Category Archives: Music Publishing

April Songwriter News

By Dwight Brown

As spring settles in, songs, activists and artists are creating news.

  • The iconic civil rights song “We Shall Overcome” may be headed to Public Domain territory.
  • Government regulations are stymying songwriters, but there may be a way out.
  • Led Zeppelin may have a “Whole Lotta Love” for borrowing tunes.

There’s a lot going on.

The attorneys who liberated “Happy Birthday” go after “We Shall Overcome.”

Making the case that copyrighted songs like “Happy Birthday” belong in the public domain is becoming the norm for the law firm of Wolf copyright iconHaldenstein. As reported in Hollywood Reporter, their newest lawsuit centers on the classic civil rights song “We Shall Overcome.” “The lead plaintiffs in the lawsuit, the We Shall Overcome Foundation, say they are producing a documentary movie and that “We Shall Overcome” will be performed in it. They requested a quote for a sync license from the defendants.” The outcome: 1. “We Shall Overcome” is a difficult song to clear. 2. The song cannot be cleared without review by the rights’ holder. 3. Their request was denied.

A putative class action was filed in New York federal court against the Richmond Organization and Ludlow Music, Inc., seeking a declaratory judgment, injunctive relief and the return of money for the licensing of the song. An investigation and a piece in The Atlantic reveals that the song’s melody may date back to a 1792 hymn, “O Sanctissima.” The lyrics probably evolved from a 1901 hymn by Philadelphia’s Reverend Charles Albert Tindley, were adapted in 1945 by striking union workers, then by singer Pete Seeger and in 1960 by folksinger Guy Carawan, among others.

Looks like “We Shall Overcome,” the song The Library of Congress calls “the most powerful song of the 20th Century,” has a lot of parents and a brand new lawsuit.

Which government regulations choke the lifeblood out of the songwriting industry?

A guest post in gave David Israelite, the President and CEO of the National Music Publishers’ Association, an opportunity to raise awareness about government regulations that stymy songwriters. “Songwriters are the most heavily regulated part of the music industry. A stunning 75% of their income is controlled by the federal government. In 1909, the sale of copies of compositions was put under a compulsory license—meaning anyone could use them, for a government-mandated rate. At that time, the rate was two cents. Now it is only nine cents.”

Around WWII the main non-profit organizations that license songs govt iconand distribute royalties to songwriters (ASCAP and BMI) were dealt a massive blow by the Department of Justice (DOJ). Forced regulations, “consent decrees,” prevented songwriters and music publishers from selling their work in a truly free market.

Israelite, “DOJ has opened a formal review of the regulations governing ASCAP, BMI and the thousands of publishers and songwriters they represent.”

Possible outcome?

  1. Relaxing the 70-year old shackle of the PRO consent decrees,
  2. Allowing ASCAP and BMI to license music creators’ songs in a free market.
  3. Ending policies in the digital age that were created before transistor radios.

Led Zeppelin climbs a stairway to other people’s music. Is anything new?

guitar iconLed Zeppelin’s song “Stairway to Heaven” is being scrutinized by Billboard as it follows a ruling by U.S District Judge R. Gary Klausner that lawyers for the trustee of late songwriter/guitarist Randy Wolfe (of the 1960s rock group Spirit) had shown enough evidence to support a case that the 1971 hit “Stairway to Heaven” copies music from the 1966/’67 Spirit song “Taurus.”

Circumstantial evidence: Led Zeppelin and Spirit performed at some concerts and festivals around the same time, but not on the same stage. Klausner wrote that there’s a circumstantial case that Zeppelin may have heard “Taurus” performed.

Incriminating evidence: Digital Music News printed a Roger Plant quote from the bio/book Led Zeppelin IV that notes an instance where Zeppelin copied music: “I think when Willie Dixon turned on the radio in Chicago twenty years after he wrote his blues [You Need Love], he thought, ‘That’s my song [Whole Lotta Love].’ … When we ripped it off, I said to Jimmy, ‘Hey, that’s not our song.’ And he said, ‘Shut up and keep walking.’”

Stairway and Taurus may have a Granddaddy: A nearly identical tune by baroque composer Giovanni Battista Granata, written in 1630, has similar sounds. That melodic line may push both songs into public domain territory.

Someday, will all songs be derivative in one way or another?

This is a great time to have TuneCore Music Publishing Administration in your corner.


Team up with TuneCore Music Publishing Administration.

6 Reasons Why Vinyl Is Popular Again

[Editors Note: This is a guest blog written by Jessica Kane. Jessica is a music connoisseur and an avid record collector. She currently writes for SoundStage Direct, her go-to place for all turntables and vinyl equipment, including VPI Turntables.]

Whether it is audiophiles, an older listener trying to recapture their youth, or younger listeners searching for an authentic experience, vinyl records have become more popular over the last decade.

Vinyl’s revival has made a significant mark in sales figures. Even as physical CD sales decline, people are buying more vinyl than they have in decades. Nearly 6 million units sold in just in 2013. It’s not a single-year phenomenon either. Since the start of the upturn, sales have jumped more than 1,000 percent, climbing from shy of 1 million units in 2007 to nearly 12 million units in 2015, according to Nielsen SoundScan.

Here are six reasons vinyl is on the rise.

1. An active, not passive, experience

Unlike digital music or even CDs, with vinyl you can’t simply push play and walk away while it provides hours of background noise. With vinyl, the needle needs to be moved over and the album needs to be flipped, so why not sit down and wait? Instead of moving on to something else, fans find they take the time to look through the album art, read the lyrics, look for surprises in the band’s supporting musicians or liner notes.

Musician Ari Herstand said, “This music is beautifully and intentionally detached from my phone…When we stare at our screens for the majority of our days, it’s nice to look at art that doesn’t glow and isn’t the size of my hand.”

Spending time with the full album and the printed materials is also learning more about the artists and their capabilities than listening to a collection of their hits shuffled in a mix.

2. Something tangible

As impressive as your MP3 playlist may be, you will not be able to leave it to your children or read one day that a part of it just sold for thousands of dollars in an auction at Christie’s. Vinyl can be shared, traded, gifted, autographed and tacked to the bedroom wall. CDs had this too, but with the disadvantages of cracked jewel cases or awkward storage sleeves – and it looked sadly indistinguishable from the computer storage at work or school.

In 2012, actor Bruce Willis raised the question of whether he would be able to leave his extensive digital music collection to his daughters upon his death or whether all ownership would revert to Apple. Answer: both, but it’s not simple. A box (or hundreds of boxes) of vinyl makes it simple.

3. The thrill of the hunt

For many who love vinyl, it’s also about the thrill of the hunt. Whether the hunt takes them to flea markets, tag sales, the local record store, eBay or Walmart, it’s about looking for something different, checking it out and telling everyone about it. Whether seeking treasure old or new, this is panning for gold everyone can afford to undertake.

Becky Mollenkamp of CookingWithVinyl says she carries Rolling Stone’s list of the 500 Greatest Albums of All Time to garage and estate sales and has picked up many items from the list in good shape for about $1 each.

4. The community

Record shops aren’t just for shopping. They are also a place to connect with other audiophiles and music fans, to discuss things with them, and to get to know them. Digital downloads don’t offer this, and neither do online discussions about music. Some fans feel that online forums are essentially anonymous and lack the community feel of the record store. We like to talk to others that we know and share interests with.

Along with the shops, vinyl fans tend to hangout with each other, often listening to albums together and discussing them, anxious to share new and rare finds.

5. No loss of mobility

More and more artists and labels are including a code for the digital downloads with the purchase of vinyl as a way to entice buyers. This means no second purchase is needed to maintain the ability to listen on-the-go. Some analysts think this is what is fueling the continued vinyl sales growth. For example, Amazon now includes free MP3 versions when you buy a vinyl version for more than 11,000 records.

6. Sound quality

When most people argue that vinyl is better, they often go straight to sound quality. Terms like “warm,” “full” and “lossless” sound are used, with listeners either nodding or rolling their eyes. What they are actually referring to is a combination of things: some musical, others emotional.

Sound is a range of frequencies. When there is a complete presentation of frequencies that diminishes as the frequency increases, the sound seems to be more complete. Vinyl tends to present the widest range of frequencies due to its analog-to-analog production process. Digital music, because of its compression to keep file sizes manageable, doesn’t present as much of a continual range (a good visual metaphor for this using the Mona Lisa shows how something is altered as it is compressed).

As for the emotional, some people equate a slight hiss or occasional crackle as part of their memory of vinyl. While it may not be quality sound, many die-hard fans believe it is part of the authentic vinyl experience.

Interview: Ghost Against Ghost’s Christopher Bono

Ghost Against Ghost is the brainchild of New York City-based composer/songwriter/producer Christopher Bono. He began performing his ambient, electronic wall-of-sound compositions around the city with multimedia components in 2008.

Recently Bono released Ghost Against Ghost’s EP Unarm, and it began receiving critical acclaim from outlets like Stereogum and Ghettoblaster Magazine this year, and was kind enough to answer some questions about his mystifying music and creation processes:

This project came about from a concept album you envisioned in a dream back in 2008. Explain how you approached this and what it took to stay on track.

Christopher Bono: It’s been a long, long road with several unexpected detours. I originally began Ghost Against Ghost back in ’07-’08, and wrote a bunch of material for a surreal socio-political concept album, a concept that did come in a dream.

We performed some shows in NYC, which I believe people enjoyed, but I took a sabbatical from performing to try to realize a neo-prog meets epic-classical style I imagined, but had no idea how to execute technically. This led me to years of studying different music and production styles and techniques, three classical albums under my own name, and then finally the decision, several years later, to return to Ghost Against Ghost.

Now, writing and production has been done on three full length Ghost Against Ghost concept albums, all with a different theme and character. The first to be released (still love LP, June 2016), strangely enough, is the most recent to be written. In essence, I’m working backwards from here towards the origins of the idea.

What did you find to be the most difficult part of producing and arranging a concept album?

Maintaining and developing a theme that weaves cohesively through the whole album, creating dynamic interest on a micro level and on a macro level. It’s relatively easy to write consistent music; it’s very hard to write consistent music that relates to itself from both a present moment and big picture perspective. Particularly in this soundbite era, where it feels the ‘concept’ album is lost upon most of the general public, it’s challenging to maintain focus on one single theme.

Of course, it’s much easier as a writer when that theme is close to your own heart and mind. I don’t claim to be successful at it, I just use the overall strategy to try and reach the end point.

How did you link up with fellow artists Anthony Molina and Thomas Pridgen, and how did they contribute to your vision from the start?

Anthony and I have been friends for some time and had worked together on a few different musical projects including the improvisational ensemble I founded, NOUS. As I began to write the material for the still love LP, I reached out to Anthony to see if he was interested in doing the pre-production and initial tracking with me. We worked together on the songs for a couple months, really got their base solid, and then did some initial tracking for the overall skeletal structure of the album.

On each of the Ghost Against Ghost albums, I’m approaching the instrumentation with a slightly different focus . On still love I wanted to experiment with live drums and dense layers of analogue synths along with moments of heavy, ambient guitars. I had not worked with live drums in awhile, so it was interesting to experiment with. I had spoken to Thomas in the past about working on a project together and he was interested, but I had imagined it being more of an experimental music thing for another project or a special live performance. Thomas was supposed to be on the road at the time touring, and literally the day I was writing emails to other drummers trying to find the right player for the record, Thomas texted me saying he was available. So we flew him out to [the record label] Our Silent Canvas’ upstate New York studio and recorded drums all day for three days. The results were amazing; the guy is insanely talented.

After the drums were tracked, and the initial skeleton was laid down, I took over the production to flush out the orchestration and arrangement on my own. That’s taken me… oh about 15 months!

christopher bono
Christopher Bono

Tell us about what it’s like to build a live set when you’re dealing with ambient music and multimedia.

Every project is so different; from having a large chamber orchestra play with live video and sample tracks, to having a group of musicians playing vertically in a spiral tower with dancers and electronics, every scenario has a distinct set of challenges.

For the upcoming tour of Ghost Against Ghost, we’ll be using 3-4 Ableton Live rigs, along with live instruments. The entire rig is quite complicated as it’s important for us to leave a high level of improvisation in the set. Aside from several instances of Ableton and on-stage controllers, mixers, and processors, we’ll be running things at will through several amplifiers onstage, as well as playing live guitars, synths, drums, and other things.

We’ll also be performing live to some amazing visuals. We’re currently working on two epic music videos with film maker Craig Murray, the first comes out this spring. Each of the videos is 16 minutes long, so they’re not your standard music videos but more like short films. Craig created hours of footage for these films which we plan to use live with a video artist who can improvise with them alongside the performances. We’re still working on the technical details of it all this spring. The ambient music portions of the set are easier to execute as they’re not as time dependent as the very precise rhythmic moments, of which there are many on this project. We’re still trying to determine how we can do what we dream of doing on a small indie budget, but we’ll figure something out.

How did people initially react to your performances, and how did it evolve?

The first performances with Ghost Against Ghost I think blew some people’s minds; they were loud and noisy with lots of lights and video on a very lo-fi level. These upcoming shows should be a little more refined, but hopefully still unpredictable and chaotic at times. This project is at it’s best when it oscillates between delicate beauty to apocalyptic noise within an 5-10 minute spectrum.

What kind of advice can you offer to indie artists who perform music that they worry may be difficult to translate live?

Honestly, I battle with my own doubting demons every day. The one thing I tell myself is to trust in the process, and although the ideal version of your dreams may not manifest, some version eventually will. Chances are this version will be pretty cool, and have its own unique merit you could not have foreseen. I have a hard time keeping it simple; it seems my brain likes to build more and more complex systems, so I’m working hard as I get older to write and organize from a more simplified standpoint.

If someone asked, I would recommend to not allow your own voice, or someone else’s, to tell you “it can not be done”, but at the same time use discernment, intelligence, and detachment to allow for an evolved and practical version to unfold.

Tell us about the impact that classical music wound up having on your musical journey.

A very big one starting in my mid-twenties. It’s a long story, but essentially the first Ghost Against Ghost record (again the third in line to complete) drove me into studying classical music. I imagined these epic soundscapes and arrangements, but I didn’t know how to technically achieve them although I heard what I was looking for in the music of Stravinsky, Debussy, Wagner, John Adams and tons of other people. This led to a five year period dedicated to studying classical music.

The more I got into it, the more I drifted further and further away from more popular music. At one point, I was even planning to go back to school for a masters and doctorate in composition. The study and world of classical music is so vast and rich with interesting detail and subtlety; it really is extraordinary. But there was a point where I woke up from this beautiful intellectual trance I was in and remembered my original vision, so I began the process of building a bridge back to the post-rock world from which I came.

Unarm has received critical praise from some super credible sources. What are you trying to express emotionally on this release?

It’s a song written to a damaged and lost soul, an old soul who for a long time has been on a destructive and dangerous path. The lyrics are written in second person perspectivefrom a person who loves this main character immensely. The lyrics are like a whispering into the heart of the lost soul, an inner, telepathic dialogue telling him to look within for his answers and not continue to seek outward gratification in order to fill the deep wells of sorrow he has inside.

What kind of inspiration went into the recording of Unarm? Do you actively practice Tonglen?

The still love LP, (from which the Unarm EP comes- yes, I know, confusing), is about a deeply difficult personal situation. As most artists do, I worked to transform the confusion and pain of this situation into a work of art. Unarm marks the moment in this narrative where the lyrics speak directly to the ‘villain’ of this tragic love story. Up to that point, I actually am singing and writing lyrics that are not from my viewpoint, but from that of the victim.

I’ve been interested in Buddhism for many years now and have practiced meditation pretty regularly for about 10 years. I’ve read about Tonglen and listened to teachings on it a few times. The whole visualization of it has always fascinated me, and I have tried it in my own life on several occasions. I do believe these practices have an incredible psychological power to recondition the neurological patterns in the mind to stop perceiving the world from such a selfish perspective, which is so habitual for so many of us.

How long have you been producing and engineering? What do you feel are some of the pros and cons of having your hand in all facets of a release in this sense?

I started experimenting with recording and engineering when I first got into music around 21 years old. I bought a BOSS multitrack recorder in my early 20s that I ‘produced’ my first album on, (which was never released). I then wrote a singer-songwriter record while living in Boston that I recorded with the producer, Zoux.

During this 8 month period I learned a lot about the studio process and approach, and after the album I began expanding my own studio and studying recording techniques, which I’ve continued to evolve over the last 11 years. Trying to produce my own material in my late twenties was very challenging, particularly wearing the subjective and objective hats of both artist and producer. I found over time though that I became better at managing the process; it mainly comes down to having faith in your self and not judging things too early.

The biggest difficulty with being in charge of so much is the amount of time it takes to finish a project. I wish I had the budgets to be able to hire a full on production team; however, it’s not in the cards at this time. So instead of it taking 2 months to finish a record, it ends up taking two years; but that’s ok, in the end it’s great to know you tried your best and were able to do your own work the way you wanted to.

TuneCore Sync Placements Q1 in 2016

We’re extremely proud to be able to help our TuneCore Artists get their music out to the world in the form of synchronization licensing. From TV shows and movies to video games and advertisements, sync placements are one of the most sought-after successes among independent artists.

In an effort to celebrate and showcase these licenses, we’re continuing to share highlights from each quarter here on the TuneCore Blog! If you’ve been interested in TuneCore’s Music Publishing Administration, peruse through these placements to see just some of what our publishing team has been up to:

The Perfect Match
The Perfect Match
Song Title: “Hopes Up (feat. Na’el Shehade & Via Rosa)”
Writers: Nael Shehade, Rosa Lluvia, David Medeiros
Artist: Drama Duo

MLB The Show 16
MLB 16: The Show (video game)
Song Title: “Burial Ground”
Writer: Scott Woodruff
Artist: Stick Figure

Song Title: “Out da Ghetto”
Writer: David Wade
Artist: 2wop

Grey's Anatomy
Grey’s Anatomy
Song Title: “Boom”
Writer: Carlos Sosa
Artist: Outasight

The Good Wife
The Good Wife
Song Title: “Scary Woman”
Writer: Xavier Dphrepaulezz
Artist: Fantastic Negrito

Sleepy Hollow
Sleepy Hollow
Song Title: “Swallow Tail Jig”
Writer: Andrew Driscoll
Artist: Swallow Tail Jig

The Vampire Diaries
The Vampire Diaries
Song Title: “An Honest Man”
Writer: Xavier Dphrepaulezz
Artist: Fantastic Negrito

Song Title: “Fire”
Writers: Eric Michels, Steve Michels, Seth Dunshee, and Jonathan Tanner
Artist: Foreign Figures

ESPN First Take
ESPN First Take
Song Title: “Play to Win”
Writer: Alexander Robinson
Artist: Nametag & Nameless

Interview: Foreign Figures on New Album, Sync Licensing, and More

Four-piece Foreign Figures stem from the lesser known city of Orem, Utah. They’ve got a natural ability to bring listeners a true arena pop-rock vibe to their songs within seconds of pressing play, such that it’s hard to believe the band is only a couple of years old!

Foreign Figures released their debut full length album, Paradigm, on Friday, April 1, and as TuneCore Publishing Administration clients, we were able to secure their song “Fire” on the hit series Younger.

As the group continues to accelerate past local and regional markets, bassist Seth Dunshee was kind enough to talk about their beginnings, the new album and how it represents the massive shift towards an independent band really going all-in and full-time, (and everything that comes with that) as well as Foreign Figures’ recent sync placement.

How did Foreign Figures come to be as a band?

Seth Dunshee: Eric [Michels], our singer, and Steve [Michels], our drummer are brothers, so they began writing together while in high school. Steve and Eric put out an EP together in 2010, and I met them soon afterwards through a mutual friend. We jammed for a couple months, but, Eric soon decided to volunteer for a 2 year mission for his church.

During that that me and Steve continued to jam and write casually, but mostly did acoustic covers at weddings and parties. When Eric returned in late 2013, we decided to form a band and record some songs together. I knew a great engineer and producer named Jonny [Tanner], and we soon went into his home studio to record our first song together. It didn’t take long for us to ask Jonny to join the band as a guitarist.

How do you feel the collective music experience of each member has played a role in developing your sound?

Foreign Figures’ sound is truly a collaborative effort. Each band member is a strong songwriter and vocalist, and our musical influences differ enough to spark extra creativity when writing.

Jonny comes from a metal/rock background, whereas I’m more into R&B and funk – a big fan of M.J. and Justin Timberlake. Steve loves dance/pop music, and Eric likes indie/rock pop a bit more. While we all like different genres, we can all agree on a few bands, namely Coldplay and Imagine Dragons. When we write, it’s typically a synergetic experience, but of course, is not without lots of bickering and disagreements. I think that makes us stronger songwriters, though.

Clue us into what the music scene around Orem, Utah is like. What do you think are some of the advantages of forming in a lesser known music city?

Not being from LA, Nashville, New York, or Austin definitely makes it a bit easier to be noticed on a local level, just for lack of saturation. Networking with the music industry is definitely a bit harder though. Orem is extremely close to Provo, where bands like Neon Trees, The Used, and Imagine Dragons have come out of.

Provo has an awesome and very loyal music scene with a lot of talented artists. A lot of our fans will call us a “Provo Band”, since Orem and Provo are sister cities and we play there often.

TuneCore landed “Fire” on Younger in February. How does it feel to achieve a sync placement just a year and a half into your career as a band?

It feels really awesome. We have really loved working with TuneCore, and were especially excited that “Fire” was used in a scene where a guy proposes to Hilary Duff’s character, (laughs). As a musician, it’s nice to know that you can make money without having to play a show, (although playing live is our favorite), so we were very excited about the placement.

How has the placement impacted interest outside of your established fan base?

I think it has legitimized us in the eyes of a lot of fans. To see a band that you’re a fan of on TV is an exciting thing, more so when it’s something that’s somewhat relevant on television.

In terms of outside our established fan base, we got a good deal of traction from people who follow Younger that found us from that scene. Pretty sweet.

In general, what are your thoughts on how independent artists lean on licensing as a source of revenue and exposure in 2016?

We always talk about focusing on making money “while we are sleeping”, which is such a rarity for a band trying to break out of a local market.

Given the current industry and the low payout for digital streaming and downloads, learning to make money through licensing is a must. That being said, we aren’t specifically writing with hopes to land sync deals, but it is a goal of ours to be able to get a certain amount of exposure and income from that area.

Collectively, how would you describe your understanding of the world of music publishing administration?

I feel like when it comes to educating yourself about the moving parts of the music industry, it’s easy for bands to just assume that a label or manager will come around that will make the tough decisions for them and get educated.

For us, we have really tried to run our band as a business, and that means doing our best to be in the know. We try and learn something new everyday. If I were to describe our current “understanding” of the world of music publishing administration, I would say that we have a base understanding of how things work with a desire to learn and network as much as possible.

Especially with this new album – there are so many songs that I feel would be so awesome as part of a movie trailer TV show, etc. It’s pretty anthemic and, at times, cinematic. As we grow, we are excited to work with royalties more as well and actually start to make some money there.

How do you think indie artists can better educate themselves in this area of collecting songwriter royalties?

Perhaps the best way to educate ourselves is to try and learn as much as you can on your own. Every artist has a team – whether that’s a legitimate management company, or a mom and a dad. I feel that indie artists will only gain from trying to learn about it themselves instead of simply trusting someone else to do it for them.

You can’t do everything on your own, but part of the excitement behind success in the music industry is knowing that you, (at least somewhat), knew what you were doing, (laughs).

Tell us more about your debut full length, Paradigm. Where are you guys coming from on this album?

Paradigm is basically the battle that took place for us personally as we decided to make Foreign Figures a reality. Bridging the gaps between, “Hey, we’re pretty good…” and, “Let’s do this for our full time jobs…” and,  “Hey (wife) I’m quitting my job to be a bass player in my band…” is definitely an anxiety ridden journey.

Lyrically, Paradigm confronts the uncomfortable emotions of knowing that you want to do music full time, and even feeling that you should do it full time, and then making that happen. Giving up grad school, comfortable careers, and supporting wives and families while deciding to do music full time is a scary thing, but so worth it.

Paradigm is the shift of vision that we had that went from unsure but hopeful, to confident and hopeful. Musically, the album has a “battle born” concept. It’s got some very anthemic moments, and a lot of emotional moments, all within what we’ve found to be our sound. We are so excited for this new album.

What are some of the benefits of having an ‘in-house’ producer playing in the band?

The most obvious benefit is the money we’ve saved – Jonny [Tanner, guitarist] has put in probably 2,500 hours of mixing, editing, mastering. And on top of that, all the production and writing sessions that we had as a band. He is so awesome – he never asked us to pay him anything extra.

He knows we all do things to push Foreign Figures forward, and his engineering and production skills are, in his words, “just part of his contribution to the band.” Besides the financial savings, being able to take time on songs and try things has been super cool.

It sucks to rush art, so it was nice to feel creative freedom. On the other end, it’s been a LOT MORE work than what a band that outsources all of the mixing, editing, mastering. One thing for sure, Jonny is the man. We’re super grateful for him.

What other plans do you guys have for 2016 in terms of promoting Paradigm and continuing to build a fan base?

2016 is our first year as a full-time band, and with the release of Paradigm we will get our first tour of national touring. So far we’ve got a few regional tours planned, and weeklong tour of the midwest as we head to Nashville this May. Our goal is to tour/gig like we’re unstoppable.

Of course, we know that just booking random shows in cities where people don’t know about us isn’t the smartest decision, so we are being strategic and working with a few people in the ways of marketing and PR to maximize dates we play outside of our home region.

Another goal of this year is to really get networked with industry people – so far all of our connections have been organic, but we are connecting a few dots within the industry.  We will also be releasing a few other music videos throughout the next year and a half of so. We are very excited to keep working hard to connect with people through our music.

New Music Friday: April 1, 2016

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

lodro copy
Lord O

Alternative, Rock

slabrie copy
War & Peace
Shannon LaBrie

Singer/Songwriter, Pop

grayshot copy

Alternative, Pop

bugzymalone copy
Mosh Pit Gang
Bugzy Malone

Hip Hop/Rap

polyenso copy
Pure in the Plastic


decyfer down copy
The Other Side of Darkness
Decyfer Down


about a mile copy
Born To Live
About A Mile


kree harrison copy
This Old Thing
Kree Harrison


bobbyjovalentine copy
Fox Eyes, Whale Heart
Bobby Jo Valentine

Singer/Songwriter, Pop

vicky t copy
Protect This Love


zealyn copy
Sleep On It

Alternative, Singer/Songwriter

withthesaints copy
Fresh Waters
With The Saints