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Just like record labels, club owners and promoters want to make money first and foremost. Additionally, they need to uphold the reputation of their establishments as being a “hot spots”. Therefore, booking new acts for them is understandably risky business.

New acts can deal with this dilemma in one of two ways:
a) Ask a popular established local artist if you can be their opening act for their next show OR b) Have a strong sales-pitch that will get your foot in the door.

If you chose to undertake the latter option, know this: if you don’t deliver on your promises, you could quite possibly become “blacklisted” from that club and its affiliates. Club owners and promoters pay bands that are reliable and hard-working. If you prove yourself “worthy” in the eyes of a booker, you’ll be amazed with the opportunities they will offer you in the future.

When it comes to requesting opening slots, rule number one is this: be respectful and sincere. Don’t harass every band in the city that has a decent following, especially if their style doesn’t resemble yours in the slightest. It won’t benefit you to play to a pop crowd if you’re a heavy metal act.

Moreover, don’t approach bands that you genuinely dislike. The purpose of opening slots is to gain the support of the larger act’s fan-base. Fans are very loyal to their favourite local acts, and they won’t appreciate it if it’s obvious that you are simply milking the bigger act for what they are worth. Furthermore, partaking in this action is disrespectful to the artists who have made the local scene what it is.

If you plan on building up a reputation for your act, in virtually any city, you need to understand that music scenes are generally very close-knit. Practically everyone in bands knows each other or at least knows of each other meaning that if you piss one person off, you are really pissing off all of their friends who happen to be in bands as well.

Secondly, don’t set your expectations too high. You will most likely NOT get paid and there is no way your first gig will be as a supporting artist on Metallica’s tour, even if they are from your hometown. I’m sorry if this bursts your bubble, but the openers for nationally touring acts are usually lesser known bands that are managed by the same label. It’s very controlled, and breaking into that territory takes time as an act needs to rack up its bragging rights before a label will consider adding them to their roster.

Instead, aim at “getting in good” with the popular local acts that have “street cred”. This goal is much more feasible, and it is possible so long as you approach them in a professional manner.A commonly used strategy for this purpose is to attend several of the popular local act’s shows ensuring you are seen as a paying supporter. After one of their sets, initiate casual conversation with the lead singer (almost always the one in charge of booking shows) as a fellow musician, NOT as a fan. Tell him/her how much you enjoy their music and performances (a little ego stroking never hurts, but don’t go overboard), and then further go on to explain about your new act, and how you would be honoured to share the stage with them. Make sure you swap contact information so that you can later remind them of your meeting. Also have a demo on hand to offer them free of charge, or at the least a website link through which they can check out your act. Above all, remember to follow-up. Popular local acts are approached by several bands requesting this very favour, therefore if you really want the slot, show them. They certainly will not come hunt you down.

If you chose to attempt the second suggested method of approaching a booker directly, make sure you have polished your skills of persuasion. Trust me on this one, it’s all in the pitch.

What An E-Mail, Steve Albini And Our Survey Have In Common

My dear musicians and bands on church-of-noise.net,

reading just another E-Mail today starting with: “Can you introduce us to an A & R…”  I just thought of Steve Albinis words:

“Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit.”

Actually this kind of mail and question arrives in my inbox every single day. The words I cited are taken of an article by Albini that he called "The Problem with Music”. Any artist who seeks a major deal and really believes it to be his savior should read Albinis article. Make sure to have a dictionary and a calculator ready before reading.

Some of you surely do not know who Steve Albini is. He´s the one who gave birth to the sound of artists just like the Breeders, Helmet, Godspeed You! Black Emperor, 18th Dye, Jesus Lizard, PJ Harvey, Neurosis, Nirvana, Mclusky, Bush, A Whisper In The Noise, Zao and many more. He did not only work as a sound engineer but for labels, agencies. He´s experienced if not to say a guru in the fields of sound and independent music business.

Where the heck does this myth „major deal“ come from anyways? And why do so many artists still hit the hay?

To speak from my own experience it´s a mixture of  the same old routine, greeness and things that are shown  in the media. A major deal is always associated with freedom, fame, money, independency, having the power and peace to concentrate on creating one´s own music. It´s also about seeing the crowd suck what you say, live what you are, stand for what you sound, talk, look like - it´s all about image.

Being on the road for quite a long time and working in the fields of music too I came across a lot of  things:

You seldom write a good song feeling power and peace. Best songs have not been written in independency and safety but in chains, tears, blood and sweat. That´s not just about Afro-American blues. You can read that in biographies of Schubert and Debussy too.

It´s not the major labels who “present” us such music. In fact they have never done that.
They just buy this music and the artists when their music has reached a certain degree of fame or they reached a somewhat critical mass of anything.

It´s not up to the major labels to present us artists who constantly develop an own sound, style and image. Most people tend to forget that this work is done by sound engineers who travel along with the artists getting paid as worse as the musicians themselves. Not to forget the agents and venues who save their last few bucks to print a handful of flyers. Not to forget small independent labels who often release records simply for the love of the music and not for economic interest. Not to forget the die-hard fans who spread the music word-to-mouth.

This is how it works and always will. Artists need a lot of strength and good decision-making qualities to undergo that process successfully. And they have to find the right people at the right time and place.

Major labels are usually not there to support an artist to get on his way up. No one forces them to and that is not a necessarily bad thing at all – they simply are there to market products and want to make money out of music. They are big businesses dependent from financial markets, run by boards of directors focusing on several market segments.

You do not ask for a major deal but you are offered one! Why that´s the way it goes and what traps you should be prepared for – Albini put all that straight in a nutshell for you here.

I have chosen the title of my post in full consciousness. Albinis words remind me on why I started church-of-noise.net in 2006. Though today´s music market is pretty much being restructured and independent artists face much better conditions and possibilities they will have to open their minds for new ideas and networks and learn how to use them. If they don´t do so all these new possibilities will not be worth anything. There have to be created new networks and independent media in order to pave the way for up-and-coming artists.

I am happy and convinced that church-of-noise.net is on the right way. Results of our survey show that
about 60% of all artists say that using the network helps them to get more shows
about 80% would love to see more functions and features in the network
nearly all recommend church-of-noise.net to other artists

We´ll make sure to provide you with the final results very soon.

If not already done yet, you should really start reading Albinis article now!

Take care & read you soon on church-of-noise.net,
Michael Schwark

Was eine E-Mail, Steve Albini und unsere Umfrage gemeinsam haben

My dear musicians and bands on church-of-noise.net,

als ich heute die x-te Mail in meinem Postkasten fand, die mit: "Kannst Du uns nicht einen A & R eines Labels..." begann - da habe ich mich an diese Worte von Steve Albini erinnert:

"Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit."

Viele Anfragen, die ich bekomme, drehen sich immer wieder um Inhalte wie "Wie zur Hölle kriege ich einen Plattendeal?", "Wo komme ich an A & Rs von Majors ran?", "Ich bin so gut, aber kriege einfach keinen Vertrag!".

Die eingangs zitierten Zeilen stammen aus einem Artikel von Albini. Er hat ihn "The Problem With Music" genannt. Und jedem Künstler, der glaubt, sein Heiland in einem Plattendeal, einem "Majordeal", zu finden, lege ich nahe, diesen Artikel unbedingt zu lesen. Dabei bitte Wörterbuch und Taschenrechner zur Hand nehmen.

Einige von Euch wissen sicherlich nicht,  wer Steve Albini ist. Er ist derjenige, der Bands wie den Breeders, Helmet, Godspeed You! Black Emperor, 18th Dye, Jesus Lizard, PJ Harvey, Neurosis, Nirvana, Mclusky, Bush, A Whisper In The Noise, Zao und vielen, vielen anderen zu ihrem originären Sound verholfen hat. Er hat nicht nur als Recording Engineer sondern auch bei Labels, Konzertagenturen, einfach beinahe überall gearbeitet, wo Musik vermarktet wird.

Interessant ist, zu hinterfragen, was diesen Mythos "Major-Deal" eigentlich so hartnäckig aufrecht erhält. Ich denke aus eigener Erfahrung, das ist die Mischung aus Betriebsblindheit, jugendlicher Naivität und Medienmache.

Der Gedanke an "den Deal" ist immer der Gedanke an Freiheit, Ruhm, Geld, Unabhängigkeit, Ruhe und Kraft für die eigene Musik. Es ist oft der Gedanke, von der Masse gewertschätzt, anerkannt zu werden. Und natürlich der Gedanke, zu polarisieren und als Einheit, als Image, zu gelten.

Wenn man dann aber ein paar Jahre unterwegs war und auch "von der anderen Seite" mit Musik arbeitet, steckt man einiges ein, um folgendes zu lernen:

Ruhe und Kraft schreibt selten gute Musik. Die besten Songs sind nicht in Sicherheit  und Unabhängigkeit entstanden, sondern in Ketten, Tränen, Blut und Schweiß. Das gilt nicht nur für den afroamerikanischen Blues. Das kann man auch in Biografien von Schubert oder Debussy lesen.

Es sind nicht Majors, die uns diese Form von Musik "schenken" und es waren nie Majors. Sie kaufen diese Musik ein, wenn sie die entsprechende Breitenwirkung erreicht und eine "kritische Masse" erreicht hat.

Es sind nicht Major-Deals, die Bands nach oben bringen, die lange und nachhaltig gehört werden. Es sind Toningenieure und Live-Mischer, die sich lange Zeit für wenig und keine Kohle die Finger schmutzig drehen. Und es sind kleine Booker und Locations, die sich oft unter der Schwelle der Selbstausbeutung jede einzelne Show und jeden einzelnen Flyer vom Mund absparen. Es sind kleine Labels, die oft mehr aus Liebe zum Künstler und seinem Produkt als aus wirtschaftlichem Interesse Platten veröffentlichen.
Es ist Word-To-Mouth, Herzblut und Begeisterung der Fans, es ist ein Funke, der überspringt. All das baut einen Künstler auf, aber fordert ihm auch unheimlich viel Kraft und Entscheidungsstärke ab. Und natürlich Talent und Durchhaltekraft, um "die richtigen Leute" frühzeitig an sich zu binden.

Für diesen Künstleraufbau nehmen sich Majors in der Regel wenig bis gar keine Zeit. Niemand zwingt sie dazu und es nichts zwangsläufig Schlechtes - aber Majors vermarkten nun einmal ganz klar Produkte und wollen Geld verdienen. Sie sind große Unternehmen, abhängig von Finanzmärkten, regiert von Aufsichtsräten, geeicht auf verschiedene Marktsegmente.

Nach einem Vertrag mit einem Major fragt man nicht. Einen Vertrag mit einem Major bekommt man angeboten. Wieso das so ist und wie das passiert und wo die Fallen liegen können - darüber schreibt Albini!

Ich habe den Titel meines Posts bewusst an seinen Artikel angelehnt. Denn er erinnert mich daran, warum ich Ende 2006 mit church-of-noise.net angefangen habe:

Obwohl sich der Musikmarkt verändert und für unabhängige Künstler einiges einfacher und überhaupt erst möglich geworden ist, müssen auch Musiker und Veranstalter sich erst für neue Ideen öffnen. Denn sonst werden diese Techniken und Netzwerke am Ende nicht viel Wert sein. Ohne unabhängige Medien für Künstler und Veranstalter sähe es zukünftig schlecht aus für Musik.

Ich freue mich aber und bin überzeugt, dass church-of-noise.net auf dem richtigen Weg ist. Nach einer kurzen, ersten Sichtung der bisherigen Umfrageergebnisse, zeigt sich:

rund 60% aller Befragten geben an, über das Netzwerk bereits Shows erhalten zu haben.
mehr als 80% wollen den Ausbau des Netzwerks um mehr und neue Funktionen.
und gefühlte 99,9% empfehlen church-of-noise.net an Künstler weiter.

Wir werden zu späterem Zeitpunkt eine detallierte Übersicht rausgeben. Jetzt aber ab zu Albinis Artikel, wenn ihr nicht schon längst drauf seid!

Passt auf Euch auf, wir lesen uns auf church-of-noise.net,

Michael Schwark

thanks for the many replies referring to our recent survey that we sent only two days ago. This means a lot to us!

Many of you ask what´s going to happen on church-of-noise.net next. You asked how we will evaluate your answers. That´s why we are sending this short message out a bit earlier than we actually planned to do.

Within the following few weeks we will come up with an update which will make it easier for venues and promoters to update their information on church-of-noise.net. We simply want you always to have access to up-to-date information. We will also come up with a few details which will make the information displayed more tight and easier to read.

But first and foremost we will welcome new interesting partners and be able to provide artists and promoters with new services and concepts. Be curious, stay tuned and check the blog next week to learn more!

Within the following six months we will focus on the redevelopment of the network - in cooperation with a namable agency in Berlin. A lot of great ideas and of course your wishes and ideas will be the fuel for our brains and will be considered. We are looking forward to presenting you details as soon as possible.

Our booking tips and tricks are hot on youtube.com. Many of you have send us a few lines already saying that you like it or how we can do even better. There´s nearly any video who has not got a YouTube award already.  20000 views within a bit more that 6 weeks, that´ so impressing - THANK YOU ALL!

Just a short hint:

Have you noticed the new SHARE icon in the locations´ profiles yet? You can bookmark the locations, send them to your band mates, befriended artists or promoters. There´s many more to explore. Just go try out!

Read you soon, folks!

Kathleen Tanu for church-of-noise.net team

Liebe Mitglieder,

danke für Eure Teilnahme an unserer aktuellen Umfrage! Erst vor 2 Tagen haben wir sie gesendet und schon so viele Antworten! Grandios!

Viele wollen wissen, was auf church-of-noise.net zukommt und wie genau wir die Umfrageergebnisse berücksichtigen. Das hat uns veranlasst, diese Mitteilung eher zu schreiben als ursprünglich geplant.

Wir werden in wenigen Wochen wieder technisch „anbauen“. Dieses Update wird die Anbindung der Locations weiter verbessern. Wir wollen schließlich immer möglichst aktuelle Infos liefern. Außerdem werden wir die Darstellung der Seite noch etwas kompakter gestalten und ein paar liebevolle, nützliche Details ergänzen.

Wichtiger aber ist: wir begrüßen in Kürze neue Partner. Durch diverse Kooperationen werden wir für Veranstalter und Künstler interessante Features und Angebote an den Start bringen. Man darf zu Recht gespannt sein. Schaut einfach nächste Woche in den Blog! Zusätzlich starten wir mit einer namhaften Berliner Agentur durch und planen in den nächsten 6 Monaten die komplette Neuentwicklung des Netzwerks. Dabei werden viele sehr guter Ideen einfließen und natürlich vor allem auch Euer Lob, Eure Kritik und Wünsche.

Unsere Booking-Tipps für Künstler erfreuen sich großer Beliebtheit. Wir konnten viel Lob einstecken, konstruktive Kritik auswerten und sind schon bei der Planung neuer Clips. Beinahe alle unsere Videos haben bei YouTube schon Awards kassiert und an die 20000 Views in etwas mehr als einem Monat sprechen Bände.

Einen kleinen Tipp habe ich auch noch für Euch:
Habt ihr schon bemerkt, dass ihr jetzt jedes einzelne Location-Profil bookmarken, als E-Mail versenden oder auf gängigen Plattformen veröffentlichen könnt? Wenn nicht, dann probiert mal den Button „Share“ in den Location-Profilen aus! Also gar kein Problem, noch besser am PC zu planen und sich Infos „komfortabel“ zu merken.

Wir lesen uns,

Kathleen Tanu für das church-of-noise.net-Team

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CHARLA.CA FAQ LIST
Photographer FAQ
Wedding Booking FAQ
Wedding Package FAQ
Wedding Day FAQ

Must-Have Shot List
.....................................................................

1. How far in advance should we book? How do we secure our booking? Popular engagement times are summer, Christmas and Valentines. We usually see an influx of bookings on those dates. For popular wedding dates (july and august) I would highly recommend booking at least a year and a half in advance. Since not everyone plans their engagement date and may not want to wait so long to be married I simply suggest to book as soon as possible. However I don’t book extremely in advance, ie. more than two years. I will write you on top of my wait list so that as soon as I begin booking you will top priority.

Your booking and date is secured once we sign the contract and I receive the deposit.

2. What is a deposit? Is it refundable and what is your cancellation policy? The deposit is a way to secure your booking. Since wedding season is very busy I, as a professional photographer, need to be sure I have booked dates. As the bride and groom you can be sure that I will not book someone else on your date. The deposit is a promise from both parties. Deposits are not refundable. Once we’ve secured your date we turn away many possible clients. If you cancel close to the date it means that we lose that business. However, I do know that things happen and dates change so if I can book your date in good time I will happily return your deposit.

3. Is there a contract to sign? My resounding answer is yes! Both photographer and client need guarantees that promises will be met and especially what will happen in a case of emergency. Once the contract is signed you will know exactly what will receive from me.

3. Do you travel for weddings? Definitely. I have and will travel to any destination worldwide. For travel out of province, as each wedding is unique, please contact me to discuss dates and costs. Around Newfoundland travel within 100km of my Studio in St. John’s is free. Beyond 100km I charge an hourly fee with extra charges depending on the circumstance and timing. Please keep in mind that during high wedding season I can book three weddings a weekend. Because of such bookings traveling long distance within the province still may not be possible and there may be a surcharge for travel on the most popular dates of the summer.

…

To see my portfolio and view my prices please visit my website at www.charla.ca and of course feel free to email or call me (709.765.7367) with any other questions or concerns!

Charla

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CHARLA.CA FAQ LIST
Photographer FAQ
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Must-Have Shot List
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*Photo Courtesy of Children 18:3*

...and there really is no stopping...all that popping

I just confirmed this band for September. I'm pee my pants excited about this.  My fire princess loves the leading lady in this band.  She pretends she is her.  And the last time we saw them, they even gave her a t-shirt.  So for me, being the mama that I am, am really really excited to book these kids.  Not to fail to mention that their parents travel with them...which gives me hope that my future as a mother really can be "cool."

My  Rider to sign just came via e-mail...I'll be honest, those things are scary.  Nothing like  putting your signature on a piece of paper that says "if I don't comply with these agreements, you can eat my soul" Ok, I may have taken liberties a bit, but you get the jist of it.

Riders are so scary.

But let me let you in on 6 secrets about the "Rider":

1. the technical rider (that would be the sound needs) are usually ideals.

Meaning, as long as you've got a good  sound guy, you can fudge on the technical needs

2. Most times the band only suggests the food needed.

We chatted with one band about this, and they could not figure out why they were always served pizza and Dr. Pepper, and Rockstars.  Then they found out that one of the band mates had suggested it for the rider.  Today they stand sick of Dr. Pepper and Rockstars. (no one ever gets sick of pizza...ever)

3. Just because the rider asks for a hotel room, does not alway mean they need one.

I've learned that this is a precaution for bands. Because there's wack-o's out there.  So most times they ask for a hotel.  Talk to their manager. Prove you're not a psycho, and you too can save your money by housing that favorite band of yours at your house...who knows, they may even become your friend, rather then crazy Rock Stars that are untouchable.

4. Point 3 brings me to point 4.  Talk to the manager.

This goes along with musicians are human too.  Talk to the band mates. Communicate. Then the rider doesn't seem so scary.

5.  Their Dressing room doesn't need to have a big star on it.

We use our house.  We live across the street, if a dressing room is needed, bands frequent our house. They shower, pet our animals. Look at our family pictures, and become our friends.

6. Yes, the Rider is to protect the musicians...but this industry is about relationships.

That's what makes the industry go, a bands relationship with their fans. I will say this until I die...if a band has come to a point in their "career" that they don't care about relationships any more, don't have them play. It's not worth it.  At all.  But that story is for another time...

Gulf states will still book windfall returns from energy exports despite oil's slide, meaning growth in the peninsula will roar ahead fuelled by an investment boom, experts say.

"A drop from $140 to $123 a barrel has no impact on the domestic economies. All it does is to moderate a little the surplus that the Gulf has to save overseas," said economist Simon Williams at bank HSBC in Dubai.

Inflation in the world's biggest energy exporter, Saudi Arabia, hit a 30-year peak at 10.6 percent in June as costs for food and rents soared, similar to rates elsewhere in the Gulf, new data showed on Sunday.

Oil has sold off since hitting a record above $147 on July 11, trading on Friday at $125.10 a barrel. OPEC chief Chakib Khelil said last week crude may fall as low as $70-$80. But the average oil price to date in 2008 stands at $114.54, up from $72.36 in 2007.

Gulf investors, including sovereign wealth funds, have pumped well over a trillion dollars into overseas investments such as real estate and stocks. Billions went into Western banks badly damaged by the subprime crisis.

"The governments of the GCC have been saving significant amounts of money even at $70 per barrel," said senior economist Hany Genena at investment bank Gulf Finance House.

This has allowed Gulf Cooperation Council members to invest heavily in real estate, infrastructure and to promote development of manufacturing and petrochemicals.

"It's not the level of oil but rather what the governments are going to do with the money that is important," he said.

Gulf economies, where government spending of oil revenues has traditionally been the primary growth engine, have tried to develop private sectors to create self-sustaining expansion that does not hinge entirely on the price of oil.

Economists see the Gulf economies growing at up to 11 percent in 2008, in the case of Qatar, or 5.7 percent in the case of Saudi Arabia, bucking weakness or even recession in the industrialised world.

Inflation has already led to civil unrest in some Gulf states, with hundreds of Asian foreign workers in Kuwait striking and staging demonstrations last week to demand better pay and working conditions. (Reuters)

Brought to you by Danielle Hoffman / Christine Nadonza, Reuters.

Booking Network Goes Global - Multi Language Beta Online On church-of-noise.net

Dear live music lovers!

Tonight we launched a three language beta of church-of-noise.net! Sharing information on international venues is now easily possible for our English, French and German speaking members and supporters!

This for sure is a great day for us and a lot of people who kept writing us over the last past 6 months. Actually we were that surprised seeing the number of our international visitors rising. We kept working hard and despite our small and reliable team we managed to finish a Beta this very weekend!

An extra special THANK YOU goes out to Djevara who not only are a breathtaking rock bastard from London but also provided essential help to make this first version possible.

There are still some fragments to translate and we are currently speaking to some people to improve the texts in several ways! Nevertheless we tested the version several times and made sure that it is easy usable!

Enjoy, add your shows & events, rate & comment on venues, don´t share files but the future!

Michael Schwark & church-of-noise.net-Team

heute Nacht war es soweit! Wir haben eine dreisprachige Beta von church-of-noise.net an den Start gebracht! Der Informationsaustausch über Locations, Veranstaltungsorte aller Coleur, ist jetzt für alle unseren englisch-, französisch- und deutschsprachigen Unterstützer und Mitglieder möglich.

Das ist ein großartiger Tag für uns und viele liebe Leute, die uns im letzten halben Jahr immer wieder geschrieben und gefragt haben, ob wir das System nicht mutisprachlich zugänglich machen können. Trotz unseres kleinen Teams hat es mit harter konsequenter Arbeit geklappt. Das macht uns aufrichtig glücklich.

Ein besonderer Dank geht raus an Djevara, die nicht nur einen wirklich atemberaubenden, hinterteiltretenden unverbrauchten Crossover aus London in die große weite Welt transportieren, sondern uns auch noch jede Menge geholfen haben! You know who you are!

Es gibt immer noch einige Fragmente, die gerade übersetzt werden, nichtsdestotrotz steht die Beta zur Verfügung. Wir haben die Nutzbarkeit getestet und sind zum Entschluss gekommen, Euch nicht länger warten zu lassen. Na dann, bringt Eure Shows rein, kommentiert und wertet die Venues! Kein Filesharing, Futuresharing, Freunde!

Michael Schwark & das church-of-noise.net-Team

She starts class off saying that she did something radical and "DeGunked". Got rid of some things that were cluttering up her brain.

So then she asks a few people what their "Gunk" is.

And I'm sitting there in awe and feeling like this was my confirmation.

I had just put in my notice to terminate my 9-5 job in Westlake Village. Like I've said before, I like my job, but it's a job. 

And since working there, I haven't been able to put as much time and energy into my own stuff. 

So when I hear Amy talking about "Degunking", it just stirred in my heart. Getting rid of gunk in your brain, in your schedule, in your home. Freeing up junk. Things that are taking up unnecessary space. 

And the funny part is that as soon as I put in my notice, I've had 3 auditions in one week. I FEEL the possibilities of the future. I FEEL my energy, my focus, shifting. And it is good.

In the words of Amy Lyndon "I've degunked, and now I feel JUICY!" 

Same here people. I feel the juices flowing.

Fredag d. 15. august er vi blevet booket af Københavns Kommune til at spille live på Halvandet til en stor medarbejderfest.

church-of-noise.net Ready For French Speaking Members

Dear members, supporters, partners and visitors!

That´s it! We finally came up with a French translation for church-of-noise.net!

We received so many questions from French artists and our visits from France tripled within the last 3 months! Thank you so much for your support! church-of-noise.net is now ready to be used by a much greater number of artists and promoters. We are currently working on an English Translation! Please just be patient.

Ladies and Gentlemen, we cannot change the music biz in just one day but we are the ones who are constantly working on it I promise. The future is now. Make sure to become a vital part of it!

Michael Schwark & church-of-noise.net-Team

endlich - church-of-noise.net ist in einer französischen Übersetzung zugänglich. Wir haben so viele Anfragen von französischen Acts bekommen und unsere Seitenbesuche aus Frankreich haben sich in den letzten drei Monaten verdreifacht! Großartig, Danke für Euren Support!

church-of-noise.net kann nun von noch viel mehr Künstlern und Veranstaltern verwendet werden! Momentan arbeiten wir an einer englischen Übersetzung, bitte habt noch etwas Geduld!

Meine Damen und Herren, wir können das Music Biz nicht über Nacht verändern, aber wir gehören zu denen, die tagtäglich hart daran arbeiten! Versprochen! Die Zukunft beginnt jetzt. Herzlich willkommen :-). Michael Schwark und das church-of-noise.net-Team

01 Jan 2008 Enquiries received

04 Jan 2008 Bangkok - Thailand 04-01-2008 to 07-01-2008

06 Jan 2008 Dinner Enquiries

19 Jan 2008 Booked @ Tampin

26 Jan 2008 Booked @ Klang Valley

27 Jan 2008 Enquiries received

03 Feb2008 Enquiries received - Indian Wedding

04 Feb Booked Malay Wedding

05 Feb 2008 Booked ROM

12 Feb 2008 Booked Pre-Wedding

23 Feb 2008 Enquiries received

24 Feb 2008 Enquiries received

01 Mar 2008 Booked

02 Mar 2008 Booked

09 Mar 2008 Booked

15 Mar 2008 Booked

16 Mar 2008 Booked

21 Mar 2008 Booked

22 Mar 2008 Booked

23 Mar 2008 Enquiries received

29 Mar 2008 Booked Pre-Wedding

13 Apr 2008 Booked

26 Apr 2008 Enquiries received

27 Apr 2008 Booked

03 May 2008 Multiple Enquiries received

04 May 2008 Enquiries Received

10 May 2008 Booked Melaka

12 May 2008 Enquiries received

14 May 2008 Booked Pre-Wedding

18 May 2008 Prewedding

23 May 2008 Booked

24 May 2008 Booked (Stephen only)

25 May 2008 Booked (Stephen only)

27 May 2008 Booked

31 May 2008 Booked

01 Jun 2008 Booked

02 Jun 2008 Booked

07 Jun 2008 Booked

14 Jun 2008 Booked @ Kuantan

15 Jun 2008 Booked @ Kuantan

21 Jun 2008 Booked @ Klang Valley

22 Jun 2008 Booked

27 Jun 2008 Booked

28 Jun 2008 Booked

01 July 2008 Prewedding @ Kuching

02 July 2008 Prewedding @ Kuching

03 July 2008 Prewedding @ Kuching

05 July 2008 Enquiries received

06 July 2008 Enquiries received

12 July 2008 Booked

16 July 2008 Booked Garden Wedding @ cyberview lodge

19 July 2008 Enquiries received

26 July 2008 Booked

03 Aug 2008 Enquiries received

08 Aug 2008 Booked @ Ipoh Garden Wedding

09 Aug 2008 Booked Malay Wedding

17 Aug 2008 Booked Malay Wedding

18 Aug 2008 "Hot" - Multiple inquiries on ROM

30 Aug 2008 Booked

31 Aug 2008 Enquiries received

03 Sep 2008 Booked ROM

06 Sep 2008 Booked - Wedding Dinner

07 Sep 2008 Booked

08 Sep 2008 Enquiries Received

13 Sep 2008 Booked

14 Sep 2008 Booked X 2

23 Sep 2008 Booked (Singapore ROM)

28 Sep 2008 Booked

01 Oct 2008 Enquiries received

04 Oct 2008 Booked

05 Oct 2008 Enquiries received

11 Oct 2008 Booked Kuching Prewedding

12 Oct 2008 Enquiries received

18 Oct 2008 Booked Church Wedding

19 Oct 2008 Booked

26 Oct 2008 Multiple Enquiries received

01 Nov 2008 Booked

08 Nov 2008 Enquiries received

15 Nov 2008 Booked

16 Nov 2008 Booked

21 Nov 2008 Booked

22 Nov 2008 Booked

23 Nov 2008 Booked

29 Nov 2008 Booked Melaka & Bankers Club

01 Dec 2008 Enquiries received

06 Dec 2008 Booked

07 Dec 2008 Booked

13 Dec 2008 Multiple Enquiries received

20 Dec 2008 Booked

21 Dec 2008 Booked

27 Dec 2008 Booked

28 Dec 2008 Booked

Calendar 2009

03/01/2009 Booked

04/01/2009 Booked

09/01/2009 Enquiries received

16/01/09 Booked MIRI, East Malaysia

24/01/2009 Booked

14/02/2009 Multiple Enquiries received

22/02/2009 Enquiries received

28/02/2009 Multiple Enquiries received

21/03/2009 Booked

22/03/2009 Enquiries received

03/04/2009 Enquiries received

16/05/2009 Booked

13/06/2009 Enquiries received

20/06/2009 Booked

26/06/2009 Booked

09/09/2009 Booked, Taiping

20/09/2009 Booked

Venue Of The Month: Elfer Music Club Frankfurt/M.

The decision ain´t easy as we have a lot of great venues to feature on church-of-noise.net.

Nevertheless it´s time to tell you about the Elfer. Wolf and the whole team do a great job! Don´t miss this venue!

Elfer Music Club is not only situated next side to but is just as legendary as the Batschkapp in Frankfurt. Elfer is well known throughout Germany for representing tomorrow´s hottest up-and-coming killer rock, indie, hardcore and metal acts. Whether it comes to Alkaline Trio or Beatsteaks - they all rocked out here.

Check out these dates in Elfer and be sure to be blown straight away:

02.08. Seamy Side+ Cult Of Gaia + Closing Down
09.08. Redcraving + Two Day Romance + Dandy Kids Get...
16.08. When We Fall + Made Out Of Babies + Cocoon
23.08. Myra + Decade Of Agression
28.08. Knut
03.09. Boy Omega
06.09. TalkRadioTalk
24.09. Veto
25.09. Longing For Tomorrow + Thoughts Paint The Sky

Location des Monats: Elfer Music Club Frankfurt/M.

Es ist nicht immer leicht, zu entscheiden, denn wir haben so viele gute Locations auf church-of-noise.net, die wir featuren wollen.

Diesen Monat aber ziehen wir den Schuh dem Elfer Music Club an. Denn Wolf und sein Team machen wirklich einen verdammt guten Job! Der Elfer liegt gleich neben dem legendären Batschkapp in Frankfurt und steht dem in seinem Ruf in Nichts nach.

Seit eh und je geben sich hier monatlich die Acts die Klinke in die Hand, die morgen schon die größeren Hallen ausverkaufen - angefangen haben hier Größen wie Alkaline Trio oder die Beatsteaks. Elfer Music Club - das heißt "The Finest of" Indie, Hardcore, Metal und Rock. Viele von denen, die es hier her schaffen, sind auf dem richtigen Weg. Auch in diesem Monat bläst das Elfer wieder zum Frontalangriff! Lest die Dates weiter oben und ab dafür!

Interesting, too, for promoters like ourselves, who aren't in the business and who do one charity show per year for the love of the bands and of the charity, to find out what the standard booking fees are for artists (and weep as Sunnyvale continue to pull in £20 per show and feel grateful). So-and-so goes for £750 plus catering, while such-and-such will set you back £4,500 if you want to put them on. Promoting for a living must be like spending your life in a casino, where you're dependent as much on the sometimes seemingly-random movement of punters as much as a gambler depends on which way up his dice happen to land.

What's most disconcerting is that our greatest successes in terms of booking high-profile artists who we really, really love, is that they've come almost without exception from direct contacts: a personal email address, a friend of a friend, a mobile number, someone who checks their own MySpace account. Where booking agents are involved - well, it's a business, and a charity show doesn't tick any boxes or earn any commission, but I do wonder if any of our requests are ever even seen by the artists. I doubt it, somehow, or we'd certainly have had bigger successes.

It's a long slog ahead, but we'll get some good music booked eventually...

Before I say anything, I know that it is the worse job in the world. Trust me, I have done it a number of times.

But in my experience there are six types of referee (in amateur leagues):-

The decent ref (a rare breed, but there are some around)
The fair ref but will always get a handful of decisions wrong for each side (the fair majority)
The "I think I am better than I am"/control freak ref (can't be reasoned with)
The "whoever shouts loudest" ref (self explanatory)
The "cant make a decision" ref (always goes for the easy option, never going to give a penalty)
The absolute no hoper (unfortunately more of these than you would like)  

On Saturday we had a "control freak" referee. To to his credit he was reasonable in his decisions but gave a couple of decisions our players didn't like.

You have to understand with these sorts of referees, the more you challenge them, the more that they will habour on the oppositions side. One of those vicious circle/dig your own hole situations.

Anyway, the ref upset a couple of our players with a series of decisions and so the mouths started to go and words were said. Finally things calmed down a bit and it seemed that it might all just pass.

But no not with us. Obviously SH decided he wanted to get booked, as right in front of the man in black he tried to encourage his team mates by shouting "Come on lads, we playing against 12 men!".

Unsurprisingly he got booked.

We later got a player sent off as well, which is some going for a friendly!

Still substantially the team that finished third the previous May, Hibs eventually slumped to fifth place by this season's end. Talents such as Darren Jackson, Keith Wright, Jim Leighton, Michael O'Neill and Kevin McAllister were unable to stop the rot, evidence that Alex Miller was finally losing the ability to motivate the Easter Road dressing room.

This match will also be remembered for Dougie Smith's complete sense of humour failure in dishing out a yellow card to Paul Gascoigne for the light hearted manner in which he returned the red card which had fallen out of the referee's pocket. Referees get little credit much of the time, but Smith showed himself up as a grade-1 arse on this occasion.

Suiteside is a little different than the usual people I interview- this time it's the label and management behind new bands. The people that work behind bands do just as much work as the actual bands themselves! This amazing crazy and fun yet professional woman has worked her way up in the music management industry in order to make a name for herself as well as the artists she represents. With her attitude (which shows through her interview - especially last random question), she makes an often difficult job look easy!

How did you come up with the name?
It's a kind of joke. When I started the label I used to collaborate with people from the italian electronic label Suite Inc., and we wanted to find a related name. And Suiteside makes you think about luxury hotels but also sounds like the word "suicide", and sometimes it is a bit, with so much hard work and few money coming in. But we're romantic beautiful people, aren't we?

Tell me a little about yourself?
Sometimes I feel as I am the kind of person who'll never accept to live an adult, ordinary life. I'm into rock-indie music from my teens, and it seems I will never be able to live without being in this crazy business. But I try to work seriously and professionally.

What is the point of your business and what do you do?
My actual goal is to develop the bands I'm working with and for, establishing for them new connections with audiences worldwide. Being a record label doesn't mean so much in 2008, cds are dead! I'm a booking agent as well, for lots of foreign bands. I set up tours in Italy for Xiu Xiu, Casiotone for the Painfully Alone, Azure Ray, APSE, Ex-Models and many many others.

What did you do before you started all this?
Well, I studied music criticism at the University, then I worked as music journalist for local and regional mags, I've been for years Head of Music in the staff of an alternative radio station in Bologna, and I wrote a few books about rock music too.

How did you start out/ was it hard?
Honestly it was less hard when I started, than now! In 2001 there were just a few indie labels and bands around, now everybody can promote himself on the net, and there are lots of new bands struggling for gigs and exposure. Two years ago I had to decide if go on or give up....luckily I found some refreshment in working with younger and more rocking bands.

Any big plans for the near future?
World domination!! ahah, I'm joking....the BIG plan is to work more an more on a global perpective. One positive thing of the internet is that I can contact people like you on the other side of the globe and do a quick interview like this.

--Random questions--
What song have you been listening to most in the past few weeks?
"Violet Hill", the new Coldplay single. Keeping singing loud "won't you let me know?" in my office.

What one materialistic thing can you not live without?
Coffee. If I don't have one in 5 minute after I'm out of bed I'm lost!

Do you have a secret name for your favourite inanimate object?
No. But I have a favourite little inanimate object :)

Has anything crazy or embarrassing ever happened to you on the job?
Lots of things! Like being really sick in a toilet at a venue in Lugano (Switzerland) after a gig. Or losing a UK band I hosted in Genova and spending hours with their driver calling the police and the hospitals just to find they slept in a dirty hotel 'cause they were too numb to get back home. Or spending a crazy night in Klagenfurt (Austria) waiting for the train to Italy in a pub with a band made of an italian guy, an english, a spanish and their french roadie. The owner of the place was a really kitsch middle-age blond woman who forced all of us to drink lots of beers and whisky and tequila. And there was also a mad slovenian old guy speaking about his war experiences. I could fill pages with strange stories, but I'm sure the best has yet to come!

If you're a big music listener keen to find out about new bands before they hit the big time- there are several ways in which you can keep up with this type of news. OR alternatively, if you're a band or musician who's in need of help to hit the big time- definitely click on the links and get some information! As you all know, no such thing as too much information!

Links:
Suiteside Official Site
Suiteside Myspace
Last.fm Suiteside
Skype: monica.melissano

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