Paul Trust

 

Bio:

Paul Trust is a producer, engineer, songwriter and mixer. A graduate of the University of Miami School of Music Engineering, He has signed, developed and produced some of the South Floridas most notable artists, including: Endo, Crease, Als Not Well, Sunday Driver and most recently Atom Smash. “I love developing new projects. I love writing with the bands and hashing it out in the rehearsal studios, and in a way I often become the unseen member of the band” said Paul. His diverse repertoire ranges from indie bands such as Say Anything to R&B legend Millie Jackson, Boston hardcore band Diecast as well as work with the production team The Matrix (Avril Lavigne, Hillary Duff).On this site you will find a more extensive biography (if you are interested), song samples from a variety of projects, a gallery of pictures, and a blog where you can discuss anything from stu dio techniques to the stock market to kayaking. For availability and pricing please send a message using the contact link and someone will be back in touch with you as soon as possible.

 

Client List:

 

Atom Smash

Day Minus 7

Ekotren

The Chaos Agent

Echovalve

Diecast

Enstride

Endo

Crease

Al’s Not Well

Sunday Driver

Faces of March

Hate Machine

SayAnything

and many more.

Web Sites

www.paultrust.com | www.myspace.com/paultrustproductions

Helpful Tips on How to Get a Record Deal

1. A&R IS LEANER & MEANERThe music business has been in a whirlwind. Mergers, acquisitions and corporate consolidations have hit the majors hard, while an erratic marketplace has distressed the industry. As a result, both major and indie labels are now leaner and meaner. That may bode well for the biz’s recovery prospects in general, but it’s tough on those who’ve lost their jobs and artists who are looking for a break. These changes have caused a major shift in priorities as labels struggle for market share and A&R reps try to survive cutbacks. It’s survival of the fittest as industry and artists search for stability. Meanwhile, acts are dropped from rosters, budgets are cut to the bone, label personnel are let go, and fewer new acts are being signed. Indeed, these are anxious times, and the competition has gotten greater –– especially for artists seeking a record deal.

2. A&R WANT A “STORY”

Just a few years ago, strong songs and a great live show was enough to get a band signed, and that still does get A&R’s attention. But a story –– a marketable, hype-able history of you or your band, something unique that can stir people’s imagination –– will get you a deal. Tim Devine (..:namespace prefix = st1 ns = “urn:schemas-microsoft-com:office:smarttags” />Columbia) explains, “We’re in a cycle where establishing a fan base and successfully marketing yourself are critical in getting a label deal. We want acts that have proven their mettle.” Devine contends,” Today, anyone can make a record, but only a few artists know what to do with it. We look for acts that have it all together, so we have something to build on. In fact, if they don’t have a story yet, maybe they’re not ready for a deal.”

• Build Your Career

Scott Austin (Maverick) concurs, “The bar has been raised on new signings. Vocals and songs are still kings for me, but the more an artist brings to the table the better.” Austin points out that getting a record deal is NOT the starting point – building your career is. He insists, “Artists have to think of a record deal as a long term goal – not their only goal. They need to work on their careers first.”

• Be Self-Sufficient

This perspective has also taken hold at indie labels. Though indies have a reputation of nurturing new acts, well placed indies want their artists more developed. Smaller labels may still sign a baby band and work with them, but Patrick Arn (Gotham Records) reflects, “The days when a good band with great music could think of a label as their savior are over.” Arn maintains that, now, most indies want self-sustaining entities –– acts that have accomplished something on their own. “Look,” he says” there’s much more competition today, and it’s not just about the music anymore. I wish it wasn’t like that, but it is. Today, you have to achieve a certain level of success before you even think about a record deal.”

3. A&R WANT TO CHASE YOU

Attorney Scott Harrington confirms that assessment. “A&R used to love to discover new artists before anyone else did. “Now,” he states, “they want something that’s proven and that everyone already knows about.” In fact, Harrington believes that if A&R are not aware of you already, your chances for a deal are dramatically reduced, because he informs, “You can be sure they’re looking at acts that have a buzz and track record.” As such, Harrington advises, “To get industry attention today you have to create such a strong buzz that they have to check you out.” According to Harrington that’s probably the biggest change of all. “Not only do artists have to be successful on their own, they really have to stand out.”

4. A&R WANT READY ARTISTS In today’s environment, the biggest mistake artists and their reps can make is to shop too soon. Today, more than ever, artists must be ready for A&R attention. Judith Fontaine (Fontaine Music) suggests, “Before artists even think about labels, they should invite other industry (like managers, producers, the media or retired A&R) to a showcase and get their opinions.” Fontaine proposes, “If you don’t know anyone, ask.

• Get Expert Opinions

David Wilkes (Koch) thinks that’s an excellent approach. “Artists should get as many opinions as possible before contacting A&R.” Wilkes says, “In the past we did traditional A&R work and new artists were an exciting find. Now,” he reveals, “it’s also a marketing decision. We have to consider how we’re going to sell the artist, and where they’re at in their development determines that.” Additionally, since most labels look for a quick payoff, artists must be well developed if they want to get signed –– and stay on the roster.

• Be Honest With Yourself

Because everyone’s so tightly wound and there are fewer A&R to go around, the consequences of shopping too early can be drastic. Indeed, if A&R passes it may be a long time before you can go back to that label. Judith Fontaine (Fontaine Music) contends, “After a pass, you can’t go back –– the competition is too great. Your best bet is to be honest with yourself and determine if you’re really ready. If you’re sure you are, move on and try elsewhere.”

5. A&R WANTS HITS

In the midst of this demanding atmosphere, hits still rule and a few A&R believe that it’s about the music. But, unlike the old days when one or two hit songs would do it — that’s not the case anymore. “It is great songs first,” cites Brendon Mendoza (American Recordings). “If an act are really talented and have great material then it’s not a turn off if they don’t have a story.” Mollie Moore (RCA) affirms, “Strong songs are important –– but the more the better.” In fact, Moore believes artists should have a full album of great songs. “If you only have one hit, it’s not enough,” she says. “Because after it’s downloaded –– that’s it.”

6. A&R WANT SOMETHING FRESH

Let’s face it, all artists believe they write hits. However, if your “hits” sound exactly like something on the radio, it could be a double-edged sword. American Recordings’ Mendoza recognizes, “Everyone has his or her influences, but we in A&R don’t want to hear the same old thing –– we want a fresh interpretation –– a sound that excites us and gets our attention.” Mendoza suggests that artists be true to themselves and find their uniqueness.

7. A&R DON’T WANT OLD NEWS

One way to create excitement and avoid being generic is to find your own sound. Debbie Fontaine (Fontaine Music) maintains, “If your music lacks originality, you’re hurting your chances. A&R don’t sign clones anymore.” Fontaine says, “Be creative –– find your signature sound and make sure it’s current. And remember, she says, “that a dated or derivative sound will lose A&R’s interest. They want something new –– they don’t want to sign yesterday’s news.”

8. A&R ARE ALWAYS CHANGING

With all the restructuring going on, you have to keep current with who’s hired, who’s fired and where they’re doing business. A&R frequently move from label to label, and according to Dito Godwin (BGO Entertainment), “Putting the wrong name on a package will almost certainly get it rejected.”

• Target A&R

Sending your package to the right A&R rep is just as crucial as using the right name. A&R have personal tastes like everyone else. Accordingly, attorney Ben McLane advises, “Target your submissions –– send packages to A&R who work with your style of music.” McLane suggests, “Read liner notes and find out who does what.” He learned this lesson first-hand. “I sent a package to an A&R rep who asked for it –– but after he got it he called me and shouted, ‘Why did you send me this?’”

• Follow Up & Move On

It’s easy to overlook things in the busy A&R world, and responses to submissions are not a high priority. But, attorney Ben McLane says, “If A&R love your music they’ll immediately respond.” Nonetheless, he suggests, “following up once or twice to see if they got your package is fine, as long as you’re polite.” If you haven’t heard anything after a month, though, move on. You can always send them something different later, if you want to give it another shot.

9. A&R WANT SIMPLE PACKAGES

A&R generally handle several acts on a label’s roster; and, with fewer personnel to assist them, their days are full. Most would love to find new acts, they just don’t have much time to look for them. A&R get hundreds of packages a week and, at most, can devote only a few minutes to each submission. So, it’s no surprise that Marshall Altman (Columbia) asks artists to keep it simple. He implores, “Don’t make us jump through hoops to open your package and get to the CD. Besides, fancy packaging often overcompensates for a lack of quality and, sometimes, it’s scary.” Indeed, Altman relates, “If we don’t like the music, all the embellishments in the world won’t change our minds.”

10. A&R WANT YOUR BEST SONGS Too many artists do not know what a demo is. A demo is a sales tool –– not an album. Conventional wisdom used to recommend three to four songs per demo. “But that’s not the case anymore,” notes Brent Harvey (KBH Entertainment). According to Harvey, less is more. “A&R don’t have time to listen to a full album. Two songs are plenty,” he says. “Remember, the purpose of a demo is to pique A&R’s interest. Give them more songs, and all you’re doing is giving them more reasons to say NO.”

11. A&R LIKE A MYSTERY

When A&R hear a great song, they want to learn more about the artist. It’s like looking for hidden treasure. In that regard, Brent Harvey suggests, “Submissions are like a chess game where you want A&R to respond.” Harvey recommends not giving out too much information –– make A&R want to find out more. “Don’t tell them everything at once. Give them a reason to visit your Web site and contact you. If they’re interested, they’ll call.”

12. A&R WANT PEOPLE THEY KNOW

Relationships are critical in this business. As such, attorney Ben McLane advises artists to meet A&R reps at music conferences or establish a relationship with someone who knows them. “A&R prefer to hear from people they know,” he says. McLane is not talking about schmoozing, but rather making a real connection. “Get to know them, and let them know you. That way,” he contends, “your music will get a fair hearing.”

13. BOND WITH A&R SCOUTS

It’s not easy to get to A&R. In fact, you’ll probably hook up with their scouts and assistants much more than you will with them. And when you do, it’s important to establish a bond. Brent Harvey (KBH Entertainment) proposes, “Ask for their opinion. Tell them your demo is ‘for their ears only’ –– not for their boss’. If they like the music, they’ll be on your team – with an inside track.”

14. A&R ARE WEB-CENTRIC

Just three to four years ago, A&R reps did not pay that much attention to artist Web sites. Today, however, artist sites are critical in A&R’s decision making process. If they want to find out about you, they WILL visit your site. In fact, Tony Ferguson (Interscope) reveals, “We check out artist sites all the time.” Ferguson likes sites that are easy to navigate and reflect what the act is doing. “I want to hear MP3s, see photos and learn something about the artist.” But, he cautions, “We’re not interested in long bios. Let us know what’s important.” Patrick Arn (Gotham Records) adds, “There should also be news, reviews and a show schedule. We need to know if an act is currently active.”

• Use The Web Wisely

With the Internet, artists have an important tool that gives them more avenues for their music, and A&R expect artists to use it. Mollie Moore (RCA) asserts, “With all of the music sites there are, it’s easy for artists to get their music out there. And, it’s great for A&R because we can cross-reference acts, see how many sites they’re on, and filter by genre. ” Today, the Net should be thought of as an extension of your promo kit.

15. A&R HATE BAD PHOTOS

Promo shots are just as critical as your music nowadays. And, that includes those candid shots you put on your Web site. Today more than ever before, “image” can make or break you. An A&R rep (who asked to remain anonymous) relates, “If the photo’s bad, I won’t even listen to the demo. Image is very important today and a bad image won’t sell music.” Brent Harvey (KBH Entertainment) suggests, ” Avoid shots that are too ‘artsy’ or in soft focus. Make them clear and sharp and try to have them reflect your style of music.”

16. A&R LOVE A LIVE VIDEO

ýA live performance video Ж one or two songs –– is an effective marketing tool. It’s difficult to get A&R to your show, right? But give them a video they can watch at their leisure, and you’ve accomplished two purposes: they’ll see you play live and, best of all, you control what they see. Dito Godwin (BGO Entertainment) relates, “Videos cut the need to showcase in half. And,” he says, “if A&R want to see you after viewing it, you’re one step closer to a decision.” Godwin also points out that videos are useful for agents and promoters. Interscope’s Ferguson chimes in,” Put the video on your Web site, too. I always look for one.”

17. A&R HATE BAD ATTITUDES

Patrick Arn (Gotham Records) caught a band at a club and approached the lead singer to discuss a possible deal. But, the singer was arrogant and rude. He didn’t know that Arn was president of a label. “There was no reason for him to act like that,” Arn reflects. “I wanted to work with them, but he blew it.” Arn strongly advises, “Artists should always act professionally and treat people with respect –– especially if they’re at your show.”

18. A&R LOVE A BUSY ACT

Since most A&R want it all given to them on a platter, you have to do a few things yourself. Attorney LaPolt affirms, “A&R are attracted to successful acts. She therefore recommends that artists make a list – such as, touring, playing music conferences, placing songs, boosting their Internet presence, getting radio play and, most of all, selling CDs. “The more you do,” she maintains, “the more A&R will be interested.”

19. A&R EXPECT FRESH RECORDINGS

Many acts today record full albums and, according to attorney Scott Harrington, that’s not a bad idea. “Indie labels often like to have a complete album to deal with,” he says, “and you can always sell it at your shows.” But, he warns, “it’s important to keep recordings current. If it’s over two years old, it could make A&R think you’re not very prolific.”

20. A&R LOVE CONTACT INFO

Tony Ferguson (Interscope) sighs, “Artists still do not put contact information on everything. It should be on every piece in a package (including the CD) and easy to access on a Web site.” That means keeping having a CONTACT page on your site. If all you have is a newsletter signup or fan mailing list –– redesign the site.

21. A&R DON’T SIGN EVERY YEAR

There are several reasons why A&R will pass on your music, and it doesn’t always mean that you’re not worthy of being signed. Attorney Ben McLane points out, “Everyone gets passed on –– even the Beatles were rejected. Artists should understand that most A&R do NOT sign new acts every year –– that isn’t their primary function. So, don’t take a pass personally.”

• If They Pass – Ask For A Lead

“Even if you’re passed on,” Dito Godwin (BGO Entertainment) advises, “ask if they know someone who might be interested.” Godwin contends, “If your music meets their standards, they’ll generally help by leading you to someone else.”

• Know Something About Deals

Attorney Dina LaPolt believes, “Artists should have a general knowledge about record deals.” Why? “Because, today, there are many different types of deals. ‘Upstreaming’ is very popular at the moment,” she explains. “That’s where an indie develops an act to a certain level (usually sales) and then a major takes over.” Complications arise, according to LaPolt, when you have to negotiate the contract. “Essentially, you’re dealing with two contracts,” she says, “one indie and one major. You must protect your rights in each one.”

• Know An Indie From A Major

Because “upstreaming” is so popular today, it’s important to determine “whom” you’re dealing with. According to attorney LaPolt, “Artists may think they’re dealing with an indie, but the indie may be contracted to a major. If that’s the case, terms –– like the advance –– could be significantly different.” LaPolt believes upstreaming is good for artist development, but may mislead some artists into thinking that they’re signing with an indie, when actually a major is behind them.

• Consider Your Options

There’s more to life than a major record deal. Indies are stronger than ever, and new business models are emerging. One new development is the e-label. Dean Sciarra operates ItsAboutMusic.com where age is no factor and a “story” doesn’t matter. “We’ve been online for five years, and don’t even bother with brick and mortar distribution,” he says. “We believe consumers will eventually get all their music online.” Sciarra’s chief requirement is quality: “We don’t accept everyone.” The label services about 50 music sites, and Sciarra maintains, “An artist can make a good living by selling a few hundred downloads per quarter.”

• Just Do What You Love

Many artists and industry complain about the state of music today. But Mollie Moore (RCA) believes musicians (and A&R) need to get their priorities straight. “Let’s just do what we all love,” she says. “That’s what we’re in this business for. It’s ridiculous how down everyone gets about the music scene.” Moore contends that there’s a lot of new music to get excited about. “New acts are making their mark every day.”

The Absence

The Absence is an American melodic death metal band from Tampa, Florida. Their style has also been described as aggressive thrash metal with Scandinavian metal influences. ^[1] They are currently signed to Metal Blade Records. The band released an eponymous EP in 2004 and followed up with their debut album, From Your Grave, in 2005. The band’s second album, Riders of the Plague, was released in 2007. The album was praised in a review for finding an “interesting balance” between the genres death metal and thrash metal. In 2007, bassist Micheal Leon joined the band. Drummer Jeramie Kling left the band that same year and was temporarily replaced by another drummer from the Tampa death metal scene, Chris Pistillo. The band recruited Justin Reynolds as their new drummer in early 2008.

The Absence stated in late 2008 they would be entering the studio to record a new studio effort in March of ’09. Due to time constraints and touring duties, the band said they would enter the studio on September 10th since the original date “wasn’t the right time.” However the band delayed studio entrance time once again and recently stated that they entered Mana recording studios on November 2, 2009 to record Enemy Unbound, their third studio album. The band is aiming for an early 2010 release.

The Absence Media Gallery:

Buy The Absence Music At Amazon.com
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The A&R Game

Game One
One of the most unpleasant tasks a manager has to face is the in-person meeting with an A&R guy. At the meeting, the manager is supposed to play a tape of his artist and expect the A&R guy to both listen to it and make a decision regarding seeing the artist live, signing him, or throwing the manager and the tape out of his office. No pressure, right?I can’t tell you how much I despise these meetings. To begin with, whenever I agree to manage a band, it’s only because I believe in their talents, their songwriting and their ability to entertain. I feel that they are destined to become one of the biggest bands in the world—or I don’t get involved. Period.

But there I am—handing over a three-song CD to a perfect stranger, believing that he will listen through the first chorus and then, as if by wizardry, share my visions for the band! Not likely. Instead, we both sit there uncomfortably, and suffer. I suffer because I am convinced that what I am handing him has the word GREAT written all over it and he suffers because he knows he cannot commit to anything now.

So we play the game: He listens politely and tells me it sounds good but he needs more time and more songs. I thank him for taking the time to listen, promise to get back to him with more songs and then leave. And the beat goes on.

 

Game TwoEver try to get an A&R person down to a show? What’s interesting is that you’ll probably get a commitment over the phone—especially if you’re persistent. But nobody will actually come down to the performance. Naturally, if you happen to manage a superstar act, labels will roll out the red carpets for you—but handle a local, unsigned band, and it’s like pulling teeth.

Not too long ago, I met with a certain major label vice president of A&R (who shall remain nameless and clueless) at his office. I scheduled the appointment in advance, so I was expected to show up. After shooting the breeze for a few minutes, he played the tape all the way through. All three songs. A good ten to eleven minutes worth of music.

When the music was over, he turned to me and asked when he could see the band perform live. “These are good songs,” he said, “where are they playing next?” He wrote the information down in his appointment book and actually came to the show!

The following day we spoke on the phone and he gave me his critique of the show. Basically, he liked it—but he wanted to hear more. So I followed up a week later, sending him a second selection of songs. I gave him a few days to digest the new stuff then phoned him for a follow-up. He said that there was “some interesting stuff” there on the CD. More positive reinforcement. All of these comments led me to believe that he was interested in following the band’s career over the next few months to monitor their development. Wrong!

I kept inviting him down to one show after another, one club after another, month after month—each time following up with phone calls and fax messages. Nothing. After about three months, he stopped taking my phone calls completely and his assistant answered for him. So here’s the question: What do I tell my band? Is this A&R guy interested or not? If not, why not just say so and stop wasting everyone’s time? If interested, why not just do something—anything?

 

Game ThreeThis third A&R game can be called “What Do You Think?” because it involves the original A&R person attempting to ask everyone else at his label for an opinion. Here’s how it works: If an A&R guy likes your tape, he will ask to hear the band live. If he likes what he sees and hears, he will ask for a second tape with three or four new songs.

If he likes the second tape, he will want to see the band live for a second time—just to be sure. Then, when he’s sure he wants to proceed, he’ll ask to attend a third show at which he will bring other members of his label and ask them for an opinion. A single negative reaction is more than enough to kill the deal. Many times, that is exactly what the A&R community looks for—a reason to not sign an artist.

If all is positive, he will still want opinions from the East Coast office and then from the President of the label. All of this screening can take well over a year. Ever wonder why artists decided to release their own records?

Top 10 Qualities of Successful Recording Artists

1. have tremendous Focus. They have a clear understanding of their goals and don’t get sidetracked by outside influences, people, or problems when pursuing their goals.

2. have extraordinary Tenacity. No matter what obstacles pop up–and there are always many–they don’t give up.

3. are Decisive. Successful artists think things through thoroughly but quickly, and they don’t change their minds after a decision is reached. They may question it in their own minds but are willing to live with the consequences, and they don’t ask for a do-over. (This is probably the Number One area where less-successful artists go wrong.)

4. have Vision. Like good chess players, successful artists are able to see ahead to the next several moves and can see what outcomes may result from each option.
 
5. don’t take business personally. Successful artists are able to separate the business aspect of their careers from the creative side and make them co-exist peacefully.
 
6. have Marketing Sense. They may not admit to it publicly or even know the terminology, but nearly every super-successful artist with more than two successful albums has an innate concept of branding, how they fit in to the music marketplace, and who their audience is. Superstar artists who have achieved longevity are especially adept at this. (It’s not just their managers. It takes marketing skill to get a good manager’s attention.)

7. know when to ask for help, and know who is the best person to ask. They may not know how to get hold of them, but they know who to get.

8. surround themselves with the best, most talented people. The definition of “best” depends on the artist’s own definition of success. For some, it’s the people with the most proven financial success. For others, it’s the people who are successful in terms of numbers and are easy to work with. Docile artists sometimes surround themselves with more aggressive people. It all depends what works for each artist.

9. have Common Sense. Sometimes this is developed over time, but successful artists don’t achieve longevity or keep their money by doing dumb things.
 
10. are usually Workaholics but love their work so much they don’t pay attention to the clock. Lazy people don’t succeed in the music industry because there’s always someone coming up who’s willing to work harder

20 Reasons why bands get stuck at the local level

1. Poorly-defined goals. Even if they’re too modest to say so in public, successful artists have a solid answer for the question: “What are your goals in the industry?”2. Band members with different goals. In order to succeed, you have to be on the same page. It’s tough to stay on track if some band members know what they want and others want different things or don’t know what they want at all.

3. Lack of musical focus. Creativity is good, but in the mainstream music industry, only artists with multiple past successes have leeway to gravitate toward other musical styles. Different musical genres involve different business contacts and working methods. Artists whose styles are too diverse have difficulty achieving consistent contacts and working methods…and it takes consistency to break a new artist. (Newsflash for artists who think playing a lot of different styles makes them unique: it doesn’t. We see artists with this “unique” talent all the time. In fact most artists can play or sing in more than one style but publicly focus on one they do best.)

4. Poor work ethic. The old saying that harder you work, the luckier you get is true.

5. Waiting to be discovered. People who are “discovered” make it happen instead of waiting.

6. Ineffective artist management, or not listening to good management. It sounds simplistic, but it’s where many artists go wrong. In order to be effective, your management has to know what they’re doing. If you have good, experienced management but don’t listen to their advice, they can’t help you.

7. Working with people who don’t have contacts in the industry. Ideally, the people you start with should be constantly building better skills and contacts along the way. If that doesn’t happen, you’ll need to work with people who have contacts at the next level.

8. Signing with a label with inadequate funding or poor distribution. If you want a record deal, the goal isn’t “a record deal.” The goal is the record deal with the most potential for long-term success.

9. Lack of live following. Especially in rock and country, no draw means no deal.

10. Artist “settles” too much; recording quality, image, stage presence, photos, and demo packaging, and overall presentation are all “OK.” Successful artists are more than just OK and never settle for it. Nor do their managers.

11. Poor networking skills. Successful artists constantly seek new networking methods and know how to use them.

12. Hanging onto ineffective band members. Many artists have trouble separating business and friendship, at the cost of their careers.

13. Dated musical style. (Sounding like Pearl Jam or ‘NSync probably isn’t going to cut it.)

14. Dated image. If you still dress the same way you did 5-10 years ago or have the same hair style, it’s time to freshen up. If you’re fond of the clothes, wear them on your own time–not when you want someone to invest money in your music being the hottest thing since sliced bread.

15. Lack of radio-friendly songwriting. No hit potential, no deal.

16. Bowing to peer or family pressure not to change. Doing the same thing the same way brings the same results, so in order to improve something, change has to occur; it literally can’t stay the same. But that’s not necessarily a bad thing: if you put icing on a cake, the cake changes but is still the same underneath. (If it’s bad icing or you do something stupid when frosting it, the cake falls apart. Fortunately, that doesn’t happen too often.)

17. Drug or alcohol issues. Many artists with easy access to drugs, alcohol, and groupies at the local level have the distorted impression that they’ve “made it” and lose motivation to go any further.

18. Spouse / child obligations. Putting together an entertainment career is expensive and requires a major time commitment. The same is true of spouses and children. We’re not saying it’s impossible, but it’s definitely more difficult.

19. Impossible to work with. Being impossible to work with doesn’t necessarily mean the artist isn’t a nice person; one very nice artist has had seven managers in the past ten years. We like this artist just fine as a person, but in order for a team to become successful, it needs time to gel. With a rotating litany of band members, managers, and agents, that’s not likely to happen.

20. Not understanding how the industry works. You have to know how the game is played in order to move the right pieces.

Demo Submission

EkoTren

Established in Cape Coral, FL in 2000 by vocalist John Sheldon, guitarist Keith Finnell, and keyboardist Steve Chin, EkoTren has carved their name deep into the scene. With the later additions of Bassist Derek DeSantis(ex Twisted Method), and drummer Frank Jargiello the quintet has toured the country extensively, in support of their debut album Light The Fire(2008) and have shared stages with the likes of Ill Nino, Skindred, Straight Line Stitch, Stained, Chevelle, Saliva, Flyleaf, Nonpoint, Diecast, Ankla and more.

Web Sites

www.ekotren.com | www.myspace.com/ekotren | www.purevolume.com/ekotren | www.reverbnation.com/ekotren

EkoTren Media Gallery:

Buy EkoTren Music At Amazon.com

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Within Chaos

Based out of TEXAS, Within Chaos has been tearing up the U.S. kicking in doors and taking no prisoners as of late. With a mix of old-school influences, Slayer-style thrash and new-model monsters like Hatebreed and Lamb of God. Within Chaos is set to join the ranks of the elite metal bands of the world. The Within Chaos formula brings the searing guitar sound courtesy of Jason Huggett who can only be compared to guitar gods of years past. Combined with the low end power and in the pocket presence of Jim Taylor on Bass and Travis Denham on Drums. And let’s not forget the vocal assault brought on by none other than Jay “JC” Childress. Within Chaos is set to take on the world. Now is the time to rise up and be counted and not passed by the chaos.

Within Chaos offer fans lifetime entry into its live shows…with a catch.  The band says, “If you are sick enough to go and get a Within Chaos logo tattoo on your body we will give you lifetime admission to all our shows.”

In 2007 the band signed to indie powerhouse KOCH Records, for a worldwide, four-album deal. The band released the full-length, Virulent, in the fall of 2007.

“[Virulent] kicks you in the cojones from start to finish.” — Hit Parader

“This album is some serious Texas metal.” — Harder Beat

Within Chaos Media Gallery:

Buy Within Chaos Music At Amazon.com

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