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groovesnjams · 5 months

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"Entombed in Ice" by Avalon Emerson

DV:

If there's one thing I love about pop music above all else, more than singalong choruses and emotionally-wrenching details in the second verse and even synths themselves, it's nonsense words. Put "Da Doo Ron Ron" on my grave. So while MG and I both loved Avalon Emerson & the Charm's album, and we nearly put "Sandrail Silhouette," (which has a second verse where Emerson calls her friends' daughters "a reason for an optimistic view," an incredible line) on this list, that song was fundamentally outmatched when up against "Entombed in Ice" and its "Ba da da-da-da-duh." This song addresses someone, a former friend, maybe an ex-lover, fondly but without remorse for what once was. And it gives them direction, if not directions. This is a post-breakup song, maybe the year's great anomaly, full of love but not in love. It's a harsh message delivered in the gentlest way possible. "There are some things you can do for yourself now," repeats Emerson, leaving the things up to our imaginations. But only a little: "rotten hearts will decay" is where the first verse starts, and the blanks are easy to fill in. This song's subject has some shit to work through. But maybe they can! The bridge's "Ba da da-da-da-duh" echoes like freedom. It's possibility, not condemnation. Avalon Emerson stretches to the top of her range, echoing and melting into a short guitar solo, unencumbered by words and saying so much without them. We all have something we can do for ourselves; those syllables sound like they believe.

MG:

Avalon Emerson’s Soundcloud DJ sets are a staple of my household – like toilet paper, iced coffee, or a bed, she is both a necessity and a presence. But also! We only even made acquaintance with her work at the beginning of this very year via both Four Tet and Gorilla Vs. Bear putting “Sandrail Silhouette” on their playlists. I had no idea who she was but it felt like when I first got Napster and I’d search for something and only one, single user had uploaded it – you just know this thing that you haven’t even heard yet is cool. And yes, Avalon Emerson is very cool, so if that’s your criterion, please, stop here and make friends with the whole of & The Charm immediately. I wish I could be like “but if you must know why she’s cool, read on” but some of it eludes me to this day! Not in the emperor’s new clothes way where there’s no cool but I want to project cool on to her so badly that I’m making shit up, but in the way where you start scratching at the surface of a piece of art and it just starts yielding all these layers, some dense and some flaky and some immediately understood and some fleeting wisps of recognition. I continue to be stuck on this interview she gave to Pitchfork where she says (and I will quote the whole thing, not just the part relevant to me):

Since I’ve been involved in dance music, there’s been this arms race toward harder and faster, and it’s not really something that I identify with. This cathartic release that people seek when they go out clubbing, I get it and I respect it, and I participate in it as a DJ. But when I’m listening to music, my idea of a perfect record is a Cocteau Twins record, things that are soft and beautiful. I wanted to make this a soft, pretty record, but lyrically, the things on my mind are dark and sad, and very black-pilled at times. That juxtaposition is important, because something beautiful can also be coming from a place of pain. I think that’s where most good art lies, to be honest.

If anything, I find the way she describes her own ideas here reductive. But the part about it being a contrast to the “harder and faster” of club music is what’s relevant to me. I think “Entombed In Ice,” composed as it is of fragmented thoughts and ideas and sounds and bits that wander in and do their thing and dissolve into vapor or fade into the wallpaper, is a contrast to that club sound but it also does the thing that club music does, it provides a “cathartic release.” To talk back to Avalon Emerson, I’d say that as a culture we’re very hung up on this idea of catharsis as a WHOOSH or a BANG and then silence, nothingness, ending. But I think since we all keep going afterwards, since catharsis is an ending but not the ending, we must also listen quietly for those fragments and appreciate their soft approach and disappearance because that very gentle, loping cycle is also cathartic and we need little catharsis as much as big catharsis. Now back to you, reader. You have to keep listening to “Entombed In Ice,” you won’t get all it has to offer once through. That’s part of what’s cool about it, but just a part.

#gnjsoty2k23 #avalon emerson & the charm #avalon emerson #entombed in ice #music

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trumuzeicfoyosoul · 2 years

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HIP HOP IS DEAD!!

This concept is one I feel needs to be heavily discussed. When Nas said Hip Hop Is Dead, he caused a major stir in the industry and in hip hop culture in general. The reason that it did was because everybody who listens to hip hop and music in general could see a huge decline in the quality of content that was being released at this time. This era saw the start of the trends and dances and unoriginality of music in general. CD’s were becoming less prevalent, true spitting was being replaced by gangster drug induced lyricisms. Rather than making music true to the soul, the motive was party and Bullshit. Thanks Big. So in the midst of this, Nas drops this brilliant album, but he was looked at as a negative hater and somewhat canceled for not supporting this new era and agenda of hip hop. I think this further solidified his stance that hip hop was dead. Hip Hop was meant to display freedom, so to ostracize him in this manner because of his opinion, that ironically was concurred by many, shows the decline of true hip hop.

IN MY OPINION

Hip Hop didn’t necessarily die, and Nas now shares this sentiment. What it did was strategically go back underground into an underground that has more promise that it did in the 80′s and 90′s. Because theres so many avenues to get heard, a lot of artists that would have never been heard before, making music in their basement and for friends and parties, have many social media avenues to post their stuff. Now it’s as simple as a quick upload to youtube or soundcloud. Not saying that that will ultimately get you heard, it’s just easier to reach larger groups of listeners these days with all the tech advancements.

I am not a fan. I do not like this new way of having to reach people rather than hitting the streets and actually talking to people, handing out cds, and posters. Also, I am not a fan of this new music. Although Hip Hop is very much alive and continues to influence every genre of music these days, The mainstream avenue for hip hop has gone absolutely out of control. It is a bunch of chaos in the form of freedom, although if you look behind the scenes, there isn’t much freedom as ownership of content and content control is pretty much denied as much as possible by all big record Label execs. The more money and control the artist have, the less money and control that the big time execs have over this industry. It’s pretty heinous but it’s also simple physics.

The worst aspect to all of this is the very racist culture in which this genre of music was cultivated. Because of this, the gatekeepers in the industry are some very rich white guys who have monopolized the industry by having first dibs in investments because this is a country that started in slavery. So, if the proprietors and creators of HIPHOP, and other genres, are black, they are 9/10 times coming from assetless poverty. It’s just, the assetless poverty isn’t too much to overcome, it’s the murder and racism that keeps us powerless. The mainstream industry reflects these very racist ideologies of black people in every way imaginable. Our music is overrun with drugs, violence, oversexualizations, and blatant disregard for black life, and it is supported by everyone because most also share this sickening blatant disregard for black life and culture. They call it Trap Music, and it is very much that, a TRAP.

#hiphop #is #dead #but #alive #and #well

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tombentlecmpsongwriterproject · 3 years

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‘Covers Project’ – Market Research

Overview

This project is an extension of my social media marketing as I want to create content that a brand-new audience is able to instantly connect with. As I have no pre-existing audience for my music, I am limited in who I’m able to market my original content to and there is also very little incentive for new audiences to engage with my music as opposed to more established artists. My rationale for a “covers project” is to create audio-visual content in which I perform covers of songs by artists similar to myself. Substantial audio-visual content is the most frequently engaged with content type on social media and by performing covers of popular artists I will be able to market the content directly to existing fans of those artists. As fans of the song those audiences will be more likely to interact with my content and those who enjoy my version will then have an incentive to interact with my original content.

RELATED SEARCHES.

» Nebula Black » Kaleidoscope Album » Edie Controversy

PERSONAL LIFE.

Edie was born Aundrea Jin (Korean name Jin Eun-Do) to two wealthy Korean-American parents. Her mother works for a mid-sized, but legendary, indie/alternative record label based in Seattle that catapulted several now-influential bands to unexpected stardom in the late 80s and early 90s, while her father is a professor of Art History at a private university. It is safe to say that she was not only exposed to art, but surrounded by it, from the time she was born. She grew up listening to arthouse rock and indie R&B, and learning about the history of visual art.

Her parents, though loving, were both very successful, and busy people, and so she was often entrusted to the care of nannies, and those nannies were often negligent in their duties, and so Edie’s childhood and adolesence was marked by a special brand of freedom that only wealth and a lack of supervision can provide.

She grew up into an independent thinker, and someone with a passion for music, only she didn’t want help from her parents in this area. In an act of rebellion, she participated in Nebula’s Special Global Audition in Los Angeles while on vacation there, and managed to make it through. Initially, she wasn’t entirely serious about pursuing a career back in Korea, and at the time both her and her parents felt she was too young, but eventually she changed her mind, and managed to convince her parents to allow her to become a trainee. Her father was the more supportive of the decision, her mother thinking it was inappropriate for her then-14 year old daughter to leave the country to become a performer, but Edie’s father eventually convinced her that all would be fine, and so she became a trainee.

STRENGTHS & WEAKNESSES.

Edie’s unique vocal tone has provided her with many opportunities in the industry, performing duets, or doing features on tracks with well-known crooners and popular rappers alike. Her initial heavy interaction with fans on sns has granted her quite the followings on Twitter and Instagram, as well, especially amongst international fans, although she is more careful, and less interactive these days, after a few strange, artsy captions caused a bit of a stir amongst her fanbase, and a playful comment on the post of a popular male idol was taken out of context and used to start a witch hunt several years ago (that was mostly contained to fans of that particular boy group, and ultimately had little effect on her career or public image, though the waves of hate did weigh on her mentally).

Her ambition, intelligence, and strong opinions, all of which seemed to work brilliantly for her in America, have been something of an obstacle in Korea. Especially in regards to her interactions with industry seniors. Many find her too open, too friendly, as she often unintentionally disregards the traditional Confucian rules surrounding age and experience, and comes on a bit too strong, in turn making some people uncomfortable, although she rarely intends it that way. She’s made a few unexpected friends in high places thanks to these traits, but also a considerable amount of detractors. One popular MC found her so obnoxious behind the scenes that he refused to work with her, resulting in an unofficial blacklisting on many of the programmes that he worked on, until his downfall a year ago, at which point she began receiving invites to those shows again. Although her somewhat cool manner makes an engaging variety presence difficult for her.

She has acted in a few small web dramas that were watched almost exclusively by her fans. Her acting isn’t awful, but it’s by no means good, either. It’s typical idol acting, really, and she has little to no desire to pursue acting as a career. Her agency, on the other hand, might have different ideas as she continues to become popular with certain demographics.

Her chic, sassy persona (which is a toned down, censored version of her real personality, in actuality) has netted her a fair amount of popularity, amongst young women, especially (as a “girl crush” figure), but her cool image is also very polarizing. She’s been in a fair share of so-called “attitude” controversies, often being accused of being ungrateful, cold, or rude, and she’ll never be “Nation’s ____” material, which part of her is okay with, but another part of her resents.

She struggles with balancing her public persona, private persona, and networking persona, sometimes wishing that she could just be herself, and still be able to do her job. This desire sometimes slips through, landing her in minor controversies, or chiding from her agency, but she hasn’t been through anything career-shaking just yet.

2017 INTERVIEW.

Edie has enjoyed what fame she’s amassed, and enjoyed being in a group that has a more experimental, artistic edge, although recently she grows dissatisfied with the state of her career. It’s by no means dire, and certainly many aspiring entertainers, and less successful idols would kill to be in her place, but she always wants more. With the establishment of the Black Label, and the brightened outlook for Anti’s future, her spirits are somewhat raised, but she still craves more ways to really show her chops, and express her creative energy, which she’s only been able to do previously by pushing for the ability to style herself, and shaking things up with her vocal delivery. She feels stifled not so much by her group, but by their recent lack of activity. She has always had a genuine interest in and focus on music, and whereas her groupmates were able to more easily move on to other avenues when the group was put on hiatus, she spent a lot of time unsuccessfully vying for a solo debut once it became apparent that the company didn’t think anti itself was worth the investment, although even she eventually gave that up, moving on to mostly doing features and duets, secretly uploading self-produced English-language alt-R&B tracks onto Soundcloud under the name Gin (and amassing a decent following there). She’s also popular on Instagram, where she curates an artistic, fashion-forward image for herself while also sneakily making some side money by doing secretly sponsored posts on occasion.

Rumours generally don’t bother her, in fact, she finds many of them quite amusing. It’s the day-to-day self-censorship, the pretending, that wears on her, as she has a desire to share something authentic with her fans.

#glr: profile #glr: black #glr: anti

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immedtech · 6 years

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Destroying net neutrality will hurt artists and small businesses the most

The internet as we know it could change come December 14th. FCC chairman and former Verizon attorney Ajit Pai is expected to undo net neutrality, and with it the Title 2 regulations that prevent the likes of Comcast and Verizon from giving certain websites and services priority over others and moving their data faster. The worry is that repealing net neutrality will create an uneven playing field. For you and me, it could mean paying Verizon extra to access Netflix. But, for artists, small business owners and musicians, it could lead to their work being disadvantaged, silenced or hidden behind a paywall.

That type of barricade may stifle creativity and drive more cultural homogeneity. FM radio isn't a viable way to discover new music anymore because many stations have set playlists dictated by a few corporate overlords like iHeartRadio and Townsquare Media. Which is why the internet it is such a powerful tool for discovery. All someone needs is a cell phone and a YouTube account to get their name out there — not years of touring or approval from a panel of celebrity judges on America's Got Talent. It's that type of freedom many critics fear will vanish with Title 2.

"How hasn't [an open internet] benefited me would be a more fitting question," Martin Smith, a DJ and digital marketer told me. "Without an open internet, the music industry wouldn't be where it is today."

Smith runs the digital marketing firm Overflow, whose client list includes Coca Cola, T-Mobile and Universal Music Group. He realizes that many of the marketing tools he uses began life as dorm room projects that were then uploaded to the internet -- like Facebook and Twitter. "If the major media behemoths of the time could have paid the right people to restrict those platforms from getting where they are, they surely would have."

Mayer Hawthorne

For Andrew "Mayer Hawthorne" Cohen, it's clear: "I wouldn't have a career without net neutrality," he said. "Reversing net neutrality gives already dominant mega-corporations like Apple, Ticketmaster, Live Nation, Clear Channel even more power to snuff out the little guy."

Cohen is from Ann Arbor, Michigan a city known for being a college town with a gigantic football stadium -- not launching recording careers. Had it not been for Soundcloud and Twitter, the chances of him making a living as a musician were slim. In 2005, Hawthorne moved to Los Angeles and started recording for legendary hip-hop label Stones Throw Records. "Those start-ups introduced my independent music to new listeners around the world and circumvented the keymasters/traditional modes of discovery like terrestrial radio."

Frustrated by a lack of attention for heavy metal in Michigan, Jen Lorenski launched MoshPitNation, an online network that connects Michigan metalheads with the music they love. Lorenski also works as a digital marketer and is one of the driving forces behind TaxFormGals, a women-owned small business that, as the name suggests, supplies other small businesses with necessary tax forms, among other services. "The openness of the internet has been crucial for small businesses like mine," she said. "If the costs of being online become too steep, I could see a point where other small businesses scale back their investment" and cause her to lose money.

For Rob Sheridan, an open internet launched a career he never thought possible. But before he served as Nine Inch Nails' art director, he was "tragically, indirectly" responsible for what could be the internet's first meme: the dancing baby. You know, the creepy CGI infant that busted a groove across the screen on Ally McBeal. Sheridan discovered the image file back when he was scouring bulletin boards and Usenet groups as a teenager.

"I just found this file of a CGI baby dancing to music, and it had no context," he recalled. "It was just creepy as fuck." After putting it on his personal homepage, he'd started getting a lot of messages about it. So, he gave the animation its own website on a server owned by his locally owned dial-up ISP in Seattle. The rest is history. "Before I know it, I'm getting contacted by USA Today to interview me about it because the baby had just been on Ally McBeal," he said. "It's kind of my fault."

youtube

Beyond working on websites starring disturbing infants, Sheridan had a fansite dedicated to NIN. Someone from the industrial band's camp stumbled upon it, reached out and by the end of his first year of art school at Pratt, Sheridan was designing NIN's website. "[Net neutrality] changed my entire career," he said. "I don't know where I'd be because I didn't even finish college."

What's worrisome about the upcoming deregulation is that no one really knows what will happen in its wake. When the government deregulated the airline industry in the '70s, the result was dramatically lower fares but also delayed flights and overbooked planes. In 2017, the list of companies that favor deregulation are almost exclusively ISPs, which makes sense since they stand to make more money.

Net neutrality is about fostering fair competition. A kid in Iowa has the same access to upload her latest mixtape to SoundCloud as an established artist, and the small business down the block doesn't have to worry about paying extra for the same level of service as a global conglomerate.

The FCC recently issued a "myth vs fact" press release stating that deregulation will be a boon for small businesses and startups. "They will continue to flourish with more opportunities to innovate once those regulations are repealed," it said. "Companies like Google, Facebook, Netflix and Twitter all started and experienced tremendous growth under the previous light-touch rules."

Lorenski disagreed. She said if ISPs started giving preference to huge conglomerations, like TaxFormGals' direct competitor QuickBooks, she might need to change her business model.

"Anyone trying to spew some bullshit that this would benefit small businesses in anyway is completely up their own ass," Sheridan admonished. "Imagine if Target was able to pay Comcast money to have their website load 10 times faster than people who hadn't paid it."

While you might not think of places like Reddit or Etsy as small businesses, they play host to countless creators and makers. Any change to how people access either site would cause serious ripple effects to the people who earn a living selling their stuff online.

You can't overstate how many small businesses and creators have benefited from net neutrality. And in turn, how much culture has benefited from them.

- Repost from: engadget Post

#ITlive #engadget #Destroying net neutrality will hurt artists and small businesses the most

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indi-perspective · 7 years

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“I’m BLACK and PROUD Yea Yea! I’m BLACK and PROUD” ! ✊🏽❤️@JoyPostell Millennial of the Month ~ February | Photo By : Nina Rocio 📷

We kick off our Millennial of the Month Series for February with Soulful Songstress Joy Postell. 😍The Baltimore artist gives us a smooth mix between r&b soul and jazz , a new found sound of funk with a conscious groove 🎶😌.

We first heard of Joy Postell after the release of her music video “Consciousness” premiered via @NoiseyMusic. The music video was so inspiring and groundbreaking to us because she embodied the characteristics of some of our past female leaders in Politics, Music and Entertainment such as “Billie Holiday, Angela Davis, Nina Simone, and Celie Johnson from "The Color Purple”. All positive black female figures that symbolized their own versions of freedom and fearlessness through their inevitable Black Girl Magic.

We see that magic in Joy also as her energy comes to the surface for our black youth to be inspired by the honesty and truth in her music.

We got to talk to Joy about the Music, being conscious and evolving as an individual.

Check out our interview below!!

INDI:Where are you from, who are your musical influences and how did you get involved with music?

Joy: I’m from Baltimore, MD - spent my early years in Jersey. I’m influenced by a lot of different people foreal - I’m really inspired by ‪Lauryn Hill‬, and of course, ‪Erykah Badu‬. I grew up listening to ‪Chaka Khan‬ and ‪Teena Marie‬, so those two women are forever engrained in my soul lol. I love Tupac, ‪Marvin Gaye‬, ‪Jimi Hendrix‬ - really just whatever moves me. My mother is a musician, so I’ve always been surrounded by music and musicians - it’s something that I’ve always felt really natural doing and when I moved out to LA with my mother, I finally decided to start recording myself doing covers on this little janky ass USB mic lol. I would upload them to Soundcloud and I didn’t really expect anyone to listen tbh lol and I just kept at it.

INDI: What inspired the making of your single and visual for “Consciousness” and why is it important for millennials to expand their consciousness?

Joy: Well, its was 2015 and I had just moved back home and to be honest that just how I was feeling at the time - I was really angry about what was going on and I needed to get it out in a non violent way because the emotions began yo just sit and that was starting to really become toxic. I was letting all the hate get to me. The oppression I saw around me on a daily basis began to eat away at my soul and I needed to sort through my thoughts. For the visual, we really wanted to put together something that made black people feel liberated in the midst of all the bullshit and what better way than to honor strong black women who stood up for what they believed in.

If you’re not growing, you’re stagnant and nothing great can be accomplished in stagnation. As the youth, we gotta challenge ourselves everyday to do better than before - to think in ways that push boundaries.

INDI: In your opinion what is your definition of freedom?

Joy: I have to agree with Nina, No fear. Living a life that has no limitations because you don’t see any.

INDI: As millennials today we are constantly surrounded by weed culture and marijuana influences. In an article titled “The Awakened State”, the author explains the awakened state of the Kundalini Energy and the importance of aligning the chakras to maintain our spiritual balance. The article also touches on the act of smoking marijuana to increase the awakening of our consciousness.

“-When we smoke marijuana, there is a strong tendency for the chakras to open wider. This happens in part because the high attracts a flow of incoming subatomic particles, (chi) into our systems. The chakras open to better accommodate this flow. They also open wider because of the high vibration of this herb.” -The Awakened State

In the chorus of your single “Consciousness” are you referring to the actual smoking of marijuana or is there more depth to the “refer” reference? What does smoking marijuana do for you personally as an artist?

Joy: Lol so for that hook I’m playing this character asking somebody “Now where’s this consciousness you speak of?” and they telling me that its “hidden in the reefer”, so here I am smoking, smoking, smoking - looking to be “woke” and end up being the exact opposite: asleep, because now you’re just sitting there high as hell with no idea of whats going on around you. Oh, the irony lol. For me and weed its has to be in moderation because when I smoke too much I don’t get as much done as I should be and it’s just all bad - I am not the most productive pothead haha but I do love to smoke, especially when I’m writing or listening to beats, kicking it with the homies, all that.

INDI: The year of 2016 was very devastating when it came to concerns of the Black Community dealing police brutality, blatant racism, modern day lynching, and now our President of the Unites States is Donald Trump. What are your thoughts on this past year and the effects that it has had on the Black Community? What words of encouragement do you have for the black youth in 2017.

Joy: 2016 was mad traumatizing for black folk and to be honest I feel like out of all that trauma came a stronger sense of awareness - not only for whats going on in and around our community but an awareness of how to protect our precious energy, because I do believe that all of these triggering images placed in the media and on social networking are designed to attack and put pressure on our energy so that we feel hopeless. They replay these graphic ass videos over and over, sensationalizing black death making you feel like yo what year is this? There has to be a line drawn for ones own mental health.

To the black youth: Invest in yourself. Invest in your community and those who genuinely support you, your message, your presence. Surround yourself with people who see no limitations in a world that constantly tells us that we are not worthy of what we rightfully deserve. And most importantly don’t be afraid to speak out! We gotta hold both ourselves and those around us accountable. If the actions don’t match the words, then its time to start asking questions.

INDI: Why is it important for millennials to follow their dreams?

Joy: Because who wants to live their life wondering “what if?” - that shit is so wack. Live your life, I feel we learn by trial and error and with every failure we learn something new. Sometimes you could think that you wanna do one thing but find out thats not really whats for you but you would never know if you don’t just do it.

INDI: Our tagline at INDI is “Inspire the uninspired”, what advice do you have for the uninspired artist that may feel stuck in their creativity or afraid to take a risk?

Joy: Just do it! You will literally never know until you try and you are the ONLY person that can hold you back. Everything else is placed in your way to help you grow, its up to you to push yourself to be the best you can be.

#joy postell #Baltimore #BLACK #black is beautiful #king #queen #love #power #truth #wisdom #consciousness #inspire #street #gold #artist #millenials

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sinceileftyoublog · 4 years

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Kaelin Ellis Interview: Talking Music

BY JORDAN MAINZER

Producer Kaelin Ellis wasn’t a household name, but that changed in a flurry. People recognized the Orlando artist’s work with rappers like Waldo, producers like Sango, and on K-pop song “Jekyll” from supergroup Exo. But he mostly made his way behind the scenes. That was his plan when he had to start quarantining due to the COVID-19 pandemic, too. “I started creating a lot of beats,” he told me over the phone earlier this month. “I decided to start trusting my intuition more, the crazy ideas I have in my mind, to try them out to see if I could make something cool.” He made and uploaded a beat video of a track called “White Walls”, and the usual happened: His most faithful followers straight-up started tagging other rappers, suggesting they rap over Ellis’ beat. What happened next, Ellis talks like he still can’t believe happened.

“A lot of my followers will tag people--really high-caliber names--but not a lot of them will respond. A lot of people have been trying to get Smino, Masego, Danny Brown,” Ellis said. The first one to actually “take the bait?” None other than Lupe Fiasco. Ellis woke up from a nap to discover that Lupe had freestyled over “White Walls” after being tagged on a post by a follower. It went viral, Ellis direct messaged Lupe to suggest they work together, Lupe accepted, Ellis sent him beats, and Lupe sent back enough for an EP, with Virgil Abloh narrating it. HOUSE was released on July 24th. Wait, what? If it sounds like it happened quickly, that’s because it did, faster than anyone could have ever imagined. And it’s a great release that effectively combines Ellis’ deliberate, warped keyboard instrumentals with Lupe and Abloh’s thoughtful musings on pressing issues: mass extinction, the shady ethics of the modeling industry, and most notably, the Black Lives Matter movement. (“SHOES” is especially poignant, as it features Abloh talking about designing the running shoes Ahmaud Arbery was wearing when he was murdered; “running is freedom,” he states simply.) The track that started it all turned into “LF95″, with an added outro of credits from Lupe Fiasco, the preview of, according to Ellis, more to come between the two of them.

Read my conversation with Ellis below, edited for length and clarity, as he talks about the history of his relationship with Lupe’s output, the inspiration behind his beats, where he sees himself in the music world, and some exciting upcoming collaborations.

Since I Left You: When was the first time you were aware of Lupe’s music?

Kaelin Ellis: Because I grew up in a Christian household, I didn’t listen to a lot of hip hop or pop radio or rock music. So my first time hearing Lupe was NBA 2K7. He had a song called “Catch Me I’m Ballin’”. I played that game every day for years just because of the soundtrack. I loved the beats and the sound that was integrated in the video game that created a whole experience to it. Then NBA Live 07 came out, and that’s when I heard “Kick Push”. At that point, I was just hooked on Lupe’s music, so I grew up as a kid listening to him.

SILY: Have you followed his output pretty closely ever since?

KE: Oh yeah. I’ve been following him since 2007, everything from Food & Liquor to DROGAS Wave. I’ve kind of been keen, especially learning about music business in general, a lot of what I’ve learned has been from Lupe Fiasco. I’ve used his career as a model for my own career. Seeing his consistency and trying to integrate that with what I do.

SILY: Was he aware of you before he was tagged in the post?

KE: Not at all. I’ll say this: I’m typically that one dude that people have heard but don’t put the name with the music because a lot of my music is instrumental. I come from a Soundcloud wave of producers when it first became getting big. He had no idea who I was. He thought I was just one of those guys making beat videos on Twitter and that I had a following. People started saying, “That’s your face on Lupe Fiasco’s page!” A buddy of mine reached out to me; he called me after I woke up from a nap, like, “Dude, have you seen Lupe Fiasco’s page?” I was like, “Naw.” He was like, “Dude, get off the phone and check his IG.” So I checked his IG and his Twitter, and he had uploaded a freestyle over my beat video on both pages. I was like, “Wow.”

SILY: That was “LF95″. Was the outro on the EP version of the track added on only after you realized you would make this EP together?

KE: Yeah. That track went a little viral at the time. That’s when I hit him up and said, “Yo, Lupe, we should work!” He followed me on Instagram and DM’d me and said, “Send me a pack of beats! I’d be interested in knowing what you had in mind.” So I sent him a full pack of beats. I sent him beat videos. I’m always creating. He ended up keeping “LF95″ and adding that additional verse at the end of it. After two weeks, he was like, “Yeah, I have [enough for] a whole EP!” I was like, “What?!?” I listened to it, and he literally took my tracks, split them up in sections, and had a whole arrangement for every record. I’d never seen anybody take one of my tracks and curate something out of it.

SILY: Were you surprised to hear Virgil Abloh’s voice on two of them?

KE: Yeah! I remember for “HOMME MADE” and “SHOES”, he sent me the full record. He sent it to me and I downloaded it and said, “I got Virgil Abloh narrating the whole thing.” I was like, “What?!?” He sent me all the tracks roughly scoped out. As I’m hearing “HOMME MADE” for the first time, I started playing chords behind it. When I grew up, at church, as people were talking, there’d always be somebody playing piano underneath it. What you’re hearing on “HOMME MADE” is me literally listening to [Abloh’s] voice for the first time and playing under it. I sent that to Lupe, and he was like, “Yup. I’m keeping it. Don’t change anything.”

SILY: It definitely sounds like gospel keyboards.

KE: Yeah. That’s the approach. It’s called “talking music.” If someone’s ever talking, there’s always a piano underneath at church supporting what someone’s saying.

SILY: When you sent him that pack of beats, were those beats you had already made, or did you make new ones for him?

KE: There were a couple of brand new ones. One of those, which is “DINOSAURS”, I made that literally in L.A. I was supposed to be doing a show, and I remember I had the concept for this piano riff. I played it, added drums and everything else. “SLEDOM” and “SHOES” are the only two older tracks. I actually made those in 2017. I had a whole thing where I used to create a lot of tracks--I’d go to my homie’s crib, GFL Paul, his house was the studio where I’d create all these weird creations. I created a lot of tracks at his place. I went back to the old 2017-2018 archives, pulled those beats out, and sent them to Lupe. He cut up “SHOES” to a fifth of the arrangement.

SILY: Did you have any idea what his verses were gonna be about?

KE: Not at all. I just remember when I first sent it to him, everything had this supportive jazz storyline behind it. I had a talk with him, and he mentioned his collaborations with Robert Glasper, who kind of comes through the same background as me with church. I was pretty sure [Lupe] was gonna say something really deep over a lot of the records, but I had no idea what they would be. I was open to what he had in mind. When I first heard it, I was like, “I don’t need to touch this! This is perfect.” [laughs]

SILY: It’s such a cool story, and in a weird way, do you feel like it only could have happened with lockdown?

KE: I feel like it aided it. I was an opportunity because everybody is in their homes, and it makes you think a little bit about what’s going on. I’m sure he’s had thoughts about things that are going on, and he has a very poetic way of saying it. I know a lot of people who are connected in my circle that work with him. Lupe Fiasco worked with Robert Glasper on [Black Radio]. Robert Glasper also collaborated with my close friend Kaytranada. It’s a pretty similar circle of musicians and artistry. I think it was just a matter of time for everybody to know each other.

SILY: They might be classified under different genres: You think, “Robert Glasper: jazz, Lupe Fiasco: hip hop, Kaytranada: electronic beat music with collaborators.” Where do you see yourself within the genre circle?

KE: For me, I kind of base everything around my purpose. I’m always aiming to inspire people with the abilities I have. I’m really good at creating sounds. Sonically, I’ve always been into that. Kaytranada is the reason I started doing this. In high school, I watched videos of how he was making beats, back in 2010. He cultivated this thing where producers can be artists too and create a sound and do your own thing. Seeing him cultivate that for the past 10 years is something I’ve always been interested in doing. I don’t have the biggest voice. I’m not the most intelligent when it comes to words all the time. Seeing musically how he was able to create that lane for other guys that want to do the same thing is pretty enlightening. Me and him are the same category of producer/artist, but I’m more in terms of full creativity. It doesn’t matter what the genre is--I want to make sure what I create helps others, which in turn is what the HOUSE project I did with Lupe ties into.

SILY: What else have you been up to over the past few months? Are you making beat videos and music in general?

KE: Yes. Actually the most productive time I’ve had making music. With everything shut down, what I’d normally get compensated and paid for working shows, when quarantine started, it got me back to when I was young creating music just for the fun of it. After that “White Walls” video that Lupe rapped on, I made a whole project called MOMENTS that followed up after that. I dropped it on June 19th. When I put it out, I was super scared because of the fact that typically, when it comes to people putting out albums--I made a poem on Twitter that it said if it was too long to be an EP, but too short to be an album, what would you call it? Someone wrote, “Just call it a short.” All of the beat videos I’ve made since “White Walls” I’ve put into a project called MOMENTS. I’ve had a lot of growth. A lot of really big people have hit me up. I’ve been talking to and collaborating with a lot of big artists, solely due to the beat videos I’ve been putting out on Twitter, Instagram, and Facebook consistently over the last several months. I’ve just been trying to put out a lot of content and get better at my craft every single day. Just try to be better.

SILY: Have you done any live streams?

KE: Outside of my IG Live, I’ve done one Twitch stream. I’m having some technical difficulties running it. I had to buy a brand new computer to be able to run Twitch and my computer programs at the same time. But I’ll be doing more Twitch streams in the future.

SILY: Something like performing the tracks from HOUSE with Lupe’s voice from elsewhere would prove to be pretty tough to pull off virtually, but are you performing the instrumentals from them?

KE: Oh yeah. Actually, I have this cool concept coming up where I’m gonna be recreating a couple of the records off the EP on my beat videos. Instead of it being the full instrumentation of the old beat I sent to Lupe, you’ll see me create “SLEDOM” or “DINOSAURS” from scratch on the next social media videos.

SILY: Who have you been working with lately?

KE: I’ve sent a couple beats off to Channel Tres. He’s a really cool dude. I’ve been sending him a lot of work as of late. Danny Brown, who I know is creating a lot of music and new projects. I don’t know what it entails. He recorded a couple tracks I made in 2017 with my homie GFL Paul at his studio. I sent him a really old beat I released a while back, one of the first tracks I worked on with another artist in Orlando. It’s called “Switch Lanes”; it’s a very grunge, hip hop-heavy record with a lot of experimentation. If Danny Brown liked that record, I’m not entirely sure where his approach would be, but he’s a really dope artist. I’d be excited to see where he goes with that.

Growing up, I was a huge Madlib, Flying Lotus, and J Dilla fan. When I first heard [Danny Brown] on Jay Stay Paid--I was heavy into that record because of his vocals over Jay Dilla’s beats. That was the last time I heard brand new, unheard Jay Dilla. Every time I go into it, it feels brand new. I’m excited to see what he does with what I sent him. Not sure what’s gonna happen, but I’m excited. [laughs]

Kaytranada as well, we’ve been shooting tracks back and forth to each other, especially during quarantine to stay inspired. Just trying to stay creatively locked in during this time.

I had a family member pass away recently. It was sort of out of the blue. My mind has been in a different place creatively. It’s hard with everything going on: COVID, presidential candidates, all of that type stuff can really wear on you.

SILY: Does making music offer you a refuge from trouble?

KE: Yeah. For me, I create music the way a songwriter would. A lot of songwriters are tapped into what’s going on in their mind or heart to be able to write great words. I do that with creating sounds and playing instruments. The same way you’d hear somebody on a guitar, I put that emotion and feeling behind it. Whatever things are transpiring, I try to put that in the art. Maybe someone will hear the track, and it will resonate. Because they’re instrumentals, I like to set up another person to say possibly what can not only be on someone else’s mind and my mind, but a bunch of other people in general. This record, HOUSE, does that. It’s really insane, man. I try to create music to zone out and express how I’m feeling through sound, and I hope whoever’s listening can feel that, too.

0 notes

e2blogengine · 7 years

Text

Futurephonic live with Chris Williams and Regan Tacon

Video summary and highlights

A few weeks ago, Futurephonic hosted a live Facebook video featuring two awesome guests: Chris Williams (Iboga Records, Noisily Festival) and Regan Tacon (Nano Records, Origin Festival).

That was a very insightful talk on career strategies for emerging artists. You probably know my commitment to education and learning, so I wish more people “behind the scenes” could give a talk like that.

The audio quality of the video wasn’t that great though, sometimes made it really difficult to watch. I’ve decided to write down some key points so I could get back to them at any time, perhaps some of you will find it useful too.

There we go.

On changes in the industry

The Internet is the biggest game changer for the music industry, for the better. The distribution is much easier now, you can get music anywhere in a matter of minutes and anyone can access to it.

Psytrance scene has also changed in the last decade, it spread out to more places across the globe. New sub genres come in and out, it’s ever-changing process. Psytrance is a culture, so it will stay here for quite a while.

In the pre-Internet days, the music industry was labels-driven, they have a control over everything. Despite such limitation, it was a higher threshold for quality of music that has been released. Social media now liberated records labels ability to put music out, but the question is whether the quality of music across the board has risen? From the artist’s perspective, entrepreneurs and marketers now have amazing platforms to be creative.

We see now many artists experimenting with marketing, ads, formats of communication. We’re still learning, and there is no right or wrong way. This experimentation itself is what special about this time, it’s fantastic time to live from the artist’s perspective, basically.

It’s fantastic time to be an artist now.

On getting music out

Perfectionists find it really difficult to let it go. They keep polishing, and polishing, and sometimes they polish it so much so they polish away the bits of what was good in the first place. Don’t sit on it for too long.

Finishing tracks is a part of the producer’s talent.

So many people doing the same thing, so much noise is out there. You have to come up with quality. Quality takes a lot longer, much longer than most people realise.

Most tracks out there is nowhere good enough quality as it should be. Artists need to be realistic about what they send to labels. Patience comes along the way.

On getting noticed

Spotify and YouTube channels are new platforms for discovering new artists.

From the new artist’s perspective who’s trying to get noticed, it’s all about presentation. If you have a Facebook page, make sure you have a high-quality design, branding of your product. Even if you put a Facebook video with your branding behind it, it’s very important that this branding is good—if not better—as the music itself. It’s vital.

The first impression matters even before anyone heard your music. It was the same even when the demos were on CDs — it’s like receiving a demo with a marker handwriting vs. CD with an artwork, well-written letter, logo. Same applies to SoundCloud now.

Oldschool way of approaching by shaking people hand at the the backstage still works the best.

Branding is vital. First Impressions last.

On being signed on a label vs. go independent

Labels work as a filter, taking care of the releases, artwork, promotion etc, allowing artists to focus more on music.

Ultimately, all successful artists need a support, and labels are a massive help in that.

On albums and singles

Releasing singles is a great things—it gives a stable flow of music from artists to fans, no need to wait a year or two.

Each single is typically supposed to be a yet another dancefloor-killer which creates a lack of experiments, the cool B-sides. Back in the days, sometimes those B-sides become hits.

Albums give more freedom on that matter, you can have dancefloor-killers whilst also including a couple of out-of-the-box tracks.

Albums certainly add some extra weights, an extra level of value for the artists who are capable of creating those albums.

On commitment

Artists need to be committed to working hard. I don’t think people realise how hard some of those artists work. The guys who work the hardest are the one who gets the gigs, gets the money etc. because they push it all the time.

It’s a lifestyle, you have to be ready for this. And music is just one part of it, with social medias it’s 50–50 these days.

I don’t think people realise how hard it is.

On festivals bookings

There are always some acts promoters keep in mind for the next-year festival lineup.

Once headliners are booked, promoters go over recommendations first and only then to submissions. Don’t send a festival submission in three days prior to the festival, it’s won’t work that way.

There are definitely some promoters who check and evaluate how many “likes” an artist has in order to make a booking decision.

On marketing

If you want to pay to promote your page, do it the right way using legit Facebook mechanisms, not via external “likes’ farms.

Always keep in mind country demographics when starting an ad campaign. For example, for sales-driven campaign always include countries like USA, Australia, Japan, Germany, Sweden, Denmark. However, for a streaming campaign, it’s worth also including Brazil, Mexico, and other countries that don’t usually purchase music, but stream a lot.

Men typically buy more than women, so don’t split demographic targeting 50–50, push it more towards men.

Upload Facebook videos.

We spend a fortune on Facebook marketing, to be honest.

On streaming and sales

Streaming isn’t brining any money, let’s be real about it. It’s interaction with people, this is how people connect with the music.

Anyone who really buying music is DJs. You not gonna get money selling music as a Psytrance artist, although it’s true for other genres as well. There is just not enough people buying music across the world.

Beatport gives 60–70% of sales, another major amount is iTunes, and all the rest stores altogether are basically nothing. That’s how it is.

Linkfire.com is a good way of putting all the streaming and stores links at once and then get statistics of clicks.

On investment

A well-thought advertisement campaign could be a solid investment, eventually giving more gigs in return.

Rather than relying on a photographer that can or cannot shoot while you are playing, you can hire one to be sure you’ll get high-quality photos.

Some artists spend their entire fee hiring photo- and video artists to make a proper aftervideo from the event. Do it at least once in six months.

Invest in your branding.

Источник: Daniel Lesden Blog - Futurephonic live with Chris Williams and Regan Tacon. Опубликовано с помощью IFTTT.

#IFTTT #Daniel Lesden Blog

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gigmusicdscvr · 7 years

Photo

#GIGCHAT : THE KLARES

Sorry not sorry, we can’t move on from Dublin as you can see. Dublin has magnificent musical scene which would be such a heaven for music enthusiasts. This time let’s meet these four lads from The Klares, Andy (lead vocals and rythm guitar), Jordan (bass and backing vocals), Cormac (drum and backing vocals), and Eoin (lead guitar).

After almost five years as a band and made two EPs, Dirty Birds (2013) and Cookoo (2015) plus more singles (Sparks Alone, Black Huaraches, Gooie). They have been on no more uncountable gigs around Dublin. As an indie band, they’re one step ahead compared to the others by professionally assigned a manager to look up their publicities including handle social medias and public relations.

Well, we won’t tell much about them here, instead let’s just hear from their side and see how they describe their own music. Here is our detail convos with the lads, including talk about future, parents, musical influences, fanbase. Spoiler alert , if you love indie-rock, or you’re in the middle of something to choose for your career path, these Q & A might giving you enlightenment.

1. Well, 2 EPs already, great, it is really productive and you always upload all the high-quality records of your music on your social medias (spotify, soundcloud, youtube), we think that’s good way to promote your music as an indie band, how do you think?

Eoin: I think it is also yeah. I don't think that as an up-and-coming band these days, that you can get anywhere without using social media.

Andy: I think social media is definitely the best way to get yourself out there and it no doubt has helped us

Jordan: I think going forward its the way to go. Disks went to iPods and now iPods are going towards apps like Spotify. Most people stream their music nowadays so being active on the internet is necessary

2. Your music has Arctic Monkeys, Imagine Dragons vibes, with combination of Britpop. How do you describe your music style?

Eoin: Yeah I would agree that we have an arctic monkeys style…

Jordan: I think we're a mixture of all of our influences (mostly early arctic monkeys) , but with our own unique sound thrown into the mix. I think our sound has definitely developed from simply emulating these influences though, like we perhaps did a few years back.

Andy: I’d say exciting, exuberant and overwhelmingly in-your-face

3. How do you come up with ideas to write music? Any particular theme for each EP you’ve made?

Eoin: No themes really. Normally one of us would have an idea and we'd work around that. It's often that at band practice someone randomly plays something that sounds good when we're jamming and we work around that

Andy: Usually we just bang out a song with tons of different ideas mashed together. I'd love to make an album with a continuous theme through it. It'd take time and a lot of writing first

Jordan: Andy would usually have a basic idea for a song and we'd build it up together. I don't think there's one theme that we aim towards, but we were only talking about how we'd love to have a thematic album yesterday.

4. How do you get yourselves engaged on this music genre, in the middle of musical trends/mainstream nowadays dominated by EDM, pop ?

Jordan: We're really not big fans of modern music - there's some good stuff around, but not much. We ended up doing what we do from listening to bands that started before we were born, combined with the handful of modern rock acts that we think are good.

5. Do you manage your social medias on your own? How do you manage that? All of you involved?

Eoin: It is mostly our manager Rebecca on social media. She's good for it, and she's always on the ball, whereas me and the lads would probably forget to put things up half the time if it was us

Jordan: Myself and Eoin are aiming to take on some of that workload soon.

6. Advantages and disadvantages on being indie (unsigned)? Any plan or prospect to be signed soon?

Eoin: No plans really. I think at this stage, we're better off not being signed. Having said that, if we were signed, gigs would probably be more consistent and it would be a lot easier to fund the band.

Andy: Yeah not being signed is good I suppose. We've got more control over everything and it gives us more artistic freedom

Jordan: I think that being signed nowadays doesn't carry the same weight as it once did. We've had offers, but none of which we thought suited us. I think we'd only sign if the ideal offer came our way.

7. This year 2017, what is your plan? Music video or merchs anytime soon?

Eoin: We're hoping to get as many festivals in the summer as possible. No plans about music videos but I'd say we will make one for the next single released

Andy: I'd love an album this year with multiple videos

Jordan: A music video is definitely on the cards next, probably for our latest single. As soon as the summer hits and the gigs start building up, we'll probably have a little look towards building songs for an album, as opposed to another EP. Also merchandise wise, there are The Klares available.

8. Activities outside the band? We know you just finished school last year, will you guys focus on the band or do something else outside of music? College?

Eoin: We have no time for other activities really. I am in college and work as well so there's no time to do anything else

Andy: Not much, just work and sleep

Jordan: Two of us are in college at the moment which sometimes makes juggling our time difficult. We're still putting the hours into The Klares though, and as soon as the college year is over, the band will be our top priority.

9. This might be a bit personal, but many people want to know, how do you convince your parents to let you put much effort on the band? We know parents want their kids go to college, get a settle job and stuff...

Andy: They don't mind and all the parents are incredibly helpful. Without them who knows where the band would be

Eoin: Yeah it’s easy at times, harder other times.

Jordan: They, like us, genuinely believe we're good enough to make a career out of this. With approval on our side, why immediately settle for a desk job without giving the music a go?

10. How do you see The Klares for the next five years?

Eoin: Who knows. The music industry can let anything happen. A band can be nothing and suddenly be huge in no time

Jordan: Hopefully playing festivals left, right and centre around Europe. I can definitely see us going on to better things in the near future.

Andy: I think we're going to get to the top eventually. 5 year’s time who knows? Madison Square Gardens?

11. Tell us what do you think, which is more important in music industry, strong fanbase/network or talent itself or both?

Eoin: I'd say fan base is very important as well as talent but no so much individual talent but talent of how you work together as a group

Jordan: There's so many acts out there who play modern over-produced, contrived music written by someone else. I think that talent isn't as important as it once was, and emphasis nowadays is on web presence and building a fan base. Obviously, this requires some talent.

12. Last, message for your fans out there?

Jordan: Keep on supporting us. You can be one of those people that can say you heard of us before we got huge.

Well, if you’re curious to their music, they’re available everywhere. Get ready to begin your new musical experience with the pounding rifle drum, splashing guitar and bass, with some semi-britpop interludes in between. Can’t even describe them as punk, rock, britpop, indie-alternative, because they have them all. Reminds you a lot to the old Arctic Monkeys with a more fresh-energetic approach, reflecting their youthfulness.

Member : Andy Burke, Jordan Lawless, Cormac Sheridan, Eoin O’Shea

Year Active : 2012 - present

Origin : Dublin, Ireland

Top songs : Gooie, Black Huarache, Sparks Alone

Contact :

Twitter / Instagram / YouTube / Facebook / Soundcloud / Spotify / Website

#the klares #irish #young #band #gigs #music #indie rock #indie #bands #gigmusicdscvr #music discoveries #music blog #gigchat #interview #sunday

0 notes

e2blogengine · 7 years

Text

Futurephonic live with Chris Williams and Regan Tacon

Video summary and highlights

A few weeks ago, Futurephonic hosted a live Facebook video featuring two awesome guests: Chris Williams and Regan Tacon. They are known as labels managers of Iboga and Nano Records and promoters of the “Noisia” and “Origin” festivals, respectively.

That was a very insightful talk on career strategies for emerging artists. You probably know my commitment to education and knowledge sharing, so I wish more people “behind the scenes” could give a talk like that.

There we go.

On changes in the industry

The Internet is the biggest game changer for the music industry, for the better. The distribution is much easier now, you can get music anywhere in a matter of minutes and anyone can access to it.

It’s fantastic time to be an artist now.

On getting music out

Finishing tracks is a part of the producer’s talent.

So many people doing the same thing, so much noise is out there. You have to come up with quality. Quality takes a lot longer, much longer than most people realise.

Most tracks out there is nowhere good enough quality as it should be. Artists need to be realistic about what they send to labels. Patience comes along the way.

On getting noticed

Spotify and YouTube channels are new platforms for discovering new artists.

Oldschool way of approaching by shaking people hand at the the backstage still works the best.

Branding is vital. First Impressions last.

On being signed on a label vs. go independent

Labels work as a filter, taking care of the releases, artwork, promotion etc, allowing artists to focus more on music.

Ultimately, all successful artists need a support, and labels are a massive help in that.

On albums and singles

Releasing singles is a great things—it gives a stable flow of music from artists to fans, no need to wait a year or two.

Each single is typically supposed to be a yet another dancefloor-killer which creates a lack of experiments, the cool B-sides. Back in the days, sometimes those B-sides become hits.

Albums give more freedom on that matter, you can have dancefloor-killers whilst also including a couple of out-of-the-box tracks.

Albums certainly add some extra weights, an extra level of value for the artists who are capable of creating those albums.

On commitment

It’s a lifestyle, you have to be ready for this. And music is just one part of it, with social medias it’s 50–50 these days.

I don’t think people realise how hard it is.

On festivals bookings

There are always some acts promoters keep in mind for the next-year festival lineup.

Once headliners are booked, promoters go over recommendations first and only then submissions.

There are definitely some promoters who check and evaluate how many “likes” an artist has in order to make a booking decision.

On marketing

If you want to pay to promote your page, do it the right way using legit Facebook mechanisms, not via external “likes’ farms.

Men typically buy more than women, so don’t split demographic targeting 50–50, push it more towards men.

Upload Facebook videos.

We spend a fortune on Facebook marketing, to be honest.

On streaming and sales

Streaming isn’t brining any money, let’s be real about it. It’s interaction with people, this is how people connect with the music.

Beatport gives 60–70% of sales, another major amount is iTunes, and all the rest stores altogether are basically nothing. That’s how it is.

Linkfire.com is a good way of putting all the streaming and stores links at once and then get statistics of clicks.

On investment

A well-thought advertisement campaign could be a solid investment, eventually giving more gigs in return.

Rather than relying on a photographer that can or cannot shoot while you are playing, you can hire one to be sure you’ll get high-quality photos.

Some artists spend their entire fee hiring photo- and video artists to make a proper aftervideo from the event.

Invest in your branding.

Источник: Daniel Lesden Blog - Futurephonic live with Chris Williams and Regan Tacon. Опубликовано с помощью IFTTT.

#IFTTT #Daniel Lesden Blog

0 notes