Tag: music indsutry

Music Industry Job Board (October 28, 2019)

Post author By James Shotwell
Post date October 28, 2019

New opportunities:

Coordinator, Music Programming (SiriusXM – Nashville, TN)

Works with members of the music programming team to create superior radio programs as needed. Supports creative processes, content development and production. Exercises both creative abilities and technical skills. Edits materials and operates an audio board. May be assigned to more than one program and perform slightly different functions across channels.

Music Writer (Apple – Culver City, CA)

Apple Music’s copy team is looking for a writer to join our fast-growing Editorial team as we expand our coverage. This candidate will be responsible for crafting everything from thorough album copy with artist interviews to short promotional tags. Expertise in particular genres is crucial, but so is versatility and flexibility and the ability to write at a fast pace. Understanding the connection between current artists and their influences is key, as is being able to layout those connections to a user. A particular interest in current hip-hop and R&B is a plus. We believe that strong, informed writing sets Apple Music apart from its competitors. The Apple Music copy team is responsible for all of the words that appear across Apple Music—from playlist descriptions to album commentary to artist interviews to promotional display copy and all points in between. We provide important context for the music on the service and its features.

Director, Brand Management (Bravado – Santa Monica, CA)

Bravado is currently looking for a Brand Management Director to join the Brand Management team and oversee a number of Bravado’s contemporary artist brands. This individual will work with the unique needs and challenges of our clients to deliver full-service product management and marketing support in a variety of categories including strategic planning, brand development, consumer marketing and creative development. This person will be the central owner of the brands and will work cross-functionally with sales, licensing, direct to consumer and operations teams to develop creative plans and ensure they are executed flawlessly across the globe.

Coordinator, Digital Marketing (Sony – NYC)

Work with digital project managers to execute highly impactful, customized campaigns.

Coordinator, Marketing (BMG – Los Angeles, CA)

Your primary mission is strategizing and coordinating album releases and campaigns by creating timelines, digital and standard marketing plans, assist in playlist pitching, asset management, webstore management and social media management for a rock-oriented sub-label. You will support the product manager and label manager as needed. Additional responsibilities will include formulating creative and meaningful content, track follower growth, work with online and physical retailers around album releases and utilizing targeted ads/boosted posts and album scheduling.

Social Media Assistant (iHeartMedia – NYC)

The Social Media Assistant for iHeartRadio will work closely with the Sr. Director of Social Media Strategy and Audience Engagement to execute the day-to-day programs that grow engagement, brand recognition, brand affinity, and ultimately drive listenership and revenue. The ideal candidate will be well versed in the best practices of existing and emerging social networks.

Director, Social Media and Content (Ticketmaster – Hollywood, CA)

Ticketmaster is looking for a strategic, creative and results-oriented leader to join our growing Brand Marketing team. You are a social media aficionado, a seasoned storyteller, and passionate about content and breakthrough creative. You are excited about the chance to grow at an evolving organization and have extensive experience driving brand building initiatives. You possess a “can-do” attitude and are not afraid to navigate a complex and fluid environment. You think editorially and have a keen understanding of what it takes to deliver the right message at the right time in the right place. You are a natural born leader, but someone who understands the importance of collaboration and teamwork, all while pushing the boundaries of what’s possible. You are knowledgeable about what’s current, but even more excited about what’s next. You leverage data and insights to optimize your plans and aren’t afraid to get your hands dirty. You perfectly balance strategy and scrappiness.

Assistant, Digital Marketing and Revenue & Commercial Accounts (WMG – Los Angeles, CA)

This position would assist the SVPs of two Departments: Fan Engagement/Digital Marketing and Commercial Accounts/Revenue. Websites, email, social media, influencers, and more – the Fan Engagement/Digital Marketing department oversees all these vital consumer touchpoints. We do more than take great #selfies! We oversee all of the ways artists communicate with their fanbase online, be it a meme that made you laugh, a tweet that made you cry, or an ad for an album you can’t live without. Our mission is to acquire, engage, and retain fans with clever digital strategies and compelling content. In a complex and ever-changing music marketplace, the Revenue & Commercial Accounts team are the wizards of it all. Our team is responsible for driving revenue for our artists in a demanding and varied ecosystem. We oversee all the ways fans consume music, from streaming services like Spotify and Apple to physical retailers and everything in between.

Product Marketing Manager: Spotify for Artists, Content Promotion (Spotify – NYC)

We’re looking for a passionate and seasoned product marketing manager to join the Creator Marketing team in New York – a cross-functional group dedicated to helping artists and their teams thrive. You’ll help shape the products we build for artists, labels, managers, and publishers. And you’ll bring these products to market to maximize their impact. Ultimately, you’ll be a key part of a team reimagining the way artists and their teams leverage the Spotify platform, share their art, and build their careers.

This role specifically focuses on content promotion products we are building to help music marketers reach listeners and fans with creative, engaging, performant promotional formats.

GOA Music Artist Representative (GOA – Franklin, TN)

GOA Music is seeking candidates who are well organized, detailed oriented, and outgoing with strong communication skills. Candidates should be comfortable talking on the phone and working in an office environment. To be considered for this position, candidates should adhere to company values for GOA, Inc., have a strong work ethic, and aim to creatively grow the Music division.

Marketing Manager, Integrated Marketing (TouchTunes – NYC)

A marketer who is passionate about growing a business by acquiring new customers through the execution of integrated awareness and lead generation campaigns with experience in Paid Media, SEO, E-mail and Content Marketing, Lead Generation, Segmentation, Marketing Analytics, etc.

Advertorial Content Project Manager (Townsquare Media – NYC)

The Project Manager for Advertorial Content will oversee Townsquare’s local digital marketing campaigns involving Digital Endorsements and Sponsored Social Mentions created by our radio stations about local businesses. The Project Manager’s key duties will be interacting with and coordinating among multiple teams to effectively set up, launch, execute, and track Advertorial campaigns. The measures of success for the role include success rate of campaigns, profit margin and renewals.

Manager, Partner Requirements (Sony – NYC)

As a manager on the Operations Team, you are crucial in executing on a value proposition that drives client satisfaction and revenue. You will be responsible for ensuring The Orchard remains a top-tier partner at digital service providers, helping us stay on track in our quest to consistently improve our operations. You are driven, methodical, detail-oriented, and adept at managing multiple projects simultaneously. You’re great with Excel, and not only are you able to analyze large data sets, you also think strategically and come up with recommendations once you review your results.

Business Operations Project Manager (Eventbrite – Nashville, TN)

The Business Operations Project Manager is an integral member of the Revenue Operations team. This position requires applied knowledge of project management frameworks and tools to optimize the planning and implementation of strategic projects and initiatives. This is a critical role and includes high-level visibility and interaction with stakeholders across the organization globally. The role requires an understanding of the business need for each project and the ability to make ongoing decisions based on what’s best for the organization, even if that means challenging senior stakeholders on critical success factors.

Operations Manager (4Wall Entertaiment – Nashville, TN)

While every day is different at 4Wall, you will be responsible for providing oversight, coordination, supervision, planning, administration, training and logistical support to the Nashville location. This role requires superior organizational skills that help in driving continuous improvement surrounding operations, clients, and employees. You will build rapport with both internal/external clients and strive to maintain business commitments that allow fulfillment of defined service agreements and will build a high-performance team by exercising superior judgment and the proper balance of command and control.

Strategy & Operations Lead, Personalization (Spotify – NYC)

We seek a Strategy & Operations Lead to help us grow, organize, and nurture the team working on personalization. You will play an active role in shaping the new music economy. Our organization of engineers, designers, and product managers are located between New York, Boston and Stockholm.

Social Media Coordinator (Indicate Media – New York, NY)

Indicate Media Public Relations seeks a creative, motivated, and organized individual with outstanding social media and writing skills to work with our technology / financial client accounts as well as execute an internal social media strategy. The ideal candidate should be self-motivated and have a track record of social media execution. Intelligence and strategic insight will be paramount to this position. Indicate is a boutique company operating in a fast-paced industry, so we are seeking applicants who are agile, hardworking, and ready to collaborate with the team to ensure we produce great results for our clients.

Assistant Director, Entertainment Media and Communications (UJA Federation of New York – NYC)

The Assistant Director of the Entertainment, Media & Communications Division will be responsible for engaging professionals within different areas of the media space, around the mission of UJA.

Social Media / Marketing Coordinator (Blade – NYC)

BLADE is seeking a Social Media/Marketing Coordinator interested in building a career in a high-growth, fast-paced, innovative company. You will wear many hats and be responsible for supporting multiple functions across BLADE’s Marketing organization, including social media posting, community management, content creation, influencer and PR relationship management. The ideal candidate must be highly organized and detail-oriented and have the ability to learn new skills quickly.

Executive Assistant to EVP Repertoire & Marketing (BMG – Los Angeles, CA)

You live by the words of trustworthiness, organization, and dependability. Everyone will recognize you as the prime go-to-person for just about anything, and your abilities have never disappointed anyone. Managing the lives of the company’s decision-makers is not an easy task, but then you showed up and made it seem like cake.

Music Program Facilitator (UCLA – Los Angeles, CA)

The Music Program Facilitator will develop an engaging Music curriculum and progressive lessons, with references to the National Core Art Standards, within a unit tailored to meet the needs of a broad range of music development levels for students ages 4-12 at UCLA Lab School; develop appropriate follow-up practice at home for the various age groups and language levels; communicate with parents, either through our website, email and/or in writing, the units of study and additional resources providing opportunities for parent engagement with their child bridging home to school; identify and utilize resources appropriate to support the music program; utilize the classroom environment to support music development.

Part-Time Music Researcher (BMI – Eagle, CO)

Occasional part-time hourly work with hours ranging from 0-25 hours per week depending on availability of assignments. Work consists of music and market research in businesses in various states. Assignments include onsite research in businesses during late evenings, including weekends, and may require travel and overnight stay. Assignments also require completion of detailed reports following on-site visits.

Senior Account Executive, Music & Entertainment (Berk Communications – New York, NY)

If you’re fearless and looking for a career growth opportunity with an agency that has best-in-class clients and a fun, entrepreneurial work environment, then Berk Communications is the place for you. We are seeking a super motivated and talented Senior Account Executive to work on our Music and Entertainment business. We’re a team of innovative and creative thinkers seeking new ways of doing things… developing solutions nobody has considered and pushing the boundaries of expected thinking. As an integral part of the account team, the candidate must have solid writing, research and media relations skills. The candidate must have experience contributing to creation of communications plans that meet client objectives; building relationships with clients, media and other influencers; and consistently producing high quality work. The ideal candidate will have experience servicing music and entertainment clients and have established contacts in both spaces.

Personal Assistant (Tuff City Records – NYC)

Company president needs a personal assistant to complete organizational and secretarial tasks, at both the company office and his home office. Excellent organization skills required. Must be tech savvy. Experience as a personal assistant is an absolute prerequisite. Knowledge of music industry a BIG plus.

Director Music Licensing (20th Century Fox – Burbank, CA)

The Walt Disney Company is seeking a Director, Music Clearance for Twentieth Century Fox Television (TCFTV). This position is responsible for all music copyright and music licensing functions for the TCFTV Music Department, servicing the creative and clearance needs of designated television series as assigned.

Music Consultant (Ability Now Bay Area – Oakland, CA)

Do you love music? Do you love sharing your love of music with others? Do you like helping others explore their creative self and experience new and exciting things? Then we want you!

Job Board News

Music Industry Job Board (July 8, 2019)

Post author By James Shotwell
Post date July 8, 2019

The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Head of Music Partnerships (Instagram/Facebook – NYC)

Instagram is looking for a Head of Music Partnerships who is passionate about music, Instagram, and the intersection of the two. This position will lead Instagram’s Music partnerships efforts globally, working closely with Facebook’s Music Partnerships team to build and execute strategies and programs to drive high impact and authentic use of Instagram among artists, influencers, and the music ecosystem as a whole. The right person will handle day-to-day operations and partnership management, field and prioritize incoming requests, troubleshoot partner issues, and improve partner performance. This work will require cross-functional engagement with colleagues across verticals and regions, and is located at Instagram’s New York City or Los Angeles office.

Manager, Record Royalty Services (Round Hill Music – Nashville, TN)

The Manager, Royalty Services primary responsibility is to assist in the processing and analysis of the company’s record label royalties. The Manager will prepare electronic royalty data files and convert other files types, including paper statements, utilizing Microsoft Excel for ingestion into Counterpoint/Vistex’s Record Maestro. Additionally, the Manager will assist in other royalty department processes, such as client statement preparation.

Licensing Administrator (WMG – Nashville, TN)

The candidate hired to fill this position will be responsible for negotiating and securing mechanical, synchronization and other publishing licenses covering WMG’s exploitation of the musical compositions embodied in the records and recordings that WMG releases.

Music Director (School of Rock – San Jose, CA)

The Music Director embodies rock and roll in a positive way and is responsible for creating the most valuable student experience possible. This role creates a safe and inspiring environment for students to achieve their musical and creative potential and ensures that each School of Rock student has an exceptional musical journey.

Marketing Manager (DashGo – Culver City, CA)

The Marketing Manager will devise and execute streaming strategies for DashGo’s global client roster. Work with a small in-house team and build productive promotional relationships between DashGo, distributed clients and Digital Service Providers (DSPs) such as Apple, Spotify, YouTube and Pandora. Manage pitching priorities, release schedules and report back to clients and partners on campaign results. Operate DashGo’s in-house promotional tools including playlists, advertising budgets and creative services.

Customer Experience Representative, Music (Eventbrite – Nashville, TN)

As a contractor for Eventbrite employed by TargetCW, you will be helping people. Through phone, email and chat, you will be interfacing with ticket buyers, helping them working through various questions and enquiries. No request is the same- from helping an attendee to purchase a ticket, to identifying a venue’s accessibility policy, from researching meet-and-greet details, to helping with refund or exchange requests- this role will keep energized. Ultimately, your goal will be to guide and support our music and live event ticket buyers and send them away with a smile.

Songwriter and Producer (QuaverMusic.com, LLC – Nashville, TN)

We are currently working on songs for our Social and Emotional Learning curriculum, teaching children the values of social awareness, relationship skills, and self-management.

Music Licensing Specialist (Twitch – Irvine, CA)

Twitch is looking for a talented music licensing specialist on a temporary basis to provide support to the Twitch Music team as it develops a music strategy for Twitch. The position is estimated to last 6 months, with the possibility of converting to a Twitch employee.

Editorial And Content Operations Manager (Apple Music – Culver City, CA)

Apple’s fast-growing global Apple Music business seeks a creatively-minded Global Editorial & Content Operations Manager to join its global Editorial team, reporting into the Global Head of Editorial. You will have a keen sense of trends and cultural drivers with our various audiences; while also knowing how to best communicate those initiatives and moments most effectively. The applicant will be a natural communicator with an eye for detail and a passion for identifying newsworthy and/or engaging opportunities, coupled with a razor-sharp ability to work well cross-functionally to bring those stories to life both on and off platform. Imagine what you can do at Apple? Can this be your dream job? We’re growing and urge you to apply. We Believe the role would place you in a highly-energized environment with some of the most hardworking creative individuals in the industry where you would be inspired to share your years of experience along with providing extraordinary support for the team.

Licensing Coordinator, North America (eOne – NYC)

We have an exciting opportunity to join our growing US division that will allow the successful candidate to gain experience in the licensing industry and work on proven family TV brands such as Peppa Pig, PJ Masks, and Ricky Zoom. The primary focus of the position is to support the Licensing Team in building our growing portfolio of brands in the US and Canada.

Commercial Label Partnerships Manager (Facebook – NYC)

Facebook is seeking a Manager for Commercial Label Partnerships in the US who is passionate about the changing music ecosystem, technology and supporting our goal of connecting people through social media, the mobile eco-system and business strategy. This role will lead the management of several of Facebook’s key commercial relationships with music labels in the US, as well as collaborate with our product and media partnerships teams to ensure a coordinated and best-in-class label partner management structure. The position is full-time and based in New York, NY.

Manager, Licensing Financial Analysis (BMI – Nashville, TN)

Conduct financial and operational analysis for all areas of licensing. Review financial data to understand and communicate key variances in historical reporting and create and present forecast and budget packages. Assist management at various stages of licensing negotiations.

International Product Operations Manager (Bandwidth – Raleigh, NC)

The International Product Operations Manager will support the International product team, sales team, network management teams as well as our most valued customers. The International voice market is dynamic, with costs and routes changing daily. As the Product Admin, you will be responsible for the input and update of rate decks, coordinating internal and external rate change communications, as well as other responsibilities for managing the products and reporting.

Executive Director (Fargo-Moorhead Symphony Orchestra – Fargo, ND)

The Fargo-Moorhead Symphony Orchestra (FMSO) is pleased to announce its search for a new Executive Director. The Executive Director is responsible for managing the human and financial resources of the FMSO in order to achieve the orchestra’s mission. The Executive Director is selected by and reports to the Symphony’s Board of Directors through the Board President and is responsible for the supervision of the Development Director and all administrative and concert production staff.

Client Services Associate (Summerhays Music – Murray, UT)

Summerhays Music, a leading retailer of musical instruments, is searching for a professional and courteous Client Services Associate with great people skills to help our business prioritize existing customers and bring new clients on board. The Client Services Associate will be tasked with maintaining current clients and growing our customer base, keeping accurate correspondence records, meeting regularly with management, updating client details, and recommending different product options to clients. Your dedication to the needs of our clients will encourage client loyalty and enhance our organization’s growth through positive client-to-business engagement.

Full Charge Bookkeeper/Office Manager (teVelde Conservatory of Music – San Luis Obispo, CA)

Must have experience controlling a business office, be a self starter, love numbers, be organized, and a multi-tasker. Looking for honesty, integrity, and someone who understands customer service. Must understand all phases of bookkeeping for small business, including AR, AP, BR, PR, and Financial Statements. Must be tech savvy, and have recent education in both quickbooks and excel. Our client management system is mindbody, so mindbody training and familiarity is a plus. We want to convert to quickbooks online, so experience with both desktop and online versions of quickbooks would be helpful.

Looking for a stable, experienced, solid employee who has run a business office before, and is confident as a leader in that role. Must expect to stay in the SLO area for the next 10 years or more, and want a permanent and stable job. Must have a sunny, friendly demeanor, and love talking to and helping clients. Must be interested in learning about and implementing budgets and financial planning.

Staff Accountant (KLBM – Seattle, WA)

KLBM is a woman-led business management firm specializing in music and entertainment clients, and we’re looking for a staff accountant to join our team. Work alongside an accomplished business manager with 18 years of experience in the industry in our Pioneer Square office. This is an entrepreneurial environment that will expose candidates to a variety of work with a diverse international client base.

Operations Assistant (Academy of Country Music – Encino, CA)

The Operations Assistant oversees all aspects of general office and building operation for the companies 9,000 sq ft office building. This position will also act as office receptionist and will report to the Manager, Finance and Operations.

Executive Assistant to the President (The Cincinnati Symphony Orchestra – Cincinnati, OH)

The Executive Assistant to the President reports to the President and performs a wide variety of comprehensive administrative duties. This position requires someone who is able to work independently, is a self-starter, and able to thrive in a fast paced environment. The ideal individual must have a high degree of discretion, integrity, poise and tact, the ability to multi-task, and work professionally and cooperatively with management, staff, donors, and board members. This position requires the ability to resolve complex and confidential administrative issues in addition to completing routine administrative functions effectively and efficiently. Excellent time management skills and advanced Microsoft Office skills are required.

Inside Sales, International Music Tours (Worldstrides – REMOTE)

International Concert Tours Specialist – Inside/Outside Sales (ICTS) is responsible for generating new accounts to participate in WorldStrides OnStage international performing tours. These accounts are developed primarily via telephone, with some in-person meetings. Our primary customers are high school, college/university and community ensemble directors of bands, orchestras and choirs. In addition to establishing new accounts, the ICTS is responsible for the growth and rebooking of their existing accounts. During peak selling seasons, the ICTS will travel and lead tour informational meetings for their traveling ensembles. WorldStrides OnStage provides our ICTSs a proven selling system which ensures success while continually improving professional skills.

Royalty Analyst (NKSFBGO – Sheman Oaks, CA)

Business Management Firm seeks a full time Music Royalty Supervisor in our Sherman Oaks, CA office location.

Analyst (WMG – Nashville, TN)

The responsibilities of the candidate hired to fill this position will include managing all aspects of the audit process, including, without limitation, tracking audit notifications, reviewing and analyzing the claims contained in the audit reports we receive, making recommendations to the relevant WMG internal label clients regarding how to respond to those claims, facilitating settlement negotiations between the party auditing and WMG’s internal label clients, and ensuring that any internal accounting entries related to the audit process are made accurately and in a timely manner.

Global Deal Operations Manager (Spotify – NYC)

We are looking for a talented operations manager that will join Global Trading and Ads Partnerships Team that sits within the Global Agency and Accounts Org (GAAT). You will be contributing to the evolution of Spotify’s Global Advertising Trading and Partnership strategy. We want someone who has a passion for advertising business and ability to work across different functions. Above all, your work will impact the way the world experiences music.

Connected Services Music and Media Product Line Manager (FCA – Auburn Hills, MI)

We are seeking a music professional to oversee a connected service’s product life cycle from concept to profitability.

Data Analysis Client Manager (Nielsen Entertainment – NYC)

Nielsen Entertainment is recruiting a Manager in Data Analysis for Nielsen Music. The ideal candidate for this role would sit onsite at a prominent music client and deliver analytical and customized insight for the client using raw data. This onsite manager will create and grow long term client engagement/relationships across the client team. This will be accomplished by delivering actionable music insights and recommendations that are aligned to client strategic business priorities and work toward client and Nielsen financial goals.

Director, People Operations (Eventbrite – San Francisco, CA)

We’re looking for an experienced, driven, and collaborative People Operations leader to join the Briteling Experience (BX) team. As the Director, People Operations you will build efficient, scalable and compliant programs and processes that delight our employees and support our business. You will work collaboratively with our Legal, Finance, and other key teams to manage the work flows, transactions, reporting, HRIS systems and record keeping aspects of our people function.

Social Media Manager (Mad Decent Records – Los Angeles, CA)

Mad Decent records, founded by Grammy award winning artist Diplo, is currently seeking a Social Media Manager to join our growing office in Los Angeles. We are looking for the right individual with a passion for forward-thinking music and engaging social media experiences at a label, agency, lifestyle brand, or entertainment company. This role will be responsible for leading social strategy and developing highly creative campaigns for social channels, online marketing initiatives, PR campaigns, and blending on/offline engagement with our fan base.

Coordinator, Marketing (UMG Nashville – Nashville, TN)

UMG Nashville is looking for a Marketing Coordinator to provide assistance and support to the Marketing Project Managers.

Social Media Coordinator (SeyferthPR – Grand Rapids, MI)

SeyferthPR is growing and so are our clients’ social media needs. We are looking for someone to not just post content, but someone who can find those stories, produce them and target the perfect audience. If you’re the person who knows what the next social media trend is before your friends do – we want to hear from you!

National Touring, Talent Buyer, Clubs and Theaters (Live Nation – Hollywood, CA)

As a Tour Talent Buyer, you will be responsible for negotiating and securing national tours. You will also be responsible for developing touring business plans & submitting offers to agents.

Artist Services Representative, Artist Support (CD Baby – Portland, OR)

If you’re excited by the idea of helping great independent artists make a living doing what they love without giving control of their careers over to companies that only care about the bottom line, then CD Baby is the place for you.

Franchise and Product Mgmt Coordinator (Walt Disney – Burbank, CA)

The Coordinator, Franchise and Product Management position supports the Senior Manager, Franchise and Product Management in ongoing efforts to partner closely with all Disney and 20th Century Fox lines of businesses to provide film reference materials and product development guidance to ensure creative and strategic alignment for the TWDS Live Action and 20CF film properties. Candidate must have excellent organizational skills, have an eye for creative, and a strong knowledge of the Disney brand.

News

Blogger Spotlight: Matt Nistler (The Sound Alarm)

Post author By James Shotwell
Post date August 26, 2013

Hello and welcome to a new week of industry insight here on the official blog of Haulix. We have featured over a dozen notable industry writers up to this point, and this afternoon we could not be more excited to share another great mind with all of you. If you have a recommendation for a site or writer we should highlight in a future installment of this series, please do not hesitate to contact james@haulix,com and share your story.

Some say it takes a village to raise a child, and in a similar sense it takes a team of contributors to make a music blog great. Anyone can start a website with a few dollars and an internet connection, but without support from at least one other person the quality and consistency of content will suffer in time. Finding a good partner takes about as much hard work as it does luck, and for today’s highlighted blogger the search to find a like-minded individual crossed several state lines.

Matt Nistler is one-half of the creative power behind The Sound Alarm, a site which we first highlighted earlier this year during a conversation with co-founder Kayla Guyette. He went to school for graphic design, but thanks to positive reinforcement from people in his life decided to pursue an interest in writing (that also lends itself to design work from time to time). That interest lead to the launch of one of the most interesting blogs currently covering alternative music, and we could not be more excited to share his journey up to this point.

The Sound Alarm is not your typical website. They don’t see the need for news posts that could be found anywhere on the net willing to cover music and they rarely worry themselves with whether or not they post every single day. Their focus has always been quality over quantity, and through our discussion with Matt you’ll learn how that has made all the difference in their success. If you would like to know more, head over to The Sound Alarm and see what Matt has spent the past several years developing. You can leave any additional questions for Matt in the comment below.

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

MN: My name is Matt Nistler and I’m the co-founder of a music website called The Sound Alarm.

H: If you had to pinpoint when it all began, what would you cite as the moment you fell in love with music?

MN: I’m not sure there is any one moment that I fell in love with music, as it is something that I’ve been drawn to throughout my life. But I would say the moment I knew I was in love with our music scene was when I first attended the Vans Warped Tour. There was just something magical about getting to see so many bands that I looked up to all in the same place.

H: What was the first album you purchased with your own money? Do you still own it?

MN: The first album I ever purchased was Sweet Dreams by La Bouche. I was so stoked walking down the cassette aisle of Best Buy knowing I’d be able to listen to “Be My Lover” any time I wanted. (Apparently grade school me was a Euro-dance fan?). I like to think my music tastes have slightly improved in the years since. I still have that cassette in a closet somewhere back at my parent’s house. The singer actually died in a plane crash in 2001, so there won’t be any more La Bouche purchases in my future. Kind of depressing.

H: You started The Sound Alarm in 2010. Did you have any experience in the music industry before that time?

MN: Yes, prior to The Sound Alarm I was a contributor for a different music publication, The Daily Chorus. It was probably most known for the “Top Unsigned” list. I also conducted a number of interviews for SmartPunk and managed an indie rock band as well. I enjoy taking on music-related graphic design projects too when I have time.

H: You studied Graphic Design in school. What drew you to the world of journalism?

MN: I always enjoyed writing essays in school and was often complimented on my writing, so pursuing the world of journalism just made sense. I was the layout editor at my college’s newspaper, so sitting in on the weekly meetings helped me fine-tune those skills even further. I love that I have the opportunity at The Sound Alarm to combine my passions of music, journalism, and graphic design.

H: What inspired you to start your own business, and how did you come to know co-founder Kayla Guyette?

MN: I came in contact with Kayla while coordinating an interview with the band that I was managing. She was an editor for a different publication at the time and I was very impressed with her professionalism. A few months later we came in contact again and realized we were both interested in starting up a music website of our own. We were seeking editorial and creative freedom and The Sound Alarm was born.

H: Where does the name ‘The Sound Alarm’ come from?

MN: The Sound Alarm is a play on words. Most people hear the phrase “sound the alarm!” when something bad happens that deserves everyone’s attention. “The Sound Alarm” flip-flops that idea by alerting our readers of good sounds that deserve their attention. That’s where our slogan “alerting you first of the hottest new music” originates from.

H: Kayla shed some light on this for us, but one thing that makes your site unique is the focus on features over news. Was this always the case? What attracted you to this approach?

MN: When we started The Sound Alarm, it was never our intention to post every possible news story. We knew there were many other publications already doing. Instead, we opted to devote our time towards actually checking out the music of the bands we post about and coordinating features (such as “Six Picks”) with our favorites. We do still post some news stories though, as it is important to have our readers up-to-date on what albums and tours to be on the lookout for, but everything we post is with an intentional filter.

H: It’s not about being better than anyone else, but what would you say separates the content found on The Sound Alarm from what is being offered on any number of sites covering similar areas of music?

MN : One of the reasons why Kayla and I started The Sound Alarm was that we both felt there was a lack of positivity and overabundance of gossip in the music press business. As fans of music we wanted to know what new music to check out and also wanted fans to get to know their favorite bands better. There were too many blogs that were quick to point out which band member was dating which other band member, who got arrested, and who had their…uhm…private parts posted online. We pride ourselves on the overall positivity in the content that we post, the fun features (such as contests and fan- interviews), and the quality of what is posted.

H: The Sound Alarm is an independently run site that has made no mentions of plans to introduce a payment plan anytime soon. What is the ultimate goal of TSA?

MN: As cliché as it may sound, if we can introduce even one reader to a new favorite song or band, then we feel we are accomplishing our goals as a music community. We would obviously love The Sound Alarm to someday be a profitable enough venture to be our only jobs, for now we are more than happy running things independently for the love of spreading great music.

H: You have helped many bands get their start through The Sound Alarm. Where do you look when hoping to discover new music?

MN: I generally get caught up on most of my music news through the press releases I receive in my email inbox. I’m also constantly browsing Spotify and Facebook Pages to find new bands to check out. I do miss the days when MySpace was more relevant. It was a great way to discover up-and-coming bands.

H: What advice would you offer talent hoping to one day appear on The Sound Alarm?

MN: Before you reach out to the press, make sure you have at least a few studio recordings. They don’t have to be completely perfect and mastered, but if your only samples are rough demos recorded on your MacBook, then we’re both better off waiting until you have a more clean recording. Having a solid press kit and promo photo help as well. Regardless, make sure to run spell check before reaching out to us, since if we can’t take your email seriously, we’ll probably have trouble taking your music seriously too. Lastly, make sure your style of music at least somewhat encompasses the genres we cover (mostly pop/rock, punk, indie/rock, etc.) too. It’s cool that you’re an aspiring yodeler, but we’re probably not going to post about it.

H: What is the biggest mistake you see young artists make?

MN: The biggest mistake I see young artists make is lack of accessibility. By this, I mean it is important to connect with your fans as much as possible, both in the real world and on social networks. Meet with fans before and after the show. Hold video chats or acoustic performances online. Be active on Facebook, Twitter and Instagram. Stay humble. On the flip side, if you’re only focusing on promoting and not on writing a great song, then you’re completely missing the mark, too. It’s a delicate balance.

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

MN: As our staff is based all over the world, we prefer digital streams and digital downloads. I still have a place in my heart for physical copies, but when it comes to sharing music with our staff, it is much more convenient to share a hyperlink than to go to the post office to mail a CD.

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

MN: I wish the music industry was still as booming and influential as it was in its heyday. I miss when the only way to hear new music was to go to the store and pick up the new cassette or CD, or turn on the radio. The digital age is great and has many benefits, but it has also led to a lot of job cuts in the music industry and I think some of the mystique has been lost of going to the store, picking up the album, and running home to page through the accompanying booklet.

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

MN : This is an exciting time of year with all of the upcoming fall tours and album releases that are just being announced. Keep checking back on www.thesoundalarm.com and find us on Facebook / Twitter / Instagram (@TheSoundAlarm) for all of the latest happenings and features. Thank you for the interview!

Tags 2013, interview, Journalism, matt nistler, music, music biz, Music Business, music indsutry, testimonial, the soiund alarm, thesoundalarm

News

Our First Weekly Update/Recap

Post author By James Shotwell
Post date August 23, 2013

This week has been absolutely insane. From the content we shared with you, to the pieces we have yet to release, things have been pretty busy around our offices. We mentioned yesterday that we wanted to begin letting you in a bit more to what we’ve been up to, so consider this your first weekly update.

We spoke with a lot of brilliant people this week for our industry spotlight series, including the three whose features ran on this very blog:

Jesse Richman of PropertyOfZack told us about his love of interviews on Monday.

Jen Appel of The Catalyst Publicity Group shared her journey as a young entrepreneur on Tuesday.

Ashley Osborn of Highlight Magazine told us about the ups and downs of creating a monthly digital publications on Wednesday.

It was an honor to share each of these stories, and we look forward to bringing you updates on their journeys in the future. We have plenty more interviews to come in the weeks ahead, but for the sake of keeping some surprises under wraps we’re not sharing that list just yet. That said, if you follow us on Twitter and Facebook I can promise you will never miss a single column.

Outside of the blog we are continuing to work on refining our products to offer increasingly better service and performance in the months ahead. Our current focus is improving our email system, but you’ll have to wait a bit longer for details on that.

My personal goal in the weeks to come is to expand our blog coverage to five original pieces of content each week, in addition to updates like the one you are currently reading. This means a continuation of our various spotlight series and advice column, as well as the introduction of new columns in the near future. We may even have some guest bloggers! If you have any suggestions of people/sites to cover, or if there is an area of the industry you would like us to discuss, please comment below and let us know!

Okay, this post is getting long. Thank you for joining us on this journey over the past few months and we certainly hope you’ll stick around for all that is to come. We have learned a lot together, and we are very excited for everything the future holds, both known and unknown. Have a great weekend.

Tags company, music, music biz, Music Business, music indsutry, update

News

Blogger Spotlight: Zach Redrup (Dead Press!)

Post author By James Shotwell
Post date August 14, 2013

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.

Tags advice for bands, blogger, dead press, deadpress, interview, music, music biz, Music Business, music indsutry, Music PR, Publicity, Spotlight, testimonial, zach redrup

Job Board News

Blogger Spotlight: Jack Appleby (Absolutepunk)

Post author By James Shotwell
Post date August 12, 2013

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.

News

Haulix Advice: 3 (Additional) Aspects Of Artist Branding

Post author By James Shotwell
Post date August 9, 2013

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.

Tags advice for bands, band advice, Branding, business, music, music biz, Music Business, music indsutry, tour help

News

PR Spotlight: Jamie Coletta (SideOneDummy Records)

Post author By James Shotwell
Post date August 7, 2013

Hello, and welcome to the very first Haulix PR Spotlight. We have enjoyed getting to know the blogger community over the last two months, and we certainly plan to continue that series as long as there are writers willing to talk to us, but we also want to highlight those working everyday to get talent in front of journalists around the world. If you know a PR talent we should feature in a future installment of this column, email james@haulix.com and tell us their story.

Designer Roy Halston Frowick once said “Buzz and the right publicist are not only important, but crucial in show business.” If you’re a rising punk talent who isn’t afraid of a great pop song and people with the type of personality you cannot help but love, the right publicist for you may be SideOneDummy Records‘ Jamie Coletta. Since joining the team in 2012, Jamie has furthered SideOneDummy’s already well established brand online and off while simultaneously helping develop new talent from a wide variety of genres. She has been working nonstop within the industry for the better part of the last half decade, and in that time has worked with nearly every type of artist or group you can imagine. We are honored to have her serve as our first highlighted publicist, and hope the insight she provides will aide future PR stars in bettering their efforts.

As always, if you like what you read, be sure to reach out and let Jamie know you enjoyed her interview. She can be found on Twitter, just like SideOneDummy, and is often spotted singing at the top of her lungs while standing side stage at pop punk festivals across the country. If you have any additional questions for her, please do not hesitate to leave them in the comments section at the end of this post.

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

JC: Jamie Coletta, SideOneDummy Records, publicist. I handle in-house radio promotion.

H: You’re an East Coast girl who now resides on the West Coast, so surely you have a story to tell. When did you first realize you wanted to work in music?

JC: That’s hard to pinpoint but it probably all started from some random night at the Living Room (RIP) in Providence, RI. I would go there all the time in high school just to be around live music. I helped bands flyer from time to time, joined street teams and eventually starting booking local shows.

Once I got to college and realized that my school had an actual degree in music business, I knew that was the only option for me. I actually didn’t even get accepted at first because my grades were so low (woops). I ended up writing an essay about my favorite concert of all time (Yellowcard/Something Corporate/The Format @ Bentley College, 2004) that convinced them to let me into the program.

I moved to LA after college because I knew that it was the only place in the world I would be happy. And I am.

H: Where did you first find work in the industry (and yes, working for free counts in this case)?

JC: My first internship was at Riot Act Media with a great publicist named David Lewis.

H: Okay, now the big question: Where did you first find paying work in music, and how did you go about landing that job?

JC: My first paid job was assisting an independent publicist at Fly PR. It was short-lived, though, because only a few months after starting, I got hired to work at a major label and obviously took it.

H: Many may believe the ultimate goal of people working in music is to be part of a major label, but your career has gone another path. You were at onetime a member of one of the largest labels still around, then chose to go the indie route and joined the SideOneDummy Records team. What inspired this change of pace?

JC: Honestly? I didn’t like it. I never set out to be a major label publicist or work with pop music but I needed (and wanted) the experience. The majors are basically a jungle and if you’re into that sort of thing, then go for it. Personally, I’ve always wanted to work with the bands I love and have a direct hand in their success. That just wasn’t going to happen at a major pop label so after a few years, I decided to move on. I’m grateful for the entire experience, though, especially meeting people like Rey Roldan who put me in touch with the SideOne team.

H: There has been increasing talk of the necessity for labels ever since the rise of social media. Having gone from major to indie, do you feel smaller labels serve more important/lasting purpose than majors?

JC: Smaller labels have the ability to give you more of a hands-on approach and really work as hard as possible for their artists. Majors just shell out cash and hire a bunch of super smart people to make shit happen. You can still end up on the back burner at both but with an indie, your team is much more likely to care about your music and success, I feel.

H: Most of the artists you work with now fall under the punk category, but that was not always the case. Have you found any major differences between the various genres and artists you have worked with? Is any particular genre necessarily easier than another?

JC: Well our roster is definitely not strictly punk – we’ve got a really diverse mix of bands and artists here so that’s rad. But yeah, I’ve worked in a whole bunch of different genres now and I think it all depends on you. Personally I like punk and alternative so I tend to find it easier to work within those worlds because it’s what I feel most passionate about. Although a mentor once told me that a good publicist should be able to work PR for a bar of soap…

H: As a publicist, what advice would you offer writers hoping to work with your clients?

JC:

H: Piracy is one of the most discussed topic 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? If you can, share an experience.

JC: It’s hard to say. If you don’t want your album leaking, then you really just need to be super selective with who you give it to. If you can, utilize a service like Haulix or something that will let you watermark the promo so you can track it if it does leak.

But at the same time, I feel like a leak is a sign that people care so much about the record that they’re willing to go through any length to get it early. Does it suck, especially after you & your team have been working your butts off on a release? Of course it does. But it’s a part of the industry now so you just have to be mindful of that when preparing a release.

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?

JC: I would always rather show someone music in person, mostly because I can display my excitement better that way. But since we live in a digital age and the majority of my contacts are spread across the country, I use Haulix, Soundcloud and YouTube primarily. Each have their own unique benefits but overall I just like the process to be quick and painless for a writer whose trying to decide if they’re into something or not.

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

JC: There are so many talented musicians in the punk/alt community that get categorized as Warped Tour or Hot Topic bands and for whatever reason, that holds a negative connotation in the mainstream music world. I think that sucks.

Oh also, there is a major difference between hardcore and metal. Thanks
.
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?

JC: We’re putting out Chris Shiflett & The Dead Peasants new album later this month and I’m predicting that to be one of the best country/americana records of the year, hands down. Otherwise we have a bunch of surprises up our sleeves for the next couple months so you’ll just have to stay tuned for that.

Tags haulix, interview, Jamie Coletta, music, music biz, music indsutry, Music PR, PR, publicist, Punk, SideOneDummy, Spotlight, testimonial

News

Blogger Spotlight: Jonathan Barkan (Bloody-Disgusting)

Post author By James Shotwell
Post date August 6, 2013

Hello, everyone. Welcome to a new month and a new edition of the Haulix Blogger Spotlight. We have a lot of new content coming your way in August, including new columns that I cannot reveal just yet, so make sure you follow Haulix on Twitter and Facebook to ensure you never miss another update.

So far, all of the writers we have featured in this column have written for publications known primarily for their music coverage. While those writers have keen insight on building a reputation within the music industry, there is something equally worthwhile to be said about those whose music coverage serves as one piece of a much larger online community, and that’s why today’s featured talent is none other than Bloody-Disgusting’s Jonathan Barkan.

Bloody-Disgusting has been the number one online destination for all things related to horror films and the community that supports them since its launch in 2001. While Barkan was not a part of the site at that time, he was a follower, and over the course of several years worked his way to being the Music Editor. Now, with the help of contributors, Barkan leads the Bloody-Disgusting music department with an ear for all things rock and roll. From news, to reviews, song premieres, video exclusives, contests, and beyond, Jonathan and his team have made Bloody-Disgusting just as important to the heavy music community as it is to those who love Jason Vorhees.

We spoke with Jonathan about his rise through the ranks of Bloody-Disgusting, the art that got him interested in this line of work, and a whole lot more in order to complete this spotlight. His knowledge of working as part of a team in the digital realms should be considered indispensable, and his drive to make a name for himself is downright admirable. If you enjoy what he has to say, please make it a point to follow Jonathan and Bloody-Disgusting on Twitter. If you have any additional questions, feel free to add them in the comments section below.

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

JB: My name is Jonathan Barkan and I am the Music Editor for Bloody-Disgusting.com.

H: Since you work for a site covering multiple areas of entertainment, it seems only right to figure out what got you into the unique position you hold. What was the first album and horror movie you fell in love with, and at what point did you know you wanted to work in entertainment?

JB: The first album that I truly fell in love with was Metallica’s Black Album, which is also the album the spurred me to learn how to play guitar. The first horror movie that I remember clear as day was A Nightmare On Elm St. Part 4. The scene where Krueger bursts through Joey’s waterbed is my first horror movie memory, not to mention my first movie memory! Since then my tastes have obviously changed and evolved but that album and that film hold special places in my heart.

I knew that I wanted to work in entertainment from fairly early on. I was always so entranced by the creativity that went into making a film, recording an album, etc…, and then creating a whole package to go with it. I was the kid that loved reading video game manuals. I was the kid who read through CD booklets. I wanted books with pictures not because they were easier to read but because it was a direct path into the mind of the author, to see what they wanted me to see. The amount of work, love, and passion that goes into a fully realized product is astounding and it always appealed to me to learn more about that in the hopes that I could one day be a part of it.

H: You’re the first person to be featured who writes at a site that isn’t essentially known for its music coverage. How did you come to work at Bloody-Disgusting? If there’s anything more to the story, can you also provide a bit of background on BD’s music coverage (launch, etc)?

JB: So my story of how I came to write at Bloody-Disgusting is a bit amusing. I had been coming to the site pretty much since its launch in 2001 as, by that point in my life, I was a horror hound. So, one day in October 2009 I went to BD and suddenly saw a brand new area: The ‘Music’ section. I immediately sent a PM to the author of one of the articles not realizing that it was Tom Owen, the co-owner of Bloody-Disgusting. I expressed my deep interest in contributing for the site, citing my certificate in Music Production and Engineering as well as my band playing/guitar tech experience as reasons why they should bring me on board. Keep in mind that I had zero blogging experience as well as zero music industry experience. This was all brand new to me.

So, in the beginning I was asked to write 1-2 album reviews per month. Once give that clearance, I got in touch with every record label I could think of to begin getting advance copies of albums for review. But then labels began saying things like, “Hey! On top of a review, how would you like to interview the band?” How could I say no? I started doing video, email, and phone interviews, contests, and more. Within two months I was posting 4-5 articles per day and I was landing opportunities that I’d never before thought possible. Since then, I was elevated to the Editor position and I’ve been going along ever since!

To make it very short, I pestered the hell out of Tom and Brad Miska (the other co-owner) until they took me on. Sometimes nagging CAN work!

H: Though the list of bands that could potentially appear on BD is rather endless, it’s safe to say you tend to focus on all things related to rock and roll. How would you describe the coverage offered by your music department?

JB: I look at bands to see if they challenge conventions of society, the industry, and what is “popular”. At the same time, we obviously love bands that love horror and incorporate it into their theme in some way, shape, or form. It doesn’t have to be through look, such as bands like Slipknot, Motionless In White, Mushroomhead, etc… It can be lyrically, thematically, tonally, and more.

From news to exclusives, premieres to interviews, editorials to contests, rants to lists, the coverage we offer is fairly endless. Horror fans love seeing passion and we want to cultivate that. We wants the readers to know that we love hearing from them, even if their opinion is completely contradictory to our own.

H: Aside from the presence of every horror fan in the world, what is it about your coverage on BD that separates what you do from the numerous music blogs around the world covering essentially the same talent?

JB: I love to think outside of the box. I want the bands to be excited to appear on BD. I want them to think, “This is something different, something I’ve never done before or been asked before! Let me show my love and passion here because it’s not the same thing that I’ve done over and over for days/weeks/months/years!” I want bands to have fun and get creative, which, in turn, shows in the article. Readers can tell when someone is being genuine and they feed off of that.

H: The team at Bloody-Disgusting is spread throughout the country. You live in Michigan, for example, while site creator Brad Miska resides in California. What are the biggest challenges you face in this digital office space, and do you think it’s better or worse than having a physical location you report to daily?

JB: It can be very challenging to maintain constant and open communication. However, we are always working very hard to ensure that we are all on the same page in terms of article scheduling, back-end business, upcoming features, etc…

I would love to know what a physical location for Bloody-Disgusting would be like! I’m guessing we’d have a screening room and watch horror movies constantly. I would definitely gain about 15lbs just from all the popcorn we’d be eating!

H: What do you think of the rising popularity of absurd subgenres throughout the metal community in recent years? Do you think whether you call yourselves “metal” or “subterranean New England metalcore” makes that big of a difference in the grand scheme of things?

JB: In many ways I think it can be very useful for bands to appeal themselves to particular audiences. However, there comes a point when it’s too much and these subgenres can turn off people just as much as they can guide them. The argument between “djent” vs. “prog metal” vs. “tech metal”, for example, can get a bit ridiculous. If someone enjoys music, does it really matter what genre it’s from? Music should be shared, not contained.

H: You have featured a lot of rising heavy acts over the years. Where do you go when you want to discover new music?

JB: I love checking out Reddit as well as hearing about bands via word of mouth from friends. But the best place for me is honestly in the vast amount of press releases I receive. Engaging headlines and well written band descriptions can be just the thing to draw me in and, ultimately, provide coverage.

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?

JB: You should absolutely check your spelling and grammar. A poorly written, poorly phrased email is a HUGE turn off.

Also, don’t presume that I’m 100% going to write about you. If you’re a rising band, have humility. Nothing makes me hit the ‘Delete’ button faster than a message from a band stating how I NEED to write about them because they are the biggest thing since sliced bread.

Lastly, show me that you’re into being on Bloody-Disgusting for a reason. Don’t send me a copy-paste email that doesn’t address our readers and their interests in any way. If you’re some band that doesn’t care about horror movies or care about the horror crowd, why even come to me?

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

JB: I definitely think there is something to be said about holding something in your hands. I grew up before the internet was even available. I bought cassette tapes. I watched movies on VHS and dealt with tracking on my VCR. I still respect the feeling of being able to see and feel a physical manifestation of an artist’s work.

That being said, the convenience of digital cannot be denied. Throwing an album on my MP3 player and plugging it into my car for long drives is just incredible. So I believe that there is place for both.

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

JB: If it’s for a feature consideration, either an album download link via Haulix (which is honestly the service I use the most) or Sendspace would work great. If the label wants my opinion on a band, a simple YouTube link works great. It’s fast, I can load it in HD for good sound, and I don’t have to go through the rigmarole of downloading a file, unzipping it, dropping it into iTunes, deleting the zip file, deleting the folder, blah blah blah. It’s a hassle.

For review, absolutely a download link or a physical CD (which I ultimately rip onto my computer and then put on my MP3 player or play through my sound system).

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

JB: I would change the antiquated notions that things cannot/should not change. The world is moving at breakneck speed and social media and the internet has dramatically changed the playing field. The music industry has to accept this and find new solutions rather than taking tried and true methods from ten years ago and trying to make them applicable in today’s world. The music industry needs to embrace radical, risky, innovative ideas that shock and wonder people. People will spend money in the right places if they are given the right reason and the right method.

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

JB: As of now, just doing what I do! I always try to challenge myself to bring new ideas and new coverage to the site so we’ll just have to see what lightning bolt strikes me next!

Tags 2013, bloody-disgusting, business, haulix, horror, interview, Metal, music, music biz, music indsutry, Music PR, musicbiz, Publicity, testimonial

News

Haulix Advice: 4 Aspects Of Artist Branding

Post author By James Shotwell
Post date August 2, 2013

In an attempt to split the information shared into easily digestible pieces, this discussion on branding is being spread across the next few weeks. This is part one, and next Friday part two will go live.

Branding may very well be the buzz word to end all buzz words, but when you get past its overuse in the business world you find it is a very real topic that many artists struggle to grasp. We want to help with that, and today we’re looking at 4 aspects of branding that effect all artists. There will be plenty more to come on this topic in the weeks ahead (3-4 at a time), but for now this should at the very least point those completely lost in the right direction. As always, if you have any questions or comments, please don’t hesitate to add them at the end of this post.

1. Music – This one is a given, but it bares repeating. Your music is your brand, and every element of it that finds its way to your fans will leave an impression on them. With that in mind, make sure what you’re putting out is the best representation of who you are (or want to be seen as) possible. This needs to be at the forefront of your mind from the first time your pen touches paper, to the moment you’re sitting in the studio mixing your completed tracks. Does the recording sound the way you hear the music in your mind? Am I being honest with myself and fans through these lyrics? Shallow, cash-grabbing efforts will almost always yield short-term returns, but those last make a career out of this business do so by being themselves. Always.

2. Image (Photos) – There is nothing worse than discovering a great talent who has no idea what they’re doing with their image. Fashion may not be your thing, and it certainly doesn’t need to be in order to take control of this of your brand, but you do need to recognize there is more to being an artist than simply creating great art. For all intents and purposes, you are a business, and as such you need to present your product (the music) in a way that is appetizing to as many of the senses as possible. There may not be a rule book for how any one sound needs to look, but I am sure we can all think of artists who have gotten it wrong from time to time. Remember when Garth Brooks thought he could have emo bangs and release an album as Chris Gaines? Yea, I tried to forget too.

3. Social media presence – I feel like we are getting close to beating a dead horse with this topic, but not a week goes by that I do not see a talented band or artist who fails to grasp the purpose of social media. It is not a soapbox for product promotion, though it can help your sales. Sites like Twitter, Tumblr, and Facebook exist for the purpose of creating new communities based on interests, and artists need to learn to see their presence on these sites as the hub of their online community. Don’t just talk at fans, engage with them. Listen to what they have to say, reply to their questions, and in between that get the word out about your latest promotions. If your fans feel like they are in fact a part of the community, they are far more likely to help with promotion than someone who feels as if they are receiving a steady stream of advertising. No one wants a wall of ads on the browser, and even if they like what you do they probably won’t stick around that long if sales are all that’s on your mind.

4. Stage presence – There is no better environment to get the word out about your brand than the concert setting. Even if the audience did not specifically come to see you, they are in the venue to hear great music, and if you can provide that they may very well become fans before heading home. In addition to following the golden rule to “practice, practice practice,” make sure you and your bandmates have an idea what the audience will see while you’re on stage. It may be all about the music, but in this setting the visual element can play a large factor in how the audio is received. Don’t be someone you’re not just for a few extra claps, but do make an effort to engage the audience with what is happening on stage so they feel compelled to see it again the next time you’re in town.

Tags advice for bands, band advice, Branding, business, haulix, Haulix Advice, music, music biz, music indsutry, Music PR, musicbiz, unsigned