Category Archives: Bizness Projects

a collection of archival materials and content for the record from a string of (mostly) internet-centric companies: Hootsuite, Raincity Studios, happyfrog, Zhonka, OlyWa.net, Internet Adventures, etc.

Archeology Records – how it works

Relationship

By partnering with Archeology, the Artist(s) will receive: continuing distribution and promotion campaigns; the support and expertise of an outside experienced voice; the digital and cultural connections made by distributing on a label with other bands and related fans; and allow the artist to have satisfying feeling that their music is being shared on to the world… And possibly making some money doing so.

The agreement between Archeology and the Artist(s) will be for a set period of time for specific tracks/albums. Either Artist or Archeology may cancel the agreement with three months written notice at any time, at which point all work done by Archeology for the artist will be removed from all distribution channels.

Please note: While Archeology will endeavour for successful and wide distribution of the artists’ work, this is not designed to “make anybody rich“ but rather to get your diligently-made music in the ears and more fans and produce a moderate revenue stream. Think music for beer money, rather than music sitting in a shoebox going nowhere.

Archeology records will:

Distribute artist music across most all applicable digital channels including Spotify, iTunes, Google, Pandora, Tidal… etc.

Create and/or enhance and/or manage social media campaigns for the artists in collaboration with the artist

Provide education and assistance for community building to build audience including promotions, publicity and media nurturing strategies, and other related tactics

Transparently compensate artist (likely quarterly) for split of all royalties earn from all distribution channels

And possibly:

Collaborate with artists to produce physical artifacts for sale in other forms including vinyl, cassette, cd… And related merchandising items – posters, picks, pics, set lists…

Seek synch licensing arrangements for songs to be used in TV/movies/commercials as deemed appropriate with desires of artist

Artist will:

Provide Archeology with high-quality recordings, cover art, band photos, candid photos, lyrics, publishing credits, and any other material deemed necessary by Archeology for accurately listing, distributing and compensating artist

Access to manage, or permission to create, various social media channels including Twitter, Facebook, Instagram, Soundcloud etc

Provide permission for Archeology to distribute music exclusively on digital channels for designated period

Provide a single point of contact for payment of royalties, decisions about art, release dates as applicable, and any other matters which arise from this relationship

Be responsible for distributing royalty payments with in the band/artist as appropriate for the band relationship. Archeology will make one payment to the band, and not divide up between members, songwriters, contributors etc.

Provide Archeology with signed releases to act on behalf with any managers, consultants or adviser and make label aware of any such relationships in advance.

Archeology Records – the gist

Gist

Archeology Records is a project  to distribute and promote underknown/grassroots music to allow existing audiences to enjoy more easily, and find new audiences.

Importantly, Archeology Records wants artist to retain ownership of masters, and not be obligated to record more, release less and overall enjoy complete artistic freedom.

Background

Many bands and artists record songs and/or albums and may distribute locally on a small scale but overall these recordings are under-distributed and perhaps under-listened and appreciated. Sadly, these projects get abandoned to shoeboxes in attics and garages as media formats changes, priorities change.

However, with some simple social community building tactics and digital distribution – combined with analog artifacts merchandising – artists can resurrect these treasures to share with audience, getting creations into ears… and possibly connect with fans and spread music while making some money.

Expectation is that Artist will take active part of promotion and cross-promotion with label-mates using communications and resources provided by Archeology. 

Let’s make a project!

 

Rainy Mystery Alley (with Marty)

Analog loops, guitars, feedback and poetry about impossible alleys, 8 seat bars, villages with book shops, woolen scarves, Fado, Kathmandu mud, and umbrellas thwarting tactility.

Made by “Thorvald and Thurston” in a Provo basement, 2018

Read along: Rainy Mystery Alley poem

Available via: 

Vomit and the Big Chunks, jugband reunion tour

My i present *the* magical musical moment you will never forget? Jugband “Vomit and the Big Chunks” on their reunion tour performing their theme song “Dry Heaves” – featuring Larry Harper on vox, kazoo and autoharp.

Mikael Lewis performs “Wildflower (for Foster)”

Mikael Lewis performs “Wildflower (for Foster)” written by Dave Olson and Mikael Lewis, at some restaurant in Orem, Utah, Aug. 16, 2017.

Bill Lenker’s “West of 101” released by Archeology Records

Bill Lenker's "West of 101"
Bill Lenker’s “West of 101”

Bill Lenker’s “West of 101”

From the Appalachian mountains of eastern Pennsylvania to the salty coast of the Pacific Northwest, Bill Lenker’s “West of 101“ tells guitar stories of a seeker wandering and roaming while finding balance between the present and the past.

A traditional stonemason by trade, Bill’s hand-chisels his original songs to feel as gritty and real as raw limestone or granite – sculpted with the proper tools to be strong enough to stand the test of time with flavors of bluegrass, folk, rock, and boom-chuck, performed with craft and soul.

  1. Bubba
  2. I Heard Your Captain
  3. West of 101
  4. Turn Out Your Fears
  5. Maya
  6. Whiskey Hammer
  7. Ages
  8. Hemispheres

Recorded at Olympia, Washington’s Moon Music in 1999, engineered by Scott Swayze (producer/engineer/guitar for Modest Mouse, The Dirty Birds etc.) and featuring violin by Tyler Reilly (also performs on Modest Mouse’s Lonesome Crowded West) and additional lead electric guitar by Mike Esparza (Chief), this authentic Americana album now digitally available via Archaeology Records.

Available via: 

Dig along via Tw: @archeologyrecs  + Fb: Archeology Records – for the endeavors of a music label bringing under-heard garage bands, buskers, outsider artists, and renegade musicians to worldwide audiences through community building and digital-fu.

Archeology Records: The Gist

The Gist:

Archeology Records is a music distribution label bringing under-heard garage bands, buskers, outsider artists, and renegade musicians to worldwide audiences through community building and digital-fu.

In brief: Archeology Records partners with artists for digital distribution and community promotion for their (possibly forgotten) musical treasures.

Artists own their masters and responsible for all creative direction > we take a split (automatic) > music gets heard. PS Originals only.

Have a shoebox of your most-excellent CDs in your garage? Recordings you always meant to “finish and release”? Can’t be fcked learning how to upload to all the channels and find audience? Great, let’s do a project. Get in touch.

Follow along:

Tw: @archeologyrecs

FB: /archeologyrecords

More to follow forthwith.

Uncle Weed’s “Comfortably Lonely” EP released by Archeology Records

Uncle Weed - Comfortably Lonely EP
Uncle Weed – Comfortably Lonely EP

Uncle Weed “Comfortably Lonely”

Two tracks of spoken-song/poetry + loops – reminiscent of collaborations between Tom Waits and William Burroughs and/or The Clash and Allen Ginsberg.

Recorded in Little Bay, Westmoreland Parish, Jamaica, 2014

  • Humble Boys Club
  • Change my Route (to think about the neighbourhoods)

Available via: 

Dig along via Tw: @archeologyrecs  + Fb: Archeology Records – for the endeavors of a music label bringing under-heard garage bands, buskers, outsider artists, and renegade musicians to worldwide audiences through community building and digital-fu.

Day-job skills and ideas for musicians

The Matinee Set list
Bands need helpers on tour to spread the social vibes and make cool arts n crafts

Canadian broadcaster Grant Lawrence posted a bit on CBC Radio 3 blog (now disappeared from internet and not archived) about “Backup Job Plans for Musicians” and i chimed in with unsolicited advice, [the article seems to be lost from the internets as cbcradio3 has ummm… disbanded] anyhow, ergo:

My advice is to have a backup plan which used your skills to help other bands. Keeps you in the mix and gives you an opportunity to share your knowledge and skills with other band folks who are on similar path/mission/trajectory as your own.

A few good ideas:

Silkscreen T-shirts / Merch Master:
Every band needs these and a lot of bands fuck this up or pay too much. Not just T-shirts, but other smart merchandise. At my day job, we made passports, tubes, guitar picks, stickers, scarves, flags… Get creative with your merch and people will buy it. Seriously, they want to give ya bread to keep participating in your culture.

Graphic design:
I mean being a real designer, not just someone with Photoshop on a computer, to make poster art and album covers and so on. Packaging and March are too critical elements about the music business which are often overlooked. Look at the career (Vancouver legend) Bob Masse has built for himself since the mid 60s making awesome posters.

Social media promoter/community builder:
Fans are communities who desperately want to learn more about their favourite musicians, spend their money and rock out. Social media is the best way to build this community. Labels, bands and promoters are just catching on… Perhaps you can help them.

Recording engineer:
This one seems obvious and as difficult as making it as a musician but, with radical changes in the way music is recorded and released, there is huge potential for someone who understands both analog and digital recording methods.

Bookers/promoters:
Most bands have someone that kind of knows this game or they become too reliant on the labels, managers etc. If you are a touring road warrior who has built relationships with clubs, venues etc. but aren’t up for it anymore, work the phone and help emerging bands set up tours. You won’t get rich doing it for one band but doing it for 10 will pad your stats, especially when one of the bands hits big.

Band mentor:
This seems a little reality TV-ish but many bands don’t have someone to instruct and advise them and care about them. Managers and labels usually don’t have the resources to dedicate to merging bands and so they are left to making mistakes and put in their career in someone else’s hands. Bands often need someone who has a deep long history with the music business but also has the empathy and insight to counsel and advise them on band dynamics. The right advisor can make the difference between a two album “flash in the pan” band and a generational band who last for decades.

Community + Freemium = Start up Magic, Hootsuite Community

Recently, Hootsuite CEO Ryan Holmes posted an article in his LinkedIn influencer column “Two Lean Startup Hacks to Get Millions of New Customers | Ryan Holmes | LinkedIn” to discuss some key tactics we used to build Hootsuite in the early days: freemium + community.

I am especially proud of the community focused narrative of which I’ll share a bit here:

Investing in Community-Building Programs  

But it’s important to note that freemium was just one part of our formula for user growth. Another big piece of the puzzle was investing in a fully functional community department at Hootsuite. In many startups, the community team – if there’s one at all – is treated as an extension of marketing or customer support. While their ostensible role may be “building a community” of users, they spend a lot of their time pitching products and fielding help calls.

Our community department, by contrast, didn’t have direct sales or support responsibilities. Instead, their primary mandate was to help people who already knew and loved our product connect with one another. They built out social media channels in a half-dozen key languages, enabling users around the world to share updates and learn about Hootsuite news and events. And they organized crowd-sourced translation efforts, recruiting international users to adapt our interface into local languages, everything from German and Italian to Thai and Chinese. (Amazingly, translations were volunteer-driven – motivated by love of the technology and a liberal helping of swag, i.e. stickers, t-shirts and cuddly stuffed animals inspired by our owl logo.)

Online efforts were supplemented by old-fashioned face-to-face events. In emerging markets, the community team helped users organize hundreds of free meetups (branded as “HootUps”), where people could get together and trade Hootsuite tips. Ultimately, a network of hundreds of volunteer “ambassadors” around the world took shape, enthusiastic users who spread the word about Hootsuite in their countries. Many of these ambassadors, not surprisingly, were bloggers, consultants and marketers who just so happened to have large online audiences of their own.

Cumulatively, these projects gave us entree into new markets, initiating the viral chain of adoption in other countries and spreading Hootsuite far beyond its original North American user base.

via Two Lean Startup Hacks to Get Millions of New Customers | Ryan Holmes | LinkedIn.