Author Archives: Nina Condron

  1. Horus Music Independent Review

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    We were contacted recently by Harrison Welshimer owner of Music Munch – a website dedicated to helping Independent Artists, he had heard of some of the good stuff we were doing and wanted to write a review about us. He did and it was so nice we thought we’d post it below:
    Thanks Harrison!  
     

    Horus Music Review: The Boutique Music Distributor

    Written by Harrison Welshimer

     

    horus promotional discsThe internet is both a boon and a curse as we navigate this crazy music business. For example, there are dozens of music distributor service companies to choose from, which is a great thing. But we also have so many options that it leaves us indecisive, which is a bad thing. So what’s the solution?

     

    You’ve heard that the music business is all about relationships. What if you could develop a personal relationship with the company that puts your music in stores around the world? If that sounds good to you, Horus Music might be the right fit.

     

    *Disclaimer: I’ve only worked with TuneCore, but liked what I read about Horus Music. It’s those ‘likes’ that I want to share.*

     

    Just a little background…

     

    Horus Music is HQ’d in Leicester, less than a 2 hour train ride north of London, where they’ve been in biz for almost 10 years. Customer service comes first. Take this story as told by Ms. Nina Condron, a Horus Music employee, as an example:

     

    “We look at all of our clients at the same level and don’t just answer to our top label as we have no share-holders etc… A few months ago for example, we gave an independent artist with no label or management backing £4,000 (roughly $6,200) worth of advertising on Spotify for FREE!”

     

    Marketing: the part about finding the right fans…

     

    Another boutique aspect is that any musician can get help with their marketing. Simply describe to Horus what marketing help you’d like. The folks there will look at your case and assess whether they can make it happen.

     

    A lot of the time, Horus will be able to secure marketing muscle for you. Take 17 year old Melissa Severn, a singer/songwriter from Shropshire, England. She just had an exclusive interview with the MixRadio blog. Read it here!

     

    But if Horus can’t help, they won’t send you a “sorry, no can do” response. Instead, they’ll guide you to a place where you can find the answers you need. One of those places is the blog, ‘Help for Bands’ which I personally follow.

     

    How big is your potential reach?

     

    free music distributionHere’s something that blew me away: Horus can deliver your tracks to over 600 digital stores in over 1​2​0 countries. This includes all the majors such as iTunes, Spotify, Google Play, etc​.

     

    To give you an idea of how many stores this is, CD Baby has partnerships with over 95 stores while TuneCore puts their number at 150+. So Horus has 4x the reach of TuneCore!

    Something that’s hard to find with other distributors…

     

    Want to see your face on TV in Chile or Argentina?! Horus is ahead of the game  in music video distribution and “growing markets.” Platforms for video distribution include Mu-Zu TV, Vu-Clip and VEVO. Horus also has a focused effort on distributing your music in ​Japan​, ​Latin America ​and India.

    Don’t take it from me alone

     

    “Speedy and reliable in their delivery. Recommend them to any musician ! ” - Bobby Smith

     

    “The Best…..I call them Milestone Makers” -  D-Bone Archives

     

    “Fantastic people who really helped me! Thank you guys!” - Arek Pilarz

     

    So what does all of this cost?

     

    How does free sound? Yep, this is another highlight I have to bring up. Selling music is hard, today more than ever. Because of that, Horus has a free option in which they collect 20% of your earnings to cover their service. CD Baby has a similar model, but you still have to pay an upfront fee and they’ll collect a 9% royalty.

     

    If you have a pretty good idea that you’ll sell more than 40 albums, you’d want to use a paid package. No matter which ‘paid package’ you choose, you keep 100% of your royalties. This is the TuneCore model as well. However, even though TuneCore’s prices are lower, Horus doesn’t have a renewal fee like TC.

     

    Options vary in price as to whether you have a Single, EP or Album:

     

    Distribution type Price
    Single £14.99 GBP ($23.00 USD)*
    EP (3-6 tracks) £24.99 GBP ($39.00 USD)
    Album (7-20 tracks) £39.99 GBP ($62.00 USD)
    Urgent delivery £49.99 GBP ($78.00 USD)

    *All USD prices are rounded to the nearest dollar. Price conversion as of 7/5/15.

     

    And you walk away with a lot…

     

    We’ve all dealt with it whenever trying to sell anything online… minimum pay-outs. Doesn’t it drive you crazy when you’re sitting at $97 in sales, but have to reach $100 before you get paid?!

     

    Solution: Horus Music doesn’t have a minimum. You sell $3.00 worth of music, you’re paid $3.00 (but you’re going to make more than that, right?!). For a frame of reference, TuneCore acts more as a bank. You don’t receive money automatically. Rather, you withdraw the amount you need. There are minimums or fees with TuneCore (except when transferring via PayPal).

     

    And just a little icing on the cake: no extra charges for pre-releases, ISRC’s, barcodes, Digital Booklets, YouTube Content ID (on our free package) which are all charges you’re starting to see from bigger distributors.

     

    Final take…

     

    If you’re living in England, I think you’ve got to try Horus by clicking here. That’s because of that one-on-one connection. You and your mates could take a weekend trip and actually meet the people helping you. That’s an awesome thing!

     

    But something you need to remember is that no matter which music distributor you choose to partner with, it’s up to you to sell it. A great product will sit on the shelf without a good salesman. And if you’re an aspiring singer/songwriter, I can help.

     

    Tad bit about me…

     

    Hi, I’m Harrison Welshimer, a kid from Wyoming who fell in love with music instead of the oil patch.

     

    After spending two and a half years in Denver, Colorado, I found the group that I enjoyed working with most: beginner singer/songwriters.

     

    What if you could learn how to write your first song and make money from it using an easy, step by step approach?

     

    Starting September 1st, 2015, you can learn how at MusicMunch.com. Good luck and see ya there!

    Harrison Music Munch

     

     

  2. The Reeperbahn Festival

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    A few months ago I attended the Annual Reeperbahn festival in Hamburg Germany. The Reeperbahn festival is held along the Reeperbahn strip, this is one long road, which is made up of; different live music venues, clubs, bars, sex shops and strip joints. It fits in perfectly with the stereotypical and not necessarily true point of view that the music industry revolves around sex drugs and rock and roll. I attended Reeperbahn with The BPI (British Phonographic Industry) who are a trade body for the British music industry, MPA (the Music Publishers Association) and the UKTI (UK Trade and Investments). All of these companies do a great job, putting on various missions to different territories around the world, supporting and promoting British independent musicians and music companies.

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    I have to confess that before attending the Reeperbahn festival, Germany was a territory that I knew very little about. The British Delegates on the mission arrived at the event a couple of days earlier before the festival began as the Trade Mission organisers had arranged seminars from some of the big players in the German music industry. They spoke to us openly about the differences between the UK and German territories. There were lots of different speakers who took part from various reputable companies including: synch agents, booking agents, touring managers, music publishers and stores. We had talks from companies such as Spotify, GVL who are the German collection agency similar to the PRS for music and also from companies such as: Island records, Warner Chapel and White Horse Publishing. These talks were really insightful and invaluable to learn about the German music market.

    I attended the event on behalf of Horus Music to try and understand the market better, find out what opportunities are out there for our artists and to see if we can approach some new stores. The festival is a great opportunity to network with other people from the music industry and find out about different business models and how they help artists. This is useful for the bands as it helps us to then share this information with the artists and bands that we work with.

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    The main things that I took away from the mission were the differences between our two different territories. Germany is primarily a physical market with digital accounting for only 30 percent of revenue. Streaming is only just starting to take off, with Spotify being the main player in the market. By comparison in the UK the music market is 56% percent digital with streaming being a dominant force and 44% percent physical. Within Germany the main genres are indie/rock and dance. Different parts of Germany have different scenes for example Berlin where Beatport is based has a larger dance community as opposed to Hamburg which is more rock orientated. Beatport who we distribute to are one of the biggest dance stores in the world.

    Throughout the festival there was much debate about the music industry which speakers from across the world took part in on various panels. The majority of these panels were filmed and are available to view over at the Reeperbahn festival website.

    Reeperbahn was a fantastic festival with loads of cracking bands playing such as ‘Catfish and the Bottlemen’ ‘Skinny Lister’ ‘Public Service Broadcasting’ and some really great emerging acts such as ‘Boreal Sons’ (pictured below) and ‘Chic Gamine’ from Canada and ‘The Kings Parade’ from the UK.

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    Highlights for me were the GGM floating invite only event in which ‘Golden Gate Management’ hosted a networking event which involved free beer, DJ’s and a boat that went around the Hamburg Harbour. The best part was that despite the fact that alcohol and open water sounds like an accident waiting to happen nobody fell in, not even me! More seriously though there were some great people on board the boat, the sun was shining, the water was blue, the DJ was great and I had some really interesting conversations about the music industry and where it’s heading. The main way in which we communicate this is through blog posts that we write over at ‘Help for Bands’. This is a fantastic website that provides artists and bands with opportunities in the music industry. It’s worth signing up to their newsletter to find out which labels, managers or publishers etc are currently looking for acts like you

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    I would advise any young band that is looking to try and break into the German market to seriously consider trying to get involved with the Reeperbahn festival and playing there. There are so many great venues and it is world-renowned due to the fact that ‘The Beatles’ before they were hugely popular played there. John Lennon has famously been quoted as saying ‘I may have been born in Liverpool but I grew up in Hamburg.’ If it’s good enough for the Beatles it’s good enough for me.

    Written by Business Development Manager Nina Condron

  3. The Brighton Music Conference

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    The Brighton music Conference is the first of its kind in the UK; a music conference dedicated to the Electronic Music Industry ran by the industry for the industry. With over 5,000 people attending the conference from DJ’s to artists to software programming companies. Held at the beautiful Brighton Dome it was the perfect location especially as the sun was always shining!

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    For conference pass holders there were over 150 + speakers of various professions and from a range companies such as ‘Spotify’, Judge Jules, Stuart Knight of Toolroom Records  & ‘The PPL’ & ‘PRS for Music.’

    Here was the first panel of the weekend discussing: ‘The current state of the Electronic Music Industry and what’s coming next?

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    For ‘Horus Music’ it was a great opportunity to re-establish the connections that we already have with some of our dance labels, whilst also reaching out to some newer companies who may not be aware of what we are doing. There were a few networking events that had been scheduled at venues such as ‘Cloak’ which is a newly opened Boutique Concept Store in the up market North Lanes of Brighton. A very swanky venue that had chic items of clothing and various interesting pieces of Modern Art for sale as well as world class DJ’s playing in the basement downstairs

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    I met some really good contacts at the conference and made some firm friendships. From the lovely people at ’What night Club’ a brilliant new Brighton based publication finding the best clubs, DJ’s Events and Promoters. Or Jim and Jonny from ‘Last Night a DJ Saved my Life’ the official charity partners of BMC who are dedicated to bringing about change by providing a platform for the dance music industry to make a positive impact to communities across the world.

    Considering that this was the first ever Brighton Music Conference everything ran very smoothly, with a very good turn out. All in all it was a great trip, a huge thank you to everyone that took the time to talk to me.   Thanks very much for having me Brighton; I’ll see you in a few weeks for ‘The Great Escape Festival’!

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    Written by Client Manager Nina Condron