| So you've got a great demo, and you want to learn | | | | This is a one-page introduction to you and your music |
| how to contact record labels. This can be an | | | | that represents you in a fresh and marketable light and |
| intimidating and challenging part of breaking into the | | | | makes an A & R representative want to see more |
| music business, and you have to have a certain | | | | from you. If they say they are accepting demos or |
| measure of pluck and courage to make yourself | | | | packages, send your package, and try to find the |
| heard. But it's not impossible by any means, and a bit | | | | name of the A & R representative to send it to. This |
| of knowledge is the best place to start. | | | | information should be available online or by phone. Your |
| The first thing to know (though it may seem obvious) is | | | | package should include your cover letter, your demo, a |
| that, unless the circumstances are extraordinary, you | | | | band photo, a band bio, and press clippings if available. |
| cannot simply find a label's address on its website and | | | | You may call or email to follow up, but always follow |
| send over your demo. Most often, major record labels | | | | the guidelines in place. Make sure to be both polite and |
| do not seriously consider unsolicited submissions, so | | | | enthusiastic in these encounters. Sell yourself without |
| you are swimming against the current if you don't | | | | being pushy. |
| happen to know an agent or producer. Do network; | | | | For independent record labels, the rules are slightly |
| you never know who knows someone who could get | | | | different, as business models vary from label to label. If |
| you in contact with a label. Keep your antennae up | | | | the label is small enough, you will be able to find a |
| about any contacts or resources that cross your path, | | | | street address and email address on their site, to |
| even if they seem unlikely. | | | | which you can send questions about if and where |
| But let's say you don't have any contacts. The first | | | | they accept demos and submissions. The degree to |
| place to go is a database or directory. Record labels | | | | which indie labels consider unsolicited submissions |
| release information about how to contact them onto | | | | varies. If the label classifies itself as "open submission," |
| music contact databases, such as ReachFame. These | | | | you may send your materials directly, but make sure |
| are a valuable resource at this stage; they contain | | | | you read the submission guidelines if they are available. |
| information and services for bringing artists and labels | | | | Indie labels are a great opportunity to develop |
| together. Often, going through these database | | | | relationships with A & R representatives, so make |
| services allows you to submit to labels that do not | | | | sure to email a follow up and keep the flow of |
| ordinarily accept unsolicited material. You might need to | | | | communication open. |
| create a profile on one of these sites in order to see | | | | With resourcefulness, determination, and the right |
| which A & R's are seeking material. | | | | information, you can contact record labels with your |
| If you find a label that says it accepts unsolicited | | | | materials and hope for success. It may not be |
| material, you may send them your package-tailored to | | | | immediate, but as long as you keep yourself savvy, |
| their requests for submissions, of course. If they say | | | | educated, and upbeat, you are sure to find success in |
| they are seeking cover letters, send your cover letter. | | | | your record label contacts. |