James Moore's Blog, page 101

Bow Before The Boob Spew: An Interview with Vulvatron

It was Housecore Horror Film Festival, the sun was shining, the bands raging, and I sat in a room with the almighty Vulvatron of GWAR fame. I looked deep into her space alien eyes and gathered up every ounce of my courage and asked…

Vulvatron, how are you doing today?

I’m very hung over, yes. We played last night in New Orleans and I think I got voodooed a bit after the show.

Voodooed by who?

I think I voodooed myself on Bourbon Street.

So you haven’t yet come to grasp your earthly powers?

My powers are far greater than those that exist on Earth or rather how they are manifested on this planet. I am still adjusting to your primitive technologies and your “food and drink” as you say.

How do you nourish yourself in the year 69000?

It’s all intravenous. We have no need for sustenance imbibing through our mouths and things like this. It’s only for pleasure. The ethyl alcohol of the future is far superior, as is our crack cocaine. I have become fond of certain forms of your Earth alcohol. Your Earth crack is another story.

So you don’t smoke crack?

Oh yes I imbibe massive amounts of crack cocaine in an attempt to simulate the effects of the mastery of chemical engineering that is future crack. Unfortunately the Earth crack has a lot of negative side effects. I am attempting to warn GWAR about the terrible side effects of your Earth drugs.

Is that a result of the defeat of Oderus?

Well Oderus has not so much been defeated. I presume he’s making a right mess of things in my time right now. I was fiercely locked in battle with future forces when all of the sudden he dropped out of a wormhole and started making a mess of my war efforts and putting into action the ultimate and total destruction of the universe for humans and Scumdogians alike. The Scumdogian part is the part that concerns me, the human part, not so much.

So there are still humans in the year 69000?

Very much so unfortunately. Our Ebola efforts were pathetic and various other engineered viruses, plagues, and other fun ways of executing your kind failed. You’re much like cockroaches I think. You’ve survived several nuclear holocausts.

So we’re going to have several nuclear holocausts between now and 69000?

Oh yes.

Are you the engineer behind these?

I would not give myself that much credit, nor am I that old.

Now that you’ve been slaughtering people for a few months with GWAR, have you started to feel at ease with the other Scumdogs?

Well yes. We’ve sort of built a bit of camaraderie between us, mostly brought about by our mutual love of ethyl alcohol and crack. Sometimes we get in arguments either related to Blothars fondness of my mammaries, perhaps his inherent jealousy of the size of my udders, or whoever is taking the most fat chicks from the back stage which usually is me. I seem to be a magnet for the fat chicks. I keep voraciously hording them after shows and I remain sexually unsatisfied.

Why don’t you go for skinny chicks?

I’ve tried skinny chicks, fat chicks, skinny men, fat men, built men. All you humans… I have troubles lowering my sexual standards to your primitive notions of pleasure.

So what is pleasure like in the year 69000?

Well if you have an orgasm it usually lasts for several days, usually followed by a small supernova. However I’ve not been brought to that point yet by Earth people.

So if in 69000 your orgasms cause supernovas, doesn’t that destroy parts of the universe?

We have a star regeneration system in place. You could not understand it. All the stars are engineered by us, they’re simply flaming balls of gas. You can own them, they sync up to your bodily functions.

What do you think of your human slave?

My main slave Kim Keller is great. She makes all of my armor. She engineered a custom suit for this tour, the GWAR Eternal tour, it’s working out quite nicely. I think that even the earthlings are fond of it.

If you or another member of GWAR get’s sucked up into a wormhole or destroyed by other means, will GWAR continue?

I should hope I get sucked back into the wormhole and not stuck in this ancient pathetic time for much longer. Once my mission is complete I fully intend to get back into the future. GWAR will continue for many eons unless my mission on this tour is not successful and Mr. Perfect defeats us all, causing the total destruction of GWAR, Scumdogian history, and human life as we know it.

So your goal on this tour is simply to kill Mr. Perfect?

To alter the course of GWAR, the battle with Mr. Perfect, and the search for Oderus as a time traveller.

So your goal has shifted from the desire to kill all humans?

That still remains a constant goal yes, but we have more important goals than that. Humans are really a secondary concern to our own survival. It’s more of a pleasure we get, slaughtering humans. They seem to willingly present themselves for the slaughter in every city we arrive in. It’s not something we really need to concern ourselves with since they throw themselves at us wherever we go.

A lot of people have noted your ability to spew blood from your mammaries. At what age did you gain that ability?

That happens during puberty. It’s aligned with the moon and my own sexual excitement. When a female has a cycle and the moon is high, or annoyed, or hormonal, or sexually excited, it’s well known in my time that the female will gush blood from her mammary glands. This causes the male or female of the species, whichever preferred, great excitement. Your human race seems to have taken to this function well.

So for you that’s so regular it happens nightly?

My cycle is indeed nightly.

So other members of your race is it that frequent?

It depends on genetics and social class.

I want you to finish this sentence for me “I’ve never told this story before and probably shouldn’t but…”

I won’t finish that because I have nothing to reveal nor hide. Nothing you humans can pry in to, no crazy tour stories or anything.

Nothing to reveal nor hide, are you sure?

I do reveal my mammary glands on stage. I don’t know how much more I could reveal, there’s a good bit of my ass hanging out as well.

What drives you Vulvatron?

My biggest love is indeed chemical engineering. I spend most of my time fantasizing perfecting chemical formulas. I have my own signature series of drag racing oils, Vulvaline and I am working with a skilled chemical engineer on Earth here to perfect a crack formula to simulate the glory of future crack. I am working on a chemical formula for sexual excitement. I am not getting enough sexual satisfaction on earth and am thus getting very pent up. I suppose the nature of the stories of which you are prying would be something like the 20 or 30 person orgies that I have every night after the show. You Earth people find this primitive and shocking to your sensibilities. If you would like to hear about those you could perhaps bring yourself to a show and sacrifice yourself sexually to me after.

So why do you feel the need to use music to spread the message of the Scumdogs, and what do you love about that?

Well I do have several PhD’s in Intergalactic Musicology and I specialize in the primitive form of rock and roll from your time. I’m especially fond of Steely Dan. I suppose GWAR is the greatest rock and roll band of all time who wrote all of the rock and roll songs, remember all bands are merely cover bands of GWAR, so it is nice to sing the songs of GWAR and see the reactions of feeble humans night after night as they throw themselves and their money at us so that we might have more money to purchase drugs and alcohol.

Any final comments?

Bow before the boob spew!

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Bow Before The Boob Spew: An Interview with Vulvatron appeared first on Independent Music Promotions.

7 reasons why Reading and Leeds Festival 2015 will rock!

It’s one of the biggest festivals in the United Kingdom outside of Glastonbury, often regarded as the closer to the summer season of music weekenders in the country and always, ALWAYS has a diverse range of acts on show, yes, ladies and gentlemen, it’s Reading and Leeds festival and here’s why it will rule again in 2015…

1. Metallica…just Metallica

One of the world’s biggest bands without a doubt, ‘Tallica return to more familiar territory following the controversial showing at Glastonbury last year. No, the metal American band will play Reading & Leeds for a fourth time, when they top the bill in August, but what do a bunch of ageing Americans in shorts bring to such a festival. Well they are trailblazers, from a Hollywood film that’s not your typical concert film, to playing a gig in Antarctica, for which attendees listened through headphones to protect the environment, there’s always something up their sleeves. The sly way they had fans holding up Glastonbury ‘flags’ when they performed was their own way of embedding themselves within the culture. It’ll be interesting to see how they go down, performing at the festival for the first time in a number of years, and as we’ll see it’s a festival that’s much changed since their last appearance, but you can be sure the sheer power and energy these guys put forward every time they take to stage will see them heralded in all quarters.

2. Hip Hop and Rap are becoming very interesting at the festival

There was always some element of both hip hop and rap at R&L, but it’s really coming alive in 2015. Before we make it to the 1Xtra Stage, just look at the megastar on the Main Stage: KENDRICK LAMAR. Yes, the announcement came before he dropped his third LP, but Lamar is a true star and his set before the Libertines is my most anticipated of the weekend, for sure. Another major player in the genre, Tyler, the Creator, looks set to steal the NME stage, with a expletive-ridden set, while the aforementioned 1Xtra tent is a stunner this year, between Azealia Banks, A$AP Ferg and Krept & Konan, some of the hottest talent around right now is present. Throw in the Boy Better Know collective and grime legend Lethal Bizzle and at present it looks perfect for all, newcomers and established hip hop and rap fans. A sign that R&L is gradually diversifying for the better.

3. Exciting Comebacks

A more historic tradition is that of musical comebacks at the festival. In more recent times, the likes of Eminem, Fall Out Boy and blink-182 have marked returns to live music with gigs at the festival, but this year, there’s way more emphasis on ‘comeback kings’. For starters, the Libertines are back! The indie-rockers have been hitting the touring circuits for the past couple of years, but have confirmed a new album is on the way, and the headline slot at R&L looks the perfect place to showcase some of that new material. Now the boys might have grown up just a tad too, there should be no worries about a potential no-show. Fellow headliners Mumford & Sons have had less of a hiatus since their Glastonbury set in 2013, but nonetheless they’ve dropped the banjoes for their new album and again promise to debut some new material as they headline the festival for the first time. And alexisonfire are back too, having split in 2011, the hard-rockers are back, featuring on the Main Stage.

4. Secret Sets

Yet another tradition is the theme of secret sets. Every year there are rumours of secret gigs that aren’t listed on the line-up sheet, some years there are some, others there’s not, it’s all part of the fun! Some like 2012’s Reading exclusive Green Day set, preempt future headliners (the American pop-punkers went on to headline the following year), while others, see Jamie T last year are just fun blasts for those that happen to be in the right place at the right time. Reading tends to get these secret sets over Leeds, for whatever reason, but that won’t stop rampant rumours spreading like wildfire across both campsites as speculation becomes confirmation and the real deal is right infront of fans eyes!

5. The Setting

Another interesting thing is the diversity of the two sites. Leeds is situated in the Yorkshire countryside at Bramham Park, with acres of leafy greenery, being transformed into a mucky cesspit as close to 100,000 revellers descend upon the site. It’s a wonderful sight to see the transformation and operation that gets put into place every single year, that’s for sure. Reading, on the other hand, Richfield Avenue, is just a stone’s throw away from the city itself. Festival goers can gain access to the site on a ferry across the river, and even nip home for the night if they’re local to the area, such is its close proximity to the city itself. Both offer great options, one feels like you’re on a distant part of the planet for a weekend, while on the other you can stave off the dreaded threat of a whole weekend without a warm shower!

6. Newcomers and Breakout Acts

One of the best things about Reading and Leeds is catching hot new artists on the scene. Last year it was Royal Blood and Jungle, this year it’s Royal Blood again on a bigger scale. They’ve elevated to the Main Stage, third from top on the bill. Sure it’s an exaggerated slot, but one that the rock duo deserve given how their debut album shook up the business and brought in new fans to the genre. They’ve sold out various tours, and this slot could be anointing them to the high table of British rock. Alongside them are elevated slots for the likes of Catfish and the Bottlemen, Bastille and Bring Me the Horizon, but 2015’s hottest new acts are there too, no need to worry. Slaves, Years & Years and Circa Waves have hit the top of many critics list’s this year and by August all three debut LP’s should be out there, and the NME stage will see just how well they’ve gone down with fans. It’s an exciting thing to see a brand new band have a whole tent sing their hits back at them, that’s for sure.

7. The DJs are coming.. .

Alongside the new rap influences are a wave of DJs to the two sites, too. With the introduction of the 1Xtra tent, came the Radio 1 Dance tent in the same year (2013). At first the line-ups for both were pretty sparse and low-key, but ever since the inception of both, the growth of acts on each individual stage has grown immeasurably, and the influence has seen more and more infiltrate other stages, previously unheard of places for dance music to harbour a home. Look at this year’s Radio 1/NME tent, the line-up for this year sees arguably three acts that could be classed as ‘dance’ playing the final sets on each, Knife Party, Chase n Status collective Rebel Sound aswell as he of the famous mouse’s head Deadmau5. Throw in the likes of Gorgon City, Years & Years and Jamie XX and it’s pretty clear the genre is making its mark on the festival. More specialist acts like Hannah Wants, Porter Robinson and Hudson Mohawke will also appear on the Dance Stage, as the festival really aims to cater for dance music fans, interesting given that the festival shares its weekend with legendary dance festival Creamfields.

Been to Reading or Leeds in the past? What did you make of it? And how will this year’s festival go down in the history books? Comment below and let me know!

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post 7 reasons why Reading and Leeds Festival 2015 will rock! appeared first on Independent Music Promotions.

Persona and You – What Image Means To Indie Bands

What does image mean to indie bands? The notion of an artist having a ‘persona’ is an intricate one. If an artist is too advert about it, it can come off as self congratulatory and make them seem selfish or – even worse – out of touch, but if they fail to have a persona than many of their potential followers will have difficulty finding anything to connect to. If you look throughout the history of popular music, most of the enduring figures are the ones that people were able to connect to some sort of idea or movement. While this is often ideological, there are certainly other ways to get at it and to accentuate your role in whatever artistic community you might choose to ascribe to.

Here’s the germ got me thinking about this notion of having a persona: When you’re at a show talking to people, and you bring up a somewhat obscure band that have a main figure with a particular persona, or perhaps an overarching band ethos, how does the other person respond? Well, usually, even if they’ve only heard of the band they’ll probably say something like “Cynic? The band with that Buddhist dude – what’s his name now – Paul Masvidal? I’ve never really listened to their music, but what a smart guy!” Hell, that’s how most conversations how shows tend to start. People may say things like ‘It’s all about the music’ but they oftentimes need something else to latch on to to truly make a band memorable.

Think about it this way: There are a lot of perfectly good bands that don’t have a particular public persona some of whom are fairly popular, yet don’t seem to generate intrigue. When’s the last time you talked about the Strokes at a show for example? Part of the reason that a contemporary like Jack White has outlasted them is that he has always been able to drum up intrigue about his persona whereas the Strokes tried to cash in on the ‘rock and roll saviours’ gimmick that crops up once every couple of years (If your band is currently trying this please do yourselves a favor and stop). Jack White in his perpetual weirdness was able to touch on something more timeless and become an enduring figure – a true rock and roll savior.

Don’t think though that you need to become an enduring figure to be able to differentiate your band. A lot of acts who have managed to stay relevant for years on end have simply appropriated an existing ideology and used their music as a vehicle for that. Other artists have been able to stay relevant simply by creating a group identity that makes people remember them, at times simply reinvigorating an old concept into a modern context. An example of this would be One Direction – despite the reliance on Zayn to reach those high notes, the band is going to continue strong with their boy band image, for better or for worse. (A note from the writers 16 year old sister: Have you seen Harry Styles hair? The evolution is for the better.)

The fact of the matter is that most people want something to identify with, even if it’s something like the notion of anti-image as Morbid Angel pioneered in the late 80s. Don’t think though that this doesn’t work on a local level. For example, the Paris band Unscarred profited off of a singer who used her story of being an Iranian heavy metal exile to bolster her bands success. Sure, her story may be a bit extreme, but everyone has a story that they can use to help make their band a bit more iconoclastic and memorable. As Kevin Smith frequently says “Everyone has stories of shit that’s happened to them” and you can use these stories to help to market yourself.

While these may range from things like depression, to grander topics like political agendas, these are the things that help to make people remember bands. If you look at memorable figures from throughout history they all seem to have similar story arcs, arcs that reflect movies. If you want people to remember your backstory you have to pitch it in a way that they are familiar with. Though it may no feel like it there are definitely ways to keep your band honest and true to its beginnings, but also the universal subconscious. The way you present yourself is vital. If you want to know more about how great historical figures stories have been formulated so that people remember them I highly recommend you listen to the Shocking Ways Reality Is Based On Movies of the Cracked Podcast. You can easily be your own PR man, but so much of this relies on starting off with a memorable and exciting image that gives people something to relate too. The secret is to start with making sure that you fit everything significant that happens to you in a part of a broader narrative to facilitate the public perception of your art.

 

Examples of adding to ones narrative include Beyonce’s recent self titled record and Drakes If You’re Reading This It’s Too Late. Both of these records were used to help paint the artists as spontaneous and exciting, even if they’re both clearly products of modern pop culture. (Not that there’s anything wrong with that) While you might not have a surprise album to your credit, you can certainly plan a one off show with something to make it truly special, not just opening for a much bigger band. The first example that comes to mind would be seeing a handful of French local bands play a massive festival stage in front of a few hundred people in September of 2013. The bands who did well on that particular day became veritable legends in the scene and those pivotal performances were never forgotten. The bands who did poorly… well let’s just say fate was less kind. If you’re going to do something like that, make sure that you do it well because otherwise you could have a very hard time finding a gig in the aftermath.

There’s been a lot to take in with this article. It’s a hard thing to not violate ones artistic credibility and yet also pitch oneself in a way that remains memorable and exciting. Model yourself after your favorite bands, that’s what they did when they were unsigned and independent (Hell, knowing this blogs readership your favorite bands probably still are unsigned and independent) Know that as you continue to craft a narrative about your band people will be more able to connect you with different aspects that define your art. Having a persona is one of the most important aspects to being a successful artist in the modern context, and it will almost certainly be what brings you to the next level.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Persona and You – What Image Means To Indie Bands appeared first on Independent Music Promotions - Music PR for Music With Depth Worldwide.

Persona and You

The notion of an artist having a ‘persona’ is an intricate one. If an artist is too advert about it, it can come off as self congratulatory and make them seem selfish or – even worse – out of touch, but if they fail to have a persona than many of their potential followers will have difficulty finding anything to connect to. If you look throughout the history of popular music, most of the enduring figures are the ones that people were able to connect to some sort of idea or movement. While this is often ideological, there are certainly other ways to get at it and to accentuate your role in whatever artistic community you might choose to ascribe to.

Here’s the germ got me thinking about this notion of having a persona: When you’re at a show talking to people, and you bring up a somewhat obscure band that have a main figure with a particular persona, or perhaps an overarching band ethos, how does the other person respond? Well, usually, even if they’ve only heard of the band they’ll probably say something like “Cynic? The band with that Buddhist dude – what’s his name now – Paul Masvidal? I’ve never really listened to their music, but what a smart guy!” Hell, that’s how most conversations how shows tend to start. People may say things like ‘It’s all about the music’ but they oftentimes need something else to latch on to to truly make a band memorable.

Think about it this way: There are a lot of perfectly good bands that don’t have a particular public persona some of whom are fairly popular, yet don’t seem to generate intrigue. When’s the last time you talked about the Strokes at a show for example? Part of the reason that a contemporary like Jack White has outlasted them is that he has always been able to drum up intrigue about his persona whereas the Strokes tried to cash in on the ‘rock and roll saviours’ gimmick that crops up once every couple of years (If your band is currently trying this please do yourselves a favor and stop). Jack White in his perpetual weirdness was able to touch on something more timeless and become an enduring figure – a true rock and roll savior.

Don’t think though that you need to become an enduring figure to be able to differentiate your band. A lot of acts who have managed to stay relevant for years on end have simply appropriated an existing ideology and used their music as a vehicle for that. Other artists have been able to stay relevant simply by creating a group identity that makes people remember them, at times simply reinvigorating an old concept into a modern context. An example of this would be One Direction – despite the reliance on Zayn to reach those high notes, the band is going to continue strong with their boy band image, for better or for worse. (A note from the writers 16 year old sister: Have you seen Harry Styles hair? The evolution is for the better.)

The fact of the matter is that most people want something to identify with, even if it’s something like the notion of anti-image as Morbid Angel pioneered in the late 80s. Don’t think though that this doesn’t work on a local level. For example, the Paris band Unscarred profited off of a singer who used her story of being an Iranian heavy metal exile to bolster her bands success. Sure, her story may be a bit extreme, but everyone has a story that they can use to help make their band a bit more iconoclastic and memorable. As Kevin Smith frequently says “Everyone has stories of shit that’s happened to them” and you can use these stories to help to market yourself.

While these may range from things like depression, to grander topics like political agendas, these are the things that help to make people remember bands. If you look at memorable figures from throughout history they all seem to have similar story arcs, arcs that reflect movies. If you want people to remember your backstory you have to pitch it in a way that they are familiar with. Though it may no feel like it there are definitely ways to keep your band honest and true to its beginnings, but also the universal subconscious. The way you present yourself is vital. If you want to know more about how great historical figures stories have been formulated so that people remember them I highly recommend you listen to the Shocking Ways Reality Is Based On Movies of the Cracked Podcast. You can easily be your own PR man, but so much of this relies on starting off with a memorable and exciting image that gives people something to relate too. The secret is to start with making sure that you fit everything significant that happens to you in a part of a broader narrative to facilitate the public perception of your art.

 

Examples of adding to ones narrative include Beyonce’s recent self titled record and Drakes If You’re Reading This It’s Too Late. Both of these records were used to help paint the artists as spontaneous and exciting, even if they’re both clearly products of modern pop culture. (Not that there’s anything wrong with that) While you might not have a surprise album to your credit, you can certainly plan a one off show with something to make it truly special, not just opening for a much bigger band. The first example that comes to mind would be seeing a handful of French local bands play a massive festival stage in front of a few hundred people in September of 2013. The bands who did well on that particular day became veritable legends in the scene and those pivotal performances were never forgotten. The bands who did poorly… well let’s just say fate was less kind. If you’re going to do something like that, make sure that you do it well because otherwise you could have a very hard time finding a gig in the aftermath.

There’s been a lot to take in with this article. It’s a hard thing to not violate ones artistic credibility and yet also pitch oneself in a way that remains memorable and exciting. Model yourself after your favorite bands, that’s what they did when they were unsigned and independent (Hell, knowing this blogs readership your favorite bands probably still are unsigned and independent) Know that as you continue to craft a narrative about your band people will be more able to connect you with different aspects that define your art. Having a persona is one of the most important aspects to being a successful artist in the modern context, and it will almost certainly be what brings you to the next level.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Persona and You appeared first on Independent Music Promotions.

Y Not Festival, a UK festival on the rise

There’s a small festival in the heart of rural Derbyshire, England that is growing into something truly special. Y Not is said festival, a weekender that celebrates its 10th birthday this year and promises to be deliver diverse, exhilarating performances.

The line-up has always been fairly eclectic in Matlock, with past headliners including British grime sensation Dizzee Rascal and indie hero Frank Turner, but this year the stakes have just been made all that higher. Straight from California, Snoop Dogg will be playing, SNOOP DOGG! It’s a sign of the incredible growth that has been going on with the festival jumping from humble beginnings, playing to a few hundred in a disused quarry at its inception, to the sprawling site now which is growing in number every year.

Known as Snoop “Doggy” Dogg, Snoop Lion or plain old Snoop Dogg, the West coast rapper is a hip-hop legend and his hits such as ‘Gin and Juice’ and ‘Drop It Like it’s Hot’ are regarded as classics. Here’s hoping he brings the Californian sunshine with him for his Friday night set. Air guitars at the ready for cult 80’s band Primal Scream who will be performing hits such as ‘Moving on Up Now’ and ‘Country Girl’ to fans and crowds alike. Finally to top the bill of the Derbyshire bash are Basement Jaxx, a duo who have rocketed from their beginnings in the Brixton club scene to top charts internationally plus bag an acclaimed BRIT Award for Best Dance Act No doubt dancing shoes will be essential for this set.

Some indie, rock and pop legends in the form of ex-Smiths man Johnny Marr and Ocean Colour Scene are part of the support for the festival, which takes place on July 31st-August 2nd this year.

Marr comes to the festival fresh from receiving an NME award for ‘Godlike Genius’, and while he made his name with ‘The Smiths’ and to younger audiences as guitarist with ‘The Cribs’, his solo catalogue is bursting full of punchy tunes. Ocean Colour Scene themselves have been celebrating their 25th anniversairy, and will finish their summer at the festival. Such iconic acts as these would have been headlining a few years ago, but it’s a sign that the Y Not bandwagon is growing that they make up the supporting cast for the main stars.

But, as strange as it is to say, Y Not is not all about the musical talent on offer. No, the site delivers a true fun-filled theme with fairground rides and plenty of options for families with young kids, not to mention the beautiful part of the countryside it’s situated in. Then comes the award-winning food and beers, with local produce the aim and at cheaper prices than would usually be paid. And the toilets too are critically-acclaimed, so for those used to utter filthy festival toilets, have no fear, Y Not will have you covered!

There’s American representation between Florida’s ska-punk faves Less Than Jake, and New York act, indie trio We Are Scientists. Y Not favourites, Reverend & the Makers return after a few years away, while hard rock bands like Don Broco, Augustines and Young Guns add another element to the line-up.

Local Nottingham’s Indiana adds a tinge of electro-pop, with The Lancashire Hotpots bringing comedy folk to the stage. Japanese psychedelic act Bo Ningen, alt-R&B and ‘Game of Thrones’ actor Raleigh Ritchie, with Hacktivist adding their own brand of rap and metal to proceedings. Mancunian grunge band Nine Black Alps and Sheffield stars Rolo Tomassi keep things alive and kicking, while The Bohicas, rockers LTNT and Solemn Sun add more rock to the line-up. Blues singer Kim Churchill and the soulful Jake Isaacs add a softer touch to proceeders, while Zoax round off the latest line-up announcement with their brand of hardcore metal.

This is one of my favourite things about the festival, the diversity of it all, look at that range of genre and fresh and old talent. The quality of the Allotment and other stages is astounding and means there’s never any complaints that there’s ‘nothing good on’. Acoustic stars Saint Raymond and Nick Mulvey, rockers We Are the Ocean and Pulled Apart By Horses and BBC Sound of 2015 shortlisters, Slaves are also on the bill. That list alone would drag me to the festival but then Bombay Bicycle Club alumni Rae Morris, female duo Honeyblood, indie boys Gengahr, hard rockers Allusondrugs and King Pleasure & The Biscuit Boys round off that list to create a stunning line-up with more promised before the end of July.

So there you have it. For festival newbies or experienced veterans, for family fun or a laugh with mates, Y Not has everyone covered and will continue to provide a unique, unrivalled small festival feel- that is until it outgrows itself! One wishes for that day to never come, for the festival to maintain its vibes, but you cannot deny that is where this Derbyshire celebration of music, food and beer is going.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Y Not Festival, a UK festival on the rise appeared first on Independent Music Promotions.

The 7 Most Anticipated Albums of 2015

We’re already a quarter of the way through the year, where does the time go really?! More and more of the new material that has been promised by a bunch of musicians, some established, some fresh on the scene, is dropping. We’ve already had albums from the likes of Drake, Kendrick Lamar and Death Grips amongst others, but what is still on the horizon, what have we still got to look forward to in 2015?

Florence & the Machine- How Big, How Blue, How Beautiful

Florence is back with a relative bang. Another star whose had a quiet spell since her last release, the Londoner has returned, her haunting vocals hitting all the right notes as if it hasn’t been away at all. What Kind of Man came out of nowhere to kick off the campaign for How Big, How Blue, How Beautiful as the woman who most closely resembles the kind of concept album that Kate Bush was famed for decades ago, returned with a sombre, yet ultimately haunting first single back. While she may not be ascending to headliner status at Glastonbury just yet, it’s fairly clear a woman of Florence’s talent won’t be waiting too long for such an accolade to come her way.

Shamir- Ratchet

Shamir is an absolute star in the making. From his quirky music videos to the electro instrumentation and interesting, diverse vocals that often see the androgynous star confused for genders, the music seems fit for major radio success worldwide. For me it’s the catchiness of his work that has attracted me to his work, it’s not the most groundbreaking of work, but I like the humourous video such as the one below, and can see the music complimenting the warm summer months, similarly to Chance the Rapper, perfectly. Also, Shamir’s current image, a fun-loving, colourful popstar will work perfectly in 2015’s growing scene.

Blur- The Magic Whip

Some thought they’d never see the day when Brit-pop pioneers Blur would make it back to the big time. Sure the band have been active since their 2009 reunion, with a Glasto headline slot thrown in for good measure amongst a slew of festival shows around the world, but new material, was it ever a real possibility? Well it appears Damon, Alex, Graham and Dave have been wiling away many hours in Hong Kong of all places for the April release The Magic Whip. The Eastern influences are obvious with the cover art, a florescent ice cream cone looking as delicious as the opening few tracks that have been revealed to us. Go Out is a record that literally feels as if it is blowing away the cobwebs, while Lonesome Street allows Coxon to unleash some guitar-based goodness on us. It’s nothing mindblowingly different from what has been before for Blur, but for some that will be more than enough.

The Maccabees- TBA

These Brit indie rockers have taken some time out since 2012’s Given to the Wild, with this eagerly anticipated album having been started at the beginning of 2014 and been in production since then. Several songs are finished, there’s no title or release date set, so why the fuss? Well The Maccabees have recently returned to live performances, supporting titans Kasabian on their recent UK tour, and the material played was up to scratch. Whether it’s a strong indicator of the album or not is another mystery, but a part of me thinks that’s totally okay, for in 2015 so much is known about an album months prior to the release of the thing, with often the majority of its tracks able to be enjoyed. So for the mood, the tone, the name, the genre to still be determined for the Maccabees new record? Well that’s alright by me.

Sia- This is Acting

Aussie artist Sia has had an incredible couple of years. Her last release 1000 Forms of Fear was cobbled together to release her from a record contract, but the massive success of Elastic Heart and Chandelier, both singles from the record, led her to get a new release together, This is Acting. The pop sensation has been around for a considerable length of time, but has often taken to behind-the-scenes work, writing for the likes of Christina Aguilera, Beyonce and Rihanna among others, and the release of that last LP was with the intention of going back to writing. But alas her success finally catapulted her into the public eye, something she protests against with her ways of hiding her face, seriously Google it, it’s intriguing, but the next piece of music from this pioneer is definitely going to be worth waiting for.

Chance the Rapper- Surf

The follow-up to ‘mix tape’ Acid Rap, but technically the first full release of the young talented rapper’s burgeoning career, Surf is going to be one to watch. It’ll hopefully propel Chance from the relative unknown status he has tagged to him at the minute, into stardom ala a certain Mr Lamar. If his work with his live band, The Social Experiment is anything to go by, and the resulting clamour which surrounded the release of their cover of the Arthur theme tune (check it out below), is a promising reaction to this interesting new talent. Expect a summer release of sun-drenched, warm tunes that can only be listened to while kicking back in the sun, preferably with an ice-cold beverage.

Giorgio Moroder – TBA

King of the dancefloor Moroder maintains his revival this decade with his first LP release in donkeys years. And what a way to make a comeback. Pop staplemarks Kyle Minogue, Britney Spears, Sia and Charli XCX pepper the as-yet untitled album with collaborations the key here. From the massive influence the veteran Italian had on Daft Punk’s last record, it is clear to see the 74-year-old still has an ear for a hot beat and you can expect the slices with the aforementioned female stars to be filling the speakers of your local nightclub by summer, when the album is expected to be released to the masses.

So there you have it! Bands like Muse, Mumford & Sons and Of Monsters and Men also have new records, so let me know if there’s been a misstep in this list in the comments below.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post The 7 Most Anticipated Albums of 2015 appeared first on Independent Music Promotions.

Duality , Creativity, and Triumph with Downfall of Gaia

I remember the day I met Downfall of Gaia, it was the best day of my life but I was too drunk to realize it. Somehow within a twenty four hour period I was able to see my favorite bands, drink far too much and solidify lifelong friendships. For the uninitiated, behind the scenes at Hellfest is a gigantic party, they’ve got it all, drinks, drugs, women, anything you could possibly want. In the middle of it all, standing side stage of The Valley at Hellfest were a couple dudes who appeared to be in a band.

“What band are you in?”

“Downfall of Gaia,”

“I work for Hellfest, I need to interview you at some point”

“Cool. What’s your name?”

“I’m Matt”

“Nice to meet you Matt, I’m Mike”

We exchanged a few more words and eventually I sat down with Mike and Paul O’Neil (Then he was still in Conan) and drunkenly tried to reinvent the world of interviews with a double interview, discussing drumming and life in touring bands. Perhaps most notably I drunkenly threatened to rape O’Neil, not my finest moment, yet it speaks to the madness that surrounded the festival. My entire reality was called into question, yet these metal dude seemed to stand eternal.

The next day I saw Mike in the artist area. He squeezed my shoulder as he passed, in the company of two of the most beautiful women I have ever seen. He was kissing one and whispering what I presumed to be sweet nothings in her ear. I was a little bit stunned. Here was a man I wanted to be like. The heart of the party, and yet always sweet and incredibly intelligent, what did this guy have figured out? What strange reality had he been able to crack that gave him this type of profound understanding of others? After hanging out with him for a while now, I still haven’t been able to figure it out.

Perhaps it was fate then that later that night we would learn that he grew up in the town over from my mother and that I would also hit it off with the bands bassist, Tony. It was then that I started to realize the unique set up of this band. Mike Kadnar, lives in New York, yet the rest of the band live in Germany. It’s a strange set up, but it works. Perhaps that’s part of what made their new record Thrones of Decay so god damn fascinating, the sense of opposition gives it a wonderful sense of drama. The drumming is a highlight if nothing else.

As Paul O’Neil said to me that night over a pitcher of cider “Sometimes you meet people on the road you just hit it off with,” and while he is certainly among their number, so is Downfall of Gaia.

Yet all good things come to an end, Hellfest was soon over, I moved to America and Downfall of Gaia continued their tour. I added them on Facebook, got Mikes number, but didn’t know what would happen next. Hell, I barely spun their record, it was damn good, but for some reason it passed largely unnoticed. I knew I really liked these guys, but I had no clue what was to happen with them.

Then they announced a US tour. They would be playing two shows near me and I offered to let them stay at my parents house. What better way to really get inside the hearts and minds of the worlds premier post-metal band? In any case, they were all great guys, what did I have to lose?

In the weeks leading up to their Philly show I had an idea. We booked a show at a punk house with my own band, a few other locals and Downfall of Gaia playing as Thrones of Decay. Their willingness to play showed me how dedicated to the underground these guys are. Sure it was a show in a tiny basement for 30 people but they still gave their all. They were inspiring, powerful and dramatic. There was a sense of bombast here that immediately captured my imagination. While I had caught maybe half a song while drunk off my ass at Hellfest, this was something different, this was transcendent. Downfall of Gaia are turned on to a pure type of misery, a eternal darkness that is in fact rather sublime.

There is a clear sense of romanticism in the bands sound. The music is highly personal and a little bit abstract. Yet within that there is also a clear sense of beauty. Upon listening to them my mother said to me “These guys are really good, I can’t listen to them, but I can tell they’re really good.” Downfall of Gaia don’t need to be embraced by all for their mastery to be apparent. Their unique soundscapes have forged a unique musical path for the band.

After their first real show of the tour that night in Philly we drove for two hours through a snow storm to get to my parents house. Swigging bourbon and trading stories as Michaels brother, Tommy, who was doing merch for the tour, drove the van, it was hard to reconcile this side of the band with what I had just seen. At times these dudes are closed off, rather introverted, and yet also very wise. The dynamic of the friendly and vivacious Kadnar as compared to the quieter Germans was interesting to see and I think it’s part of what gives the group so much flavor.

Not a lot of mothers would be okay with a bunch of smelly metal dudes showing up at their homes at two in the morning, but my mother is not most mothers. It was strange to see this band I loved so much eating soup served by my doting mother in my family’s dining room. I haven’t lived with my parents for months so this was a fairly strange environment for me as well. Once more though I could see the strange relationship between the Germans and the Kadnars, while Dom, Tony, and Peter are vegetarians, the Kadnars seem to be anything but. Yet, despite silly little dualities like these (and some more apparent ones) there is no tension, instead there is a sense of balance that gives the band a peaceful vibe. As we sat drinking tea I reflected upon this, and so the my first day with Downfall of Gaia came to an end.

There’s nothing quite like waking up to the drummer of one of our favorite bands cooking toast with your mother. There’s also nothing quite like a band you love planning their next few tours in your kitchen over cinnamon rolls. In other words, the entire day passed quickly and was more than a little surreal. I talked with Tony about German black metal, the man is something of a freak. He is incredibly sweet, huggable even, and yet his obsession with the music borders on insane, I love it. He is a truly fascinating figure and I get the sense that there is far more to him than meets the eye.

After spending most of the day in my house, hanging out and playing metal-themed Flash games (namely Zombie Grinder 60000 and Flap Kvlt Fenriz) it was time to go out to the next show, this time in Wilmington. We all loaded into the van and arrived at the venue nearly three hours before the doors opened to the public. Much of the night was spent waiting, be it for the show to even start (Although I did get to meet a stripper in the interim) but later on just to get through the four fucking opening bands, all of whom played 30-45 minute sets. This is the kind of thing that makes me hate extreme metal. When triumphant headliners are forced to go on after midnight because mediocre locals took too long to perform. Nights like this you have to just say fuck it, at least we got to play pool.

I also had a chance to really get to talking with Dom, the bands singer, and Peter the lead guitarist. Dom seemed frustrated by the limitations he felt in America, be it with the language, or with his minor mistakes he made live. He seems to be ever the perfectionist pushing the band to new heights, in a way I shouldn’t be surprised that the foundation of this band started with projects he and Tony had formed as youths. Peter is a singularly interesting human being.. At times aloof he seems almost to smart for this world. His interactions seem kindhearted but also strangely reserved. Perhaps it is the German ethos, yet there is a sense of something else, something that clearly inspires the music and helps to make it so cerebral and engaging. It’s through conversations like these though that you start to see the cogs behind a band and understand how the magic of these acts come together to evidence a more profound reality.

When Downfall of Gaia took the stage it was the first time I would ever see them with a real soundman and also completely sober. Suffice to say I was blown away. These guys have a sound that is in many ways cosmic. Every layer is perfectly set up to create the ultimate sonic experience, to capture the listener and guide them to the freedom of better days. There is a sense of golden triumph in these songs, in the way they blend together and in how their samples wash over us, it functions as proof of the stunning beauty of the band. The atmospheric guitars and strangely comforting shrieks come forth to provide a bleak reprieve from the struggles of daily life. As the band moves towards the triumphant conclusion of their set you get a sense for the inherent drama of the music. The romanticism of Downfall of Gaia is hard to describe, it speaks to a much more poignant truth and quintessentially human values.

As the night wound down and we loaded out I realized that along with that intimate crowd (who bout a shocking amount of merch) I had gotten to see something truly special, a band who opened their hearts to the trials and tribulations of our age showing us the glorious might that black metal can have. The guys in Downfall of Gaia are turned on to a much more profound layer of reality and they will charm you with their frankly magical sound. Downfall of Gaia get the eternal power of metal music, yet what they do seems to transcend even that. As they left my parents house the next day, full of smiles, handshakes and hugs, I realized that I had been exposed to something far greater than myself, a sort of profound new world where metal rules, but also the beauty of duality, opposition, and romanticism are honored. Downfall of Gaia are looking to a brave new future confident and bold, with a sound that could change the world.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Duality , Creativity, and Triumph with Downfall of Gaia appeared first on Independent Music Promotions.

Top 7 Songs of 2015 So Far

As a three months for music, 2015 has contributed lots to the zeitgeist; between Kanye ‘jokingly’ attempting to take Beck’s Grammy from him, to Kanye’s Brit Awards performance being heavily censored and Kanye’s…you get the picture. While the infamous rapper might just feature on this mini-countdown (I’ll keep you in suspense for just a little bit longer), here is my take on the best of the past three months in music.

1. Kendrick Lamar- The Blacker the Berry

The only man who may be able to rise above Kanye in terms of ability and talent in the rap world, could just be Kendrick Lamar. With his release of single ‘i’ at the backend of 2014, he quickly followed up with another choice cut from recently dropped album, ‘To Pimp A Butterfly’, which is an intriguing record in itself. This leads us to ‘The Blacker the Berry’, a deliciously twisted beat and rap thrown together to create a visceral track that shows us Kendrick’s sheer strength in his lyrics and the diverse nature of that voice. It may not be the best song on the album, but that LP is in early contention for record of the year, such is its early impact on me. When Kendrick really lets loose over the growing beat, that is when things really kick in and this song really explodes.

2. Prodigy- Nasty

Sure this is tried and tested ground for the Prodigy, ‘Nasty’ is not exactly an innovative record for the pioneers, but it is a return that blew the cobwebs out for the Brits. It’s the first of a few tracks that have been released from their upcoming record, and probably the best. It’s straightforward, to the point and the refrain is probably uttered at least 40-odd times. If you don’t like the Prodigy, don’t expect that to change, but as a way to wake up the music scene of 2015, it’s almost oddly refreshing to hear a track that wouldn’t have been out of place in the acid-rave prime the band were in, in the 1990’s.

3. Swim Deep- To My Brother

This psychedelic return to form for the Brummies is sorely underrated in my opinion. Let’s go back to 2013, Swim Deep were riding on a wave of hype as each sun-soaked single taken from their eagerly anticipated debut album built and built an unreasonable level of expectation. Of course the fully-fledged album didn’t entirely deliver, but there were seeds of growth. After some time away touring the thing, the band have emerged from the studio, their indie-rock sound taking on a more nurtured, dancy edge to it, again reminiscent of bands like the Happy Mondays from the late 80’s, early 90’s period. It’s a happy, bouncy tune that fails to put a smile on even the biggest sour-face around. The instrumentation is crisp and perfectly produced, and all in all, it makes me excited to hear more from Swim Deep again- and that can only be a good thing!

4. Will Butler- What I Want

A man of many talents, Will Butler takes time away from his Arcade Fire ventures to give it a go on his own. What emerges is a record of raw Arcade Fire tunes, with ‘What I Want’ a perfect four-minute slice of fast-fire rocky-pop, with a delectable backing vocal that is immeasurably catchy. Will himself sounds eerily reminiscent of his brother, Win, lead vocalist of Arcade Fire, but it’s his own voice, for sure. The middle of the song itself sees a Fire-esque breakdown, with everything getting a bit manic for the best part of a minute or so, it’s a riotous clash of sound, and while Will may find it hard to escape comparison to his ‘other band’ the record on the whole is a bit like a spin-off from the successful band’s sound, while managing to find success in it’s own right. Check out ‘Policy’.

5. Slaves- Feed the Mantaray

Slaves are on the breakthrough to something big, with this record. ‘Feed the Mantaray’ features the band’s two exciting, hilarious duo in their own 90’s spoof video. Beginning with the slackers-on-sofa routine, before developing i into a fully-fledged part shoddily animated music video with the titular mantaray. The video itself is worthy of a place on this list, but the song itself is their most catchy ditty to date. Having seen the band live a year or so ago, I feared for their drummer-shouty vocals-guitar combination, but this song allies any fears I had. The vocals are actually vocals and work incredibly well between the ever-present riff and high-pitched backing vocals. I hope Slaves gain attention because of this, because it’s so fun, bouncy and downright brilliant to not be noticed.

6. Leon Bridges- Coming Home

If you feel like this list is lacking a relaxed tone, then prepare for New Orleans’ very own Leon Bridges, the soulful American has a fantastic voice. Fantastic doesn’t quite do it justice, for the 25-year-old’s soothing vocals have so much range, the ability to soar and be understated at the same time, it’s truly magical. The song itself doesn’t feel as though it should belong in 2015, with shades of decades gone by, but you don’t find yourself questioning the song’s age, just enjoying its sheer class and quality. What is apparent is that if there’s any justice, Bridges should be about to take off into the stratosphere with this tune, it’s appeal is unnervingly large and I personally cannot stop pushing play.

7. Kanye West- All Day

I told you a certain Mr West might have something to do with this list! And let it be said that this is entirely on merit. Technically his second collaboration with a Beatle this year, Kanye has shot back into the limelight with ‘All Day’. It’s a dark, dark tune, that has disturbing lyrics, and was the aforementioned heavily censored tune at this year’s Brit Awards. However, strip it back to the basics, and this sees the nasal-toned rapper at his best, tackling the issues that are dominant in the media to date. It’s a very current tune, and you really couldn’t think of  a better, more prominent man to tackle said topics. While some may forget of his sheer talent, note talent not class (!), it’s with releases like this that Kanye should be a noted entity in the music world, it’s with releases like this that got Kanye a headline slot at Glastonbury this summer, and it’s with releases like this that will see Kanye remain with us for a very long time.

So there you have it, agree, disagree or just don’t care? Comment below!

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Top 7 Songs of 2015 So Far appeared first on Independent Music Promotions.

Entitlement and Independent Music

Entitlement. Now there’s a scary word that a lot of people, not just musicians, don’t like to think about too much. For a generation born to free content and instant gratification it’s sometimes hard to consider a world where one might have to wait and work to achieve ones goals. Now, I’m not trying to rant at you, and I’m not trying to say that this generation is fucked. I get it, I’m 19, I’m part of the new generation of music fans. There is a world out there that is going to take some getting used too, and some of the entitlement we’re dealing with comes from older fans too, people who think we still live in a world where we buy music and record labels should give out massive bonuses (Which were demented in the first place). Trying to tackle entitlement from all angles is too large for the scope of this article, I just want to address a few key notions that need to be dispelled in a world that is far too kind on the surface, and far too cruel beneath.

Here’s the thing, there is no escape from entitlement. Everyone will feel entitled to something at some point. That’s definitely valid, and to some degree society wouldn’t function without everyone having a sense of entitlement. For example, people in the USA feel entitled to clean water. Sadly it’s not a reality throughout the country, but it’s probably something that every individual, regardless of where they are from should feel entitled to. In the music industry basic entitlement relates to things like ‘people not touching you while you play’ and… well that should be about it. Hell, in some genres even that hardly applies. At hardcore shows, musicians are sometimes shocked if people don’t tear the mic from the singer and guitarists aren’t bumped into while fans stage dive.

Perhaps that’s what fascinates so many people with hardcore. Even at the highest levels the sense of entitlement is pretty minimal. It’s only really the genres absolute biggest bands, groups like Hatebreed who have any degree of separation from the fans and that’s after years, if not decades of hard work. As a starting point, if you feel frustrated with your band, I encourage you to go to a hardcore show and watch some crappy local bands give their all in front of thirty people as they get roughed up and pounded.

Now, I’m not trying to glorify hardcore, there are definitely major flaws in the genre, and entitlement finds its way in in different ways. One thing that pisses me off to no end with the genre is that bands with no real audience, no press, and no real plan who will go out on month long tours just to ‘get the word out’. That’s a problem with a lot of music, but I feel that it’s a bit more of an issue with hardcore, largely because there is often very little to differentiate one band from another. Yet perhaps this is the perfect segue into one of the biggest lessons a band has to learn, one taken from my good friend Nathan Carson of Nanotear Booking and the band Witch Mountain: Don’t tour nationally if you can’t reliably draw at least 50 people at home.

That might sound like a lot. But guess what, if you can’t get 50 of your friends and neighbors to give a fuck about your band, you’re probably not going to get anybody anywhere else in the country interested, you don’t deserve that glory. Now, there are definitely exceptions. If a big band asks you to tour with them, then take that offer, if your band is originally from somewhere else, or you have a member who has a following from somewhere else, then maybe going out and playing there is worth it. Yet asides from those types of circumstances, you’re going to have to be pretty damn lucky if you want a national tour where you don’t eat shit every night.

Another key point is that many independent bands expect to be paid for their art and get a lot of things, like hosting, advertisements, radio spots and the like for free. The fact of the matter is that people don’t owe you shit. They don’t even need to listen to your music or watch your set. Yes it sucks that people don’t listen to independent music these days. And yes it sucks that producers cost so much, and adding all that on top of the eight million others costs of being in a band is extremely frustrating. However I think it’s time for a second maxim: Nobody likes a band who think that things should be free and they deserve peoples attention. If your band is good enough and you work hard at getting your music out to enough promoters and media folks then you might have a chance. In an industry defined by disappointment all you can do is try, try, and try again.

Now, I know I might be sounding awful jaded right now. It’s true that once you’ve been in this industry for a while you start to see how much things can suck. Yet, for me at least it’s all worth it. I’m getting towards a third maxim, but I want to take a minute to remind you, if you’re reading this, it’s probably because you love music, or you’re my mother (Hi!) I will say that with enough hard work, things generally pay off in this industry. You just have to be willing to put in your 10,000 hours and prove that you have the relentless dedication that it takes to succeed.

The final maxim on entitlement I’d like to give is something that I try to let guide me through life no matter what I do. It was given to me by the modern buddha Timber Hawkeye. No matter what you do in the music industry Be Grateful. Remember if nothing else you got a gig, at least one or two people are clicking on your music, and maybe your girlfriend loves it. The music industry is brutal, but you already know that, and I know you know that. I just want you to remember that if you are perpetually grateful and try to be content whatever the circumstances, then at the end of the day, your enjoyment of your art will increase manifold and many more people will want to work with you.

See, the thing that I think has helped me the most in my walk through the music industry has been endless enthusiasm and having a good heart. The people who hold the keys to the kingdom have hundreds if not thousands of people come up to them asking to be let in, yet it is only those who have actually done something (and continue to do things), maintain their morals, a kind heart and genuine love for the music that seem to get in. Sure you can probably take shortcuts and stab people in the back, but at the end of the day, don’t you want success in the music industry and the ability to retain your humanity?

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Entitlement and Independent Music appeared first on Independent Music Promotions.

Entitlement. Now there’s a scary word that a lot of peopl...

Entitlement. Now there’s a scary word that a lot of people, not just musicians, don’t like to think about too much. For a generation born to free content and instant gratification it’s sometimes hard to consider a world where one might have to wait and work to achieve ones goals. Now, I’m not trying to rant at you, and I’m not trying to say that this generation is fucked. I get it, I’m 19, I’m part of the new generation of music fans. There is a world out there that is going to take some getting used too, and some of the entitlement we’re dealing with comes from older fans too, people who think we still live in a world where we buy music and record labels should give out massive bonuses (Which were demented in the first place). Trying to tackle entitlement from all angles is too large for the scope of this article, I just want to address a few key notions that need to be dispelled in a world that is far too kind on the surface, and far too cruel beneath.

Here’s the thing, there is no escape from entitlement. Everyone will feel entitled to something at some point. That’s definitely valid, and to some degree society wouldn’t function without everyone having a sense of entitlement. For example, people in the USA feel entitled to clean water. Sadly it’s not a reality throughout the country, but it’s probably something that every individual, regardless of where they are from should feel entitled to. In the music industry basic entitlement relates to things like ‘people not touching you while you play’ and… well that should be about it. Hell, in some genres even that hardly applies. At hardcore shows, musicians are sometimes shocked if people don’t tear the mic from the singer and guitarists aren’t bumped into while fans stage dive.

Perhaps that’s what fascinates so many people with hardcore. Even at the highest levels the sense of entitlement is pretty minimal. It’s only really the genres absolute biggest bands, groups like Hatebreed who have any degree of separation from the fans and that’s after years, if not decades of hard work. As a starting point, if you feel frustrated with your band, I encourage you to go to a hardcore show and watch some crappy local bands give their all in front of thirty people as they get roughed up and pounded.

Now, I’m not trying to glorify hardcore, there are definitely major flaws in the genre, and entitlement finds its way in in different ways. One thing that pisses me off to no end with the genre is that bands with no real audience, no press, and no real plan who will go out on month long tours just to ‘get the word out’. That’s a problem with a lot of music, but I feel that it’s a bit more of an issue with hardcore, largely because there is often very little to differentiate one band from another. Yet perhaps this is the perfect segue into one of the biggest lessons a band has to learn, one taken from my good friend Nathan Carson of Nanotear Booking and the band Witch Mountain: Don’t tour nationally if you can’t reliably draw at least 50 people at home.

That might sound like a lot. But guess what, if you can’t get 50 of your friends and neighbors to give a fuck about your band, you’re probably not going to get anybody anywhere else in the country interested, you don’t deserve that glory. Now, there are definitely exceptions. If a big band asks you to tour with them, then take that offer, if your band is originally from somewhere else, or you have a member who has a following from somewhere else, then maybe going out and playing there is worth it. Yet asides from those types of circumstances, you’re going to have to be pretty damn lucky if you want a national tour where you don’t eat shit every night.

Another key point is that many independent bands expect to be paid for their art and get a lot of things, like hosting, advertisements, radio spots and the like for free. The fact of the matter is that people don’t owe you shit. They don’t even need to listen to your music or watch your set. Yes it sucks that people don’t listen to independent music these days. And yes it sucks that producers cost so much, and adding all that on top of the eight million others costs of being in a band is extremely frustrating. However I think it’s time for a second maxim: Nobody likes a band who think that things should be free and they deserve peoples attention. If your band is good enough and you work hard at getting your music out to enough promoters and media folks then you might have a chance. In an industry defined by disappointment all you can do is try, try, and try again.

Now, I know I might be sounding awful jaded right now. It’s true that once you’ve been in this industry for a while you start to see how much things can suck. Yet, for me at least it’s all worth it. I’m getting towards a third maxim, but I want to take a minute to remind you, if you’re reading this, it’s probably because you love music, or you’re my mother (Hi!) I will say that with enough hard work, things generally pay off in this industry. You just have to be willing to put in your 10,000 hours and prove that you have the relentless dedication that it takes to succeed.

The final maxim on entitlement I’d like to give is something that I try to let guide me through life no matter what I do. It was given to me by the modern buddha Timber Hawkeye. No matter what you do in the music industry Be Grateful. Remember if nothing else you got a gig, at least one or two people are clicking on your music, and maybe your girlfriend loves it. The music industry is brutal, but you already know that, and I know you know that. I just want you to remember that if you are perpetually grateful and try to be content whatever the circumstances, then at the end of the day, your enjoyment of your art will increase manifold and many more people will want to work with you.

See, the thing that I think has helped me the most in my walk through the music industry has been endless enthusiasm and having a good heart. The people who hold the keys to the kingdom have hundreds if not thousands of people come up to them asking to be let in, yet it is only those who have actually done something (and continue to do things), maintain their morals, a kind heart and genuine love for the music that seem to get in. Sure you can probably take shortcuts and stab people in the back, but at the end of the day, don’t you want success in the music industry and the ability to retain your humanity?

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