You know what’s harder than breaking into the music industry in 2017? Breaking into the music industry when you’re an artist based in any place outside of North America. You may be able to find success in your country, but most artists aspire to breakout stateside in order to cement their global appeal. This feat has never been easy, but in an age where every person with a laptop and internet connection can share recordings with anyone willing to listen the amount of noise one has to cut through to be heard is impossible for most to even imagine.
We all like to believe the best music rises to the top. This may be true on certain occasions, but that only happens if artists put in a lot of work beyond simply writing great material. Today’s artists – and labels – have to pour themselves into the business of marketing music. This is doubly true for international artists hoping to break into the stateside entertainment industry, and we believe it’s high time you heard about their experiences.
Today we are thrilled to share two sides of the same story. Rude Records and their recently signed band Stand Atlantic have each shared some insight with us about their experiences trying to gain stateside media attention from their home in Australia. You can find their stories below.
Rude Records
Every record label receives tons of music submissions every single day. It is important to give everyone a chance, taking the right amount of time to give each song a spin and consider if the art embroidered in it suits what we’re looking for. It can’t always be love at first sight for sure but sometimes it – still – happens. That’s exactly what happened between Stand Atlantic and us.
Being also Rude Records very first Aussie signing, the band is growing day-by-day on national and international basis exponentially. We’re particularly glad to have started deeper and stronger relationships within this key market; getting to know even better key people in key roles in different parts of the chain, from retail to media, it’s important to know and involve everyone from the very beginning in order to create and operate a successful campaign. A larger catalogue from the label has been available in Australia / New Zealand for a while, we thought it was the time to sign a local band and give it an international exposure through our Network. Counting on a solid team made of PRs, Label Managers, digital and marketing reps that have made Rude grow consistently during the past few years, we’re now channeling all the efforts and experience made through the years on a fresh and talented band from Sydney.
It takes time also to get things into motion, to create a solid rollout plan, pick the right singles, work on visuals, try to be the link from a band to a new and wider audience. Sometimes it’s easier, sometimes the art we have in our hands is already perfectly crafted, it just needs the right push. There’s different types of approaches that could / would work but we decided – together with the band and management – to start with a bang!
After picking ‘Coffee At Midnight’ as the campaign lead single we’ve worked hard to secure it made an impact through different channels, starting with a radio premiere, a video premiere, all supported by a well-crafted social media campaign made of teasers, correlated visuals and high potential reach content.
Since social media are nowadays one of the most interesting tools that can be used to discover and deliver music to an existing silent audience that just needs to be woke up. Once you can find the right way to get noticed between over-saturated news feeds and see friends recommending friends a song / a band to listen to, you can start thinking about the next move, acknowledge when this growing and buzzing audience will drop their attention and be ready to feed them with another banger. Following this path ‘Mess I Made’ first and then title-track ‘Sidewinder’ were revealed, engaging the growing fan base even more and preparing the ground for a solid and successful release.
Also, the great push given by tour opportunities, support from key media and tracks being included into relevant playlists on both Spotify and Apple Music, helped a lot in giving a band the chance to be heard inside and outside Australia, quickly becoming one of the hottest bands in the scene.
Stand Atlantic
Being in a band and taking it seriously from the get-go can and will be tough, let alone being a band from Australia, holding its own separate challenges which can take a huge toll even emotionally on how far you want to take it. Being so far away from huge markets and industry hot spots (e.g. USA, UK, EU) can often make it difficult to properly network and it takes a fair bit of money to do pretty much anything or go anywhere.On top of that, trying to grow a decent fan base in a country where all the major cities are a minimum drive of 8 hours and throw in the fact you’re working with a much smaller population in comparison to the US/UK/EU – it’s daunting as hell, it’s hard, but it is 100% possible to overcome. Bands in AUS who really want to take this seriously work 10 times harder knowing all these obstacles are a huge reality, so at the end of the day, we have a really good amount of great bands and artists who work really hard.Being able to prove ourselves as a band and separate ourselves from the pack was something we strived to do with the Sidewinder EP. With a glinting light of hope that we’d catch the attention of a passionate label and team, thankfully, we got exactly that and then some.
It’s safe to say we feel very lucky to be working with Rude Records. Thanks to them and our amazing team of management / booking / PRs we’ve been able to reach people across the globe on a scale we would have not had the opportunity to achieve, had it not been for Rude. Working hard to focus on who you are as a group, individuals and sonically can take years, but it will always pay off if you’re doing it for the right reasons.
Make good choices, write the best songs you can, invest your time and money, realize your worth and do not give up. It can feel daunting to stick it out, but when you feel your lowest and like throwing in the towel is your best option, hustle harder than you ever have to make it work and stay positive. I can guarantee that on the other side, everything is waiting for you – sometimes the universe just needs proof you want something bad enough.
We received a lot of emails at Haulix from labels, publicists, and bands alike hoping to learn a few additional tricks or tips for better exposing whatever music they are working at that particular moment. We do our best to help everyone that comes to us, and we would hope many of you would respond in a similar manner, but recently we were contacted by someone seeking additional press who seemed to completely misunderstand what it is they needed in their career.
While coverage on blogs and in print is always helpful, it is not something every artist needs in order to be a success. In fact, history is littered with brilliant minds who lead long career in the arts without ever having a number one song or a feature in Billboard magazine. They probably wanted those things, of course, but in the long run they were not an essential part of a healthy career in entertainment.
So here’s what happened:
A call came in this week from an industry contact who shall remain nameless. During our chat, the person who called explained how they were running a label where almost every cost was covered by two very successful electronic artists. These artists have made literally millions of dollars from licensing and placements in everything from movies, to TV shows, advertisements, and even video games. They have been making money this way for years, all while continuing to release new music, but for one reason or another their label had struggled to garner much, if any, traction in the world of music journalism. Their artists were labeled as too electronic for rock blogs, but too rock driven for electronic blog, which left them feeling as if there were no place for them in the modern music business.
While we sympathized with the label owner and how he felt his artists were basically successful outcasts, we also felt that somewhere along the line the label owner had forgotten the point of press. Getting mentions on blogs and in magazines is something done by artists and their representation in order to generate more excitement for an upcoming release. While we could debate all day over the effectiveness of mentions on top music blogs as it relates to sales, the fact of the matter is that in this unique case the artists going uncovered by most members of the music journalism community had long proven their ability to financially succeed in the industry. They don’t need music blogs, or even music magazine to care about their efforts because clearly there is already a well-established demand for new content from them by people who have the power to make sure the artists in question can pay their bills (as well as the bills of their label).
If you or someone your represent are working full time on creating art, and by that I mean living a life that is not dependent on a second source of income, we urge you to not allow yourself to be frustrated if members of the journalism community do not take notice of those efforts. Just because someone with a blog or byline does not see the talent you or your artist possesses does not mean everyone else who has supported that act up to this point is somehow wrong or misguided. Headlines will come in time, but if you’re already paying your bills with music then you’ve already won the game of existing in this industry. You’ve reached a point of success most will never know, and you cannot allow the fact some teens and/or twenty-somethings don’t ‘get it’ hold you back. You don’t need them.
Hello, everyone! Thank you for finding time in your schedule to spend a few minutes learning about the music business. The post you’re about to read is a guest post from our friends at MUDDY PAW PR, and we really think artists of all sizes should heed their advice.
This site exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
Hello passionate people!
Here are some great tips as to why a PR company can help get exposure on blogs
1. You Have Nothing To Feature
All content is not created equal. This means that although you may have a lot of really cool, older content, without something new to promote, there’s not a lot for blogs to work with. Make sure when you’re approaching outlets you have something new and enticing for them to work with. And tell them what it is you’re looking for. If you just send a publicist an email saying “here’s my band, thanks for listening,” we’re not really sure what you’re looking for. Interview? Album review? Guest blog? Help us out.
What a publicist can do: Not only will publicists have a better understanding of the timing of releases but they’ll also have plenty of creative ideas for ways you can keep the band relevant, and secure you those features. They also have relationships with the blogs you’re looking to target, which is one asset that should never be undervalued or underappreciated.
2. You’ve Sent Your Album Too Late
This is one of the most common issues I run into. Bands who have poured their heart into their latest release, but fail to send it out to blogs until after it’s been released. This is a huge mistake. Even a week after release can sometimes be too late, but I’ve had bands send me releases that were months old looking for a review. It’s not that we don’t want to help you, it’s just that we want to feature new, fresh content for our readers, and unfortunately featuring an album that’s no longer new doesn’t bring in a lot of interest from our readers.
What a publicist can do: Publicists will know the timelines that work best for your particular campaign, and how to stagger your release (and any other releases such as videos that you have in the works) to make sure they’re getting maximum impact.
3. Your Email Wasn’t Personal Enough
This is actually a big pet peeve of mine. Yes, emailing each outlet individually is a bit of a pain, but it’s also the best way to ensure that you capture their attention, and make an impact. If I get an email that says “Hey Angela” and then goes on to address something they read on the site, I’m instantly hooked. I could hate your music, but if it’s a fit for the site, and you took the time to actually read our submission guidelines, I’ll find a way to feature you, 100% of the time.
What a publicist can do: Many publicists actually use the mass email strategy, occasionally combined with personal follow up. I respect it, but I disagree with it. Emails should be crafted to each individual outlet, which takes a bit longer, but we feel garners a higher response rate. There’s nothing that can replace that personal, one to one interaction, and we recognize that.
4. You Offended The Outlet
I know you didn’t mean to, but there’s a good chance if you’re not hearing back, you may have offended the outlet. For instance, did you get the blog or writer’s name wrong? This happens more than you’d imagine. Did you try to personalize it, but forget to change out the last blog’s name in the email? Did you CC everyone instead of BCCing on a mass email? (this is a HUGE no-no). Sending out releases takes a LOT of work, and we understand not everyone has that kind of time. That’s where publicists come in.
What a publicist can do: Part of a publicist’s job is to know everyone. As such, we’re pretty accurate in our correspondence with each blog, and not making those mistakes, because in a lot of ways, these people are actually our friends. We’re familiar with them, and their work, and their outlet, because we’ve worked with them before, and developed a relationship. We also do this full time, 100% of the time, so we have the time to fact check, and double check, and sometimes even triple check, to make sure we’re getting everything straight.
5. You Didn’t Include Enough Information
Each outlet is different, so you’ll have to do your research on this. But one thing I find happening a lot is bands submitting without enough information. You have an album coming out? That’s great! But when is it coming out? You sent me your Soundcloud…but where are your social media pages? Who are the band members? Where are you from?
What a publicist can do: Part of a publicist’s job is to gather all of this information from you right at the beginning of the campaign. We know what outlets need to know, and can help get them that info they need, before they even have to ask it. The less a blog needs to ask of you in terms of material, the more likely they are to feature you.
6. You Aren’t Targeting The Correct Outlets
This is a common one. Different outlets cover different genres, and it’s important to do your research, and make sure you’re not submitting your rock band to a site that covers exclusively hip-hop. It’s time consuming, and it takes a lot of research. Especially when you get within genres. Oh, you’re an indie-rock band? Well this site may look like they feature you, but they actually only feature classic rock, and alternative rock. It’s important to take your time, and find the right outlet.
What a publicist can do: Publicists are already familiar with most outlets genre requirements, and they take the guesswork out of these things. They can locate and target the outlets that are most likely to feature your music with a simple click of the mouse.
7. Your Social Media Presence Is Lacking
This is one of those frustrating, but true facts. For many outlets, social media presence matters, especially in the kind of coverage they’ll offer. If you’re not growing your presence, you’re going to have a harder time. Especially if you’re targeting large outlets and expecting a response, but only have 100 likes. More than just likes though, outlets want to see you interacting with fans, and staying active on social media at least a few times a week, if not more.
What a publicist can do: Many publicists (including Muddy Paw) offer social media packages for our artists. We understand it can be a little intimidating, and a lot time consuming, so we, and many other agencies offer packages that include social media upkeep, strategy discussion, and more to make sure your fans are getting the updates they want.
Thanks for checking out these tips, I hope they’ve helped! Good luck, and I look forward to watching you grow!
Angela Mastrogiacomo is the owner of Muddy Paw Public Relations. Muddy Paw specializes in working with up and coming artists on personalized campaigns designed to bring their careers to the next level. To date, we’ve secured placements on sites such asAbsolutePunk, Property Of Zack, PureVolume, and many more. You can find us atwww.MuddyPawPR.com
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.
It’s Tuesday once again, which means it’s time to continue our ongoing series highlighting the best and brightest behind today’s online music scene.
Hailing from the border of New Hampshire and Massachusetts, Angela Mastrogiacomo has spent the last few years carving a niche in the music industry by developing the news and opinion outlet Infectious Magazine. Covering everything from rock to pop with a variety of columns and video features, Angela has single-handedly built a blossoming entertainment empire with Infectious that continues to grow with each passing week. Her love for music and passion for writing is only matched by her creativity, and as we learn in our exclusive interview, she has her eyes set on big things in the months ahead.
Read on to discover Angela’s history music, the uniqueness of Infectious, and how this twenty-something plans to turn her hobby into a career by unveiling a new component to her master plan. If you want to see some of Angela’s work, be sure to visit Infectious Magazine and follow the site on Twitter.
H: For those unaware, please state your name, the site you work for, and your role at said site:
My name is Angela. I am the founder/editor of InfectiousMagazine.com. I run and oversee daily operations at InfectiousMagazine.com
H: You are the first female we have featured in our Blogger profiles. What inspired you to begin writing in the first place?
That’s awesome! I first began writing when I was about 6, with a collection of short stories aimed at children. Eventually, that grew into creative fiction, and then once I began the magazine, feature writing (though I still dabble in creative). It’s hard to pinpoint what exactly inspired me—I hate to use the cliché that it helps you work out your emotions, but it’s an incredibly useful outlet, and whenever I’m writing, there’s a sense of calm and accomplishment.
H: Once you realized you wanted to write, how did you know music was the type of content you wanted to cover?
To be honest, this was completely serendipitous. I’ve always wanted to make writing an integral part of my life, but it had a tendency to be more fiction based. After happening across a local band (The Coming Weak) opening for a national act, I was instantly awe-struck. I believe there are instances in life where we will, for whatever reason be drawn to and inspired by certain people and instances, which will end up shaping our life. For me, this was it. I felt so compelled to interview them, review their album, and just do anything I could to get their name out there. This was the birth of Infectious and there was no looking back.
H: Infectious is one of many sites that covers the alternative, or as some say “Warped Tour” music scene. What do you think sets your site and its content apart from others covering the same talent?
I think every site has a selling point in a sense, and I think ours is the interviews we do. Anyone can bring news, but it’s those features (columns, contests, etc) that make a site stand apart. I like to think that in addition to being reliable, and quick to bring our readers the news, we offer a unique perspective in our interviews, with unique, interesting questions. I also like to think that the passion oozing from each and every one of our staff members comes through. We live and breathe Infectious, and it is always on our minds. I believe it makes a difference.
H: Speaking of the world’s largest and wildest traveling festival, do you have plans to cover Warped Tour 2013? If so, who do you look forward to covering?
We do! We’ve covered Warped’s Boston date for the last three years and each year is just such an honor. The entire week or two surrounding the festival date are the most chaotic and fun of the entire year. We have been able to cover some really amazing people in the last few years, and I know this year will be no different. From a personal perspective, I’m really looking forward to Middle Finger Salute, The Exposed, The Swellers, The Tower & The Fool and Action Item.
H: I noticed you have a large amount of video content on Infectious. How do you find readers respond to interview videos as opposed to those posted in text form?
Absolutely. I think in one sense, being on YouTube brings with it a lot of competition, but in another, we’ve found the response to be really positive. The thing with video interviews is that they bring a lot of life and perspective into things. Text is easily misinterpreted, but when you can see your favorite band, watch their emotions and perspectives play out in real time, it’s a truly interesting experience (I think!).
H: When it comes to writing and featuring new bands, what do you look for talent wise?
The thing is, talent and taste is so subjective, and I think it’s important to be aware of that. What I look for most, is passion and drive.
H: Let’s say a band wants to contact you about featuring their music on your site. What advice would you offer bands to help themselves stand out for from the others vying for your attention?
This is an excellent question. If you personalize your email, I am MUCH more likely to take notice and want to work with you. This sort of circles back to the last question, but I’d much rather work with a band that is just starting out and full of passion, drive, and ambition, than a band who may have a larger following but is just totally complacent and only interested in putting in minimal effort.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
Haulix is by far one of the best services for review and feature consideration. It’s incredibly simple, customizable and best of all, it really does help protect against leaks, which I think we can all agree is an industry sigh of relief.
H: If you could change one thing about the music industry, what would it be?
Ah, this is a tough one! There’s so much I’d want to do, but it all comes back to passion. It’s so cutthroat, and I think that passion and talent gets buried under money and greed much of the time.
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 Infectious Magazine has planned for the remainder of 2013?
Definitely, thanks for asking! In addition to continuing to bring you loads of content and contests, and expand the magazine side of things, we’re just launching a public relations side as well, and currently taking on new clients. You can find out more about that here:
