FMQB With RCRD LBL’s Peter Rojas

This post is a bit meandering as it’s Friday, I have a million things to do and can’t take the time to put together something concise and coherent (do I ever?) but today on Coolfer, Glenn links to a FMQB interview with RCRD LBL co-founder Peter Rojas who raises some excellent points with which you’ll probably totally agree, especially if you’re like me and spend a considerable amount of your time thinking of ways to create exposure for emerging artists, products, and services.
RCRD LBL – and the model Rojas has come up with along with the founder of Downtown Recordings, Josh Deutsch – is something I’ve been talking up for a while now.
The most important contributing factor when establishing emerging artists is exposure. There are no longer any surefire marketing channels through which a major label can sort of force out an artist and know in the worst case scenario they’ll scan 250k.Creating or receiving this exposure is difficult for emerging artists because of their lack of capital, yet it is these emerging acts which are often the focus of critical acclaim especially among the people with their ear to the ground, those whom are also the target of leading lifestyle brands like BMW, Nokia, and Puma.
With RCRD LBL these artists are now receiving the exposure they deserve through the help of these brand sponsors seeking an integrated relationship with young and well-networked consumers, which is great because it means a label like Warp Records is competing on a more level playing field when it comes to establishing emerging artists.

Sure, music blogs have been turning a profit by way of ad revenue and integrated sponsorships, such as Stereogum, and there’s a whole industry built on being hired by labels to get their artists exposure on these music blogs. The trouble is there can only be so many posts a day, and that means a label is forced to choose which artist or which song (see my post on the Grammy Awards) and, also, why would a label unsure if an artist like Moby can pull off another successful career reinvention, use marketing dollars for something that isn’t going to directly contribute to new record sales?

The focus with RCRD LBL isn’t so much just running the sort of “brought to you by” ads but allowing brand partners to help break emerging artists.

RCRD LBL also addresses the fact that established artists like Moby have hugely dedicated core fanbases that seek more content that the 12 songs on an album, fans always want more, whether it’s b-sides or what have you, which means it’s another way for money to be made, whether a label is involved or not, because it is Moby and as exclusive content on RCRD LBL a brand partner is practically guaranteed tens of thousands of impressions (take a look at the Alexa data for the increase in site traffic since they exclusively released the new Moby album sampler)

The same goes for an artist like Born Ruffians, what they need to become an established artist, rather than an awesome but emerging artist with just an EP (with 4 super dope songs on it), is EXPOSURE and they need the 25,000 uber fans to help catapult their careers with their love. This is further facilitated when fans make a personal connection with their favorite artists, which is where RCRD LBL’s brand partners will really come into play in the future. Sure, a fan can have a band’s desktop widget on their desktop but what’s going to really hook them is the multimedia tour diary (Nokia) or the streaming live show online with amazing quality (care of Nikon).

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