Hello and welcome to the final Advice column of the week. We did not set out to run a series of in-depth editorials over the last few days, but sometimes content develops in ways you never expected. For this particular piece, we became fascinated with the struggles of signed bands and wanted to shed a light on their troubles to help developing artists prepare for the realities of life in the music industry. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact firstname.lastname@example.org and share your thoughts. We can also be found on Twitter and Facebook.
Today I was scrolling through the latest music headlines when I stumbled across a post from my friends at Indie Vision Music that captured my imagination. I Am Empire, a relatively popular rock band signed with Solid State Records, shared a photo on their Facebook page showing a quarterly streaming royalties statement. The image, which you can view below, was not exactly the kind of thing rock and roll dreams are made of:
The band offered an explanation for the image on the original post:
"A glimpse into being an indie artist on an indie label. This I Am Empire royalty statement shows nearly 500,000 internet radio streams/plays on one quarterly statement. Total royalty paid from this portion. $.58 per band member. Spotify streams.. nearly 50,000 streams.. paid $3.35.”
Hello, everyone. Thank you for taking a few minutes out of your day to join us for a little music industry discussion. We were not planning to run this particular feature today, but life has a funny way of telling you what needs to be done when you least expect it (as you will soon learn). If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact email@example.com and share your thoughts. We can also be found on Twitter and Facebook.
I was halfway through an editorial on stage lighting today when a new post from our friend Anthony at The Needle Drop caught my attention. In the clip, a fan wrote to Anthony asking him about his thoughts on cell phone usage at shows, and what he remembers from attending performances before smart phones. I was both fascinated and made to feel extremely old by Anthony’s response, as I had never thought of my life as having been lived in an era now known as ‘pre-smart phone,’ but I was also incredibly intrigued by the notion that such technological advancements have forever changed the way people experience live music. Before I ramble on, however, it’s only right that I share Anthony’s video first:
Hello again, everyone! We usually save our big company updates for the weekend, but given the size of this new feature we thought it best to give our latest expansion a post all its own. If you read our weekly recap last week you may already know what we’re about to discuss, but this explanation will be slightly more in-depth than before. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact firstname.lastname@example.org and share your thoughts. We can also be found on Twitter and Facebook.
One of the biggest concerns we have had in recent months when speaking with clients about their Haulix experience has been the fear of having their press contact information expire or otherwise become useless. You can only set aside so much time to update and reaffirm the information on your contact list, and as the the number of journalists you’re trying to reach grows it becomes increasingly difficult to manage.
We recognize the need for up to date information and easy database management, which is why we have created a new, state-of-the-art profile system that not only allows members of the press to see what labels have them listed as a contact, but also gives them the power to control what email addresses they are contacted at and who can contact them. When a member of the press changes their information that data is then updated on the contact page for every label that has that person listed as a contact.
Hello, everyone. Welcome to the first Advice column of the week. These posts usually involves lists or input from guest contributors, but today we are offering an editorial about lessons learned while watching on of the greatest living rock bands perform in West Michigan for the very last time. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact email@example.com and share your thoughts. We can also be found on Twitter and Facebook.
I traveled halfway across the country a few weeks back to see a concert I could have very easily witnessed in my home city of Boston. It was the opening night of Motley Crue’s final tour, however, and I could not miss the opportunity to be present for the beginning of the end for one of America’s most iconic and outrageous bands. The show was incredible, spanning more than two hours and featuring songs from across their 33-year career, but it was not a night without fault. In fact, there were so many flaws that many people in the arena started to leave. I learned a lot though, including why so many people respect a band that has prided themselves on debauchery for over three decades.
Hello and welcome to the beginning of a new week of music industry insight and conversation. We are beyond thrilled to have you joining us this afternoon, and we certainly hope you stick around for all the content we have planned in the days ahead. The piece you’re about to read is one that took ten years to create, but we’ve only been working on it for about a month. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact firstname.lastname@example.org and share your thoughts. We can also be found on Twitter and Facebook.
There was a time in 2001 when I thought the world would never be without the band known as CrazyTown. Having risen out of virtually nowhere, this California based rock outfit had taken top 40 radio by storm with a little song called “Butterfly,” and in doing so managed to sell more than six million copies of their debut album (The Gift Of Game). You could not be in public for more than twenty minutes without hearing frontman Shifty Shellshock’s voice crooning “Come my lady, come, come my lady” from every car stereo, bodega radio, and department store sound system in the country. If you somehow made it this far in your existence without experiencing it, now is the time to change you life:
In 2004, things took a wild turn when CrazyTown began butting heads with their label over the material being created for their Sophomore release. The execs wanted another “Butterfly,” but anyone familiar with the band’s catalog can tell you that song was an oddity from day one. It was never meant to define the sound of the band, and they were determined to stick to that plan with their latest record. They got their way, but for whatever reason the album was not given the kind of major promotional push their debut effort had received. Months later, the band was dropped.
Frustrated by their experience on a major label, not to mention the overall decline of the industry as a result of digital piracy, the members of CrazyTown decided to take a short break, allowing everyone the chance to pursue other projects. That short break quickly turned into a decade, but after years of demand the band is finally back together and quickly wrapping up production on a brand new release. Having seen the highs and lows of life in the industry, we knew we had to ask the guys about their experience coming together once again, and to our surprise founding member Bret “Epic” Mazur was more than happy to write an in-depth editorial about the behind-the-scenes things that have to happen in order for a band to reunite. It’s fun and informative, both for fans of the band and those thinking of restarting their own, long forgotten projects. You can find his thoughts below.
CrazyTown have only played a handful of shows since announcing their reunion, but we expect to see them playing many more cities in the months to come. Before we get to the interview, take a few moments to hear some of the band’s latest material:
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2014. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each Sunday we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to email@example.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Assistant, Promotion (Warner Music Group)
Job summary: The promotions department works towards developing awareness and exposure for priority records through various mediums focusing on but not limited to radio. The department works with marketing, sales, publicity, and digital marketing, creating grass roots and national promotion strategies to garner airplay at key lifestyle, club, and radio outlets.
"When there’s no more room in hell, the dead will walk the Earth. When there’s no more time on the clock, the workers will run free. It’s Friday. Be free.” - Anonymous
Each and every Friday we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.
THIS WEEK HAS BEEN INSANE! We have a lot to cover, so go ahead and strap yourself in. We’re about to dive deep into the world of Haulix HQ.
First up, on Tuesday we were finally able to release our long-awaiting first promotional video. This fully animated clip, which can be viewed below, explains who we are and what we do to help press and record labels alike in less than 2 minutes. We have already placed the video on our official website and will continue promoting it through various channels in the weeks ahead. Check it out and let us know your thoughts:
Hello and welcome to the second Artist Spotlight feature of the week. We told you earlier this month that we were focusing on developing our newer columns and that is exactly what we aim to accomplish with this feature. The first few spotlights focused entirely on the world of metal, but in this piece we talk about punk and electronic music, as well as the pros and cons of being a signed artist. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact firstname.lastname@example.org and share your thoughts.
Relationships are everything in the music business, and that is one point I cannot stress enough. Trends change, business models change, but the relationships you forge with others in the music business have the power to last and last. When the business side of things turns its back on you and you find yourself both broke and unemployed it will be the people you’ve met through your efforts that help you pick yourself up and piece your life back together. They will send you messages of support when your health fails or when you’re dealing with typical day-to-day drama that life tends to bring. It’s a rarely discussed, but deeply appreciated aspect of working in a tight knit global community that can (and likely will) change your life.
I cannot recall the first time I crossed paths with William Francis, the musician behind William Control, but it was not too long after he and his bandmates in Aiden signed with Victory Records during the mid-2000s. Our relationship was purely fan and artist at first, but over the years I began to more passionately pursue my interest in music and the dynamics of our relationship began to change. Instead of simply being fan and artist, we were also blogger and artist, or web video personality and artist.
It’s important to know that I was not the only one changing during this time. Aiden released a handful of albums, each featuring a distinct change in sound and direction, but ultimately went on hiatus so that the various members could pursue other projects. For William, that meant starting William Control, a synth-fueled electronic offering that dabbled in bondage and victorian literature. It was another clear departure from everything he had done before, but it also felt like the most honest expression of who Will was as a person, and many fans who loved his punk efforts continued to follow him.
By the time William Control was off Victory and thriving as an independent act I found myself out of college and working full time in the music industry. Seeing Will on the road was still exciting, but somewhere over the better part of the last decade our relationship dynamic changed once again to be friend and friend. We would still do interviews and we would still talk shop, but we would also catch up on life and wish the other well whenever they’re going through hard times.
When I started at Haulix I knew one day I would have the opportunity to share Will’s journey through the business with our readers, and I am beyond excited that day has finally arrived. He’s a friend and an artist I continue to admire to this day, but more importantly he is one of the smarted people I have met in my entire life. His unique perspective on existence and the way this business works is the type of thing that could fill volumes, but for now the few thousand words below will have to suffice.
H: Hey there. Before we dive in, please take a moment to introduce yourself:
W: Well hello to you sir, my name is William Control. I sing, write and travel the world.
Hello again. Thank you for taking a few moments out of your day to spend with us. We have been planning a very special reveal for the end of the week, but before we get there we have the pleasure of hosting an editorial from Antique Records about their experience putting out their very first vinyl release. If you have any questions about developing as a business owner in music, please do not hesitate email email@example.com and share your thoughts. We can also be found on Twitter and Facebook.
For the last two years I have had the great fortune of running a tiny indie record label with my best friend. We started our label, known as Antique, on a whim. It dawned on us one day that we shared a mutual bucket list goal of owning a label and that life had put both of us in a position to create that very thing. It was exciting and thrilling, but also pretty low risk as far as money was concerned. You see, until very recently we were known solely for creating limited edition cassette pressings of popular indie albums. Yes, people still buy cassettes.
Hello, everyone. Thank you for joining us for the very first Artist Spotlight column of July. We received such a positive reaction to our piece with Tombs’ Mike Hill last month that we decided to make this series a regular part of our content programming. This edition still dwells in the world of metal, albeit a completely separate subgenre, but in the weeks and months to come we will highlight voices from around the music industry. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email firstname.lastname@example.org and share your thoughts. You can also find us on Twitter and Facebook.
Every now and then a band comes along that defies all logic. They may have a silly name or wear ridiculous outfits, but when you cut out all the marketing trickery they still produce great music that more people need to know exists. The problem, which many of these artists encounter again and again throughout their career, is reaching a point of popularity where people can see past the jokes and appreciate what’s really taking place inside each song.
Enter Cannabis Corpse. After forming in 2006 as a pun-laden tribute to the metal gods known as Cannibal Corpse, the group quickly began developing a following that allowed them to have an identity all their own in the world of death metal. Eight years and a handful of releases later, the band is still going strong and still releasing pun-filled material that is far more satisfying than their jokey titled may lead you to believe. Their new album, From Wisdom To Baked, offer some of their best material to date and one of the best album covers you will see all year. You can view that artwork below:
Pretty great, right? These guys know how to nail a parody, but they also create killer music that would sound just as great regardless of the art or track names, which is why I knew after hearing From Wisdom To Baked that the time had come to feature them on our blog.
The interview below took place earlier this week between myself and vocalist/bassist Landphil. You may know LandPhil from his work in Municipal Waste and Iron Regan, but for the purposes of these feature we stuck mainly to Cannabis Corpse and the band’s journey from a group of friends playing in an apartment to a critically acclaimed death metal band that understands how to inject humor into their work.
For more information on Cannabis Corpse, be sure to visit their official Facebook page. You should also pick up From Wisdom To Baked, which is available right now. Regardless of your stance on marijuana, I think it’s safe to say everyone could use a little more metal in their lives.