Chase

MARKETING YOUR MUSIC TO LABELS

Labels generally look at four categories when evaluating a band's music. If you fit all of the following criteria, consider yourself a viable candidate for signing: 1. Clubs. Will any of your songs be a dance hit? 2. Radio. Are any of your tracks commercial enough? 3. Publications. Does your band have enough identity that it won't be dragged down by a recurring comparison? (this is also known as the Stone Temple Pilot/Sister Machine Gun syndrome). 4. Live shows. Is your band going to tour to support your release, regardless if you have monetary backing?

Because getting signed is often easier than getting heard, your demo tape package should focus on a few essential things from fonts to gimmicks. Good music never hurts, but let's not get bogged down with trivialities.

The way to keep your bio sheet from being bio shit is to think practical.

1. Don't bother saying your music is new/different/original or comparable to some other band. Most likely every band thinks they're doing something unique or they'd probably be doing cover songs. As far as comparisons go, it only shows that you don't have entirely your own voice, which is what labels usually prefer...unless they feel they can make you bigger than your influence.

2. Just because you have played with a cool band, it doesn't necessarily follow that your band is cool, too. You see, if a major act tours through some shithole-in-the-wall small town, Emmet Otter's Jug Band could get the opening slot by default of being the only band around. However, if you've toured with a cool band, it holds more weight because someone has deemed you worthy enough to share a van with, in addition to implying that they actually want you to open their shows.

3. Don't talk about rave reviews from your so-called fans; if you've gotten published reviews, include them, otherwise there's no backing to your claim. Keep in mind that in a bio, no band is going to say "people hate us, but we're hoping you won't." This example, however, illustrates some creative humor and would probably be more effective than bragging about the intensity of your live shows, the mesmerizing effect of your videos, and the immense sales of your tapes.

4. If you can't prove it in your bio, usually through reviews and club/radio playlists, then don't include it. And if you get a mixed review, quote the good stuff rather than printing the whole thing--there's no extra credit for being stup...I mean honest.

5. If you're going to say a lot in your bio, be sure to include graphics and/or a variety of fonts. Long pages of prose are responsible for making text books intimidating, so you need to trick the reader into thinking they're reading less. Try, for example, placing one of Ivan Brunetti's cartoons in the middle of the page. While his work may not be relevant, it might be entertaining enough to get somebody to read what you have to say or at least they might put it up on the wall for everyone in the office to see.

6. Always choose your fonts carefully! [A font is the style of type you use]. When A&R thugs rape their mail, they invariably make summations about your band's style based on your packaging, e.g. "Medieval lettering: must be another lame metal band."

When sending your tape to a label, always:

1. Find out if your music fits with the label you're approaching, otherwise you'll be in the blank tape bin faster than you can say free high bias cassette.

2. Address your package to a specific person. This way someone has to take responsibility for your crappy tape when you start asking questions.

3. Don't send your tape to the boss of a large indie label, unless you're also sending copies to people on lower floors. Bosses don't have time for A&R work, so your tape will stay in their box indefinitely and they probably won't take or return your calls.

4. Indie labels aren't impressed by tapes submitted by legal representation. In fact, there's nothing more bothersome than a band with a lawyer. Lawyers have a tendency of looking for major label-type deals on the indie level and that won't happen. "Sure, we'll give you that 50,000 dollar advance."

5. Unless you're trying to get on a label that's known for its grassroots integrity and punk rock organization, be sure to type your letter or letterhead and provide a phone number in your bio and on the cassette.

Promotional gimmicks are great, but traditionally the better the gimmick, the worse the band is.

1. Shirts and hats aren't considered gimmicks, because if they fit, who cares what your band sounds like.

2. Money and hookers are always nice incentives, but bands seem to think us label guys prefer Frisbees and stickers.

3. Be creative, but do it intelligently. Sending a bag of entrails will make a lasting impression, but it won't be the kind that'll get you hugs or a deal. When I sent out promotional crowbars, every recipient I called knew who to associate it with...and they even kept them around the office rather than disposing of them like so much other promotional junk.

The stigma of band photos. Unless they're innovative, don't send 'em. Sure your grandma thinks you look nice, but judging by the goofy-as-shit photos that adorn the walls of record labels, somebody else has a different opinion (and, yes, we do draw on them). There's a number of different types of band photos and we know your loser face is in at least one:

1. The Tough Guys: This is traditionally four or five unsmiling guys standing with their arms crossed and tattoos showing. If they were really tough, they wouldn't pose for such a lame picture.

2. The Sears Special: These photos look like they were lifted from display frames or new wallet picture sleeves.

3. The Blow Up Doll: A slight twist on the Sears Special is the pin-up girl- this is when a woman tries to market her sexuality over her music. These photos invariably result in subjective comments, but rarely a record deal.

4. The Goof: A bunch of guys doing silly things and making silly expressions, but the joke is probably only funny if you were actually there.

5. The Gloomers: This is the contrived notion that the depth of a band's soul can be captured by dressing in black and posing around a decadent gothic structure with sullen expressions.

6. Blast From The Past: These are people who think they're hip, but fail to realize that animal print bandannas around the neck and leg were only hip during Def Leppard's Pyromania heyday. Retro fashions only work if you're begging for food, appearing on MTV's House of Style, starring in Dazed & Confused, or a pimp.

7. Plain Gang: An average unpretentious shot of the band doing nothing. This is always a safe choice.

8. Lastly, there's the cool pose...I haven't seen one yet--but let me take another look at that Blow Up Doll photo...

If a label can't stand to look at your face, how can they listen to your music objectively? Don't worry, once you get signed, your label will most likely foot the bill for your photos and you can look stupid at someone else's expense.

When trying to decide who to send your stuff to, experiment with labels that sign bands with a different style, but similar elements. An example would be sending a Ministry-esque techno band to a punk or metal label. The advantage of cross-marketing is if your band isn't original, these labels probably won't be aware and will consequently view your so-called unique sound as "the next big thing". In other words, if you're a electronic band, don't limit yourself to labels that traffic only in electronic music. They're probably inundated with every other new synth act so you'll be just another tape on the web-coated stack.

Once you send your tape off to a label, don't confuse annoyance with persistence. After you've notified a label that your tape is on the way (presumably to a specific person), allow them some time to check it out. It's okay to see if they've received it, but once that's been confirmed, give the label a couple weeks. If you hassle a label too much, they won't want to work with your band regardless of how the music sounds. Because very few industry folks have time to listen to a tape the same day it's received, relax and take a deep breath...ride it out. It's very important that you recognize the signs of rejection!! Some of them include a refusal to take your calls, a letter that expresses sentiments such as "your bands sucks...thanks for the tape," and discovering your cassette smashed on the side of the road. The surefire sign is when a label who has heard your tape doesn't express any interest.

On your demo tape, always put your best track first! If you use an instrumental intro to set the mood, save it for when you are signed. Critiquing a tape is like searching for a good book; if the first page doesn't grab you, it's time to move on.

How many songs on a tape? Nobody is going to listen to your shitty tape so don't worry about it. Okay, if you're really worried, my recommendation for the amount of tracks on a tape destined for a label is 6 songs (3 on each side). Don't forget a track listing, so people will know there's music on both sides. You shouldn't fill up a tape with tons of music because your cuts will start sounding alike to the untrained ear. If the label wants to hear more than 3 songs, they'll have to get up to turn the tape over, and this action consequently puts some distance between the first 3 tracks. If you only send one or two songs, it might be interpreted that you feel you only have a few songs of merit, or the label might be too busy/lazy to track you down to hear more. The key word is moderation- a tape or song that's too long is like listening to a eulogy in a foreign language.

A couple years ago, I was talking to Daniel H. from C/Z Records and he was offended because a band had asked him questions regarding the composition of a demo tape, such as how long should their songs be, etc. His opinion was that a band should make music for themselves and be judged solely on that factor, rather than shortening songs or whatever. I agree that there's a lot of integrity in doing your own thing and I believe that innovators will eventually be dug up and recognized, but aggressively infiltrating the market requires a different approach than waiting for the hand of god. I base my views on the hundreds of demo tapes I've amassed in the last couple of years.