We spend so much time on our blog talking about the people who use Haulix that we sometimes forget many of our readers may be unfamiliar with the products we offer. As much as we love sharing the stories of the people who work in the industry, our top priority at the end of the day is to provide secure media hosting and distribution services to the entertainment world. Today we’re going to look at four reasons people sign up Haulix, and in the weeks to come we’ll be posting more updates on what is going on behind-the-scenes at HQ. If you have any questions about our product, or if you would like to schedule a tour through the service, please do not hesitate to contact james@haulix.com. If you want to do more research on your own before reaching out, feel free to click around our recently redesigned website.
1. Security – Music piracy is at an all-time high, and here at Haulix we are doing everything in our power to prevent your album from falling victim to early release. Through a combination of advanced watermarking technology, Permissions, encryption, and secure traffic techniques we are able securely host, distribute, and track your media while you focus on promoting the material itself.
Watermarks contain user specific information that allows us to identify which contact specifically downloaded or streamed a file through Haulix. On average, each track will contain 15-20 watermarks which can survive most attacks such as re-encoding and conversion. Additionally, you have fine grained control over how many times they can stream or download a promo. All traffic in and out of Haulix is SSL encrypted (like bank websites). Haulix automatically prepares your tracks for watermarking and when a contact downloads or streams an album, the injection process is performed in seconds.
2. Customization – We love to focus on the backend of things so that publicists, labels, and bands can put their efforts into promotion. We recognize that in order to do that to the best of their abilities our clients need to be in control of how their content is no only dispersed, but presented. From the “promo” pages where your music securely lives online, to the email you will send when inviting press to experience your material, there are dozens of ways our product can be customized to fit your needs. Want to use a color theme or still image as the background to your “promo” page and/or emails? No problem! Want to limit the number of times an album can be streamed or downloaded by any particular individual? We can do that too.
3. Organization & Analytics – (This may seem like two, but they go hand-in-hand). Expanding on an aspect of our service mentioned in the previous two points, Haulix also helps distribute content. Through our one-of-a-kind email system our clients are able to create contact lists ( or upload their existing contacts), organize them into groups however they see fit, send personalized messages, and access analytics with ease. You’ll know who read your message, which ones accessed the material, and how the engage with it once on the “promo” page.
From a press perspective, Haulix offers a unique organization tool that allows journalists to view all the promos they have been sent by people using our system. Which leads us to our fourth point…
4. Journalist Approved – We could write and write about how we believe our products to be the best in the business, but it wouldn’t matter half as much as the approval of the people bands, labels, and publicists are trying to reach through our service. We don’t want to pat ourselves on the back too much, but here are a few things people have said about Haulix in recent months:
“I always get a little extra excited when I see I have new music through Haulix because I know I can jam it in mere seconds with no hassles.” – Jameson Ketchum, Substream Music Press
“Haulix takes all of the hassle out of receiving new music. It simply combines everything on one page and provides you with promo pictures, bios, videos and whatever else. Since most of the publicists we work with tend to use it, it’s nice to be able to quick switch back to your full catalog of promos you’ve received.” – Drew Maroon, MindEqualBlown.net
“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.” – Drew Beringer, Absolutepunk.net
“I want tracks I can stream, and preferably download too — I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.” – Jesse Richman, PropertyOfZack.com
Hello and welcome to the third installment of our Haulix PR Spotlight series. The last two weeks featured industry veterans with over two decades of experience between them, but this week is a bit different. Instead of highlighting someone more or less settled into an industry career we’re going to a focus on a talented individual who is causing quite a stir with a publicity company she started less than two years ago. Her journey to stability is only beginning, and we’re excited to share her progress thus far. If you have any recommendations for future publicists we should feature, please email james@haulix.com and share your story.
The age of social sharing and digital distribution has made getting your creative works to anyone willing to listen easier than ever, but that simplicity comes with a cost. As much as the ease of use helps you it also aides your numerous competitors in getting their new works out as well. This flood of content has made it harder than ever before to get noticed in the industry, and that very problem has lead many to throw in the towel altogether. Why add to a crowded marketplace when it’s already near-impossible to be heard? If you’re going to make it in this business there is only one answer: Because you have something unique to offer.
Like the rising number of musicians vying for attention these days, there has been an explosion of in the number of small publicity and management firms in recent years. To strike out on your own in the business world takes a lot of drive and confidence, especially in the music industry, and even those who find small amounts of success have a high likelihood of failure within five years time. Still, against seemingly all odds a small amount of these young entrepreneurs are finding solid ground in the industry, and today we could not be more excited to be highlighting one such talent.
Jen Appel did not always dream of being a music industry publicist, but in just over year after launching The Catalyst Publicity Group that is exactly where she has found herself. Backed by a team of hardworking dreamers with similar aspirations for careers in music, Appel has built a blossoming brand that artists big and small call home. Her drive for success is matched only by her passion for music, and it is our hope in sharing her story that another generation of young PR talent may be inspired to take their careers into their own hands.
Jen is a truly great soul who is always willing to speak with aspiring industry professionals. If you have any questions or comments for her, you can reach out via Twitter and she will get back to you within hours. While you wait, be sure to follow The Catalyst Publicity Group so you know what Jen is working on next.
H: For those unaware, please state your name, the company you work for, and your role at said organization:
JA: Jen Appel, CEO & Publicity Director, The Catalyst Publicity Group
H: Let’s start with the basics. What was the first album you connected with, and how did that record come into your life?
JA: I wouldn’t call it the first album I connected with, but Sugarcult Start Static is definitely an album that brings me back. I remember one of my friends suggested we play the album while water skiing out on the lake. I had never heard of Sugarcult before so I thought I would give it a listen. From there it stuck with me and became one of my favorite albums. There isn’t one track on the album that I don’t love, still to this day.
H: You went to school for communications, so I am lead believe you knew for awhile it was what you wanted to do in life. What attracted you to publicity as a career path in the first place?
JA: To be honest, I thought I would end up as an Interior Designer. Throughout high school I was on the Architecture/Interior Design path and quickly fell in love with drafting and building plans. When I first went to Indiana I enrolled in the Interior Design program however I wasn’t too fond of the 3D model building that would take up half of my degree so I decided to change. Halfway through my Freshman year, my advisor suggested I try Public Relations. After meeting the most incredible professor I knew PR was for me. My professor had worked at Saatchi & Saatchi for over 30 years creating some of the most well known commercials and a part of that he was their PR Director. After my Freshman year I interned at a top PR firm here in South Florida and that’s when I knew it was the right career path.
H: At what point did you connect your interest in music with your desire to work in publicity?
JA: Music has always been a passion of mine and my family. My uncle has played in several bands and is a master on the drums. I remember from a really early age trying to learn the drums and attending as many concerts as I could with my family. From there I went on to play in band and orchestra throughout middle and high school but it wasn’t until college that I really connected the two. During my Junior year at Indiana I met one of my best friends, Steph, an incredible singer/songwriter. Somehow we decided that I would “manage” her (and I use that in quotes because I really had no idea what I was doing, at all). It became something fun for me. I didn’t do much but I knew that music was something I wanted to tackle at some point. Skip to 3 years later when I lost my job at a Marketing Firm due to the horrible economy, I decided it was time try out music PR.
H: You started The Catalyst Publicity Group a little over a year ago. What lead you to start your own business?
JA: What lead me to start my own business is simple, I found that people in this industry only cared about themselves and there was a lack of passion for the actual music and musicians. I wanted to start Catalyst to show that there are people out there that care no matter what size your band is and where you are in your career.
H: Who was the first artist you worked with, and what can you tell us about your first experiences pitching new talent?
JA: The first artist I worked with was a pop-punk band out of Dayton, Life After Liftoff. When first pitching new talent it can be difficult especially if the band is smaller. I work with my team to make sure we brainstorm every angle of the artist to ensure we are getting the right pick up.
H: There are a growing number of publicity groups working in the alternative music realm. What is it about Catalyst that separates you from the competition?
JA: We are a family. Not to sound cliche but our team is really close and we make sure to help each other out whenever possible. In addition, our talent is family to us. We make sure at every turn that they are taken care of, even if it is something outside of the PR realm, they are our number one priority. My biggest key is to make sure that everyone is comfortable with their campaign(s) and that we are having fun. Music is supposed to be fun, something that takes you away from your problems, why does it have to be any different with a PR campaign.
H: What do you think is the biggest lesson you have learned in the last year of your career?
JA: Not everyone is nice. This has been a tough lesson to learn over the last year. I’ve always been the type to see the best out of people and think they are also here to help, but that is not always the case. There are some evil crazy people out there that have no problem taking advantage of you to gain full speed ahead.
H: If you could offer one piece of advice to aspiring publicists hoping to work in music, what would it be?
JA: Get to know your local/regional music scene, try to take some of the smaller bands on as freelance clients just to get a feel for what it is like. Before you reach out to any PR firms for work remember that typically there are no days off and this certainly is not a 9-5 job. This was the most difficult thing I had to learn when transitioning into music.
H: As someone who has worked with talent both signed and unsigned, do you feel record labels, big or small, are a necessity in the modern music industry?
JA: Yes and no, I believe it is dependent on the talent. It really depends on where the artist is at in their career.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
JA: Please, please take the time to research my clients before an interview. It is just as frustrating for an artist as it is for a publicist when interview questions are so generic. Be creative with your questions, it’ll take your publication and career farther. H: Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out? If you can, share an experience.
JA: I would suggest an artist pair up with a PR firm to ensure their music is safe while garnering pre-release press. This is just one way to ensure that your album won’t leak, but these things do happen.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
JA: There is the standard press blast and pitching but I really find the best method is to actually chat with press about an artist. I try to get to know the editors I work with, figure out what kind of music they’ll like and pitch them on a case by case basis. I am all about conversing with people and if I can tell someone about a band and show my excitement it’ll take the campaign farther then a typical press release. H: If you could change one thing about the music industry, what would it be?
JA: To be honest, I don’t think I would change anything about the industry. H: Your roster is growing every week it seems. Do you have any plans or releases on the horizon you’d like to share with our readers?
JA: Right now we have several artists on tour so make sure to check out our blog section on the Catalyst site and see if they are coming to a town near you. September will be one of our biggest months to date. Not only are we celebrating our one year anniversary but for the first time Catalyst will be sponsoring the Driven Music Conference in Atlanta Sept 26-29. If any artists are interested in showcasing please head over to DrivenAtlanta.com.
To keep up with everything Catalyst head over to our website: TheCatalystPublicityGroup.com.
Another Monday has found its way into existence, and here we are once again with a new Haulix Blogger Spotlight. This feature is the longest running on our still-young blog, and this week it gains one of its lengthier entries to date. If you have someone you would like to nominate for a future installment of this series, including yourself, please do not hesitate to email james@haulix.com and share your story.
PropertyOfZack founder Zack Zarrillo was the very first blogger to be featured in this series, but only a fool would think everything POZ has accomplished in recent years resulted from the efforts of one barely twenty-something with a laptop and a lot of big ideas. In fact, the contributing staff that helps keep POZ atop the alternative news game numbers in the dozens, and amongst them lies one curious soul by the name of Jesse Richman. He may not be the top news writer in digital journalism, but his work on artist features has helped widen the gap between POZ and their closest competitors while simultaneously helping usher in a new wave of talent to alternative scene.
Sometimes you meet influential people in the strangest of places, and other times it’s more a twist of fate. For Jesse Richman and I the latter was definitely the case. SXSW 2013 was fast approaching and before I could log on to book a hotel I learned all rooms in the immediate vicinity of downtown Austin were completely booked. A chance conversation with Zack Zarrillo put me in contact with Jesse, and before long I had found a temporary home with him less than a mile from Austin’s biggest events. We had never met or spoken before arriving, but in the days that followed I was able to watch his masterwork first hand as Jesse prepared and conducted interview after interview with talent from all walks of life. In between press events he would catch bands, usually chosen ahead of time to maximize coverage, and on the off-chance he found himself with a free moment he would begin working on his posts for the following day via phone or laptop. His work ethic is unlike anything I have witnessed elsewhere in the industry, and it’s an honor to share his story here today.
We spoke with Jesse about his life before music, what got him interested in writing in the first place, and where he sees the music industry headed in the years ahead. You can read his thoughts on all this, as well as few details on what PropertyOfZack has in store, below. If you would like to know more about Jesse we highly encourage you to stop by his Twitter, or his personal portfolio site.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JR: My name is Jesse Richman. I’m a Senior Writer at PropertyOfZack, which I’ve called home since 2010. I also do sporadic work for other sites, and maintain my own music blog as well (generally for more personal writing) at MakeupForTheSilence.com.
H: What was the first album you really connected with? How did you discover it?
JR: Music has been a part of my life since literally before I can remember; when I was a baby, I refused to sleep if there wasn’t a record on the turntable.
That said, the first album that really felt like it was mine was Live’s Mental Jewelry. I remember catching the video for “Operation Spirit (The Tyranny Of Tradition)” on MTV one afternoon and just being blown away by it – visually, lyrically, sonically. When I learned soon after that they were a bunch of 20 year old kids from a town less than two hours away, it became clear they existed specifically for me to find.
H: What inspired you to get into writing in the first place?
JR: It’s just something I’ve always enjoyed, and always had a bit of a knack for. A lot of it was just loving reading, and wanting to make something others would love and learn from too. A handful of good English teachers to encourage me didn’t hurt. That said, I never really had the creative impulse for fiction writing; expository writing, whether journalistic or biographical, has always been more in my wheelhouse.
H: You went to school to study law. What attracted you to the world of entertainment journalism?
JR: I did go to law school, and I actually still practice law full-time – it’s the day job which affords me the opportunity to pursue writing as more than a hobby despite the collapse of the marketplace. As for what attracted me to entertainment journalism, I’ve been a voracious reader of music literature for as long as I’ve been a music listener. I have memories of Study Hall periods spent in the school library, churning through decade-old issues of Rolling Stone. You’d have been hard-pressed to find a day where my backpack (covered with band logos drawn on in White-Out) didn’t have at least one music bio crammed in among the school books. I think it’s just always been in the cards that I would write about music.
H: Your work can usually be found on PropertyOfZack, a site that we have featured before. What is it about the content offered on POZ that separates you from your countless competitors?
JR: in our early days, POZ really distinguished itself with its video content – Live’s, Acoustic sessions, documentary coverage of things like the GK Holiday Fest. Over the last year we’ve made a strong push to expand our written content to match. We’ve introduced Perspective (our features series), weekly Friday Discussions, our retrospective Decade pieces, and now Inside – multi-article deep digs on key players in our scene. We’ve got a really strong core of writers, and we’re giving them the opportunities and the tools to explore their passions. Everybody wins – the site, our writers, and especially the readers.
H: The majority of your features involve interviews. Do you recall your first interview experience as a journalist?
JR: I’m sure I did some interview work for my high school paper that I’ve long forgotten, but I really cut my teeth working for the Arts section of my college paper – I think I sat down with every band on campus at some point.
H: Every writer is guilty of having stock questions they fall back on when times get tough. If you had to guess, which question do you think you’ve asked most often over the course of your career?
JR: I’m endlessly fascinated by the creative process – how songs are written, how bands go about arranging and recording those songs. I love to ask business-related questions, because nobody knows where the music business is headed but everyone’s got their opinion on it. And if all else fails, I ask what’s on the radio in the van/bus, partly because I’m confident enough in my musical knowledge that I can turn any answer into a launching pad for more questions, and partly because the easiest way to crack opena tough interviewee is to get them talking about something they’re passionate about.
H: There are a growing number of people who view what you do as a possible career path for themselves. What advice would you offer those who hope to make a name for themselves in writing these days?
JR: Write, write, write. Read other writers. Talk with other writers – it’s never been easier than it is right now to get in touch with virtually anyone. Debate, test their ideas, make them test yours, listen to feedback. Then, write some more.
H: You’ve racked up quite a list of interviewees over the years. Who is left on your “interview bucket list”?
JR: Anyone who’s made music that makes me feel! I don’t really have a list, but there are definitely some childhood musical heroes I’d love to really get in deep with someday – Ed from Live, Raine from Our Lady Peace, Colin and Mr. C of The Shamen. And if the ghosts of Kurt Cobain or Doug Hopkins of the Gin Blossoms feel like dropping by for a chat, I’m game.
H: What would you say is your ultimate goal as a writer?
JR: To be read. And to have something to say that’s worth reading. I might be putting the cart before the horse there.
H: PropertyOfZack is known for breaking up and coming rock bands. Where do you turn when hoping to discover new music?
JR: My fellow POZ staffers. Our fellow websites, like Under The Gun Review and AbsolutePunk. My friends in the blogosphere. I follow a list of 300+ music-related folks on Twitter – musicians, songwriters, producers, PR folks, journalists. Tumblr has a vibrant, if echo-y, critical community. Podcasts – I subscribe to probably 10 music-related podcasts.
I’ve also built up something of a mental list of must-read music critics – folks who, through their skill and insight, make me think about music in new, exciting, eye-opening ways. Nitsuh Abebe, Maura Johnston, Tom Ewing, Stephen Erlewine, Steven Hyden, Luke O’Neill, Leor Galil, Jason Pettigrew, Annie Zaleski, and many more. Everyone who posts at The Singles Jukebox. Apologies to everyone I’m forgetting. There’s so much more to writing about music well than just discovering new acts.
H: Speaking of music discovery, you probably receive a lot of submissions from young artists vying for a spot on your news feed. What advice can you offer young artists hoping to stand out in your inbox?
JR: Don’t bother. Really. I ignore virtually everything I get sent from publicists (and, sadly, from bands themselves). Write good songs, play good shows, build a buzz. I keep my ear to the ground, and if you’re doing something interesting, odds are it’ll make its way to me.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
JR: We wouldn’t be here doing this interview if we didn’t both think Haulix was the bees knees, right? I want tracks I can stream, and preferably download too – I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.
H: If you could change one thing about the music industry, what would it be?
JR: I’d find some way to put the money back into it! The last 50 years were a bubble, and that bubble’s burst, but it was a glorious bubble to live in, wasn’t it?
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?
JR: I’m really stoked for Riot Fest, both as a writer/interviewer and as a fan who never had the chance to see The Replacements live. CMJ is coming, and I’ve already started making plans for next year’s SXSW. In between all of that, I’m just going to keep writing as much as I can!
Why, hello. Thank you for stopping by for another installment of the Haulix Blogger Spotlight. So far this week we have spoken with a member of Absolutepunk, as well as one of the most widely recognized publicists in alternative music, and now we’re headed across the pond to highlight a writer who has spent the last six years developing an entertainment site for people who aren’t afraid to admit they like a little bit of everything. If you have a recommendation for a writer that should be highlighted in the weeks ahead, please email james@haulix.com and share their story.
Hailing from the UK with a passion for writing that just won’t quit, Zach Redrup has been helping spearhead a revolution in music blogging through his site Dead Press! since 2007. He recognizes that most music fans love multiple genres of music, and over the years since launching his site has continually strived to cover as diverse a variety of talent as he and his team possibly could. From Lady Gaga to Metallica, you never know who will appear on the front page of Dead Press! on any given day, but the content that does make the cut is always well worth your time. You’ll find no sugar coated or biased articles here; the good and the bad are revealed for what they are, and it’s in that unflinching honesty that Redrup has found the most success. We spoke with Zach about all this, as well as where he sees the industry headed in the years to come, and now you can read his story right here on the Haulix blog.
As always, if you like what you read be sure to reach out an let Zach know. He can be found on Twitter, just like Dead Press!, and is often found covering festivals around the UK. If you have any additional questions about Dead Press!, please comment at the end of this post and we will do our best to get you an answer.
H: For those unaware, please state your name, the site you work for, and your role at said site:
ZR: My name is Zach Redrup and I’m the founder and editor of DEAD PRESS!
H: DEAD PRESS! has been around since 2007, but you have been a music fan for many years. Do you recall the first album you really connected with?
ZR: Well, the first album that I ever purchased was ANThology by Alien Ant Farm and, to be honest, I still have a connection with that record due to the nostalgia and the fact it has some great songs on it. I really became a music fan during the surging popularity of nu-metal, so I had and still do have a great love for bands like Korn and Slipknot. However, as I’ve grown older my music taste has expanded. It’s strange to think now how close minded I was about music back in high school.
H: Though many writers seem to have similar goals, they all have a unique origin story. When did you realize you wanted to work in music?
ZR: To begin with I used to contribute towards another site, which I won’t name, but basically the management of the site changed at the beginning of 2007 and lost contact with a lot of its original contributors, myself included. I got a taste of it then and wanted to continue but more on my own terms. As such, DEAD PRESS! was born and has been going ever since. Of course, as most music fans, I’ve always had that dream of being in a big successful rock band for a living. But we can all dream, can’t we?
H: What is the story behind the name DEAD PRESS!? Did you consider any other names before settling on that one?
ZR: I’m quite a fan of having duality within meanings or representation. Essentially, DEAD PRESS! has several meanings, the main one all comes down to personal preference. Originally, the meaning behind the name was due to our unbiased and honest nature and views with our articles. We don’t like to sugar coat things due to popularity or to bulk up numbers/readership because of an artist or band being ‘the next big thing’. Lots of publications, including some of the biggest ones, do this and as such the true press is dead, so therefore the name DEAD PRESS! fits with that. Another meaning some have interpreted it to be is the fact that it’s online and printed press is dying, put simply it is a DEAD PRESS!. A lot of people chuckle at the initials of the site too, DP!. It does mean double penetration in some contexts, but that only helps people to remember. Besides, music penetrates both ears, so the humorous side still rings true.
H: There are a growing number of sites attempting to cater to people with a wide variety of tastes. What is it about the content on DEAD PRESS! that sets you apart from the competition?
ZR: As I mentioned before, I think something that sets us apart from a lot of other publications out there is that we cater to the readers who want a true and honest view on new music and acts both established and up-and-coming. No one likes trashing the little man, but if we sugar coat that and let the (pardon my language) filter through, we’ll end up with even more of those bands you absolutely loathe. If they’re bad, we’ll say so. If they’re an incredible talent that deserves your attention, we’ll make sure you know their name.
H: The site’s bio says a revamp in 2010 lead to a new drive to contribute to the music scene. Aside from the design of the site, what changed?
ZR: The biggest change that happened in 2010 was that the site truly evolved from a portfolio of articles (mainly reviews) from myself and instead into a fully functioning site. From 2010 we shoved the site over to a professional host, gave it a full domain, began contributing news on a daily basis, included features and also recruited a bunch of both writers and music fans to help contribute towards the site and encourage people to listen to the great music out there and avoid the dirt.
H: You were a lone wolf when the site started, but now have a team of contributors. At what point did you begin to build your team, and how did you go about finding new writers?
ZR: As I said before, this was one of the biggest changes to occur for our revamp back in 2010. In the beginning, I recruited a few people from my Music Journalism course at university at the time of the revamp to help contribute and build the site to new heights. As the site developed and grew, so did the readership interest along with people who also wanted to get involved with things.
H: You offer a variety of content on your site, including reviews. Some have said the rise of social media in recent years has lessened the need for critics. Do you agree?
ZR: I both agree and disagree at the same time. Social media in terms of media critics acts as a double-edged sword. On the plus side, it helps to promote the names of bands who may have otherwise struggled and even disbanded without the aid of social media to widen their name. In turn, that also raises the awareness of the more underground publications such as ourselves, allowing readers to know there are alternatives out there. However, this also encourages people to start up a quick blog in minutes, shove up a few articles and instantly brand themselves as a ‘music journalist’.
H: Whether or not reviews are always a part of DEAD PRESS!, you will certainly continue to feature new bands. Where do you go when you want to discover new talent?
ZR: There are many ways I find out about new bands. The power of word of mouth will never die and should never be underestimated, but again, social media is a great way to uncover new bands and talent you may otherwise have been none the wiser to discover. From a quick tweet, a little song posted on Facebook or a recommended song/video off the back of a band you already love on YouTube can help you find a new favorite. I’ve always personally found the recommendations on Last.fm a great source of new music too, and of course due to the nature of DEAD PRESS!, I manage to discover a lot of great new bands who have sent in their material for me to check out. It’s one of the better perks of the site.
H: Let’s turn the tables and talk about the bands who come to you. What advice would you offer someone who wanted to increase their chances of sticking out from the plethora of bands vying for your attention?
ZR: It’s rather cliché but it’s true; originality is one of the biggest keys to getting some extra attention towards your band. Though you want to get your music heard, don’t nag and don’t spam. You don’t want to start off with a bad reputation. However, you want to keep yourselves active and constantly doing stuff. With such a grand amount of bands forever boring born, it’s easy for you to be lost in the shuffle. Work hard on your music, get rid of all of the tweaks, be original, keep your name out there, play as many shows as possible, appreciate your fans and keep professional.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
ZR: As I’m old fashioned, if bands offer a physical copy of their record is always a preference, but as we all know digital download is the future. The best thing to offer to me personally is great, professional and enjoyable music. The more information provided without sending the equivalent of a novel is the best procedure. Be detailed yet straight to the point.
H: If you could change one thing about the music industry, what would it be?
ZR: It saddens me how the pleasures of a physical record, where you can hold the music, enjoy the artwork, study the lyrics and learn the band and their material inside and out is quickly dying. It’s never going to happen, but if the CD could come back in true force that would be fantastic. That, and if anyone could get Reuben to reform, I’d really appreciate it.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
ZR: We have a lot planned for DEAD PRESS! over the coming months. Along with bulking up our content in both quantity and potency we’re also getting a full site redesign soon, hopefully starting to get some shows on the go, sponsoring some of the better festivals and tours coming up, having some merchandise available, continuing to promote and push the talented artists out there and always delivering content that people would want to read and check out.
Welcome to the second installment of the Haulix PR Spotlight. The purpose of this column is to highlight the people who work behind-the-scenes to help your favorite bands gain exposure in the media. Some will be business owners, while others grind away their days for a larger corporation, but the one thing they all share is a drive to succeed that knows no bounds. If you know someone who fits this description that you feel deserves to be highlighted in this column, please email james@haulix.com and share their story with us.
If you are hoping to work in the alternative music realm, you will not get far before hearing the name Mike Cubillos. A publicist for over a decade, Cubillos has built a reputation through his company Earshot Media as one of the most influential publicists in the music industry. In our interview, Mike opens up about his early days in the business, his decision to leave the world of major labels and start Earshot, the problems he sees young artists make, and what advice he has to offer others hoping to have a career in this often tumultuous industry.
On a personal note, I have worked with Mike on a weekly bases since I started in the music industry over half a decade ago, and I cannot begin to think of everything he has taught me in that time. There are some people in life you look to as competition, while others you see only as who you hope to one day become. Mike Cubillos is the latter of those two for myself and many others, and it was honor to work with him on this feature.
As always, if you would like to learn more about Mike and his current projects, be sure to follow Earshot PR on Twitter and Facebook. If you have any additional questions for Mike, please do not hesitate to mention in them in the comments section located at the end of this post.
H: For those unaware, please state your name, the company you work for, and your role at said business:
MC: My name is Mike Cubillos and I own and operate Earshot Media a independent publicity company.
H: We have a lot of ground to cover, but there is not better place to start than the beginning. What was the first album you remember truly connecting with?
MC: I’d have to say the first album I remember connecting with as the Ramones Rocket to Russia. My brother brought home a European import copy and something about the simplicity of the songs and those great melodies drew me in as a kid.
H: Do you recall when you first realized you wanted to work in the entertainment industry? What was the initial inspiration to start down this path?
MC: I initially wanted to get into to TV Production or something on the programming end of the TV business, but in college I did a few internships at record labels since I’d always been a big time music geek. Even as a kid I subscribed to magazines like Rolling Stone and I’d read Billboard at the library whenever I could. When I realized I could parlay my obsession with music into a career, I ran with it.
H: You started Earshot back in 1998, but you had a history in the industry before that point. What was your first job in the industry?
MC: My first real job after interning was working as an assistant in the PR department for a label called Zoo Entertainment which was part of BMG. It was sort of a “mini major” with acts like Tool. Matthew Sweet, Killing Joke, Green Jello, etc. I learned so much from my time at Zoo and I’m really glad I was able to get that in house label experience. I have very fond memories of that job and all of the people I worked with, many of who I still keep in contact with today.
H: Before stepping out on your own you were a member of the Mercury Records team. What lead you to go independent?
MC: I was one of the west coast publicists for Mercury Records and most of the west coast staff was laid off when the label went through a major merger. It was a blessing in disguise because it was the push I needed to go out on my own.
H: Where did the name Earshot come from? Did you have any other names in mind before settling on that one?
MC: I just felt the name had a bit of a ring to it and liked that it had some sort of vague connection to music/listening. Not long after I started a nu-metal band came out with the same name which was a bit of a bummer, ha… but I don’t think they’re around anymore so at least I can say I outlasted them. : ) I had a few other names I was considering but I don’t even recall what they were. If I could go back and pick another name I probably would, but it’s too late now I suppose.
H: As someone who has worked in and deal directly with major labels for a number of years, what do you think about claims they are no longer a necessity in the modern music industry?
MC: I think that major labels definitely still serve a purpose. The marketing push that major labels can give to an artist is invaluable. That said, I think an artist can achieve great success without being on a major. There are a ton of examples out there of indie acts that are proving this to be true.
H: You were pitching bands to publications long before anyone heard of Myspace, and certainly before the term social media was as prominent as it is today. Do you have any nostalgia for those early years of PR, or do you prefer the quicker pace of today’s media?
MC: I definitely do get nostalgic for my early years doing PR. It’s sad that so many great print magazines have gone under. Publications like Meanstreet, Bam, Flipside, etc are sorely missed. Also, the idea that we used to fax press releases and media alerts or send them via snail mail seems so archaic but it wasn’t that long ago that this was the case. There’s no question that social media and the Internet has made a lot of aspects of a publicists job much easier but it’s also brought along a lot of new challenges.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
MC: I would say be professional. A lot of people assume that since it’s the “music business” that some of the general principals of professionalism don’t apply, and that’s far from the case. Remember that no one owes you anything and if you want labels/publicists/managers to trust that you are a legit writer or blog or publication, you need to earn that trust.
H: We would never ask you to give away your secret to success, but what advice would you offer to aspiring publicists hoping to make a career in today’s music industry?
MC: Again I would go back to being professional. Be willing to work hard and prove yourself. Make yourself indispensable to your employers/clients. Read a lot–especially anything related to the music scene/music business. Do your research.
H: Piracy is one of the most discussed topics in the industry today. Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out?
MC: I don’t know that album leaks are 100 percent preventable, but tools like Haulix have become invaluable in helping to control who gets advance music and gauging if the people you sent music to listened to and if so how often. I would advise artist that is concerned about their album leaking to take a precautionary approach to servicing the music out to the media, ie…sending music out to a very targeted list of trusted contacts and outlets rather than mass servicing it to everyone at once.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
MC: Again, Haulix has been a godsend in that it’s a secure and fast way to get music out to the people who need it. I like that you can also gauge who downloaded the music once it’s sent and can monitor when they last listened to it.
H: If you could change one thing about the music industry, what would it be?
MC: I wish some people would be a bit more open minded. People seem to have pre-conceived notions of what they think a band is based on the label they’re on or what they look like and sometimes that gets in the way of discovering great new music. I also wish more people were willing to take chances on helping to “break” artists rather than waiting around until someone else helps “break” them before they jump on the bandwagon.
H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?
MC: I just hope Earshot can continue to grow. In addition to music, we’ve worked with clothing companies, websites, artists, charitable organizations, tours, events, books etc. and I hope to do more of that in the future.
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.
This article is a continuation of a series we started last week. To maximize your entertainment (and education) value, click here and review the first part of this feature. More installments will likely follow, so make sure you join us on Twitter and Facebook to ensure you never miss another update.
Last week we started taking a look at various aspects of artist branding, and this week we have returned with three additional points to consider. The best brands are the ones built from the heart, and the same applies for art. Some of these points may seem fairly obvious, but if even one category strays too far from the others artists may soon find themselves fighting an uphill marketing battle. Recognition is key in today’s hyper-connected society, and it all starts with how an artist chooses to brand themselves. Read through these points, then sit down and figure out what you need to do to convey what you see in your head to the rest of the world the best way possible. Know who you are and what you stand for before you ask others to follow.
As always, if you have any questions or comments, please don’t hesitate to add them at the end of this post.
1. Merchandise – Fans buy merchandise because they not only want to see you further succeed, but because they want to prove to the world that they’re a part of your global community. When they’re seen in a shirt with your name on it, or holding a phone protected by plastic barring your logo they’re no longer a single entity existing amongst billions of other separate individuals, but one piece of multi-faceted human promotion machine that relies on your gift for songwriting in order to survive. They might not tell everyone they see to listen to your music, but with your merchandise in hand or on their body they do create a phenomenon known by many parents as “the human billboard.” Where they go, the possibility someone may be lured into googling or further inquiring about who you are goes with them. What message do you want sending into the world on your behalf?
2. Image (Video) – Ten years ago it would have been far easier for a talented artist or band to rise from obscurity to relative fame without releasing a single music than it would be today. YouTube changed everything when it launched in 2005, and now everyone who wants to be anyone online is rushing to put out as much visual content as possible. While connecting with fans through music videos, tour diaries, and behind-the-scene footage is a fantastic way to build a relationship with listeners, too many artists look at this content from a quantity over quality perspective. Fans want you to work on your music until it’s the best it can possibly be, so why skimp in other areas of your brand? Now that seemingly everyone has a camera in their phones that offers far better quality than digital cameras from even five years ago, there is no reason to offer low quality content (poor audio/video, messy editing, etc) other than laziness. If it doesn’t look like you cared that much doing whatever it is you’re putting out, people will show similar enthusiasm in return.
3. Online Presence – This one work as an accompaniment to video, but in all actuality cover a much larger array of topics. You never know where someone will first come in contact with your music online, so it is in your best interest to ensure every aspect you can control is executed in the highest quality possible. This means having complete profiles on all relevant social networks, a digital press kit filled with resources for industry-related contacts, and your own custom website that stands separate from all the worlds of Facebook, Twitter, and the like. Every social network will one day go the way of Myspace circa 2008, and it would be a shame if the hub for all things related to your art went down with it. Visit Hover, find a domain that works for you, and get started carving out your own digital hub. It will take more time and effort than setting up a classy profile page, but the longterm benefits far outweigh the short term costs. If you need help building your site, we suggest visiting Squarespace, Wix, or Weebly for easy to use design tools and guides.
Beyond the creation of your own central hub for information, make sure you’re using tools like GoogleAlerts to know when your name comes up across the web. If a site you’re unfamiliar with is running an article with an old picture or incorrect information, reach out with the correct information and politely ask if they mind updating their story. Some may groan at the request, but most bloggers will be delighted to see a band taking an active interest in how thy are being received online.
Finally, pay attention to the way your music is received when being distributed for coverage/performance consideration. Services like Mediafire, Sharebeast, and Sendspace may offer free services and relatively quick downloads, but your music is reduced to a download icon buried amongst another company’s branding (not to mention the ads said company relies on to continue offering “free” services). Haulix, on the other hand, allows complete customization of the way your music is presented, as well as tools for crafting eye-catching emails. Do you want your music to be received the same as any other artist simply for the sake of convenience, or would you rather deliver your latest creation in a way that better conveys the art that lies ahead? If your answer is the latter, click here for more information.
