Tag: Spotlight

News

Blogger Spotlight: Tina Roumeliotis (The Daily Listening)

Post author By James Shotwell
Post date September 17, 2015

As someone who spends a lot of time writing about the life of those attempting to make a living online, it’s always refreshing to encounter an individual who is more focused on their authenticity than financial gain. There is nothing wrong with wishing to be successful, and there is certainly nothing wrong with wishing your site could be your full time job, but if you’re creating content because you believe it will lead to financial success then you are destined to fail. Success in writing only comes after you have learned to be confident in using your voice to express your opinion regardless of how it impacts your potential for clicks on any given day.

Tina Roumeliotis, founder of The Daily Listening, understands the importance of creating something first and foremost because it’s what you want to do. She knows that longterm success for any website is usually determined by page views, but right now her main focus is creating quality content she and the rest of her staff actually want to read. That is the kind of thing we admire here at the Haulix blog, and just a few weeks ago we asked Tina to share her journey in music with us. You can read highlights from our conversation below.

2015 has been a year where many music blogs have disappeared from the internet, but thanks to outlets like The Daily Listening we are confident there will still be great original content for music fans to enjoy for many years to come. We highly recommend you follow TDL on Twitter and Like their official Facebook.

H: Hello, Tina. Would you please help us begin by introducing yourself and your site to our readers?

T: Hey there! I’m Tina Roumeliotis. I’m from New York and I am the founding-editor-in-chief of The Daily Listening. TDL is a new music site dedicated to cultivating a community of music enthusiasts. I also write for BUZZNET while contributing to a few other sites around the web.

H: You’re active in music beyond the work done on The Daily Listening, but it seems safe to say that is your online hub. What drove you to launch a site all your own in a time when competition for clicks amongst blogs is at an all time high?

T: Very good question! I have been writing for BUZZNET for 3 years now and I just felt it was time to branch out and start something of my own. I am so grateful for everything BUZZNET has allowed me to achieve. I had always wanted to write, especially about music, but I was at a standstill, not really knowing how or where I should start. I spent a lot of time asking people around me for advice but I’ve always found that most of them weren’t too keen on sharing any information, which ultimately frustrated me and left me feeling very lost and isolated. Then BUZZNET came along and I was psyched that I had the opportunity to join a user-generated community where my work was being featured daily. It really heightened my confidence and showed me what I was made of, plus being featured so often really pushed me to step up my game. I really didn’t have anyone in my ear telling me what I should or shouldn’t write about so everything I’ve learned and accomplished over the years has been an independent journey. I had been looking for a paying job in my field for quite some time (honestly, I still am) and I found that I just didn’t fit in to their boxes of what a music journalist should be. Having access to all of that freedom opened my eyes to what I could achieve on my own. I think it spoiled me a little in the sense that I value the opportunity to work independently and be in charge.

As for the competition for clicks, it’s quite overwhelming when you think about it. Before TDL launched, I researched tons of blogs and almost backed out for fear of just being another fish in the sea. But then, as always, while listening to a new record, I was reminded of why I had to do this. We’re only 4 months old, and while my goal is to do everything in my power to make the site a success, I refuse to “sell out,” so to speak just for a page view. My mission is to be genuine while still being 100% professional. If readers would rather read a snarky review with a misleading title over a heartfelt, personal one, so be it. I don’t necessarily view other blogs as competition but rather something we all have in common. Like, “Oh hey! I started my own site so I can ramble about music, too! Right on!”

H: For people who have never visited your site before, how do you describe the content found on The Daily Listening?

T: Our content is 100% authentic. We don’t do gimmicks nor do we partake in any gloss. It’s not about the scene or what everyone says you should be listening to but about what is heard and how music ignites that spark in us. My main goal with this site is to bring back those real, honest conversations about music and our personal stories of connection that have been sadly concealed with how a song sounds or how much it’s selling rather than how it makes you feel. We do touch on the sound of course, but it shouldn’t be the main focus.

Here’s a little breakdown of our main columns:

– Daily Discovery is a way to shine a light on new artists we’ve recently discovered while Get Stoked About is a segment on those on-the-rise artists who are about to take the world by storm.

– Our Listening Party segment is all about curling up in bed or wherever you choose to relax while streaming an album front to back without any distractions. We also give artists the chance to talk about their new release, if possible.

– In Retrospect has been a big one this year being that so many albums are celebrating their 10th and 20th anniversary. We dive into those albums while sharing our own personal stories of what they mean to us, how they impacted the music industry and how they helped shape us into who we are today.

– The Staff Musings segment is basically just a free for all. I tell my writers all the time that if a song pops up from like 5 or 10 years ago and it ignites something in you, write about it. Music, no matter when it was released, is always relevant in my book, so if there’s a meaningful, personal story they want to share, I’m all for it.

– Our monthly mixtapes are a new, fun addition as well. A best of the month, if you will.

H: We mentioned this a moment ago, but there is a great deal of competition amongst blogs covering the same areas of music as you. What do you believe sets your site apart?

T: What sets The Daily Listening apart from most blogs is that deep down we are all just music nerds on our bedroom floors, diving into an album with lyric booklet in hand, discovering our own truths. We’re not trying to impress anyone or show off how cool we are, but if we do impress someone, we’re honored. Haha. To me, music is so personal so when I share my discoveries with the world, it’s almost as if I’m handing you my diary. Of course, two people could listen to the same song and not feel it the way the other has but that’s what makes it so special.

I think the biggest thing for me is refusing to partake in the age-old debate of negativity, which I’ve discussed in Our Policy up on the site. I’ve noticed a lot of pretentiousness in music journalism where a writer feels that their opinion is superior to anyone else’s while completely disrespecting an artist’s time and effort on a project. I’ve lost a lot of respect for certain sites who display that attitude and I think it serves no purpose. There is enough negativity on the internet and I don’t intend on contributing to it. To me, it’s also about the connection between writer and publicist/band. Our job is to share their music with the world and by being immature, you’re not only hurting your own reputation but the reputation of said artist. Kindness really is the only way to go and I hope people see that when they visit the site.

H: The first thing I noticed about your work was your passion for writing. So many young bloggers today believe throwing up an embed and post title counts as being a ‘journalist,’ but you seem to be taking a traditional, far more editorial leaning approach to content. Would you say this is true? Why is the written word so important to you?

T: Oh my gosh, thank you so much! I really appreciate that! I would definitely agree. Although it’s been said that attention spans are at an all time low recently, I really appreciate when someone dives into an album or a song while sharing their perspective on it in a more lengthy piece. It bothers me to learn that a two-sentence article was written by someone who got paid for it yet here I am pouring my heart out for free. I’ve always dreamed of being a magazine editor and to have my work actually published in an actual magazine or newspaper that I can hold with my hands would be the epitome of awesome for me.

I think I was a born a writer, to be honest. I’ve always been introverted and very much in tune with my emotions. I’m always in my head, even while listening to music so that kind of fueled my passion to write about music. The written word is so important because, like music, it holds so much impact. What we choose to write about and put into the world has the potential to reach so many people who need reassurance; to know they’re not alone and that everything they’re feeling is valid. It’s a way to feel out the noise in your head while developing your character. So at the end of the day words really can make an impact. Plus, just the word ‘editorial’ alone makes my inner nerd all giddy. 😛

H: Are there blogs, dead or alive, that inspired the type of content found on The Daily Listening. If so, who?

T: Hmm. Not really, to be honest. I think my music collection and the pitches I receive in my inbox inspires our content. Of course there are a few blogs I adore but mostly I just do my own thing. Oddly enough, it seems to be resonating.

H: How large is your team of contributors? Are you looking to add to the team?

T: As of right now we have 7 contributors, including myself. I’m so proud of each and every one of my writers and I feel so lucky that I was able to find like-minded individuals who share the same values. We are always looking to add to our team so check out the site for more info!

H: With that in mind, how would you describe your ideal Daily Listening team member?

T: The ideal Daily Listening team member is:

– Obsessed with music (duh)

– Willing to dig deeper than what Top 40 feeds us

– Enjoys writing and sharing personal stories of how a song/album changed or helped their lives in any way

– Enthusiastic

– Down-to-earth and respectful

– Eager to learn

H: A lot of sites exist solely to promote music, which I guess is accomplished anytime a post is made, but when you think about the life of a site over the longterm simply helping people discover music is not a very hard goal to achieve. When you think of The Daily Listening as a company or publication, what goals do you have for its future? Where is all this headed?

T: Good question! As of right now, it is just me and my writers from around the world coming together to “share stories around the campfire” as I like to refer to it. I ultimately started the site because I had been talking about it for quite some time and I got sick of hearing myself talk about it so I went and did it. The mere thought of it turning into a “company,” not gonna lie, makes me starry-eyed as everything I’ve ever dreamed dances in front of me. But at the same time, I’m not not afraid to admit that I’m still a rookie. I’m still learning the ropes of the industry; figuring out what I do and don’t want and how I can create the life that I’ve always wanted. I don’t fit into this scene. I absolutely knew that the day I wrote my first article. So it’s basically about gaining more confidence to be more assertive so I don’t wind up regretting anything down the line. I think we’re headed towards good things, though.

H: I noticed that there does not currently appear to be any kind of advertising on The Daily Listening. Do you have plans to monetize your efforts in the future? If so, can you please shed some light on how you plan to accomplish that?

T: Like I’ve previously stated, we’re only 4 months old. I definitely want to start having some advertising on the site in the near future, but like I said, I’ve never really owned my own site before, so I’m still in the beginning stages of learning everything I need to know to take TDL further. It would be awesome to have some money coming in for a change. 😛

H: Money isn’t everything, obviously, but it is good to have personal goals outside of simply building the best site possible. What are your professionals goals with the site? Do you hope this leads to something bigger, or do you want The Daily Listening to become your full-time role in music?

T: I definitely want to be known for The Daily Listening, along with my previous work but I’m always open to new opportunities. Let’s be honest, whether you respect the big names or not, there’s always going to be a major part of you that hopes for that amount of success for your own endeavors. At this point though, I’m focusing on educating myself more on the business aspects so that I’m ready if something should appear on the table in the future. I’m a big fan of the saying, “Start where you are. Use what you have. Do what you can.” I often feel so overwhelmed with where I think I should be at this point in my life but then I have to remind myself to take it one step at a time.

H: Without going too in-depth, please walk us through your content planning efforts.

T: Sometimes I feel like I plan content in my sleep haha! I have a special notebook where I write out everything that needs to be covered for the week and so forth. It’s best to write everything out so things don’t get overwhelming, especially when your inbox looks like a scene from Hoarders! As for the pitches I receive, not everyone gets to be featured so I always tell people that the worst I will say to you is, “No, I’m just not feeling it.” I do listen to everything that’s sent my way, though and its all a matter of what perks my ears up, etc.

H: What advice would you offer any young or aspiring writers who may be reading this feature now?

T: First off, you’re in the right place! Keep reading Haulix because this is the place for everything you’re going to need to start your career in the music industry. Second, keep this at the forefront of your mind: There is a future in what you love. As a kid running home from school every day to catch TRL, I never imagined I’d ever get to do what I am doing. The fact that I managed to do it on my own is even more mind-blowing.

Find a place that allows you the freedom that I found with BUZZNET. Having your work displayed is the best way to hone your craft and step up your game. When the right people take notice, it can lead to incredible things.

Don’t ask for permission to accomplish your dreams. You have everything you need to get started. Contact PR agencies, record labels, or even bands themselves and start making those personal connections. It may be intimidating but remember who you are and what you stand for. Eventually, those people will be seeking you out and asking you to feature some of the best up-and-coming acts out there!

Most of all, don’t do it just to be a part of the scene. Cultivate your own voice and don’t try to mimic what the others are doing. There is a time and a place for everything so keep it classy, always.

Your word is the most important thing you can ever give a client. Be kind, respectful and professional all of the time.

If you’re looking for a place to start your career, The Daily Listening is a safe, friendly community to begin! Check out our site for more info and I’d be more than happy to chat and help out in any way! 🙂

Last but not least, don’t forget to enjoy the music. Sometimes we get so wrapped up on what we’re going to say about it that we forget to turn off our devices and just listen.

H: Where do you see yourself in a year? How about in 5 years?

T: Ahhh, this question always sends me into a freak out. If you were to tell me a year ago I’d be maintaining my own site, I’d have probably told you that you’re crazy. In a year, I hope to find myself in a place where I don’t have to worry as much. Finding a place where I feel like I belong has been a battle throughout most of my life, so I hope to be in a job that appreciates everything I have to offer. I don’t like the feeling of settling for something because I feel like I have no other prospects. As for 5 years…let’s just say I hope to not be where I am right now haha. I have ideas. It’s just going to take a lot more time, blood, sweat and tears to get there. All in due time. 🙂

H: I think that covers everything. Before I let you go, are there any additional thoughts you would like to share with our audience?

T: Yes! Listen. Love. Share. Repeat. 😉

Tags 2015, Blogger Spotlight, Blogging, Daily Listening, interview, music industry, Spotlight, The Daily Listening, Tina Roumeliotis

News

Blogger Spotlight: Lav Nandlall (Heavy Metal Duchess)

Post author By James Shotwell
Post date August 11, 2014

Hello, everyone! Welcome to the beginning of a new week here on the official blog of Haulix. We are thrilled to know you have chosen to spend a few minutes of your time with us. The content you are about to read has been in the works for well over a week, and we promise it will not disappoint.

This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-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 and share your thoughts. We can also be found on Twitter and Facebook.

We try our absolute best to scour the internet on a regular basis in search of the latest and greatest blogs producing eye-catching content. More often than not these efforts help us discover the writers who later appear on this blog, but every now and then a person comes along who takes it upon themselves to bring their efforts to our attention. This past week that person was named Lav Nandlall, and today we are excited to share her journey in music with you.

I’ll admit to never having heard of Lav Nandlall before receiving her interview request to speak with Haulix founder, Matt Brown, at the end of July. I was immediately taken by the name of her blog, Heavy Metal Duchess, and knew right away we would have to highlight her work on our site when time allowed. Lav completed her interview with Matt a little over a week ago, and not long after she also made time to interview me (James). Once that was complete, we turned the tables and asked Lav to share her experiences with us. The results of that conversation can be found below.

Lav still has a lot to learn about life in the music industry, but she’s doing everything she possibly can to position herself for success in this business over the long term. Read her motivations and plans below, then ask yourself what you can do to improve your own standing in today’s music business. If you have any questions or thoughts you wish to add, please leave them in the comments section at the end of this post.

H: Hello! Before we begin, please take a moment and introduce yourself to our readers:

LN: Hi! My name is Lav Nandlall and I’m a freelance writer.

H: Thanks for joining us, Lav. I’ve never had the opportunity to interview someone who has previously interviewed me. It’s a little weird. Is this a first time crossover for you as well?

LN: This is a bit weird. Just like you, I’m the one who asks the questions. To be on the other side of the canon is strange.

H: Well I am incredibly grateful for your interest in Haulix, which is what initially brought your work to my attention, but I must admit I’ve become a fan of your work in general sense we first met. Tell me, do you remember the first time you thought about trying to make a career out of writing?

LN: Thanks, James! A little back story here: I have an older brother who emancipated my family when I was about 10 years old. Since then, I was the only child in my family and neighbourhood. To keep myself occupied, I began reading voraciously. I started writing plays too. I begged my parents to buy me a video camera and started making home videos using my plays. I found a lot of comfort in writing. I could create multiple characters, places and scenarios. When I was almost graduating high school I stated that I wanted to venture in journalism because I had never forgotten my love for words.

So, that is why I went about with a career in writing.

H: Let’s take it back a little bit further. When you think of your earliest encounters with music, what comes to mind?

LN: My parents had some Beatles and Jimi Hendrix records lying around the house amongst the Lata Mangeshkar and Bollywood pop.

I must have been around 14 years old when I developed my own taste in music.
A kid from my class bootlegged CD’s and sold them for $2 each. I asked the kid if he could make an Avril Lavigne CD for me. He agreed and handed it to me the next day. When I got home that afternoon, I realized that the kid gave me the wrong CD. Instead of Avril Lavigne, I was listening to something else. Those guitars, drums and vocals gave me goose bumps. I never heard anything like that before. I couldn’t decide if it was good or bad. It was new, fascinating and inviting. It was Pantera!

That was my gateway drug to heavy metal and I never turned back.

H: Do you recall the first album you purchased with your own money? Bonus points for the format and the reason why you bought it in the first place.

LN: Guess that rules out the Backstreet Boys. My first genuine jewel case album purchase was “Fragile” by Saron Gas (now known as Seether). I saw them play a few hours before that in a dingy back room with a red door. Their set was hyped and I was blown away. I also overheard somebody in the crowd say “Saron Gas are Nirvana influenced” and so my hunt began for a Nirvana album.

H: Okay, last bit of history before moving onto your career – First concert experience? Go on, tell us an early ‘fan girl’ story:

LN: I was fortunate to go to many small pub shows in the middle of nowhere, South Africa. However, my first amphitheatre style concert was in my first year of university. I went to see a band called The Parlotones. At the time, The Parlotones were big in the South African pop music charts and were carving their way to international success. After the show, a friend and I spent the night partying with The Parlotones and their crew. I do remember making an oath with the band saying that one day I’ll be the best band manager in South Africa. If that didn’t happen then I shall buy them a chicken and mayonnaise pie. Now that I mentioned it, I owe them that chicken and mayonnaise pie!

H: Okay, back to writing. We already covered when you first thought about writing, but when did you actually get your start? If you kept diaries or journals that’s one thing, but I’m curious about your first writing for someone else, or at least for an audience.

LN: In 2010, I was living in Germany. The winter was a bit harsh and I spent most of my evenings indoors. Everyone I knew had a blog of some sort. So to keep myself occupied at night, I started a blog called Air Guitar. The aim was to write about heavy metal from around the globe. I was definitely inspired by Sam Dunn’s documentary Global Metal. The blog took off (after a few months) and people started noticing. I was soon “poached” by Raymond Westland (former Chief Editor of Ghost Cult magazine) to write for a few of his projects. Raymond was my first editor and I learned a lot in terms of style, deadlines and target audience.

H: Do you remember what some of those first posts were about? Why did you choose to begin with them?

LN: My English teacher once said, “Write about what you know and the rest will fall into place”. That is exactly what I did on my first posts for Air Guitar. I visited several festivals in Europe that summer so I could write from my own experiences and share it with others. I also wrote about heavy metal in different countries using the viewpoint of a traveller.

H: You studied English and Art in college. Was writing a motivation behind that decision?

LN: Absolutely. I aspired to be a journalist. Living a cocooned lifestyle makes you think anything is possible and it’s easy. However, the outside world taught me otherwise. An ‘aspiration to be anything’ is not enough. Passion can only get you so far and the rest is about how well one can hustle.

English and Art are difficult on tertiary level and I worked hard to earn the credits. It does feel like a slap across the face knowing that most companies and businesses don’t value English and/or Art graduates.

H: We go back and forth on this topic a lot, but how do you feel your time in college aided you in becoming prepared to enter the music business – if at all? Would you suggest others who want to work in music go to school? If not, why did you?

LN: If I could construct a time machine, I would go back to the day I picked an expensive Arts university to study a degree that cannot feed an individual. You don’t need a fancy degree. If you want to be a writer then don’t go to journalism school. If you want to be a good writer, write. If you want to be a better writer, read. If you are worried about grammar and spelling, use that brown covered book your teacher handed to you in fourth grade. That book is gold because they don’t make them like they used to.

If you get into Berklee then that is excellent! If you don’t get accepted start making lunch plans with music industry professionals. Find someone who does the job you want to do and take them out to lunch. Talk to them. Really talk to them and find out all the nitty gritty. Swap contacts, make friends and keep promises. It will save you from being in academic debt and it forces you to learn on the spot.

H: Did you write for any websites before launching your own? If so, what lead you to step out on your own?

LN: Air Guitar was my baby that I abandoned because it was too demanding. Since then, I wrote for several music-related websites before launching Heavy Metal Duchess this year. Some of my work is archived on thisisnotascene.com, MusicReview.co.za, themusic.com.au, metalobsession.net and heavymag.com

The decision to step out into blogging again is partly due to something I read in The Icarus Deception by Seth Godin. A few months back, I was office based and it felt routine, tight and quite frankly boring. I quit that scenario to move forward. I needed to explore, let go and try my hand at full-time freelancing. I managed to get a few freelance writing gigs and now I have time for a blog too.

H: Your site, which I cannot believe I haven’t mentioned before this point, is called The Heavy Metal Duchess. I assume you are the duchess, but what is the origin story behind the name?

LN: Correct! I am indeed the Duchess. Playing dress-up and collecting vintage items is a bit of a hobby of mine that went slightly out of hand. My friend mentioned to me that I look like I stepped out of the 50’s waiting to meet Her Majesty. It got me thinking that heavy metal and royalty can work side by side. I’m no queen but I’m certainly the duchess that drinks tea and listens to heavy metal.

H: What were your goals in launching this site, and how have they changed in the time since your first post went live?

LN: To be honest with you, I had none. Then I found a post on Haulix about blogging goals which changed my view in seconds. Now it’s more about starting a conversation with the people that read Heavy Metal Duchess. The content does not have to be controversial but it must be quality and open the floor to new questions or opinions. The art of conversation is often sandwiched between assumption and ignorance.

H: How would you describe the content found on Heavy Metal Duchess to someone who has never visited the site before?

LN: The blog contains fragments of the Heavy Metal Duchess herself. It has a bit of my voice in there, my favourite things, influential people and the unsettling nerves of freelance writing.

H: What are the three reasons people should visit your site on a regular basis?

LN: It’s honest, real and relatable. Readers are invited into my world and I’m trying to fix myself in their memory through words. If I made you think, speak or act upon something then my efforts are rewarded.

H: A lot of aspiring professionals launch blogs to build their recognition in the industry, but you’ve taken things one step further and added a ‘Hire Me’ tab to the top of your site. Has that been there since launch? Have you received any feedback or job offers through the site yet?

LN: I picked up that idea from Seth Werkheiser. (Thanks Seth!)

I put it there to see if it worked or not. The CV attached to the ‘Hire Me’ tab is in a Buzzfeed format. I dislike Buzzfeed and more so their click-bait journalism. I believe content is key. However, the mocking Buzzfeed CV did work. I got a small time writing gig for vintageshopper.com and it is right up my alley too.

H: In addition to that page, you also have a portfolio page that is updated regularly. What platform do you use for your portfolio, and what advice would you give other up and coming writers on cataloguing their older material?

LN: I’m using Issuu. There are several ways available to keep an online portfolio. Online portfolios are easy to access and can be edited or updated easily. Gone are the days of paper trails.

It keeps things neat and whenever I am asked for a portfolio, I simply send the link to a prospective client. Writers should have some sort of cataloguing not only for prospective work but also to reflect on. In retrospect, every piece written should be reworked twice more from different angles for different outlets.

H: I’ve noticed there are no ads on your site at this point in time. Do you have any plans to add them in the future? Do you have any additional plans to create potential revenue streams through the blog?

LN: Advertisements in general frustrate me. If the blog grows then I will create potential revenue by placing tasteful advertisements.

At the moment, I’m snooping around companies for advertising on a joint project with UK-based writer, Mark Angel Brandt. We are co-founders of Broken Amp magazine, a music-related website with print intentions. Both of us are in the midst of behind-the-scene work as launch date is edging closer and closer. We find that music journalism is getting stale and tacky. So, we are taking a chance to stand up, stand out and make a difference.

H: If you could offer one piece of advice to aspiring industry professionals, what would it be?

LN: Good question. I used to say this to all the bands I managed: Always have back-up plans.

H: How about bands? What’s one thing you’ve learned about this business that may help developing artists spread their brand?

LN: When I managed bands, I learned that their musical talent counted very little towards their success. Some tips that I gathered over the years came from paying attention to people who have been there and done it.

1. Touring on the road and selling merchandise is just as important as chart success.
2. Have some musician etiquette (no matter how big or limited the band is) because being an ethical human-being can get you far in life.
3. Research. Learn more about management, social media, recording, labels and platforms that will push the band forward.

H: I know you don’t do a lot of reviews, but when you do receive records for feature consideration are there any streaming services/platforms you prefer PR outlets to use?

LN: Haulix is preferred. I’ve been using Haulix for the past three years and most of the websites that I have written for use Haulix too. It is efficient and of course, highly recommended.

H: What is your current career goal, and what are the biggest challenges you face in attempting to achieve it?

LN: My current goal is to be a full-time writer. At the moment that is what I do but not on the level I would like to do it at. When I took on a writing job about crime, rape and Oscar Pistorious – I knew that hard news is not the journalism I want to be in. It pays the important bills. Music journalism isn’t big in South Africa. There is a small market but it is not valued or rewarded.

H: Where do you see yourself in 10 years? Where do you think the industry will be in that time?

LN: In 10 years time, I’ll be older and that’s a fact. Other than that, I hope to achieve something with Heavy Metal Duchess and Broken Amp. Perhaps a book published too. The music industry is currently shifting so hopefully in a few years time, it has cut-out the middle man and put money into the artists’ pockets. Clearly, I’m an optimist. In terms of music journalism, I would like to see writers being paid for high-quality music criticism. Crafting a critique takes time and research. It’s a skill and it should be remunerated.

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

LN: Like every avenue of entertainment, music journalism has had its place in the industry. However, the quality of writing has dropped dramatically since the Internet opened a platform for everyone to write, and an uncountable number of blogs sprang up, multiplying like flies and buzzing around like them too. Everybody started claiming they were a writer, from Lester Bangs’ wannabes through star-struck fans to shrewd click-baiters. We (Mark Angel Brandt and I) want to restore the reputation of music journalism. As I mentioned, we are working on launching Broken Amp magazine. This venture is designed to collect together some of the best writers out there, and publish consistently high quality content. No more hit-and-miss where stunning feature articles sit next to shoddy throwaway pieces. Just interesting and engaging writing. We also aim to rejuvenate the alternative music scenes, specifically rock, punk and metal. Due to a number of factors, of which the Internet is definitely one, there has been a seismic shift from active participation in your scenes to passively consuming it. Through a variety of methods, we are looking to reintroduce fans to the scene, and get them engaging with it again; whether it is in discussions, or going to concerts, buying merchandise from bands that deserve attention. This last bit is crucial, and leads me onto my next point. Music journalism, and particularly online music journalism, has quite frankly degenerated into circle-jerking over the same big names, or jumping on bandwagons of new releases that are soon left to rot when the next big thing comes along. In the mainstream conscious, particularly in metal, there seems to be less of a focus on sniffing out the truly interesting and ground-breaking bands, or shining a spotlight on scenes that deserve attention. We intend to focus our energy on these bands: rather than interviewing the same musicians on the same topics, we want to pick either new topics or new musicians. No more tired rigmarole of describing the writing process of each new album, no more wooden structures of questions where you know exactly where the interview is headed before you reach the halfway point. No more reviews that feel like a PR wrote them, no more articles that look like copy-pasting of press releases. Away with all those corners cut, and a return to high quality, consistent and reliable writing that we as journalists and you as fans can be proud of.

Of course, we are not stopping at print and are going to focus on being proactive too. All shall be revealed soon when Broken Amp launches later this year.

H: That covers everything (I think). Before I let you go, are there any final thoughts or observations you wish to share? The floor is yours…

LN: My upbringing revolved around organized religion. Even though I’m no longer a part of it, there is this saying from the Bhagavad Gita that helped encourage me and hopefully anybody that reads this:

“It’s better to live your own destiny imperfectly than to live an imitation of somebody else’s life with perfection.”

The last thing I want to add is, enjoy rejection. It helps you grow.

Thank you for having me on the Haulix blog, James!

Tags 2014, Blogger Spotlight, heavy metal duchess, interview, interviews, Lav Nandlall, music, Music Business, music industry, Spotlight

News

Freelance Spotlight: Carolyn Vallejo

Post author By James Shotwell
Post date December 27, 2013

Hello and welcome to another installment of our Blogger Spotlight series. We missed all of you during our day off yesterday and thought it best to make up for our absence with a bonus piece of content to help kickoff the weekend. If you have any questions about the content of this blog, or if you would like to learn more about the services offered by Haulix, please email james@gmail.com and share your thoughts. We can also be found on Twitter and Facebook.

We have spent the majority of the last six months talking to the people who created or currently lead the most influential music sites on the web. As we head into 2014 we want to continue these efforts while also expanding our reach to include others who have dedicated to their lives and talent to the pursuit of a career in the music industry, including freelance writers.

The life of a freelance writer is one we cover far too rarely on this blog, but in the months ahead we hope to share more stories from this side of the writing world in order to provide a more complete picture of life on the journalism side of entertainment. Today we’re diving into this effort with a feature on Boston resident Carolyn Vallejo, who has contributed to publications like Alter The Press!, Performer Magazine, and Big Cheese Magazine. You can read her story below.

If you would like to learn more about Carolyn, we highly recommend following her on Twitter and bookmarking her digital portfolio. Additional questions and comments can be left at the end of this post.

H: Hello! Thanks for taking the time to be a part of this feature. Would you please tell everyone your name, what you do, and the publication(s) you work with?

C: Hey James! My name is Carolyn Vallejo and I’m a music journalist. I work mostly with Alter the Press! but have freelanced for a bunch of music publications including Performer Magazine and Big Cheese Magazine. I’m also the editor of a financial journal in downtown Boston.

H: A life in music is not one every person would choose for themselves. When you think of your earliest memories with music, what comes to mind?

C: My mom says that when I was 3 my favorite song was “Woman in Chains” by Tears for Fears – kind of a sophisticated choice for a toddler. I remember being obsessed with the Beatles’ “Magical Mystery Tour.” As an adult you can see how trippy and drugged-out the album is, but there’s definitely a childlike imagination to it all. I also grew up listening to my brother drumming in the house day and night and, later on, mixing electronic music. I hijacked my mom’s 12-string when I was younger, too. So it’s pretty much been everywhere since I was born.

H: Some of the people we have spoken with mention a specific moment/album/event that steered their life towards a career in music. Do you have anything like that in your history?

C: Having grown up with so much music around me, I don’t think it’s something I consciously decided to do one day. Having a career in music is more of something I feel I need to do, because it makes me happy. So there wasn’t really a specific event, but there have been certain people who have come in and out of my life who remind me that it’s actually possible to have this type of career and lifestyle.

When I was in college I changed my major from journalism to advertising at one point because I felt like it was naïve of me to pursue a career in music journalism, and that I wasn’t being realistic. But eventually I was introduced to people in Boston’s music scene who reminded me that that was the worst idea I ever had, and that a career in music isn’t a pipe dream. Those people definitely steered me back on track.

H: As a writer, who or what inspires you?

C: People are my biggest inspiration. You can stop any random person on the street and they will have an incredible story to tell, they just might not have ever been asked. As a writer you can tell those stories, and that’s something I think is crucial to the human condition. We’re so quick to judge or to not make any effort to know someone. But a writer can help you show what’s really going on inside a person. I think that’s why I love music so much, because it’s another outlet for a person to show the world who they are.

H: You’re a bit of a unique case for this blog. You have a site or two your work with primarily, but you also work as a freelance contributor. When did you first begin your career in writing, and what was your first ‘gig’? (unpaid work counts)

C: I’ve technically been freelancing since I was about 14 or 15, writing for local papers and websites. But my first legitimate job working in music journalism was writing for Big Cheese Magazine while I was abroad in London during college. My second day on the job they sent me out to a warehouse to interview Sum 41. I wanted to puke I was so nervous, but then I gained my footing and confidence and started writing some awesome features that I’m still really proud of. That was an unreal experience.

H: You first came on our radar through your efforts with Alter The Press. When did you join the ATP team, and what can you tell us about the application process?

C: I had followed Alter The Press for sometime, but in the summer of 2012 they Tweeted that they were looking for new writers. I sent in some of my work, and ATP editor Emma Garland dug it. In addition to sending in clips, Emma asked about what bands I love and what labels I follow. She’s based in the UK so everything was done online. I’d say about 90% of my freelancing gigs have actually started from Twitter connections, strangely enough.

H: There are a number of sites offering featuring the same artists highlighted on ATP. What lead you to apply at this publication over one of its competitors?

C: When you’re freelancing you totally can’t be picky, but ATP is part of a community that wants to support bands, not bring them down through scathing reviews just to get readership. ATP definitely finds a balance between objective music journalism and that need to support musicians.

I also have a great relationship with its founder Jon Ableson. He backs me up when things get hairy and trusts me as a writer. Having the support of an editor is super important and has kept me loyal to ATP.

H: As a professional you’ve managed to find a number of gigs outside the world of music, yet you continue to make strides in this field as well. What keeps you invested in music journalism?

C: In a way, it’s those gigs outside the world of music that keep me invested in music journalism. My “day job” is working as the managing editor of a financial journal. It’s taught me so much and I love the job, but writing about finance and law all day really reminds me why I love music journalism so much. It’s so important to do what you love. Of course, you have to pay the bills, but it’s worth the extra effort and time to pursue your passion.

H: There seems to be new writers and blogs popping up almost every day of the week. If you could speak to them, what advice would you offer aspiring journalists and bloggers to help them get started with a career in the entertainment industry?

C: MAKE YOUR OWN WEBSITE. For the love of God, reserve a domain name, learn basic HTML and get your portfolio online. I can’t tell you how many times I’ve spoken with an editor trying to get a gig and telling them, “here’s my resume and a couple clips, but just go to my website – everything you need to see about what I’m about is right there.”

Also, be honest with yourself about what you’re writing. My worst album reviews are the ones where I focused too much on how I wished the album would sound and what I wanted the band to be. But I’ve never regretted a piece in which I was honest about an album or a band member, even if it was a controversial review. Most likely you’re entering the industry because you love music, and of course it’s great to get support from the musicians you cover. But you’d be doing a disservice to yourself by kissing up to a band for the sake of readership or being liked.

H: You’ve written a number of album reviews in 2013. What do you look for when reviewing an album?

C: The best albums of all-time can be seen as cohesive, singular pieces of artwork, from front to back. One song isn’t complete without the ones that come before and after it. So I definitely look for that cohesiveness in any record I listen to.

I also try to put the album in context, not only in terms of the trajectory of a musician’s career, but in terms of what was going on in an artist’s life while they were writing. The first album I reviewed for ATP was The Early November’s sort of comeback record “In Currents.” I did a lot of research on why the band ever took a break, how they felt about aging and marriage and getting back together. All of that really came through in the record, which helps an album sound cohesive and, in turn, helps a review sound cohesive.

H: While we’re on the topic of reviews, we might as well touch on distribution. Which services do you prefer press/labels/bands to use when sending you music and why?

C: I always prefer press to send albums you can download, not just stream. When you’re preparing for an album review or to interview an artist, you want to listen to their work throughout the day in different settings, not just while you’re at your computer. So being able to download a record, whether it be from Haulix or Soundcloud or a file emailed to you directly, is what works best for me. When I was working in London the record companies would send albums to the office, and bands would mail their demos in. I wish labels would bring that back!

H: When it comes to discovering new music, where do you turn to find bands and artists you may have otherwise never heard?

C: Talking to friends about what they’re listening is always a great way to check out new bands. You can’t be lazy when it comes to finding new music. Music publications and bands and labels are always Tweeting about what they’re listening to, so I always keep my eye on that, and I make sure to get to shows early to catch opening acts I’m unfamiliar with. If a restaurant or a record store is playing something I like, I’ll go up to the manager and ask what it is. That’s actually how I’ve found a lot of my favorite music. I’ll always look for the speakers when I enter a store so I can SoungHound what they’re playing if I like it. That app rules.

H: Without getting too specific, could you tell us a little about an average day in the life of a freelance writer?

C: Unless you’re insanely lucky, freelancers, at least when they start out, need a day job. So that means every day I go back and forth between a financial journal at an office and my music journalism. Between tasks I’ll be scouring Twitter for music news or sneaking out on my lunch break to do a phone interview with a band (I actually did that the other day to interview Frank Iero). It’s a lot of crafty scheduling and can get exhausting, especially when you get home from a long day at the office and then start writing a feature. But it’s worth it.

H: What is your ultimate career goal?

C: Realistically, I want to be able to financially sustain myself with my music writing. I don’t think I have a singular goal, more like a bunch of milestones I want to hit. There are big music publications I would like to write for, and I’m planning a move out west where there are more opportunities to write about the entertainment business. I guess my biggest goal for my music journalism career would be to keep it going for as long as possible.

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

C: I think there can be a lot of negative energy in the industry that we could all do without. Whether it be feuds between bands, feuds between music publications or what have you, it’s frustrating to know that the music community can be so close-knit and supportive just as much as it can be hateful within itself.

One thing that I think is already beginning to change is the status of women in the industry. I think the idea of being surprised that there’s a girl in a band or a female manager is finally starting to get old. But there’s obviously a long way to go, and I can’t wait for the day when I walk in to do an interview and I’m not self-conscious about whether the band will take me seriously or not because I’m a girl.

H: 2013 is quickly coming to a close. Do you have any goals for 2014 you can share with us at this time?

C: I’m starting the process of moving out west where there is more of an opportunity to keep writing – I’m stoked to check out the local music over there. Other than that, I want to start mixing my own music. I’ve also set a new year’s resolution to conquer Boston’s rap scene before I leave!

H: I think that covers everything. Before I let you go, would you like to add anything else?

C: Just to say thank you for the support! It was fun being on the other side of an interview for once.

Tags Blogger Spotlight, Freelance, haulix, interview, music, Music Business, music industry, Spotlight, testimonial

News

Haulix Weekly Update #18 – Here Comes Santa Claus

Post author By James Shotwell
Post date December 20, 2013

Hello, everyone! Welcome to the final Haulix recap before Christmas. We have a lot in store before 2014 ends, and this post we will give you a first look at everything on the horizon.

If you have any questions regarding the content on this blog, or if you would like additional information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Facebook and Twitter.

With Christmas quickly approaching, the Haulix team has spent the last week doing everything possible to make sure our software as well as it possibly can before the end of 2014. We rolled out a number of minor updates, including some work on email, and continued developing our the long-awaited mobile platform. We do not have a launch date yet, but we will let you know as soon as more information becomes available.

On the blog end of things, we conducted more interviews in the past seven days than any other one-week period in 2013. The holidays usually leads many industry professionals to have one, if not two weeks of vacation and we wanted to ensure fresh content would continue well into the new year without issue. Every week day until the end of the year, including Christmas, we are going to be debuting some GREAT content. Label spotlights, Publicity spotlights, and more!

In case you missed any of the content we ran this week, here is a quick set of links to help Friday pass a little bit faster:

Advice: Optimizing Your YouTube Presence (Pt. 3)
Artist Spotlight: Josh ‘Chachi Riot’ Marunde
Publicity Spotlight: Kelly Walsh (Prosthetic Records)
Advice: Winter Tour Survival Tips From The Venetia Fair

Okay, I think that about wraps up our recap items for this week. We will return on Monday with a brand new Spotlight post, and we certainly hope you stop by to read it. Until then, be safe and have a great weekend.

Tags haulix, Recap, Spotlight, update

News

Artist Spotlight: Josh Marunde (Pop Evil)

Post author By James Shotwell
Post date December 18, 2013

Hello and welcome to the first-ever Artist Spotlight on the Haulix Blog. We know we usually focus on musicians in our ‘Advice’ series, but in an attempt to further investigate just how big the impact of leaks are on the industry we thought it would be best to speak directly to artists and learn about their experiences. If you know an artist that would be a great fit for this column, or if you have any questions related to the services offered by Haulix, please do not hesitate to email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

You never know where you’re going to end up in life, and you certainly have no idea where the people you went to high school will find themselves five or ten years down the line. I know I never pictured myself working full time in the industry, even though it’s what I wanted more than anything, and I certainly never thought I would find myself interacting with anyone from my rural midwestern town in a professional setting if I did. Life has a funny way of catching you off guard though, and in today’s post I’m going to introduce you to someone I have personally known for almost half my life.

Josh Marunde, otherwise known as ‘Chachi,’ is the drummer for Michigan based rock outfit Pop Evil. He hails from a small town surrounded by cornfields with little-to-no outlets for creative young people outside the classroom, but thanks to a relentless drive to succeed and unmatched passion for music he has built a career for himself that currently finds his talents topping the active rock charts nationwide. It’s a position any aspiring musician hopes to one day find themselves in, and lucky for us Josh was kind enough to share some insight on how he traversed the often turbulent terrain of the music industry to reach his dreams.

If it was not clear from the paragraphs above I grew up in the same town as Josh, and to be completely honest we also attended the same college. Our professional paths never really crossed until after graduation, but we have been friends for years. When we thought about launching a series highlighting the artists who have used Haulix in the past I knew Josh had to be included, and I am honored he’s allowed us to share his story on this blog.

If you want to stay connected to Josh and learn more about life in the world of rock and roll, make sure you follow him (and the band) on Twitter. Additional questions and comments can be left at the end of this post.

H: Hey there, thanks again for doing this. Before we begin, please tell everyone your name, position, and the band you’re currently involved with:

J: thanks so much for your time and this opportunity. My name is Joshua “Chachi” Marunde, or Chachi Riot. I’m the drummer of Michigan-based rock band Pop Evil.

H: Welcome! You’re helping us usher in a new twist to our industry spotlight series with this interview, but we still need to cover the basics. When you think of your earliest memories with music, what comes to mind?

J: Some of earliest memories of music are riding around in the car with my mom and brother and playing “who sings it” as we seeked through stations of all genres. I love that game. It was always a race to see who the the artist first. I also remember starting band back in 6th grade, where I picked up the alto saxophone. Good times, haha.

H: Was music always a passion, or was it something you came into a bit later in life?

J: Growing up, sports were my true focus. I was always a very big fan of music and an avid listener, but, I always saw myself more on the business-side of the industry, less of a performer.

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

J: Most of my early CD purchases were through my mom’s “club” where you could get deals like “Buy 5, get 10 free” I don’t remember my FIRST. Fuel’s “something like human” was an early buy, and the first record I ever REALLY got into was probably Boyz II Men or Slaughter. My mom and I are eclectic listers, haha.

H: Like many musicians, the band you’re currently touring the world with is not the same group that gave you a start in music. What can you tell us about your first band and how it came together?

J: The first band I was ever in was called Vetis, and later Saraph. We were 4 best friends just making noise and having fun. I “managed”, booked, and promotes us shamelessly. It was an amazing experience and is a big reason I am where I am today. Without that band and those friends, I would have never started drumming back in ’05, or re-started in ’08.

H: Everyone’s first band eventually fizzles, but if my research is correct Pop Evil was not exactly your second outing either. When did you first meet the band, and how long was it before you became a member?

J: I met Pop Evil through my networking and booking of my original* band, Saraph. I knew they were the biggest band out of Grand Rapids area (where we were based) so, whatever they were doing, we needed to learn. I began making calls, sending emails, opening for the band, and soon became friends with a few members. I worked hard and wouldn’t take no for an answer. Network. Network. Network.

H: Speaking of when you found your current gig, what can you tell us about the auditioning process? Pop Evil was already an established band by the time you joined the group.

J: Pop Evil signed to Universal/Republic in ’09. So when they called me to “try out” I was already pretty excited and nervous. But, the anxiety didn’t end there. The story goes like this: Dave called me around 1am on a Sunday night, asking if I was interested in playing for PE. The obvious answer being yes, we moved on. “Have you ever played live to a click and tracks?” “Yes” I lied. “Do you know many of our songs?” “Yeah, they’re all over the radio” – I had HEARD 3-4 and didn’t know any of them. “Ok, get on the train, 7am Tuesday morning to Chicago.” That was it. I had about 30hrs notice. Haha. Terrified. But I made it work.

H: It must have been difficult for you to choose between sticking the bands you helped build and taking the opportunity to join a group more established. What ultimately made up your mind?

J: Saraph was doing really well and had exciting things on the horizon, however, after a year of serious touring, our singer decided that the tour life wasn’t for him. He needed a little normalcy and we cooled it. We cooled it WAY down. I openly expressed that I would pursue looking for another band so I could pursue my dream of drumming, PE called about 3months later.

H: Okay, I think we have a good grip on your history. Let’s talk about life as an artist. You released your first album with the group, ‘Onyx,’ in the first half of 2013. What was it like to work on such a big release, and how difficult was it adjusting to the promotional schedule of a signed band versus what you’d experienced with previous groups?

J: Although I was with the band, performing, during the release of WoA (war of angels), I didn’t write or track the record. Onyx was my first go. The process was intimidating and fast paced. The band had just had the success of 4 charted singles and now had to do better. Take the next step. I needed to make myself and the band better, and quickly. The process involved a lot of support, learning, growth and seems to be paying off. This job comes with some responsibilities you look forward to less than others, but ultimately, it’s pretty awesome. We’re very lucky and very thankful.

H: If I recall correctly, your album beat the odds and made it to release day without any major leaks. To whom or what do you attribute this success?

J: Leaks of singles and records are a major fear and factor in today’s industry. Thanks to amazing businesses like Haulix, our album was kept safe and sound. Well played by eOne for choosing Haulix and much thanks to both parties for protecting our art.

H: The argument about the impact leaks have on artists has waged for years. As someone in a band whose only beginning to find national success, what can you tell us about the impact of piracy on your efforts?

J: piracy and leaks are a major game changer today. As a new artist, we need every download/purchase we can get. If someone steals a song or album and that bring them to a show, that’s great. But, multiply that by the thousands. The lost sales translate to the label as a poor selling artist, risking the band’s support and career. Traceable sales are very important. Plus, if you’re willing to spend $5 on a latte, why can’t you buy a song or a whole album for <$10?? BUY MUSIC. SUPPORT YOUR FAVORITE ARTISTS/BANDS.

H: What would you say is the biggest misconception people have about life as a chart-topping, constantly touring artist?

J: A huge misconception today is that if you have a #1 song, you’re rich. I assure you, that is NOT the case. Money is being spent and earned and lots of investing happens, and very little trickles into the hands of the artists. It’s like a baby business. You have to spend money to make money. We have to work hard to keep our heads above water.

H: Speaking of your time on the road, Pop Evil has a long history of packing as many tour dates as possible into each year. Do you happen to know the final count for shows played in 2013? Any specific dates stand out in your mind?

J: Pop Evil is definitely known for our tour schedule. We pack in a serious amount of your dates. I don’t know the EXACT number but I know we’ve stayed above 250 for the past few years. 2011 was like 265 shows. Combine that with drive days and we were home** about 50 days that year. I think 2013 was about 200-220 show dates. Grinding.

H: You’re wrapping up your 2013 touring efforts later this month. What is the first thing you plan to do when you get home, and just how long do you off?

J: we finished up 2013 tour in the next 10 days, giving me about 16 consecutive days off. When I’m home, I’ll be smooching on my better half, cuddling my puppy, cooking a lot, hitting up crossfit boxes, and visiting family. Maybe find time to get tattooed, go out for NYE and write for my side-project.

H: Looking forward to the new year, what can you tell us about Pop Evil’s plans for 2014?

J: for 2014, I feel some big things coming. We kick the year off with Stone Sour and hopefully our 2nd, consecutive #1 single. Additionally, I’d like to tour Europe, stay hungry, and keep working hard to get better.

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

J: if I could change one thing about the music industry, I think it would be to make everyone more open to diversity. Radio station programming, tour packages, etc. I’d love to see more diverse landscapes and mix it up! Spread the love.

H: In addition to playing drums for PE, you’ve also been known to dabble in other areas of the entertainment business. What is your current career goal?

J: I’m very active in the industry in various ways and facets. Eventually, post-crazy touring, I’d love to become a professor. To give back and teach some of the knowledge and experience I’ve gained. Here’s hoping!

H: I think that just about covers everything. Do you have any final thoughts you would like to share with our readers?

J: I’d like to thank everyone at Haulix for this opportunity. I truly appreciate your support and everything the company does for the industry. With that said, to all the readers out there, DREAM IMPOSSIBLE. Work hard and anything is possible.

Tags 2013, advice, chachi, Chachi Riot, deal with the devil, haulix, interview, Josh Marunde, music, Music Business, music industry, Spotlight, testimonial, trenches

Job Board News

Industry Spotlight: Matt Kleinschmidt (The Syndicate / The Laugh Button)

Post author By James Shotwell
Post date October 8, 2013

Welcome to another installment of the Haulix Blogger Spotlight series. People from every corner of the industry turn to Haulix when hoping to promote their upcoming releases, and in today’s column we’re speaking about an area of entertainment we have yet to touch on: Comedy. If you have a writer or publication you think deserves to be highlighted in this feature, please contact james@haulix.com and share your recommendation.

Some people know from an early age that the music industry is the place for them, but for others it’s a fact realized only after they’ve gotten a taste for the business. Matt Kleinschmidt entered his college career with no end goal in mind, but after joining the campus radio station he discovered a love for entertainment that propelled him to the career he now holds at one of our favorite companies, The Syndicate. His story is proof that with a lot of hard work, determination, and willingness to try new things it is possible to develop a sustainable, lasting career in music, and we could not be more excited to share his journey with all of you.

On a personal note, this column is a little special to me. I’ve known Matt and The Syndicate since I was first starting off music journalism, and throughout my career they have been nothing short of wonderful human beings. Their love for what they do and the clients they represent permeates through everything they produce, and it wasn’t until I got Matt on the phone for this feature that I learned the story of how it all came to be.

If you would like to stay on top of everything Matt is working on, be sure to get familiar with both The Syndicate and The Laugh Button. Additional questions and comment can be left at the end of this post.

H: State your name, job title, and place of employment:

MK: My name is Matt Kleinschmidt and I work for The Syndicate in the publicity department and online marketing – specializing in comedy.

H: Let’s start with your origin story. Can you recall the first album you bought with your own money?

MK: Absolutely. Let’s do CD. The first CD I bought was the soundtrack Judgment Night. It was this crazy, typical 90s soundtrack that featured collaborations between hip hop groups and alternative acts. I don’t really remember buying it, or what lead me to get it in the first place, but it definitely sticks out as the first CD I purchased.

H: Do you still have it?

MK: Oh, I absolutely still have it. It’s on my iTunes and the last time I listened to it was probably within the last year-and-a-half. The only soundtrack that I think probably compares is The Crow [laughs].

H: Did you go to school for publicity? Tell us a bit about what you studied.

MK: No, I didn’t. I didn’t really know what I wanted to do when I started school, but in the first month of school I joined the local college radio station. I knew how to put together a CD player so they made me the chief engineer, and then from there I moved my way up the food chain. I held a bunch of roles within the station and it’s kind of how I fell into my internship at The Syndicate. While at school I ended up studying journalism and mass media. It’s outdated now, but at the time I think the term was ‘Journalism/Media Studies’ for the degree I got.

So yea, I learned how to write and got the internship at The Syndicate. I got offered at a part-time at the end of my internship, and then from part-time went to full-time and never left. I started as an intern in 2000 and was full-time by 2002, so I had a full-time job by the time I graduated college. I promoted bands to college radio stations for a number of year, seven or eight, and then we decided we wanted to do more publicity towards websites and I took that over. Then over time our focus changed to comedy and I ran with it, creating a comedy site and a comedy ad network. It was not really a job that existed, so we just kind of created it. Then we found something else that didn’t exist, and that’s what we created next. It’s been a series of creating jobs as needed.

H: You have a rare story because most people have had many jobs by the time they’re 25.

MK: Yea, especially in the music business. I’ve had a lot of jobs within The Syndiate, and a few titles over the years, but yea – it has been an interesting journey. I’ve been able to say, like ‘oh we want to do this, so let’s try it.’ That has allowed me to guinea pig a few things over years, and it’s…yea, it’s pretty cool.

H: What advice would you offer aspiring industry professionals about breaking into the music business?

MK: A lot of what I want to say is working hard until you get your break, but I think a lot of it is being in the right place at the right time. It’s knowing people, meeting people, connecting, having something people want to offer, and the like. We have situations where we have to hire people here at The Syndicate and the question we usually ask is not ‘let’s break out resumes and linkedin,’ but rather ‘who are 4 or 5 people we know who would fit the vibe of the company?’ You don’t have to be the best, but you should have a willingness to learn and do better. I have a lot of years in this business, and I’ve found it [success] tends to come to those who go after it. No one is going to knock on your door.

H: How did comedy become such a big part of The Syndicate?

MK: We started working with comedy around 2001. A guy from Comedy Central came to us with the idea of promoting a comedian like you would a band or an album. Put them on tour, do promo, etc. So he hired The Syndicate to do a bunch of different marketing initiatives based on the idea that comedians want to be rockstars and rockstars want to be comedians. We knew there was a lot of common ground there.

So that’s how we started in comedy. We got in the door with Dane Cook and ended up working a lot of things with him – from albums, to movies, tours, and all that stuff – and we kind of rode his rise. He’s been really good to the company and really good to us to. It’s kind of funny to look at his rise because, you know, some people have taken shots at him over the years, but he’s a very hardworking individual.

H: One thing that makes The Syndicate unique is the web properties Metal Insider and The Laugh Button. How do you reason these as not being a conflict of interest?

MK: One thing you’ll learn about the music industry is that everyone does everything. Everyone knows someone who manages a band, but also runs a website. Or tours, and also works as a publicist. We have two sites: The Laugh Button and Metal Insider. It’s not really a conflict of interest because we make it a point to ensure it is not a conflict of interest. We want to talk about the promotion aspect, but if you visit the sites we keep things positive across the board, whether or not we’re working with them. Comedians come to us looking for coverage and we do our best to help them. We want to elevate the entire genre because it elevates everyone across the board. There is a lot of negativity out there, and we don’t like it so we don’t try to do it.

H: You came into this business before the boom of social media. Do you have a sense of nostalgia for those early, less connected days?

MK: You know what’s funny? I was just talking about this. I went to Oddball Festival recently, and festival organizers have put a clamp down on people capturing media from the show. They were literally kicking people out for cell phone use, and you know what, it was actually kind of refreshing.

The thing with social media is that I love and hate it. Right before I got on the phone I was damming some outlets for not needing to exist, but at the same time I love Twitter and I use it regularly.

H: Do you think it’s possible to prevent piracy, or is it more about managing leaks at this point?

MK: I think it’s kind of accepted at this point the music industry avoided [piracy] for too long before addressing that it was a real problem. I think it can be managed, and I think there are way to offer more premium products to consumers, be it physical albums or shirts, that help entice consumers.

There is an inherent problem with people not placing value with music. I support the industry I work in.

But I do think it can be managed. It’s about figuring out how your consumers engage with music and figuring out how to make it work for you. Is streaming the answer? I don’t know, it kind of seems to screw the artist, but I don’t know. I think it has gotten way better since the early days.

H: The Syndicate has used Haulix for quite some time. What do you like about it?

MK: I like a few things about it. Budgets are shrinking, and I love the idea of being able to get media out on a digital platform that is safe and doesn’t cost anywhere near as much as shipping. I also love a lot of its tracking features. It’s nice to know I can tell a client who is and isn’t engaged with their upcoming materials with ease.

H: What is your ultimate career goal?

MK: In all honesty, I don’t know. I’ve always had the conversation with myself that I would do this until it stops being fun, and so far it hasn’t stopped being fun. I think that’s the ultimate answer. Do it until it’s not fun anymore, then figure out something else to do.

Job Board News

Industry Spotlight: Tyler Osborne (ToZ Productions)

Post author By James Shotwell
Post date October 3, 2013

Hello and welcome to the final Haulix spotlight feature of the week. We have covered a lot of new ground in the last few days, and that continues to be the case this afternoon as we learn the story of an aspiring filmmaking whose currently cutting his teeth as a journalist for one of Spin Media’s newest entertainment properties. If you have a website or writer you would like to see featured in an upcoming installment of this column, please email james@haulix.com and share your idea.

There comes a time in each of our lives when we have to face the harsh truth that everyone eventually needs to get a job, earn money, and more or less provide for themselves. It’s the moment when childhood dreams of becoming astronauts and movie stars are put to the test, and for the most part people tend to decide choosing a more conventional career path is the better option. I can’t blame them and neither should you, but those who eventually end up with a career in music are the same kids who refuse to let go of those childhood ambitions that fueled countless hours of imagination. They’re dreamers from day one, or at least the first day they can remember, and today’s talent is no different.

Tyler Osborne has been in love with music and film for as long as he can remember. Nights spent at the movies were major bonding moments for he and his family, which instilled in him a love for art’s ability to create those shared experiences that eventually lead him to pursue a career in the entertainment industry. His eyes are set on filmmaking, but for now he’s content booking shows, performing in bands, writing album reviews, and, of course, filming video features for a variety of small projects. He’s not where he wants to be, but he’s getting closer every day.

I’v had the pleasure of knowing Tyler for a number of years now and can speak at length about his continued progress towards achieving the dreams he’s had since he was a child, but if you ask me it’s always better to hear someone tell their own story. I interviewed Tyler about finding his start in the entertainment industry, his current effort, and what he plans to do in the future. You can read his responses below.

If you would like to stay up-to-date with everything Tyler has going on, make sure you follow him on Twitter. He’s most definitely a need-to-know figure in music, and I have no doubt the same will soon be true about film. Any questions or comments you have 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:

TO: My name is Tyler Osborne, and I’m the Head of Videography, as well as a writer, at Under the Gun Review. Thanks for having me.

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

TO: My earliest memories with music all have to do with being in the car. It was where I really fell in love with music, because I was always a quiet kid. Everyone would be talking, and I would just listen to whatever was on the radio, or in the cd player, because I found it to be incredibly relaxing, regardless of what was actually on. May it have been Meatloaf’s Bat out of Hell Live tape in my Dad’s car or Norah Jones and Van Halen in my Mom’s, there always something on, and I’d just get lost in it.

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

TO: There’s two albums that come to mind, and that’s because I’m a bit hazy on if my brother bought them or if I did. I know for certain that I bought Good Charlotte’s The Young and the Hopeless, but I’m pretty sure I also bought Linkin Park’s Hybrid Theory, but he claims he did, but his memory is just as bad as mine, so I don’t trust it. Regardless, of course I still own both, because I’m a pack rat. They’re in two huge shelves of CD’s I’ve collected over the years, but admittedly, they’re probably both trashed. My two brothers and sister had a habit of stepping on them when they got into the car, but that’s my fault.

H: You’re into video as much as music, if not more. What first attracted you to the entertainment industry?

TO: First off, I’m not totally sure which one I’m more into either, music or film, but I really like that battle for my attention. But I have to say, my first love will always be film. From a very young age, my Mom and Dad took me to the theaters to see what was out, and I really fell hard for sitting in a dark theater, experiencing the same thing with my family and completely strangers, because they’re something bonding over that. It’s the conversation after that I always enjoyed. I really value a sense of community, and film brought that to me from an early age. As I grew older, I became increasingly more interested in how films were made, which led me down this path I’m currently on as a video editor and filmmaker. In terms of the music-side of the entertainment industry, I always loved reading and learning about my favorite bands, and then when I found my local punk community, I just had to contribute in every way possible. So in short, it’s the sense of community around a common love is what attracted me to the entertainment industry.

H: What was your first gig in the music business? Unpaid work counts.

TO: I guess my first real foray into the music business was just doing street team work. I did local street team stuff for bands during the MySpace era, you know, the usual hanging up flyers and posting about shows and what not.

H: You currently write for Under The Gun Review. What lead you to the world of journalism?

TO: Well, when I first started working for Under the Gun Review, I signed on to do more video work. Right around the time that I signed on though, I had to drop out of school for a semester, so I found myself incredibly busy working as an editor to make some money to go back to school. Because of the restrictions of working on other people’s projects all day every day, I found myself doing more and more writing for Under the Gun, to the point where I find myself doing just as much of that as I do video work. So really, I fell into it, but I’ve always had an interest in the traditional “journalist” as my Dad was one for a while. There’s something kind of romantic about it. While I’m not a journalist who writes about the economy or a war in a different country, I do like getting to the bottom of things and giving my take on it, regardless of the medium, may it be through videos, reviews, or music.

H: Who or what inspires you as a writer?

TO: What inspires me as a journalist is frankly frustration. Some music is just not good, and people are afraid to say that. Sure, when I openly hate something, I wont be the first person to volunteer to review it, but I think what inspires me the most is wanting to bring a level of transparency to writing, and using that transparency to connect with the people who read it. I feed off of people saying “hey, I really liked your review, it made me want to check this out,” because there is no greater compliment, at least to me, then someone valuing your own creative opinion or work.

H: You’ve been applying your video skills more frequently to your journalistic endeavors. Do you see yourself moving away from writing altogether at any point?

TO: Journalistic writing? Yeah, probably. At my core, I’m a filmmaker, so I’m always going to be more prone to doing visual work and thinking that way. I love writing, I find it to be a great exercise in figuring out why I like the music and film that I do, but yeah, I think it’d be fair to say that in the coming years I’ll have a more singular, focused effort on storytelling through video content. I’ll always be writing, but probably in the coming years I’ll shift gears towards writing scripts and treatments for film and video. I also find video journalism to be incredibly moving, so I could definitely see that being a route that I take in my career. When you boil it down, I don’t want to be on the outside. I don’t want to be the one waiting for someone else to make something and for me to report or review it. I want to create.

H: You, like many, do not get paid to be a blog contributor. Why do you do it?

TO: A mix of development of self and an innate love. On one hand, you don’t become the best at anything by sitting around and doing nothing. Sure, I’m not getting paid, but if I was my editor when I first started I wouldn’t pay me either. In the year and a half that I’ve been with Under the Gun, my writing has gotten exponentially stronger, not just as a journalist, but within all aspects of my writing. I didn’t know how long I would be with Under the Gun, but I have to say, once I got to know the staff and bonded with them, being a contributor for them has become something of a weird, incredibly close family to me. I write without pay because I believe in what we’re doing as a staff, that is, highlighting both the good and bad of the industry. Yeah, on paper it may not make sense to put so much time into something that doesn’t reward you monetarily, but I feel the benefits. I see the connections I’m making. Contributing to UTG has taken me a lot of places in the past year and a half. I not only get to meet and talk with some of my favorite bands, but I also get to listen to their records before everyone else. That sounds lame and childish, but it’s a major perk, and any other unpaid contributor who says otherwise is a liar. All that being said, if some fancy benefactor or corporate overlord wants to pay me and the UTG staff without making us sacrifice our journalistic integrity, I’ll gladly sell out.

H: Some people believe there is no need for critics in the digital age. Do you agree? (Support your response)

TO: Yes and no. No, because my opinion is no better than yours. It’s an opinion, you can like that new Wonder Years record, hell it could be your favorite record on the planet, but that’s not going to change the way I don’t care for it that much. I’m here to give perspective, not give a definitive answer to the question, “is this or that good.” That being said, I do think critics are necessary. I think the role of critics has definitely changed. I think that as a reader in a new digital community, critics and sites should be utilized in a more aggregated manner. From my experience, if I want to know if something is worth a listen or not, I won’t just read one writer’s opinion, but rather, a bunch of different perspectives from different sources I deem trustworthy to me. I think that if you critically look at works of art through not just one lens, but multiple, you can receive a less biased picture of the worth of the work. Sure, there are certain writers who I follow who I almost always agree with, and when they suggest or speak highly of something it’ll sway me to check something out. But I think the role of the critic in today’s day and age is to give a (hopefully) unbiased opinion on a work, so that the reader can figure out if its something they’d be interested in, then the reader can form their own opinion. Yeah leaks and streams kinda mess that whole process up, but when it’s all said and done, I know I check out what people think of records and films. If you listened to every single record or watched every single movie, your brain would fry and you probably wouldn’t be a human. Critics are here to help cut through the clutter, and help you to figure out what you should be paying attention to.

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

TO: First of all, I don’t care at all about press kits. They’re always corny and super weird, and I never read the entire thing. I’ll maybe read it after I started writing a review just to get some history, but the thing I care about most is ease of accessing content, and I don’t think I’ve found a better service than Haulix to do that. When it comes down to it, I just want to listen to the record, and Haulix makes that incredibly easy and simple for me to access a stream or download. Sometimes you gotta jump through hoops to get the content you want, and I know if you give me more roadblocks, It’s going to make me a lot less likely to try and listen. With Haulix, it’s a quick download or a quick click of play, and I’m listening to the record. I know that sounds a bit like a commercial, but it’s true. When I see that Haulix logo in my inbox from a press company, it always makes me smile, because I know things are going to work, and it’s that consistency that I really appreciate.

H: What is the hardest part of this ‘job’ you’ve made for yourself?

TO: Making sure I have enough time to do it, honestly. I am not ashamed to say I love or hate a record, I’m not scared of talking to bands. What is hard is making sure I have enough time to actually do it, because I don’t like half-assing anything. I have a full-time job as a video editor, I’m finishing up my Senior year in college with six classes, and I’m also an RA on my college campus. I wish I could be devoting more full time, round the clock effort towards writing and videography for UTG, but I got to pay the bills so I can live first. Making sure I can get everything done with a level of quality I can be proud of is probably my biggest struggle, but it’s a struggle I’m okay with, because I love the work that I do for the site, and every single time I write a piece, take photos, or make a video, I know it’s something I wouldn’t be afraid to show anyone.

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

TO: Stop praising mediocrity. I always hear people complaining something to the effect of “Oh, we don’t have that many mind-blowing bands in this generation of musicians. I wish it was 2003,” and so forth. And while I’d disagree with that statement to an extent because there are most certainly bands doing really fantastic things, the fact is a lot of the music we listen to and praise simply isn’t anything new, or frankly, good. I feel like the music industry coddles bands a lot more than they should feel obligated to do, and that’s across the board. However since I’m in a “rammy mood” as my parents say, I’d say a lot of that blame goes towards the critic community. Sometimes, bands need a bad review. They need you to tell them straight to their face, “hey I think this is boring and kind of sucks.” For all you know, that review is what could inspire them to write the next Deja Entendu. I know it’s hard because the way this industry works these bands and artists often become your actual friends, but if I could urge the music industry to do one thing, it’d be to stop praising mediocrity, don’t coddle artists, and praise those who are doing something extraordinary.

H: You’ve been in bands, booked shows, worked in journalism, made music videos, and helped promote an unknown number of unsigned bands. Are there any area of the music business you’ve yet to explore that you hope to one day try?

TO: Yeah, I’d love to have my own record label. It’s something I’ve always wanted to do, but considering I’m funding a large portion of my college, it’s not something that’s really financially smart for me at this point. But once I settle myself down a bit, I would love to have my hand in putting some records out on vinyl for bands as somewhat of a side-project, may it be friends’ bands or just people I’ve booked in the past. I’d love to give back and have some fun putting together really fun, meaningful releases.

H: What is your ultimate career goal?

TO: My career goal is to see a film that I created with my family in your standard run of the mill movie theater. I don’t care if every critic thinks it’s awful, if I can sit down in a dark theater with my Mom, Dad, two brothers and sister, and have a great time watching something that I can say is a part of me, that would be the most satisfying thing I could possibly do.

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

TO: A lot of stress and sleepless nights. But in all seriousness, in terms of UTG, I, as well as other staff members, are planning on bringing more and more video content to the site that is both informative and high quality. I’ll also be continuing to write reviews every free second that I have. Personally, I’ll also be booking tons of shows around DC, shooting more music videos, editing for the communications firm I work for, and sometime in between all of that, hopefully finishing writing a script for a film I’m going to shoot this Summer post-graduation. And thanks again for the interview, I really enjoyed this a lot.

News

Industry Spotlight: John Rankin (New Music Inferno)

Post author By James Shotwell
Post date October 2, 2013

Hello and welcome to another edition of the Haulix Industry Spotlight series. This column exists to celebrate the hardworking individuals who keep the music industry alive, often for very little – if any – pay, day in and day out. We believe by sharing the stories of those who are actively working in music we can help inspire and guide a new generation of industry professionals to success careers in entertainment. If you have a site, publication, or writer you feel would be a good fit for this series, please do not hesitate to contact james@haulix.com and share your story.

Over the last five years, the two fastest growing trends in digital journalism have been original video content and podcasting. So far, this series has done a fine job of highlighting individuals who saw the demand for video content rising and met it with high-quality results, but it recently dawned on us that we have done a rather terrible job of covering those who exists in the world of internet radio. This post is the first of many in the coming months to focus on individuals working in this area, and I do not think we could have picked a better person to kick things off.

There has been a sharp rise in music-related internet radio shows over the last year or two, but five years ago the market for such programming was relatively non-existent. Seeing an opportunity to reach music fans in a way few had tried, John Rankin launched New Music Inferno as a way to share the music he loved with others, and over time built one of the most engaging outlets for unsigned/independent music on the net. Today we share his journey, and it’s one I guarantee you do not want to miss.

If you would like to stay up-to-date with everything John is working on, make it a point to bookmark New Music Inferno as soon as you are able. Additional comments and/or questions 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:

JR: Hi Everyone! I am John “J.R.” Rankin. I am the sole owner & operator of New Music Inferno. I book all of the artists,produce the show and promote it all.

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

JR: My first record that I bought with my own money was “The Slim Shady LP” by Eminem.

H: Everyone finds their own way into the music business. What first attracted you to this industry?

JR: I found my way into the music industry, just by being passionate about music. I used to be an F.Y.E. employee and worked there for 7 ½ years. I always would just browse through the random bands we’d get through shipment that most of the people working there(including myself) would have no clue about due to them being newer bands.

H: You’re the first radio host we have featured! Well, are you a radio host? A podcaster? How do you explain New Music Inferno to people?

JR: New Music Inferno is an online radio show/podcast(even though its not broadcasted like a terrestrial station). I consider myself to be both. I used to do college radio. I haven’t had a chance to be on “mainstream radio” but that is one of my goals to have happen with this and my personal career goals.

H: The name New Music Inferno is quite unique. What inspired the name? Were there any other titles considered before you settled on that one?

JR: The name just came to me after the original name had to go do to some negative connotation. The show was originally called The Extasy Drop host by myself under the moniker known as Eron Extacy. The name of New Music Inferno fits so much better and is much more well excepted by industry people around the world.

H: Most the people we’ve spoken with started a site to share their thoughts on music with the world, but few have gone so far as to use their actual voice to share said thoughts. What inspired you to start a radio show?

JR: I was always interested in doing radio as a career and I knew I needed to somehow get my name out to the world. It’s been a slow process but been very pleasing to me and to many of my guests as a lot of them enjoy coming back onto the show to chat and have fun.

H: Did you ever consider a companion website? If not, do you foresee NMI evolving in any way in the years ahead?

JR: I actually did have a website of newmusicinferno.com for about three years but couldn’t really get anything started with it due to time and money. I had done some reviews of records and had some friends do some too but nothing really came of that site. I wouldn’t mind returning to that some day in the future. I do see New Music Inferno evolving in the future. I would love to see it get syndicated on local radio stations and not just online. It would be amazing to see that these small unknown acts that I have on get some recognition somewhere they never thought they’d be found.

H: You’ve featured a number of young artists on your program. Where do you turn when hoping to discover new music?

JR: A lot of my finding new music is by chance. I get about 30-50 emails daily from publicists regarding their clients possibly landing a spot on my show. The television show on NBC called The Voice has helped me to have some of their contestants and “rejects” on my show and I really love learning of new music from them. I also read Alternative Press and learn a lot of bands from their due to album reviews & the AP&R section. Finally some bands are just random due to Twitter adds and I check them out via Facebook.

H: Let’s turn the tables and say people are coming to you. What advice would you offer artists to help them stand out from the competitors vying for your attention?

JR: This is so tough to answer. I feel the most common answer but the best advice I can give to them is: “Be yourself and just keep practicing.” Some bands I have seen out there in the “scene” are trying to be a lot like other bands that are already successful and that where the downfall of bands can begin besides the relationships within the bands. Don’t try and be like anyone else out there already, no one will sign you unless you have some bigger and better than what is already out on the mainstream.

H: Internet radio has become increasingly popular in recent years. What is it about the content offered by New Music Inferno that gives you an edge over the competition?

JR: The opportunities that are given to both fan and artist gives me the edge over the competition. A lot of shows or sites really don’t give the fan the opportunity for them to interact with artist or vice versa. It is my utmost important to make the listeners and artists happy(smiling through the phone) or laugh on air. It makes it easy for everyone and the vibe of the show goes smoother if everyone doesn’t feel like its going to be a mundane monotone interview.

H: You have done a lot of interviews on your show. Who have you yet to feature that you would like to interview?

JR: There is definitely a list of musicians that I haven’t interviewed that I would love to have on the show and put them in the proverbial hot seat.I would definitely branch outside of the music realm as well to cover some entertainers(Adam Scott, Nick Offerman, Aziz Ansari) or film directors(Kevin Smith). The list of musicians include but not limited to: Staind, Adam Levine, Gavin Degraw, Jason Mraz, Pearl Jam,Taking Back Sunday, John Mayer, Eminem, Jay Z, & Justin Timberlake.

H: I do not know of any advertising associated with your program. Have you monetized your efforts with New Music Inferno? If not, will you?

JR: The deal with advertising is tough for me. I really want to have businesses to advertise/support but every time I try to get someone they back out for some unknown reason. I’ve tried local businesses or even people who do their own selling of products(ThirtyOne or other companies) and no one took a bite. I wouldn’t mind bands either doing ads of themselves for the show. I do make a little bit of money on the side from the website due to a built in ad revenue that is built into the Blogtalkradio website.

H: Some people believe there is no need for critics in the digital age. Do you agree? (Support your response)

JR: No,I fully disagree. Without critics everyone would be just full of pent of anger. Everyone has an opinion and its good to read what people have to say for the better or worst. I have an opinion and I give it to people all the time even if its the truth it will hurt.

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

JR: I really enjoy receiving the music through Haulix or WeTransfer. These two sites are the easiest and seems like most of the people who send me music use them. I also don’t mind just receiving the music in just individual emails in MP3 format from artists themselves.

H: What is the hardest part of this ‘job’ you’ve made for yourself?

JR: Honestly… The hardest part is not having enough hours in the day to have everyone on the show. I know not everyone is top material or peoples’ choice in music but I just love how people express themselves in music.

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

JR: I would change the format of the whole radio station world. I mean there are millions of artists out there and not just one song by them. We shouldn’t be a “single-based” community. Artists are out there busting their heads in to make a complete record for you to listen to and it should all be heard.

H: What is your ultimate career goal?

JR: My ultimate career goal would to take my show and do it for a living. Get it heard on mainstream but break the mainstream rules. I am no Howard Stern but sometimes I push the boundaries.

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

JR: In the months ahead, I have planned the annual Holiday/End Of Year Special. This year it will be happening on Dec. 12th @ 5pm est – 7pm est. This is where I have past guests from the year come on to spread holiday cheer and possibly give away some merchandise. I also just plan on having the most fun and exciting interviews with some of your soon to be favorite artists. I just want to thank everyone at Haulix for this opportunity and all my friends(I have no fans) for listening into the show and supporting the global music community. If anyone wants to chat with me they can message me on my personal twitter @jrnmi or on the show’s twitter @newmusicinferno. Hope everyone has a great day and remember support your local music scene.

Tags 2013, Feature, haulix, interview, music, New Music, new music inferno, Spotlight, testimonial

Job Board News

Industry Spotlight: Doug Van Pelt (HM Magazine)

Post author By James Shotwell
Post date September 26, 2013

Hello and welcome to a very special edition of the Haulix Blogger Spotlight series. We have featured a number of young journalists in recent months, but today we could not be more excited to highlight the efforts of someone who has been writing about music since before the internet was a thing average people cared about. If you or someone you know would make would like to be considered for a future installment of this series, please email james@haulix.com and share your story.

In 1985 a young man by the name of Doug Van Pelt started a fanzine called Heaven’s Metal to discuss and promote the world of Christian hard rock and metal after developing a love for journalism while working for his college newspaper. This was the same year Alternative Press, Spin, and Metal Edge Magazine launched, and like each of those now iconic publications the efforts of Van Pelt would soon begin to impact the lives of countless people around the world. He placed an ad for his new publication in the classified sections of numerous music rags (aka “old school Craigslist”), and before he knew it subscriptions began rolling in.

In 1995 Heaven’s Metal reached a crossroads. A change in the industry lead to the word ‘metal’ being somewhat tainted from a marketing perspective and Van Pelt decided it was best to change the magazine’s name to HM. The publication still focused on the heavier side of Christian rock, but also opened its doors up to a variety of new, rising alternative artists as well. It was a risk that could have drove away subscribers, but instead paid off in continued sustainability and news readers.

Things remained more or less good for HM magazine in the years following the name change until the rise of digital publications and social networking brought a new world of challenges to print publications in the mid-2000s. HM held on as long as possible to its physical format, including offering simultaneous digital editions beginning in 2007, but in December 2011 the zine was forced to go completely digital in an effort to cut costs. Van Pelt remained editor for another year, then in February of 2013 sold HM to current editor David Stagg. He remains on staff as a contributor, and today we’re honored to share his story.

We spoke with Doug Van Pelt about his life in the music industry from the beginning of Heaven’s Metal to today, and I think you’ll find the stories he has to share are truly one-of-a-kind. Doug has seen the best and worst the industry has to offer, and I guarantee you there is something everyone can learn from his experiences.

If you want to stay up-to-date with Doug’s efforts moving forward, be sure you bookmark and frequent HM. Additional questions or comments can be left at the end of this post.

H: You are by far the person with the most experience in music journalism that we have featured to date. Do you remember the first album you truly fell in love with? How did you discover it?

DVP: First album I truly fell in love with? Wow. That’s a tough one. Early albums I spent many “miles” with in life:
Kiss – Destroyer
Aerosmith – Rocks
Led Zeppelin – Physical Graffiti
UFO – Strangers in the Night
Frank Marino & Mahogany Rush – Live

I can hear the next song start to play in my head before the previous one finishes tracking on all those albums above.

Kiss had me listening closely. I loved the grooves of Aerosmith and felt they were superior to Kiss.

Physical Graffiti might be my Desert Island disc, or one of them, if I get about five to bring with.
Ten Years Gone, Down by the Seaside, Kashmir, Bron-y-aur. Great, tunes that stand up to the test of time, for sure.

UFO – Strangers in the Night. Michael Schenker’s lead breaks are just so fluid, melodic and have so much feeling. They’re like musical songs within a song. Love the UFO song structure, the backdrop of keys, drums, rhythms. Great songs all. Best live album ever. The solo that builds and builds and then explodes in “I’m A Loser” is so sweet. The solo in “Rock Bottom” kinda does that as well. “Love to Love” has so much building emotion. Love that tune. Frank Marino was the living guitar hero of my day. Such an expert at controlling feedback and crafting great, hypnotizing guitar sounds and leads. His solo – “Electric Reflections of War,” followed by “World Anthem” and then “Purple Haze” is such a great concert closer.

Scorpions – Tokyo Tapes has two epic songs – no three – that are just beautiful, featuring Uli Jon Roth just going off: “We’ll Burn the Sky,” which is just a majestic melodic metal tune. Klaus Meine’s vocals and Uli’s singing leads are beyond great in this tune. The song “In Trance” is another killer tune and “Fly to the Rainbow” has a divebombing solo a la Hendrix/Marino that is fantastic.

First album I fell in love with might be Stryper’s Soldiers Under Command and the song “First Love” specifically. It mixed my love for a forgiving Messiah (Jesus) with my love for melodic metal – both flowing beautiful lead vocals and emotive guitar leads. It was one of the first albums I loved that I was able to express myself with writing about and helped me get into doing music journalism.

H: You started HM as a fanzine in 1985. What attracted you to the world of journalism in the first place?

DVP: I was a student at the University of Texas in Austin and their policy of letting students write for the school paper (The Daily Texan) allowed me to write album reviews of recent Christian rock albums, so I was able to express my love for Christian rock, evaluate in a critical way and even turn people on to artists of faith, which would, in some ways, expose others to my faith. Using art to start a spiritual conversation was kind of a natural thing and it left room for people to be more comfortable entering into this conversation than did, say, street evangelism, which was kind of confrontational to a fault sometimes. These reviews of albums led to a concert review here and then a feature article to promote an upcoming concert with Stryper, which was their first out-of-California tour for the band – hitting five or so cities in Texas. This experience of working with an editor, planning the editorial, setting up the interview with Rick Orienza – the publicist at Enigma Records – and doing the interview with Robert Sweet and selecting the photos to use and writing the piece was my first big experience in rock journalism. That was kind of when the idea of starting a Christian heavy metal magazine started to gel.

H: According to the Magazine wikipedia, you found early success thanks to a classified ad place in Kerrang! Magazine. Could you share with us a bit about the early days of HM (then called ‘Heaven’s Metal’) and the aforementioned ad?

DVP: Yeah, this was in 1985 – long before the days of “filesharing.” We shared music back then by making “mixtapes” on cassette and sending them through the mail with heavy metal “penpals,” so to speak. Metal Edge had a section in their magazine (Metal Edge started in 1985, by the way, as did Alternative Press, Spin and HM.) There was an “underground” of music traders, music fans and metalheads. Word was spread in those days through classified ads in magazines, free local music newspapers and actual (physical) bulletin boards with notes like, “Looking to start metal band. Need guitarist. Must have chops without attitude,” or “must have look," hahaha. I took out classified ads in other underground Christian rock publications, like The Advocate, The Cutting Edge and also bought a classified ad in CCM Magazine, Cornerstone Magazine and Kerrang! Magazine. The ad in Kerrang! was booked at a good time, because unbeknownst to me it was going to be the magazine’s 100th issue and feature a new distribution onto US soil with an increased print run of 100,000 more copies than usual. How beneficial was that? It had Motley Crue on the cover (of course, they ruled metal mags in those days). The response I got from all those classified ads was positive and the growth was on. Heaven’s Metal Magazine started to spread by word of mouth and via classified ads like those.

H: Who was the first artist you worked with for HM? Why did you seek them out?

DVP: The first issue had photos I took of Stryper in Austin, Texas, on that show that I referenced earlier, which I had written about in the local student newspaper – The Daily Texan. The next issue had Jerusalem on the cover, but that feature article was done without an interview. I did my first real "So & So Says” interview without really trying in that issue, by interviewing a band called Prophet, which had a beautiful melodic rock song,called “Everything You Are,” which bled like a Christian metal worship song, I tell ya. Check out the video (let’s see if a quick search on youtube can drag it out): https://www.youtube.com/watch?v=jsa8D_lMBac

Yeah! Tell me that doesn’t hint at being faith-based. Turns out it was not, at least according to Scott Metaxas, the bass player (I think) that I interviewed for that issue.

H: You changed the name from Heaven’s Metal to HM Magazine in 1995, then brought back the name in the 2000s for a fanzine accompaniment to the magazine that later became a part of the regular publication. What inspired you to make this change initially, and why did you choose to bring it back?

DVP: The name change came in 1995, when metal as a viable mainstream and commercial genre took severe hits and the industry considered metal dead. I shortened Heaven’s Metal to HM as a way to transition beyond that change.

Later in 2004 I woke up in the middle of the night with an idea and about seven or eight points to relaunch Heaven’s Metal as a dude publication to serve those older and new metal bands and fans. We had been trying to serve this part of the scene, but the mix was important, as the younger readers didn’t think bands like Bride or Whitecross were hip. At that point (around 2001 to 2004) this metal coverage was relegated to one or two pages. I still wanted to be able to champion what was good, so this idea sounded like a good platform to do that. We got nearly 600 subscribers in just a few short months (no retail distro), so it seemed like a success. My wife (at the time) didn’t like the idea of doing more work and I look back now and wish I hadn’t, but I’m not sure that would’ve saved our marriage that was severed by her in 2012/2013. After awhile the fanzine (which is what I called it since it was printed on standard bond paper and all black and white), started to lose money. I decided at that point to move it to a section inside the magazine. Like a zine within a magazine.

H: Aside from focusing on heavy-leaning Christian rock bands, what would you say separates the content offered by HM from that being created by your competitors?

DVP: It depends on what you mean by competitors. If you’re referring to Alternative Press, that’s one thing. If you’re referring to Jesus Freak Hideout or CCM or some other online Christian hard music publication, that’s another. The content differences may not be that great. From time to time the content you’ll find in HM is from hard music veterans, which makes a big difference. Not all of our content is written from these types of writers, but when it is it can be engaging and excellent. I don’t think HM (and I’m speaking of my own writing for the magazine) has been 100% brilliant. At times, though, it’s been really good. And good rock journalism is an artform and fun to read. There’s some other good coverage of music out there, to be sure.

H: You were a journalist before social media was even an idea, and in the years since Myspace launched have evolved your publications in many ways to meet the demands of our hyper-connected society. Do you ever have nostalgia for the days before the internet, or do you prefer the urgency of modern times?

DVP: That’s a great question. It’s true that HM predates that stuff. When HM (Heaven’s Metal Magazine) started in the mid-80s, music sharing was on mixtapes sent through the USPS. It was as fun or funner, but obviously a lot less immediate than digital file sharing.

If I was to choose time travel vs. staying in the present, I would choose the present. I like technology. If I was going to use time travel (as I spell out in my novel, Desert High), I’d use that technology to go back to a specific time in my high school football career and right a terrible wrong that occurred.

H: HM went strictly digital in recent years, but remained a print publication well into the 2000s. How do you feel about having made the transition away from physical the product, and do you ever think we’ll see a time when print is popular once again?

DVP: Advertising sales went from 30K per issue to 15 and below. It wouldn’t cover the print bills and other overhead, so it’s not so much about print as it was economics. I’d love to see print make a comeback. Holding something in your hands is superior to the value-less (or less valued) online content. With the right investment and right marketing to promote the magazine and increase circulation, it could be successful. Not sure how you could interest record companies whose advertising budgets have been cut could make it up and start advertising again.

H: What is the biggest drawback to running an all digital publication?
DVP: Hmmmm? Good question. Perhaps it is the public’s perception that it should be free.

H: As a writer with decades of experiences, what is the most common mistake you see younger writers make when starting their journalism careers?

DVP: Maybe not knowing or learning the balance of knowing when to avoid first person language (most of the time) and when to use it. Not sure what to criticize here. I don’t have any fresh mistakes in my mind to use. One problem might be lack of confidence. A shyness and hesitancy to go for anything.

H: HM has been responsible for breaking a number of heavy acts over the years. When you want to discover new music, where do you turn? How has your search for new music changed over the years?

DVP: Part of it is just being a part of the scene. When you care, you just pay attention and you stay caught up. Also, when you become a respected media outlet, then publicists and news comes to you. It makes scouting easier and not so necessary. Due to this aspect, I didn’t have to do much scouting over the years. A magnet attracts metal. (smile).

H: I see bands on Twitter looking for coverage from HM from time to time. What advice would you offer artists hoping to stand out from others vying for attention in your inbox and social feeds?

DVP: Hmmm. I would say avoid begging. Avoid the assumption that i’m looking for links to click and new music to hear. You know, journalists are like anyone, we listen to our friends. when you have a bro that tells you, “Dude, you need to hear this band such and such. They are so cool.” Getting credibility isn’t easy, but just doing your job – making music and playing live – and credibility will come (if it’s good).

H: Do you think there is still a need for physical press kits?

DVP: Yeah, I sure like to hear music on different platforms (before my car stereo broke, playing a cd in my car was very helpful and it offered undivided and very loud attention.

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

DVP: rushing their music production, not letting time and tweaking “season” their music. An easy criticism would be “trying to look like all the rest” of the bands out there.

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

DVP: any platform that allows me to download the tracks, along with album artwork and lyrics … and the ability to do this without an expiration date coming too soon. if i drag my feet, i hate to have to chase down the publicist and request a download again. that’s happened more than a few times.

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

DVP: hmmmm. small, independent labels and festivals not paying their ad invoices!

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

DVP: I plan on illustrating a children’s book I’ve written. and I’m writing a book about the suffering and lessons learned experienced during the last year and a half of my life. I’m writing articles and reviews for HM still.

Job Board News

PR Spotlight: Austin Griswold (Secret Service PR)

Post author By James Shotwell
Post date August 27, 2013

Hello again, everyone. Welcome to the fourth installment of our PR Spotlight series. The first three weeks found us talking to a family man with decades in the business, a woman who had recently moved from a major label to one far more independent, and a twenty-something who is only a year into running her own business. This week we’re headed back to the West Coast to speak to another entrepreneur who spent years working in the record label game before deciding to step out on their own. If you have a recommendation for a firm or publicist you want to see featured in an upcoming spotlight column, please do not hesitate to email james@haulix.com and share your story.

Alabama is not the first place many think of when considering the history of punk and hard rock, but without that very state one of the alternative scene’s most influential publicists would not exist. Austin Griswold is the founder and head of Secret Service Publicity, but his career in the entertainment industry dates back much further than his relatively young PR empire. He first moved from his home state to California with little more than a dream and a Chevy Blazer, but in just over a month’s time began to find his footing in the industry. He continued to work hard and over time rose through the ranks of the business, which included years spent at Epitaph Records, before finally stepping out on his own company. We spoke with Austin about all this, as well as his advice to bands and aspiring publicists, and more. You can read his journey and insight into the business below.

On a personal note, I have worked with Austin and watched his skills develop for the better part of six years, which pretty much amounts to my entire professional career in music. He was one of the first publicists to give me a chance to work with known talent, and has always been there to help me if I ever had questions. His work with bands is second to none, and the insight he offers in this interview is just one of many reasons why he’s someone I would hope young publicists aspire to imitate in their own careers.

If you would like to learn more about Austin’s work, you should visit (and bookmark) Secret Service Publicity online. Any questions for Austin can be left in the comments section at the end of this post.

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

AG: My name is Austin Griswold and I am the owner of Secret Service Publicity.

H: Let’s take it from the top! What is the first album you remember falling in love with, and how did you discover it?

AG: I can’t remember if it was Pearl Jam’s Ten or Metallica’s “Black Album.” Both came out the same year and that’s when I really fell in love with music. I think I was probably introduced in part by my older sister and brother but also friends at school. I remember stealing my brother’s issues of SPIN and Rolling Stone to learn about bands and would copy his taste of music.

H: At what point did you realize you wanted to turn your interest in music into a career?

AG: I played, or attempted to play, in bands at a pretty early age. I think from my early teens I knew that I wanted to be involved in music in some form or fashion. It probably wasn’t until I was trying to figure out what my degree in college would be that I decided on music publicity.

H: You have worked in entertainment publicity for a number of years. What attracted you to publicity work in the first place?

AG: It was easier than pre-med in college! No, I gravitated towards public relations my freshman year. I always felt comfortable writing and found I had a skill for publicizing. It was a natural fit for me and I knew I wanted to work as a publicist in either music or at the very least the entertainment industry.

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

AG: After moving to Los Angeles, my first official job was working as an intern at a film/TV talent management company called Untitled Entertainment. It was an eye opening experience. It wasn’t exactly what I wanted to do but I got a really good inside look at how a big Hollywood firm worked. I learned a lot, but the biggest lesson was that I needed to get a job that paid. Los Angeles isn’t a cheap place to live.

H: You hail from Alabama, but have spent the better part of the last decade in Los Angeles. When did you make the move to the West Coast, and what inspired the decision to pack up in the first place?

AG: After I graduated from University of Alabama, I moved back home to Birmingham and started interviewing for entry level positions at PR and advertising companies in the area. I quickly found that I wasn’t the least bit interested in doing PR for some fertilizer company or worse. I knew that if I really wanted to work in entertainment and music then Los Angeles was the place for me. In hindsight, I guess Nashville would have been a closer option, but country music wasn’t really my forte at the time. I had always been curious about LA and envisioned myself living there one day. So, I packed up everything I could fit in my Chevy Blazer and left. It took three days driving solo cross country and when I got there I lived in some crack motel on Sunset for about a month until I got my legs under me and my first apartment. It was worth it though!

H: You started at Epitaph records in 2007. Can you tell us a little about how that job came together?

AG: After interning at Untitled Entertainment, I got a paying job at a PR agency called Bender/Helper Impact in West LA. The company handled larger corporate entertainment clients like Dreamworks, FOX, Magnolia Films, etc. While college may have taught me how to write, BHI taught me how to be a publicist. It was like boot camp for PR cadets. I moved up the ranks there pretty quickly over the course of a few years, but my desire to work in music was strong as ever. I came across a job posting for Epitaph, interviewed and never looked back.

H: After a number of years in that role you decided to step out on your own with Secret Service PR. What lead you to this decision?

AG: Epitaph was a great company to work for. I learned a ton there and grew immensely as a publicist. I also got to work with punk rock legends. My boss was Mr. Brett from Bad Religion! Towards the end though, I felt that I wanted to continue my journey, continue growing as a publicist and experience new things in my career. I still have some great friends there and am proud to have them as a client.

H: As someone who has worked publicity in and out of a label setting, do you feel record labels are as necessary for a band’s today as they were when you started in this business?

AG: I think there are a lot of record companies that provide a great service to bands. Under one roof you’ve got radio, touring, marketing and PR support; services that would cost an independent band a ton of cash a la carte. There’s also a certain level of credibility and legitimacy that comes along with being “signed” to a label. However, is a record label a necessity to thrive in today’s music industry? No. There are a dozen different models to get your music distributed and promoted these days as an independent act. Today’s industry is like the Wild Wild West. There’s no order to the madness, and it’s every band for themselves. Only the quality of your music truly matters.

H: Where did the name ‘Secret Service’ come from?

AG: Good question! I had a list of names I was debating. I wanted a name that was exclusive and meant quality. It was much better than the alternatives I came up with.

H: Who was the first band you worked with at Secret Service? How did they react when you approached them about joining a new company with only one employee?

AG: My first client at Secret Service was actually my former label, Epitaph Records. They helped me get off the ground and hired me to work with Thursday and Social Distortion. Outside of that, I also worked with Bowling For Soup and Rival Sons. The manager and label that had hired me for those were familiar with my work at Epitaph. I think my small roster and proven track record of results gave them the confidence that I could get the job done.

H: You’ve been a resident of the sunshine state for a number of years, but now that you are your own boss you could theoretically live anywhere you wanted. What keeps you in LA?

AG: What keeps me in LA is that I really couldn’t imagine living anywhere else. It’s a great place to run my business since most everyone I work with is located here, most of the bands I work with tour through here and there’s a lot of media that is based here. On a personal level, I love this city. It’s where I’ve met most all of my adult friends and have made a life for myself. I can also go to the beach, hike a mountain, go to the lake and go snowboarding most anytime I want. And don’t get me started on the weather…

H: Having found success in leaving home, would you encourage others hoping for a career in the music industry to head out west themselves?

AG: I think it depends on what you’re looking for and how far you’re willing to go for it. It takes a thick skin to be young and just starting out in the workforce here. It’s also a small industry where jobs are few and far between. If you’ve got the dream and have what it takes then I say come on. There’s nothing worse than looking back and saying “what if?”

H: There are a growing number of PR outlets popping up around the country run by aspiring PR stars. What is one common mistake you see people make when they’re just starting in publicity?

AG: Not to sound discouraging but, if you’re just starting out in publicity I wouldn’t advise opening up a PR company. You probably don’t have the experience, knowledge or relationships required to do the job right. A foundation of fundamental public relation skills is a must in order to be successful in your career. If you don’t know how to properly write a press release, don’t have a grasp on grammar, don’t have the ability to communicate in a clear and concise way or have existing media contacts then you probably shouldn’t start a PR company. I’m never one to knock someone else’s hustle, but I find it alarming when “publicists” without any experience or knowledge bamboozle bands into paying them for services that they can never deliver on. Start at the bottom, develop a great work ethic and the needed skills and you should find success later on.

H: In addition to working with signed bands at Secret Service, you have been known to help unsigned talent as well. What do you look for when seeking new talent, and where do you go to find it?

AG: The main thing I look for in new bands is purely talent. One of the benefits from running my own PR company is being able to work with whoever I want. If that’s the raddest band I’ve ever heard with only two friends on Facebook, so be it. If I believe in them, then I will fight for them to the end. I find a lot of bands through word of mouth, going to shows, through social media and even submissions by other industry people.

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

AG: With any publicist, I’d advise developing a good relationship with them. You’ll likely be working with them on various projects for a long time. Just because you don’t get that interview you were hoping for doesn’t mean it’s the end of the world. As a publicist it’s my job to decide what is in the best interest of my clients in terms of the media, and sometimes that means saying “no.” Don’t give up though, sometimes “no” just means not right now.

H: Piracy is one of the most discussed topic in the industry today. Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out?

AG: I think album leaks are preventable to a point. A good publicist will know who can be trusted and who can’t. Using a watermark service like Haulix gives me the piece-of-mind to send music to my trusted media contacts and while I know they won’t leak the music, I also know that I’m protected. Leaks happen from time to time and it’s unfortunate that one person would feel the need to derail months of hard work and setup, but that’s the reality we live in, in today’s digital age. You have to roll with the punches. In any case, once physical CDs are shipped from distributors to retailers albums inevitably leak. I think hiring a good publicist with experience and long-standing media relationships to be your gatekeeper is the best way to keep music safe and get the media attention you deserve.

H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?

I use Haulix to send music to press. It’s the easiest and most secure service I’ve used. It’s simple and straightforward and I know that if there is a leak that I can easily find out where it came from.

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

AG: That’s a tough one. We’re living in a time where it’s really difficult for bands/artists to make a living. The days of big advances, massive budgets and touring support are mostly a thing of the past. If I could change one thing it would be to find a revenue stream that works for musicians. That’ll be my next on my list to tackle. Also, I’d put a death nail in the CD. Its day is done.

H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?

AG: I’ve got some big plans on the horizon for 2014. I’m looking forward to the continued growth of my company and finding amazing new bands to work with. Right now though, I’m really excited about Balance and Composure’s new album coming in September. It’s ridiculously good!