James Moore's Blog, page 114

5 Bands Who’re Making a Musical Comeback

Ah, the one hit wonder. There’s always been a few artists/bands who’ve hit the jackpot, producing a song which captures a nation’s, or even the world’s imagination, until it is over and over and OVERPLAYED! Thereafter, the band are judged by the heights of that one song, and most usually fade into obscurity. Well here are a few blasts from the relatively recent past, who hope to correct their fortunes, after the very same situation struck them!

1) Cage the Elephant

Cage the Elephant, burst onto the scene 5 years ago, with lead single ‘Ain’t No Rest For The Weekend’, filling the airwaves globally, and turning the band into a force. Their star dipped slightly since, with sophomore album, ‘Thank You, Happy Birthday’, not gaining a lot of buzz. However, the third LP has just dropped, and it’s not a total reinvention, just a lot better, the punk-rock has soothed a bit, to create a more enthusiastic sound. ‘Come A Little Closer’, is pretty reminiscent of the now broken-up Razorlight, lead singer Matt Schultz echoing the vocals of Johnny Borrell. Things look promising then, as their success never really dimmed in their native US, and this new release surely gaining them some more praise on these shores, with prominent spots at the Summer festivals of 2014 a definite!

2)Franz Ferdinand

The Scottish quartet first found commercial success almost 10 years ago, as ‘Take Me Out’ hit no.3 in the charts in 2004. That was part of their debut album, the self-titled hit that was a great collection of songs, and one that I listen to even to this date! ‘Do You Want To’, was the next big thing just the following year in ’05, but the album it came from, ‘You Could Have It So Much Better…’, was disappointing, similarly was the next LP, ‘Tonight: Franz Ferdinand’. Indie rock fans are rejoicing at the minute, as recently released record, ‘Right Thoughts, Right Words, Right Action’, is a return to the sparkling form which saw them grab attention in the first place. The title is a lyric from the lead single, ‘Right Action’, which is reminiscent of ‘Take Me Out’, in the respect it is spiky, has a riff you have to keep listening to and is likeable. I must listen to the album more, but it is encouraging for the Scots.

3) The Naked and Famous

New Zealand’s second-biggest export, after my faves Flight of the Conchords of course, The Naked and Famous were first brought to the attention of the masses, with their eclectic tune, ‘Young Blood’, which brought US success. They toured all around the world, between 2010-12 performing in 200 shows in 20 countries all over the place. This summer has seen their second LP be released, and it’s nice. Technically, they haven’t really been away long, but it’s a return for the New Zealanders, who’re practically worshipped in their homeland.

4) Empire of the Sun

Empire of the Sun look like a bunch of eccentric, ‘artistic’ college kids messing around. But electronic duo, Luke Steele and Nick Littlemore, from Australia, create some nice beats. ‘Walking On A Dream’ and ‘We Are The People’, were their breakouts, becoming anthems of 2009. With both men having other musical interests, it took a while for them to return to their avant-garde side project, but this year has seen them get back into the groove, with a promising follow-up. The album seems more coherent with the bombardment of ideas going on, but lacks the standout singles that ‘Walking On A Dream’, the album, had. Still, an interesting project continues!

5) The Black Keys

Some may argue that the Keys never went away, and to be fair they haven’t. They’ve conquered both their US homeland and the United Kingdom, with a triumphant sub-headliner slot at Reading & Leeds last summer, and have continued to tour around the States since. They first hit the mainstream with single ‘Tighten Up’ coming from 2010 album, ‘Brothers’, album number SIX! They quickly followed this up with ‘El Camino’, in 2011. Singles like ‘Lonely Boy’, ‘Gold on the Ceiling’ and ‘Little Black Submarines’ cemented their reputation, and for many, they’re becoming recognized and known to by name, rather than ‘that band’.

Can you think of any others? Let me know 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.

7 Reasons Why Musicians Should Never Ignore Facebook

Let’s make one thing clear about Facebook for musicians. I’ve received arguments lately that “it’s not about the likes. It’s about the music” and “it doesn’t matter how many likes you have”. Ok, those are very common, safe arguments usually meant as a barrier to action on Facebook. Have you ever not been able to afford something and said “I didn’t want it anyway.” This is a common psychological trick we play on ourselves, and it’s one of Aesop’s fables (The Fox & The Grapes). From the story’s description, “A fox spies some grapes that he cannot reach and starts to be critical of grapes. The moral shows it is easy to despise what you cannot have.”

That’s what many of us do when we get upset at promoted posts, advertising, or seeing artists and companies buy likes. We shut down, thinking the game is rigged. You know, musicians aren’t the only ones complaining about Facebook. Many business owners and bloggers do, too. And they’re usually not very successful. After all, complaining is a time-consuming activity.

Bottom line: When we say Facebook doesn’t matter, we’re cheating ourselves. 

1) Facebook represents your real world audience online.

Now, let’s get one thing clear. Obviously, the music is paramount and it needs to be amazing, awe-inspiring. That’s clear. However, in a large way, your Facebook audience is representative of your real world audience, and if it’s not, you have work to do. If you’re selling out shows but have no momentum online, there’s an imbalance that’s preventing you from reaching as many people as you could. People, from everyday music listeners to major industry execs to late night tv shows to music festivals who want to consider you, will check your Facebook page as a snapshot of where you’re at and what you have to offer. If you have 50,000 fans, they imagine reaching those fans, having them spread the word, etc. You are now a big time business and you start attracting success. This is a fact, whether you like it or not.

2) Facebook is neutral.

Another point to make clear. Facebook is neutral. It’s where we socialize. I don’t personally feel it’s all that important, and my own preference is to socialize in person with friends and family. In fact, I rarely use it on my own. For ANY business, artist or public person/entity, though, Facebook IS important. This is where we often get mixed up.

3) Facebook represents DIY, grassroots methods that have migrated online.

“What did artists do before Facebook?” Artists set up promotional street teams, posted flyers, mailed out promotional packages, advertised their events in local print publications, spread the word among members of their scene, created incentives to show up. While it’s critical for artists to still do these things physically (and that’s more than half the battle), it’s clear to see that many things have migrated online. Now you can set up online “street teams”, spread online posters, email digital promotional packages, advertise your event with a targeted Facebook event page, spread the word amongst your Facebook followers and their friends, and create incentives for your followers to share your music and message.

4) It costs money to advertise.

Many people begrudge Facebook because they need to promote a post or advertise in order to reach a critical mass of their followers. Most of your followers are not even online when you’re posting. The message needs to appear repeatedly in order for more people to see it. This is advertising, and instead of complaining about the way things are, learn to do it well. Not everything is free online, nor is it in the physical world. You’d need to pay to flyer your neighborhood or send letters to all your friends/fans, after all. Include a call to action. Target specific bands, genres and locations that would have an interest in what you’re doing. Keep experimenting until new listeners are coming in by the boatload. Invest. It’s your life, your path. Think long term. No one is going to do it for you.

5) Don’t worry about artists who buy likes. It’s obvious.

When we refer to artist likes in this article, we’re referring to an actual following. You know that emo band who seem to have 50,000 Facebook followers but there’s only two likes on each post, and it’s one of the band members and their girlfriend? You may begrudge the band, but it’s not necessary. Most of the public can see what’s happening, especially those with somewhat discerning eyes. Engagement is critical on Facebook, even more than likes. This is why it’s important to advertise, to make sure everyone at your live shows joins your online community, and it IS a community. If it’s not, that’s where your work lies.

6) Your perception of yourself on Facebook reflects your perception of your place in the world.

See this one clearly. We often look at the world with frustration and confusion. How can we break through? Why won’t anyone listen to us? Why is there so much corruption? We don’t understand the world, and because of that we judge it and simplify it rather than engage it with grace, confidence, and kindness. Bring these confused views online and you have a recipe for virtual quicksand.

6) Facebook acts as your online calling card.

This is true. When artists say “it’s all about the music”, what they really mean is this. They wish there was a panel of endless A&R reps, waiting to objectively listen to every unsigned artist, offering free opportunities to all good music. That’s what they wish would happen on the business side, as it reflects all of our internal love for music. We all feel that great art should be recognized. Does it? No. The Dillinger Escape Plan create great art and have been doing so for a long time. The reason you know their name, though, is because of a patchwork of things. If they decided to work an hour a day on promotion and jam twice a week, they would probably be an obscure name right now, however still creating awe-inspiring work. They took it from all angles, grassroots, building a team, touring, and yes, using Facebook and other online techniques to their maximum potential.

Here’s what really happens. Anyone who is going to check out your music doesn’t have a ton of time. Why? No one has a ton of time! Don’t fault a festival owner, label rep, TV show or potential manager for not looking into every detail of your album. They need to know you’re bankable. They need to get something out of the exchange, too, and that’s where artists’ selfish belief systems often get them into trouble. They don’t leave room for reciprocation. How would you become an attractive option to, say, Conan O’Brien’s booking people? By demonstrating that you have fans and momentum. That’s valuable to them. Of course, you need great music, but you also need leverage. If you have fans, they will be tuning in, sharing the links, creating buzz. Facebook acts as your calling card, and is a big part of how these decisions are made.

Likes are not the be all and end all, but they do provide an accurate snapshot of where you are at any given time, and this is the most popular snapshot the world goes by. Don’t believe me? Find me a highly successful artist with 200 Facebook likes.

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.

UK Rockers Black Circles Release “Playing Games” Music Video Featuring Animated Bears

Hailing from Kent, UK, independent alternative rock group Black Circles come suited up with loud guitars and good song structure on their new single “Playing Games”. The trio is certainly solid, taking cues from bands like the Foo Fighters, early Smashing Pumpkins, and the power pop genre. The band teamed up with Iluzija Animation Studio for the track’s video, which stars “a disillusioned teddy bear trying to make it as a new music promoter.” It’s always commendable when an artist follows a pattern outside the norm, and this is definitely a good move, straying from the typical live band format and heading deep into animation narratives. Check out “Playing Games” below. Be sure to follow the band on their Facebook page.

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.

Marcus Reeves Goes All Out With Debut Album, Sells Mask Of His Own Face

Think everything’s been done, folks? Think again. Art/glam rocker Marcus Reeves, who has long stood apart from the crowd with his uniquely original glittery image, is now releasing his debut album, with a box set option that includes a hand made mask of his own face. Personally, I think that’s pretty damn awesome. Musically, he takes his cues from artists like David Bowie, and he displays artistic vision and pop sensibility in equal measure. I’ve taken a preview of the album, and it’s top notch. Highly recommended. Marcus is an artist unafraid to stand on his own, and I respect that, especially in an industry filled with many look-alikes. Check out the news release for more info on the new album and join his Facebook page here. Listen at Soundcloud here.

London, September 2013 – Mechanical minstrel Marcus Reeves presents his debut solo album ‘Quicksilver – The Masquerade Macabre’ – a futuristic blend of original rock, pop and cabaret songs. Mixed by Nick Trepka (Emmy The Great, Speech Debelle, Boy George), Marcus co-produced the album with his musical collaborator Michael Roulston (Cabaret Whore, David Hoyle, Black Cat Cabaret) and describes it as ‘a sonic threesome between Aladdin Sane, Hedwig and The Phantom of the Opera’. This thirteen-song labour of love has been crafted independent of any management or label backing and will be the first release through Reeves Corner, his own record label.

Marcus says: “The album has taken four years to make but has been well worth the wait. I’ve been lucky enough  to be joined by some brilliant musicians including members of North London rockers Uberkaboom, plus special guests Benjamin Louche of the Double R Club, cabaret sensation Sarah-Louise Young  and Adrian Stout of The Tiger Lillies on musical saw and Theremin. With the CD version, I wanted to create a piece that had the polish and panache of a collectors edition, so the physical copies are  presented in book form that includes 32 pages of lyrics, photography by Robert Piwko and artwork by Bryon Fear which will never be made available online. Dedicated fans can also buy a box set  that includes a hand made mask of my own face.”

His latest single ‘Smoke & Mirrors’ was released on 30 September and the album’s first three singles  ‘Black Tears’, ‘Mistaken Identity’ and ‘Radio Head’ have attracted positive reviews from online press and five-star average buyer ratings on iTunes, as well as airplay from online and student radio. ‘Quicksilver – The Masquerade Macabre’ looks set to cement Reeves growing reputation as a versatile

songwriter and showman. CDs will be available exclusively through Reeves’ website with digital downloads available through iTunes from 5 November.

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.

10 Artists You MUST Hear This Fall

As we draw into the latter stages of 2013 (how quickly has it gone by the way?!), let’s take a look at some traditional big-hitters, and some newer artists that may be catching you by surprise this autumn…

San Cisco

A band I first saw in Spring of this year, supporting the strange, indie stylings of Darwin Deez, this Aussie collective surprised me with their brand of innocent, poppy-rock tunes. It’s light, care-free music that has a sun-drenched flavor to it, riffs are high and fast-paced, with the variations between male and female vocalists, surprisingly pleasing. They also impressed with their cover of Daft Punk’s mega-single, ‘Get Lucky’, perhaps one of the best covers I heard for my favorite song of 2013. A stream of their debut album has just gone up, I urge you to check it out, now.

Arcade Fire

The Canadian-French epic collective are thoroughly well-known, but new album, ‘Reflektor’, is released to the world at the end of October, and if it is anything like the titular single released in September, then it will be breathtaking. With band leaders, husband and wife, Win Butler and Regine Chassange, famous for their intricately created pieces, expect some long, effortless epics, with some disco influences, if the single is anything to go by.

Disclosure

The Lawrence brothers must be pinching themselves.In the past 12 months, the duo have seen their electronic beats become the favored pick for young people all over the UK, with house taking over many Spotify and iPod playlists. It began with single, ‘Latch’, released last October, and culminated with the long-awaited album release in the Summer and a great spot in the NME/Radio 1 tent at Reading & Leeds. Guy and Howard will be hoping to build on their success with their biggest shows to date in the New Year, at the London Alexandra Palace, but who knows, perhaps the US is next to be taken over by the unlikely lads of Disclosure!

HAIM

If you’d read my review of Haim’s debut album, ‘Days Are Gone’, then you’ll know I love them. The band, their singles and their album. They are blooming in popularity, with a US tour due to start in a few days time, a supporting European tour with French band Phoenix and some dates in the UK either side of Christmas and New Year. The best thing about them is the rocky, live performances, something that contrasts as such with the more poppy-uber produced new album. Try and experience both if you can, you will be in for a treat!

Kings of Leon

Now you may think you know every little detail about the Kings of Leon…and in a way you probably do. Yes they tend to be ridiculed for every release of theirs nowadays sounding EXACTLY the same as the last, and that is debatable in its own right. But the most recent LP, ‘Mechanical Bull’, knows that and runs away from it, like the titular bull. Now there is no radical change from the commercially, if not critically, successful formula that Caleb and co, have followed for a few years, but making music seems to actually matter to the band again. The likes of ‘Beautiful War’ and ‘Wait for Me’, are modern day masterpieces, whilst ‘Supersoaker’, brings a bit of Motown back to the 21st century. If you’d grown tired of the same old KoL, give this new effort a listen.

King Krule

At the age of just 19, you could forgive Archy Marshall a.k.a King Krule, for being a little rough around the edges. His unique blend of soulful rock, over which he throatily (almost) raps, is something that has to be heard to be believed. With an album released just two days after his 19th, and a spot on the BBC Sound of 2013 list, this kid is onto something big. Expect him to blow up, ala Jake Bugg style, this time next year. Greatness awaits the King.

Peace

One of the biggest breakout acts of 2013, especially in the UK, Peace brought a Brit-pop revival with them, their sound on album, ‘In Love’, eerily reminiscent of efforts by the likes of Blur, Stone Roses and even a chunk of Oasis thrown in for good mix. It’s a surprisingly good album, and whilst their live show, currently touring the States, could do with a bit of sprucing up, they’ve got a lot of potential to stick around for it to get good!

Chase & Status

 Experienced dance duo Saul Milton and Will Kennard raise the flag for UK dance music. They’ve worked with Cee-Lo Green, Rihanna and Example before, with their new album, released in the upcoming seven days, sees them with Nile Rogers  and Major Lazer amongst many guest vocalists. They are a big act in the UK, with them subbing the famed Reading & Leeds festivals this summer, bringing the party to a rain-drenched site. With the new album sounding promising, who knows, this could be C&S’ year.

Deap Vally

This LA-based rock duo blew away the stale so-so bands that dominate the rock scene nowadays, with their unique brand of rock and girl power. Lindsey Troy and Julie Edwards turn up to play rock music, and do so in style, with some breathtaking shows that don’t hold back whatsoever. The debut album is actually an improvement on the live performances too, so either way if you fancy a bit of a twist on the generic rock formula, give these ladies a go!

Janelle Monae

One of the most innovative artists out there right now, Janelle Monae built on the premise of her first album, ‘The ArchAndroid’, with her follow-up, ‘The Electric Lady’. Both are thoroughly entertaining, soulful records that make even the grumpiest human being move their feet to the beat. Monae’s vocals are also something to be amazed by, sounding like a better, pumped up, altogether mental Beyonce. With guest appearances from Prince on the new LP, perhaps that would be the best place to start, ‘Dance Apocalyptic’, another prime example of her sugary sweetness.

Do you agree? Disagree? Sound off 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.

Haim’s hit the sweet spot with debut album, ‘Days Are Gone’

The hotly anticipated debut album from American trio, HAIM, is finally here and it is very impressive indeed.

‘Days Are Gone’, is a tightly produced album, with synth-pop, indie-rock laden riffs thrown into the mixture, some RnB beats also present. The three sisters have captivated with their strong single releases to date, and they do dominate the album in terms of quality, although that may just be a personal thing…I love some of these songs already!

Opener ‘Falling’ is one of the aforementioned songs. It is a catchy song, with lead singer Danielle Haim (see where they got the name from?!) taking charge with some interesting vocals. What is great about the band is how versatile the three are, all can play at least one other instrument, and the legend that is Estee, primarily the bass player, and her many ‘intriguing’ facial expressions during live performances, make them unmissable.

I saw them for the first time over the summer, at Leeds Festival, and was enraptured by them, the way they commanded the stage and interacted with their baying crowd was exceptional.

‘Falling’ is followed quickly by the knockout blows of ‘Forever’ and recent single, ‘The Wire’, both awesome songs also, with the latter a sexy song with a heavy beat the works well with the Fleetwood Mac-esque riff and the youngest Haim, Alanah, for a segment on vocals, and it all meshes well together. ‘The Wire’ is my favourite song on the record, it drives on and on but remains so so good.

Next up, ‘If I Could Change Your Mind’, sounds like a B-side that somehow crept onto the album, it’s like the leftovers that have stewed over from the leading three tunes. Its not a bad song, not by any stretch, just a brief dip in standards. ‘Honey & I’ corrects that rather swiftly though, a jittering, thoughtful song, with a strong narrative. It’s a relaxing way to slowly sink into the second half of the album, with Danielle’s vocals remaining enthralling.

Another single next, ‘Don’t Save Me’. This was one of the first songs I heard from the band, probably THE song that got me hooked on them! I may have overplayed this to death, but even now I enjoy listening to the catchy RnB beat and the chilled out synth in the background. I recommend anyone who doesn’t know anything about Haim to check this song out.

‘Days Are Gone’ is one part 80s song, one part RnB, one part synth-pop, to put it frankly, it has a tonne of influences infused together, but doesn’t really lose its way, the intriguing riff in the background providing enough interest to keep it listenable. Next up, the moody, almost hormonal, ‘My Song 5′, sees the sisters get a bit experimental, with hints of Nirvana and TLC thrown into the mixing pot. What comes out is a middling song, neither good, nor bad, just a bit mental really.

‘Go Slow’ sees everything be broken down and, quite literally, slowed down. It is the definition of a slow-burner and is a little bit too bland, nothing really progresses and the chorus is a little bit protracted. The album isn’t perfect, but one thing it is great at is the fact it doesn’t get stuck in a rut.

‘Let Me Go’ is next and feels as strong as the singles. Its drum may be a bit primal, but once again, the girls show that they can mix things up- there will NEVER be the criticism that Haim are a boring band, that is for sure. Alanah helps out Danielle on the vocals, and really picks up the song, she’s much better at the pacier sections, whereas her sister has a slower, more unique style. Both compliment the other well, and combine in great style here.

And closer, ‘Running If You Call My Name’, mixes electro beats with slower, drum beats. It surprisingly works. What I like, is that new styles are thrown together, they may have roots in wildly different genres or styles, but it just works, very rarely do many of the radical ideas fail to entertain on this great debut album.

And just like that, it’s over! ‘Days Are Gone’ is a fantastic start for the Haim sisters. It’s a confident, polished album that dares to go where many bands never do, never mind it being their first go at an LP. They’re one to watch right NOW, go and adopt Haim as your new favourite band!

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.

What Unsigned Bands Can Learn From Behemoth’s Promotional Photos

The following is an excerpt from “Your Band Is A Virus”.

For photos, there should be plenty of amateur, yet professional and ambitious photographers in your area who are looking to photograph bands and are happy to provide you with the high quality photos in return for credit (Photo taken by___), or a small fee. Sometimes student photographers will take pictures of bands free, simply for experience or word-of-mouth promotion. With the improvement of quality of digital cameras, photos can also be done yourself or by someone in your circle of friends. Even iPhones and Android Smartphones have such advanced built-in cameras that they both take great shots – just make sure the photographer knows what they are doing. Try to do something eye catching and original with your band promo shots, but keep it professional.

Remember, these will represent you on your website, and also be used in the media when you are interviewed, reported on or reviewed. Taking photos on your cell phone or cheap camera is not going to cut it. Hire someone who is serious about photography and trying to build their portfolio (hint: they will give you a deal.)

Where to look? It’s simple. Craigslist. Everything you can think of is true on Craigslist. Be sure to check their online portfolios first, though, and don’t just take their word for it that “they’re good” or experienced. The same goes for video directors.

Another important tip about getting photos for your band – Take it seriously and dress appropriately. This doesn’t necessarily mean you need to wear a suit. You must make it suit your music though. Consider the band photos you see from the millions of bands flooding the market today. Jeans and t-shirts, right? It’s up to you, but the “show up in your street clothes” approach just doesn’t seem like an eye-catching option anymore in today’s option-overloaded marketplace – unless that’s really your image at heart.

The band’s that will stand out in the new marketplace are often the ones who have an image, who take risks. The ones who are daring enough to be different will succeed. Whether this means that your band dresses up in army fatigues, Alice in Wonderland costumes, crimson robes, suits, tribal attire, masks, or zombie makeup, you have got to do something to stand out in the crowd. Think about it this way. How would you dress to your sister’s wedding? How would you dress if you were to have a meeting with your idol? How about if you were to perform a work of art that is very dear to you?

If music is unimportant to you – stop! If it IS important to you, discard your subconscious negativities and give it the respect it deserves. Dress appropriately. Now this may be an extreme example, but I was perusing a local music magazine this morning. It seemed every independent band I came across were posing in alleys, lying in a field, trying on animal masks, or pushing each other around in a shopping cart with big smiles on their faces. Guess how many of these bands intrigued me? I assumed right away that their music was subpar and lazy, just like their image.

Then I came across a feature article on the metal band Behemoth. Even if I did not listen to metal, I would admit it’s an extremely effective image, and I might just listen to their music out of curiosity. Please keep in mind, this is only one possibility out of limitless possibilities, so I’m not telling you to jack Behemoth’s image. Do your own, but whatever you do, do it with the same vigor and intensity, yeah?

Want some other ideas? Below are some great promotional photos from Independent Music Promotions artists, both past and present. All of these artists are unsigned.

 

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 Problem With Band Biographies

The following article is an excerpt from “Your Band Is A Virus”.

Many independent artists struggle with biographies, and it’s no wonder. For many artists, they know that they haven’t “done anything” yet, so they feel the best option is to over-compensate. This is not the case. Think of reading a biography as an equivalent experience to meeting someone. The best tactic is to keep it concise and information-based, to impress with the facts and not the over-hyped propaganda.

One thing I have noticed, as a consistent pattern in the thousands of artist biographies I have read, is the tendency to over-emphasize your story. You need to have the ability to step outside yourself and put yourself in the shoes of the reader, whether they are an industry person or a prospective fan. How much about you would they possibly want to read?

Far too many biographies start with something like “David Smith has had a love for all things music since the age of three, when he began to teach himself singing, guitar, and drums.” They usually go on with tales of junior high bands and an impressive number of instruments played, including clarinet, saxophone, and recorder. Two pages later, the bio is done and you have to wonder if they contemplated the process at all. While David’s music may very well have been amazing, the reader would most likely abandon ship before listening. It’s important to be able to spot what will come across as arrogant.

It takes a discerning eye to be able to choose what is relevant to share, and what no one is going to care about. Your family and friends can’t help in this regard, because in most cases they won’t be honest with you. For this reason, hiring a professional bio

writer, or someone outside the band, is also a great option. You are often too close to yourself to talk about yourself.

Another good rule of thumb is to keep it short, and without language such as “The Evil Lizards are the best band to come out of North America since Metallica.” As great as this statement sounds, it will just end up making you look like jerks. It will not have the desired effect (Metallica fans and media personnel foaming at the mouth to check out your music). As you gain press (which we’ll get to) you can also add press quotes to your bio. Why? Because it’s ok for OTHER PEOPLE to brag about you – but you can’t do it yourself. Remember that! It’s also ok, even recommended, to talk about your influences in your band’s biography. Until you are as big as U2, go ahead and mention who influenced your sound. As long as it’s done in the correct way, it will definitely entice more people to give your music a chance, and also help your search engine results, successfully tying your band name to the influences of your choice. Just be sure to keep it humble and clear.

When in doubt, read Wikipedia. It seems counter-intuitive, but when I write biographies, I try to keep it concise and factbased

as if it was a Wikipedia page on the artist. When you read an artist’s Wikipedia, you are not going to get a whole bunch of promotional language. You are going to get something stronger and much more convincing – cold, hard facts. Proper comparisons example: “Inspired by the likes of Tool, Metallica, Queens of the Stone Age and Lamb of God, the Evil Lizards showcase their own aggressive brand of metal-infused rock music.”

The reason a statement like this would work is because the band is mentioning very successful bands, as a tribute of sorts, while not making the language overly promotional. This quote is meant to entice fans of the aforementioned bands to wonder, “What do the Evil Lizards sound like? If they sound anything like a cross between Tool, Metallica and Queens of the Stone Age, they must be awesome!”

Wikipedia style example: “Sonic Youth is an American alternative rock band from New York City, formed in 1981. Their most recent lineup consisted of Thurston Moore (guitar and vocals), Kim Gordon (bass guitar, vocals, and guitar), Lee Ranaldo (guitar and vocals), Steve Shelley (drums), and Mark Ibold (guitar and bass).” (Taken from Sonic Youth’s Wikipedia page)

Formatting your band’s bio to look more like a Wikipedia article makes it look more official, and even though you may not think so, you will have many more bloggers and media personnel take the time to learn about you when you are not going on about yourself. Let the music do the talking.

Sample Band Biography:

Here’s a sample band biography to help you. Remember, the bio is for the media, the music industry, future contacts, as well as your fans. It should read like a fact sheet, but keep it creative, energetic, and useful. Be sure it represents your band. Make them want to listen.

1st Paragraph: You will need an introduction. This should be a sentence that clearly defines you, your band name or alias, where you’re from, your specific genre of music (eclectic brand of space rock, punk-infused speed metal – make it interesting but don’t lie!), etc. You can also add a positive quote you have received from a website, blog, radio or magazine review. (Rock Magazine calls the Sonic Spacemen “A real rock juggernaut…the sound of the future”.)

2nd Paragraph: This paragraph will go over the purpose of the bio. What is your band up to? If you have a new CD coming out, this should be the topic of the paragraph. Promotional information such as tours, events, or music videos to support the album should also be mentioned here. Keep it concise.

3rd and 4th Paragraphs: Relevant information on band members (edit out the bit about your drummer being the greatest player since Danny Carrey), band accomplishments (festival spots, awards, licensing deals, glowing reviews, etc), experience (tours, albums, song writing), and information about the forming of the band can be delved into here. Once again, it’s critical that this area is concise.

Ending: Summarize current activities and events, the goals of the band, and be sure to include another raving press quote here. Remember, you do not need an epic story to get noticed. Let the music speak for itself. The shorter you can make your bio, the

better. You do not need four paragraphs. You just need to present yourself accurately and professionally, and do not get in the way

of the music. I remember reviewing an artist who claimed that his album was “the best rock album since Dark Side of the Moon”.

Needless to say, my perception of him was clouded from there on.

I saw him as egotistical and out of touch, and there was no way his music could come close to the lofty heights his ego was

reaching for. So how could I relate to his music?

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.

Arctic Monkeys walk past midnight on subdued “AM”

Arctic Monkeys newest, fifth album, AM, may be the best collection of songs to hear while walking in a big city after midnight. It’s filled with an attitude of cool nonchalance and a tempo that remains mid-level throughout.

Out only a few weeks, AM has already been nominated for the Mercury Prize, the UK’s gift for their home-bred favorites, and hit number 1 on the UK Albums Chart. These guys are definitely the best thing to come from England since Radiohead, but they lost themselves in the California desert while recording this one.

The songs are sparse and direct, each held down by a clopping, barely- there rattle of drum and bass from Matt Helders and Nick O’Malley. The first track, “Do I Wanna Know?,” burns slow like one of those fat lavender candles. A sinister stomp marches in, while a dark foreboding guitar peels around the corner. Leader Alex Turner, now sporting a hard glint of tenacity in his eye, wonders if the one he sees romantically sees him the same, but, does he even want to know?

The catchiest and most familiar-sounding chorus is on a song released months in advance, “R U Mine?” Helders adds a pile of drums and his rising falsetto, something they explore at great volumes here. The vocals get real high, especially on “One For The Road,” which features Josh Homme of Queens Of The Stone Age (he’s on “Knee Socks,” too).

“Arabella” is a weird mix of crunchy Seventies-era butt-rock with a guitar solo caught on meteoric fumes and a bass line like ice melting in a glass of lukewarm water. The best song, “Fireside,” moves brusquely and steady like a locomotive through a tide of twinkling organ and rising guitar.

On “Why’d You Only Call Me When You’re High?” Turner really needs to drink a cup of water and get some sleep. It’s a raw piece of smoking blues that walks right over your face. Turner still expertly weaves delicately worded phrases between his prudent guitar licks like he’s always done. “I wanna pull your hair in deep devotion,” he swoons on “I Wanna Be Yours.” Slick as ever, but crumpled in a loveless gutter. Will somebody please love this guy?

The sweet chasm, “Mad Sounds,” is a very dull hit single for mid-90′s lite rock radio. Every band should find a place somewhere on a new record to tip-toe outside their comfort zone, but the ooh-la-la-las and the treading organs on this one just don’t work. Similarly, “No. 1 Party Anthem,” is the sappiest of Arctic Monkeys songs. The tempo cuts in half and in the background a piano hides, while Turner goes milky with the lyrics. It’s certainly not terrible, but if any other millennial rock band released it, it would briskly be

forgotten.

The closer, “I Wanna Be Yours,” is a beautiful ode to a love deep as the Pacific Ocean and moves like a wave lapping toward the shore. It’s a simple song that swells with a longing for desire but fades without alarm, leaving the listener wondering where the hell the new Arctic Monkeys album went.

AM is not the tough, stoner-sludge rock record one might’ve hoped for with all the supposed Black Sabbath inspiration and Homme hand-lending, but it’s definitely a mark worth celebrating for the Monkeys. The songs mirror the emotions of an endless night of loneliness and dread and intoxicated contemplation. They’re waving goodbye to their early snotty selves and waking in a new disheveled morning.

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.

5 Ways To Avoid Music Industry Scammers – The Google Test

“This is a stick up! Give me your dreams, punk!”

Hi all. Today’s post is something that I talk about often in Facebook statuses and emails, but strangely have never dedicated an article to the topic – how to tell if your band is getting scammed. It’s very simple, but absolutely necessary in this world of “free for all” industry people. Many artists aren’t sure how to properly research companies and industry individuals before choosing to work with them. This leads to thousands, possibly millions, of artists getting ripped off. When you get ripped off you become jaded, and you view the world through a lens of cynicism. This often leads to the downfall of your music career.

In our “music with depth” movement, this is something I see every single day. I see it in the jaded perceptions of artists, and also in the malicious approach of many industry people who seem to think nothing of delivering scraps for high prices.

So how do we avoid scammers in the music industry, whether they be managers, label reps, licensing companies, magazines, PR companies, or tour companies? It seems way too simple, but…put them through the Google test. You’d be very surprised how many artists just do a quick search, verify that there’s an official website, and proceed from there.

Let’s say that a record label, band manager or PR company contacts you saying they love your music. Be skeptical and neutral, not cynical. There is a difference. They may very well love your work.

1) The first thing you’ll want to do is Google them. Do they have an official website? Is it well designed?

2) Do they have a client list? Perfect. Google each one of their clients. Look for CD reviews, magazine features, blog posts, articles, podcast and radio play. If they don’t list any clients, that may not be a good sign, but you can always request a partial client list and then go through this process.

3) Contact a few of the artists directly to see what their experience was like. Artists generally like to help each other out with honest first-hand advice. It’s fine for artists to appear on Google searches, but in some cases they may have done that work themselves before aligning with said company or industry person. It’s important to make sure that the results you see are genuine.

4) Company presence. Look closely at the company presence on Google. You’ll come across their Facebook, Twitter, Pinterest and related profiles. Do they have influence? Do they have engagement? Are they growing?

5) Over-promising. It’s fine to promise what your service actually is. For example, promising 1,000 CD’s duplicated, high quality t-shirts, competent management, or in our case, delivered press and reviews. However, many companies and individuals use psychological sales tricks to carve a much bigger slice of pie for themselves. This is the promise market. If you come across websites that flash promises such as “Has Your Music Been Featured In The New York Times?” (a promise advertised by Beatwire.com), “Get Your Music Sent To 10,000 Journalists”, “Get Signed!”, or anything along those lines, those are fish hooks. Credible companies don’t use outlandish statements like that.

 

Bottom line: If they want $5,000 a month for “world class promotion”, but they have 232 Facebook followers and no press for their business, run for the hills!

This article was actually inspired by an email I received yesterday from a concerned mother. I asked her if it was ok if I used it as an example, and she immediately said that if it will help other musicians avoid this pitfall, please do.

Hello IMP, my name is ____ and I’d really appreciate it if you could answer a question for me: My son is a musician & he was contacted by a promoter who was very interested in his music. I’ve tried to do some background work on said guy & company but I am coming up empty handed. My question is this: The guy told him that he was gonna sign him for only 60 days and that he needed $500.00 to get started putting his music out there. I don’t know whether payment should be made upfront or not. Does this sound right to you? I find it to be a li’l fishy! I’m only trying to look after the interest of my son, so your help is most appreciated! Thanks for the attention you have given my message… Sincerely, ____!

 

Hi Tina, thanks for getting in touch, and I’m honored actually that you’d come to me for advice. 

Here are my thoughts, and they’re simple on the matter. 

ANY individual or company that works with musicians and is looking for business should have plenty of verifiable results on Google. Why? Google displays everything. If it’s a PR company (as in my case), you should be able to look up the company and see articles, reviews, interviews, publicity. Also, you should be able to look up each of the artists they’ve worked with, once again in a simple Google search, and see lots of good results (reviews, blog posts, features, etc).

If a company has no Google results, run for the hills. Seriously. If they have no results, that should mean they are just getting started, so it would be logical to offer first time clients great deals and be candid about that. 

About the 2nd issue: paying in advance is quite normal, especially in areas where hourly work is required. Often companies need the funds in order to pay their workers and allot full resources to a campaign or artist. Otherwise an artist can run off, and the hours can’t be taken back. It would be a poor business model in many industries to accept payment when the job is done.  That being said, the person or company should have a great reputation so you know for a fact they won’t rip you off.

I’d run from this particular situation. There is NO excuse for having no Google results, especially for someone who promises to “get music out there”. Out where? If they can’t get their own name anywhere they certainly can’t do it for anyone else.

I hope that helps and I wish you the best,

James

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.