Tag: Absolutepunk

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12 Music Podcasts You Should Be Listening To

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There was a time two or three years ago when it was unclear whether or not the podcast movement would gain any traction on a large scale, but those days have long since become a distant memory. Following the success of This American Life’s true crime series Serial last year, the world was unable to deny the increasingly large audience for podcasts, as well as the increasingly crowded marketplace of shows being created. Unlike radio, which comes with standards and practices everyone must meet, not to mention the high cost of equipment, podcasts are something anyone with even a passing interest in radio can create themselves using the microphone and internet connection found in their cell phone. The barriers to entry are as low as possible, both for content creators and those who enjoy the entertainment they provide, so there is no reason you should be missing out.

I have been listening to podcasts for the better part of five years, but it was until 2014 that I began to enjoy programs that were created for any purpose other than pure entertainment. There is nothing wrong with listening to a carefree show, of course, but as someone who is passionate about learning I wanted to know what kind of education and/or thought-provoking series may be in existence that I had never previously known. The answer I found is that there are many great podcasts filled with useful information to share on essentially every topic imaginable. If you want to learn about human history, there are shows for that. If you want to listen to people discuss every episode of The X-Files one episode at a time there is also a show for that. If you want to be better about how you spend and save your money, there are a ton of shows addressing that topic. If you are into…Okay, you get the idea.

Surprisingly, the world of music and music business is one of the small circles in podcasting today, but it’s growing at an unbelievable rate. It is unlikely anyone could find time to enjoy every show in existence today, but I have done my best to experience as many as possible, and below I’ve highlighted the 12 shows that stood out to us as being both entertaining and informative on a regular basis. Some are hosted by bloggers, while others are hosted by musicians and/or industry professionals. Each has something great to offer, and if you’re willing to pay attention you’ll more than likely learn something for each as well.

100 Words or Less: The Podcast 

Hosted by Ray Harkins, this podcast features in-depth interviews with music professionals young and old from the independent music scene. Our own James Shotwell has been on the show in the past, well as people like Shane Told (Silverstein), Jim Adkins (Jimmy Eat World), and Buddy Nielsen (Senses Fail). If you want open and honest conversations about what leads people to the world of music, or if you just want to learn more about the people who shape the independent scene, this is the show for you.

NPR’s Tiny Desk Concerts

Claiming something created by NPR is not worth your time is not exactly a shocking revelation, but that doesn’t make it any less true. NPR actually has a number of great podcasts currently being offered, but Tiny Desk Concerts is the one I make sure I never miss. Each episode, a different artist hunkers down at Bob Boilen’s desk and performance a short set of songs for the NPR staff, as well as the audience at home. The show has a video component if you wish to see such a thing, but listening to the audio is just as good.

Off The Record

This is one of the many podcasts to feature PropertyOfZack founder Zack Zarrillo, and it’s the one I recommend you never forget. Co-hosted by producer extraordinaire Jesse Cannon, this show focuses on current events in the music industry, as well as emerging trends in technology and they way it applies to the world of entertainment. You never know if an episode will be lighthearted throughout or filled with information that could change your career trajectory. Either way, you will walk away entertainment.

The Modern Vinyl Podcast

Modern Vinyl has become the go-to site for vinyl news and release information that literally everyone I know visits on a regular basis. The site’s podcast, which is hosted by founder Chris Lantinen and frequent contributor James Cassar, adds to the experience with even more record talk, as well as special guests, and a healthy amount of self-deprecating humor.

Your Favorite Album

I have always been fascinated by the way music impacts different people in different ways, so it only makes sense that I would love a show that makes exploring that phenomenon the entire purpose of its existence. Your Favorite Album, which is hosted by Adam Santiago, each episode features a different guest discussing their favorite record. It’s a simple concept, but the way each conversation evolves is entirely unique. I have found many great records listening to this show, and I’ve also learned to appreciate some titles I already loved in new ways.

AbsolutePunk Podcast 

A lot of websites have podcasts these days, but AbsolutePunk was one of the first alternative outlets to get a show that is actually worth listening to off the ground. Each week, founder Jason Tate joins longtime contributor Drew Beringer and (more often than not) Thomas Nassiff for an in-depth look at the week in music. The guys often discuss other topics as well, usually relating to discussion that were popular on the AbsolutePunk forum. Whether you’re a regular visitor to their site or not, this show offers unparalleled insight in the latest happenings in the alternative realm.

This Is What I’m Into

Interviewing musicians is a fine art that takes many hours of work to master, and longtime freelance writer Jake Denning is one of the best working today. This Is What I’m Into finds Denning speaking with a variety of musicians he enjoys about their careers and where they hope to find themselves in the future. 

Washed Up Emo

Tom Mullen is an emo god. With this podcast, Mullen seeks out and interviews the people who were responsible for the emo movements of the 90s and early 2000s. In a time where everyone seems obsessed with the here and now, Mullen uses his show to trace the roots of the emo genre, and along the way shares the real life experiences of those who laid the foundation for the music scene we enjoy today. 

Who Charted?

No one ever said it was impossible to laugh while also learning something worthwhile. With Who Charted?, funny people Howard Kremer and Kulap Vilaysack review the most popular music and film with special guests like Reggie Watts or Paul F. Tompkins. The educational value isn’t quite as great as some of the other shows on this list, but it does offer some (often hilarious) insight into what’s popular in our culture right now.

Sound Opinions

The only thing better than reading an album review is listening to two critics debate the same album for upwards of an hour, right? If you agree then you may need to add Sound Opinion to your podcast schedule right away. The show, hosted by critics Jim DeRogatis and Greg Kot, reviews music new and old. There are also guests, interviews, and surprise in-studio performances. If you want to be a better critic, listening to how these two talk about music will certainly aide you in that effort.

The Cipher

Originally called ‘Outside The Lines with Rap Genius,’ The Cipher is a hip-hop oriented podcast featuring interviews with legendary and contemporary favorite from every corner of the rap world. There is a shockingly small market for hip-hop podcasts that aim to dig deeper into the music, but The Cipher does just that. Previous guests include Scarface, Smoke DZA, 88-Keys, and Sage Francis.

Nothing To Write Home About

Matt Pryor and his bandmates in The Get Up Kids made music history with the release of their album Something To Write Home About, so it only makes sense that Pryor pay homage to that iconic record with the title of his music-centric podcast. Each week, Pryor interviews one of the many interesting people he has met over the course of his time in the music industry. Some are punk celebs, while others are people who may never have been brought to your attention without a show like this first existing. Pryor’s experience as an artist gives him a unique perspective on interviewing others, so no matter who joins him you know the conversation will always be good.

BONUS PICK: Inside Music

Did you know we also have a podcast? Each week, Haulix marketing coordinator James Shotwell welcomes guests from around the world of music to discuss their careers, their advice for others, and where they see themselves headed in the future. It’s an open dialogue that can go wherever the guest chooses to lead, and we think there is a lot to be learned from the experiences of those we choose to have on the show. James says he wants the show to be the Marc Maron’s WTF of music podcasting, but we don’t think he’s there quite yet. 

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News

Inside Music Podcast #13 – Thomas Nassiff (Bad Timing Records)

Hello, everyone! We told you earlier this week that we were not slowing our efforts for one second, and today we’re thrilled to share the second to last episode of INSIDE MUSIC that will debut in 2014. This conversation was one we had long hoped to have, but we had no idea it would develop as quickly as it did.

This site exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.

On this episode of INSIDE MUSIC, host James Shotwell chats with Thomas Nasiff, co-founder of Bad Timing Records. Thomas and James have known one another through their work as music bloggers, but this is the first time the two of them have shared a real conversation. They discuss Thomas’ early life in Florida, his decision to launch Bad Timing, the bromance he shares with Zack Zarrillo, and a whole lot more. This is a must-hear podcast for anyone interested in working in music, and especially those who hope to one day launch a record label.

The music you hear in the intro to ‘Inside Music’ is provided by San Diego, California folk punk group Sledding with Tigers. You can learn more about their work on their official website.

We mentioned this at the beginning, but ‘Inside Music’ is now on iTunes! Click here to subscribe.

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Job Board News

Blogger Spotlight: Jack Appleby (Absolutepunk)

Hello and welcome to another edition of the Haulix Blogger Spotlight. As you may have noticed, we are increasing the amount of content we post here on our blog, including the debut of several new columns. Our hope is that you will continue to join us as we explore the people working behind-the-scenes to bring the music industry to a screen near you every day, and would love to hear any suggestions you have for future features. If you have a recommendation, please email james@haulix.com and share your idea.

We have written in the past that making a career in the music industry today often requires taking on multiple job titles. With that in mind, it is our pleasure to share with you a new interview with Absolutepunk contributor Jack Appleby.

Everyone has to start somewhere, and for Jack Appleby that place was Mind Equals Blown. You may recall his name being mentioned during our previous spotlight with MEB founder Drew Maroon, and the reason for that connection is the major role Appleby played in thrusting the site towards the forefront of digital music coverage. He and Maroon have developed a brand together that continues to grow and evolve daily, and it did not take long for others in the industry to notice his talent. We spoke with Appleby about his time with MEB, the decision to join Absolutepunk, and where he sees his own future in the industry headed. You can read our conversation below.

Jack Appleby is often found discussing new music, promoting the bands he manages, and generally being an amazing person on Twitter. If you want to read his writing, be sure to check out Absolutepunk and the pages of Mind Equal Blown. Jack recently joined the team at Siren Records, so head over to their Facebook and learn what they have planned for the remainder of 2013.

H: For those unaware, please state your name, the site you work for, and your role at said site:

JA: I’m Jack Appleby, and I’m over at AbsolutePunk. I organize exclusives, write reviews, cover shows, contribute to social media – a little bit of everything.

H: For lack of a better phrase, you’re a bit of a “Jack of all trades” when it comes to the music industry. When did you first know you wanted to work in music, and where did you first find work (unpaid efforts count too)?

JA: Haha, well – I still don’t have aspirations of making a career of music, but it’s certainly a field I enjoy participating in. I prefer music as a hobby, since it’s damn near impossible to make a good living in the industry. And my first of many unpaid (but completely worthwhile) efforts came via Mind Equals Blown.

H: When we interviewed Drew Maroon from Mind Equals Blown, he said the site really started to take off after you came on board. How did you come to work with Drew, and what can you tell us about the early days of MEB?

JA: Back in college, I was Editor-In-Chief of my university’s newspaper and wanted to apply my skills to music. On a whim, I Googled “music blogs” and came across MEB back in its .blogspot glory. I reached out to Drew, offering to help recruit and train a staff – we teamed up, and MindEqualsBlown.net was born.

Like every music site, MEB grew out of a passion for music and writing (and, you know – wanting to meet our favorite musicians and hear their music first). We wrote reviews, but took a focus on features and in-depth stories even in the early stages – every site had reviews, but no one was approaching happenings in the “scene” (or whatever it’s called) from a serious, journalistic approach. We also emphasized the editing process – all of our pieces ran through the same editing filter as the newspapers I’d worked on. Most reviews and editorials saw multiple edits from multiple editors before publishing, a rarity with most student-based music blogs. None of us were interested in news blurbs and the obvious hits they bring, so we focused on strong content.

H: You’re now a member of the AbsolutePunk staff. At what point did you make the switch, and what attracted you to the world of AbsolutePunk?

JA: As the Managing Editor at MEB, my role revolved around leadership, infrastructure, and editing – I loved running the site, but as I pursued a career in social media, my time for side-projects became increasingly limited. Around the same time my career pursuits became serious, Thomas Nassiff inquired whether I’d be interested in writing at AbsolutePunk, a site I’d always admired. AP.net’s emphasis on community and discussion always fascinated me, and the chance to focus on my own writing again was a huge appeal. It was incredibly tough leaving a site I’d helped create, but in the Fall of 2011, I moved over to AbsolutePunk.

H: Would you say your time at MEB helped prepare you for Absolutepunk? If so, how?

JA: Actually, MEB prepped me more for my career path. I graduated with an interest in business, tech, and social media, but no true “dream job” or specific path in mind. When I finally landed a meeting with Ayzenberg Group (a full-service advertising agency in Pasadena, CA), my time at MEB became the interview’s focus – turned out my content focus and promotional tactics on the site were enough to land me a social media gig. I’ve been at Ayzenberg for two years now, and absolutely love what I do – and I have MEB to thank for that.

H: Like many, you have earned little-to-nothing in return for your efforts at both of these sites. What motivates you to continue dedicating your time day in and day out?

JA: More than anything, I love having the ability to support musicians I believe in. Whether it’s premiering a new song, reviewing a record, or simply tweeting about a band, I love being able to contribute to the music. It seems so few bands know how to expose themselves to the world, and I’m happy to lend a hand in any way possible.

And working with my favorite musicians never loses its luster. I’ve managed to tone down the starstruck effect, but make no mistake – I’m still giddy when I meet a musician I’ve admired for the first time. Over the last year, I’ve interviewed musical idols, helped guide new bands, sat in the studio while favorites as they record – I wouldn’t trade those experiences for anything.

H: Beyond writing, you also recently added another gig to your list of titles. Care to share that role and how it came to be?

JA: Gladly! I’m ecstatic to say I’ve joined the Siren Records team. You likely know the label for Peace’d Out (Vinnie Caruana, Steve Choi of RX Bandits) and their vinyl offerings.

About a year ago, I worked publicity with Donny and James on Silver Snakes’ debut album, one of the early Siren releases. We’d run into each other on occasion and chat music, vinyl, all the things – until one day, they asked me if I’d like to come aboard. It was a pretty easy yes – I’m excited to work with these guys and continue developing the label.

H: Working at a label is a dream shared by many aspiring music industry professionals. If you had to choose, would you continue writing or spearhead label life full time?

JA: I think I’ve struck a healthy balance – I doubt I’d be happy exclusively committing to one role. I love having the ability to work with any band I please on the writing side, and I enjoy having weight and influence on the label side – they give different satisfaction. And again, music’s just a hobby, though one I’m heavily invested in – having the chance to dabble in everything is important to me.

H: Fortunately, you get to do both as long as you’d like, and each offers its own opportunities to expose new talent. Where do you go when you’re seeking out new music?

JA: Friends, the AP.net community, and band buddies are my go-to’s – none of us are shy about passing along new music. If I’m hungry for new stuff, I tend to scour Twitter to see what the rest of the AbsolutePunk staff is playing. I never use algorithm-based sources like Pandora – I’d rather focus on Spotify and Rdio’s “Related Artists” sections, where I’ve found some surprisingly great new bands. I’m lucky enough to have an inbox full of music as well, so there’s always something to check out.

H: Speaking of music discovery, what advice can you offer young artists hoping to stand out in your inbox?

JA: Please do yourself a favor, bands – include a “Recommended If You Like” in your email. And that doesn’t mean say you’re just like Brand New – give honest comparisons that are specific enough to be associated with your sound, yet relevant enough that most writers would know them. It doesn’t trivialize your music – it gives writers a reason to open your email instead of the other hundreds we receive. What’s more, it allows writers to pass music to the appropriate colleague; I’m not a big pop-punk or metal guy, but if you include a RIYL, I know who I can send the music to, even without listening.

Also, offer a stream in your email. Writers don’t have enough hard drive space to download every album sent our way, so send an online stream, with all of your band’s information (name, location, social media links, etc). Or, be smart and send us both a stream link and download link in the same email – give us the opportunity to explore your music however’s best for us.

And please, if you send me a download, have the iTunes info attached to the tracks already. I can’t tell you how much time I’ve lost editing song names and track listing to make an album play as intended.

And no caps. Don’t send me email in all caps. I’ll fight you.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

JA: Thanks to leak culture, it’s become increasingly difficult for publicists to send advances of albums, making it near impossible to publish reviews before or around a record’s release. Anything that makes a publicist more comfortable sending me music early works for me, and Haulix’s watermarking and secure online player seem to do the trick. Sound quality is incredibly important as well – nothing’s more frustrating than receiving an advance in 128 kbps. Whenever possible, I’ll try to get my hands on the WAV files, though 320 kbps is certainly acceptable and deliverable through Haulix. But more than anything, it’s the multiple methods of listening that wins me over. I operate off of several computers, and love analyzing music in my car – having both stream and download options is a huge win.

H: If you could change one thing about the music industry, what would it be?

JA: I’d definitely encourage music fans to rethink how they support their favorite bands. While I’ve got my own theories as to why no one can make a dime in this industry, I’m always baffled by how little music fans contribute to their supposed passion. If a band releases a record you love, go buy it – then go to their show – then buy a shirt – then show your friends – then tweet about it – then do whatever’s next. So many people are happy being passive listeners when it takes such a small effort to help the cause. Seriously, just tweeting about a band accomplishes more than you realize – you could be introducing a band to their next biggest fan.

H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?

JA: Lots of exciting things happening at Siren Records, though not much I can share at the moment. We’ll definitely have some Peace’d Out news soon, including info about their first full-length. There’s a few projects taking shape that’ll blow your mind, but those will reveal themselves in the next few months – plus, vinyl, vinyl, vinyl.

I’m also managing Culprit, who’s releasing their sophomore EP on August 20 via Easy Killer Records, so make sure you watch for that.

And there’s always new things brewing at AbsolutePunk – it’s sounding like the mythical new design may come sooner than later, but you’ll have to talk to Jason Tate for details. Some damn good music coming this fall as well, so hopefully lots more features, song premieres, and reviews.

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Job Board News

Blogger Spotlight: Thomas Nassiff (Fuse)

Welcome to a special Wendesday edition of the Haulix Blogger Spotlight series. In preparation for the launch of a new feature next month that will likely take up large portion of our spotlight series, we thought it would be fun to squeeze an extra blogger interview into July before we bid it farewell. If you were hoping for a new advice column, don’t fret. We still plan to run one of those later this week.

Unlike the vast majority of conventional careers paths people choose to follow, working in the music industry today rarely comes with any guarantee of stability. You have to go where the work is, always, and even then you never know what may happen. You can be the best at what you do, but if it’s not what is needed at any given time you may find yourself browsing Craigslist at two in the morning wondering how you’re going to pay rent until things even out. If you do, that’s okay, because the truth is almost everyone in this business has taken a similar roller coaster like journey themselves and will likely do so once or twice more before they retire, die, or wake up on the wrong side of forty realizing that maybe teaching wasn’t such a bad alternative after all. Today’s spotlighted blogger recently moved hundreds of miles to keep his pursuit of a career in music alive, and we’re confident his guidance will aide those of you who find yourselves in similar situations.

Thomas Nassiff originally came onto our radar by way of Absolutepunk in late 2009, but his passion for music dates back to the seminal pop punk records of the 2002/2003 era. Through years of news coverage, reviews, interviews, and in-depth editorial efforts, Thomas has developed a reputation for being one of the thought-provoking minds covering the alternative music scene, and he shows no signs of slowing anytime soon. In fact, he recently joined the Fuse TV team and started his own record label, which sold out its first release in less than a day. We talked about all this and more with Thomas, and I’m relatively sure the results are one of the longest spotlight pieces we’ve done to date.

As always, if you like what you read in this article, please be sure to support Thomas and his variety of projects. Read Absolutepunk and Fuse, buy music from Paper + Plastick Records, as well as Bad Timing Records, and don’t forget to follow his every move via Twitter.

H: For those unaware, please state your name, the site you work for, and your role at said site:

TN: My name is Thomas Nassiff and I’m a web content manager at Fuse.tv in New York City. I also label manage Paper + Plastick Records, run Bad Timing Records and write for AbsolutePunk.net in my spare time. I would like to note that throughout the entirety of doing this interview, I am listening to “Bailamos” which is a smash hit single by Enrique Iglesias.

H: You’ve become a bit of a staple in the alternative community in recent years, but that wasn’t always the case. When did you first fall in love with music, and at what age did you start pursuing an interest in the music industry?

TN: I got into this kind of music in sixth or seventh grade, which is when I started listening to Yellowcard and New Found Glory. So like 2002/2003 or whatever I guess. Good to note that “Bailamos” came out in 2002 as well. I am a little younger so Ocean Avenue and Sticks and Stones were my gateway records. I don’t know at what age I expressed an interest in the “music industry,” but I started writing for AbsolutePunk in my freshman year of college, in 2009, and everything else I’ve done has sort of stemmed from the relationships I made at AP.net.

H: It has been said the first album you connect with reflects the genre you will forever show favoritism towards. Do you feel that is correct?

TN: For me this is certainly true. Before Yellowcard, New Found Glory, Green Day and blink-182 etc. etc., the only music I really listened to was my dad’s music. Stuff like Bruce Springsteen, Dire Straits, Boston, classic rock like that. I still love those artists, Springsteen is my favorite artist of all time actually, but certainly in my formative years I connected with pop-punk songs the most and that is the genre I latched onto for many years after that. I think on a general scale, the bands you first come to love can have an impact on the people who hang out with, who can influence what genres you “graduate” on toward.

H: Unlike many of our featured bloggers, you actually have a degree in journalism. Did your interest in music influence your decision to pursue journalism in college?

TN: Everything sort of happened at the same time. I went into college as a pre-med psychology major and started to write user reviews for AP.net just to do something cool with my free time. You have a lot of free time in freshman year of college. On the first day of my second semester, it was the first week of January in 2010, and I went to my first chemistry class, I remember very precisely that it was under 20 degrees that morning in Gainesville, FL, and I walked into the classroom to find the professor wearing a Hawaiian shirt and jorts, running around the classroom yelling shit about the periodic table. I walked out of the classroom about 10 minutes later, completely horrified and realizing that I hate elements, filled out some paperwork to become a journalism major (this was a shot in the dark, but I always found that writing came relatively easy to me), and then sent an email to Linda Ferreira (AbsolutePunk.net “mail lady”), asking her if they needed any help editing user reviews. I got hired a couple months later.

H: You made a name for yourself as a music writer through your efforts at Absolutepunk. How did you come to work with that site?

TN: I guess I accidentally answered that question above. Sorry, if I wasn’t listening to “Bailamos” I would have read ahead and avoided this awkward moment. The site brought me on to edit user reviews but I quickly started to pick up reviews of records that were looked over, until I earned my stripes enough to volunteer for writing reviews for bigger releases. Writers like Chris Fallon and Blake Solomon were the ones who inspired me most to start writing for the site. I wish I could be as funny as Blake in writing, if he was doing this interview he would have though of a much funnier angle with the “Bailamos” thing. I also started posting news and doing exclusives and interviews very quickly once I got hired; I had an interest in doing those things and I think one of the best parts about the way Jason Tate manages the AP.net staff is that every staffer is welcome to do any type of content they want. It really allows you to experience new things and try your hand at anything you want.

H: Earlier this year you caused quite a fuss online after posting a negative review of a new album from the band Transit. Now that a few months have past, what do you think of when reflecting on that time? Did you learn anything from the experience?

TN: Well to be honest I was pretty well prepared for that fiasco based on my experience with the Matt Wilson / Set Your Goals thing. With Set Your Goals, the band ignored the record review (at least publicly), but a shitstorm ensued when Matt called me an asshole for buying one of their T-shirts at Warped Tour. I learned most from that experience, and also from other less publicized experiences, that it’s usually not worth it to get into a back-and-forth with the band or band member about whatever they are mad about. Similar to how artists have the freedom to write whatever kind of music they want, annoying bloggers have the freedom to blog about whatever they want. Artists know this of course…especially a band like Transit, who saw so much positive praise reigned down upon them from the blogosphere when they released Listen & Forgive, one of the best records of 2011.

With this new Transit record, I don’t really know why the band chose to react to the review in a public manner. When they did, and when I saw the #GFYTN hashtag, that was at least something that could turn into something memorable and something to laugh at in the future, and that’s what it is now. That’s all it is, really. That and the first 1,000-comment review on AbsolutePunk. The band and I are on perfectly fine terms, I talked to Joe Boynton extensively at Skate & Surf this year. I understand why they didn’t appreciate that review, but at some point as a person who writes about music sometimes, you have to just tell your true opinion regardless of what might happen to personal relationships. Or else why are you even writing about records? What is the point of having a public opinion if it’s not the opinion you feel when you’re talking about the record with your best friend? Let someone else write about the record at that point.

H: You recently joined the Fuse team, and can now be found covering a wide array of music for their online presence. What drew you to the world of Fuse?

TN: I wasn’t looking for a job when I found out about this opening at Fuse, but it was the coolest opportunity ever for me. I am so happy to work here now and be in New York City. One of the web content managers who used to work here (she left shortly after I arrived) found a review I wrote for The Menzingers’ latest LP, and she tells me that she doesn’t really like to read reviews but she really liked that one specifically. She followed me on Twitter and we started to talk sometimes, and one day she asked me to send her my resume. So I did and shortly after I had a couple webcam interviews with the web team and eventually they decided to bring me on board. This job is a lot different from anything I have done in the past, but I like it a lot and I love that I’m learning a lot of new skills while I’m here.

H: To take on this new job, you had to join the ranks of industry professionals who have moved across country in pursuit of work (in your case, Florida to NYC). Did you always have an interest in New York, or did it simply “come with the territory”? Do you have any guidance for individuals who may soon be faced with a similar decision of whether or not to make the move?

TN: Moving to New York, or moving anywhere, in pursuit of work was not really in my plans. I had my mind set on staying in Gainesville for a while and working at Paper + Plastick and doing freelance publicity. I love Gainesville, it’s my favorite place. But the opportunity at Fuse was so good and the timing was so good that it changed my plans. Everyone is different in terms of whether they want to leave their hometown or their college town, but my only advice is to just do what feels most right. If it feels like a career-starter, it’s probably worth moving for. It’s hard to turn down the prospect of stability.

H: Let’s get back to the music. When you’re looking to discover new talent, what sources do you find to be the most reliable?

TN: PropertyOfZack is the fastest website in terms of posting news, so if I’m looking to stay up to date on what’s new or just keep track of bands I already know, I’m probably looking on that site. AbsolutePunk is the best in terms of gauging how new bands are progressing because of the comment section on the site. You can look at a band’s news posts on AP.net and see numeric proof (by number of comments) of that band becoming more popular among the audience.

H: Speaking of music discovery, you recently launched a label of your own (Bad Timing Records). Do you have any plans to begin promoting and releasing talent of your own? If so, what would you look for in a band you may one day consider signing?

TN: We had a lot of fun pressing Acceptance’s Phantoms for the first time and we are looking into more catalog releases. Old stuff that we can do for the first time on vinyl. But there are two very new, very unknown bands that I like a lot and I am trying to decide whether I want to take that step and try to do that artist development. I have some experience doing that with Paper + Plastick but it would have to be a band I feel strongly about that just wouldn’t make sense on P+P. I think for Bad Timing I would look for a band that I very much enjoy, very much want to listen to every day, and very much believe could make an impact, even a small one, among people who have similar tastes as me.

H: What about when the bands come to you for news coverage? What advice would you offer bands hoping to stand out from the others vying for attention in your inbox or social feeds?

TN: Man, it is the hardest thing in the world to get someone’s attention sometimes. I don’t even know how to answer this question really, because there are times when I click on links for no real reason and other times when I just am too busy and I delete those types of emails. Some pretty generic tips are to always include a link to stream your music instead of a link to download it, and always make sure you compose emails that actually read like a competent human wrote them. The best tip is to write the best songs you can write and try your best to get people talking about your band, because word-of-mouth suggestions are the greatest publicity.

H: In the digital age, do you feel there is still a need for physical press kits?

TN: Absolutely not. Never. No. Not in this lifetime. Don’t send me anything in the mail unless I ordered it from you or you asked me if I wanted it.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

TN: This is probably a broken record at this point in the history of this feature, but the best service is Haulix. That’s not even an opinion really; it’s almost factual. Universal uses an embarrassing stream/downloading thing that looks like something from the age of dial-up Internet. It’s almost so bad that it actually makes me not want to listen. PlayMPE is a good idea but has terrible execution. Short of receiving a straight-up download link (Dropbox, Amazon Cloud Service, etc.) when I request a record, I prefer Haulix. I will say that SoundCloud private streams are cool for young bands who need a free alternative, but Haulix provides a lot more security. We use it at Paper + Plastick and I consider it to be the best option if you need watermarking service.

H: If you could change one thing about the music industry, what would it be?

TN: I wish people were not so inundated with new music every day. It is a gift and a curse. Music is so accessible, so easily obtained, that at some point it switched from consumers seeking out new music to consumers trying to sift through all the new music that was being hurled at them. It’s at the point where people won’t download a free MP3 because it’s too much of a hassle. You literally can’t give your music away. That sucks. On the flipside, it’s easier than ever to discover new music with streaming services like Spotify and Rdio. So it’s harder and easier, because why would this industry ever be straightforward?

H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?

TN: I am going to go watch Less Than Jake play three shows in three days in Gainesville at the end of August. And I’ll go to Riot Fest Chicago in September and Fest 12 in October, again in Gainesville. I am probably going to listen to the new Balance & Composure album a lot when it comes out. I am going to heavily promote the new Red City Radio record that’s coming out via Paper + Plastick, because it’s my favorite punk record since that aforementioned Menzingers LP. I also am going to listen to Less Than Jake’s new record a lot, because it’s their best work in a decade. And I will definitely be anticipating the new Katy Perry album.

Categories
News

Blogger Spotlight: Drew Beringer (Absolutepunk)

Hello, and welcome another installment of the Haulix Blogger Spotlight series. This time we’re returning to the world of SpinMedia with another look at the alternative music portal that has been leading the online news game for the better part of the last decade.

When most people think of Absolutepunk, they probably associate the name Jason Tate with being in control. While Jason is the creator of AP (and a nice guy to chat with), none of what you see on a day-to-day basis would be possible without the efforts of Senior Editor Drew Beringer. He’s the guy that sits at SpinMedia HQ and represents Absolutepunk, and in a way the Absolutevoices group as well. He has been writing and networking throughout the music industry for years, and the insight he’s able to provide having now found full time work in writing is indispensable for the aspiring (or veteran) journalist.

After you read through Drew’s history and thoughts on the industry, drop by Absolutepunk and see what’s new in the world of alternative music. Also, be sure to Follow AP on Twitter and Like their official Facebook. Drew has a Twitter as well, so send him a note if you enjoy his interview.

H: For those unaware, please state your name, the site you work for, and your role at said site:

DB: Hey, I’m Drew Beringer and I’m the senior editor for AbsolutePunk.net. I basically have a hand in everything on the site, but I don’t want to take too much credit because we have an awesome staff that creates and writes amazing stuff.

H: What initially inspired you to get into music journalism, and how did that interest lead you to join the AbsolutePunk team?

DB: I’ll never call myself a journalist – I never took any writing or journalism classes in college (although I was an English major at one point and did a lot of writing for that). I’ve always been a very opinionated person and I love music so I just started writing my own “reviews” in a Xanga blog years ago. In the fall of 2005, Jason Tate (our CEO/Founder) put out a call for new reviewers on the site and I submitted a review of Emery’s “The Question” and about three days later, Jason IM’d me and asked me if I wanted to write for AP.net. It’s been a match made in heaven ever since.

H: Unlike many who write about music online, you actually work on AP.net as your full time job. How would you compare your daily routine from freelance days to now?

DB: The only difference is that I can dedicate all my time to AbsolutePunk.net now instead of just when I wasn’t working at whatever job I had at the time. And it’s a huge difference. I’m extremely fortunate and blessed to be paid to write about music and I never take it for granted. I’m able to do a podcast with Jason once or twice a week, write 3 reviews in a day and post a lot of news articles a day instead of only writing one review when I had time and sparingly posting news. It’s easier for me to put together new features and set up cool exclusives for the site. In my “old” life, I’d maybe have time to post some news in the morning before heading off to work and then whenever I got home that night I’d use whatever energy I had left to write a review or whatever. It’s an amazing feeling to just be able to use all my time to write and put together a lot of cool stuff for the site. My only wish is that more of our staff could have this freedom because they’re all very talented and if they could pool all their resources into the site, we’d be virtually unstoppable. It’ll happen eventually.

H: AbsolutePunk has changed a lot over the years, from starting as a purely punk site to expanding into movies, hip hop, and recently even comedy. Are these changes done to lure in more readers, or better cater to those you already have?

DB: Of course we want to lure in more readers and users with all our changes and features, but that’s only a small part of it. The reason I decided to expand into adding more hip-hop and comedy content is because our current (and may I add fantastic) users have shown a ton of interest in that in our forums. So basically a little bit of column A, a little bit of column B. The community on AP.net is by far the best online community and a lot of these users bring new music, interests, whatever to the site daily in those forums. I read each forum obsessively and I want to cater our content to those who’ve been visiting the site for days, months, years. I want their voice and interests to also be represented on the front page of the site. I think our comedy content has been great so far and a lot of credit goes to Cody Nelson. He’s very knowledgeable about that scene and is bringing us great features and ideas daily. Since my hire in 2005, I’ve been trying to get hip-hop represented on the site. It’s been a struggle at times, but I think our user base has evolved with the times and are more open-minded to all genres and not just punk music anymore. There are still some obstacles but it’s overall been a great success. Jake Jenkins has done a wonderful job with his reviews and Keagan Ilvonen has always been into the genre too. And a lot of great hip-hop and comedy contributions and recommendations have come our community – I’d be wrong to not mention the stellar stuff I read in the forums from users like deadkidsean, williek311, Argentine, FondestMemory, phaynes1, Star Slight, Ari Christos, Holly Hox, and weworemasks, as well as past users like Fullcollapse3k, Skabum14, Love As Arson, and Trainsaw, amongst many others. It’s those members of our community who’ve made our hip-hop coverage a success and they continue to challenge us to create our best content. I’m also happy that I’m not the only staff member to carry that heavy load of reviewing and covering the genre along with all my other responsibilities.

H: AP is known for breaking bands who otherwise may never have a chance to shine. What do you look for when seeking new music, and where do you go to discover it?

DB: This is always the toughest question for me to answer because it varies on a case to case basis. It could be lyrics or vocals or the music or a combination of all three. There isn’t one particular element I look for when listening to new music – it just has to catch my attention in some way. For example, I love Dessa because her voice, flow, and lyrics are intoxicating. But I love the new Deafheaven album because the music is so devastating and enthralling. It’s never the same thing. I discover any and all music either from the hundreds of emails I get per day, my friends here in LA, and the forums on our site.

H: Let’s talk about when bands come to you. What do you look for in a pitch letter, and what advice would you offer those hoping to contact you about being featured on AP in the future?

DB: I don’t need a long pitch – just give me a brief summary of what you’re about, what you think you sound like, and your music. And if it catches my eye or ear – I’ll check it out. If I don’t get back to a band or review something – it doesn’t mean I hate you or the music, it just means I’m a super busy dude who gets hundreds of these queries a week. I may come back to it later in time and if I dig it, I do whatever I can to support it and promote it. I guess that’s horrible advice, but if you write good/great music, it’ll get the attention it deserves.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

DB: I prefer a watermarked (to keep be accountable of course) zip download with high quality mp3s. Now I don’t always get that, so I roll with what I get. Haulix is cool because you can download and stream and it has the capability of supplying high quality stuff if the label/PR people provide it. But really whatever gives me the highest quality music most efficiently will always be my preference.

H: If you could change one thing about the music industry, what would it be?

DB: Almost everything and I don’t anyone would want to read a lengthy essay from me about the topic. The internet is the wild west right for music (source: Jay-Z) right now and the way you get people to listen and support your music changes nearly every day. I do hate how the industry is punishing listeners and medium-to-smaller bands for the mistakes they made in the past. But it’s also an exciting time for the music industry in that we don’t know what’s coming next and that many artists (big and small) are proving that you don’t need a label to be successful.

H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned for the future?

DB: Just that you’ll always get high-quality and honest editorials, features, and opinions from AbsolutePunk.net. We’re very transparent with all our intentions and we’re music fans just like everyone else who visits the site. The long-awaited AP.net 3.0 is in development and it’s going to wow a lot of people. We have so many talented writers – whether it’s veterans like Thomas Nassiff, Alex DiVicenzo, and Christian Wagner or rookies like Kelly Doherty, Chris Collum, and Craig Manning – bringing forward new ideas and content daily. It just blows my mind. I seen staff members like Ryan Gardner and Dre Okorley rise up and lead new features and it’s so awesome. It’s those guys along with the rest of the staff that makes the future of AbsolutePunk.net so exciting. It’s their hard work and talent that makes guys like me look so smart and our site the best.

Categories
News

Blogger Spotlight: Jason Tate (Absolutepunk)

To fully understand the importance of today’s feature blogger, you would need the ability to track the rise and fall of countless bands over the last decade. His influence, and those of the people who help run his site have steered the alternative music scene through the rise of the digital age, and we could not be more honored to have him take part in our ongoing series.

It’s hard to believe thirteen years have passed since Jason Tate sat in his Oregon home building a website out of his admiration for Blink-182, but as of June 6 of this year that is exactly where we find ourselves. Since that time, AbsolutePunk has developed into an unstoppable source for music news, reviews, and exclusives, but what perhaps is most interesting is that Tate’s passion for the industry has only grown in time. While many struggled to come to terms with the rising importance of the internet in marketing, Tate was paving the way with a site built from the ground up with community in mind. Today that community numbers in the hundreds of thousands, and from what we can tell shows no signs of slowing anytime soon. 

Read on to learn about the history of AbsolutePunk, where Jason see the industry headed, and what advice he has to offer bands hoping to earn a spot on his coveted newsfeed. Be sure you also Follow Absolutepunk on Twitter and Like their efforts on Facebook.

H: For those unaware, please state your name, the site you work for, and your role at said site:

JT: Jason Tate, AbsolutePunk.net, I founded the site and continue to run the day to day operations.

H: What inspired you to start your own music blog? Did you go to school for writing or journalism?

JT:At the time I started this website the entire “blog” industry didn’t really exist. I looked at the state of mainstream music, about 15 years ago now, and looked at all the bands that were getting attention … I didn’t see a lot of the smaller bands I was listening to being talked about anywhere. I wanted a place to talk about those bands. So I built one.

I went to school for computer science, but changed my degree to business administration after my freshman year.

H: In the years since AbsolutePunk launched dozens of blogs and zines have cropped up covering the same talent, yet AP has remained the top alternative music destination online throughout. What is it about Absolutepunk that not only separates you from the rest, but helps you stay ahead of them too?

JT:AP.net is a community first and foremost. While plenty of sites want to talk at you … we exist to talk with you. The community is what powers the website – it’s where our staff come from, it’s where we find out about new bands, and it’s built into the core of what AbsolutePunk.net is.

When Fall Out Boy releases a new album, for example, you may wanna talk about it on facebook or twitter with a few of your close friends … but where else can you talk about the album with a few thousand diehard fans of music? AbsolutePunk.net is where that conversation is happening. It’s a combination of the community and social aspects of our site – mixed with our great content. At least, that’s the goal.

H: Speaking of these other sites, you partnered with Punknews, PropertyOfZack, and Under The Gun Review last year through SpinMedia to form AbsoluteVoices. What is the plan for this team of sites, and what do you hope to accomplish by bringing them together?

JT: The original idea, at its most basic, was to remove barriers of competition. What I was seeing in our music blog world was that if one site had some great content – other sites were scared to link to it because they didn’t want their users to leave and start visiting the other websites instead. I believe strongly in sharing the best content with visitors, and in doing that trusting they’ll continue to come back … I wanted to build a little coalition that allowed us to all benefit from sharing traffic and content and resources. So far, I think the experiment has been going great – traffic numbers are basically up across the board – and if you’re involved at all in the alternative music world … there isn’t any other alternative music property that comes close to our reach.

H: Back to AbsolutePunk. There has been talk for over a year that a revamped site design was in the works. What is the latest update on that project?

JT:Heh.

I’ve been writing a lot about this on my personal blog (chorus.fm), and the giant undertaking that it has been. The process has been intense as I just re-took the reigns of the entire design/coding process back. I am currently working on the back-end of the new website, and slowing working through the redesign of the site from the ground up. We’re going into it thinking through everything it is that we want AP.net to be. Great content. Great social features. How to find the content you want, how to organize the data, and how to present it in the best reading experience possible.

Truthfully? I love what we’ve come up with and I can’t wait to share it with the world. I believe that this is the best thing I’ve ever been a part of building – and that it’s the website I’ve wanted to build since I first started this website. It is the definitive version of AP.net, and is probably what will be the core of the website for the next 10 or so years of my life. It’s being built to scale and handle as much traffic as we can do, and it’s being built with the future in mind … so that you can access our website and content anywhere, on on any device currently out there or invented in the future … and I’m really excited about what we’ve come up with.

H: A number of bands finding success in music currently were assisted in their early days by being featured on AbsolutePunk. Where do you go to discover new music?

JT: I’ve always had people send me music – since I first started writing online … and I listen to a lot of recommendations from friends I’ve made along the way. I have a lot of people I trust when it comes to recommendations, be it friends, or certain people at labels, or members of our forums.

H: Let’s say a band wants to approach you about being featured on the site, what advice would you offer them to help separate themselves from the others vying for your attention?

JT:Make great music first. Haha.

And try and keep it simple. I don’t want giant crazy press releases. Simple. Good music. Build a following. The cream finds a way of rising.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

JT:If it’s not going to be a simple zip file in dropbox, I’ve outlined my ideal streaming service (Rdio), here:

http://chorus.fm/post/40901657403/kill-the-physical-advance

What if a company like Rdio (for the sake of this post I’ll just keep referring to Rdio, but technically it could be Spotify as well) started reaching out to labels to add advanced music listening to their already stellar offering? They have the user accounts, they have the distribution method, and they have a great interface. Some 90% of the music is going to end up on these services to begin with – it wouldn’t take much work in the background to allow them to only be available to a select number of user accounts until release date.

Digital files or a clean streaming interface that integrates into my listening habits already. When I get a crappy stream of an advance, I usually wait for it to hit Rdio anyway … quality is better … I can just add it to my “queue” and listen during the day without having an extra program/tab open on my computer.

H: If you could change one thing about the music industry, what would it be?

JT:No more physical advances. I don’t want any more CDs. Haha. Most of my music is digital and I buy my favorite albums on vinyl.

H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what AbsolutePunk has planned for the remainder of 2013?

JT: We just released an official AbsolutePunk.net Podcast:

http://chorus.fm/tagged/podcast

But the number one goal is launching the new version of the website. It’s our future.

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