The one and only Kathy Valentine talks to Watt about her gear.
Zachary Lipez has compiled a list of web sites to potentially send your music to. Publicize your own fucking life!
The convention of assigning elementary school letter grades, star ratings, or best-of-ten subdivisions to music reviews is so ubiquitous now that it’s easy to forget that it wasn’t always this way.
Some musicians in the Bay Area are criticizing a popular house-show startup over paltry compensation, while others challenge its very existence.
So you were offered a record deal. Congratulations! But the only problem is that now you have to read it.
Multi-instrumentalist, songwriter, and producer Jamie Aaron Aux talks to us about her set up.
Not all Spotify playlists are created equally. To begin understanding this, look at them closely. Literally.
Chandra was just 10 years old when her lost album, Transportation, was released. Fellow musician Fred Thomas talks with her about that and much more.
This is a true story about survival, heathcare, and why Ted Leo is the best forever.
Musicians need net neutrality in order to have a fair shake in the internet economy
All artists aren't given the same freedom of expression.
Drummer Alicia Warrington (Kate Nash, Gore Gore Girls) talks to us about her gear for Backline.
Sixty percent of bankruptcies in the U.S. are the result of medical debt. Caryn Rose speaks to nonprofit Sweet Relief on how they help musicians try to avoid that fate.
Caila Thompson-Hannant talks to us about her gear for Backline.
I want us to talk about mental illness the same way we talk about anything from a common cold to cancer.
The man with the Sexiest Elbows in Rock lets you in on some of his secrets.
Larry Crane, owner of Jackpot! & editor of Tape Op Magazine, with some excellent tips on how to prepare for your first recording session.
On Inauguration Day, I volunteered on a hotline providing legal support to protesters. Hundreds were arrested. Before they were out of jail, mainstream feminism had already cast them aside.
Julia Kugel, guitarist for The Coathangers, talks to us about her gear.
The one and only Mary Timony talks to us about her gear for Backline.
So many of the sites we rely on have big money behind them and even bigger profit motives in front of them. We have to think critically about where we build our communities, what data we give to corporations, and how (not if) they plan on monetizing us.
Janet Weiss of Sleater-Kinney & Quasi talks about her set up with us.
Many new ways to pay for physical or digital goods are popping up seemingly every day. And with them, many more options for the types of payments you can accept. The support of your fans is now a tap, swipe, or click away.
Dana Wachs aka Vorhees is a composer, audio engineer, and producer. We talk to her about her set up.
I knew I was going to snap, and I knew it would be in the face of a friend. We only hurt the ones we love, the ones we shouldn’t hurt at all. I knew it was going to happen. The only question was, when?
Rock lineage as a self-supporting mass-culture driver is over, as should be the preposterous and romanticizing idea that it is the music of some kind of spontaneous, youthful holy-fool effusion.
What some might think of as a joke, we have to view as a threat, because the risk to not do so is too high.
Indeed, it’s often hard to untangle the criticism and evaluation of Meg White: The Musician from Meg White: The Female Body. In the fan communities, on the forums and the message boards and blogs, the criticism is most unyielding and brutal.
I know some are clamoring for a new Fugazi but I don’t know that I’d want to sit through another “Guilty of Being White” to get there.
We worked like we were building a wall of our own — one made of power chords, cymbal smashes and sweat — to keep out bigotry and hatred.
If you’re organizing, thinking about a protest album, or working on art critical of your government then encryption matters to you, as do privacy and safety.
The Oregonian's David Greenwald interviews editors and writers from Noisey, Consequence of Sound, FACT and more about best practices when dealing with press.
I believe that we have a deep responsibility to care for one another and for the people who come to see us play, and that though any kind of independent musical community is immensely fractured, some of those fractures can be healed by everyday thoughtfulness.
I have credited music for saving my life in the past, for although it is a cliche, I know it to be true. But it wasn’t music that saved my life that day, it was my best friends.
Important information from lawyer Becki C. Lee about trademarks. Questions like do you need one, do you have one, what is it, and more are answered here.
Katie Gately, Sound Designer, Music Producer, talks about her set up.
Satomi Matsuzaki, bassist & singer in Deerhoof, talks about her set up.
I found something that not only distracted me from my anxious thoughts, but also soothed them and loosened their hold over the limited space in my brain.
The Self-Sabotaging Scourge of Imposter Syndrome in the Music Industry
I’m done being in a cramped van every day. I’m done being in a loud, dirty club every night. I’m done living in a world in which alcohol is more prevalent, and considered more valuable, than food.
There is something intensely private in the act of listening to music, the way a song can feel like a very real, personal communication with the artist.
Fabi Reyna, guitarist and editor/founder of the fabulous She Shreds talks about her set up.
There’s something so terrifying about putting yourself in a position where you could possibly be rejected, harshly criticized or worst of all…ignored.
The song had summed up so much about what we adored and feared in life - love, beauty, and the permanence and inescapable reality of death. Now the song was being used to sell us a mid-size sedan.
Jessica Boudreaux of Summer Cannibals talks about her set up
Kathy Foster of The Thermals & Hurry Up talks about her set up
As an artist or an artist’s representative, it is critical to understand at least the basics of what rights you control in your art, and how best to monetize those rights.
An important part of career longevity for any musician is live performance. An album cycle can call for over a year working on the road and the fact that a single 4 week tour has ended many bands is enough to cause anxiety in even the most seasoned road vets the first day out.
(If you don’t believe me, ask your nearest recording engineer what “API” stands for, then ask your nearest web developer.) But more importantly, working in both worlds sometimes feels like oscillating between two entirely different value systems.
I do not hold the magic key to your success kingdom.
Certain themes in music evoke feelings whether you want them to or not.
Everyone has a story or a perspective, a song or a painting. But some people may not realize they do because space has never been made for them, or they’ve never been handed the tools. Lots of folks have aimless energy; a desire to make something happen that’s bigger than themselves, but nowhere to do it.
We never took on a manager because it just never felt right.
It’s selling out!” “It’s the savior of the music business!” “Some dickhead put my favorite song on a commercial!” “I’M CONFUSED!!!” Welcome to synch licensing!
When, why, and how do you set up an LLC for your band?
Music, simply put, is life.
In my 20 plus years as a drummer and collaborator, I have learned to contribute to the creative process by being kickass, a good bandmate, and by following these 8 simple rules.
In the Middle East in particular, acts of violence and occupation limit the growth of society. Regardless of whether a powerful voice is silenced by censorship, prison, or even death, the end result is the same in that the more powerful take away the voices of the less powerful.
Open brings collective strength and moves functionality from closed systems into spaces that everyone can use, shape, and embrace.
At Watt, we can look at the music industry in a way that highlights a lot of things that don't fit into the editorial mission at most publications, but will help both the industry and the outside see the music business in a new and imperative light.
I think that artists’ voices are now, more than ever, being amplified and projected. More tools are available; middlemen left and right are being made irrelevant — and in many ways that’s a good thing. The real question is how can we reattribute VALUE to those voices.
This independent creative life has myriad simultaneous jobs, no days off, no assurance of security and requires extreme self-discipline.
I am consensually working these long-ass, impossible hours to be paid in less money, but more freedom.
I believe deeply that being a musician is an important and valid vocation. Watt is here to help make it easier to be one.
Time stood still. It was transcendental. I knew then that playing music was the greatest thing in the world.
The corporate content hegemony is worse than ever and we're stuck squabbling over the pitiful amounts of money our streaming overlords let slip through their grasp, or clinging to ad agencies and music supervisors like life rafts.
It's okay to take small measures. It's okay to listen to the needs of the artists around us, and lend encouragement, support, and resources..
That's always been the music that's excited me the most, when artists question the accepted - in culture, in song structure, in production methods - and tear everything down so they can build it back up again in their own way.
But like all new tech the potential for discovery and access is mind-blowing, and beyond good and evil. The fact is the sample group of kids I have access to are as likely to know as much about obscure '60s garage punk stuff, or classic hip hop, or 'classic' punk rock, and that's extremely fucking cool.
I think [music] the greatest source of joy and comfort of all art forms. And done right, it can foster understanding of and openness to other ways of being like nothing else can.
Either consciously or subconsciously music is, other than math, the universal language that we can communicate with.
For musicians to be truly heard we need to be empowered with tools to build our own framework. Existing foundations need to become malleable.
[Music]s everywhere all the time and I don't think people realize what kind of an impact it really has.
The impact [music] has is that it gives living a context and momentum
Music is a memory aid, a muscle relaxant, an aphrodisiac, a pain reliever, an anxiety suppressant, a mood enhancer.
A quick tutorial to run you through setting up your own CASH Music store element.
Music has a way of telling us how horrible and wonderful life is at the same time and it magically makes that reality easy to digest.
It’s everywhere all the time and I don’t think people realize what kind of an impact it really has.
Can you manage a world without music or the arts? It’s kind of like imagining a world without adjectives.
Music speaks far beyond words. It is a capsule for the human condition.
It almost feels like one of the elements. There's air, water, dirt, fire, and music.
Artists are just as important as scientists, doctors, mathematicians and the like.
Music is a guiding force, able to steer people toward communities and causes they're passionate about. ...I've been drawn to social causes and organizations that embody that punk passion and sincerity. In a way, music made me.
If that’s how you’re listening to music—you’re only ripping yourself off.
A visual response
People want art and need art, they crave it and seek it.
Art directly creates our culture, driving ideas and enabling communication that goes far beyond language alone.