Shopping your stuff to labels in 2012

[SLScott86]

 

I am really just looking for an small independent label, probably local, to help with stuff like footing the cost of a publicist, getting better booking connections in town and regionally, possibly some help with licensing, getting more airplay, getting showcase spots, yadda yadda. I'm not trying to quit my job and become a rock star or something.

 

 

I hear you. As an original artist, the #1 biggest obstacle is getting people to be aware that you exist. And then caring enough to listen. The right label can help out in a big way.

[kmart]

 

I am really just looking for an small independent label, probably local, to help with stuff like footing the cost of a publicist, getting better booking connections in town and regionally, possibly some help with licensing, getting more airplay, getting showcase spots, yadda yadda. I'm not trying to quit my job and become a rock star or something.

 

You understand that because of the current climate, there isn't much motivation for a small indie to d that anymore...UNLESS you present them a compelling reason to do so...like selling the album in volume on your own, getting sync/placement in shows, movies, video games, etc., right?

 

What's in it for ANY label to sign you and spend money right now?

[BATCAT]

 

You understand that because of the current climate, there isn't much motivation for a small indie to d that anymore...UNLESS you present them a compelling reason to do so...like selling the album in volume on your own, getting sync/placement in shows, movies, video games, etc., right? What's in it for ANY label to sign you and spend money right now?

 

 

I've actually witnessed more than a few local bands get signed to some smaller labels purely on the strength of their debut recording, without selling one copy, much less releasing it. Sometimes before playing a single show. Considering we've done much more than that (touring, airplay, indie films, good press, etc) I don't think I'm completely insane to spend a few weeks putting stuff out there before going the DIY route, which we've already done three times. It's not like we can't fall back on that if nothing happens, god knows I know the drill.

 

(I also wasn't asking if I should contact labels- numerous people whose opinion I trues have already convinced me it's the right time for us- I'm just looking for advce on how to best present our stuff)

[kmart]

I've witnessed exactly what you've witnessed.

 

Still doesn't make it make sense to me: the label as financial backer model, even on a small-scale level, is a soon to be thing of the past, IMO.

 

Efforts to pursue that kind of support are better spent going after something thats likely to last longer, IMO.

[Lee Knight]

I'm sorry, Squid. I didn't mean to say it was an unworthy goal. Only that it is so very different that it was. And it is wise to see the reality of any possible benefits achieving that goal might realistically bring you. It sounds like you're clear as to what you want. Didn't mean to come off negative, only pointing out the "new route" that seems to be being forged.

[BATCAT]

I'm sorry, Squid. I didn't mean to say it was an unworthy goal. Only that it is so very different that it was. And it is wise to see the reality of any possible benefits achieving that goal might realistically bring you. It sounds like you're clear as to what you want. Didn't mean to come off negative, only pointing out the "new route" that seems to be being forged.

 

It's cool, I understand. It's just that this thread has been a teensey bit frustrating because I have been around/in the indie/small label band thing since the late 90s and i know the score- i really just wanted some thoughts on stuff like private streaming, EPKs, bios, email attachments, yadda yadda, rather than a broad discussion of the current state of the music biz. (because it's not like there aren't several thousand threads covering that on HC)

[thebrownsfive]

Fellas, not sure I know all of the terms you all are throwing around but what do you mean by (sync)? thanks

[rangefinder]

 

Fellas, not sure I know all of the terms you all are throwing around but what do you mean by (sync)? thanks

 

 

Background music for TV shows, commercials, movies, etc. It has to "sync" to the images.

[Lee Knight]

It's cool, I understand. It's just that this thread has been a teensey bit frustrating because I have been around/in the indie/small label band thing since the late 90s and i know the score- i really just wanted some thoughts on stuff like private streaming, EPKs, bios, email attachments, yadda yadda, rather than a broad discussion of the current state of the music biz. (because it's not like there aren't several thousand threads covering that on HC)

 

Gotcha. Not to belabor the point, but to clarify...

 

I'm not really trying to make any point about how the music biz has changed per se. I'm actually trying to answer your question. The first thing a record company is going to do is start looking for sync opportunities. My point was, you can do that as well. And when you do that? You can bet record companies come following. You know? I'm not making the point that a record company is not something you should pursue. I'm making the point that if you score a sync here or there, that is the new "They're hitting in Boise! Let's sign them!"

 

Record companies are looking for that revenue stream. That's their gig. Get some reality TV syncs or what have you, small stuff even, and they're very interested in you... sync is the new "Their indie release is selling!"

[kmart]

 

Gotcha. Not to belabor the point, but to clarify... I'm not really trying to make any point about how the music biz has changed per se. I'm actually trying to answer your question. The first thing a record company is going to do is start looking for sync opportunities. My point was, you can do that as well. And when you do that? You can bet record companies come following. You know? I'm not making the point that a record company is not something you should pursue. I'm making the point that if you score a sync here or there, that is the new "They're hitting in Boise! Let's sign them!" Record companies are looking for that revenue stream. That's their gig. Get some reality TV syncs or what have you, small stuff even, and they're very interested in you... sync is the new "Their indie release is selling!"

 

 

Maybe I wasnt able to articulate this well, but that's what I meant as well; ANY labels want to knw what you can do for them, and today that means non-traditional areas of success with placement of your material, the next viral video band a la my friends in Ok Go, etc.

 

The onus is on YOU/your band to show some sort of value ahead of there being label interest.

[rangefinder]

 

The onus is on YOU/your band to show some sort of value ahead of there being label interest.

 

 

Yeah, in general, but Actionsquid knows of a few smaller labels that sign artists based largely on the quality of their music, and wants to know how to format submissions to those labels.

 

And it's pretty clear nobody around here knows the answer to that question.

 

So... let's talk about music stands instead.

 

Or boobs. Yeah... boobs is the way to go.

[Micky Z]

In the new music biz age we're in, it's always seemed to me that labels are now primarily parasites, swooping in to siphon off some revenue from an act that has already done the work needed to begin to happen. If as a result of the parasitic process there is some kind of symbiosis that also benefits the artist, that's a serendipitous bonus. But that's not guaranteed.

[rangefinder]

In the new music biz age we're in, it's always seemed to me that labels are now primarily parasites, swooping in to siphon off some revenue from an act that has already done the work needed to begin to happen. If as a result of the parasitic process there is some kind of symbiosis that also benefits the artist, that's a serendipitous bonus. But that's not guaranteed.

 

Eh, you could say the same about nearly any business. Back in my computer software days, the developers thought of the rest of the company as parasites. Of course, THEY weren't about to go talk to customers, because they already KNEW all the answers...

[JailTime]

We use Sonic Bids - and in fact have had to to get some gigs. But I'm not sure that's what labels are looking for. Personally, if it's an indie label, I think you have to approach it like a cold call for a gig at a venue you've yet to play. Talk to the folks at labels who are in your vane of music and be earnest. You're probably looking for some outfit who is looking for you - and they are looking for exposure, too. If you have the right kind of material for whatever leg work they have done to build a network of music lovers, it'll be an easy sell. You may have to email/call around to a bunch before you find the right fit, and they may not be all that readily findable. But they are out there.

[BuckshotJenkins]

What do bands do if they are absolutely terrific live, but they need support to actually get going?

 

That's my band's problem, and I don't mean to sound arrogant here:

 

My band is the most original and ripping band I've seen that hasn't gotten big attention. Then again, we never had 4 guys fully committed, and even now we are spread out in 4 different cities. When we actually play however, we put on a spectacle that 99% of bands cannot fathom. We kinda have a Zappa/Nirvana/Steely Dan/GWAR thing going on, with much variety and a good bit of eye-poking songs and stage banter. People routinely say "I've never seen or heard anything like that." That's a nice compliment, and it's not what a nice fan throws out to a random band they're trying to compliment. Some people storm out in anger at our banter or songs, but everyone has a reaction. Apologizing for the way we do things is pointless.

 

Sounds arrogant, but the "comeuppance" for us is that we simply can't get together to do it unless we can get signed just enough to prove our ability in person, over and over. Our potential is that we really can bring it live, and don't need anything but a scheduled date (showcase?) to prove it. Unfortunately it's not that easy.

 

That's the rub: our band that would turn heads tomorrow opening for Primus, Clutch, Umphrey's McGee...doesn't have momentum or much business sense. In short, we have nothing but good songs and a juggernaut live show. So what?

 

Where does a band that has real ability to hit the stage and has a big varied catalog, a band that has something really different, get looked at? I don't think we'd sell millions of copies of cd's...but I know we'd have people come out again and again to see a band that is equal parts powerful and one of a kind.

 

My pipe dream is simply a good look from a label that could give us NOTHING but an opening slot in front of a decent drawing band (whether alternative, metal, rock, indie, punk...) - a short run to prove we can get a crowd buzzing. My honest opinion is that headlining band would ask us off the tour. We just want a chance to show that if concert draw is the least fickle way to make money, that we'd be a small but growing profit from the start.

 

Any advice, or flame attacks are welcome. I don't hold my breath for success since I haven't done much or know what to do. We are spread out. I just know what we can do when it matters.

 

www.wagner3000.com

[kmart]

You don't need a label to get an opening slot for a major act.

 

Not by a long shot.

 

You need interest from a club/venue/booking agent...and an implied nderstanding that your band is functionally gigging.

You won't get that without beating the streets and getting your name out/some visibility.

[BuckshotJenkins]

I agree. We get asked back a lot wherever we play, but can't get everyone together for the constant "street beating" needed. Pathetically, we need to get lucky to get on something sustained...even if it was for peanuts at first. We feel it would grow. Now that we're spread out, the boat has probly sailed.

 

Damn shame!

[rangefinder]

 

we never had 4 guys fully committed

 

 

I pretty much stopped here. Because there are hundreds, probably thousands of bands, that ARE fully committed.

 

You make your own luck... An "overnight" success takes ten years... etc. etc. etc.

[BuckshotJenkins]

Right, and they sound blah. They commit to their blah. Their grit makes them some headway. That is admirable. Hard work is important, but then again we've played with many earnest players that are working hard and methodically doing the right thing. Hopefully they make it. However, us "hacks" open for them and suddenly they sound really one dimensional by comparison, and seem to be conscious of that while follow us. We destroy. They shake it off and carry on with the next show...they keep climbing. We go back to our jobs!

 

Some people just have something really good and different. Most don't, no matter the effort. Again, our fault...and I've been "in" the band for a decade, FWIW. I'm painfully aware that we didn't do enough to go for it a few years back when we at least lived near each other. Too many members left for "real life" or got paid more by cover bands.

 

I'm just saying, we're worth any good break we get. Being far apart now, I have to try to find "potshot" things to do. We'd love to do it full tilt. Odds? I know.

 

Here and now though, I need to find a way to get the ball rolling...knowing that one showcase would at least show what we got that no one else does. Label, agent, manager...someone.

[kmart]

Your solution is to up the frequency of appearances and/or figure out how to magically get the high profile gigs without being a functioning gigging band.

 

The thing those bands that sound blah have over you is they are out there in the public's eye on an ongoing basis.

I'm not saying book 10 gigs every 2 weeks in crappy venues...but when you arent consistently in front of people, you fall away from top of mind, and then are forgotten pretty rapidly.

[BuckshotJenkins]

It's true. I don't hold out much hope, and don't really regret moving away from Central NY. I don't really admire the trappings of a grinding band life, as much as it's so fun to play my buddy's music and nice to freak out folks. I'm lucky my buddy is a unique talent, and my half-assed playing fits like a glove. I take no credit in the songwriting.

 

I think I'd rather be a Gettysburg tour guide. Or maybe Shiloh.

 

How do I shop my services to National Military Parks in 2012?

[TIMKEYS]

 

Your solution is to up the frequency of appearances and/or figure out how to magically get the high profile gigs without being a functioning gigging band. The thing those bands that sound blah have over you is they are out there in the public's eye on an ongoing basis. I'm not saying book 10 gigs every 2 weeks in crappy venues...but when you arent consistently in front of people, you fall away from top of mind, and then are forgotten pretty rapidly.

 

 

I fully agree about the being in front of people. If you are swinging for the fences you have to play your asses off in front of as many people as you can as often as you can. Its hard to do part time.