E urope - Parent Directory

contains a three-line bio, or vague and airy generalities discussing the
metaphysics of the universe in relation to their music, I am decidedly
u n i m p r e s s e d . ”
A . Heidi Dro k e l m a n : “Oh, this is a completely relative thing. I look at this
part of the packaging after I’ve already listened to the music. If getting
signed by a label is your goal, I’d much rather receive bio materials, a
dated letter (it’s really hard to separate the volume of mail that some of us
receive, so including a dated letter from a band representative is a nice
touch), a simple photo that expresses the personality of an artist or band,
and on occasion, I enjoy a good piece of gag swag. Taking that extra step,
and coming up with a creative piece of swag can push a pack to the top of
the pile. However, please refrain from the offensive, even if it’s meant in
j e s t . ”
A . Jennifer Layton: “I take a different route with promo packs. I know
those materials are expensive, and I have a small office and can’t hang on
to all the press materials I get each month. Which means that if I don’t
absolutely love the artist, the promo pack winds up in the trash after I write
the review. I feel really guilty about that. So when an artist contacts me
about submitting material, I tell them they don’t have to bother with
headshots or elaborate press kits — just a simple bio sheet that includes the
web site address, telling me whatever they want me to know about them.
What I’m really interested in is the music.”
A . Les Reynolds: “It looks like the artist/band took time and care in
preparing it and it “fits” with the image and overall music style. Quality
photos, if included, also get my attention. While I won’t use the pix (except
to decorate my pod at work!), it says something about the artist — I can
get a “vibe” or feel off that. I am also just impressed with quality
photography since I used to be a photographer. ”
Q. How can bands get your attention?
A . Erik Deckers: “ Write a personalized note to me, not a generalized form
l e t t e r. ”
A . Heidi Dro k e l m a n : “Bands can get my attention fairly easily, but holding
it can be another story altogether. I am all about helping out quality bands
and artists, and will take extra steps to make sure that I am doing all I can
without showing blatant favoritism (although I AM known for that as
well), so some of the ways to do this are: Be courteous: I should clarify
because I despise kiss asses just as much as the repeat offender rudeness.
I’m not asking for special treatment, just a bit of humanity. Don’t be overly
p u s h y. I don’t mind the follow-up to check in on the status of a review, but
DO NOT expect to get a review every time you send in material. Some
pushiness is good, but use common sense to know where the line has been
d r a w n . ”
A . Les Reynolds: “Contact me directly. Keep the lines of communication
open, and don’t tell me to
just go to your MP3 site. I hate that! It’s become the universal cop-out
(besides —what if the computer is malfunctioning or the internet is down?)
Also: if they can describe their music accurately in a sentence— that shows
they know who they are and have read my Indie-Music.com bio blurb.”
Q. What do bands do which wastes their money, when
they send submissions?
A . Erik Deckers: “Send crappy press kits. If I don’t have much background
information on the band, I can’t write a good review. If I can’t write a good
r e v i e w, then it doesn’t help the band much.”
A . Heidi Dro k e l m a n : “If they’re unsolicited, it’s a huge waste of money in
general. Don’t just blindly send your discs out to everyone you think has
an inkling of interest in your work. Make sure that you contact someone
and at least use the proper procedure. I’m sure this may sound lame to you,
but the procedure we use is built to enhance our reviews, not to bring you
down. On another note, photos, postcards, stickers, bio write-ups, and discs
are not a waste of money. Just plan your priorities and work up to the full
p a c k e t . ”
A . Jennifer Layton: “I hate to see bands spend money by sending me
glossy headshots and other expensive materials. While I’m impressed by
their professionalism, I’m not a label rep or someone who will have a
major influence on their career — I’m just an indie writer. Also, I tell
artists not to waste money by sending their submissions by Federal
Express. Regular old mail will do fine.
A . Les Reynolds: Sending tons of press clippings - one sheet is enough.
Sending all sorts of odd-shaped stickers and things that, by themselves —
once away from the package — mean nothing. Most
Press kits are guilty of overkill.”
Q. How can bands improve their submissions?
A . Heidi Dro k e l m a n : “Solicit your submissions for review – it will
ultimately benefit you more to do some research and look into diff e r e n t
publications and specific writers, than it will to blindly send things out.
Quality is key - you’re looking for someone to thoughtfully review your
material, to respect it, and cultivate new contacts for publicity and
marketing purposes. Do what you can presently afford, and the rest will fall
into place.”
A . Jennifer Layton: “I think they can tone down their bios a little. I’m
aware that most artists write their own bio sheets, so I have to laugh when I
read stuff like “This is the most amazing rock band on the music scene
t o d a y. No one has ever come close to matching their talent and energ y. ”
Also, be sure to run your press materials through a spell- checker! One of
the funniest bio sheets I ever got was from a folk artist who called himself
a great intellectual songwriter, and the word “intellectual” was misspelled.”
A . Les Reynolds: “Unwrap those CDs - Pleeeze!!! Send quality materials
that won’t fall apart immediately. Send good quality CDs (occasionally
defective ones or discs produced in an odd
format is received, and they won’t play. ) ”
Q. How do you deal with your personal music
preferences when reviewing? Do you review styles you
would not normally listen to/buy?
A . Erik Deckers: “ I t ’s actually a little harder for an artist to impress me
when they’re in a genre I already like, because I have some definite ideas
about what I enjoy and what I don’t. But that means that if an artist CAN
impress me, then they’ve done an excellent job. I do review styles that I
normally don’t listen to, so if an artist can create something that I enjoy
(i.e. country music), then they also get a good review. ”
A . Heidi Dro k e l m a n : “ A c t u a l l y, I may be one of the few reviewers that
will instantly admit that I use my personal music preference as a barometer
for my reviews. I believe that it is almost impossible to take that out of the
mix, especially when considering first impressions and different “trends”.
But this can be a very positive tool, especially when considering things like
generational preferences (determining who this music will appeal to), and
regional trends.”
A . Jennifer Layton: “ T h a t ’s been an interesting issue for me. Over the past
three years, I’ve learned not to rule out styles of music I don’t normally
listen to. I thought I hated all folk music before I started writing for Indie-
Music.com, and now I am completely in love with acoustic folk/rock
music. The only thing I can’t review is rap. I’m a middle-class white girl
who still listens to Barry Manilow and the Carpenters occasionally – I have
ZERO credibility when it comes to rap and hip- hop.”
Q. What do you most enjoy about reviewing indie music?
A . Erik Deckers: “ I t ’s not the same old schlock I hear on commercial
radio. In most cases, it’s better.
A . Heidi Dro k e l m a n : I’m still amazed, after all these years, at the quality
and talent that’s out there. The best thing about reviewing indie music is
the sheer unpredictability of it all.”
A . Jennifer Layton: “I know this sounds dramatic, but writing about indie
music for the past three years has changed my life. I’m a lot more openminded
about so many things because I’ve learned to be more openminded
about the music I listen to. I’ve met several of the artists I’ve
reviewed and am so happy that I’ve been able to encourage them by
contributing positive reviews to their press kits. I’ve become such a fan of
indie music that I flew up to NYC for my birthday last year to see
performances by some of the artists I’d written about.”
www.indiebible.com The Indie Bible – 10 th Edition