Catherine Duc composes Ambient music with Celtic, World and Electronica influences. Classically trained but with electronica savvy, she readily bridges the ancient with the up-to-date on her new album, Visions and Dreams.“Fusing world music with electronica has become quite popular,” Duc said. “Often artists choose Middle Eastern or African themes. I was interested in the possibilities of mixing Celtic motifs with ambient, trance and electronica. Find out more about Catherine’s new album, her plan for success, her advice to musicians, and how she uses her Sonicbids membership in this interesting and informative audio chat, and also in the July issue of the Who’s Getting Gigs Newsletter, Australian Version.

http://www.sonicbids.com/catherineduc

Atari Blitzkrieg
Hailing from Virginia, Atari Blitzkrieg has been recording and producing since 1995 and released his first single in 2007. He has worked with major names in underground hip-hop, Rapper Pooh, Louis Logic, Vast Aire, LMNO, Roc C and Wildchild among others, rock and folk singers and indietronica bands. Find out more about what is happening for Atari and his music, his advice to musicians, and how he uses his Sonicbids membership in this interesting and informative audio chat, and also in the July issue of the Who’s Getting Gigs Newsletter, US Version.

http://www.sonicbids.com/atariblitzkrieg

Tell us about the Pygmalion Music Festival:

In 2005, after having started to book a few more bands on national tours, I decided to create Pygmalion Music Festival. The idea was simply to have a great boutique indie rock music festival that took the best of the national scene and the best of our local scene, and married them for one long weekend of great shows at a low price. It’s worked very well.

What details make Pygmalion special for you, for the bands and for the fans?

For me, it’s about being an asset to my community. Naturally, it feels good to help contribute to my annual earnings in a small way by presenting music anytime, but there is something a little more dynamic about the festival; it adds to the cultural makeup of the greater Champaign-Urbana community, and that is something that I am really proud of, being born and raised here. I love partnering with Krannert Center at the university here. Their facility is literally one of the finest in the world, and I am blown away by their support each year more and more.

I think the bands appreciate the low-key and relaxed nature about the festival. Everyone shares a green room. Everyone is encouraged to attend the other shows, and do because most every venue is within walking distance.

And I think the same is true for the fans. Every show is viewable from up close. No show has more than 1000 people in attendance, and most are even smaller. That makes the already low cost of the festival price even more valuable, at least in my estimation.

What type of artists do well there?

I think the artists that are really well put together live. Because the playing field is smaller, most artists performing tend to get a good deal of scrutiny, and when a band really knows how to bring it, people start talking and talking fast. That’s how it went down for The 1900s the first year of the festival. Next thing you know, they are signed and booked by Ground Control Touring. Granted, Pygmalion didn’t cause that, but there is a certain element of promotional luxury a band gets when they perform at the music festival because it’s a really small-scale festival with a very large promotional reach.

If selected, what can an artist expect?

A lot of promotion and a good crowd. All shows are good shows at Pygmalion, even if there isn’t a packed house for the openers .The people in attendance are music fans, through and through. And that counts the most.

What are some tips for bands who looking to maximize their gigs at summer festivals?  What can you tell them about merch sales, networking, etc

Summer festivals are a hard nut to crack, but once you do, things can really explode from there. If selected and invited to perform on any of these, definitely make sure that you are thinking promotionally. One of the best thing a band can do is just get out in the crowd and talk to the festival attendees. Don’t try to connect with everyone; just talk to some folks and let them know about your band. No need to force music on them with an iPod or anything extreme. If you’ve got download cards, offer them up. If they decline, be real cool about it. Remember: your band is just one of literally millions all looking for the same thing. So, play it cool.

More about Seth the agent…

What are some mistakes that bands make when doing their own booking?

Biggest mistake: never EVER ask for a guarantee or discuss compensation before any interest has been shown on the venue or promoter’s part [unless they've asked]. It’s just amateur.

What can artists do to capture the interest of an agent?

The only thing that artists can really do to capture an agent’s attention is to write great songs, and get noticed by a good label, or the blogs or Pitchfork, quite honestly. Very rarely do agents take on bands without some sort of solid infrastructure like radio, publicity, label, [distribution], etc, etc; so the very best thing a band can do is turn heads locally and start booking their own tours to bring that to as many people as possible.

What do you as an agency do for your artists when they’re on tour? How do press-acquisition efforts pay off?

I try to run my agency as a really trusting friendship. I don’t sign contracts with artists, and I base my business off of a simple idea: I can book your tours if you can work hard. Most of my artists have stayed on my roster, and I think it’s because we have a mutually beneficial relationship.

How Leap Music Works
Leap Music is brought on board by their clients (advertising agencies & brands) to help find music for their TV commercials. Leap Music uses Sonicbids to source the best unsigned music out there, which are then put forward for the client’s consideration. Leap does not make the final decision on what gets placed in the ad, but if the client chooses to go ahead and use your music Leap Music will let you know right away. Also important to note is that Leap Music’s client’s projects often have a short turn-around time. So submissions are open for a short period of time, Leap Music works quickly to review bands’ submissions, and will often notify bands of their status within days, if not hours.

Stinkfest is a new event.  Who are the people behind it and what is the goal of the event?

Tor Hyams (Founder, Kidzapalooza)
Bill Childs (Spare the Rock, Spoil the Child)
Stephanie Mayers (Kindie Rock PR)

This is our first year, but we do have some of the most influential industry folk attending and watching the showcase. We suspect we will have several success stories from our inaugural year.  Bill and Stephanie have done a smaller showcase event for the past couple of years, and significant bookings and media have resulted from both. The goal of this event is to further the business of the new family music genre by building community and networking.

Are there any confirmed attendees at this point?  If so, what companies are they from?
Mindy Thomas (Kids PLace LIve/XM)
Beth Blenz-Clucas (Publicist)
Kathy O’Connell (WXPN Kids Corner)
Christopher Healy (Cookie Magazine)
Tammy LaGorce (Amazon, NY Times)
Warren Truitt (About.com)
Stefan Shepard (Zooglobble.com)
Brian Swanson (Monterey Peninsula Artists)
Daniel Brindley (Jammin Java)
Christine Timm (Bowery Kids)
Uncle Rock (Artist)
Dan Zanes (Artist)
Bryan Townsend (Pokey Pup)
Veronica Villareal (Koch)
Kate Hyman (Little Monster Records)
Linda Simensky (PBS)
Jennifer Oxley (Little Airplane Productions)
Panos Panay (Sonicbids)
Kevin Salem (Little Monster Records)

What is the most valuable opportunity for an artist selected for Stinkfest?

To be exposed to some of the most influential members of the family music industry.

How big is the Family Entertainment market?  What other types of opportunities exist for artists?

The market is growing faster now than it ever has been. Other opportunities include getting better and higher paying gigs, getting good press (good ink!), licensing opportunities, possibly getting a record/distribution deal and radio airplay.

When you’re reviewing artists, what are you looking for?  What are some mistakes you see?  What do you think is the single most important thing artists can learn?

We are looking for a great singer, a great song and we MUST be able to hear the performer’s joy in the recording. We also look for the fit, ie the genre of music.  If a performer is talking down to kids, we won’t be receptive. If an artist is just making great, g rated music, it could be a hit for us.

The mistakes we see are primarily based in production. If artists want to be noticed, they need to have a great recording or, at least, a video that shows how amazing they are playing to families. We would recommend to get a video up on Sonicbids. It’s much easier to judge/select an act for a live show if you can see them in action.

The most important lesson here is to be honest when submitting. If you’re not truly a family act, don’t submit (you know who you are). Listen to known artists in the genre to see if you fit in (like Dan Zanes, Ralph Covert, et al). Learn to know your booker!

The following is an interview with Mike Pinder (yes, THE Mike Pinder), founder of Songwars and founding member of the legendary band The Moody Blues (“Nights in White Satin”, “Tuesday Afternoon”).  Besides being the man that introduced The Beatles to the mellotron, Mike has started “Songwars”  to nurture emerging songwriters with the help of the pros. Songwars is a quarterly contest with annual and quarterly prizes worth over $50,000.

Having awarded prizes to the first set of winners, Mike talks about the contest, his experience reviewing and much more.

1.  Tell us about the contest.

SONGWARS was created to help songwriters refine their songwriting skills and to provide recognition for those artists that have written notable songs.

All of the SONGWARS team has a personal passion for music and the desire to see talented creative songwriters succeed and get recognized for their musically ability. It is a way for me to cultivate the art in tangible way.

2.  Who won the last round and what did they receive?

Our Grand Prize winner, Allister Bradely, will receive 2 Days Studio Time, Boss BR 600, Cash, Dunlop, Nady, Boulder Creek, Davel, Disk Makers products and many more great prizes. We have the overall winners and various levels of achievement available to the songwriters.

3.  What did those artists do to capture your attention or stick out from the crowd?

It is all about the song:  Is the melody strong? Is the hook strong?  Is it original?  Do the lyrics engage the listener?  Is the imagery and metaphor clever and is the story interesting? Is the composition good?   Is the song creative?

These are things we have our judges look for.

4. What makes Songwars different?

We have critiques for every entry. This is what sets SONGWARS apart from other contests-and what I am most proud of. The songs are often listened to more than 20 times through the judging process. We give detailed feedback in thoughtfully written reviews which often include suggestions and judge’s ideas. Primarily we try to encourage songwriters to reach and to take it up a notch.  We try to give specific advice to each songwriter. Also there are  finalists, semi-finalists and honorable mention certificates for those songs that place higher in the judging process. I feel that the affirmation is really important– that is what our feedback from our entrants is telling us.

5.     Most Memorable EPK?

The most memorable EPK I can remember was from a young girl, 12 years old. She has already written quality songs, one of which was in our finalist level. It is exciting to know that there are young songwriters creating quality art at such an early age, and to envision what a bright artistic future she may have.

6.  What are some common mistakes you see artist making when they’re submitting to you?

Sometimes we will get a song with an intro that is too long or the overall song might be to long.  But we try to point this out in our critique.  We don’t take production into account when we do our judging.  But often the artist needs help in the arrangement.  I have the ear of a producer, as I did all of the arrangements for my old band the Moody Blues.  I would like to add critiques some day that focus on production and arranging.  I heard many songs that had a good basic structure, and because of that, they scored high anyway, but could come to life with a good production/arrangement.

7.  Why do artists pay a submission fee to be considered and how is it used?

We use the submission fees to develop the website, advice page, pay staff, prizes, and provide a critique to each entrant, advertising etc.

8.  What does your typical day look like?

I am in the studio each day working on my own material and SONGWARS.  I also try and listen to many of the song entries myself and I will do many of the critiques myself.  I really enjoy listening to the songs.  We have song entries from every part of the globe. I really love the sense of connection to the musicians I feel when I hear the music and read the bios.

9.  What do you wish bands knew about the time and effort that goes into the selection?

First we listen to the song all the way through.  Then we bring up the lyrics and listen again with the lyrics in front of us.  Then we listen to the verse and chorus again.  (At this point if the melody is strong and the hook is good) we should be singing along.  We will write the critique and score the song at this point.  The song will be scored and the judge will decide if the song should progress to the next stage of judging.  If the song has several qualities we look for and the songwriter has achieved a certain writing level, it may be placed in Honorable Mention or advance to Semi-Finalists etc.  The song will be listened to several more times in the process and by multiple judges. Our judges listen to each song multiple times during the course of selection.

11.  What do you like about Sonicbids?

I really like having all of the information at my disposal instantly.  Sonicbids gives me the background of the artist and I can get a good sense of where the artist is coming from, their current experience, style and where they are heading.  It is a journey for every songwriter and the EPK of Sonicbids allows the artist to share this with me. It creates a sense of community with fellow artists that love music as much as I do.

12.  Do you have any advise you wish to share with the bands/artists?

If you love music, just keep improving your playing, your writing and your production/arranging.  Some of the most talented people I have known in the music business are not necessarily the most famous.  As most artists know, you don’t necessarily get rich being an artist/musician, but you do it because you love it.

We hope we can continue to help people who want to hone the craft of their songwriting.

In its seven-year history, FILTER has become the premiere music lifestyle publication covering on-the-verge bands and cutting edge musicians for the intelligent music lover. The bi-monthly magazine also features avant-grade authors, filmmakers and artists, and has established itself as the editorial voice for independent music enthusiasts

Tell us about Discovering the Undiscovered and why you started it.

It’s basic. I was coming across so many great bands that were unsigned and were not exposed to the masses. We wanted to share our finds with our audience and spread the gospel of good music.

What genres do the best with you?
It really depends. I don’t want to limit any style of music for this program.

What level or point in their career should an artist be when they consider submitting?
Artists should have a body of work they’re looking to promote.

How many submissions do you typically get?
Between 100-300

Why do artists pay a submission fee to be considered, and how is the money used?
The money pays for the program that the winner receives including marketing for a month and increased exposure via FILTER as well as a full-page ad in the magazine. As an added bonus now, there’s also an option to release the work via FILTER US Recordings

What do you look for when selecting a band?
First and foremost, THE MUSIC. Second, does the band have a body of work to promote.

Which presentation elements of a band are the most important?

Usually I let the music speak for itself…I’m not in the business of pushing a Pop Tart so image is secondary

What are some of the things you like to see on a band’s “resume?”
Shows played. Any sort of Publicity (quotes, features, praises).

When you’re reviewing an EPK, what’s the first thing you click on, the second, etc?
First Click – The Song. Second Click – The EPK

Give an example of a recent band you selected, and why you selected them?
The last band I chose for Discovering the Undiscovered was The Champion And His Burning Flame. This selection process proved to be one of the more difficult for me. I had a few bands I had narrowed it down to; I was feeling each sound in a different way. I kept going back and forth between songs from each band, I looked at their MySpace pages, their EPKs, their photos, their top friends. When it came down to it, I went with my gut instinct on the music. It was a close call but TCAHBF resonated a bit more with me.

What was the most memorable EPK you’ve ever seen?
I have seen soooo many. That’s a tough question. I don’t have an answer. Probably the most memorable are the one’s that I am least attracted to, which is not a good thing.

What are some common mistakes you see artists making when they’re submitting to you?
Submitting too many songs or not submitting a BIO.

What’s the one thing you wished bands didn’t cut corners on?
Filling out the entire EPK. Besides the music, bands should make sure to have at least 1 photo and a small bio.

What does your typical day look like?
It looks like Sam at a desk on email listening to music – there’s also some power point decks mixed in with some newsletters, blogging and other tasks my job requires.

When someone mails a physical kit to your office, how likely are you to look at it/how long does it sit?
Depends on who it’s coming from. There are certain publicists, labels and music supervisors I trust for having great taste in music. Otherwise, if it catches my eye, I listen. Depends how long it takes for me to listen depending on how busy I am in the day.

What do you wish bands understood about the time and effort that goes into the selection process?
I truly appreciate you taking the time to submit. FILTER started this program to support DIY bands so it’s a pleasure to be involved with the process.

What method of follow-up do you prefer bands use to reach you?
Email

When’s the best time of day to catch you live, at your desk?
9:30am til 6pm

What’s your musical/professional background?
I am a music nerd that’s been at FILTER for 2.5 years now, working on events, marketing, promotions and the label

Do you have any other advice you’d like to share with bands listening/reading?
Play Live Shows!

Check out their listing here.