As industry observer Bob Lefsetz reminded his followers earlier this week, there’s still no standard way to start generating buzz and “make it” in music. Plenty of musicians assume that relentless networking and appearances are what seal the deal—and they’re sometimes right—but Lefsetz’s point was that, more often than not, what breaks you is a chain of random occurrences and pleasant accidents. This notion is reaffirmed by stories like that of Sean Bones’ Sean Sullivan.
“All that matters is writing good, honest songs. That’s what I care about as well.” This quote comes from PAPA leader Darren Weiss, and was part of his answer to a Buzz Bands LA interview question about whether or not he pays attention to what’s on the indie landscape right now. This excerpt comes after the part in which he states, “I don’t look to too many other bands of this time. I don’t necessarily see us fitting in.”
Of all there is to know about LA via Provo quartet Eyes Lips Eyes, know this: They’re responsible for the best music video of all time. Of all time! We’ll let Taylor have her moment, but any thing she’ll ever create won’t hold a candle to Eyes Lips Eyes’ “I Worked My Thighs For Eyes Lips Eyes” promotional Pledge Music video.
OK, so maybe this video isn’t a music video in the strictest sense of the word, but it’s moving picture and there’s a band involved so we’re going to count it. The premise? Well that’s simple. Eyes Lips Eyes thought, and correctly so, that they’d get more attention and follow through on their Pledge Music campaign if they made a video that stood out. So, they dolled themselves up in spandex and some A-cup sports bras, and proceeded to instruct viewers on how they could improve their social lives by working out their thighs to Eyes Lips Eyes.
Watch the band play “Never Alone” in the Presskit.to bus above, and catch them live if you live in Florida—they embarked on their sunshine state tour just yesterday!
I may only be speaking for myself here, but Chamberlin held a special place in our SXSW journey as they were the first band to ever perform a Presskit.to bus session. At the early stage in our Austin stay in which Chamberlin performed, we were still oblivious to the strange Texas law prohibiting an alcohol-branded vehicle from projecting music, so we happily rigged up a PA to play their music out onto the street during their set. For all too brief a time, Chamberlin’s “Maryland” and “Jealousy” provided the soundtrack for our first Demo Day, and for any SXSW-er who was fortunate enough to be passing by at that point in time.
We couldn’t be more excited to premiere their unreleased track “Jealousy” here on IAtv. Check it out in the player above, and be sure to catch Chamberlin on their mini Midwestern tour this week and next if you like what you hear!
Because car troubles forced the cancellation of the IAtv Session we had planned with Savoir Adore in 2011, we were more than a little excited to finally capture this buzzing “fantasy rock” group doing their thing on the Presskit.to bus at SXSW.
Anyone who’s read the story of Company of Thieves as told by lead singer Genevieve Schatz has an idea of the adversity she’s overcome throughout her lifetime. But hers is not a step and repeat tale of black and white triumph where tickets and albums sold are the only measuring sticks of success; progress in self-discovery is taken into account too, a notion demonstrated in COT’s thinly veiled autobiographical (from Genevieve’s POV) concept album Running from a Gamble.
Cambridge songwriter stand-out Sarah Blacker is gearing up for the release of her Perfectly Imperfect EP, and took some time to tell us about how she overcomes writer’s block, a cool service called Concerts in your Home, what effect her career in music therapy has had on her musicianship, and much more. She also serves as proof that it is possible to get your music into Pandora’s catalogue as an independent artist! Listen to her cover Bon Iver’s “Flume” in the player above, and be sure to make your way out to her Perfectly Imperfect release partywith Air Traffic Controller at Club Passim on March 9th!
Read the rest of Sarah’s Green Room Interview here
There was a once a time when music business deals were made for the sake of music, not the other way around. When people worked predominantly on their word and did not place ultimate power in a signature on a contract. While it’s safe to assume that, for many bourgeoning bands today, the era of valuing handshakes over Hancocks in music seems prehistoric (if it registers at all), consider the possibilities of bands in 2012 that still judge a relationship’s potential not solely on politics and money but on good old-fashioned personality and trust. Thinking this way, as long as it’s not done naively so, will take you places. It certainly has for Atlanta five piece O’Brother. Through living out this philosophy, the band has toured nationwide with established acts a handful of times, had Andy Hull and Robert McDowell of Manchester Orchestra jump onboard for production of their full length debut Garden Window, and joined forces with NYC label Triple Crown Records. Yes, they actually put pen to paper for Triple Crown, but only after the label was given positive referrals by everyone they asked.
Understanding everything involved with music publishing can be difficult, but don’t worry! This article marks the first installment in a series on the topic, the aim of which is to educate musicians on how the publishing system works, and how you can make the most of it! Continue reading to get a better hold on the basics of music publishing and licensing.