James Moore's Blog, page 102

Jordannah Elizabeth on A Rush

Jordannah Elizabeth is one of the most innovative and exciting artists in the scene today. Her music never fails to please with its atmospheric and deeply emotional tones. There is something rather profound about her writing style, such that it captures the imagination of young music geeks like me.  In the interview we talk about her new record A Rush and the power behind the music. Out on The Process Records A Rush just came out on February 17th, so get into the groove while its still fresh. You know you want to find out more!

So Bring To The Table came out back in July and you already have another album out! How do you manage to get stuff together and ready to be released so quickly? 

I didn’t realize how fast the turn around was until people kept saying that. I mean, I’ve done four  albums since 2012. Look them up, North Charles Sessions, Harvest Time, Bring to the Table and A Rush not to mention something like 40 bsides, duets and demos, and previous music projects. 

I’ve been traveling and playing shows since 2004.  People are just noticing now and commenting that I work “fast” or “a lot”. It is a blessing to be noticed, but I had to do all that to get to where I am now. Will I slow down? Yes, but slowing down for me is probably still a fast pace for some. When I buy a house and am able to connect with a good man and have a family, I will slow down. Until then, I am committed to my art and my writing. The benefits will come one day. I am already living better than I used to and am very thankful for that. 

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This seems to be a continuation on Bring To The Table, how do you feel that A Rush is an evolution on that record? 

A number of people have said that A Rush is an evolution or a new level of Bring to the Table as well. I think that is a perception that I am happy to hear, but I honestly just set out to make an honest record.  I give myself to my albums and I let them evolve organically. I didn’t push this one. I went with the flow, I let go of some of  my creative control and shared my artistic vision with others.   

My albums are connected and I guess evolve from one album to another in some ways because they are from the same source. As I evolve, the music evolves. 
 
What direction do you see your music developing in in the future? 

I think the music will be thick and atmospheric. Tiny seeds are bring sown, but I’m not saying much more than that right now. 
 

There are a variety of lyrical topics covered on the record, was there any central focus you tried to have? 

This album captures a time of protest in my culture’s political climate, a time of love and a time of loss in my personal life. It’s an art piece. I’m a solid songwriter, because I’ve been doing it for a long time, but this album really came from my imagination and from complex experiences that are a bit too hard for me to explain in conversation. The central focus was my heart.  

Your music tends to be pretty “out there” yet not inaccessible. Do you think it could have some sort of mainstream success? 

Well, I’m an out there woman who easily connects with people. I am an artist. I have creative ideas and a creative way of going about things…but I am grounded at this point in my life. I feel grounded. You can be unique and “out there” and still be sober, responsible, communicative and trustworthy. Not all artists are flakes. 

With that said, I have signed with a manager and work hard to be able to reach as many people as possible. If the majority of this country or the world enjoys my music, that would be a great blessing. 
 

You are obviously very busy outside of your music with your journalism. How does your experience as a writer affect your music? 

My writing opens doors for me. I have something to offer the music industry. I think musicians should give back to their community in some way. Whether it be volunteering to teach music lessons, mentor or intern at a label or promotions company (and become professional in a different aspect of the music field), we should learn the ins and outs of our industry so we can become more poised and professional artists. It’s not cheating, it’s participating in a field we want to invest in us. What goes around comes around. 
 
I noticed you have some pretty nifty tattoos, could you explain what they mean to you? 

Initially, I wanted to have a bunch of tattoos so I could grow old and be an old lady with a bunch of tatts. I was teenager that thought it would be funny and awkward looking. My sense of humor was like that then- I liked to subtly play on people’s perception of how things should be. That’s what artists do. 

Now I don’t think about my tatts much. They are just a part of my body like my arm hair and my ear lobes. To me, they mean I made a choice to express myself in a nonverbal way by having ink embedded into my skin. I like how it feels. You have to be brave to get tatts. I guess there are times when I want to challenge myself physically. The symbols – they have stories, maybe I will tell them one day.  

 

You have a pretty distinct visual aesthetic to compliment the music, what inspires that? 

The album cover? It’s a black and white photo of a human heart. My music comes from my heart. I give myself to it and I don’t ever want my music to be misconstrued to be a product or as a ploy for people to act like I’m anything but a committed musician, songwriter and spiritual being. While I am on this Earth, my heart will beat. It’s just a symbol telling listeners, potential entourages, lovers, collaborators and close friends to not get my message, motives and methods twisted. It comes from an honest and real place. 
 
To head towards the end now, I want you to finish this sentence for me, “I’ve never told this story before and probably shouldn’t but…“ 

I missed attending The Black Ryder album release show last night and I wish with everything in me I could have made it. 
 

Any final comments? 

Love on another. When someone next to you falls down, pick them up. You never know where your life will take you and who you will need. Consider fellow artists, buy albums, support kickstarters and indiegogos, buy tickets to shows, ect and so forth...and I love you, 

 

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 Jordannah Elizabeth on A Rush appeared first on Independent Music Promotions.

Exclusive Excerpt From “Make Them Beg To Buy Your Music”

The following post is an exclusive excerpt from Nathaniel Omari Moore (Omari MC)’s new music promotion book “Make Them Beg To Buy Your Music“.

I was selling my music on a site called SoundClick when I first started producing. I was good at networking on the site, and it led to me getting a solid amount of money and exposure from people hearing my work.

The key to networking successfully on any social or music site is to show an interest in what others are doing before yourself. Musicians love to talk about themselves. You’ll see what I mean if you go look at Twitter. Everyday there’s people trying to get me (and probably you) to listen to their music, but they never take any interest in what I do. The common mistake I see artists do is say, “Hey, what do you do? I make music. Check out my page.” This isn’t an effective way of communication.

If you want to get someone to listen to and buy your music, you have to break in the conversation in a different light. Show that you care about your listener by showing in an interest in what they like. Read a couple of their tweets and make comments, or if they’re another musician, make a specific comment about one of their songs. After you’ve shown an interest in their music, then you can ask them to listen to yours. The law of reciprocity. That’s how you network correctly.

At one point I was even paying my rent and bills from all the money I was making through SoundClick alone. I thought I had it made and could just coast. All I had to do was keep networking on the site, and my career was safe, but then something changed.

SoundClick decided to get greedy. They had a chart system, and they knew if they charged people to be on top of the charts they’d make a boat load of money. Pretty good business structure right? I had millions of listens on my SoundClick site and was rolling in the dough from people buying my instrumentals, but it all came crashing down when SoundClick changed their algorithm. I could either pay a bunch of money to be on the top of the charts, or I could figure out a different way to market my music so that I could see a better return on my investment.

I chose the latter. It’s not wise to put all your eggs in someone else’s basket. Remember MySpace? It completely tanked when it was one of the biggest sites in the world. Be careful of posting all your material on SoundCloud or ReverbNation. Whenever the ship changes you’ll have to pick up anchor and move elsewhere.

Imagine that you amassed millions of plays like me on SoundClick, and all of a sudden they change their chart system.

What would you do?

You can’t do anything because YOU don’t control the site.

You would lose profit and everything you worked so hard to build up.

I’m saying this from personal experience. Moving to your own website where you control the tempo is one of the best moves you can make for your music career.

Why?

Because you’re in control of your business. You run the design and control the layout. You don’t have to worry about someone else’s rules on your music. You do whatever you want to do. (Run promotions, keep more profit, monetize your site, etc.)

Now I’m not saying delete your SoundCloud or ReverbNation, but I am saying you need to start transferring listeners to a personal site where you control the flow.

The key is to have your other music sites available, but have the freedom of doing what you want on your personal site (e.g. Fans signing up to your mailing list, or upselling your listeners with box sets like I mentioned before).

See what I mean?

If all you have set up is a SoundCloud page, then you are missing out on a TON of revenue.

Just as an aside, the mailing list on ReverbNation isn’t all that good. Having a more professional one like MailChimp can do so much more for your music career. The emails looks more polished, and the functionality is more advanced. Also, if ReverbNation tanks so does their mailing list.

Take control of your music career. You’ve only got one.

Nathaniel Omari Moore (Omari MC) is an independent music producer and consultant. Originally from Pittsburgh, PA, he is self-taught and currently has made over 500 instrumentals to date. Nathaniel specializes in Hip-Hop, R&B, and Pop production, but has also incorporated elements of many different styles into his work. His websites have received over 4.1 million plays to date, and most of his music can be found online at www.omarimc.com

Nathaniel has worked with VH1, North Music Group Publishing, Engine Room Audio in Manhattan, and also thousands of artists and producers. He has helped up and comers like Tito Lopez enhance their talent and opportunities (Tito Lopez was crowned, “The Voice of the Underdog”, by Dr. Dre). He began consulting in 2014 and has accrued experience in helping over 4,000 artists, producers, and DJ’s learn advanced marketing methods for their music career. His Artist Help blog can be found at www.omarimc.com/blog.

 

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 Exclusive Excerpt From “Make Them Beg To Buy Your Music” appeared first on Independent Music Promotions.

Father John Misty comes classic with second album

“That’s how you live free,” Josh Tillman sings on the song “When You’re Smiling And Astride Me.” “Truly see and be seen.”

The song, off the second Father John Misty album, I Love You, Honeybear, comes rushing in with an instantly classic melody. Tillman washes the speakers with his soapy pronouncement. “I’ve got nothing to hide from you / Kissing my brother in my dreams / Or finding god-knows in my jeans / You see me as I am / It’s true.”

And Tillman has been many things. He’s recorded under the name J. Tillman since 2004 and been a member in Saxon Shore and Fleet Foxes. I Love You, Honeybear is the follow-up to Father John Misty’s debut, Fear Fun, from 2012.

The opening title track falls out jangling from the saloon. It’s tied together loosely with whomping drums and sparkling piano keys as Tillman wails for his lover, “high on the mattress while the global market crashes.”

There is still an air of Fleet Foxes folk in each song, but it’s been whisked away from the country and into the low-slung neighborhoods of beachfront property. The music lays in the weeds of late-Sixties folk, caught up in the ocean breeze. There’s a slippery steel guitar here, a country twang right around the corner, and Tillman’s ego laid out on the sidewalk to fry.

On “True Affection” a dubby beat machine takes control of every swirling melody. The slow single-handed piano lilt of “Bored In The USA” moves like one long, meaningless day. Past regrets stumble from Tillman’s tongue until he repeats the title long enough for the humor to wear off and be replaced by melancholic disappointment.

The shucking and jiving of “The Ideal Husband” gives Tillman a chance to make a pretty blaring case for his hand in marriage, despite screaming it at seven in the morning.

Through the album Tillman stares down the emerging premonitions of his aging self, “obsessing over grey hairs” and looking back on his trouble-making past, but he’s found a lover worth keeping. His girl calms him. She makes everything okay. She “gets down more often than a blow-up doll,” he sings on “Nothing Good Ever Happens At The Goddamn Thirsty Crow.”

I Love You, Honeybear is easily one of the best albums of this infant year, sure to only get better over these next eleven months.

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 Father John Misty comes classic with second album appeared first on Independent Music Promotions.

Why Unsigned Musicians Should Worry About Popularity, Not Money

Even in 2015, unsigned musicians are still releasing their music and asking “where’s my money?” right out of the gate. It’s extremely important that every artist look deeply into this question. First of all, in my view, the expectation is flawed. If you have less than 10,000 genuine fans and you’re hoarding your music, waiting for those iTunes sales to save you, you’re shooting yourself in both feet.

Build your audience first. Then you can sell to that audience. Not before they are “on board”.

That’s easy to say, and most would nod in agreement with that statement. But it’s the method that many balk at. In order to get the popularity, chances are, unless you have a rich Uncle or an investor who really believes in your cause, you’ll need to invest in yourself….and invest, and invest, and invest again, before you see ANY return. This is a fact. Musicians who believe that they deserve a return just because “they spent so much for their studio time” or “they put their blood, sweat and tears into the new album” are getting left in the dust every single day. And they’re not usually missed either, because people have a tough time empathizing with self-righteous ideas.

What you put your blood, sweat and tears into is your music; your product. Let’s find a parallel. The passionate Italian restaurant owner puts his blood, sweat and tears into his product as well, which is his food. So you have your high quality CD and he has his high quality food. Now, forgetting the hundreds of thousands the restaurant owner has already invested in order to get a location, supplies, staff and decor, you’re both in roughly the same situation – you have a product and you want a return on your investment. However, the restaurant owner knows from the get go that popularity is the highest of all currencies, so he expects a loss initially.

Have you ever bought anything from Deal websites such as Groupon? Did you know that many of the companies advertising on those websites don’t make any money? Many of them take a severe hit, as the Deal websites typically request a 50% discount for the public, and then take 50% of the remainder for themselves. So next time you assume that just because you see a heavily distributed advertisement, the business is raking it in, keep in mind they are probably investing, investing, and investing some more…paying their dues so that you, slowly but surely, begin to recognize their name.

This is exactly the kind of scenario that unsigned musicians in 2015 tend to protest against when it happens to them. “How many sales will it get me?” is the common question when they are recommended advertising via Facebook, Twitter, Google Adwords, or anywhere else. Forget about the sales. Take a hit. Stick your neck out. Your currency should be new fans and new fans only. Even hobbyists of all persuasions invest consistently, and a LOT, into their craft, whether it’s coin collectors or mountain climbers. There’s no need to be stagnant because of a cliche idea that you deserve payment for merely creating something.

Even for major stars, it’s not even about sales anymore. Weird Al got a number one album in 2014 with “Mandatory Fun”, but only after investing what must have been an incredible sum of money creating 8 high quality music videos and securing deals with 8 high profile sites to debut each of them on consecutive days. What was the currency here? Popularity. And that’s what led to him landing his first number one album in his career. But CD sales are much lower than they used to be…and they’re considered small potatoes. What else happened for Weird Al? Heightened interest in his world tour, which will no doubt sell out in every location it hits. His phone is ringing off the hook with advertising, partnership and licensing offers, some of which he’s already accepted (remember the Radio Shack campaign in December?).

Do you think that r&b star The Weeknd focused on money while he was building his name? No. He gave away his music – 3 extremely high quality EP’s released within a year’s time, all for free with no email address required from his official website. He invested and built his audience. Now he plays for $50,000 + per show and sells merchandise to his loyal fanbase. Pretty Lights went about things in a similar way, focusing only on popularity until he could engage his fanbase.

Popularity thinking is long term thinking, something not everyone is capable of.

Pretty much every artist you read about or see on a festival lineup today has sacrificed and focused on building their name above all else, and the smartest ones treat it like a start up business, which it is. Think of yourself as a start up and options will open up for you. You’re not just a musician who doesn’t know their way around.

You run your own start up company and you’re free to employ any tactics you like. Advertise locally and in your favorite publications. Team up with viral content companies for contests and campaigns to engage your audience and spread the word to new fans. Outsource duties you don’t excel at, such as tour booking, publicity, or securing licensing deals. Hire freelancers around the world to push your music through sites such as Elance and Odesk. Learn how to set up hyper-targeted advertising campaigns through Facebook, Twitter, and Google Adwords. Try targeting your favorite sites through Blogads.com. Experiment with celebrity tweets. Create incentives for those who spread your message. Offer exclusive content to quality publications…often. Give your product away. Expect to invest over and over again.

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 Why Unsigned Musicians Should Worry About Popularity, Not Money appeared first on Independent Music Promotions.

Unveiling the Scene at the A389 Bash Day 3

The A389 Bash has long been a veritable bastion of the Central Atlantic scene. The guy behind it, Dom, is a veritable genius whose heart is on fire with love for the scene. This weekend, my birthday weekend, was a blast and allowed me to get a better understanding of American metal culture. He gave us all a sense of freedom, a look forward into a world we are all coming down to, a world that we must embrace for the scene to continue, for such is the nature of underground music as an eternal liberating force.

Another day, another chance to go out and enjoy Baltimore, and perhaps more importantly feel the strength of the scene around us. Today I would see nine bands, and get to watch Noisem practice. In other words, it was, to use the parlance of our times, the shit. The day started off early, we had to be ready to load into the Noisem van (Which is starting to become in need of repairs) right after the band finished practicing and I had to pack up my stuff, because I would be getting a ride home that night. While the adventure may have been coming to a close, the best was yet to come.

One of the biggest highlights of my trip to Baltimore was getting to watch Noisem practice in the basement of the Phillips brothers. Surrounded by guitars I watched these guys blaze through their setlist keeping it tight and accurate. Perhaps more impressive is that, according to Billy Carnes the bands bassist, this was only their second practice in as many months. As much as these guys claim to be punk, and only in it for the fun, there is a sense of morbid professionalism that keeps them going. There is no stopping the immortal attack of this band as they thrash their way into your heart. Though I may have missed the first band to take the stage at the Charm City Art Space I think this rare opportunity was much more valuable and gave me a profound incite into the workings of a band I love.

The first band I did get to see was the surprisingly memorable Lifeless. Normally with shows that have a lot of hardcore bands they all kind of blend together and I get lost somewhere in the mix, but this set stood out. Lifeless have a wonderful ferocity to them, and watching something like that early in the afternoon is a lot of fun. It got my blood going and whetted my appetite for bands to come. Though I would have to go out to get food after these guys wrapped up, I knew that they were a great way to start my day and made me eager to come back for more. Lifeless understand what hardcore is all about and they deliver punishing and fun music that anyone can latch on too.

After a quick break to eat for the first time in twenty four hours, I went back to the venue and checked out the face ripping Like Rats. At first I was a bit dismayed, thinking they were just another hardcore act. Then they pulled a creepy Slayer-esque melodic line out of their collective hats and forced me to re-evaluate my stance on the band. Suddenly it all made sense, coming together in a sort of unified masterpiece that proved to me for once and for all the crushing might that these guys have. By adding just a touch of contrast their hardcore attack became that much more powerful, inspiring me to dive into the pit and take a few heads. In a venue as crowded and DIY as this one, the fact that they could get people going was impressive. Bodies flew and crashed into the stage, and we weren’t even on the headliners yet!

Magrudergrind were the band I was most looking forward to seeing on this particular bill. I had watched them pull off a twenty minute set (Maybe even less!) when they played with Noisem in Philadelphia back in September, so I was, of course, excited to see what they would come up with this time around. Suffice to say I was impressed with their attack and the ferocity of the bands lead singer. Their new drummer has a wonderful approach to the bands music and helps to keep the energy level up. For a three piece with only one guitar and no bassist they are remarkably heavy, something that escaped me the last time I saw them. Kids destroyed each other in the pit, and it was a pleasure to watch them leave a pint of blood on that stage.

The final band of this matinee  was In Cold Blood. They kicked things off ferociously, unwilling to bend and immediately got the fans into it. I have a distinct memory of a kid stage diving and then crowd killing while crowd surfing, which, while probably super hardcore, doesn’t seem like a good idea. They played fairly standard hardcore, driven forth by the ferocious drumming of Matt Izzi who also plays in Homewrecker (Who actually were to play later in the day) He, in particular provided the necessary means for the necessary means to keep their set as violent as a hardcore show should be. They were a fun end to a great afternoon show and got me excited for the chaos to come that evening with the five final bands of the festival.

After In Cold Blood finished up, I went out and bumped into John Hoffman of Weekend Nachos fame. He proved to be incredibly friendly and rapidly consented to an interview. Let me just say, that he is a truly stand up dude, and someone who really gets what hardcore and metal should be all about. In our brief conversation, he really communicated an understanding, not just of extreme music, but how it should manifest itself in our lives. As I wandered about Baltimore with members of Bandit and my long time adventuring pal Jake, I took a moment to reflect on what this underground music means for us, and how this scene is what gives us identity, and if that’s the case, how we should act in order to maintain a modicum of self respect.

The sun set, the time was ripe, the hour was nigh, use whatever phrase you want to describe it, but the crowd was pregnant with desire for the final and most stacked bill of the festival. Genocide Pact kicked it off right with some of the most gut wrenching and sludgy death metal I’ve heard in a good long while. Though their tones were too muddy for some, I thought the primal heaviness that they tapped in too was actually quite impressive. It left me with my jaw on the floor as I tried to reconcile the incredible darkness that they had managed to evoke in a far-too-brief twenty minute set. They dug their fingers into my skull and slammed me into the wall, a slave to the mind bending power these guys have.

As I mentioned before, Homewrecker were destined to play this bill, and they simply tore it up. Playing a distinctly more hardcore oriented set than the last time I saw them, they got the Baltimore crowd all riled up moving and shaking to the face ripping grooves this band unleash. Their use of two vocalists is pretty cool and helps to keep things fresh. This set further proved to me that Matt Izzi is a beast in man’s flesh. This man plays with a madness that is simply not human, and it makes every Homewrecker set I have had the honor to see extremely enjoyable. These guys ripped it up and left everyone bloodthirsty for Noisem.

Now, I’d seen Noisem three times before this, and each time they got better. I didn’t think they could clear the bar they had set the last time I saw them in Philadelphia when I moshed until I could no longer move. Yet somehow they did. With stage diving and moshing throughout people went absolutely nuts for the bands attack. These guys have the perfect mix of thrash and death metal with touches of technicality to keep everything exciting. Musical masters who would never dare admit to their own ingenuity these guys rip the world apart whenever they perform. They get what death metal is supposed to be about and leave everyone begging for more. The wave of the future dude, Noisem are this generations metal masters and there is no telling where they will end up next.

Full Of Hell are another band I’ve seen a whole mess of times and who have continually gotten better. This time was the best yet. Fully relaxed and coming on stage to applause and war whoops I immediately knew people would be killing each other for this band. Playing with an inhuman energy at a ridiculous volume they took me to an alternate dimension where time doesn’t exist. They were over in an instant, or perhaps it was a year, I still can’t tell. All I know is that they swept me away and forced me to reconsider everything I know about music. This is the kind of band who give me the freedom to believe that anything is possible and through their formula of vigorous and liberating death it is impossible to feel pain. This band will set you free, so go forth and let their almighty deathcrush of a sound fill your soul with blackened beauty.

The final band to grace the stage on this fine Saturday was Weekend Nachos. Now, I knew of this band, they played at Hellfest last year and I got their last record on promo, but I wouldn’t really call myself a fan. Yet after the set they played a couple nights ago, I can’t help but feel that I’m in love. They got everybody moving, destroying the venue with unbridled energy. John Hoffmans face as he prances around the stage is a thing to watch, communicating a wealth of emotion. His antics are fun to watch and keep the entire thing a high energy event. These guys bring the crowd to a sort of emotional climax, and by the time the whole thing is over, you can’t hep but feel satisfied, and in a strange way, clean. Weekend Nachos will guide you through the trials and tribulation of everyday life and show you a path to triumph, and that is something far too few bands can do these days.

And so the journey home began. My fried Gene and I hit the road, braving poor driving conditions with the hope of a brave new day before us. On the ride we talked about the power these hardcore bands have. Extreme music is all we have to give us life and it’s rare that we get a chance to really look into the very nature of what gives us a sense of being. Glances behind the veil like this, into the true nature of the scene are extremely special. They give us a chance to reflect upon the darkness that haunts us all and gives us a chance to look to the East for that bold and hopeful sunrise perpetuating the whole darn human comedy. Aw look at me, I’m rambling again. Well I hope you folks enjoyed yourselves. Catch ya further on down the trail.

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 Unveiling the Scene at the A389 Bash Day 3 appeared first on Independent Music Promotions.

Unveiling the Scene at the A389 Bash Day 2

The A389 Bash has long been a veritable bastion of the Central Atlantic scene. The guy behind it, Dom, is a veritable genius whose heart is on fire with love for the scene. This weekend, my birthday weekend, was a blast and allowed me to get a better understanding of American metal culture. He gave us all a sense of freedom, a look forward into a world we are all coming down to, a world that we must embrace for the scene to continue, for such is the nature of underground music as an eternal liberating force.

The second day of the festival was off to a slow start. Since we had stayed up so late the night before, no one was even able to move before noon, and I think we were only all awake at around 2 in the afternoon. Suffice to say, I don’t think I’ve ever slept in so late on my birthday. The fact of the matter was that on this second day of the festival, we were kind of at a loss for what to do before kicking into high gear with the evenings activities. So as we rubbed the sleep out of our eyes, we looked at each other and wondered, what would we kill time?

Well, first off, we started to jam. Sebastian from Noisem seems to have an unending fascination for rock and roll. When he found out I’m primarily a jazz musician he took me down to his basement to jam. Now, you have to understand that Sebastian is the very definition of gearhead. He has a wealth of guitars, pedals, and amps, all contributing to a young man who seriously understands how audio systems work (In fact by day he often manages audio systems) Just talking with him about music is always an incredible honor. Suffice to say, when he hopped on drums and had me lay down a jazz bossa I knew I was experiencing something that few other fans ever get to do, jamming with their favorite musician. It was a scene straight out of Almost Famous, a film which Sebastian loves quoting, going so far as spending most of the weekend referring to me as “The Enemy” and even introducing me to his parents as such.

We headed out to get a bite to eat before the show then, and things seemed to be rolling smoothly. The Noisem guys love quoting old school rock and roll movies from well known hits like Waynes World to more obscure numbers such as Detroit Rock City. As we headed over to the venue, people kept referencing Haymaker and their use of fireworks, at this point, I had no clue what they were talking about, why, I had barely even heard of Haymaker, I knew nothing of their live set! I went into the evening curious and ready to explore the sonic landscapes that would be painted before me. The only thing that I was sure of was that I’d be meeting up with a friend who I had met in Texas, so regardless, it seemed like I would be having a good birthday.

The first band to play were the almighty Ampallang Infection. These guys are a lot of fun to watch live simply because they are so God damn out there. They don’t play by the rules and they have a lot of really cool ideas about live delivery. With a drum machine that often exceeds 300 beats per minute and all sorts of vocal effects help to keep the entire thing not just ridiculously brutal, but in many ways over the top. I’d been looking forward to seeing them all weekend and the way that they just came roaring out of the gate ready to bite off your friggin nose with their mixture of Napalm Death and Godflesh. This is the sort of thing that melts faces and leaves you on the floor, a slave to your more base desire as your try to understand the fucked up world that we have been born into. In other words, Ampallang Infection were really bloody good.

Next up was WarXGames, a bitter hardcore act from Baltimore proper. These straight edge maniacs delivered an all out sonic assault that left the fans on their knees, trying to understand how their world had been rocked. Only the second band to play, WarXGames already had a few hardcore dancers starting to mix it up, and it seemed like things would really pop off later in the night. These guys have a wonderful sense of speed and cosmic brutality. Sure, you could label them as just another hardcore band, but with a live show this energetic I think that you have to acknowledge that they’re more than that, they’re veritable masters of their craft.

A lot of people were really stoked for False Light’s performance and the way that they simply decimated the crowd was impressive. There take on hardcore is just a little bit different in a way I can’t quite describe. What I will say though is that a lot of people were stoked for their performance and seemed to leave smiling. False Light are the kind of band who capture the imagination of hardcore kids and get them to want to wreck shit. Though they didn’t embrace the unmitigated chaos of the bands to come, it was in large part because the crowd just wasn’t there yet. As is, I had a blast watching them and as I felt myself join the void they created I could not help but smile.

Sex Prisoner was the band who really got things going. Their hoodie wearing lead singer has the kind of primal and destructive gall that only the best kinds of hardcore singers have. He comes out and rips the crowd apart, forcing us to lap up the blood. In other words, Sex Prisoner are tight and know how to get a crowd off. More than that, they sound legitimately pissed off. While many of their peers don’t reek of destruction, Sex Prisoner have a sort of primitive hate that keeps them from ever advancing. Instead they stay in place, tearing the room apart and forcing fans to realize that these guys might very well end the world as we stand trying to understand our morbid reality.

Finally it was time for Haymaker to leave us all crying on the floor. See, these guys actually do light off fireworks during their set, and it is fucking chaotic. Tyler from Noisem caught fire at one point, I thought I was going to die when one went off in my face, people were screaming and couldn’t breathe. In other words, they totally fucking rocked. I have no clue how Haymaker can play in those conditions but I do know I’ll never forget them. They beat me to death with a sound that was simply out of this world and the way they presented it left me (literally) gasping for air. The fact that they still haven’t killed anyone is a surprise to me, and in fact kind of makes me smile. Perhaps more than any other band on this bill (and definitely more than any band who played the Sidebar) Haymaker proved to me that they are the genuine hardcore lords of Canada.

The night ended in a subdued manner. We watched the Hank Williams Jr. video a few times, but Noisem had to get to sleep, they had to spend the next day practicing for their gig at the Metro Gallery. We sat down, chilled out, and partied only moderately before the next day. Yet the festival was taking its toll on me. At one point I looked into a mirror at my puffed up face and thought “Am I even still alive?” Somehow the panic, the partying, the general madness, was starting to fray away my nerves. With hopes of seeing eleven tight bands who were to be playing the next day, as well as many friends from across the East Coast who were coming just for this day, everyone seemed to be rather hopeful with what was to come.

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 Unveiling the Scene at the A389 Bash Day 2 appeared first on Independent Music Promotions.

Unveiling the Scene at the A389 Bash Day 1

The A389 Bash has long been a veritable bastion of the Central Atlantic scene. The guy behind it, Dom, is a veritable genius whose heart is on fire with love for the scene. This weekend, my birthday weekend, was a blast and allowed me to get a better understanding of American metal culture. He gave us all a sense of freedom, a look forward into a world we are all coming down to, a world that we must embrace for the scene to continue, for such is the nature of underground music as an eternal liberating force.

Man, when I was a kid, I never saw myself cutting class and traveling a couple of hours by train to go to a festival and party with soon-to-be rock stars for my birthday. But here I am, trying to recover from a weekend that will go down in infamy. Filled with heavy bands, strange interviews, and crazed parties, I spent three days at the bosom of Noisem, one of my favorite death metal bands today, while I tried to get a deeper understanding of what the A389 bash was really all about.

Getting there was in itself an adventure, with train tickets bought at the last minute due to a miscommunication with my ride, I was just happy that the trip got off the ground okay. But in the end the nature of the universe had its way and I was on the train, watching America flash before my eyes and wondering what the next few days would hold for me. I was nervous I was sure of that much, but nothing a few drinks wouldn’t be able to fix, or so I thought. By the time I rolled in to Baltimore it was the middle of a sunny if cold afternoon and I walked through the vibrant downtown to get to the legendary Sidebar where the first part of the festivities would be taking place.

The Sidebar itself if a pretty cool spot. I got in right as it opened and an extremely friendly bartender named Julianna hooked me up with a free beer tasting. Always a good way to start the weekend! The Sidebar is interesting because before 7 PM it functions as a lawyer bar, and you get to meet all sorts of interesting types. Then as the sun sets, a darker, dreadlocked, more obscene crowd comes in. The death metal faithful of Baltimore crowd the venue to enjoy some of the heaviest bands their scene has to offer. As I waited, soaking up the scenery I couldn’t help but smile at the strange dichotomy. Though it was my first time at the venue I already knew it would be a good one.

Around 7 Sebastian and Harley of Noisem fame showed up and we started to load in. As the bands arrived you could feel the tension building up in the air. It was clear to me that a lot of people had been waiting a good long while for this festival and the good people of the Central Atlanic region would be ready to go nuts for these bands when the time came. The first band was poised to start at 8 and I had never heard of them before. Yet the sheer intimacy of the event and the beautiful sound of the Sidebar led me to believe that the festivals mastermind, Dom, had prepared something truly special that people will be talking about for years. Already though I felt touches of anxiety reaching in on me, on the eve of my birthday, I had no clue how things would pan out.

Condemn the Infected kicked off the first day of the Bash with some wonderfully technical death metal. This four piece have some very chunky highly technical riffs and pounding rhythms that remind me of the Philly band Fisthammer. They are not only ruthlessly good at what they do, they helped to provoke a certain primeval sense of darkness. The vocals were wonderfully brutal and helped to create an all out sonic attack. The way that they just go for it, guns blazing and throats ripping is impressive. They are a group who have an artistic vision that is very much in line with the old school tech death greats (although elements of newer sounds find their way in there) and they deliver tracks like Gravity Well with unending devastation. They were not only good at what they did, they captured the entire crowds imagination and set our hearts on fire for a weekend of metal mayhem to come.

Up next was the almighty Castle Freak. Now, I’d seen these maniacs before, back in August opening for some touring band whose name I can’t remember anymore. Then they delivered a tight Repulsion-esque set, and little changed, except perhaps they were even better. Dylan, the bands bassist provided backup vocals and kept things a bit more grim than usual. It seems really unfortunate now that the weekend wouldn’t even be over before the band broke up, but more on that later. As for now, all I will say is, infernal hailz to the men of Castle Freak, not only were they a tight band, but they are one who have a now almost legendary status in the scene. Their new stuff, debuted only that night was tight, and proved that the band had a bright future ahead of them. I strongly recommend you dig in and find their cassettes before they are all lost to the sands of time.

Third was Pharaoh, now I had gotten the opportunity to interview them earlier in the evening and I was excited to here that this sludge band are primarily jam oriented, or at least, most of their ideas come from jamming. Their live set had a wonderfully organic feel, it flowed forward with a healthy sense of direction, never leaving the listener bored. My good friend Igor, who had also been in attendance turned to me and his girlfriend and said something like “Damn, I was blown away” Though I was at this point in the middle of a freak out, I couldn’t help but acknowledge the depth of the Pharaoh sound. As the world spiralled around me, one thing remained constant, the almighty power of the groove, blowing away everything else that could leave me in horror. Pharaoh are a veritable heavy metal force who seem destined to reign eternal.

I didn’t know what to think when Ilsa took to the stage, all I could think was that I liked their singers massive beard. He guided the crowd through an epic journey as we explored our minds in a set that left many a fan on bended knee. A sort of modern, punkier version of Black Sabbath, the crusty vibes of Ilsa were only accentuated by the doomy tones. The contrast of fast and slow seems to be the pivot point that makes Ilsa function as a band. By this time it was getting late and I felt my self calming down. It seemed like the stage was no longer moving, and I could fully appreciate the majesty of this band. From what I understand they don’t play live a whole bunch and it was an honor to get to see this band at all. They captured the essence of a time and place and in a way, it was beautifully liberating.

The final band to play on this fine and grim evening were the almighty Starkweather, who might very well be the first band I have ever seen to have two bassists. There sound is impressive and towering, contrasting moments of brutal destiny with more spaced out tones. They are a lot of fun to watch and they are the sort of band who I feel could only really exist in America. This group is wonderfully unique and as you fall into their sound, it’s hard not to fall in love with the magical world that they have created for themselves. The fact that they’re from my native Philly is sick too, it gives me the hope that I’ll be seeing a lot more from them in the near future! The thing is, these guys have been around for more than twenty five years, and with bands like this, there is an aura of power that can not be denied. Sure most people left before their set started (It was about one in the morning on a Thursday after all) but it seemed like destiny. This was an intimate and heart healing set that left me feeling strong and free.

Yet, the night had barely begun. With folks from Noisem and half of Castle Freak in tow we went to a Denny’s (My first time, after all I only just moved to America!) and I found out you’re not supposed to order tea at 3 am. The conversation was raunchy and worn, here we were, young friends in the midst of one of the best weekends of our collective young lives. It’s hybrid moments like these that give us the sense of freedom and power that defines our scene. The collective memory of mocking me for my choice of beverage creates a sort of deeper bond, speaking to the links that will hopefully keep us together, doing this crazy bullshit for years to come.

We piled back in the van, and I was subject to one of the coolest parts about hanging out with Noisem (or really any bunch of long haired dudes with tattoos) . People always assume you’re in a touring band, which is a strange, if nice feeling, one I certainly don’t feel often enough. At this point I felt I was starting to get a deeper understanding of the entire American underground ethos one I had been desperately trying to understand since I got here. Noisem drive around the streets of Baltimore and there suburb of Dundalk blaring 100.7 a rock station that serves the region. At 3:41 AM Def Leppards “Photograph” starts blaring out of the speakers. It’s time for a group sing along! We near Sebastian and Harleys abode and I can’t help but smile. What better way to usher in your birthday than with hard rock and death metal bands?

Suffice to say, we partied long into the night. All I really recall is that we watched the same Kid Rock video featuring Hank Williams Jr. performing an extremely strange dance at least ten times, and it was glorious. It was the kind of evening that had it all, ushering in what was to be one of my best birthdays to date. The night spiralled on, and as I faded into sleep in a cloud of secondhand smoke I wondered what this day might mean in the greater context of our lives, which by now seem somewhat intertwined. This may be our only way forward through the fire and the flames that seem to scald our everyday existence.

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 Unveiling the Scene at the A389 Bash Day 1 appeared first on Independent Music Promotions.

Unveiling the Scene at the A389 Bash

The A389 Bash has long been a veritable bastion of the Central Atlantic scene. The guy behind it, Dom, is a veritable genius whose heart is on fire with love for the scene. This weekend, my birthday weekend, was a blast and allowed me to get a better understanding of American metal culture. He gave us all a sense of freedom, a look forward into a world we are all coming down to, a world that we must embrace for the scene to continue, for such is the nature of underground music as an eternal liberating force.

Man, when I was a kid, I never saw myself cutting class and traveling a couple of hours by train to go to a festival and party with soon-to-be rock stars for my birthday. But here I am, trying to recover from a weekend that will go down in infamy. Filled with heavy bands, strange interviews, and crazed parties, I spent three days at the bosom of Noisem, one of my favorite death metal bands today, while I tried to get a deeper understanding of what the A389 bash was really all about.

Getting there was in itself an adventure, with train tickets bought at the last minute due to a miscommunication with my ride, I was just happy that the trip got off the ground okay. But in the end the nature of the universe had its way and I was on the train, watching America flash before my eyes and wondering what the next few days would hold for me. I was nervous I was sure of that much, but nothing a few drinks wouldn’t be able to fix, or so I thought. By the time I rolled in to Baltimore it was the middle of a sunny if cold afternoon and I walked through the vibrant downtown to get to the legendary Sidebar where the first part of the festivities would be taking place.

The Sidebar itself if a pretty cool spot. I got in right as it opened and an extremely friendly bartender named Julianna hooked me up with a free beer tasting. Always a good way to start the weekend! The Sidebar is interesting because before 7 PM it functions as a lawyer bar, and you get to meet all sorts of interesting types. Then as the sun sets, a darker, dreadlocked, more obscene crowd comes in. The death metal faithful of Baltimore crowd the venue to enjoy some of the heaviest bands their scene has to offer. As I waited, soaking up the scenery I couldn’t help but smile at the strange dichotomy. Though it was my first time at the venue I already knew it would be a good one.

Around 7 Sebastian and Harley of Noisem fame showed up and we started to load in. As the bands arrived you could feel the tension building up in the air. It was clear to me that a lot of people had been waiting a good long while for this festival and the good people of the Central Atlanic region would be ready to go nuts for these bands when the time came. The first band was poised to start at 8 and I had never heard of them before. Yet the sheer intimacy of the event and the beautiful sound of the Sidebar led me to believe that the festivals mastermind, Dom, had prepared something truly special that people will be talking about for years. Already though I felt touches of anxiety reaching in on me, on the eve of my birthday, I had no clue how things would pan out.

Condemn the Infected kicked off the first day of the Bash with some wonderfully technical death metal. This four piece have some very chunky highly technical riffs and pounding rhythms that remind me of the Philly band Fisthammer. They are not only ruthlessly good at what they do, they helped to provoke a certain primeval sense of darkness. The vocals were wonderfully brutal and helped to create an all out sonic attack. The way that they just go for it, guns blazing and throats ripping is impressive. They are a group who have an artistic vision that is very much in line with the old school tech death greats (although elements of newer sounds find their way in there) and they deliver tracks like Gravity Well with unending devastation. They were not only good at what they did, they captured the entire crowds imagination and set our hearts on fire for a weekend of metal mayhem to come.

Up next was the almighty Castle Freak. Now, I’d seen these maniacs before, back in August opening for some touring band whose name I can’t remember anymore. Then they delivered a tight Repulsion-esque set, and little changed, except perhaps they were even better. Dylan, the bands bassist provided backup vocals and kept things a bit more grim than usual. It seems really unfortunate now that the weekend wouldn’t even be over before the band broke up, but more on that later. As for now, all I will say is, infernal hailz to the men of Castle Freak, not only were they a tight band, but they are one who have a now almost legendary status in the scene. Their new stuff, debuted only that night was tight, and proved that the band had a bright future ahead of them. I strongly recommend you dig in and find their cassettes before they are all lost to the sands of time.

Third was Pharaoh, now I had gotten the opportunity to interview them earlier in the evening and I was excited to here that this sludge band are primarily jam oriented, or at least, most of their ideas come from jamming. Their live set had a wonderfully organic feel, it flowed forward with a healthy sense of direction, never leaving the listener bored. My good friend Igor, who had also been in attendance turned to me and his girlfriend and said something like “Damn, I was blown away” Though I was at this point in the middle of a freak out, I couldn’t help but acknowledge the depth of the Pharaoh sound. As the world spiralled around me, one thing remained constant, the almighty power of the groove, blowing away everything else that could leave me in horror. Pharaoh are a veritable heavy metal force who seem destined to reign eternal.

I didn’t know what to think when Ilsa took to the stage, all I could think was that I liked their singers massive beard. He guided the crowd through an epic journey as we explored our minds in a set that left many a fan on bended knee. A sort of modern, punkier version of Black Sabbath, the crusty vibes of Ilsa were only accentuated by the doomy tones. The contrast of fast and slow seems to be the pivot point that makes Ilsa function as a band. By this time it was getting late and I felt my self calming down. It seemed like the stage was no longer moving, and I could fully appreciate the majesty of this band. From what I understand they don’t play live a whole bunch and it was an honor to get to see this band at all. They captured the essence of a time and place and in a way, it was beautifully liberating.

The final band to play on this fine and grim evening were the almighty Starkweather, who might very well be the first band I have ever seen to have two bassists. There sound is impressive and towering, contrasting moments of brutal destiny with more spaced out tones. They are a lot of fun to watch and they are the sort of band who I feel could only really exist in America. This group is wonderfully unique and as you fall into their sound, it’s hard not to fall in love with the magical world that they have created for themselves. The fact that they’re from my native Philly is sick too, it gives me the hope that I’ll be seeing a lot more from them in the near future! The thing is, these guys have been around for more than twenty five years, and with bands like this, there is an aura of power that can not be denied. Sure most people left before their set started (It was about one in the morning on a Thursday after all) but it seemed like destiny. This was an intimate and heart healing set that left me feeling strong and free.

Yet, the night had barely begun. With folks from Noisem and half of Castle Freak in tow we went to a Denny’s (My first time, after all I only just moved to America!) and I found out you’re not supposed to order tea at 3 am. The conversation was raunchy and worn, here we were, young friends in the midst of one of the best weekends of our collective young lives. It’s hybrid moments like these that give us the sense of freedom and power that defines our scene. The collective memory of mocking me for my choice of beverage creates a sort of deeper bond, speaking to the links that will hopefully keep us together, doing this crazy bullshit for years to come.

We piled back in the van, and I was subject to one of the coolest parts about hanging out with Noisem (or really any bunch of long haired dudes with tattoos) . People always assume you’re in a touring band, which is a strange, if nice feeling, one I certainly don’t feel often enough. At this point I felt I was starting to get a deeper understanding of the entire American underground ethos one I had been desperately trying to understand since I got here. Noisem drive around the streets of Baltimore and there suburb of Dundalk blaring 100.7 a rock station that serves the region. At 3:41 AM Def Leppards “Photograph” starts blaring out of the speakers. It’s time for a group sing along! We near Sebastian and Harleys abode and I can’t help but smile. What better way to usher in your birthday than with hard rock and death metal bands?

Suffice to say, we partied long into the night. All I really recall is that we watched the same Kid Rock video featuring Hank Williams Jr. performing an extremely strange dance at least ten times, and it was glorious. It was the kind of evening that had it all, ushering in what was to be one of my best birthdays to date. The night spiralled on, and as I faded into sleep in a cloud of secondhand smoke I wondered what this day might mean in the greater context of our lives, which by now seem somewhat intertwined. This may be our only way forward through the fire and the flames that seem to scald our everyday existence.

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 Unveiling the Scene at the A389 Bash appeared first on Independent Music Promotions.

You Can’t Afford To Ignore Bloggers Anymore.

So, here’s the score. You’re a band – you might be new, or conversely, you might be more established than kingpins like the classic Iron Maiden or next-generation stars like Bring Me The Horizon. Doubtful, but who knows? Basically, it doesn’t matter. Whilst I wouldn’t necessarily say ‘forget the rock press’ (Kerrang, Rock Sound, Metal Hammer, NME and so on), there’s certainly a new form of media emerging that should no longer be ignored. Of course, I’m talking about ‘bedroom’ bloggers.

Before you sneer and debate the concept of ‘silly little girls’ voicing their opinions to nobody in particular on their ‘little blogs’, consider this:

71% of people are influenced by blogs and make purchases or other decisions based on recommendations. Purchases can also mean gig tickets, downloads, and merch, no?


Brands of all sizes and niches are using blogs to advertise their stuff on! Music is so forward thinking, so don’t be left behind.


Likewise, bloggers come in all different categories – they aren’t ‘silly’ in the slightest and are often very knowledgeable about their passions and can write well.


Bloggers tend to pride themselves on having a large social following, so working with them can have a ridiculously positive impact on your own engagement and fan base.


If bloggers start linking to your website, this can have brilliant SEO value, and will truly put you on a Google map of a different persuasion! Want to be found in search terms when people look for certain events, or genres? Thought so.

 

How does this make a difference to your band, and what can you do?

Well, naturally, if you build up a relationship with bloggers, you can start inviting them to stuff they might think is cool – such as gigs you’re playing, festivals you’re opening and other stuff like your band’s first album launch. Everyone loves a bit of VIP treatment, and they’re much more likely to tell their friends if they’re treated really well and have a good time. Their readers will be somewhat envious, and will want to engage with the band now that they think you’re kind of elusive, but you’ll be inviting people JUST LIKE THEM, in theory, so they’ll think you’re pretty cool and down to earth, as well as rockstars.

There are so many bloggers to look out for, from the now ‘career’ bloggers like Zoe London, to self-confessed alternative music lovers like Amy Valentine, or even newbies like Claire Louise. Then of course you have student blogs where they’re lovingly writing them collectively, or smaller music media for the passionate and aspirational young journalists out there. Lots of them don’t get paid yet, so in return for a space at your next show, they could be giving you untold amounts of worthwhile promotion. People read and are influenced by what they have to say – why should this be any different for musicians if it works for some of the world’s leading companies?

So, instead of using your guest list to impress a few old friends and hangers on, why not start using it productively? You should even get your PR team involved and let them know this is something you’re interested in. If you’re out on your own, start building those relationships now. The return will be so worth it in the long run – word of mouth speaks volumes!

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 You Can’t Afford To Ignore Bloggers Anymore. appeared first on Independent Music Promotions.

Why No one Will Review Your Band (And What You Can Do About It)

Getting people to review your band or labels music is a bitch. I know, I play in bands, I run a label. The crux of the issue is that nobody cares about your shitty band! It’s a brutal truth but one you need to hear before going on. Now there’s a lot of reasons for this, and I’m going to try and explore a few of those in this article as well as try to give some advice as to how you can combat this. Now there are similar articles on line, but as a music reviewer and promoter, I feel like I might be in a unique position to try and shed some knowledge on a subject that pisses off a lot of musicians who have difficulty with getting press coverage.

The primary issue is that music reviewers get too damn many promos. I’d say roughly 95% of the emails I receive across all email accounts are media coverage requests. Those don’t count requests via things like Haulix. I get dozens of these things every day, and I’m still pretty small time, I know one friend of mine who gets hundreds! What makes this even more frustrating is that most bands, labels and promotion companies don’t realize how overloaded writers can be and this can make writers less likely to review your stuff. A little bit of sympathy goes a long way, and when a writer is trying to decide what, among hundreds of promos they should cover they are more likely to go with the kind and sympathetic email. Now this isn’t a panacea, but I know if I have time only for a small review, I will definitely go with a more understanding email.

Another big issue that a lot of us face is that we are pressured to get as many views as possible. This means that covering unsigned bands is kind of a bitch. I may want to cover an unsigned act, but if I don’t get a certain number of views my advertisers might get pissed and then I’m properly fucked aren’t I? Finding a balance is hard, and I’ve always felt blessed that I can usually get enough views and still cover unsigned acts. But when you’re in a time crunch, bands that are unsigned or not with a promotion company are hard to take note of, but with a little bit of hard work an innovation you can usually combat this!

See, a lot of unsigned bands send me really awful emails asking me for a review, emails that don’t feature any links to social media or music. A good guide to what your emails should look like can be found at Invisible Oranges, I know it’s a metal website, but the recommendations in that article hold true across all genres. Essentially, if you don’t give us all the details we need in the first email there is a very limited desire to message you back. Sure, you might stumble upon a beginning blogger here and there who is just excited to be getting emails from bands, but the majority of writers are jaded and grumpy, you want to make them like you, not leave them wanting to punch the screen. Seriously people, the bare minimum is to send a Facebook link, assuming your bands Facebook page is properly set up this already gives the reviewer a great starting ground.

So what can you do, as someone in a band to get writers to want to cover you? Well, my main piece of advice would be to bite the monetary bullet and hire a promotion company. Now, I know I sound like a self serving asshole writing that, after all, I work for a promotion company and this is a promotion company’s website. Here’s the thing though, any half decent promotion company will have a cultivated relationship with bloggers and writers that a band could never even dream of having. That’s part of what you pay for when you hire a promotion company. Sure, it takes hours to send out the personalized emails and whatnot, but the relationship is the most important part.

If you don’t have the money for a promoter there are still a few basic things you can do to help boost the likelihood of getting a review. Asides from putting in all the relevant links and otherwise following the advice of the aforementioned Invisible Oranges article, I think that the number one best thing you can do to improve your chance of getting written about is by referring to the person you are writing about by their first name. It may sound crazy, but I know that for me, as well as many other writers this can be a deciding factor.

Of course assuming you do get a review, the best step forward is to cultivate that relationship. Thank your reviewer profusely (Assuming it’s a positive review) and share there content, not just on your bands Facebook and Twitter pages, but also your personal pages. This will help to continue to win their way in their good graces. If you are able to make a positive impression, use it in the future when it comes time for you to promote another release or tour. If the relationship is truly solid, you can even ask that reviewer to recommend you to their friends. While this might not always happen when it does it can pay off in a big way. By imitating a larger promotion companies tactics on a grassroots level you are also more likely to win the hearts of many writers who identify with their own underground roots.

At the end of the day, the whole system is a little screwy. The reviewers listen to far more music than any sane person should and they write hundreds of articles every year, fundamentally altering their perception of music such that it’s even more difficult to explain it to fans. The whole system is really demented, but in a way that’s kind of what makes this whole thing so fun for me, no matter how hard you work, there’s still problems to be fixed and worked to be done, and as we all know, not nearly enough money to fulfill our dreams. So ride hard, live free, and just be nice to music writers, sure they probably won’t “break” you, but enough good reviews could very well get you onto a decent label, and from there who knows? The world is at your feet!

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 Why No one Will Review Your Band (And What You Can Do About It) appeared first on Independent Music Promotions.