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MEGA THREAD INCOMING Here we go then - we said we'd share our thoughts on working with labels, releasing and promoting music. This is Part One...
This is our view based on the way we work - other labels or artists may disagree (let us know if you do!)
First up: Reckless Yes is an ethical label, working collaboratively with our artists, to make great things for our members & general release. Our priorities are being fair to our bands, & supporting them rather than dictating to them. More about us here: https://recklessyes.com/about/
If you're an artist thinking you might want to work with a label spend some time thinking about why. Have you gone as far as you can on your own? What do you want from a label? Can you explain to them what <corporate speak> success looks like to you?
But also: what is the point of modern record labels? You can get your music out DIY so make sure a label is adding something you can't do, don't have capacity for, or are helping you scale. Don't end up with someone who doesn't add to what you're doing but takes a percentage
Spend some time looking at labels and finding out what they're about, & what their roster is like. Diversity is non-negotiable but if you're doing freestyle jazz & everything else on a roster is mainstream pop they might not be the right home for you
Don't - we cannot stress this enough - send a blanket email to as many labels as you can find. Especially if you are going to forget to use BCC & we all know we're getting the same 'unmissable opportunity'. We don't even read emails like that. It's not cool (& legally dubious).
Submission is one way of getting signed - but to be honest not many on our roster submitted demos to us. We knew about them already because we'd seen them play, had covered them online or played on our radio show, or other bands we like were recommending them. Get out there.
Back in the day @razorcuts was told by someone very smart that if you were submitting demos you probably weren't ready for a record deal. We believe this is more true than ever. You can & should do some stuff yourself, your label should be a team member not your saviour.
We do have demo submission guidelines though. Other labels probably do too. We only listen to submissions from bands which have read this page (and we know who has & hasn't) but the ones we love most are from artists we already have a ear on: https://recklessyes.com/reckless-yes-records/demo-policy/
What we look for: the music has to be amazing (obvs) but we also want to know about your work ethic (coz we're collaborative), & your values. You don't need to have had a ton of press or radio play, or done big shows (we 
@FirstTimersFest ) but you do need to be doing something
@FirstTimersFest ) but you do need to be doing something
So, doing homework & an idea of what we’re about is important but you do also need to stand out. Sending us a demo purely because people say you sound like @fightmilkband / @WEARELIINES / @TheQuill / @Bugeyeband or any of our roster is a waste of time - we already signed them
Does the music you send us need to be ready to go? No - we listen to everything from a rough mix to a finished track. Some labels may want more input, we tend to advise but not direct. Sometimes we help practically ( @razorcuts for all your mastering needs, yeah)
Found the label you want & they’re in to you too? Great. Make sure you have had difficult conversations about money, splits, rights & retention of them, & expectations on who’ll do what. Get an independent view (hello @WeAreTheMU 
)
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We know, it’s boring or makes you feel a bit icky & while there’s little money it doesn’t seem to matter. But if things go well it’ll matter more, & getting everything agreed and written down is massively worth your time. DO NOT SKIP THIS STUFF
Be realistic with your timeline. We get it - you want your music out there asap but if you've spent time (& money) writing, rehearsing, & recording don't miss out on opportunities by moving too fast. Especially if you want a physical release.
As an idea for physical releases we look at a MINIMUM 20 week lead in. Ideally longer. This is for manufacturing, distribution, & promotion to all happen but also because you won't be the only artist we're releasing (& the label isn't the only thing we do)
Plus, hopefully gigs will be a thing again, & you'll want to get those planned in when you KNOW you'll have your records and CDs to sell. Nothing worse than tour dates with a low-stocked merch desk & disappointed fans leaving empty-handed because your vinyl is delayed
Before you invest in a certain format, or try to find a label to do it for you, do have a think about whether it's right for where you are and who is listening to you. Not everything HAS to be on vinyl but if it is then do it well - we @dmsvinyl or for lathe cut @birdshitrecs
@dmsvinyl or for lathe cut @birdshitrecs
Digital: streaming is a bust in terms of income. #brokenrecord are saying this better than we can here so go and read their stuff whether you are a maker or a listener to music. Fixing this is vital for all of us.
Broken as it is financially streaming does connect to other parts of the industry machine - but go in with eyes open. Don’t pay for playlisting. Be wary of playlist plugging (make sure you see results before paying). Remember - not everyone enters the game equal.
You're probably already on Bandcamp and hopefully benefitting from their fee waiver days. But think about running your own store (don't forget to factor in PayPal fees & VAT) & getting on ethical platforms like @resonate (we what they’re about)
what they’re about)
Lead in to a digital only release btw: we work to a MINIMUM of 10 weeks. Ridic right? Not when you want to get your promotion done, get your playlist submissions in, and work with a label who are caring for more than your release. Don't miss opportunities in your haste!
The release date itself is a milestone & not the end of your efforts. Music can be discovered at any time (more true than ever)...so plan for keeping things going, getting playlisted, & to keep sharing stuff online.
Don't forget you need to sell the records too. It might not directly hurt you to have boxes of stock sat around but you can bet it's making things harder for your label. Put the effort in, do your best, & demand same of them or others in your team.
(Part Two of thread in a bit)
(Part Two of thread in a bit)
If you've got questions for us on any of this do send them & we'll do our best to answer or to share comments & any other tips people have on this stuff - collaboration, not competition always! @sarahlay @razorcuts 
OK...here we go...Part Two of the Mega Thread. Do keep asking questions or sharing tips / experiences too.
Check back up the thread for stuff about finding & approaching a label, & releasing music...
Let's talk about promoting that release
Check back up the thread for stuff about finding & approaching a label, & releasing music...
Let's talk about promoting that release
Getting coverage: yes, this is important. But print & online maybe not as much as it once was. And it hurts @sarahlay to say that, as a music journalist. Radio will likely have a more direct effect on things. But you still want coverage.
Let's talk a bit more about this...
Let's talk a bit more about this...
We're definitely at a point where quality coverage is more valuable to you than quantity. If someone copies and pastes your press release that's rubbish for readers, & not a huge amount of help to you unless the site as a MASSIVE reach.
But even then...
But even then...
Like looking for a label you want to spend time working out which publications you are a fit for, checking their values, seeing who writes for them or writes about bands like you, and - right now - be mindful that a lot of people who cover music may not be doing so. Be respectful
Good music journalism is really important but it's becoming rare. Thoughtful, contextual critique helps you, helps music fans, & helps turn other parts of the industry machinery. Stand up for it where you find it, respect the work which goes in to it & support its existence
Know that most publications will get more submissions than they can handle. You probably won't get listened to & covered first try. Being known to them helps you be seen in the slush pile. Approaching a person is sometimes better than a generic submission.
A good PR can help. But FFS make sure you get a good one. Check they have landed coverage, check they have a relevant & up-to-date contact list. Check how they will rep you & to who. Ideally find one working on commission not flat fee (rare as hell)
And remember: you pay directly for PR, not music journalism. If a publication asks you to pay do it knowing you’re paying for PR / advertorial. But mainly: don't do it. We are less impressed with coverage from these publications so consider if its worth it.
Radio - network radio - is different again. A good plugger can really, really help you here but you can do lots for yourself too & there are tons of valuable smaller stations. As with everything build your team in the right way to add to what you do, not duplicate it.
Doing your own promo online is important. But do it well, don't just blast stuff out. Be on the right platform for your listeners & build community.
Basically - if you only post stuff when you have something coming out you're going to get shit results
Basically - if you only post stuff when you have something coming out you're going to get shit results
The algorithm is whack (particularly on Facebook) & yes, it's working against you & trying to get you to pay for Ads.
You can still get good results without paying but it takes a lot of work. If you're going to pay think really carefully about hitting the Boost button.
You can still get good results without paying but it takes a lot of work. If you're going to pay think really carefully about hitting the Boost button.
If you are good at building community then think about how to grow it beyond social media - Patreon, Bandcamp subscription (or, hey, a label with a membership 
). It can be done well & @solobasssteve says good stuff about this stuff.
). It can be done well & @solobasssteve says good stuff about this stuff.
Coming back briefly to selling your music - we focus on direct sales, but consider record shops. We have a distro deal for this but again, weigh up the benefit & the cost. Unless you've got stock at scale distro might not be worth it - contact your local shops direct instead
Remember the the path to success is rarely linear. A conversation had 7 months ago may suddenly bear fruit but you have no clue how the two things are linked. Trust those working for you that they're making these connections (or stop working with them!)
Most 'overnight' successes, most 'breakthrough' acts have been chipping away for years beforehand. They've been getting good at what they do, making connections, & getting noticed. But your wagon will roll many miles before others jump on board.
We've probably gone on long enough for now. So final thought: keep hold of your rights as long as poss, find the right people to grow a team around you, don't pay for anything you can do to the same extent yourself, & remember collaboration is always better than competition
