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PR Spotlight: Kelly Walsh (Prosthetic Records)

Hello, everyone! Welcome to the first and only Publicity Spotlight of the week. We have been working on putting this piece together for the better part of the last month and are incredibly excited to finally share the results with all of you.

As a friendly reminder, we are always looking for suggestions for future blog content. Whether you know a writer who should be interviewed, a site that deserves a mention, or if you have a question you need answered, please do not hesitate to email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook. 

We have mentioned this before, but the music industry is actually a much smaller community on professionals than many may believe. Everyone knows everyone, regardless of genre or label associations, and to be perfectly honest that general sense of friendliness everyone has towards one another is one of the best parts of life in the business. Today’s spotlight happens to feature someone I feel fortunate to call a friend, and her drive to help artists succeed is only surpassed by her admiration for music.

Kelly Walsh is a publicist for Prosthetic Records, one of the best heavy labels in existence today, and she’s certainly a ‘need to know’ name in the world of rock journalism. She represents some of the greatest bands in the business today, and the reason she’s been entrusted with the continued success of their public relations is due to her own relentless determination to succeed. From her early days as an intern with Century Media Records, to where she finds herself now, Kelly has poured every ounce of herself into helping others chase their dreams of having a successful career in music and through doing so has built a strong reputation for her skills in the business world.

If you have ever had the slightest interest in life at an independent label, or what it’s like to work publicity for some of the heaviest bands on the planet, make sure you pay careful attention to what Kelly shares in the conversation below. If you want to learn more about her efforts at Prosthetic and beyond, be sure to follow her on Twitter (as well as the label). Additional questions and comments can be left at the end of this post.

H: Please state your name, job title, and the company you currently work for:

K: My name is Kelly Walsh and I’m the publicist for Prosthetic Records. I also run the internship program here & do all of the label’s social media.

H: When you think of your earliest memories with music, what comes to mind?

K: My earliest memories would have to be listening non-stop to Jackson 5 “ABC” and Disney soundtracks. I didn’t grow up around a lot of music and my parents weren’t huge music fans, so my options for the home stereo were limited.

H: Every industry professional has a moment in life where they realize their interest in music is more than a simple passion or hobby, but rather something they want to make a career out of if at all possible. If you had to guess, when was that moment for you?

K: For me, it wasn’t so much a single moment as much as the combination of my discovery of music. I didn’t actually start listening to music as more than just background noise until early high school. I got introduced to heavier artists (AFI, Linkin Park, Scary Kids Scaring Kids) and started from there but I was obsessed with lyrics and finding out their meanings. I had journals upon journals of song lyrics that I’d transcribed and scribbled notes over. I’m a huge reader, so being able to combining words and music intrigued me.

It wasn’t until mid-way through college that I actually thought I could translate that into a career. I won a meet & greet/ private listening session with Apocalyptica and getting to see a glimpse of the behind-the-scenes work that went on made me realize that was where I belonged.

H: You attended college, but if my research is correct you did not focus on anything industry-related at the time. Is that correct?

K: Far from it, I actually went to school for Forensic Science and wanted to become a medical examiner. Unfortunately, I was born with hand tremors and due to those – it put a full stop to that plan. After that I spent a year studying English Literature & Shakespeare in London,UK and trying to figure out what to do with my life. Since my visa expired after a year, I decided to move to Hollywood, CA (I’m originally from Upstate New York) and attended Musicians Institute for a brief period.

H: What was your first ‘gig’ in the music industry (unpaid work counts)? Can you tell us a bit about how it came together?

K: My first “gig” in the industry was being an intern for Century Media Records. From street teaming and being at a bunch of shows, I’d met a few staff members and they had suggested that I apply for the internship. After interviewing, I was hired and I spent 6 months interning there mostly helping out with marketing and street teams. My hard work paid off and a job for a marketing assistant opened up which I applied for and was lucky enough to get hired! During my time at Century Media, I ended up taking over the internship program and restructuring it, running the street teams, and working with local promoters, venues and street teamers to promote upcoming tours.

H: What advice would you offer aspiring industry professionals hoping to get their start in the business today?

K: Work hard, ask why & network! If you’re truly passionate about something, don’t be afraid to show it. I learned the most from my internship by going above and beyond with the tasks that I was given and I always tried to ask “why” I was doing something so that I understood its purpose rather than just blindly completing a task. Networking is key! Keeping in touch with people and building relationships opens so many doors!

H: You currently find yourself at Prosthetic Records. What initially attracted you to Prosthetic, and what was the interview process like?

K: Due to budget cuts, my position got terminated at Century Media and the next morning one of my bosses, the phenomenal Steve Joh, contacted me and asked me if I wanted to do publicity. He told me that Prosthetic was hiring and he had already spoken to them about me and they wanted me to come in for an interview. The label fit me perfectly as I was a fan of some of their past roster (Lamb of God, Gojira, All That Remains) and a huge fan of some of their newer bands ( Skeletonwitch, Holy Grail). I loved that they represented a variety of genres and also that they were a smaller company. The next day I headed to their office for an interview and got hired on the spot.

H: Without going too in-depth, what does a normal day look like for you?

K: Normal, what’s that? Just kidding. I’m obsessed with making lists – they help me stay so organized. I start off my day coming up with a list of things that need to be done for each part of my job (i.e. – what needs to be posted on social media, what tasks do I have for the interns today, what interviews are due today, etc). I spend the rest of my day sending out press releases, pitches, doing tour press and the likes. Towards the end of the day/ when I get home, I spend hours reading news sites, reviews, magazines to find new ideas and keep up with what’s going on.

H: What is one of the biggest misconceptions people have about life in the music industry?

K: The most irritating misconception is the “suit wearing, desk job, 9-5”er category you get huddled into. I definitely don’t wear a suit and while I may spend the day in an office, my job doesn’t end at 5. I guess it’s the conception that everyone at the label lacks creativity and are just interested in sales – which is so far from the case. I never stop working, my email is on my phone and I’m constantly checking it – I try and go out to local shows as often as I can to see new bands and I’m always looking for new opportunities for my bands whether it be music related or something they’re personally interested in.

H: How do you measure your success at your job?

K: Exposure would come to mind first. My goal is to increase awareness and make sure in addition to hitting the regular markets, I’m constantly trying to find alternative methods and increase my outreach.

H: When it comes to promotional distribution, which services do you prefer and why?

K: Definitely Haulix. It’s simple, fast and secure. Also, the customer service is incredible, I’m able to get a response usually the same day and they always go above and beyond.

H: As someone who works first hand with unreleased music on a regular basis, do you believe album leaks can be prevented?

K: For the most part, yes. Especially with using the watermark service that Haulix provides – it’s easy to catch a leak source and stop it.

H: At this point in life, what is your ultimate career goal?

K: I love doing publicity/marketing and I’m so glad that I ended up here. I would love to continue doing publicity/marketing and also delve into management. Non-music related, I’d also like to get my funeral directors license at some point and do that on the side.

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

K: I’d get rid of illegal downloading. Nowadays with the variety of streaming services, I don’t see the need. If you’re that cheap and won’t buy an album that you claim to love, at least stream it so the band can earn some sort of revenue for their hard work.

H: I think we’ve covered just about everything at this point. Do you have anything you would like to add before I let you go?

K: I just want to say a big thank you to my bands for being so incredibly amazing to work with!

Also, we’ve got a lot of huge releases coming out next year including a new album from our hardcore quartet TRAP THEM and the first original material from legendary guitarist MARTY FRIEDMAN in over four years!
So make sure to stay tuned to www.prostheticrecords.com for details J

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PR Spotlight: Nate Sirotta (Total Assault)

Hello and welcome to the first post of the new week. We were getting a little bored with the posting schedule as of late, so this week we’re switching things up and starting things off with a brand new PR spotlight. If you know of a person or PR group that we should highlight in a future spotlight, please email james@haulix.com and share your story. We look forward to hearing from you.

We’ve learned multiple times in this series that no two people have the same journey into the music industry, and today’s talent is no different. Nate Sirotta is a one-man PR machine with years of experience in the music business. From fronting nationally touring bands, to working with some of the biggest names in music, Nate has taken the road less traveled a number of times in life and always come out better for the effort. Now 27, Sirotta finds himself one of the go-to publicists for alternative rock, and as you’ll learn in our interview he still has plenty he hopes to accomplish.

Nate is a close friend of mine in music, and over the last five years of writing I’ve come to consider him one of the hardest working publicists in any genre of music. His drive to succeed has already lead him to the top of the music PR game, and instead of being content with that success he continues to grind, hoping to help as many young artists as possible along the way. It’s an honor to share his journey with all of you, and I certainly hope it helps guide aspiring professionals towards further success in their own careers.

If you would like to learn more about Nate’s work, check out Total Assault and Impulse Artists. Additional questions or comments can be left 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:

NS: My name is Nate Sirotta – Director of Digital Marketing at Total Assault and CEO/founder of Impulse Artists.

H: Everyone has to start somewhere. What are your earliest memories of music, and to whom do you attribute your discovery of it?

NS: I was brought up in a musical family. My mom and grandparents always stressed the importance of music in life, which is where my initial inspiration came from. I started playing in bands as a drummer when I was 15, and then started fronting a band called Down for the Count when I was 18, which eventually went on to tour nationally in the Warped Tour/indie-band circuit. I attribute all of my networking ability and PR background to the experience of building that band from the ground up and self-managing the business end for nearly five years before I entered the professional world at the age of 23.

H: Do you recall the first album you purchased with your own money? Do you still have that release today?

NS: I’m not sure if it was actually the first album, but New Found Glory’s self-titled album was definitely one of the first albums to really light a fire and instill a drive for success in the music industry. I do indeed still have that compact disc in my possession today.

H: You were born and raised in California, which is where you reside today. When did you realize you wanted to work in the entertainment business? Did you have any specific career goals at that time?

NS: Having pursued music as a writer and performer before digging in as a publicist and artist manager, I started wanting it as a freshman in high school. I spent about eight years learning the ropes via trial and error, meeting as many industry folks and fellow musicians as I could, and rehearsing endless hours in a tiny lockout. I think at the start of all that my initial goal was to be a successful musician as opposed to a publicist, but the drive and passion for the industry has always remained the same. It has been an awakening experience for me to realize a passion equally as fulfilling as writing and performing – the opportunity to help artists that I believe in achieve their goals and really maintain a hands-on mentality throughout. For me, the fact that bands and artists value my opinion and seek out my guidance is more than I could have ever asked for.

H: Publicity is an interesting career choice for anyone to make, and that goes double for those who aspire to a career in music. What attracted you to the PR side of the industry in the first place?

NS: Without knowing it, I was acting as a publicist for my own band throughout my days as a musician. I was a natural at building relationships and pitching my band to everyone and anyone who would listen, so this career path has never really seemed like “work.” Additionally, the opportunity to expose artists that I love to people that will listen is beyond fulfilling. You don’t always get to work with artists that you love, but when those projects come along, it makes everything worth it.

H: What was your first gig in the music industry (paid or unpaid), and how did you land the position?

NS: I was hired as a junior publicist for a company called Transfer Media Group in 2010, which was my first real PR gig. I had a close friend from high school who was working there at the time, and she got me the interview. I was hired on the spot and worked there for about a year before working as an independent publicist.

H: You started your own company, Impulse (artist management and public relations), back in 2009. What inspired you to step out on your own?

NS: It felt like the natural thing to do after several years of self-managing a band. I figured I would utilize my network and knowledge to try and break bands that I believed in. Impulse is definitely more focused on PR and digital marketing at the moment, but there will come a time where we take on management projects that make sense and that I’m head-over-heels for. There is so much talent out there with very little opportunity in front of them, so it’s exciting for me to be able to create opportunities.

H: Who was the first band to join the Impulse roster, and how did you come to work with them?

NS: The first band to join the Impulse roster was a pop/rock band from Pennsylvania called The Brightlife, who have since disbanded. They were good friends of mine who opened for my band on a 2008 headlining tour, and I was pumped at the opportunity to help them grow.

H: There seem to be more small management and PR firms popping up by the day. What is one piece of advice you would offer aspiring publicists that no one told you back in the early days of your career?

NS: I think persistence is the most important quality that many industry professionals tend to lack. It takes a long time to get things off the ground, to solidify your network, to ensure a perpetually growing network, and most of all – to see income. It bums me out when a boutique company has a good thing going and then decides to pack it up after six months because they didn’t land “that one project” or get “that big piece.” It requires failure and mistakes to do great things. It requires time to see results. Stay the course and good things will happen.

H: Earlier this year you joined the team at Total Assault. Please tell us a little about your role at the company and what it is you do on a day-to-day basis.

NS: I am currently Director of Digital Marketing at Total Assault, and manage a team of two other digital publicists. I correspond with clients on a daily basis, build marketing plans, pitch ideas and stories to writers and editors, monitor media coverage, and am constantly trying to grow our company’s contact database and strengthen relationships.

H: What is the biggest difference between what you do at Total Assault and the work done with Impulse?

NS: The biggest difference is not necessarily in what I do, but with whom I work. I work with a lot of major labels and Top 40 artists at Total Assault, whereas at Impulse I work with mostly indie artists and labels looking to lay the groundwork for a strong online presence.

H: As a publicist, what is the biggest mistake you notice young bands making when trying to garner attention from blogs/listeners?

NS: Over-selling. Every writer from here to the moon has read every elevator speech ever written in the history of mankind. I’ve found more success in 2-3 sentence pitches than in lengthy, multi-paragraph ones that often times get overlooked. The press can smell bull %$*# from a mile away, so it’s important to not insult their intelligence with an overly salesy approach.

H: Impulse has worked with a number of small bands over the years. Where do you turn when you’re looking to discover new music?

NS: Word of mouth is where it’s at. I do frequent the blog circuit to see what’s buzzing, but personal recommendations and referrals from my contemporaries are my primary source for quality music.

H: Let’s say the tables have turned and the bands are coming to you. What advice would you offer a band hoping to work with you in order to make themselves stand out from their competition?

NS: Help me help you. I’ve seen so many artists with budgets come to me asking to solve their problems and make them magically relevant. It doesn’t work that way. In order for a publicist to have an impact, the work ethic needs to be there on the band’s end – actively posting new and compelling social content, BEING ON TOP OF YOUR EMAIL, rehearsing and perfecting a live show, providing quality content to work with, engaging fans, and ultimately wanting to further themselves as artists.

H: Writers must contact you constantly. If you could make one suggestion to strengthen their efforts in setting up coverage, what would it be?

NS: Be respectful and be flexible. Please don’t be demanding. I don’t care if your blog gets five million unique views a day and you recently covered Katy Perry’s brother’s lawyer’s aunt’s bridal shower – if you start demanding credentials that I can’t necessarily provide, I will not go to bat for you. I try to accommodate everyone who is interested in covering my artists, so as long as you act like a professional and give me enough notice, I’ll do everything in my power to make it happen.

H: Do you feel there is still a need for record labels in the modern music industry? Why?

NS: I think it’s important for labels to exist. They provide an all-encompassing aspect of the industry that covers artist management, distribution, publishing, PR, and booking. I think that record labels maintain the small amount of chivalry left in the industry – despite the fact that many people might think the exact opposite. I’ve probably met more honest, hard working label reps who actually believe in their artists than I have managers, booking agents, and….*gasp*…publicists.

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?

NS: The further we get into the digital age, the less likely it will be for records to be kept fully under wraps. It’s important to keep certain files and sounds protected, but labels will always lose money due to piracy and artists will always have to find alternate forms of income to stay afloat. If money isn’t lost from piracy, it will be lost in some other way, shape, or form. Especially for baby bands and indie artists, an album leaking wouldn’t be the worst thing in the world. In the beginning, exposure and awareness should always be the number one priority.

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?

NS: I definitely try and avoid making writers/editors download anything. A private Soundcloud link is usually my first approach, and if they request a download – I’ll be happy to give it to them if I can. The easier you make the album to listen to, the more likely the press is to cover it.

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

NS: I would love to see people taking calls and meeting in person more than doing things via email or IMs. The personal aspect of the industry has progressively diminished over the past twenty years, and I think relationships would be stronger, deals would be made faster, and the level of general understanding in the professional arena would be much higher and more comprehensive.

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?

NS: I thought you’d never ask :p

I’ve been working with Culprit for about three years now, and they’re on the verge of dropping their new EP on August 20th – very excited for that one. I also just started working on Pepper’s new record, which comes out on September 3rd. So far, it’s turning out to be one of the most fun projects I’ve ever been a part of. I could go on and on about new releases, but I’ll spare the readers for now.

This was a really cool experience, by the way. Thanks for having me and letting me unload on some topics I feel strongly about.

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PR Spotlight: Bill Meis (Entertainment One Music)

Welcome to the first PR Spotlight of September 2013. We debuted this feature in early August, and the weeks since have been met with a flood of positive feedback. Moving forward we hope to dive deeper than ever before into the lives lead within the music industry, starting with the story of a man who knew from his day in high school that music was the life for him. If you know of a company or publicist you feel should be highlighted in an upcoming edition of this column, please do not hesitate to email james@haulix.com and share your story.

Bill Meis has spent more than a decade working his way through the ranks of the music business. From his days as an intern at Sony, to now being the Publicity Manager (Rock and Metal) for Entertainment One Music, Bill has never shied away from a challenge because he knew deep down this was the industry for him. His passion for music and drive to succeed knows no bounds, and in today’s spotlight we learn about the journey he took to find his start, what lead him to join the team at EOne, and a little bit of everything in between. You can read about his adventures below.

On a personal note, I’ve known and worked with Bill for the better part of five years, and in that time I have met no one quite as kind and helpful as him. His love of music comes from somewhere deep in his soul, and his genuine desire to help artists further develop is evident from the moment you meet. I’m proud to call him a friend and am thankful for his guidance. Sharing his story is a bit of an honor for me, and I believe the insight he has to offer will go a long way towards helping a new generation of talent get their start.

If you want to know more about Bill’s work, be sure to check out everyone on Entertainment One Music’s website. Additional questions or comments can be left 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:

BM: Publicity Manager (Rock and Metal) for Entertainment One Music

H: Everyone has to start somewhere. To what or whom do you attribute your interest in music?

BM: My family. My grandfather was an avid piano player and my uncle showed me my first guitar, I’ve been playing ever since. I have some older cousins to thank for showing me my first records when I was around 11 & 12 years old.

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

BM: The Pearl Jam “Alive” maxi single. I probably have it somewhere. I bought it at Slipped Disc in Valley Stream, Long Island.

H: You actually went to school to study music business. When did you know you wanted to pursue a career in entertainment?

BM: When I was in high school I played in bands with other kids that weren’t into sports. Once we were ready to play outside our parent’s basements and garages we set out to play local shows. That was my first attempt at the music business and when I knew I wanted to do it more professionally, I was about 17.

H: You interned at Sony’s marketing department in early 2002, then joined the team at Red a year later as a production coordinator. After then your own business, and slowly moved away from the major label space. What lead you down the path of small, more independent companies?

BM: It wasn’t something I set out to do. I wasn’t thinking major versus independent while I was making those decisions. They each seemed like the no brainer choice at the time. In hindsight, I feel like I made the right moves. Both for stability sake as well as integrity.

H: There will many roles on your resume before publicist. How did you first find yourself in a PR position, and when did it become your specialty in the business?

BM: When you thrust yourself into this business, you start to wear a lot of hats all the time. When I was in my band from 00-05 I played tour manager, manager and publicist. When I worked at Facedown I worked along side their publicists and saw what they did on a day by day basis. Then when I was working for Ryan Downey / Superhero I was on the other side of the table dealing with each artists respective publicists. Looking back it gave me a good perspective to start with at eOne. It wasn’t until I came to eOne where that’s what my focus was 100%. It was a nice change of pace to only concentrate on one area of the business.

H: For the last four years you have been a part of eOne Entertainment, one of the more diverse labels operating today. What attracted you to the company in the first place?

BM: I had been working with the band Throwdown that was (and still is) signed to eOne (Koch Records at the time), so I was vaguely familiar with the people that worked here and their track record. I had met Scott Givens before and knew he was making some big moves with artists like Hatebreed, In Flames and Otep. So, between that and the fact that their offices had just conveniently moved close to my hometown, it was an easy decision.

H: As someone who has spent a decade in paying positions throughout the industry, what advice would you offer to young professionals aspiring for a career in music?

BM: You really, really have to want to do it. Anyone I’ve seen that has been successful in this business lives it on a daily basis. I’m not just talking about the passionate part either, it doesn’t take much to be passionate about music. I’m talking about the bad parts too, the parts of this business that aren’t attractive. You need to love all of it.

H: eOne is known as much for breaking new talent as it is delivering strong releases from it veteran roster. When you want to find new music, where do you turn?

BM: The internet. Plain and simple. I can’t even remember the last time I saw a press kit or physical demo in our office. Our A&R arm was recently boosted with our partnership with Good Fight Music. Carl Severson is another veteran who has brought a lot to the table. Personally I like to troll Rdio, Bandcamp, Soundcloud, Twitter and recommendations from friends for new music.

H: If you could offer one piece of advice to young bands hoping to make a mark in the current music industry, what would it be?

BM: Do everything yourself before you ask, or even get the idea in your head that you need to have someone else do something for you. If young bands did that, they’d accomplish so much more. The young bands that distribute their own records, get themselves on their own tours, print their own merch, run their own merch stores, run their own marketing and social media campaigns (successfully) that impress me the most. If you do that, managers, agents and labels will come to you.

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

BM: Read their bio first! No seriously, read their bio first.

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?

BM: I don’t think album leaks are preventable, but it is manageable. The more accessible and affordable you make music, the less people will steal it. Plain and simple. There’s not much I can say here that hasn’t been said before. We spit the bit about 10 years ago and we’re paying the price for it now. Hopefully we can keep playing catchup and stay afloat. It seems we have done that so far.

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?

BM: Haulix, obviously! It is my tool of choice when it comes to digital promo distribution. This appeals to me because it’s instantaneous. There’s no envelope stuffing, no costly postage and no paper cuts. It’s also a daily battle between the old dogs who prefer the piece of plastic in their hands and the writers and editors who can work with streams and download links. The ones that do are waiting around a lot less for packages to arrive.

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

BM: I wouldn’t change much. It’s really exciting to see where things are going. I know I’ll look back on my time here and be able to say I was a part of a historic time. I would change the way our industry treated technology in the early days. I really feel like if we embraced it back then we would not be in as deep of a hole we’re in now. But like Mustaine says, hindsight is always 20/20.

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?

BM: Black Label Society is releasing a live DVD/CD called “Unblackened” on 9/24. It’s a toned down version of BLS fans might not have seen or heard before. We just debuted the first single via Rollingstone.com last week. A Bill Withers cover of “Aint No Sunshine.” Our metal roster is as strong as it’s ever been. Bands like Within The Ruins, Impending Doom, Reflections, Fit For An Autopsy are setting the bar really high for the bands that come after them. We’ll also have new studio albums from High On Fire, Overkill and Black Label Society next year.

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