• 
• 

Traditionally releasing an album was left up to the major labels and intrepid independents but many artists are now doing it for themselves.

In the lead up to this weekend's NZ Music Month Summit, music industry panelists Janine Russell and Ben Howe share some tools, strategies and support networks to help.

Traditionally releasing an album was left up to the major labels and intrepid independents but many artists are now doing it for themselves.

In the lead up to this weekend's NZ Music Month Summit, music industry panelists Janine Russell and Ben Howe share some tools, strategies and support networks to help.

“Not being signed to a label isn't a hindrance these days with the tools available to bands who are more often than not building their own fanbase long before a label catches wind of their talent,“ says Janine.

The summit, on Saturday May 25 at Q Theatre, is a free day of seminars featuring musicians, music industry specialists exploring the theme ‘your music as a business’.

Janine and Ben will be part of a panel for the 'Be your own record company' seminar with Kimi Coleman and Tana Tupai.

How and why have album releases moved from traditional models and labels to self-releases?

Janine Russell: Why?  Artists have more control doing it themselves than by following a labels marketing plan.  Also the record companies in NZ have downsized significantly – It's not all glitz glamour and backstage parties.  They're overworked and understaffed with a lot of international priorities set by overseas heads taking precedence over local acts.  Not true in every case of course!  But not being signed to a label isn't a hindrance these days with the tools available to bands who are more often than not building their own fanbase long before a label catches wind of their talent. 

How?  Online platforms such as Soundcloud, Facebook and Twitter etc give artists the ability to share music and even give it away for free if they want.

Ben Howe: The reason why album releases have changed is because with new technology many of the barriers that previously existed have been removed. It is usually cheaper to record an album and it can also be distributed by anyone on the internet worldwide via sites like Bandcamp, Soundcloud, iTunes, Spotify etc. There is unlimited shelf space. An album doesn’t need to be a certain length to fit on certain physical formats.

However, with that unlimited shelf space there is also a massive volume of artists and music out there. We have too much choice. So we are now presented with a new problem of how to get heard among the crowd of millions of songs available via hundreds of different distribution channels.

So in order to contend with this artists and labels have to come up with unique strategies to try and connect with audiences. In some cases artists have managed to do that themselves, though it is also arguable that in order to cut through the clutter labels are even more important than before, as they create some sort of filtering system.

So yes, technically it is easier to self release than ever before, but I think if an artist does that they definitely have to try and find some unique and interesting ways to connect with audiences.

What are some key album release strategies?

Janine: Timing and being organised is everything and I'm not saying that just because I'm a Virgo!  The more organised you are the easier the process therefore less stressful and more successful!  Timing wise, it's all about momentum and building a fanbase who are hungry for an album release.  Getting two to three singles away at radio before you release an album. 

Engaging with your fans – GIGGING!!  Playing live is absolutely vital, and I would always suggest following up with a tour within two months of release.  It's about staying visible and making sure the right people get hold of your album in advance (media including press, radio, TV etc).

Ben: I think there are no rules anymore (or at least less of them, or they are different??) Probably one of the key things is to avoid just ticking the usual boxes, ie release a single, try and get it on the radio and then get the CD into record stores. I think however you do it, a key thing is to tell a good story about your band, making the album, who you are and what you do. And to keep doing interesting things. Some will work out and some won’t. But you are better to try and keep doing that and eventually you might hit on something that connects.

What are some of the key tools?

Janine: The NZ On Air Kiwi Hit Disc is invaluable for radio play.  It's not always easy to make the cut, but it is a fantastic way to get a professional radio plugger behind you for free!  Having an online presence is almost the first thing you need to do and there is a plethora of platforms out there… Soundcloud, Bandcamp, Spotify etc etc etc.  Social media falls within that also.  And good old fashioned networking.  Head along to gigs and industry events, meet people!  Build relationships with media, retail and label staff.

Ben: It goes without saying, but none of the tools are relevant without good music – especially good songs. But that said, there is lots of good music out there that somehow doesn’t have the other ‘tools’ - so it mostly goes unnoticed. Aside from the music part (which is nearly everything)  to me it is important to be good live (even though there is plenty of evidence of successful bands who aren’t) and to have a good visual aesthetic. Also to generally have a clear vision of what you want to be doing, both musically and as a career.

The practical tools are good recordings, photos, artwork, bio, social media, website and so on.

Online tools are easier to access, but what are your tips for getting physical products in stores?

Janine: Record companies often do P&D deals… which stands for pressing (or production) and distribution.  Put it in the most simple way, they arrange for the CDs to be manufactured and then distribute then to record stores, but they don't back the release with any marketing or PR support.  Pending what genre the album is, this can be the best way to get CDs into the likes of JB HiFi and The Warehouse.

Ben: Probably my tip to begin with is don’t worry about doing that until you have built up a reasonable fanbase. If you have created a demand for the physical product then it shouldn’t be too hard to get it into stores – either by getting a distributor or by phoning up stores and going direct.

What are the pros and cons of self-released albums?

Janine: You have absolute control over the release, you set the price, you decide if you want to release physical copies, the music is coming from you and put directly in the hands of your fans. You are the master of your own destiny! (Which of course can be a con as it's a daunting process).  The rewards are that much sweeter self releasing and this is when tall poppy syndrome in NZ does not exist as we like to get behind and show support to acts that put in the hard yards.

Ben: Pros are that after distributor costs you will get 100 percent of any profits. You may also have more control over what you do – though many labels sign artists because they like what they do in the first place, so that may not be an issue. Cons are you have to do all the work where your time might be better spent writing good music. Also, if you have a well connected team working for you they may be able to achieve better results than trying to do all of that on your own.

What are the pros and cons of major label releases?

Janine: Regardless of whether it's a straight signing or a P&D deal, you have a team behind you that releases albums every day, they have the contacts and the knowledge to ensure your precious album is being heard and seen by the right people.  Of course I've touched on a con before… if there happens to be an international priority album or artist in town that week, local releases tend to fall down on the priority list.

Ben: Major labels are very good at doing big blockbuster mainstream acts. Getting into corners of the media that indies don’t have access to. They have more staff and more money. Indies are usually better at doing niche styles of music. The cons of a major label release may be that because they are investing a lot of money into an artist they may expect more in return in terms of what will go into the recording contract.

Can you give us an example of a successfully NZ self-released album?

Janine: Oh there are many!!  Beastwars' recent release Blood Becomes Fire which reached number two on the NZ top 40 album chart beaten only by mothers day ruler Michael Buble.  Of course Fat Freddy's Drop is probably the most famous self released album Based on a True Story reached number one on the charts and was certified gold the first day of sales.  I'm unsure if this is an urban myth but the story goes that the band hand packaged and shipped the albums to stores themselves and so 100% of the profits went to them.  The Veils latest album Time Stays, We Go on their own label to critical acclaim.

Ben: The obvious big ones are Fat Freddies Drop and Six60. But it depends what you mean by self released as both those bands have good managers. In the genre I work in Lawrence Arabia comes to mind – though he also has good managers and labels overseas. Because New Zealand is very small it is a lot easier to have a successful self released album at home. But I think once you start thinking a bit bigger and internationally you usually will need some kind of help. That said, it depends on your ambitions. I think it is possible to self release at an international level and gain a small but dedicated following who might buy your albums via mail order, online and so on.

What are some support networks for going it alone?

Janine: There is the MMF (Music Managers Forum) who provide mentoring, seminars and one on one sessions and networking opportunities with key industry figures and successful music managers.  There are independent publicists like myself, and independent radio pluggers who can help bring media attention to acts that don’t have those contacts.  IMNZ (Independent Music New Zealand) is a fantastic non-profit trade association who run the Taite Awards every year and are a voice for independent labels and distributors in the industry.  APRA is there to ensure the writers of music are rewarded with royalties whenever their songs are broadcast or performed live. The New Zealand music industry is extremely healthy at the moment and there are some very very talented artists out there.  It's very exciting for all of us!

Ben: The NZ Music Industry Commission (for advice and potentially overseas funding), Independent Music New Zealand (for looking after independent artists and labels) Music Managers Forum (for looking after and developing managers) – collection societies APRA and PPNZ.

* * *

Janine Russell started her music career at PolyGram Records in the late 1990's. Starting as a marketing assistant she swiftly moved up to to become a Label and Promotions Manager for Universal Music in New Zealand before moving on to work for record companies Universal Music, Warner Music and also Universal Pictures in London.

Janine has worked as a publicist for The Big Day Out for four years and as a Senior Account Manager in consumer PR for the pr shop where her clients included Lion and Telecom.

Janine recently started her own PR consultancy Noise PR with clients such as Beastwars, Clap Clap Riot, Iva Lamkum, Tama Waipara and Sony Music New Zealand.

Ben Howe was not only in Flying Nun band Superette, but in 1999 established the NZ label Arch Hill. Artists include icons such as David Kilgour, Don McGlashan, The Clean, The Bats, Bailter Space and new artists such as Street Chant, Surf City, Ghost Wave, Family Cactus, Beach Pigs and others.

Ben is also a partner in Mystery Girl Presents, St Jerome's Laneway NZ, Aeroplane Music Services and Arch Hill Music Publishing.

In his spare time he is the General Manager of Flying Nun Records, when he is not being the Chairperson of Independent Music NZ, the New Zealand association for locally owned music labels.

Joining them at the Summit seminar are:

Kimi Coleman – Let The People Speak Management (Jupiter Project, Artisan Guns, Midnight Youth, Avalanche City, Tom Lark, Titanium, Sound The Ocean, Massad)
Tana Tupai – Self-Managed Artist (Tomorrow People).