Making a living from streaming has never been easy, but it just got a little harder.
Streaming royalty rates are not rocket science. You can learn rocket science, but understanding how platforms royalty payments is something only a select few industry professionals understand. There are no rates that apply to everyone, nor is there a universal rate paid by every service. Majors have different deals with streaming platforms than everyone else, but even the deal each label makes with each platform is different.
With all that in mind, it is hard to accept any figures given by a single party as indicative of all streaming deals. What may be true for them may not be the same for anyone else. Still, looking at data with all the information behind it understand can shed some light on the realities of streaming royalties in 2019.
David Lowery’s The Trichordist blog recently gathered information on streaming performance and payouts. The data detailed below is isolated to the calendar year 2018 and represents a mid-sized indie label with an approximately 250+ album catalog now generating almost 1b streams annually. from one mid-size label with 250 releases. Here are the top 10 streaming services based on the royalty rate they are paying:
Rank
Name
Royalty Rate
1
Amazon Unlimited
$0.01175
2
Napster
$0.01110
3
Tidal
$0.00927
4
Deezer
$0.00567
5
Google Play
$0.00543
6
Apple Music
$0.00495
7
Amazon Digital Service
$0.00395
8
Spotify
$0.00331
9
Pandora
$0.00155
10
YouTube Content ID
$0.00028
You can view a full list of services and streaming rates on here.
Writing about the current rates and changes, The Trichordist wrote:
The Spotify per stream rate drops again from .00397 to .00331 a decrease of 16%. Apple Music gains almost 3% for an total global marketshare of about just under 25% of all revenue.
Apple’s per stream rate drops from .00783 to .00495 a decrease of 36%. We need to state again, that 2018 saw a massive shift of revenues from downloads to streaming and no doubt this expansion of scale, combined with more aggressive bundling (free trials) as well as launching into more territories was bound to bring down the overall net per stream.
Apple Music still lead in the sweet spot with about 10% of overall streams generating 25% of all revenue (despite the per stream rate drop). Spotify by comparison has nearly triple the marketshare in streams than Apple Music but generates less than double the revenues on that volume.
The biggest takeaway by far is that YouTube’s Content ID, (in our first genuinely comprehensive data set) shows a whopping 48% of all streams and only 7% of revenue. Read that again. That is your value gap. Nearly 50% of all recorded music streams only generate 7% of revenue. Apple Music and Spotify combined account for just short of 40% of all streams and 74% of all income.
Readers should also keep in mind that we as consumers don’t fully understand the cost of operating these platforms. One can argue that artists should make more for their music, and we fully agree, but we also admit to not fully knowing the cost involved with offering on-demand streaming of virtually all recorded music to hundreds of millions around the world. Spotify, for example, has thousands of employees operating in offices around the planet, as well as hosting fees, marketing costs, and development work.
The information above may be disheartening for many independent artists and smaller labels, but that’s not the worst of it. There seems to be no means for those outside the major label systems to negotiate their streaming deals with any of the bigger platforms. That could change if the rates grow even worse, or if a group of artists chooses to band together, but at this point, we know no such efforts in the music ecosystem.
Some can argue that participating in these platforms is not a requirement, which is true, but that idea reveals a key misunderstanding of how the music industry works in 2019. Artists may not be required to share their music on streaming platforms, but those who choose to avoid them altogether have an incredibly difficult journey toward recognition ahead of them. Streaming is now the primary way people stream music, and most listeners do so through one of the portals mentioned in this article.
With streaming’s dominance likely to continue for the foreseeable future, not agreeing with the royalty rate offers made by streaming services is not a viable option for the vast majority of performers. So, what can be done?
If you have a solution, or if you have information related to this story that you feel should be included, please email james@haulix.com. We would love to hear from you.
We are seeking a Music Operations Reporting Lead to manage reporting operations and global product support functions for record labels and music publishers. Candidates will have extensive operational experience with labels, publishers and DSPs including ingestion, rights management, reporting, data reconciliation, and development of supporting systems. They have experience in a data-centric, reporting, royalties and/or payments space including solid experience with database structures. They will also be data-driven and flexible to frequent changes. They are expected to think creatively about ambiguous issues and are passionate about problem-solving. They will also be able to work successfully across teams and regions.
Gimlet Media is looking for a Music Supervisor to support our growing team of both internal staff composers and outside talent. This person will work across the company with multiple teams on editorial, branded, and fiction shows. Responsibilities will include music licensing, contract negotiation, internal and external music library organization, and serving as the main point of contact in the company for music procurement.
The Associate Brand Manager will drive Beats by Dr Dre’s point of view in the area of Music & Culture. An effective Associate Brand Manager will use insights about our products, our consumers, our competitors, and culture to support the development of strategic marketing plans for the Brand. They will partner with a cross-functional marketing team – including internal and external partners – to deliver world-class campaigns that grow the business globally and deepen consumer love for the Brand.
The Assistant, Business Operations will assist in the fulfillment of sales strategies, promotional campaigns, and overall business operations support for Regal Cinemas LA LIVE.
As our Digital Media Lead, you will make your home in PPC. Researching, analyzing, and executing in different channels (FB, Google Network, Amazon, etc) will be your bread and butter. You will gather and decipher huge amounts of business intelligence and you’ll work elbow-to-elbow with our marketing team to act on the information. As the first person to sit in this seat in the US, you will also play an integral role in growing the eComm team in the next few years. We plan to keep growing and the first step is adding you to our team!
This role will leverage analytical and technical skills to innovate, build, and maintain well-managed data solutions and capabilities to tackle business problems and support organizational objectives. The individual will also provide insights, recommendations or results from performance of various forms modeling and analysis around BMIs distribution/performance data.
Warner Music Group’s Emerging Talent Program (ETP) is a paid program designed to provide students with the opportunity to apply their skills and previous experiences to the music industry. This multidimensional, hands-on program begins by matching students to specific departments across WMG’s companies, based on their interests, for a semester-long experience. ETP is offered during the summer, fall and spring semesters.
Our Music Legal group manages all music-related commercial transactions. As an Associate Contracts Manager, you will support complex commercial transactions that involve music rights. The client base includes Business Development and Marketing clients across all of Google and you’ll be exposed to numerous product areas throughout Google. You’ll work with our clients on the various legal issues and business strategies related to commercial agreements and you’ll also assist with the continuous development of the commercial team and its processes. Diligent and proactive, you bring excellent business judgment and strategic thinking, along with the ability to work independently as well as collaboratively in a fast-paced team environment.
20th century laws don’t always solve 21st century problems, and Google Legal crafts innovative approaches for handling some of the toughest legal challenges of the information age. Whether you’re a patent attorney, an intellectual property expert or an engineer headed to law school, Google Legal lets you take on unanswered legal quandaries and create new precedents. Our innovative services raise challenging questions that demand creative and practical answers. We provide those answers by working at the crossroads of the law and new technology, helping Google build innovative and important products for users around the world. Responsibilities
Review, draft and manage music licensing agreements, statements of work and other intellectual property agreements.
Engaging content creation & marketing, automated email campaigns, paid media, data analysis/intelligence, social media/blogging, engaging creative and SEO for our 35 awesome music instruction courses are front and center, but the unique way in which our online students learn with Video Exchange is an important emphasis as well. Your expertise in SEM strategies (both lead gen and direct sale), paid social marketing, ad copywriting, Google Analytics will be put to rigorous use.
Our marketing team will consist of musicians (past and present) who can identify with our target audience’s objectives and core market demographics and it’s important that playing music has had a prominent role in your life.
We are looking for a passionate and seasoned business-focused leader to join the Music team. You will help us continue to build and run a world-class organization, executing strategy across the Music and Content teams. This role reports to our VP, Head of Music and is based in New York.
The Manager will work closely with the VP & Director to craft the digital sales and execution strategy for each MSG property and partner. S/he will serve as a project manager for select partner digital platforms and work frequently with various stakeholders across the company with groups including Marketing, Insights & Analytics, Information Technology and MSG Networks. S/he will collaborate closely with internal Sales and Account Management teams to ensure that we are best positioned to achieve all goals related to meeting partner digital KPIs and generating new business, upsells and renewals. Additionally, the Manager will lead digital sales operations for MSG affiliated social media channels, websites, apps and email communication.
Secures assigned licenses by providing support to Sales Leadership and working all assigned sales opportunities. Validates file information on qualified leads and works as a partner to Inside Sales to research and update account files to increase the chance of selling licenses.
Merch Monster is looking to hire a Marketing Associate to help get us to the next level in 2019! This is an entry-level position and we are open to hiring recent college graduates.
The Manager of A&R Administration and Label Relations reports to the Director of A&R Administration and Director of A&R Label Relations, works closely with A&R Operations, Business & Legal Affairs, and artist representatives in handling all “non-creative” aspects of the recording process and label waivers for side artist clearances.
We’re looking for people with a variety of creative interests, an ability to work quickly and collaboratively, and an ability to remain calm under pressure. Pitchfork is looking for an Operations Manager to reinforce and develop processes and systems in its events department. The right candidate will play an integral role in the future expansion of Pitchfork’s events business. This role stands at the center of the events department, supporting and communicating everybody’s needs, and stands as the first point of contact for many matters. This position is based in Chicago and reports to the Director of Operations.
The Sync Manager, Brands & Advertising is a client-facing role, providing an exceptional Songtradr experience. This individual will build, develop and maintain client relationships within brands and advertising. The Sync Manager, Brands & Advertising will work with Songtradr’s sync team to manage the use of Songtradr’s music, working closely with the production, development, creative, digital, social, and licensing teams. The ideal candidate will have a comprehensive knowledge of music, its history, genres, and styles, and must be up to date with current music as well as have performance rights organizations (PRO) knowledge.
Mad Decent Records, founded by Grammy award-winning artist Diplo, is currently seeking a Sr Digital Platform Strategist to join our growing office in Los Angeles. We are looking for the right individual with a passion for forward thinking music and previous experience at a label, streaming service, or relative digital media company. This role will be responsible for leading strategy for digital platforms, partnerships, and online marketing initiatives.
WNRN Charlottesville is looking for a Music Director for its growing AAA/Americana/Indie/good music station. An understanding of WNRN’s music mix and an ability to guide it is required. The ideal candidate immerses themselves in live and recorded music with an insatiable hunger to hear more. Knowledge of the music industry, music scheduling software, professional sound editing skills and non-commercial progressive music mixes is necessary. Minimum three years on-air experience at a music station is required. Strong interpersonal relationship skills and ability to plan and execute station promotions and manage volunteers, interns and street team members are also a must.
Stage and Screen has an exciting opportunity for a Travel Manager to join the growing team in downtown Los Angeles! The Travel Manager handles the day-to-day travel needs of corporate business accounts won by the Business Development Manager and ensures the service agreement between the client and Stage and Screen is delivered in a way which ensures total client satisfaction and client retention.
The Coordinator, A&R Admin, will act as the liaison between A&R, artists/management and all participants of the recording process to ensure the successful and timely delivery of album releases by successfully accomplishing the following responsibilities:
This role is a great entry point and stepping stone into digital influencer marketing. This job is at the intersection of creative, marketing, technology, and operations; you will have your hand in a lot of different areas. You must be detail-oriented and able to multi-task, as you will be assisting many artist projects, and administrating a fast-paced, large, growing team. You will be the direct operational support for the lifestyle & influencer marketing team across all aspects of a music release – you will also be working closely with product managers, our in-house creative design, development and video team, and artist managers to help bring artists’ visions to life.
The ideal candidate is interested in operational facets of music and new technology. This person reads blogs (tech and entertainment) every day, installs every new app just to try it out, and has a passion for leveraging the Internet to drive artist careers and revenue. They live on social media, lifestyle blogs, and discover new music in interesting ways. They understand how to optimize content across social platforms, have a desire to learn the “nuts and bolts” of what it takes operationally to release music and videos. As the environment is incredibly collaborative, you will be assisting in digital influencer marketing operations for the department as a whole as well, giving you insights into many aspects of the digital space.
The Administrative Assistant, Marketing is responsible for providing administrative support to the Marketing Department and helping to ensure the efficient day-to-day operation of the department.
To be a team player who thrives on high execution, with effective strategizing skills coupled with a natural ability to communicate and accomplish day-to-day tasks for the US market.
A great opportunity to join an energetic team in the Sony Pictures Music Group Business Affairs Department as Senior Manager or Director, Acquisitions.
As part of the Music Group Acquisitions team, the Senior Manager or Director’s role includes working collaboratively with and supporting all Sony Pictures Entertainment divisions surrounding the acquisition and management of music rights in films produced by outside production companies.
The gender gap in music has been a hot topic of debate for years. It seems for every one female-lead or all-female act to breakout there are at least a dozen or more male performers given similar attention. Many argue women have to do more than men in music to get the same opportunities, such as performing at big festivals or landing good representation, and there is plenty of data that supports their argument.
But change is coming. According to a new study conducted by Fender, one of the largest guitar conglomerates in the world, females now account for 50% of young, aspiring guitar players across both the United States and the United Kingdom.
“Today’s players have grown up in a different cultural context and popular music landscape, and rising artists like Mura Masa, Tash Sultana, Youngr, Daniel Caesar, Grimes, and Ed Sheeran are changing the way the guitar is being used,” says Fender CEO Andy Mooney. “As a brand, we are committed to creating tools – both physical and digital – that this generation of creators needs for self-expression, now and in the future.”
These results echo similar surveys conducted in recent years, but 50% is a new high point for the female demographic.
“There was also a belief about what people referred to as the ‘Taylor Swift factor’ maybe making the 50 percent number short-term and aberrational,” Mooney told Rolling Stone. “In fact, it’s not. Taylor has moved on. I think playing less guitar on stage than she has in the past. But young women are still driving 50 percent of new guitar sales. So the phenomenon seems like it’s got legs, and it’s happening worldwide.”
Anyone who claims this is a “phenomenon” or “fad” is fooling themselves and putting down creative women everywhere. Music’s history is filled with notable female musicians, and their numbers have been growing in leaps and bounds for decades. Rock may not be at the forefront of pop culture the way it once was, but that is a momentary slip that is just one or two hit songs away from changing once more. Who knows, maybe one of the young women picking up guitars in 2019 will be the person to change everything.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2016. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: Responsible for maintaining awareness of The Smith Center brand and promoting performances and events through publicity and media relations efforts.
Job summary: Red Bull Sound Select is an artist development program that delivers the best in new music, supporting a group of curated artists through 200+ yearly events and festivals, in-studio collaborations with leading creators, distribution, and marketing from the Red Bull network. The program will be expanding into 7 new countries in 2016. The Project Manager, Red Bull Sound Select Artist Relations will oversee artist onboarding for 6 Red Bull Sound Select countries and manage 5 major artists campaigns each year. He/she will play a fundamental role in the longterm success of the program, as these artists will be core case studies for the program to build on in its international expansion. This is an opportunity to market artists without traditional music industry boundaries through Red Bull’s studio, producer, festival, and agency relationships; unique partnerships; and your and the artists’ creativity.
Job summary: Alternative Press Magazine is seeking a smart, self-motivated and resourceful individual to join our team as our Marketing Coordinator. Our company is headquartered in Cleveland, Ohio and prospective candidates will preferably live in the general Northeastern Ohio area. Candidates should be highly organized and adaptable to our dynamic work environment. Qualified applicants will have had experience in similar marketing roles (preferably within the media and entertainment industry).
Job summary: Lead, develop and execute consumer engagement and ecommerce campaigns in collaboration with UMG owned and associated labels. The Director will be the key point person at the label level for all direct to consumer activities, including but not limited to initial artist strategy, product development, marketing and eCommerce. This person must be the organizing force and leader in commercializing direct to consumer campaigns and other integrated artist rights (e.g. ecommerce, experiences, touring). This person must be skilled at influencing and collaborating with all label departments (product managers, digital marketing) and artist management, and will be responsible to organize, plan and collaborate with labels in the execution of marketing campaigns for artists not only across release and touring schedules, but also “off cycle” promotions of artist relevant commercialization opportunities. He/she will be responsible for overseeing and managing all D2C stores including identifying, planning and executing against revenue opportunities for stores, merchandise recommendations, pricing, design, social media, crm and other label marketing initiatives.
Job summary: Pandora is looking for an experienced Account Strategist who has a background in digital or radio advertising with a proven track record of building and maintaining strong client relationships. This individual will partner directly with the sales team to build strategic media partnerships while providing a high level of client service for assigned Advertisers, Agencies and internal Clients.
Job summary: We currently have an opening for the position of Music Publicist / Account Manager and are looking for an intelligent, independent creative thinker with an analytical approach and a proven track record working in music publicity. Our ideal candidate is an original thinker who brings something new to the table. This individual must have a strong passion for the entertainment field (music in particular) and be able to professionally communicate with clients, journalists and other industry professionals.
Job summary: The Marketing Director is responsible for the advertising and marketing of all events in Atlanta and Alabama including events at Philips Arena, Infinite Energy Arena, Fox Theatre, Cobb Energy Performing Arts Centre, Lakewood Amphitheatre, Chastain Park Amphitheatre (Concert Series), Oak Mountain Amphitheatre, Music Midtown Festival and all outer market shows in Georgia and Alabama.
Job summary: You will join the US Marketing Team to manage existing and build strategic partnerships. To achieve our goal of increasing our footprint in the US and increase the number of subscribers, we want to grow Deezer distribution through the telecom channel.
Job summary: Live Nation is seeking a qualified individual for a Project Manager position. This detail oriented position requires excellent organizational skills, professional interaction with management personnel, vendors, clients of all levels, an ability to work efficiently, accurately and effectively under pressure, and ability to complete and prioritize tasks in a timely manner. The ideal candidate will have proven experience in staff supervision and recruitment, and customer service. The ability to communicate with respect and diplomacy across all levels of business is essential to this position. Maintaining knowledge of current ticketing trends in entertainment industry is an essential element to this position.
Job summary: As a Music Manager, you are responsible for the daily operations of the Music/DVD Department, ensuring that they are consistent with our bookselling culture, world-class customer service focus, digital initiatives, and operating and merchandising standards. You assist with interviews and in the development and evaluation of music sellers. You foster an employee-centric environment and focus the team on maximizing sales and productivity.
Job summary: The Sr. Manager, Strategic Partnerships is a key member of the Strategic Partnerships team within the Brand Marketing department. This role will be responsible for creating relationships and programs with brands that put Pandora in new categories and conversations and enhance our brand equity with specific audiences. Reporting to the Director, Strategic Partnerships within the Brand Marketing organization, this person will execute brand partnership projects from initial evaluation through completion, maintaining senior level marketing finesse and client management throughout the process.
Job summary: Reporting to the Vp Of Marketing, the Harmonix Marketing Manager will sit at the heart of marketing Harmonix products. As the central strategist and go to market expert for each product the Marketing Manager will be responsible for building and executing their marketing plan for their assigned titles.
Job summary: The role of Department Coordinator is to organize, execute, and complete department needs. This includes scheduling, registration of students, the management and promotion of department events through email blasts, posters and program design. Additionally, this position works with prospective students, providing information about the department and the Presidential Scholarship in the Arts which includes coordinating the scholarship applicants and audition weekend.
Job summary: Spotify is creating the world’s most personalized music service, and the way we communicate to listeners is an integral part of that goal. In support of this mission, we’re hiring a Product Owner for our marketing automation and notifications platform. The objective is to reach the right user with the right message at the right time, helping them discover music or enjoy a great listening session.
Job summary: Provide key input into development of strategic and tactical marketing campaigns. Serve as project manager. Communicate with artist management. Provide budget oversight. Evaluate effectiveness of campaign
Job summary: The Festival Specialist is responsible for assisting the Festival Manager in all aspects of their role’s business scope. This includes the development, management, production and success of all business unit (BU) sponsored music festivals; as well as assisting cross-functionally with On-Premise Marketing on large scale and big moment activations. The ideal candidate should be passionate about live event production, experiential marketing, festivals and both the nightlife & music scenes. This position will operate cross functionally with On-Premise Marketing/Sales, Culture Marketing, Operations, Activations, Consumer Collecting, Brand, Key Accounts and outside vendors to drive Red Bull’s relevance within the festival landscape. The Festival Specialist will ensure quality event execution at larger A-Top festivals/image building events as well as leading the development and on-site execution of select A-Image and A-Volume festivals/events including multi-city tours.
Job summary: The Orchard seeks an enthusiastic individual for the Digital Advertising Department with a passion for music, film, video, and other media. This passion must be personal, but also exist as an academic interest in how these media are positioned within culture. To continue to advance our groundbreaking services to clients and owned/operated properties, You will report directly to the Director of Digital Advertising.
Job summary: Cox Media Group – Miami Radio has two part times positions for an Event Crew/Activation Specialist. Are you pursuing a career in Communications, Media, and/or Marketing? We are looking for outgoing, hard working and creative individuals to join our Marketing/ Promotions team. Responsibilities include working on location at radio station events, live broadcasts, interacting with listeners, social media activation and clerical duties. Knowledge in video recording, editing and Photoshop are a plus. Ideal candidate is energetic, efficient and capable of multi-tasking in a lively fast paced environment. We are seeking a highly results oriented and talented individual with a passion for original entertainment to join our growing marketing team. The right candidate will be a team player who takes initiative with excellent written and verbal communication skills. All employees are expected to bring a positive attitude to the work place and be cheerful, cooperative and productive and to perform other such duties as may be required for the efficient operations of the stations.
Job summary: Universal Music Group is seeking a Manager, Consumer Engagement Operations to manage and support creation and operational execution of consumer engagement campaigns, products, D2C stores and marketing campaigns. The Manager will be the first line of command for the UMG Consumer Engagement Operations team in all D2C projects assigned, including involvement in artist strategy, product development, marketing and ecommerce, and help with collaboration with label departments (product managers, digital marketing, and artist management, etc.) during the release setup. He/she will be responsible for overseeing and managing operational details associated with all D2C stores.
Job summary: Harmonix is looking for a music supervisor and music business expert, who has sophisticated knowledge of the music industry and who will be responsible for securing music/artist participation for inclusion in the game, add-on content, advertisements, trailers, promos, partnerships or any other form of visual media. The ideal candidate will act as the liaison for Harmonix with the music community. The role also includes engaging the music community from a marketing partnership perspective in order to leverage the artist/music in the games to create additional exposure and marketing opportunities. The level of partner participation varies from social posts by artists and gaming partners to in-game artist participation, live performances, advertisements, retail executions, etc. The music marketing partnership director will be responsible for fulfilling all marketing needs and driving execution from a music perspective.
Job summary: As part of our new vision for the future, we are looking for an excellent, aggressive, career-minded professional for the position of Associate Director, Public Relations for Florida Grand Opera. Ideal candidates will have a strong knowledge of opera, a minimum of four years’ work experience in opera public relations or a closely related industry, as well as a Bachelor’s degree. Personal strengths must include strong attention to detail, knowledge of opera, hands-on experience with social media, and strong verbal and written communication skills. Ideal candidates will be self-directed, able to work independently and bi-lingual in English and Spanish.
Job summary: We are actively looking for a self-motivated Box Office & Client Service Coordinator. This detail oriented position requires excellent organizational skills, professional interaction with management personnel, vendors, clients of all levels. The ideal candidate will have proven experience in ticketing software, client and customer service service. This position will oversee the day to day operations of the Box Office Department within the scope of generally accepted procedures and practices for a major clients nationwide.
Job summary: Consumer conversations and relationships fuel the work of Nike Marketing. It’s the fuel that has built one of the most recognizable brands in the world. Nike Marketing captures the science, art and emotion of Nike’s innovations and connects them with the hearts, minds and souls of athletes. The pros in brand strategy, advertising, digital engagement, product presentation, consumer analytics and more foster consumer connections via channels ranging from Nike Stores to social media. They approach marketing in a way that only Nike can: taking risks, pushing boundaries and inspiring consumers to be champions.
Job summary: The Marketing and Communications Associate is responsible for facilitating and overseeing the execution of all marketing and communications functions for the organization, with an emphasis on digital marketing. The Associate reports directly to the Marketing and Communications Strategist and interacts with web developers, graphic designers and other vendors that are identified by the organization to work on select projects.
Job summary: The ideal candidate will have Music or Entertainment experience and have experience supporting an SVP, GM or other high-level executive with discretion and confidentiality. Must be very efficient and highly attuned to the smallest of details. Multi-tasking and working on tight deadlines in a high pressure environment is crucial. No task is too small and no challenge too great. A “can-do” attitude is essential.
Job summary: In this outside sales position you will sell radio sponsorship messages, digital media and event sponsorships. An account executive in public media is similar to that of a salesperson in commercial broadcasting or local print media. In this consultative sales role you will make cold-calls to decision makers at local businesses, meet with them to understand their marketing needs and develop proposals that offer marketing solutions to help them grow their businesses. This is a full life cycle sales position in that you will prospect, conduct needs assessments, create and present proposals, close the deal, write copy and service the account. You will focus on developing new business while managing and growing an account list.
Job summary: Full responsibility for all aspects of assisting with venue business operations. Passionate and motivated. Driven, with an entrepreneurial spirit. Resourceful, innovative, forward thinking and committed. At Live Nation Entertainment, our people embrace these qualities, so if this sounds like you then please read on!
Job summary: his position is responsible for coordinating and executing daily operations for Vice President, Motion Picture Music & Marketing, which are vital to the Department’s general workflow.
Job summary: This role in Apple Music and in iTunes is working with music publishers. Music publishers supply the songs that we all enjoy listening to in Apple Music. Your job will be to work with the publishers to develop the processes and systems and reports we need to make sure the songwriters around the world get paid for their work. It is a business critical role and you’ll need to be entrepreneurial, quick to turn around solutions to our partners and accurate in everything you do.
Job summary: We are looking for a marketing manager to join our team in NYC to run growth marketing initiatives for one of our products, Splice Sounds. You will be responsible for driving new customer acquisition through planning, execution, and monitoring of marketing initiatives. The ideal candidate will have experience growing sales at a consumer e-commerce startup. Knowledge of music creator tools or music production appreciated but not required.
Job summary: Beatport is looking for a Marketing Coordinator to join our team. You will work with a cross-functional and will be responsible for coordinating, launching, and driving marketing projects along the critical path to completion.
Hello and welcome to the second weekly update ever posted on the Haulix Blog. We are still working out the exact formula for these posts, but we’re glad you returned nonetheless.
The past seven days have been as busy as any at Haulix. On the blog end of things, I worked on a plethora of new pieces while also conducting interviews for future installments of our multiple spotlight series. It was hectic, but productive, and I’m sure another jam packed week will follow the holiday on Monday.
On the product end of things, we’re going to have to plead the fifth. We have a lot of big efforts underway, but now is not the right time to share them with the world. Next week, however, may be another story entirely.
Seeing as it is the end of August, which marks the third month this blog has been in existence, I thought it would be a good idea to review all the content we have ran over the last thirty days. You can find links to every article below, separated by category. We’ll have a wealth of new content for you following the holiday weekend, so this extended time off may be your best chance at catching up for awhile…
As always, thank you for continuing to use our products and read our blog. Without you we would not be able to do what we do, and we are grateful for the opportunity. Follow us on Twitter and Facebook to stay up-to-date with everything we have in development, and do not hesitate to contact james@haulix.com with any questions or suggestions you may have.
Hello again, everyone. Welcome to the fourth installment of our PR Spotlight series. The first three weeks found us talking to a family man with decades in the business, a woman who had recently moved from a major label to one far more independent, and a twenty-something who is only a year into running her own business. This week we’re headed back to the West Coast to speak to another entrepreneur who spent years working in the record label game before deciding to step out on their own. If you have a recommendation for a firm or publicist you want to see featured in an upcoming spotlight column, please do not hesitate to email james@haulix.com and share your story.
Alabama is not the first place many think of when considering the history of punk and hard rock, but without that very state one of the alternative scene’s most influential publicists would not exist. Austin Griswold is the founder and head of Secret Service Publicity, but his career in the entertainment industry dates back much further than his relatively young PR empire. He first moved from his home state to California with little more than a dream and a Chevy Blazer, but in just over a month’s time began to find his footing in the industry. He continued to work hard and over time rose through the ranks of the business, which included years spent at Epitaph Records, before finally stepping out on his own company. We spoke with Austin about all this, as well as his advice to bands and aspiring publicists, and more. You can read his journey and insight into the business below.
On a personal note, I have worked with Austin and watched his skills develop for the better part of six years, which pretty much amounts to my entire professional career in music. He was one of the first publicists to give me a chance to work with known talent, and has always been there to help me if I ever had questions. His work with bands is second to none, and the insight he offers in this interview is just one of many reasons why he’s someone I would hope young publicists aspire to imitate in their own careers.
If you would like to learn more about Austin’s work, you should visit (and bookmark) Secret Service Publicity online. Any questions for Austin can be left 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 business:
AG: My name is Austin Griswold and I am the owner of Secret Service Publicity.
H: Let’s take it from the top! What is the first album you remember falling in love with, and how did you discover it?
AG: I can’t remember if it was Pearl Jam’s Ten or Metallica’s “Black Album.” Both came out the same year and that’s when I really fell in love with music. I think I was probably introduced in part by my older sister and brother but also friends at school. I remember stealing my brother’s issues of SPIN and Rolling Stone to learn about bands and would copy his taste of music.
H: At what point did you realize you wanted to turn your interest in music into a career?
AG: I played, or attempted to play, in bands at a pretty early age. I think from my early teens I knew that I wanted to be involved in music in some form or fashion. It probably wasn’t until I was trying to figure out what my degree in college would be that I decided on music publicity.
H: You have worked in entertainment publicity for a number of years. What attracted you to publicity work in the first place?
AG: It was easier than pre-med in college! No, I gravitated towards public relations my freshman year. I always felt comfortable writing and found I had a skill for publicizing. It was a natural fit for me and I knew I wanted to work as a publicist in either music or at the very least the entertainment industry.
H: What was your first gig in the industry (paid or unpaid), and how did you land the position?
AG: After moving to Los Angeles, my first official job was working as an intern at a film/TV talent management company called Untitled Entertainment. It was an eye opening experience. It wasn’t exactly what I wanted to do but I got a really good inside look at how a big Hollywood firm worked. I learned a lot, but the biggest lesson was that I needed to get a job that paid. Los Angeles isn’t a cheap place to live.
H: You hail from Alabama, but have spent the better part of the last decade in Los Angeles. When did you make the move to the West Coast, and what inspired the decision to pack up in the first place?
AG: After I graduated from University of Alabama, I moved back home to Birmingham and started interviewing for entry level positions at PR and advertising companies in the area. I quickly found that I wasn’t the least bit interested in doing PR for some fertilizer company or worse. I knew that if I really wanted to work in entertainment and music then Los Angeles was the place for me. In hindsight, I guess Nashville would have been a closer option, but country music wasn’t really my forte at the time. I had always been curious about LA and envisioned myself living there one day. So, I packed up everything I could fit in my Chevy Blazer and left. It took three days driving solo cross country and when I got there I lived in some crack motel on Sunset for about a month until I got my legs under me and my first apartment. It was worth it though!
H: You started at Epitaph records in 2007. Can you tell us a little about how that job came together?
AG: After interning at Untitled Entertainment, I got a paying job at a PR agency called Bender/Helper Impact in West LA. The company handled larger corporate entertainment clients like Dreamworks, FOX, Magnolia Films, etc. While college may have taught me how to write, BHI taught me how to be a publicist. It was like boot camp for PR cadets. I moved up the ranks there pretty quickly over the course of a few years, but my desire to work in music was strong as ever. I came across a job posting for Epitaph, interviewed and never looked back.
H: After a number of years in that role you decided to step out on your own with Secret Service PR. What lead you to this decision?
AG: Epitaph was a great company to work for. I learned a ton there and grew immensely as a publicist. I also got to work with punk rock legends. My boss was Mr. Brett from Bad Religion! Towards the end though, I felt that I wanted to continue my journey, continue growing as a publicist and experience new things in my career. I still have some great friends there and am proud to have them as a client.
H: As someone who has worked publicity in and out of a label setting, do you feel record labels are as necessary for a band’s today as they were when you started in this business?
AG: I think there are a lot of record companies that provide a great service to bands. Under one roof you’ve got radio, touring, marketing and PR support; services that would cost an independent band a ton of cash a la carte. There’s also a certain level of credibility and legitimacy that comes along with being “signed” to a label. However, is a record label a necessity to thrive in today’s music industry? No. There are a dozen different models to get your music distributed and promoted these days as an independent act. Today’s industry is like the Wild Wild West. There’s no order to the madness, and it’s every band for themselves. Only the quality of your music truly matters.
H: Where did the name ‘Secret Service’ come from?
AG: Good question! I had a list of names I was debating. I wanted a name that was exclusive and meant quality. It was much better than the alternatives I came up with.
H: Who was the first band you worked with at Secret Service? How did they react when you approached them about joining a new company with only one employee?
AG: My first client at Secret Service was actually my former label, Epitaph Records. They helped me get off the ground and hired me to work with Thursday and Social Distortion. Outside of that, I also worked with Bowling For Soup and Rival Sons. The manager and label that had hired me for those were familiar with my work at Epitaph. I think my small roster and proven track record of results gave them the confidence that I could get the job done.
H: You’ve been a resident of the sunshine state for a number of years, but now that you are your own boss you could theoretically live anywhere you wanted. What keeps you in LA?
AG: What keeps me in LA is that I really couldn’t imagine living anywhere else. It’s a great place to run my business since most everyone I work with is located here, most of the bands I work with tour through here and there’s a lot of media that is based here. On a personal level, I love this city. It’s where I’ve met most all of my adult friends and have made a life for myself. I can also go to the beach, hike a mountain, go to the lake and go snowboarding most anytime I want. And don’t get me started on the weather…
H: Having found success in leaving home, would you encourage others hoping for a career in the music industry to head out west themselves?
AG: I think it depends on what you’re looking for and how far you’re willing to go for it. It takes a thick skin to be young and just starting out in the workforce here. It’s also a small industry where jobs are few and far between. If you’ve got the dream and have what it takes then I say come on. There’s nothing worse than looking back and saying “what if?”
H: There are a growing number of PR outlets popping up around the country run by aspiring PR stars. What is one common mistake you see people make when they’re just starting in publicity?
AG: Not to sound discouraging but, if you’re just starting out in publicity I wouldn’t advise opening up a PR company. You probably don’t have the experience, knowledge or relationships required to do the job right. A foundation of fundamental public relation skills is a must in order to be successful in your career. If you don’t know how to properly write a press release, don’t have a grasp on grammar, don’t have the ability to communicate in a clear and concise way or have existing media contacts then you probably shouldn’t start a PR company. I’m never one to knock someone else’s hustle, but I find it alarming when “publicists” without any experience or knowledge bamboozle bands into paying them for services that they can never deliver on. Start at the bottom, develop a great work ethic and the needed skills and you should find success later on.
H: In addition to working with signed bands at Secret Service, you have been known to help unsigned talent as well. What do you look for when seeking new talent, and where do you go to find it?
AG: The main thing I look for in new bands is purely talent. One of the benefits from running my own PR company is being able to work with whoever I want. If that’s the raddest band I’ve ever heard with only two friends on Facebook, so be it. If I believe in them, then I will fight for them to the end. I find a lot of bands through word of mouth, going to shows, through social media and even submissions by other industry people.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
AG: With any publicist, I’d advise developing a good relationship with them. You’ll likely be working with them on various projects for a long time. Just because you don’t get that interview you were hoping for doesn’t mean it’s the end of the world. As a publicist it’s my job to decide what is in the best interest of my clients in terms of the media, and sometimes that means saying “no.” Don’t give up though, sometimes “no” just means not right now.
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?
AG: I think album leaks are preventable to a point. A good publicist will know who can be trusted and who can’t. Using a watermark service like Haulix gives me the piece-of-mind to send music to my trusted media contacts and while I know they won’t leak the music, I also know that I’m protected. Leaks happen from time to time and it’s unfortunate that one person would feel the need to derail months of hard work and setup, but that’s the reality we live in, in today’s digital age. You have to roll with the punches. In any case, once physical CDs are shipped from distributors to retailers albums inevitably leak. I think hiring a good publicist with experience and long-standing media relationships to be your gatekeeper is the best way to keep music safe and get the media attention you deserve.
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?
I use Haulix to send music to press. It’s the easiest and most secure service I’ve used. It’s simple and straightforward and I know that if there is a leak that I can easily find out where it came from.
H: If you could change one thing about the music industry, what would it be?
AG: That’s a tough one. We’re living in a time where it’s really difficult for bands/artists to make a living. The days of big advances, massive budgets and touring support are mostly a thing of the past. If I could change one thing it would be to find a revenue stream that works for musicians. That’ll be my next on my list to tackle. Also, I’d put a death nail in the CD. Its day is done.
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?
AG: I’ve got some big plans on the horizon for 2014. I’m looking forward to the continued growth of my company and finding amazing new bands to work with. Right now though, I’m really excited about Balance and Composure’s new album coming in September. It’s ridiculously good!
Hello and welcome to the third installment of our Haulix PR Spotlight series. The last two weeks featured industry veterans with over two decades of experience between them, but this week is a bit different. Instead of highlighting someone more or less settled into an industry career we’re going to a focus on a talented individual who is causing quite a stir with a publicity company she started less than two years ago. Her journey to stability is only beginning, and we’re excited to share her progress thus far. If you have any recommendations for future publicists we should feature, please email james@haulix.com and share your story.
The age of social sharing and digital distribution has made getting your creative works to anyone willing to listen easier than ever, but that simplicity comes with a cost. As much as the ease of use helps you it also aides your numerous competitors in getting their new works out as well. This flood of content has made it harder than ever before to get noticed in the industry, and that very problem has lead many to throw in the towel altogether. Why add to a crowded marketplace when it’s already near-impossible to be heard? If you’re going to make it in this business there is only one answer: Because you have something unique to offer.
Like the rising number of musicians vying for attention these days, there has been an explosion of in the number of small publicity and management firms in recent years. To strike out on your own in the business world takes a lot of drive and confidence, especially in the music industry, and even those who find small amounts of success have a high likelihood of failure within five years time. Still, against seemingly all odds a small amount of these young entrepreneurs are finding solid ground in the industry, and today we could not be more excited to be highlighting one such talent.
Jen Appel did not always dream of being a music industry publicist, but in just over year after launching The Catalyst Publicity Group that is exactly where she has found herself. Backed by a team of hardworking dreamers with similar aspirations for careers in music, Appel has built a blossoming brand that artists big and small call home. Her drive for success is matched only by her passion for music, and it is our hope in sharing her story that another generation of young PR talent may be inspired to take their careers into their own hands.
Jen is a truly great soul who is always willing to speak with aspiring industry professionals. If you have any questions or comments for her, you can reach out via Twitter and she will get back to you within hours. While you wait, be sure to follow The Catalyst Publicity Group so you know what Jen is working on next.
H: For those unaware, please state your name, the company you work for, and your role at said organization:
JA: Jen Appel, CEO & Publicity Director, The Catalyst Publicity Group
H: Let’s start with the basics. What was the first album you connected with, and how did that record come into your life?
JA: I wouldn’t call it the first album I connected with, but Sugarcult Start Static is definitely an album that brings me back. I remember one of my friends suggested we play the album while water skiing out on the lake. I had never heard of Sugarcult before so I thought I would give it a listen. From there it stuck with me and became one of my favorite albums. There isn’t one track on the album that I don’t love, still to this day.
H: You went to school for communications, so I am lead believe you knew for awhile it was what you wanted to do in life. What attracted you to publicity as a career path in the first place?
JA: To be honest, I thought I would end up as an Interior Designer. Throughout high school I was on the Architecture/Interior Design path and quickly fell in love with drafting and building plans. When I first went to Indiana I enrolled in the Interior Design program however I wasn’t too fond of the 3D model building that would take up half of my degree so I decided to change. Halfway through my Freshman year, my advisor suggested I try Public Relations. After meeting the most incredible professor I knew PR was for me. My professor had worked at Saatchi & Saatchi for over 30 years creating some of the most well known commercials and a part of that he was their PR Director. After my Freshman year I interned at a top PR firm here in South Florida and that’s when I knew it was the right career path.
H: At what point did you connect your interest in music with your desire to work in publicity?
JA: Music has always been a passion of mine and my family. My uncle has played in several bands and is a master on the drums. I remember from a really early age trying to learn the drums and attending as many concerts as I could with my family. From there I went on to play in band and orchestra throughout middle and high school but it wasn’t until college that I really connected the two. During my Junior year at Indiana I met one of my best friends, Steph, an incredible singer/songwriter. Somehow we decided that I would “manage” her (and I use that in quotes because I really had no idea what I was doing, at all). It became something fun for me. I didn’t do much but I knew that music was something I wanted to tackle at some point. Skip to 3 years later when I lost my job at a Marketing Firm due to the horrible economy, I decided it was time try out music PR.
H: You started The Catalyst Publicity Group a little over a year ago. What lead you to start your own business?
JA: What lead me to start my own business is simple, I found that people in this industry only cared about themselves and there was a lack of passion for the actual music and musicians. I wanted to start Catalyst to show that there are people out there that care no matter what size your band is and where you are in your career.
H: Who was the first artist you worked with, and what can you tell us about your first experiences pitching new talent?
JA: The first artist I worked with was a pop-punk band out of Dayton, Life After Liftoff. When first pitching new talent it can be difficult especially if the band is smaller. I work with my team to make sure we brainstorm every angle of the artist to ensure we are getting the right pick up.
H: There are a growing number of publicity groups working in the alternative music realm. What is it about Catalyst that separates you from the competition?
JA: We are a family. Not to sound cliche but our team is really close and we make sure to help each other out whenever possible. In addition, our talent is family to us. We make sure at every turn that they are taken care of, even if it is something outside of the PR realm, they are our number one priority. My biggest key is to make sure that everyone is comfortable with their campaign(s) and that we are having fun. Music is supposed to be fun, something that takes you away from your problems, why does it have to be any different with a PR campaign.
H: What do you think is the biggest lesson you have learned in the last year of your career?
JA: Not everyone is nice. This has been a tough lesson to learn over the last year. I’ve always been the type to see the best out of people and think they are also here to help, but that is not always the case. There are some evil crazy people out there that have no problem taking advantage of you to gain full speed ahead.
H: If you could offer one piece of advice to aspiring publicists hoping to work in music, what would it be?
JA: Get to know your local/regional music scene, try to take some of the smaller bands on as freelance clients just to get a feel for what it is like. Before you reach out to any PR firms for work remember that typically there are no days off and this certainly is not a 9-5 job. This was the most difficult thing I had to learn when transitioning into music.
H: As someone who has worked with talent both signed and unsigned, do you feel record labels, big or small, are a necessity in the modern music industry?
JA: Yes and no, I believe it is dependent on the talent. It really depends on where the artist is at in their career.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
JA: Please, please take the time to research my clients before an interview. It is just as frustrating for an artist as it is for a publicist when interview questions are so generic. Be creative with your questions, it’ll take your publication and career farther. H: Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out? If you can, share an experience.
JA: I would suggest an artist pair up with a PR firm to ensure their music is safe while garnering pre-release press. This is just one way to ensure that your album won’t leak, but these things do happen.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
JA: There is the standard press blast and pitching but I really find the best method is to actually chat with press about an artist. I try to get to know the editors I work with, figure out what kind of music they’ll like and pitch them on a case by case basis. I am all about conversing with people and if I can tell someone about a band and show my excitement it’ll take the campaign farther then a typical press release. H: If you could change one thing about the music industry, what would it be?
JA: To be honest, I don’t think I would change anything about the industry. H: Your roster is growing every week it seems. Do you have any plans or releases on the horizon you’d like to share with our readers?
JA: Right now we have several artists on tour so make sure to check out our blog section on the Catalyst site and see if they are coming to a town near you. September will be one of our biggest months to date. Not only are we celebrating our one year anniversary but for the first time Catalyst will be sponsoring the Driven Music Conference in Atlanta Sept 26-29. If any artists are interested in showcasing please head over to DrivenAtlanta.com.
To keep up with everything Catalyst head over to our website: TheCatalystPublicityGroup.com.
Another Monday has found its way into existence, and here we are once again with a new Haulix Blogger Spotlight. This feature is the longest running on our still-young blog, and this week it gains one of its lengthier entries to date. If you have someone you would like to nominate for a future installment of this series, including yourself, please do not hesitate to email james@haulix.com and share your story.
PropertyOfZack founder Zack Zarrillo was the very first blogger to be featured in this series, but only a fool would think everything POZ has accomplished in recent years resulted from the efforts of one barely twenty-something with a laptop and a lot of big ideas. In fact, the contributing staff that helps keep POZ atop the alternative news game numbers in the dozens, and amongst them lies one curious soul by the name of Jesse Richman. He may not be the top news writer in digital journalism, but his work on artist features has helped widen the gap between POZ and their closest competitors while simultaneously helping usher in a new wave of talent to alternative scene.
Sometimes you meet influential people in the strangest of places, and other times it’s more a twist of fate. For Jesse Richman and I the latter was definitely the case. SXSW 2013 was fast approaching and before I could log on to book a hotel I learned all rooms in the immediate vicinity of downtown Austin were completely booked. A chance conversation with Zack Zarrillo put me in contact with Jesse, and before long I had found a temporary home with him less than a mile from Austin’s biggest events. We had never met or spoken before arriving, but in the days that followed I was able to watch his masterwork first hand as Jesse prepared and conducted interview after interview with talent from all walks of life. In between press events he would catch bands, usually chosen ahead of time to maximize coverage, and on the off-chance he found himself with a free moment he would begin working on his posts for the following day via phone or laptop. His work ethic is unlike anything I have witnessed elsewhere in the industry, and it’s an honor to share his story here today.
We spoke with Jesse about his life before music, what got him interested in writing in the first place, and where he sees the music industry headed in the years ahead. You can read his thoughts on all this, as well as few details on what PropertyOfZack has in store, below. If you would like to know more about Jesse we highly encourage you to stop by his Twitter, or his personal portfolio site.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JR: My name is Jesse Richman. I’m a Senior Writer at PropertyOfZack, which I’ve called home since 2010. I also do sporadic work for other sites, and maintain my own music blog as well (generally for more personal writing) at MakeupForTheSilence.com.
H: What was the first album you really connected with? How did you discover it?
JR: Music has been a part of my life since literally before I can remember; when I was a baby, I refused to sleep if there wasn’t a record on the turntable.
That said, the first album that really felt like it was mine was Live’s Mental Jewelry. I remember catching the video for “Operation Spirit (The Tyranny Of Tradition)” on MTV one afternoon and just being blown away by it – visually, lyrically, sonically. When I learned soon after that they were a bunch of 20 year old kids from a town less than two hours away, it became clear they existed specifically for me to find.
H: What inspired you to get into writing in the first place?
JR: It’s just something I’ve always enjoyed, and always had a bit of a knack for. A lot of it was just loving reading, and wanting to make something others would love and learn from too. A handful of good English teachers to encourage me didn’t hurt. That said, I never really had the creative impulse for fiction writing; expository writing, whether journalistic or biographical, has always been more in my wheelhouse.
H: You went to school to study law. What attracted you to the world of entertainment journalism?
JR: I did go to law school, and I actually still practice law full-time – it’s the day job which affords me the opportunity to pursue writing as more than a hobby despite the collapse of the marketplace. As for what attracted me to entertainment journalism, I’ve been a voracious reader of music literature for as long as I’ve been a music listener. I have memories of Study Hall periods spent in the school library, churning through decade-old issues of Rolling Stone. You’d have been hard-pressed to find a day where my backpack (covered with band logos drawn on in White-Out) didn’t have at least one music bio crammed in among the school books. I think it’s just always been in the cards that I would write about music.
H: Your work can usually be found on PropertyOfZack, a site that we have featured before. What is it about the content offered on POZ that separates you from your countless competitors?
JR: in our early days, POZ really distinguished itself with its video content – Live’s, Acoustic sessions, documentary coverage of things like the GK Holiday Fest. Over the last year we’ve made a strong push to expand our written content to match. We’ve introduced Perspective (our features series), weekly Friday Discussions, our retrospective Decade pieces, and now Inside – multi-article deep digs on key players in our scene. We’ve got a really strong core of writers, and we’re giving them the opportunities and the tools to explore their passions. Everybody wins – the site, our writers, and especially the readers.
H: The majority of your features involve interviews. Do you recall your first interview experience as a journalist?
JR: I’m sure I did some interview work for my high school paper that I’ve long forgotten, but I really cut my teeth working for the Arts section of my college paper – I think I sat down with every band on campus at some point.
H: Every writer is guilty of having stock questions they fall back on when times get tough. If you had to guess, which question do you think you’ve asked most often over the course of your career?
JR: I’m endlessly fascinated by the creative process – how songs are written, how bands go about arranging and recording those songs. I love to ask business-related questions, because nobody knows where the music business is headed but everyone’s got their opinion on it. And if all else fails, I ask what’s on the radio in the van/bus, partly because I’m confident enough in my musical knowledge that I can turn any answer into a launching pad for more questions, and partly because the easiest way to crack opena tough interviewee is to get them talking about something they’re passionate about.
H: There are a growing number of people who view what you do as a possible career path for themselves. What advice would you offer those who hope to make a name for themselves in writing these days?
JR: Write, write, write. Read other writers. Talk with other writers – it’s never been easier than it is right now to get in touch with virtually anyone. Debate, test their ideas, make them test yours, listen to feedback. Then, write some more.
H: You’ve racked up quite a list of interviewees over the years. Who is left on your “interview bucket list”?
JR: Anyone who’s made music that makes me feel! I don’t really have a list, but there are definitely some childhood musical heroes I’d love to really get in deep with someday – Ed from Live, Raine from Our Lady Peace, Colin and Mr. C of The Shamen. And if the ghosts of Kurt Cobain or Doug Hopkins of the Gin Blossoms feel like dropping by for a chat, I’m game.
H: What would you say is your ultimate goal as a writer?
JR: To be read. And to have something to say that’s worth reading. I might be putting the cart before the horse there.
H: PropertyOfZack is known for breaking up and coming rock bands. Where do you turn when hoping to discover new music?
JR: My fellow POZ staffers. Our fellow websites, like Under The Gun Review and AbsolutePunk. My friends in the blogosphere. I follow a list of 300+ music-related folks on Twitter – musicians, songwriters, producers, PR folks, journalists. Tumblr has a vibrant, if echo-y, critical community. Podcasts – I subscribe to probably 10 music-related podcasts.
I’ve also built up something of a mental list of must-read music critics – folks who, through their skill and insight, make me think about music in new, exciting, eye-opening ways. Nitsuh Abebe, Maura Johnston, Tom Ewing, Stephen Erlewine, Steven Hyden, Luke O’Neill, Leor Galil, Jason Pettigrew, Annie Zaleski, and many more. Everyone who posts at The Singles Jukebox. Apologies to everyone I’m forgetting. There’s so much more to writing about music well than just discovering new acts.
H: Speaking of music discovery, you probably receive a lot of submissions from young artists vying for a spot on your news feed. What advice can you offer young artists hoping to stand out in your inbox?
JR: Don’t bother. Really. I ignore virtually everything I get sent from publicists (and, sadly, from bands themselves). Write good songs, play good shows, build a buzz. I keep my ear to the ground, and if you’re doing something interesting, odds are it’ll make its way to me.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
JR: We wouldn’t be here doing this interview if we didn’t both think Haulix was the bees knees, right? I want tracks I can stream, and preferably download too – I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.
H: If you could change one thing about the music industry, what would it be?
JR: I’d find some way to put the money back into it! The last 50 years were a bubble, and that bubble’s burst, but it was a glorious bubble to live in, wasn’t it?
H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?
JR: I’m really stoked for Riot Fest, both as a writer/interviewer and as a fan who never had the chance to see The Replacements live. CMJ is coming, and I’ve already started making plans for next year’s SXSW. In between all of that, I’m just going to keep writing as much as I can!
Hello again and welcome to a very special edition of our Haulix Spotlight series. Fridays are usually reserved for our ongoing advice column, but due to a wealth of timely content we want to roll out that feature is taking the week off. If you are serious need of an advice fix, we suggest going through our archives and seeing there is anything you have missed up to this point. We’ll return next week with one, maybe even two new advice articles. If you have any subjects you would like to see covered, please do not hesitate to email james@haulix,com and share your idea!
When we realized we were going to begin covering publicists in our spotlight series we knew a handful of individuals would come up who are viewed as notable personalities in both the world of PR and journalism. Many publicists cut their teeth on the journalism side of things, and likewise there are a number of journalists who discovered a passion for writing during their PR careers. To successfully transition between the two roles is no easy feat, and to maintain a good standing in both simultaneously is nearly impossible. There is a large amount of room for questionable behavior, such as reviewing releases from bands you also work with (or hope to one day work with), and many choose to avoid that hassle altogether by deciding to reside on one side of the press or the other . Still, some strive to have the best of both worlds, and today’s highlighted talent is one such soul.
Bryne Yancey has been writing, promoting, and otherwise living in the world of punk since the days of Geocities. His passion for music paired perfectly with his drive to succeed at a young age, and it did not take long for the industry to take notice of his efforts. Bryne eventually found himself at MySpace, then later took his writing talent to the front pages of more alternative sites, including Alternative Press and Punknews. In 2012 he started his own PR company, Ben Franklin’s Grave, and when we caught up with him last month he could not be happier with his two careers. You can learn about Bryne’s adventures through the music industry, as well as his advice for bands and others hoping to make it, below.
If you are at all interested in a career in alternative music journalism or promotion, you owe it to yourself to follow Bryne, as well as his family at Punknews, on Twitter. Comment below if you have any additional questions for Bryne and we will get them answered as soon as possible.
H: For those unaware, please state your name, the site you work for, and your role at said site:
BY: I’m Bryne Yancey, and I’m a contributing editor at Punknews.org. I’m currently in charge of the reviews portion of the site but I do a little bit of everything, including social media, podcasting and occasional news writing and copy editing when needed.
H: Let’s start before music became a business for you. Do you recall the first album you truly fell in love with?
BY: I’ll be 29 this year and like most punks my age, I initially discovered it through the radio with bands like the Offspring and Green Day. But the first punk record I bought on my own, previously unheard, was the Suicide Machines’ Battle Hymns. I remember getting my allowance that week, riding my Dyno BMX bike up to Spec’s Music (RIP) in the small Florida town where I grew up, and seeing it on sale there. I’d never heard the band before, but I thought the cover art was really cool and *looked* punk, and when I noticed there were 22 songs on it it seemed like a lot of bang for my buck at the time. I took it home, popped it in my boombox and was blown away by the band’s speed, energy and passion. I was hooked.
H: Having an interest in music is one thing, and deciding to attempt to turn that interest into a career is another ballgame altogether. When did you realize you were interested in pursuing this industry, and where did you find your first gig (unpaid work counts)?
BY: Not too long after I got into it, actually; I was a self-starter, though not a very talented one. I remember creating my own Geocities site (kids under 25, Google it) and reviewing records on it. After that, I started a real webzine called What We Hate that lasted a couple of years, overlapping briefly with my early days at Punknews. That was when I felt I had initially found my “voice” and thought I could maybe, eventually do this sort of thing seriously.
H: In the earlier days of social media, you spent some time working at one-time juggernaut Myspace Music. How did you come to work at the site, and how would compare the experience to working at publications and smaller websites?
BY: At the time, Myspace was in the midst of one of its many relaunches, and part of this particular relaunch was the creation of the Curators program—basically, they hired a bunch of writers/”internet personalities” to curate profiles based on specific interests, hoping it’d draw users back to their site. The person heading the program emailed me out of the blue one day asking if I’d be interested; at the time, I think I was freelancing for Alternative Press a little bit but it was almost certainly my work at Punknews.org that got me that gig. It ended up not working very well, mostly because of the reputation that precedes Myspace and the inability for them to shake it. It was different in the sense that I wasn’t writing or reporting very much as part of the gig; I’d find links to other content I thought was cool and share them with my audience, which in hindsight makes perfect sense in terms of how social media usually works. There just wasn’t enough time to build an organic audience there. But it was a lot of fun nonetheless, and everyone I worked with at Myspace was awesome and were both aware of the problems of the site, and were working hard to try to eradicate them. It paid surprisingly well for a freelance gig, too.
H: Having seen the first wave of social media fandom come and go, do you think the current reliance on Facebook and Twitter to do the majority of a band’s promotional efforts is a good thing?
BY: It’s important, but it’s not the whole story. The bottom line is bands still need their own websites independent of Facebook and twitter, even if it’s just a blog or something. Not everyone is glued to social media all the time, and Facebook *still* hasn’t figured out how to make their band pages that useful. For a while in the mid-2000s bands just had Myspace pages as their “official website” and look how that worked out. Learn from the past!
H: Currently, you’re a regular content contributor to the world of Punknews. What is it about the community at PN that attracted you to this team?
BY: More than anything else, Punknews.org has shaped me as a music fan and critic and that’s what made me want to be a part of it. The site hooked me on the fun and the thrill of discovery, and I’m still hooked on it.
I’d been a regular reader pretty much since the beginning in 1998 (!) and, I think in 2007 or so I started submitting reviews and weirdly, they were posting most of them. I began to gain confidence as a writer after that, and by the summer of 2008 I was a staff reviewer. Fast forward to May 2009, and I noticed that there’d been somewhat of a drop off in the frequency of news posts so I emailed Aubin Paul and Adam White to ask them if I could help out. They said yes. Let that be a lesson to all the kids out there: If you really want to do something, just ask. What’s the worst that could happen, they say no?
H: Punknews is one of the older alternative music portals online. What is it about your coverage that separates your efforts from those of your competition?
BY: We strive to give bands of all sizes equal footing in our newsfeed and in our reviews and try not to editorialize one way or the other, although in the last year or so we’ve taken a few light-hearted liberties in that regard. If I can speak for Aubin, I think the whole reason he initially built Punknews was that at the time, there just wasn’t a good site on the tubes that aided discovery of punk music and related genres, so we try to stick to that as much as possible. That covers both ends of the spectrum, too; we know a lot of our readers don’t like it when we cover major label bands, or dumb mallpunk stuff, but the fact of the matter is it brings younger readers to our site and potentially exposes them to other, much cooler aspects of punk subculture. Everyone has to start somewhere; no one was punk when they were born.
H: You launched your own PR company, Ben Franklin’s Grave, back in August 2012. Is PR something you have long been interested in?
BY: Honestly, other than a few fleeting thoughts here and there, not really. I love doing it now, though, but it was a completely happy accident in terms of how it started. My pals in the New Lows messaged me one day, asking for publicist recommendations and right then and there I told them, “Why don’t you just have me do it? I know the writers and have a rapport with them, and you guys *know* me, so why the Hell not?”
H: A pattern that has emerged over the course of our spotlight series is writers turning to PR work in hopes of more steady employment in the industry. Do you think this was a factor in your decision to explore this area?
BY: Oh, it *definitely* was. I was unemployed for a couple months last summer and at the time, thought I could make a few bucks doing press for bands and freelancing while I figured out my next real career move. It’s blossomed into this huge thing since then, in which I almost have too many clients to deal with, but it’s so much fun to work with smaller bands who have the songs and the talent, and just need a little extra push to get those songs out to the world. It’s definitely as gratifying as say, writing a big story for a website or a magazine, absolutely. Which I did not think would be the case when I started. The fact is, the industry has been shrinking and coagulating for a while now. Most print mags are either going digital-only or ceasing publication altogether, and the amount of money one can make being a music journalist is almost completely unsustainable. Not that being a journalist of any kind is all about the money, but you know, you gotta eat and live, man, and unless you’re a Dumpster-diving freegan, that requires coin. Which is why the vast majority of publicists have backgrounds in journalism.
H: Outside of BFG and Punknews, you also hold down a full time job at a media company. How do you make time to ensure all of your projects stay current and up to date?
BY: It’s a difficult balance, because I don’t consider myself a workaholic. I enjoy spending time with my friends and family, going out, sitting on my couch, watching TV, being lazy, all of that. I make sure to not let my work consume or define me, because I know from past experiences that no matter what you do or how hard you work, 1) there’s no guarantee it’ll translate to advancement, acclaim or even a steady job and 2) your friends and family will resent you if you choose work over them too many times, because when the work is gone — and in this industry, it will almost *always* be gone before you expect it to be gone — they’re still there. You gotta take care of them first, and make time for them.
It’s also important to be bored sometimes. Boredom stimulates thought.
H: Having worked in the industry for half a decade or more, do you ever see yourself in a position where you only have one job title?
BY: There will probably be a point in the next few years where I’m only doing PR and not really writing or reporting, save for an occasional blog or review here and there. I’m still having fun editing and writing for Punknews — I don’t do any sort of paid freelancing anymore — and when it stops being fun or I’m too old, I’ll quit. Right now I’m fortunate enough to have the time to do all of it, though.
H: When it comes to discovering new music, be it for writing or PR, what sources have you found to be the most reliable?
BY: No disrespect to any publications, including ones I write for, have written for or pitch to, but Bandcamp is the best for discovery. I spend almost every Saturday morning browsing Bandcamp for new releases (and buying a bunch), because it’s just so easy to discover new bands on it and their platform is straightforward: no ads, no bullshit. They’re only about the tunes. I wish every band and label had a Bandcamp page.
H: Let’s say the bands are coming to you. What advice do you have for those hoping to catch your attention to help them separate themselves from the countless bands looking for coverage?
BY: First of all, you need to write good songs. Good songs trump *everything*. If you’re not talented, well, it doesn’t mean you won’t eventually do something great but you have to be level-headed about it and know when you’re ready.
Second of all, have patience. Thanks to the internet there are now roughly a billion bands competing for a shrinking landscape, and success won’t happen overnight, if it even happens at all. Set smaller goals at first.
Third of all, if you’re offered coverage, take it no matter the size of the publication. I have bands come to me all the time who want to be featured on Pitchfork or SPIN like, immediately, and it’s cute but it just doesn’t work that way. No site is too small; take interviews with everyone when you’re starting out. It all helps. If you’re working hard enough, generally someone somewhere big will eventually notice you.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
BY: I have to say Haulix here, right? Juuuuuust kidding.
I really do prefer Haulix over other digital delivery services because of its ease of use. A lot of the other delivery services bog computers down with weird bugs, crash problems or hard-to-understand navigation. Oh, and if I have to download some weird client just to listen to your record I’m probably not going to do it, unless you’re Keith Morris or something. Haulix is simple. Haulix is consistent. Haulix is good.
H: If you could change one thing about the music industry, what would it be?
BY: Fan entitlement sorely needs to be put in check. The tumblr generation of music “fans” who leak records, don’t go to shows and generally lack empathy for how hard it is to make a living from playing music because they still live at home and have never had to work for anything in their lives really, really sucks. Not every kid is like that, mind you, but it’s definitely a problem. You’re a human; have some empathy. Don’t be so goddamned self-absorbed all the time.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
BY: On the PR front, there are some records I’m working coming in the fall I’m really excited about: The new Direct Hit! record for Red Scare is honestly one of the best things I’ve ever heard; I’m also gonna be working with a Puerto Rican hardcore band called KDC that I think are really gonna turn some heads. Iron Pier is firing back up with a great full-length from Deep Pockets and an equally cool EP from Self Defense Family that everyone will be hearing from me about real soon.
As far as Punknews goes, I’m just gonna continue to try and make the reviews as useful as they can be. We recently switched to a new daily review format that seems to be resonating. Aubin is also *this* close to finishing the newest version of the site, which will also be the best version of Punknews ever based on everything I’ve seen. He’s still the smartest guy I’ve ever met or worked with.
Other than that, I’m just gonna keep on working and living, man. I live in Philadelphia now, which I happen to think is the best city for punk rock in the world. Life is good.
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.
