1 post tagged “getting signed”

I thought I should do one of those "why we do this, what's it all about" posts in response to the comments on the 'I'm Alive' post.

What it is.

I think it's important to identify what this platform is and it's purpose. Essentially, it's a submissions platform at it's core. The first port of call for artists who simply want to get their stuff heard by A&R at the labels who otherwise don't have access to those people via a well connected manager, lawer, the radio etc. On top of that it has powerful blogging tools which allow artists to further promote and develop their presence within the online community.

It has been started as a UK based project. However, I've always thought if I come accross something good it shouldn't be dismissed because of territory. So I still push oversees acts to the labels where possible. Though when I promote local acts on my nights they are not simply from London, I try to get talent from all over the country and I've been fairly successful in this so far. Except I haven't managed Scotland yet. :-)

Feedback

The feedback issue has been the subject of much arguement in the past. Bottom line is it's impossible to give constructive feedback often enough to satisfy the demands of those who feel they need it. Plus as was mentioned in the comments, there are people far more qualified than the likes of myself or other record company types to appraise music submissions. So who am I to say the chorus isn't strong enough, the mix is crap etc etc? I saw mentioned that artists need to have feedback in order to judge their own viability with the label. If you are a producer this may be the case if you are essentially pitching your wares. If you are a recording artist viability of your material isn't the question, the suitability of the label is. If we don't like it, don't respond in time etc then that's not the label for you.

What companies want?

As for what company's want I think a formulaic structure to A&R simply doesn't exist. That's more of a marketing thing which would be more at home with a creative publishers or catalogue label. Such as, "We need a product to co-incide with the olympics" or something. I have sat in many A&R meetings and each A&R person has their own angle and opinion on what acts we should be breaking. I have never heard anyone say "We really need an acoustic, early 20's, UK-based etc etc". It's simply the case of bringing what that particular scout has been in to. The head of the label does not instruct A&R as to what to bring in. A&R are employed to know what to bring in.

Power to the People?

I also read a comment talking of the company actively prohibiting the behaviours of groups within Vox or various groups set up to work in tandom with this project. How would that benefit us? For a kick off, this is hosted and maintained by Six Apart Inc, I couldn't have a group shut down if I wanted to. Plus I really encourage any development in community structures, groups and integration of other platforms. I think the weheartmusic page apitomises this concept and serves as a good example as to what can be achieved within a blogging community.

What do artists need to do to guarantee deals?

As regards what is required of an artist to warrant investment from a label this is impossible to quantify. I remember an act practically being signed on the strength of a myspace page whereas we recently got a signing off the blogs who signed up a year ago and there has been much to-ing a fro-ing since until the deal recently. I was in regular contact with them advising on deals, lawyers etc. Both are completely different as regards genre, investment and route into the company. I could probably list 30 or so different ways bands have come in. This really wouldn't help you as every signing can be slightly different.

Ultimately this is why I ask simply to submit your best material, rehearse loads and ask everyone everything. I've known acts signed off the strength of a gig, demo, buzz, recommendations, overall image, a recorded album etc etc. So the only way to truly advise on getting in, is to boil it down to what works in all those situations. Which is good music, shite songs wont be recommended, come across well at gigs, sound good online, generate a buzz, make a great album etc etc. Don't try to fulfill a market niche or some pre-conceived quota that you think the label may have or some kooky angle that you've devised.

Now then, from the comments I can probably see this will be pulled apart but I do think it's important to see this, and the label in it's true form. This is a demo submissions process, infinitely more practical than physical submissions though not perfect (yet). There's probably an air of mystery around the concept of A&R, the meetings, how it's all done, how we're potentially evil greedy no-gooders and all that. Truth is, I work closely with all of A&R who all come from the similar musical backgrounds, many are around my age (late twenties/early 30's) and who's only interest is to break acts that they are proud of pushing, as you don't want to be the guy who brought in something rubbish. It doesn't get much more complicated than that.

As I've preached many times before, due to the empowerment of artists through new technology and the competition within a shrinking market, it makes good business-sense to create different methods/channels to encourage as much new busness/markets/assets (ie you) as possible. Any ideas to expand this always welcome.

I'll shut up now. :-)

Hope all is less frustrated with you.

IB