Tag Archives: archeology records

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!

 

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.

Leaping Beyond Cynicism – Postcard #64

leaping beyong cynicism

In tumultuous and confusing times, optimism and activism are the powerful antidotes for cynicism and fear. Two Bills share songs to assist in making this point.

First B/William Lenker plays a spontaneous Squatters in Zion from his Steamboat Island woodshop, then Dave spiels about courageous – and sadly deceased Olympian – Rachel Corrie, followed by Billy Bragg vehemently spieling on stage before a rollicking snippet of his Great Leap Forward from Vancouver’s Vogue Theatre.

Activate + edify thyself with: Leaping Beyond Cynicism – Postcard #64 (14:24, 26MB, .mp3, stereo)

Cover art: Smashed plaque which marked where Benito Mussolini was shot, as seen at The Coliseum, Rome.

Continue reading Leaping Beyond Cynicism – Postcard #64

Squatters In Zion – Lenker + Weed (song)

My pal (and frequent collaborator) Wm. Lenker wrote this song but didn’t record it for his fine West of 101 album – i liked it so much that one cold January evening, i showed up at his house on Steamboat Island Road at the end of the Puget Sound and *demanded* that we go into the woodshop and record for my entertainment.

He kindly obliged and laid down various tracks, with guitar, vocals and banjo. I recorded and mixed down the rapidly recorded takes to suit my own old-timey taste, complete with heartfeltness, loquaciousness and longing – background noise of fire and beers included.

Billiam does all the instruments and most of the singing (little bit of my ghost vocals) and i’m on the hook for the recording, producing and mixing.

Talking Social and Music on @RenmanMB with Steve Rennie

I was a guest on the Renman Live show (@RenmanMB), a show about music and business, to discuss social media for bands and labels. It’s a brief segment but one i hope to do more of with them. The Host (Steve Rennie @Renman1)  is very LA and i am very Canadian :) I appeared on video via phone with my pith-helmet-attired pic representing in absentia. Click to watch the video and have some laughs.

DaveO on Renman Live show

Social Media for Bands and Fans – Interview on Tweets and Tunes, 2012

Jason Lloyd came by the Hootsuite office to interview me for CiTR’s Tweets and Tunes, his show that examines the relationship between independent musicians and social media.

Being an active participant and enthusiast of music scenes, i had many topics to riff about, including DIY promo work at HootSuite, the Tracks on Tracks project, and the impact social media has on independent music.

Check out Tweets and Tunes – Interview with Dave Olson

Blurb

Social media is creating an opportunity for musicians to connect with their audience like never before, allowing everyone to be part of a conversation. The changing dynamics between artist and fan are explored, along with lots of advice and tips for musicians and their social media endeavours.

The show ends with a discussion of the Vancouver music scene, including, bands, venues, and how things have changed and evolved over the years.