The future of rock and roll is in good hands as long as Zero Theorem continue churning out original, thought-provoking music with a message.
Our heroes are tired. The rock and metal legends that gave us the blueprint to making music that riles audiences and incites mosh pits are growing older with each passing day. If the heavier side of music is to survive it needs fresh ideas from younger artists who not only have something to say, but who can also convey those thoughts in ways that capture our imagination. There are many musicians doing this already, and one of the most promising is the men of Zero Theorem.
Combining big ideas about existence and the human condition with groove-heavy rock and a penchant for science fiction, Zero Theorem is one of a kind. The band strives to make us reconsider not only our place in the universe but the importance of relationships. Like a great novel or a powerful film, the band’s music speaks to what we can be rather than what we are, and they do so without ignoring the work required. They recognize that we cannot accomplish anything without focused effort, and the group hopes to encourage us to pursue the difficult, but necessary growing pains that lie ahead.
On this episode of Inside Music, host James Shotwell chats with Zero Theorem about the importance of having something to say in music today. The discussion also highlight’s the band’s new single, “Swarm,” and how they are using their time during COVID-19.
In a time without live music, Dee Snider delivers the thrill of concerts in a way that doesn’t require masks or social distancing.
Rock and roll is one of the few areas in music where hits from two to four decades prior can continue to propel a career today. As a result, many artists considered game-changers in their youth often settle into being musicians who rely heavily on their catalog to drive ticket sales. After all, who doesn’t want to hear the songs of their youth sang by the artists that their parents would never let them see?
Dee Snider could easily be one of these artists. His work with Twisted Sister revolutionized rock and roll at a time when changes were desperately needed. He’s written more than enough hits to fill a setlist and secure his legacy as a music icon, but being a has-been has never sat well with him. Snider is still on the road and in the studio, pushing his creativity the way he always has, and one gets the feeling that is how he’ll spend the rest of his life. Snider doesn’t want to live in the glory of his past self. He wants to be glorious today, and he works hard to make sure that happens.
For The Love Of Metal Live, Snider’s new live album and concert film features a collection of recordings from festival performances that showcase the metal musician’s continuing talent. The seventeen live tracks breathe new life into his classic hits, as well as deep cuts. It’s a testament to not only Snider’s work ethic but what it takes to remain relevant in music today. Snider’s delivery has never been as tight as it is here, and his band brings the material to life with just enough twists to keep longtime listeners on their toes. It’s everything you could want in a live release, and it raises the bar for other rock veterans who may consider touring in a post-COVID world.
The best surprise of all is a new studio track, “Prove Me Wrong,” which encapsulates the rock god’s feeling toward the passing of time. Snider uses the verses to reflect on his career, both the good and the bad, and refuses to let his past hold him back any longer. “It’s time to move on,” he says before adding, “they had every chance to prove me wrong.” The haters have come and gone just like they always do, but Snider has remained. He is as steadfast in his devotion to rock as ever, and the booming production drives home the notion there is nothing left to say or prove. He is who he is, and that is all he needs to be.
Whether you come for the high-quality live record and performance footage or you want to hear Snider’s new single, For The Love Of Metal Live is an essential addition to an already storied career. The album and film showcase a career musician at peak performance delivering heart and charisma to spare, and in the age of coronavirus, it’s the closest most of us will get to feeling the rush of live music in 2020.
Haulix Recommends is a recurring feature where the Haulix staff chooses one or more recent releases from their clients. Click here to discover more great music being promoted through Haulix.
The eight-episode first season of High Notes features members of KoRn, Bad Wolves, Blue October, The Used, and more talking about their journey to sobriety.
“We believe that it’s time for the music industry to de-stigmatize addiction and mental health struggles,” host and series creator James Shotwell says. “We’ve lost too many people in music whose struggles with addiction were either ignored or downplayed for the sake of not making others uncomfortable. Our goal with this series is to help people take the first steps toward leading better, healthier lives, by bringing those topics to light using examples from the musicians they listen to.”
The first season of HIGH NOTES features exclusive, in-depth conversations with rock and alternative musicians in various stages of recovery. Guests include Brian “Head” Welch of KoRn, Tommy Vext of Bad Wolves, Bert McCracken of The Used, Anthony Green of Circa Survive, Haley Butters of Absinthe Father, Nick Martin of Sleeping With Sirens, Ronnie Winter of The Red Jumpsuit Apparatus, and Justin Furstenfeld of Blue October. Each episode delves into a different guest’s journey to sobriety and the role the music business played in helping (or hurting) their recovery.
“The conversations we have on HIGH NOTES can be tough to hear at times,” Shotwell adds, “but there is a lot of hope to be found as well. Our guests have overcome incredible odds to be where they are today, both as musicians and former addicts, and we hope listeners discover that they too possess the strength to make a positive change in their lives.”
Haulix.com is the music industry’s leading digital promotional distribution platform. Hundreds of record labels, publicists, and independent artists use Haulix every month to share their new and unreleased music with members of the media on the company’s secure, customizable service.
ABOUT HEARTSUPPORT:
Late one night, Jake Luhrs sat outside the Chicago House of Blues Stories of addiction, depression, self-harm, heartache, war, fear, and hopelessness echoed in his mind. Every night, a fan would share a different story. Although Jake was the well-recognized frontman of August Burns Red, he was at a loss for how to help. He wasn’t a mental health specialist and he screamed into a mic for a living. Not exactly the picture of expertise his fans needed. Deep in thought and prayer, all Jake knew was that something had to change
.Every year we help men and women brave their wounds, find purpose, and discover healing. Our goal is to create a legacy of life-transformation, freeing them from suicide, addiction, abuse, and mental health issues while empowering them with the realization they are loved unconditionally and supported by a community that believes in them. We do this by creating a safe space where people can come as they are and explore healing and providing resources.
What we do: We provide a community space where people can find healing. One way we do this is through our support wall where people can share what they are going through and receive support and encouragement at forum.heartsupport.com . In addition we have self-help workbooks geered towards people who are struggling with self-harm and depression as well as an online anxiety course. Lastly, we stream on twitch 5 days a week to provide support and have dozens of YouTube videos with your favorite metal bands where guys like Ricky Motionless, Garrett Russell, and Matty Mullins open up about their experiences to remind you, you’re never alone.
ABOUT THE GLOBAL RECOVERY INITIATIVES:
The Global Recovery Initiatives Foundation (GRI) is the first and only national community foundation dedicated to building a philanthropic source of funding for organizations to expand their capacity to provide people with SUD recovery support services.
GRI supports organizations using evidence-based programs that have demonstrated success in:
Engagement of philanthropy leaders to invest in recovery focused non profit initiatives
Reducing the stigma around substance use disorders, and recovery.
Deploy public, private and pop culture resources to strengthen the field of recovery.
The Haulix LIVE! panel series continues this week with an in-depth conversation featuring three of the music industry’s leading publicists.
With Coronavirus making music conferences and festivals impossible, Haulix LIVE! is here to fill a void in the entertainment business. Twice a month, Haulix brings together the greatest minds in music publicity and promotion to share their knowledge with anyone hoping to hear it. These events are 100% free, and they are open to everyone.
Join us on Thursday, July 30, at 2PM EST for a free PR roundtable with special guests Cait McMahon (Scorpion LTD), Curran Reynolds (The Chain), and Curtis Dewar (Dewar PR). The event will cover the state of music PR today, emerging trends in music publicity, and advice for people hoping to work in the field. Viewers will also have an opportunity to ask our guests questions. Click here to register.
About our panelists:
For nine years, lead publicist and co-owner of SCORPION Cait McMahon has refused to back down. Starting as a low-key music blogger in college, McMahon graduated with a degree in Communications and International Public Relations which ultimately let her to explore entertainment PR and digital marketing. Although she began with little to no professional advice from a hard-to-permeate industry, giving up has never been a part of her genetic makeup, thus creating a firey and determined industry leader. After meeting Jason Duarté, a longtime music authority from Philadelphia, on a shared job that left them both unfulfilled, the duo hard launched entertainment public relations and digital marketing firm SCORPION LTD in November of 2019. SCORPION has worked on film projects such as blockbuster Knives Out! and Netflix Original Documentary Disclosure, to rock bands like Hinder and LOWBORN with its primary goal of industry disruption.
Based in Brooklyn, New York, Curran Reynolds started his career in 2000 as the head of publicity at Earache Records’ US office, then set out on his own in 2005 to handle PR for some of the most compelling artists in the underground – from metal and hardcore, to noise-rock and post-punk. Clients have included Kayo Dot, Jucifer, Trap Them, Landmine Marathon, Kælan Mikla, The Sword, and many more. He is the founder of Precious Metal, a weekly series of live shows in NYC that ran for seven years (2006-2013) and helped revitalize the city’s metal scene. As a writer, his work has been published in magazines such as VICE, Mass Appeal, High Times, and The Journal. He made albums and toured the world as the drummer for Today Is the Day and Wetnurse, and currently writes, records and performs music under the name Body Stuff. In 2016 he teamed up with Justin Pearson (owner of Three One G Records and member of such bands as The Locust) and graphic designer Brandon Gallagher, to create The Chain, a bicoastal collective handling a range of PR and art services for clients in the music industry.
Canadian publicist Curtis Dewar has been working in the music industry since 2012. Having started as a writer for blogs he started doing freelance PR in 2013. After successfully handling several campaigns, he founded his own PR company Dewar PR in 2014. Since that time he has done PR for a wide range of metal artists including Lindsay Schoolcraft, Bolzer, The Sign Records, Black Bow Records and many others. In addition, he co-hosts the Dumb and Dumbest podcast with Matt Bacon and Keith Chachkes and runs monthly 30 day challenges where he helps aspiring bands increase their social media presence
With $20 million already given to artists and labels over four months, Bandcamp Fridays are becoming a monthly event the industry depends on to stay afloat.
At this point in 2020, it is safe to say that Bandcamp has done more to keep the music industry alive than the federal government.
When the coronavirus pandemic began to spread in March, Bandcamp chose one day, a Friday, set aside its share of revenues from sales on its platform to help artists in need. The response was so strong that Bandcamp made the event a monthly occurrence, and the four Bandcamp Fridays to date have raised more than $20 million for musicians from all walks of life.
With government assistance still nowhere to be found, Bandcamp has announced that Bandcamp Fridays will continue throughout the remaining months of 2020.
“Because the pandemic is far from over, we’ll continue to hold Bandcamp Fridays on the first Friday of every month until the end of the year,” Bandcamp wrote on its official website. The calendar dates for 2020’s remaining Bandcamp Fridays are: August 7th, September 4th, October 2nd, November 6th, and, just in time for the holidays, December 4th.
While Bandcamp Fridays alone have greatly helped the independent music community, the generous campaign has also led to a boost in overall sales on the website. “… Just as amazing is that since the pandemic hit in March, fans have bought more than $75 million worth of music and merch directly from artists and labels, and to date, fans have paid artists over half a billion(!) dollars on Bandcamp.”
The fight is far from over, but there is new hope that independent venues across the United States may soon receive some much needed financial relief.
The battle cry of NIVA, the National Independent Venue Association, has been loud and clear since day one: Save our stages. While many sectors of the economy have benefitted from the federal relief programs made available in response to the coronavirus pandemic, indie venues and the people who work in them were left out in the cold. That is, until today.
Earlier today, Senators John Cornyn of Texas and Amy Klobuchar of Minnesota introduced a new piece of legislation called the “Save Our Stages Act”. It’s a relief bill that aims to provide financial support to music and entertainment venues across the country, particularly those that are in danger of shutting down permanently, reports Rolling Stone.
According to a press release, the “Save Our Stages Act” will offer six months of financial support to “keep venues afloat, pay employees, and preserve a critical economic sector for communities across America.” The legislation is geared towards operators, promoters, and talent reps at primarily small, independent venues.
The specific grant amounts would range in price, being either 45% of a business’ operation costs from the previous year or $12 million in total — whichever is the lesser amount. Venues that are granted money are then allowed to use those funds to pay off “costs incurred during the COVID-19 pandemic” as well as rent, utilities, mortgages, personal protective equipment, maintenance, administrative costs, taxes, and expenses to meet local and federal social distancing guidelines.
News of the “Save Our Stages Act” comes after a NIVE study revealed that 90% of all independent venues are likely to shudder forever if the pandemic stretches into September. Several venues have already announcing a permanent closing, including The Satellite in Los Angeles. The recent surge of new COVID-19 cases makes the possibility of any shows happening in 2020 highly unlikely, which is why this legislation matters.
You can still do your part to help. Join Haulix and countless others in demanding this legislation pass by filling out the form on NIVA’s website.
Three of the brightest minds in music publicity come together for a one-hour discussion that offers something for everyone pursuing a career in entertainment.
We never knew Haulix LIVE! would become an event series. The plan at launch was to host one or two events that shared insight into how the current pandemic was changing the music business. As soon as the first panel ended, however, we knew we would never look back. The conversations and sense of community were too great to give up.
On July 16, representatives from Season of Mist, Napalm Records, and Asher Media Relations came together for a one-hour discussion of all things music PR. There were laughs, educational tidbits, and lots of outspoken affection for Deftones. It was the kind of event that not only soothed our worried souls, but it also reminded us why we all started our careers in the first place. We’re here for the music, and as much as COVID-19 may change our ways of operating, it cannot take away the art we love.
But we know not everyone caught the broadcast as it happened. We know you have lives that keep you busy, and we respect that. We always record our events for this reason, and we are now able to share the full panel, free of charge, to anyone that wishes to catch up. Check it out:
About the panelists:
Katy Irizarry is an NYC native who currently lives in Philadelphia. She started her music career in 2007 as an intern and eventual writer for Metal Edge magazine. Since then, she has worked for Sirius XM, Eddie Trunk, Skateboard Marketing, Freeman Promotions, Revolver Magazine, Loudwire, Minus HEAD Records, and many others in which she has done production, journalism, marketing, social media, and publicity. Currently, she is employed full time with Season of Mist as North American publicist where she works with a variety of bands from extreme metal to folk music, such as Abbath, Heilung, Archspire, Rotting Christ, Gorguts, Solstafir, and more. Ever the over-achiever, she also still contributes to Loudwire, produces Eddie Trunk’s podcast, and co-hosts the “Last Words” podcast via The Pit. She is also a proud cat mom who loves traveling, pin-up culture, horror movies, and of course, heavy metal!
Jon Asher, known for being a regular fixture on the Montreal music scene, founded ASHER MEDIA RELATIONS in September 2007 to aid bands and labels in celebrating their headbanging tunes to the world. A musician himself, and a McGill University graduate in public relations, Jon had his epiphany – to help out the struggling artists and help them gain the attention they need to support their music. He has worked with a number of independent and established artists such as Annihilator, Gene Hoglan (Testament, Death, SYL, Fear Factory), Quo Vadis, Fuck The Facts, Striker, Psychostick, Necronomicon, Hibria, Titans Eve, Kill Devil Hill ft. Rex Brown (Pantera) + Vinny Appice (DIO, Black Sabbath)), Drum Wars (Vinny Appice vs. Carmine Appice), Nephelium, Ninjaspy, Scythia, All Else Fails, Auroch, Fatality, Sanktuary, Mutank, Planet Eater, Vesperia, Rockshots Records, Wacken Metal Battle Canada/USA, Armstrong Metal Fest, Loud As Hell MetalFest, Calgary Metalfest, Metalocalypstick Fest, Obscene Extreme America Fest and many more. He has also guest lectured at McGill University on Music Publicity for the public relations program plus has spoken on panels for Alberta Music (Calgary), Indie Week (Toronto), Noctis Fest (Calgary), Halifax Pop Explosion and mentoring sessions at SXSW (Austin, TX).
Philadelphia born and Maryland raised, Natalie Camillo began her music industry trajectory during her studies at York College of Pennsylvania, majoring in Communications with a focus in Music Industry/Recording Tech and radio. As Program Director and reporting Metal Music Director at her college radio station, WVYC, she attended/networked at several CMJ and Intercollegiate Broadcasting System conferences. By mingling with industry professionals at said events, she secured internships with radio promotions firm Heavy Hitter Inc., Relapse Records and MetalSucks. She also interned in the sales/marketing department at WCYR 98.5 The Peak, an classic rock format FM station based in Hanover, PA, took part in onsite “street” marketing for The Syndicate and published news clips for Metal Insider, all before graduating in 2009. Upon graduation, Natalie took a position as a publicist at renowned boutique PR firm Adrenaline PR, and along with the team led by PR icon Maria Ferrero, represented artists such as Lamb of God, Dethklok, Motorhead, Ronnie James Dio, John 5, Twiztid and more, and massive events such as the Rockstar Energy Drink Mayhem Festival and Alternative Press Music Awards. After departing the company as Campaign Manager/Senior Publicist after 10 amazing, formative years, she accepted her current position as North American Public Relations Manager at esteemed Austria-based international rock and metal record label Napalm Records. Alongside her PR teammates in North America and Germany, Natalie currently represents premier artists such as Dee Snider, DevilDriver, Jinjer, Alestorm, Life of Agony, Candlemass, Mushroomhead, Warbringer and many others. Outside of her work at Napalm, she also serves on the Board of Trustees of the Great South Jersey Chorus, a 501(c)3 nonprofit, singer-managed organization. In her spare time, she enjoys spending time in nature, playing video games (PlayStation Nation), listening to a questionable amount of electro-pop and binging costume dramas, can be found spending countless hours scoring deals in thrift/consignment shops, and considers herself a certified RuPaul’s Drag Race superfan. You betta work!
The music industry is in dire straits (and we don’t mean the band). COVID-19 has brought countless hardships on artists and professionals alike, but worse things are on the horizon.
There was a time in mid-March when most people believed the fall of 2020 would be normal. The coronavirus, they thought, would be a thing we joked about by the time leaves began to change. Those people were wrong, and every day comes with new evidence that this pandemic will be with us for the foreseeable future.
Recent reports about the music business claim that 90% of all independently owned venues are in trouble. With no federal funding to help cover expenses while live music is on hold, many venues are bleeding cash as they attempt to cover fixed costs (such as rent) without revenue. Some establishments are already going under, like The Satellite in Los Angeles, and hundreds more are likely to follow if the pandemic stretches into September.
The importance of independent venues is impossible to overstate. Virtually all musicians rely on these performances spaces to build their audience as they rise through the industry ranks. Today’s stadium headliners were only club acts using independent venues to travel the country before everyone knew their name. Tomorrow’s big stars aspire to play these spaces in the coming years. Independent venues are, in many ways, the backbone of the entire music business.
NIVA, the National Independent Venue Association, has a solution to the current problem. The organization has launched a campaign called #SaveOurStages, which aims to convince legislators that live music deserves relief funding from the federal government. They are asking fans and artists around the world to join in their demands by filling out a simple form on their site: https://www.saveourstages.com/.
In the latest Music Biz, host James Shotwell breaks down the current situation, the potential outcomes, and why it matters that everyone does their part. You can play a role in shaping the future of music. Please help us out. We need you.
Haulix is partnering with two non-profits to bring a new kind of music podcast to the masses.
We want to tell you a story about rock and roll. It has many themes you will recognize, such as sex and drugs, but we are going to look at things from a different perspective. We’ve all heard legends about rock bands partying their lives away and musicians who can only create when drunk or high, but that image of the so-called “rockstar lifestyle” is flawed. Living a stereotypical rockstar life comes with a rarely discussed cost, and that is where the story of High Notes begins.
High Notes is a new series from Haulix.com in partnership with HeartSupport and the Global Recovery Initiatives Foundation. It’s a podcast about addiction and recovery in music that details the personal experiences of people in the rock and alternative world. Each episode explores how the entertainment industry makes it possible for people to live out their wildest dreams and how most never appreciate the price of doing so until it’s too late.
The first season of High Notes features eight episodes, and each one is different from the last. You’ll hear about the highest heights people can reach, as well as the lowest lows, and somewhere in the middle — we find hope. We learn what it takes to make positive changes, and why it’s so important.
Guests featured on the first season of High Notes include:
Bert McCracken of The Used
Anthony Green of Circa Survive
Nick Martin of Sleeping With Sirens
Brian ‘Head’ Welch of KoRn
Tommy Vext of Bad Wolves
Justin Furstenfeld of Blue October
Ronnie Winter of Red Jumpsuit Apparatus
Haley Butters of absinthe father
All eight episodes from the first season of High Notes will be available on Tuesday, July 28, wherever you listen to podcasts. Listen to a teaser below:
Late one night, Jake Luhrs sat outside the Chicago House of Blues Stories of addiction, depression, self-harm, heartache, war, fear, and hopelessness echoed in his mind. Every night, a fan would share a different story. Although Jake was the well-recognized frontman of August Burns Red, he was at a loss for how to help. He wasn’t a mental health specialist and he screamed into a mic for a living. Not exactly the picture of expertise his fans needed. Deep in thought and prayer, all Jake knew was that something had to change
.Every year we help men and women brave their wounds, find purpose, and discover healing. Our goal is to create a legacy of life-transformation, freeing them from suicide, addiction, abuse, and mental health issues while empowering them with the realization they are loved unconditionally and supported by a community that believes in them. We do this by creating a safe space where people can come as they are and explore healing and providing resources.
What we do: We provide a community space where people can find healing. One way we do this is through our support wall where people can share what they are going through and receive support and encouragement at forum.heartsupport.com . In addition we have self-help workbooks geered towards people who are struggling with self-harm and depression as well as an online anxiety course. Lastly, we stream on twitch 5 days a week to provide support and have dozens of YouTube videos with your favorite metal bands where guys like Ricky Motionless, Garrett Russell, and Matty Mullins open up about their experiences to remind you, you’re never alone.
The Global Recovery Initiatives Foundation (GRI) is the first and only national community foundation dedicated to funding critical support services for people in early recovery from substance use disorders (SUD).
Reversing a rule implemented in January, Billboard has updated the rules regarding album sales and charts to reflect consumer intent better.
Achieving success on the Billboard charts is a lot like trying to win a presidential election. You can do your best to make as many people as possible buy your music outright, or you can find smart ways around traditional album sales. One example of the latter is bundling, which combines a digital or physical album with the purchase of merchandise or concert tickets. Such tactics have helped several performers appear to move massive units of their latest record and top the chart, but thanks to new guidelines, that approach no longer works.
Billboard is changing the rules to its Billboard 200, Hot 100, and other album and song charts. The announcement comes to rectify how sales are counted with respect to album bundles with merchandise and concert tickets, as well as instant digital sales attached to purchases for physical albums delivered at a later date.
On the issue of bundling, the latest rule changes supersede several others that were previously instituted in January. Those included a requirement that albums bundled with merchandise be available for purchase concurrently and individually on the same website, as well as a condition that merchandise sold on its own be priced lower than bundles that included the album. Additionally, merchandise/album bundles could only be sold on an artist’s official direct-to-consumer web store and not via third-party sites.
Billboard is now acknowledging what many critics have claimed to be true. Album sold in bundles with merch and tickets may not accurately reflect consumer intent. There are many cases of fans buying tickets or merchandise without realizing (i.e., caring) that the sale included an artist’s new album. So, if the fan doesn’t buy the bundle specifically for the release, why should the sale count toward the total units of that album sold?
Billboard will also no longer allow sales of physical albums or singles that are bundled with digital downloads to be reported as digital sales. That decision eliminates the practice of “spontaneous” non-manufactured items being used to influence first-week chart rankings. Only when the real thing — that is, what the consumer is buying — is shipped, will it be counted in Billboard’s official tallies.
The practice of selling vinyl, CDs, and other physical releases that won’t be manufactured and shipped to consumers for weeks or months — while offering a digital download that can be redeemed instantly — has become widespread as of late. Especially in the age of COVID-19, when manufacturing delays are rampant, many artists are using the promise of a physical item later to boost “sales” in the present.
Billboard recognizes that the use of bundling has been commonplace in music for decades. However, the practice of using merch and ticket bundles to boost album sales has been rampant as traditional record sales have fallen. The goal of the Billboard charts is to capture consumer intent, and the company believes it is impossible to gauge whether or not the sale of bundles reflects a clear desire to own the release rather than a piece of merchandise or attendance at a live event.
