UK Based Independent Label Considering New House Music Artists

Jun 26, 2013
Category: Record Labels – A&R
Type: Record Label
Genres: House
Details: Snatch! Records, UK Based Independent record label that focuses solely on house styles of music, is looking for house and tech house artists for label representation.Tracks need to have a clean and clear sound – originality is more than welcome. Snatch! Record’s focus is to push new talent and well-established forward thinking producers and artists into today’s competitive music industry.Now a year in and 15 releases under their belt featuring artists like David Keno, Donk Boys, Kolombo, LouLou Players, Thomas Schumacher, Tapesh, Maximiljan, Pirupa, Ramon Tapia, Starr Traxx, Amir and many other of the hottest house artists, Snatch! Records is always pushing the boundaries of house music.Snatch! Records will not respond to direct messages regarding this opportunity.
Deadline July 25, 2013
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How To Build A Professional Music Team

Music Team

Music Team

So you’ve recorded a cd, played some pretty big shows, and are making some noise in your local scene…now what? Do you know how to take your career to the next level? After a certain point, bands need to start looking at putting together a team to help them get further in the industry. This is where the Artist Professional Team comes in. This is your elite team of industry insiders that are diligently working to get your music and your band out to the public…or at least that’s what they should be doing. It’s important to know the role of each member of your professional team so that you can hire the best person for the job.

Personal Manager

Probably the most important person working for your band, the personal manager is essentially the quarterback of your band. They’re responsible for coordinating all efforts between the band and your record label, radio promoter, publicist, publisher, booking agent, and business manager and all other music contacts. Your personal manager should be the first member of your team that you choose, and can then help you assemble the rest of your team. The manager will also usually make some business decisions for the band, assist in the creative process, as well as working with your record label. Personal Managers usually take about 15-20% of a band’s gross income.

Business Manager

You may not be able to afford a business manager at first, but the more money you start making, the more likely it is that you’re going to need a business manager. The business manager usually collects royalty checks for the artists, takes care of their bills, and makes sure to properly handle all taxes and investments on behalf of the artist. Business managers are usually CPAs and can either take 5% of the artist’s gross income, or work for an hourly rate or flat fee.

Attorney

Probably the most powerful member of your music contacts will be your attorney. The attorney deals on your behalf with all the major power brokers you encounter during the course of your career. Your attorney should be heavily involved in negotiations whenever you sign contracts with publishers, labels, managers, and agent. Many of the most prominent entertainment attorneys are based in New York and Los Angeles, but others have been spreading to cities such as Nashville, Atlanta, Chicago, and Philadelphia. Attorneys can either take 5% of any deals they negotiate, or can work for an hourly rate or flat fee.

Booking Agent

Having the right booking agent can make the difference between playing a good show and playing a great show. Agents are responsible for scheduling live performances for artists for either individual dates, or regional and national tours. You want to find a talented agent that has established relationships with many of the big name venues all throughout the country. Booking agents can sometimes be the most difficult member of your team to secure because you often need to convince them that you are worth their time and effort. Agents usually take 10% of the artist gross for live performances, not including merchandise.

Publicist

The publicist’s job is to obtain media coverage for clients in print, tv, and electronic media. Their responsibilities usually include securing media coverage, mailing/emailing press kits to music writers, communicating with the manager/agent/record label, and hiring hair and makeup teams for tv and magazine shoots. Publicists can get paid anywhere from $1500-$5000 per month and usually begin work several months before major releases and announcements.

By Ryan J. Colburn

Hi there!

Hi there!

The Crucial Mistake Most Bands Are Making With Facebook

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Are you a musician? Are you having problems? Is your group having issues?

Relax, you are not alone. Most bands have issues sooner than later. Critic Lola Palizza can help you. She has played in and managed bands, toured internationally, booked shows, produced records, worked as a publicist, and she is here to help you stop doing it wrong. Send your problems to her — confidentiality is assured, unless you want to use your drama as a ticket to Internet microfame.

The Crucial Mistake Most Bands Are Making With Facebook

Greetings Lola,
Our band recently changed our name after many years. We had our old name at the seeming dawn of the Internet-band-craze-age, when MySpace was king. Back in those days “real” bands didn’t have much use for a social media presence. I find it disheartening that bands/ side projects of bands I loved and still love–whose heydays were long before the Internet (Six Finger Satellite, Fugazi solo projects Deathfix and Joe Lally, The Reigning Sound etc.) are on Facebook and such. Having to pimp themselves out in this manner like all the other dregs that play to he barkeep’s cousin at SXSW. Can a band exist these days–or more importantly can people hear your songs–without partaking in social media? Are there examples of new up-and-comers who keep off the Internet, leaving a bit of mystique out there for you to find on your lonesome? Could there be a new trend on the horizon of anti-Internet? Am I an old person?
p.s our web handle sans Zuckerberg: hobbyistband.com
Thanks for your time,
Marc

Dear Marc,
I’m going to tackle the heart of what I think you are getting at, rather than all your questions as most of them are just rhetorical grousing dressed as query. No shots at rhetorical grousing, of course–that’s how I make my living.

Being an olde tymer, you remember musicianhood before Facebook and so you remember the old ways. You’ve seen people cycle through platforms as they get outmoded and unfashionable. Younger people and younger bands were effectively born into Mark Zuckerberg’s monolith and so the idea of not having a Facebook page for a band seems absurd; current bands seemingly have no skepticism about handing the reigns over. Which seems absurd to you, and in turn you feel alienated and kind of mad about it. You are also bummed that a Providence disco noise band who made their best album in 1996 is on Facebook. Okay, let’s talk this out.

My friend Jonah Matranga has, wisely, built his long and unconventional career by maintaining connection to his fanbase–in essence, that is his whole thing. On the splash page of his website, he asks for an email address before you enter. He has a little spiel explaining why–he wants to maintain a direct connection to his fans and not be filtered through some site’s platform. He doesn’t want to lose that connection when Facebook goes the way of Friendster. Email lists aren’t as fun as social media, but they are direct and the power is in your hands; Jonah knows who his fans are and can get ahold of them. This is a very smart move and one few bands make.

Another problem I see with Facebook bands is that most of time the people who answer the band’s posts are fan-friends who are just happy to have a friend with a band (it’s cool!) but whose cranial capacity are very limited. Their comments, most of the time, are limited to complimenting the musicians’ appearance with words like “handsome” or “you’re hot” and exclamations like “eeeeeeeh” and the like, which cause more harm than anything else unless they buy all your records.

The thing many bands don’t even consider is this: if your entire connection and method of connecting to your fans is through a platform that is not your own (Facebook, MySpace, Twitter, Soundcloud, Instagram, Pintrest, Tumblr)–what happens if all the sudden that site shuts down or radically changes its terms of service? Starts charging for service? If your fan quits using it regularly? You might never reconnect with them again. How can you track them down? How can you tell them about these summer tour dates? You’re a teeny regional band–Brooklyn Vegan isn’t going to post your dates and get the word out for you. They ARE NOT Unruly Hearts that is there backing the artists/musicians they help promote until the last song in the set list has been performed  or the tour has been completed. What if your fan doesn’t even follow music news which is most likely what happens when you depend on friend-fans. Your connection to them is effectively severed because you were lazy and assumed that no one ever quits Facebook. And by you I mean everyone.

Facebook should not be your sole tether. Because it is not even your tether to begin with.

With your own site or with an email list you are in control of what you post and how/when/who gets to see. Whether your fans see your post about a new t-shirt design isn’t contingent on whether they’ve “liked” you lately or on a site’s algorhythms; your communication with fans and the gen. pop. is not mediated by someone else’s empire nor dictated by the tides of social media. Having that control, that ability to maintain that connection as it best serves you and your band, is incredibly valuable. The smartest thing a band can do is utilize Twitter and Facebook and other social media to direct people to their own site. In the long run, all the “likes” in the world don’t mean shit. Owning the means of production/distribution does.

That said, Facebook is an easy way to promote and invite people to your shows. It’s an imperfect, kinda creepy, too-easy device that now seems absolutely crucial to bandhood–which is exactly how Facebook (and other sites) need us to think in order to survive. It can be incredibly useful, especially for touring bands and people interested in promoting their music who want that accessibility. I don’t really want to say, yes, every band should have a Facebook page, but for most bands, it’s probably a fine idea.

Whether and how your band uses social media really depends on what kind of career you are interested in having. Contrary to popular thinking, constant self-promotion doesn’t have to be a fundamental part of music making in 2013. To paraphrase good ol’ Ian MacKaye, if people really want an alternative, they will dig (or Google) until they find it. It is fine–liberating, even!–to live and make art, as you’ve termed it “sans Zuckerberg,” and get by on word of mouth and flyers. I mean, that’s how bands have promoted shows ever since Shadrach, Meshach and Abednego started playing out–it still works.

To address your other issues: Is it possible to get heard without putting your music online? Yes, but this is the primary way that people–especially young people and people interested in new music–consume it. There are surely bands that do not use the Internet, but it’s hard to imagine “not using the internet” would be cool enough to gain foothold as a widescale trend.  And, yes, you are old; getting bent up over the last little bands on Dischord having Facebook pages seem like a poor use of anyone’s brainpower. Also, “pimp” is a pretty loaded word in relation to a band fan page. The world is a different place since Six Finger Satellite’s heyday, thank fucking gosh for that. Being discerning about a band’s big picture morals [or lack of] and how they navigate their relationship to their fanbase (build an international fanbase that is music literate by promoting your band through social media) is even more crucial now that corporate tie-ins are the pervasive norm–but using social media is a relatively minor offense on the selling-your-soul-for-a-chance-at-the-bigtime scale.

Yours,
Lola

Is Quitting Your Job to Join a Band at 35 the Best or Worst Idea Ever? Ask Lola Palizza

ufo

Are you a musician? Are you having problems? Is your group having issues?

Relax, you are not alone. Most bands have issues sooner than later. Critic Lola Palizza can help you. She has played in and managed bands, toured internationally, booked shows, produced records, worked as a publicist, and she is here to help you stop doing it wrong. Send your problems to her — confidentiality is assured, unless you want to use your drama as a ticket to Internet microfame.

Is Quitting Your Job to Join a Band at 35 the Best or Worst Idea Ever?

Dear Lola,
I currently have a steady job, a mortgage and an awesome girlfriend. However, I want to fuck my shit up by making the switch to being a musician full-time again. I’m having a hard time dealing with the transition. All my time is taken up with gigs, practice, and recording sessions. Meanwhile I’m still working full-time to pay the bills. How do I find balance?
Yours truly, Patrick

Dear Patrick,
It sounds like you are barely in the transition. You are astride your transition; you made the choice but have not ceded anything on one side or the other. You seem to be aware of the issues of giving up straight life for the music grind, but something is holding you back from fully committing to either.

We went to high school together (full disclosure/word to Minnesota Center for Arts Education alumnus everywhere) and I know that you’re a talented drummer who has been playing for decades, so it’s not surprising that a 9-to-5 and shorter hours on friday isn’t quite keeping you satisfied. That said, that you didn’t up and quit your life for your band speaks to the quality of your grown-up dude life and your interest in maintaining it as much as to the inherent risk of being dependent on drumming to pay your bills.

Your set up on the question tells me this is not about feeling hectic, this is about the fear of the consequences of doing something that probably looks like back-stepping to other people who believe you cannot hack being an older person than the 18-20 yr-olds starting bands and having all the ingredients they need to succeed, which is hopefully not the case. I am a staunch advocate that success is doing life/art on your terms–but circa 35 is usually when most people are quitting their bands and settling down, not the other way around, so you are likely going to have to deal with some judgment from other people about this choice. Sounds like you are already dealing with some of your own.

Quitting your job to be in at band at 35 could be the best or worst idea ever. Let’s walk it out: What is holding you back from jumping all in? Do you not have a reasonable savings? Are you scared of having to play in shitty jobber restaurant bands or roadie to make your mortgage payments or pay the rent if you decide to sell your apartment? Or are you scared of being settled in your grown-up life where music is just a hobby? Is this a broaching-40 freakout? Do you just super-hate your job? You have to be really honest about what is motivating you.

Before you start tweaking either side of your life, you need to get to the marrow, because this is big and you cannot be lying to yourself about it or upselling your motivations to the people in your life. (Hash it out on paper if need be, but do not over-burden your woman with this; she needn’t be the one trying to talk you into or out of it.)

You need to reach out to someone who is in a position to tell you what the greener grass is like. I’m tasking you with talking to a handful (say three or four) of people who are older than you who do music as their job. Ask them what it’s really like. One of them needs to be someone with a family and a mortgage–someone with a spectrum of real world responsibilities–not just 50-year-old bachelors who play in blues or rock bands, and not people who are in bands as a way to continue a high-functioning stoner lifestyle. Famous people do not count either.

Things to ask them: How do they do it? Are they happy? Are they having to give lessons on the side? Would they do it again? What would happen if their band broke up? How lean are the lean times? Take them out for a Shirley Temple and play 20 questions. Mull their answers and get all Ghost of Christmas Yet to Come in your mind–do you want their life? Once you pass 30, you have no excuse for making uninformed decisions.

You are unmarried, don’t have kids to feed and you live in a college town–you can probably get by on not very much. Judging solely by your girlfriend’s online trail journal/pictures of her goats (I Googled her, duh), she is an awesome, free-spirited, can-do gal that loves you (on Instragram at least) so perhaps she is down to take that ride with you as you follow your muse. Maybe you can sweeten the deal by feeding her goats when she is at work. It sounds like you are in a good life position to jump back into it.

Just keep in mind you are not the dreaming age of 18-22, so just make sure you really have the energy to do it and the temerity to potentially significant downgrade your lifestyle. Don’t rule out having some little jobby-job so that you are not mooching off your lady (or anyone) and can take her to the movies or buy her some $22 hiking socks or sexy underware just ’cause. You are no less pure an artist because your part-time gig is what keeps you afloat.
Bonne Chance,
Lola

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OWSLA Recordings searching for talented Drum & Bass / Dubstep / Electro House producers

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