to do that, at least in our opinion, is by scrolling through our archives. Enjoy.
That is all the news we have to share this week. Have a safe and productive weekend. We will see you back here on Sunday for a brand new job board.
The following post is the latest in our ongoing collaboration series with the fine folks at Sonicbids.
Music PR is not easy. It’s a lot of work and is usually best left to a professional publicist. But sometimes, due to lack of funds, difficulty finding the right fit in terms of person or firm, or the desire to just get ‘er done on your own can dictate your decision to take matters into your own hands and do your own publicity (which can actually help you eventually find that ever-elusive PR rep).
Know your market, know your scene, know your media. Make friends with local radio DJs, the music writers, and the music bloggers. Invite them to your shows. Make sure they get a copy of your music with a personal note. Stay in touch with them. Reach out even when you have nothing to promote. Make that relationship rock solid so that the local media can feel like they have ownership. They will stick with you forever.
2. Combine tenacity with creativity
You are the most passionate person about your music. Why not funnel that passion into action, by messaging radio stations, writers, or editors? Come up with an efficient pitch and send it via social media or email. Be nice. Follow up. Come up with an interesting angle and make them an offer (aka, a pitch) that they can’t refuse. Be creative. If you’re touring cross-country using discarded vegetable oil from restaurants, let news or environmental outlets know as much. There might be a story there. Anything “different” is a possible angle, so explore it.
3. Use the buddy system
If you have a good friend who’s gregarious and is enmeshed in your market and scene, ask them to perhaps tackle some PR tasks for you in exchange for a few bucks, lifetime free admission to your shows, a finder’s fee, or a delish dinner at the nicest restaurant in town. If said person is hungry like you’re hungry, it’s a win-win for both of you.
4. Vet, vet, vet
No, I don’t mean the animal doctor, either. If you’ve decided that you can no longer pitch yourself and follow up with the media because you have to tour and write music, you should vet about 10 potential publicists or firms. Look at their client roster. Look at their Facebook updates, where many of them post clips of their work. Look at their testimonials. Look at how what they do meshes with what they do. Reach out.
Those are the four easiest things you can do to be proactive with your band’s PR when you’re doing it on your own. These practices will also help prepare you to hand over the keys when the time is right.
Amy Sciarretto has 20 years of print and online bylines, from Kerrang to Spin.com to Revolver to Bustle, covering music, beauty, and fashion. After 12 years doing radio and publicity at Roadrunner Records, she now fronts Atom Splitter PR, her own boutique PR firm, which has over 30 clients. She also is active in animal charity and rescue.
A brief look at the band’s currently leading the alternative and underground music realms might lead one to believe that heavier music has lost its edge, or at least its public appeal. Sales are down, which is admittedly true for every area of the industry, but unless you’re tuned in to certain niche heavy arenas there have been few, if any, ‘breakout’ acts in the last two or three years. Some might even say hope seems lost, but those people are idiots. Heavy music is alive and well, if you know where to look, and even the extreme corners of the industry have innovative young artists who are working day and night to keep their scene alive.
Enterprise Earth, who were the third band to be announced as part of the still young Stay Sick Recordings, have quickly risen through the ranks of the heavy music underground with well refined, yet incredibly chaotic take on deathcore that is sure to leave your ears feeling as if they have been pummeled by a heard of panicked elephants in the best possible way. The band’s label debut arrived back in December, and since its release acclaim for the band has only continued to grow. We’ve even had the record in regular rotation here at our new office, much to the dismay of the very kind bankers with whom we share a glass wall, and there doesn’t appear to be another album quite like it due out anytime in the near future.
We recently had the opportunity to speak with the BJ Sampson, guitarist for Enterprise Earth, about the record, its reception, and their plans for the rest of 2016. You can read highlight from our conversation below. Afterwards, make the best decision of your month and pick up a copy of the band’s label debut, Patient 0, from your favorite online retailer.
Haulix: Hello! Before we dive in too far please take a moment and introduce yourself, as well as your role within Enterprise Earth…
EE: BJ Sampson, Guitar
H: Thank you for taking the time to chat with me. Roughly two months have passed since your Stay Sick debut, Patient 0, was released. How has the initial wave of reaction and criticism been so far?
EE: It’s been well received. We could’nt be any happier with the fan and industry reaction. We started out with devoted fans and continue to acquire new and equally devoted fans daily. That alone keeps us driven and passionate.
H: Are you someone who reads reviews and the like, or do you try to steer clear of the press and their critiques?
EE: Reviews are ok but its just one persons opinion. Personally, I’m not swayed by the opinions of others. I make my own thoughts.
H: Did you keep busy during the holidays, or did you guys take the end of the year off? I know a lot of artists lay low during those last two weeks because there is not a lot going on in the industry.
EE: We did not take time off. We released Patient 0 in the midst of holidays. There is no “time off” in our eyes. Work. We have time for that around the clock and calendar.
H: I see you have a string of tour dates set for January that keep you on the western half of the United States. Do you have plans to come further East in the months ahead? Please tell us whatever you can about your future touring efforts.
EE: We did a small west coast run with our friends in Traitors. We have plans to be out on the road from March 31st to May 28th. Keep an eye out for date announcements. In addidtion, we will be appearing at “Extreme Thing” in Las Vegas April 2nd as well as “Texas Independence Fest” April 9th.
H: Most people know that your label, Stay Sick Records, was founded by Fronz from Attila. How did you initially connect with him, and what was it about Stay Sick that attracted your band?
EE: Our initial connection was our move first. We reached out to them and the relationship was born.
Stay Sick has a group of individuals working hard behind the scenes that have a track record that is unmatched. It was a “no-brainer” to join forces with people who have equal drive and motivation to succeed.
H: Some have argued that hardworking bands do not need the assistance of a record label anymore, but we have found a lot of people who think like that are not in bands themselves. Can you shed some light on the necessity of a label, or how labels help artists such as yourself?
EE: The misconception is that when you get signed “you’ve made it” and the label does all the work for you. This is false. Being signed means that you have to work even harder. Spend more time with development. Image (art) sound, ect. Blossoming and growing continually in all aspects. Sure, bands can DIY easier and easier these days. However, not many do it well! If you’re in a band that is killing it DIY. CONGRATS!!!
H: There was a time about 6-8 years ago when deathcore and grindcore acts like yours were getting quite a bit of attention from the alternative realm as a whole, but once Ferret Records went under so did a lot of the critical and cultural hype for the heavier side of music. How would you describe the state of the death metal community in 2016?
EE: Its coming around full circle. What you heard and loved back in 2006-2008, prepare to hear and love again, but better. We believe 2016 will be the year that deathcore returns and in a smashing fashion!
H: Let’s turn to your music. What were the main influences, both musical and not, that inspired the material on Patient 0?
EE: Lyrically it was inspired by horror films. We love a good horror movie. Our lyrics are stories told as if describing a movie. They also have some underlying personal life connections for Dan as well. Instrumentally I cant say it was influenced by anything really, I starred at two screenshots of “The Evil Within” while I wrote. That was my inspiration.
H: Did you have any goals for the record? If so, do you feel you have you fulfilled them, or are on your way to doing so?
EE: The goal was to be dark and heavy. We wrote based off of gut feelings so the riffs werent locked into one specific sound. I wanted to keep it open like that so if we wanted a slam or a blast or a death metal feel we could do that with out being locked in completely to one “sub genre” of metal. We will continue to use this approach going forward.
H: I know I have used a few terms to describe your music, but how do you explain your sound to someone who is unfamiliar with your work?
EE: We just ask “do you like metal?” if they answer yes we just say “go check us out”. This is the one time sub genres act as repelant, JUST LISTEN TO IT. If you enjoy it, perfect. If you dont like it, right on.
H: You’ve been a band for just under two years at this point, but you’ve already dropped two releases on the metal community. To what do you attribute your relentless work ethic?
EE: It’s funny because we dont feel like we did anything special with the time frame. Isnt that what you’re supposed to do? Bands should be writing and touring non stop. It doesnt take much time at all to be forgotten in the day and age where 5 new bands pop up a month looking to push through to the top
H: If someone hears Patient 0 and decides your style of music is what they have been missing all their lives, what albums should they listen to next?
EE: They may enjoy Oceano, The Acacia Strain, Whitechapel, Fallujah, Lorna Shore, Rivers of Nihil, A Night In Texas, ect
H: If all goes as planned, what do you hope to accomplish as a band by the end of 2016?
EE: Exposure. We just want to go out and play for as many people as possible and meet every single one of them in person. That’s what it’s all about. Having a good time doing what we all love!
H: That is all the questions I have right now. Before I let you go, is there anything you would like to say or plug?
EE: NEW MUSIC COMING SOON
Pick yourself up something REAL NICE over at our store 😉
Every now and then we stumble across something our friends in the media have written about life in the industry and we beg them to allow us to post it here on our blog. Sometimes they say no, but this time our pal Scott Fugger said yes! What follows is a piece Scott wrote about his experiences as a blogger, as well as what he feels it means to be a music blog in 2016. Whether you’re new to blogging or a veteran of the online writing game, there is something in the following post that everyone can enjoy.
If there’s one thing we know it’s that the music industry is constantly changing. It may not be clear how, why, or what’s next, but this beast never stays the same for long. What it means to be a music blog today is vastly different from what it was five years ago and in many ways even from this same time last year. With 36vultures going through structural changes and a refocus on original content, what better way to kick the year off than by discussing what a music blog can and should be?
The basic building blocks of any music site are simple: news, reviews, interviews, and features. These four things build up the substance of what is created and ultimately delivered to the audience. On a deeper level, the goals of a blog are greater – to expose others to up and coming artists, to spark conversation, and to become an extension of the personal tastes of both the staff and the readers.
With so much news continuously coming from so many bands it is impossible to report on everything. For those who enjoy a wide range of music, the unfortunate truth is that this leads to a fragmented music news experience. No one website will ever be able to deliver all of the news that you, let alone every single one of their readers, want. But is that such a bad thing? Now that social media is commonplace it is possible for fans to get up to the minute updates right from the source – the bands and labels themselves. This fosters a stronger connection by opening the possibility for great interaction as well as allowing each person to decide specifically whose information they want to see. There is, of course, always the fear of missing out on some extremely important news, which means it is still useful to canvas a variety of blogs for news stories. Throwing away the idea of covering everything blogs then necessarily focus on the news that is most important to its audience and creators; thus each site is able become a unique extension of its viewers’ personal tastes and creating a community around it. However, because news is simply a basic requirement, blogs must find a way to also make a name for themselves in other ways and to actually make a statement.
In this digital age of streaming, anyone can listen to anything with a few taps of a screen meaning that reviews in their traditional sense become somewhat pointless. Why would someone care what you think about the new big album when they can just listen to it themselves? This doesn’t mean reviews should be thrown out altogether, just that those who write them need to find creative ways to dig deeper. Just like any other type of article, a review should have a hook that makes it special. It’s not enough to say the music is good or bad while talking vaguely about the sounds coming out of the stereo. Readers are looking for a more analytical approach because most of them come in with already formed opinions. A more in-depth look at the lyrical content, an interesting point about the structure of a song in relation to the album as a whole, or a personal connection that has come out through the music are just some options for this. If something can be offered that puts the music in a different light or causes critical thinking and introspection can cause a review to be worthwhile both to be written and to be read. Similarly when reviewing an up and coming band it is important to discuss why the band is worth sinking time into and persuading others to do so while still allowing for a back and forth, furthering the conversation. Ideally a review, like a persuasive essay, isn’t just “I think this and you should too,” but a summary of assertions that are backed up and logically presented.
Property of Zack is dead, long live Property of Zack. Since their relaunch at the start of 2015 original content has become more important than ever. The site revolutionized themselves by completely removing reviews, cutting back on news, and focusing on real, substantive content. It may not have been the first website to do it, but it made waves that were felt throughout the Internet. While anyone with an Internet connection has the ability to start a blog in mere minutes, original content is what draws in readers and keep them coming back. Features and interviews offer the opportunity to shine the spotlight and give a deeper look at important artists and subjects. Interviews with artist can quickly become mundane for both the artists and readers. No band wants to be asked the same questions over and over again and no fans want to read them. When interviewers do research and plan their questions, but also allow the conversation to flow musicians really open up, revealing more of themselves than even they expected and creating a fresh, enjoyable story to bring to those who read it. Additionally, breaking new ground in features produces a similarly enticing experience. Making predictions, bringing new thoughts and ideas into others’ minds, and keeping them up to date on the cutting edge is how to do this. The most meaningful connections happen through education, the voicing opinions, and encouraging others to join the conversation. Articles like this allow sites to show off their own unique and unified voice. This in turn leads to a passionate fanbase of likeminded readers, much like the lyrics of a song do for any band.
Many of the major outlets fall into these traps out of necessity. They serve too large an audience, which leads to an overwhelming amount of news items, each only relevant to a small portion of their readership. While some articles may have proper substance, they do not shine through in the same way they would otherwise. Chasing the bigger bands and web traffic may be what makes them money, but it is also their downfall. Much like independent bands, independent websites now have the chance to shine. 2016 is the year of the passionate, individualized blog. Do it for the music, do it for the readers, and do it for the love.
Ah, Twitter. Where would our culture be without you? After all, Twitter is one of, if not the best place in the world for people to gather and discuss the events of the day while using names other than their own. You can choose to use your actual name of course, but most people prefer for a humorous or clever nickname instead, and therein lies the problem with any automated Twitter promotion.
You would be hard pressed to find a single artist, brand, or company that doesn’t rely on Twitter every single day for their marketing efforts. The approaches these entities use to engage their audience varies drastically, but they all aim to accomplish the same goal of keeping people interested in whatever product, song, movie, or related offering the account has to promote. In theory, those that feel connected to a brand are more likely to support it, and if they have fun engaging with a brand they’re likely to share their enjoyment with others who in turn may start following the brand as well. This is the entire concept behind social media marketing: Make something people want to click and share, make it easy for them to do those things, then create more content with the same goal in mind and repeat. It has been this way since the dawn of the digital age and it will likely remain as such for the foreseeable future.
Automated promotions, in theory, make it possible to engage more people without doing more work. The idea is that these campaigns, which usually offer followers the ability to create shareable gifs or images, is that brands are giving fans something they will want to share with others that reflects positively on the brand. The most popular approach to this idea so far has been custom jerseys using followers’ Twitter handles, which is an approach that has been disastrously utilized by both the New England Patriots and, more recently, the Montreal Canadiens. Both teams didn’t see the harm in making it possible for any fan to create a jersey with their name on it, but neither team could have imagined the type of ridiculous handles some fans would use to align themselves with their organization(s). Here are a few examples of what happened next…
The above images are all incredibly offensive, but truth be told they are not even the worst examples of automated promotions we’ve seen. Some tweets we discovered were too offensive to even post on the blog!
Both the Patriots and the Canadiens were quick to apologize for any offensive tweet that may have been seen, but the damage to their brands was already done. There are literally hundreds of screenshots from these campaigns circulating online, and they will more than likely continue to appear in searches for custom jerseys for the foreseeable future. Like everything else, once these images were available online they were part of the internet forever, and there is no way any organization will be able to fully erase them for the digital landscape.
while we have yet to see any record labels just on the automated promotion bandwagon, it’s not hard to imagine a point in the near future when some type of similar campaign is mounted by one of the majors or an independent artist who is trying to further utilize their strong online following. If and when that time comes I promise there will be more disastrous results, and there is really no way that can be stopped. As it stands now, there are no tools available for filtering automated promotions, and because of that anyone who chooses to use such marketing techniques is making themselves and their brand incredibly vulnerable.
Learn from those who have tried and failed to make these promotions work in the past. Automated Twitter promotions are simply a bad idea.
This post is the latest in our ongoing collaboration series with Sonicbids.
Often, when musicians start writing a single, they’re not thinking of all the steps and costs it will take to actually release it. But all those costs catch up to you really quickly. There’s just so much to take into account – from the rehearsal and recording, to the mastering and distribution. And if you put it off instead of planning everything out from the get go, you could find yourself scrambling for time and money to get your single out on time.
Just a little planning from the start of the process could save you a ton of headaches, so in this article we’re going to go through all the costs you can expect when recording and releasing a single.
Rehearsal
If you’re lucky enough to have a big enough garage (and understanding neighbors), this won’t apply to you, but for everyone else, the first cost you’ll hit when releasing a single is rehearsal space. You want to make sure you have the song 100 percent worked out and know all the parts like the back of your hand before you set foot in the studio. This will keep the recording process going smoothly.
Copyright
Next, you should take the time to register your copyright with the federal government. If you’re going to be working with other musicians or a producer, they’re going to want to know that you own the copyright to your song. In the grand scheme of things, this isn’t a big expense at all – about $55 – but it’s still something a lot of musicians skip.
Recording studio
Next, you’ll hit the studio. Keep in mind that if you’re not fortunate enough to have a good local studio, you’ll also have to factor in transportation and lodging costs to get there. Studios will usually charge by the hour, or sometimes they’ll rent out a couple hour blocks or even a day for a little cheaper. Some studios will give you a lower price for low-traffic hours, like night and early morning.
Equipment rental/purchase
Sometimes a new song requires new gear. Maybe you need a new pedal to get that sound you’re hearing in your head, or a six-string bass to get a bigger range. You should also make sure you’re stocked up on the basics like extra strings, sticks, and picks. The last thing you want to do is spend your expensive studio time out looking for a music store when your strings snap.
Session musicians
Sometimes your creative vision goes beyond the instrumental capabilities of your band, and that’s where session musicians come in. These musicians specialize in recording other people’s music, and they will usually charge by the hour. If you’re on a tight budget, try to pull in local or amateur session musicians or friends who will do the job a little cheaper or in exchange for your services on their album.
Producer
The producer is the creative director of your song. They’ll help you with the arrangement and channeling your creative ideas, they’ll help the engineers with the overall direction of the sound, and they’ll help keep the project on track and on budget. They will often charge by the hour or by the project.
Recording engineer
Recording engineers are in charge of setting and hooking everything up, and manning all the equipment to capture the best sound. Like producers, they will usually charge by the hour.
Mixing engineer
The mixing engineer will take all the tracks you recorded in the studio, find the best takes, and put it all together into a song. They’ll adjust the levels, add EQ, effects, compression, reverb, and the like to make the song sound as good as possible. Most mixing engineers will charge per track, though some may charge more if you have really long songs.
Mastering engineer
Mastering engineers get the song ready for release. A lot of what they do is raising the level, evening things out, fixing minor problems with the mix, and adding text information to the track. Like mixers, mastering engineers will often charge per track or album.
Artwork
If you’re looking to distribute your song on major online retailers, it definitely helps to have some great looking artwork to go with it. Plus, this will also give your some cool images for your promotion. Artwork doesn’t have to be super expensive. More likely than not, there are a bunch of talented artists in your town who could come up with something really cool for a few hundred dollars.
Distribution
Once the single is done, you need to get it out to your fans. It’s probably not worth putting your single on a physical CD by itself, so you’ll just be dealing with digital distribution. Both CD Baby and TuneCore will distribute your single to the major digital retailers for about $10. Other services like DistroKid will let you distribute as many songs as you want for about $20 per year. Loudr will also let you distribute an unlimited number of songs for a 15 percent commission.
Promotion
Depending on where you are in your career, promotion could be completely free or a pretty big expense. Social media and your email list are both definitely great tools to get your music out there. Try to come up with a creative campaign that builds off engagement and sharing, and give early sneak peeks to get your fans hyped. You could also use the album art and make an easy lyric video for YouTube.
If you have a bit more money, you could boost some posts on Facebook to get more exposure when your single is released, hire a publicist to get some great reviews, or create a music video.
As you can see, there is a lot to think about even if you’re just releasing one song, and going into it with a plan is the name of the game. Just like recording and releasing music, you should also have a plan for your music career. You need to know where you want to go and how to get there, and that’s exactly what you’ll learn how to do in the ebook Hack the Music Business. Click here to download the ebook for free.
Dave Kusek is the founder of the New Artist Model, an online music business school for independent musicians, performers, recording artists, producers, managers, and songwriters. He is also the founder of Berklee Online, co-author of The Future of Music, and a member of the team who brought midi to the market.
On today’s episode of INSIDE MUSIC, host James Shotwell celebrates 60 episodes of the show with not one, but two guests. First up, returning guest Jeremy Weiss calls in to discuss Launch Music Conference 2016. After that, James has two consecutive conversations with Bryce Avary of The Rocket Summer about his upcoming album, Zoetic, which arrives February 26. This is one of the longer episodes of the show to date, so sit back and enjoy!
The music you hear in this episode is provided by the cast of the hit television series Empire, as well as The Rocket Summer.
You may already know this, but Inside Music is now available on iTunes! Click here to subscribe.
