Hello and welcome to the only Industry Spotlight feature we plan to run all week. We don’t always advertise this aspect of our site, but a lot of the content that eventually finds its way to our front page does so because our readers requested it. You want to learn about bitcoin’s role in music? We’ve got you covered. Want to know about the guy who runs PropertyOfZack? We cover that too. Today’s post comes in response to a flood of requests we have received over the last six months, and it’s developed into what I believe is one of our best label-centric features to date. 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.
If you want to succeed in music you need to learn to take chances. Everyone who holds a position in the music industry today does so because another current or former industry professional took a chance on them when they were little more than a music consumer with a dream. Was there risk? You bet. Was there a chance someone could lose their job? Definitely. Still, each and every day people take chances on dreamers as a means to promote the continued existence of this thing we call the music business.
For me, it was not until No Sleep Records’ founder Chris Hansen took a chance on a completely unknown high school graduate from Michigan that I was able to find my calling in music. The year was 2006 and I was just a freshman in college with a weekly show on our campus radio station. The studio had great equipment, but due to budget cut backs the music catalog had not been updated since the Y2K scare, leaving all incoming radio hosts to find, request, and otherwise acquire whatever music they wanted for their show. I had been an avid reader of Absolutepunk for about a year at that point, and as I started to plan my show I began using the daily news posts to locate labels and artists I might be able to promote through my efforts. It’s hard to remember exactly how many emails I sent, but I will never forget the rush of excitement I felt when Chris wrote back and asked for an address to send over some promotional materials. The initial shipment included a 3-song teaser from a then unknown band called The Wonder Years, as well as a full length album from The Fire The Flood, both of which I played at great length in the weeks that followed.
I can completely understand how some may see this moment of kindness as a mutually beneficial move for all involved that in no way had to extend further than one shipment of records, but for me it was all the confirmation I needed to know my life was on the right track. The fact I could convince someone like No Sleep to send materials my way meant that I could potentially work with any artist and/or label I put my mind to, which is exactly what I set out to do in the months and years that followed. Everything I have today, from the music news blog I still over see, to my role here at Haulix, only exists because Chris Hansen took a chance on me. He probably does not even realize he made that kind of an impact on me, or that he likely made a similar impact on the lives of countless other industry hopefuls, but that does not change the fact he was a positive force in my life at a time when I desperately needed a sense of direction.
No Sleep has been a member of the Haulix family for a long time, but due to the label’s ever-increasing popularity it has been difficult to find a time where Chris and I could work together on a feature for this blog. Fortunately, such a moment presented itself at the end of May, and we quickly got to work crafting an interview that not only retraces the origins of the label, but also offers some insight on where it may go in the years to come. If you would like to learn more about Chris’ efforts beyond what is found in the conversation below, please make it a point to follow No Sleep on Twitter. Additional questions and comments can be left at the end of this post.
Haulix ran a feature a week or so ago titled Repeat After Me: I Will Not Pay To Play Shows. It contains insight from promoters, bands, and other industry related people about Pay To Play. Jesse Cannon and I also spoke about the method on our most recent episode of Off The Record. Read the full piece here and a snippet below after the jump.
Off The Record: Pay To Play For My Heart
Hello again, everyone! Welcome to another edition of the Haulix Blogger Spotlight. When it comes to running this column on a regular basis there is no denying that we sometimes slack. Topics or interviews come up that we cannot resist and, as a result, someone’s else gets bumped. We are hoping to make up for the delays this week by running a series of interviews we have been attempting to complete for weeks, and I think when you see the final results you will understand why we were so determined to highlight the people at the center of each column. 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 email@example.com and share your thoughts. You can also find us on Twitter and Facebook.
Fifteen Minute Media is a site unlike any other we have featured on the blog. Created and run by Kari Hana, the site and its contributing staff understand that music is much more than just sound, that it goes deeper than what goes in our ears. To listen to music is to engage with art on an incredibly deep and personal level, with experiences varying from person to person, and its in understand that fact that Fifteen Minute Media have begun to carve their own niche audience in the digital realm. Their coverage may not highlight a specific genre, but they still offer insight on a variety of high quality talent - both known and unknown - from around the globe. They keep an open mind when it comes to new music and ask that readers do as well.
Hello and welcome to the beginning of a brand new work week. We have been working on the features you will see in the coming days for well over a month, and to be perfectly honest we believe it may be some of the best content we have produced to date. We build this blog as a way to inform and inspire the future leaders of music, which is exactly what we aim to do with the posts you will see in the days ahead. 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.
We have run well over 100 interviews with bloggers and professional music journalists over the last year, but not once in all that time did we ever craft a feature quite like the one you are about to read. For the first time in the history of this blog we have interviewed two influential minds for a single feature. Ladies and gentlemen, allow me to introduce you to Sadie and Christie, the two music loving souls behind the Hip In Detroit.
I cannot recall the first time I stumbled across Hip In Detroit, but it did not take long for me to realize whoever was behind it needed to be featured on this blog. Where many sites focus their efforts on bringing additional attention to already buzz worthy bands, or trying to lock down features with national headliners, Hip In Detroit exists to support and promote a local seen that is thriving with talent that has largely gone unnoticed outside the 313 area code. From concert listings, to album reviews, interviews, photography, and even the occasional sponsored event, Hip In Detroit is the must-visit digital hub for every person hoping to make the most out of their time in the Motor City.
It’s hard to say what I expected when I initially reached out to Sadie and Christie, but many of the responses given in the interview below brought a smile to my face. In a time where it seems everyone is out to make a name for themselves, these two dedicated music supporters have made it their mission to help others succeed. If you would like to learn more about their efforts, please make it a point to bookmark and frequent Hip In Detroit. Additional questions and comments can be left below.
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.
Analyst, Synchronization Licensing (Sony/ATV)
Job summary: Sony/ATV Music Publishing LLC is seeking to fill the position of Analyst, Synchronization Licensing Administration. The preferred candidate will have 5+ years of related experience administering licensing/contracts, processing receivables, and/or client relations (preferably within Music Publishing or related Industry). Bachelor’s Degree, with focus in Publishing, Business, Finance, Communications, or related field is preferred.
Thank you for joining us for another installment in our our ongoing Journalism Tips series. We started this column as a way to help aspiring writers get their start in music, but over the couple months we have been evolving into a place writers come to have their questions about life in the business answered. Today we are continuing that effort with a response to a question posed by multiple readers in regard to how writers can make the most of festival coverage when seemingly everyone who calls themselves press is granted access. If you have any questions about developing as a writer/blogger in music, please do not hesitate email firstname.lastname@example.org and share your thoughts. We can also be found on Twitter and Facebook.
Ahhh. The ever-so formidable task of mastering festival coverage. It’s not easy, running around like a chicken with your head cut off for 12-18 hours on end — making sure every must-see band has been seen, every must-shake hand has been touched and every must-interview act has been chatted with. Not only must you balance every minute of your time and energy, but you must focus that energy to make sure you are creating better content than every other writer on the scene. What does it take for you to stand out during this festival season? Here are five questions I ask myself when going into all types of festivals:
Hello and welcome to the final Advice column of the week. The following article is something akin to a sequel, pairing Haulix with a few old friends for a second adventure with a similar theme: Tour problems. I’m not sure this pair of columns will become a trilogy, but I suppose anything is possible in a world where Think Like A Man Too exists. 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 email@example.com and share your thoughts. You can also find us on Twitter and Facebook.
Back in December, we partnered with our dear friends in The Venetia Fair to teach bands and solo artists touring the icy roads a few things that may help them survive their winter tour efforts. The column was a surprising hit, and so it is with great pleasure that we welcome them back to our site a second time to share their summer tour survival tips. Take it away, guys…
Hello and welcome to the tenth installment of Eric Morgan’s How To Kill Your Band. This column offers advice to up and coming artists from the perspective of a professional musician who has thrived with and without label support over the last decade. 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. We can also be found on Twitter and Facebook.
I’ve been in the music industry as an artist for nearly 10 years now. In that decade I’ve achieved nearly all of my childhood music dreams, but I’ve also made just as many mistakes that run over my mind before I fall asleep each night. A wonderment of how a few different decisions, rerunning in hindsight, would work out in some alternate universe. This ever creeping determinism is a fallacy I’m quite aware of but one that I will never completely shake, though it’s these experiences I’ve learned the most valuable lessons. These are the things I’d like to share in a series of mini-blogs I call How To Kill Your Band.
Part 9 - A Conversation With Hopesfall’s Adam Morgan (Part 2)
This week on the HTKYB, I will be sharing the second half of my interview with Hopesfall founding drummer Adam Morgan. Part 1 can be found here. Hopesfall was founded in 1998 and quickly developed from a regional favorite to a national force that blurred the lines between metal and hardcore with unconventional song structures and spacey melodic soundscapes. The group dealt with the entire spectrum of band troubles ranging from a multitude of member changes to publicized confrontations with their label all while their music continued to grow and become a pillar of the hardcore scene. Adam was kind enough to take part a series of back and forth emails over the past weeks where we discussed his experiences in the band and shed light on the lessons he had learned during his time in the industry.
E: So I was very curious and went back and listened to track 6 of The Satellite Years “A Man Exits” to see if I could spot any differences in the mix compared to the rest of the album. All I could pull out was a little bit of tone variation in the guitars compared to the other tracks but obviously nothing I would of picked up without a hint.
A: Yeah…I guess it’s not too big of a deal. Something about the guitar mix, right at the 0:47 mark, just irks me.
Haulix will be launching a new column later this month offering free legal advice from an attorney specializing in the music business. This feature will run one or two times a month, based on demand, but we need a little help from you to get started.
As you no doubt know by now, this blog exists to help people better understand the music industry. We could throw up random bits of legal advice without issue, but what we really want to do is help you solve real world problems. If you have a question regarding music law, or if you want to know what the average cost of retaining legal council is, just ask! Need to know whether or not you can sue for copyright infringement? We might be able to help there as well.
Send your legal questions to email@example.com and we will do our best to get them answered in a timely and informative fashion.
Hello, everyone! After a brief absence from the blog it gives me great pleasure to resurrect our Industry Spotlight feature with a little help from our friend Will at Tiny Engines. The work he is doing in music right now is impacting countless lives, and I am thrilled to be able to share his insight on the future of the music business. If you have any questions about the content of the blog, or if you would like more information regarding the distributional services offered by Haulix, please email firstname.lastname@example.org and share your thoughts. You can also find us on Twitter and Facebook.
We talk a lot about how much of music is a tight knit community of professionals, but in the grand scheme of things the business as a whole is a large, towering infrastructure made up of countless tiny moving parts (no pun intended) that music work together in order to keep the industry alive. Every person who contributes is, in their own way, a tiny engine working to fuel the continued existence of the music business.