Tag: Publicity

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Haulix Tips: Setting Up An Exclusive

In recent weeks we have talked a lot about breaking the ice with journalists, and the reaction from all of you has been overwhelming. We want to continue helping you lay the groundwork for a genre takeover, and today we’re outlining one avenue to ensuring your music reaches as many potential new fans as  possible: Setting up exclusives.

This probably will not come as a surprise, but bloggers LOVE exclusives. It’s the only original content aside from opinion pieces they have to get ahead of the competition, and if you play your cards right they may see your music as the latest ‘must hear’ piece of content on the net. 

The first thing you need to know about setting up exclusives is something everyone who succeeds learns early on: Relationships are everything. While bloggers are always open to discovering new music, but using their brand to back a new project is serious business, and most are not likely to jump at an offer from someone they are not familiar with. Before you even consider attempting to setup exclusives, make sure you’ve taken the proper steps to first introduce yourself and your efforts to the publication in question. This can be as simple as an email with a link to your music, or as over-the-top as a physical press kit sent to their home office. Either way, first impressions are everything. Journalists will associate everything you do and offer moving forward with however you first came on their radar, so make sure your introduction is fitting for the brand you’re trying to promote.

Secondly, make sure your requests provide the publication with everything they need in order to create great content. If you offer a song, make sure there is an mp3 and Soundcloud link ready to go. If it’s artwork or other information not available when making the initial offer, outline when the content will be available and provide as much supplementary information as possible. Keep in mind that time is something no journalist has to waste, so doing as much of the legwork as possible ahead of time reads to them as less work required on their part. It doesn’t guarantee they will bite, of course, but it never hurts to be present yourself as prepared as possible.

Finally, always keep in mind that every publication is different and not every piece of content you create will be loved by everyone. Even major artists sometimes struggles to lock in exclusives, so don’t be discouraged if your initial efforts fail. It can take awhile to properly network within the music industry, especially when you’re trying to get new content to people who are metaphorically drowning in unheard music, but with patience, kindness, and just a bit of chivalry you will see doors open in time.

I know some of you may be reading this and thinking, “As much as I love your attempts to help, nothing in the preceding paragraphs is all that description.” If that applies to you, pat yourself on the back because you, my friend, are correct. The reason we kept things vague this week is because there is no one way to setup an exclusive. Every publication is different, and the variety of things they each look for in potential exclusive content is as numerous as the number of sites in existence. Following our guidelines will aide you in getting your foot in the door, but after that point your continued success is on you. Still, in an attempt to be slightly more helpful, we asked a number offer industry peers to send us advice they had for bands hoping to setup exclusives. Here’s what they had to say:

“Be sure your pitch includes all the key information that the website will need in order to run the exclusive including what they’re premiering, when you’d like it to run, what you’re promoting and a bio/fact sheet on your band.” – Jamie Coletta, SideOneDummy Records

“I would highly recommend researching the proper editor (plus contact information) and send them your best pitch that exemplifies what the band has going on and showcases your top accolades.” – Jen Appel, The Catalyst Publicity Group

“Clear subject. Realized intent. Short body. Social links.” – Zack Zarrillo, PropertyOfZack.com

“I prefer to write about and promote my friends. Reach out to me on Twitter, start a conversation about a mutual interest. That’s a good place to start.” – Jacob Tender, Underthegunreview.net

“What I do is this: I approach a publication with an album, telling them that I’m seeking an exclusive with them. I allow them to listen to the album. I tell them they have 24 hours to say pass or take before I move on to the next publication.” – Josh Hammond, Publicist

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Blogger Spotlight: Sean Reid (AlreadyHeard)

For our latest spotlight we’re headed across the Atlantic Ocean for a conversation with someone who has been involved in a number of influential music sites. Sean Reid cut his teeth developing AlterThePress in the early days of his writing career. In time, Reid networked his way into a position writing the UK News Roundup for the team at Absolutepunk. After years refining his work with both these efforts, Reid realized he had bigger vision, and not longer after Already Heard was born.

Putting the talent in the UK first, Already Heard has built a reputation for in depth news coverage that matches sites who have existed far longer. Reid has taken the lessons learned from his years working with other people’s projects and created an outlet that stands apart in a scene flooded with familiarity. Being the first UK blogger to appear on our site, we could not be more excited to share how the international music community engages with our product and the labels who choose to use it. If you would like to know more about Sean’s work,  Like Already Heard on Facebook or follow the site on Twitter.

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

S: I’m Sean Reid and I am the Founder and Senior Editor for an Alternative music website called Already Heard, which is based in the United Kingdom.
H: You have been blogging about music for a few years now. Where did you get your start, and how did Already Heard come into existence?

S: I started writing/blogging about music in August 2008 when I joined a site called Alter The Press. I parted ways with that site after three years. I then took a slight step back for a few months. During this time I wrote for a few sites; Under The Gun Review, Rock Louder and Stencil Magazine. 
I guess Already Heard started in late 2011 under the name of Play Crack The Sky Music. I missed the day in, day out interaction of running a site, communicating with bands, labels and PR groups so I started PCTS with help from a friend (Mikey Brown) as a tester to see if I could do something by myself. After a few months we put that on hiatus and relaunched in April 2012 as Already Heard. Since then we’ve had multiple writers and photographers join the team, resulting in a constant growth of the site.
H: There are a number of sites trying to become the next top alternative music community. What do you think separates Already Heard from the competition?

S: For starters we put a strong emphasis on UK-only news. Speaking from experience theres far too many sites covering the same news which is mostly US-heavy. I’ve lost count the amount of times I’ve opened up my Google Reader feed and seen the same story from multiple sites, multiple times. In my opinion there are far too many news-centric sites.
On top of that, we all contribute to the site alongside full-time jobs/study, so we prefer to use our time more wisely by creating original content that you’re not going to see elsewhere. 
From the start of Already Heard, I wanted the focus to be on original content, and even though its taken sometime to get there, I feel we’re now at a stage where we are heading in the right direction.
H: Though you cover a number of artists around the globe, you pay special attention to artists hailing from the UK. Any particular reason for this decision?

S: We’re a UK site, all but one of our team live in the UK. Of course that limits us in terms of growing the site, we box ourselves by restricting what content is posted especially when it comes to news. However we the array of reviews, live photos, and features we produce, we’re able to cater to overseas bands. 
H: Speaking of discovering new music, you feature a number of emerging artists on Already Heard. As a tastemaker yourself, where do you go to discover new talent?

S: I live in a small town and I can’t drive so I rarely go to shows to check out new bands, so most new music is through the internet. Some of its through recommendations on social media, some from bands directly contacting the site or through Pubic Relations. 
H: Let’s say an artist wants to be featured on Already Heard. What advice would you offer that inspiring group or individual to help them stand out from the others hoping to make your news feed? 

S: First of all I would say research the site/publication you’re contacting. There has been countless times when I’ve received an email from a band or artist where you can clearly tell they’ve not researched our site. In terms of our site, if I quickly read over your email and you describe yourself as a Rapper or an electro artist or whatever, its highly unlikely you’ll be featured on the site. I think mentioning a band or genre that your site covers often is useful and is more likely to grab my attention.
Secondly I would advise to make sure your presentation is right. For example don’t send an email with just a link to your Soundcloud or Facebook with no information, it’ll be ignored. Also things like correct spelling and grammar go a long way, if your email is full of mistakes and poorly presented, it doesn’t make a good first impression. 
I would also ask to keep it simple yet informative.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

S: In terms of streaming, Soundcloud is very reliable and user friendly. Of course there is Haulix who are equally as reliable and user friendly, both for streaming and downloading. It just looks good and has everything you need on one page; the music to hear, the necessary band and album info, as well as images and videos. Its pretty faultless.
Bandcamp and Dropbox also have there advantages but they’re not perfect. The former is a simple audio player with artwork whist Dropbox can sometimes be problematic.
H: If you could change one thing about the music industry, what would it be?

S: Just one? I guess album leaks would be one thing I would change. I find digital advances are sometimes given out too freely, resulting in the album being leaked hours later. I guess the industry needs to some how be made more strict and secure when it comes to advance releases. 
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 Already Heard has planned for the remainder of 2013?

S: We’re still a young site but over the coming months we aim on putting more emphasis on our original features and content; developing new ideas and expanding current ones. Our main goal is just to keep growing as a site and by getting the name ‘Already Heard’ out there and recognized. I’ll admit its difficult when there seems to be new sites popping up every week, but the Already Heard team and myself are confident enough we have the right content to stand out from the crowd. 
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Blogger Spotlight: Chris Harris (GunShyAssassin)

Continuing our ongoing feature highlighting the people behind the industry’s best sites and zines, today we are excited to unveil a new interview with Gun Shy Assassin founder Chris Harris. Chris has a long history in journalism, both in music and out, and has been doing a number of interesting things with his site in recent months. Through editorialized reporting, which often leaves us laughing at our desks, Harris and his team have carved a unique niche in the heavy music world that continues to propel them to further up the reporting hierarchy. You can learn about the man behind GSA, as well as the advice he has for those hoping to make it in metal, below. 

After you read our interview, be sure to stop by Gun Shy Assassin to see and read Chris’ work. We also encourage you to Like GSA on Facebook and follow them on Twitter. 

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

C: My name is Chris Harris, and I am the founder and CEO of GunShyAssassin.com, a three-year-old metal site named after a line in a Pig Destroyer song; bonus points if you know the tune.

H: You have worked in music journalism for a number of years. What first inspired you to enter this career field?

C: I’d say I’m a journalist first, a music journalist second – only because the depth of my experience is not limited to one field of journalism alone. I have written for a number of national publications and organizations, doing hard-hittin investigative pieces and fluff stories on pop stars. My love of music first drew me in, and it is now my passion for it that keeps trying to push me back out.

H: They say the first album a person falls in love with represents the genre they will follow later in life. What was the first album you truly connected with?

C: "They" don’t know shit. Because Jane’s Addiction’s “Nothing’s Shocking” led to my liking Swedish black metal.

H: There are an ever-growing number of metal websites in existence that offers news comparable to GSA. What is it about your content that sets GSA apart from the rest?

C: Honesty. At the end of the day, we’re one of the only metal sites that’ll actually call it like it is, without of fear of reprisal. We’ll desescrate sacred cows, we’ll pick apart bands people hail as important, and we deliver honest commentary from some of metal’s heaviest thinkers, including Early Graves frontman John Strachan, Jesse Leach of Killswitch Engage, Revocation’s Dave Davidson, Mark Hunter of Chimaira, Brian Fair of Shadows Fall, and Tim Williams, frontman for Vision of Disorder. With our guest column series, we’ve become something of a hotbed for metal musicians who aspire to write.

H: You have featured a number of indie/unsigned bands on GSA. What are your sources for music discovery?

C: Of course. Most contact us, but we run a weekly feature on unsigned bands who just happen to be readers, too. Sometimes, we come across gems in the rough, But that’s only sometimes.

H: What advice would you offer to bands and artists hoping to appear on GSA in the future?

C: Be smart and play your ass off.

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

C: Haulix is pretty solid.

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

C: The rampant favoritism that seems to pervade.

H: Before we let you go, can you tell us a bit about what GSA has planned for the remainder of 2013?

C: More guest columns, more sarcastic criticism, more contests, more reviews, more interviews, and more exclusives. Also, we’ll have more updates from Chris Adler of Lamb of God, the focus of a casual series of interviews you’ll find only on GSA.

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5 Tips For Crafting The Perfect Pitch Letter

It’s no great secret that the competition for the attention of bloggers and label reps is tougher than ever these days. The digital age has made connecting with these individuals easier for everyone, and in doing so made it more difficult than ever to get noticed. We asked a panel of journalists from a variety of musical backgrounds what tips they would offer artists/bands hoping to email them pitch letters, and below you will find the top 5 responses we received. Be on the lookout in the coming weeks for additional tips on getting noticed and be sure to follow us on Twitter to ensure you never miss an update.

 

1. Grammar. Grammar. Grammar.  This may seem like an obvious response, but it’s probably the most important tip we can offer. Every single journalist we approached for this article admitted to deleting and, in some cases, never reading pitch letters with grammatical errors. The pitch is an introduction of yourself and your art, but it’s also the first example of your business acumen and attention to detail that others will encounter. You only get one chance, so be sure it’s delivered void of any avoidable errors.

2. Keep it simple. Journalists know you’re excited about your music and want to share every detail about your efforts up front, but they’re also aware of the thousands of similarly anxious and excited musicians hoping for their break that have or will contact them as well. Avoid being lumped in with those that over-embellish by refining your letter to be simple and to the point. Phrases like “here’s a much needed breath of fresh air” and “I’m sure you get this all the time…” should be cut immediately, along with any band history stretching more than 3 sentences. This letter is a handshake and a hello, not an in-depth discussion about your history as an artist. You want to intrigue writers, not bore them.

3. CDs are dead. Long live high quality digital servicing. Though some may argue their place in retail, most music journalists prefer music be submitted for consideration through digital means rather than physical. Packaging is nice, but digital is faster, easier, and requires less postage. That said, journalists are also not fans of music sharing services that come coupled with walls of advertisements. You don’t want journalists thinking about whatever pop up ads appear while trying to hear your music, you want them thinking about you and the brand you are trying to market. Haulix allows artists to create personalized pages for their music that offer high quality streaming and watermarked downloads, as well as in depth analytics to help track overall engagement. 

4. Avoid impossible/unknown comparisons. One trick many artists you to quicken the introduction process with journalists is to compare their work to musicians that may be more recognizable. While many of the writers we spoke with agreed that this is a helpful tactic, it can lead to disinterest if the artists name are too famous, vague, or (on the opposite end) unknown to the journalist. If you’re going to use comparisons, we suggest researching the artists each writer covers and reworking your name drops to coincide more closely with their tastes. 

5. Be specific. When writing a pitch letter, make sure you have  something to promote and that your letter only promotes that thing. Journalists want new music that is actually new, not just unknown to the masses. If more than a few months have passed since your last EP or album, don’t send a pitch letter unless you have a tour, video, or additional major media item to promote. Bloggers are not interested in six month old albums unless it’s attached to whatever new thing it is you’re trying to promote. Sell them on what is new first. If response is strong, then you can approach about cover more/older material.

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Success With Digital Promos: Earsplit PR

**This is part of a series of interviews that showcase Haulix customers who successfully use digital promos in their day to day operations.**


Earsplit PR, an independent publicity collective, was spawned accidentally back in 1999 when founding tag team Liz Ciavarella and Dave Brenner worked at Nuclear Blast Records together. What started as a side gig to help promote bands that deserved more recognition turned into a full-fledged husband and wife business venture that represents some of metal’s top tier bands. The company specializes in extreme metal marketing/promotions and helps get bands and their music/tours noticed by consumers both stateside and abroad.

When asked how many artists and what genres of music they deal with, Earsplit had this to say, “Our roster is forever expanding/morphing. We’re always working several dozen highly active bands at any one time. Right now we have over 200 clients; some are active touring bands, others are lower-key studio-type projects (others are simply working on new records and temporarily dormant). We interact with an incredible array of musicians, managers and label folks over the course of a day. EarsplitPR focuses predominantly on the metal realm and other forms of heavy music; everything from classic heavy metal to lo-fi cult black metal, American and Swedish death metal bands who’ve been active for 20-30 years, brand new indie acts, experimental/genre-bending scene forerunners and anything in between.”

When it comes to a typical work day, “[It’s] long and hectic. It’s generally an endless stream of email, phone calls and various forms of communication between labels, bands, management companies and writers. Press releases are written, interviews are scheduled, reviews are logged, speakers are blown… it’s always an adventure at the Earsplit Compound. There’s never a moment where something doesn’t need to be done." 

We asked how strong of an impact written buzz from the media is, before an album is released. "It is one of many factors that go into building an album for release, and definitely an important one. With the incessant flood of music available to metalheads, and music fans in general, these days, it’s integral that a band stay in the spotlight.”

Digital promos were always meant to decrease or eliminate the costs that traditionally came with mailing out physical discs. Earsplit added, “While physical product is always a treat, it’s generally not cost effective to mail 300 – 400 CDs any more nor do you get the same response. Promoting records digitally allows us to reach a far wider audience." Since going digital, their job has literally changed. "Our rates are far more affordable now that manufacturing and mailing costs have generally been eliminated from the equation. A single package containing two CDs to Europe can cost up to $7 each; that adds up quickly when you’re trying to hit even just a handful of editors and writers.”

Has watermarking proved to be a sufficient defense against early leaking? Earsplit responded, “While watermarking isn’t on its own a foolproof method in preventing leaks, it is a major deterrent. On the rare occasion we’ve had a track leak via Haulix, the staff was very on point and immediately traced it to the leaking party.”

In conclusion, we were eager to hear their take on where the music industry is headed, as well as their advice for anyone considering moving to a digital promotion strategy. “Like anything else in life, change is imminent. We are not a record label, but speaking from our perspective — as fans and as publicists —the digital market is definitely taking over. That however doesn’t mean the death of the music industry. It just means a need for different sales strategies. Bands are touring more; they’re selling more merch. Diehard fans are buying vinyl again and though more and more folks are purchasing the digital release, there will always be fans — and we think this goes for metalheads in particular who are generally more “collector” prone — who  appreciate packaging and the sheer excitement of buying a new CD. There are also more properly-promoted indie labels sprouting up and selling more product than ever. [This] creates a bit of a "middle class” in the record sales market, rather than a band being either a major act or an unknown band.“ They continued, ”[As far as their experience moving to digital promotions] just what we said earlier: [benefits are] cost effectiveness, a farther reach and the security in Haulix’ watermark capabilities has really helped us in all our promoting endeavors.“

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