Author: Briyan

  • AI Music, Distribution Gatekeeping, and the Coming Cleanup Era

    AI Music, Distribution Gatekeeping, and the Coming Cleanup Era

    Right now, most independent artists are operating in a moment of uncertainty — especially those using AI-assisted tools like Suno.

    At the moment, DistroKid does not actively gatekeep AI-assisted music. You can upload tracks, release albums, and distribute to streaming platforms without being blocked simply for using AI tools. That situation, however, feels temporary. Given the growing industry backlash against AI, it’s likely this will change in some form.

    What has already changed is how fragile distribution has become.

    One Flagged Track Can Take Down an Entire Album

    Currently, if one streaming platform flags a single track on an album, DistroKid will remove the entire album from all platforms. This isn’t unique to DistroKid — all major distributors behave this way, and they did so even before AI entered the conversation.

    The process is automated. There’s no human listening, no appeals process that happens in real time. A flag on one platform ripples outward and erases the release everywhere.

    This matters more now because more platforms are experimenting with AI filtering, whether transparently or not.

    Metadata Is Already Being Used Against You

    Some platforms and services scan metadata, not audio.

    For example, Suno-generated MP3 and WAV files often include the word “Suno” in the Comments metadata field. Any platform that reads tags can detect this instantly.

    The fix is simple:

    • Open the file in Audacity or another audio editor
    • Remove or edit the Comments tag
    • Re-export the file

    This isn’t deception — it’s basic file hygiene. Metadata should reflect the artist, not the tool.

    Audio-Based AI Detection Is Far Murkier

    Some developers claim to detect AI music by analyzing audio artifacts. Benn Jordan has been particularly vocal about this approach.

    I’m skeptical.

    There are common artifacts in AI-generated audio — but they are:

    • inconsistent
    • model-dependent
    • often indistinguishable from artifacts found in human-made recordings

    Compression artifacts, phase issues, strange transients, and tonal smearing appear in plenty of non-AI music. Treating them as definitive proof of AI involvement feels more ideological than technical. In my opinion, this has crossed from analysis into anti-AI advocacy.

    The Submithub Problem

    Platforms like Submithub now offer AI detection checks. The bigger issue is that Submithub has effectively become a gatekeeper for indie press coverage.

    Paying for reviews has always been a racket, and it always ends badly. AI detection just adds another toll booth.

    This isn’t about quality control — it’s about control.

    Cleaning Your Audio Is Still a Good Idea

    Regardless of AI politics, cleaning your audio is good practice.

    Some audio experts claim they can remove AI artifacts. I trust this more — not as “AI erasure,” but as standard audio refinement.

    Simple, effective steps you can take in Audacity or similar tools:

    • Remove DC offset (Suno’s isn’t terrible, but still)
    • Widen the stereo field slightly
    • EQ thoughtfully
    • Normalize or master the track

    Suno leaves about 3 dB of headroom, which is a clear signal that tracks are meant to be finished elsewhere. I would never upload a Suno track to a distributor without doing at least some post-processing.

    The Vocal Sameness Problem

    No amount of mastering fixes the biggest issue: AI vocals still have limited range and sameness.

    Covering an uploaded track with a real singer can guide the AI vocal somewhat, but the similarity between voices remains noticeable — and in recent Suno versions, this sameness has arguably gotten worse.

    That said, I suspect future versions will allow:

    • deeper training on uploaded vocals
    • more distinct voice shaping
    • better timbral variation

    Another option is recreating AI-generated tracks with real musicians — but that’s expensive and often defeats the purpose of using AI in the first place.

    Where Suno Still Wins

    Despite all of this, I think Suno itself is currently the best platform for engaging with people using your music.

    Not distributors.
    Not streaming platforms.
    Not press submission sites.

    Suno is where:

    • listeners understand the context
    • creators engage with each other
    • experimentation is expected

    In a hostile distribution climate, that matters.

    The Reality We’re In

    AI-assisted music isn’t going away. Gatekeeping will increase. Automation will punish edge cases. And indie artists will keep adapting, because that’s what we’ve always done.

    The smartest move right now isn’t pretending AI doesn’t exist — it’s understanding how the systems work, cleaning your files, owning your process, and choosing platforms intentionally.

    DIY has always been about control.
    That hasn’t changed — only the tools have.

  • How To Get Real Engagement For Your Music (When It Feels Like Nobody Cares)

    How To Get Real Engagement For Your Music (When It Feels Like Nobody Cares)

    We’re not living in a world where people are starving for more music. We’re living in a world where they are absolutely flooded with it. So the question shifts from “How do I get people to listen?” to “How do I place my music where listening is already happening?”

    There is no easy answer to that. No hack, no button, no magic post. But there are approaches that still work if you’re willing to treat this like a long game instead of a quick dopamine chase.

    This is for anyone who, like Haidyn, feels humiliated posting songs that get one like out of hundreds of views.

    Your Friends and Family Are Not Your Market

    First, we have to emotionally untangle something.

    Most of us assume that because people know us, they’ll support us. That friends, family, coworkers, and old schoolmates will share, stream, and rally around our music.

    They usually won’t.

    Not because the music is bad.
    Not because you used AI.
    But because they don’t use social media that way.

    They see you as “the person they know,” not as an artist whose work they’re actively following. They scroll past your song the same way you scroll past their MLM pitch, their kid’s soccer video, or their vacation photos.

    When you understand that, the pain shifts:
    It’s not a personal rejection. It’s a mismatch of expectations.

    You are trying to build an audience out of a social circle. Those are two different things.

    Real engagement starts when you stop expecting your immediate network to behave like superfans.

    You Have To Go Where People Are Already Engaged

    The impulse when we feel rejected is to build our own little bubble: “Let’s create our own community, our own scene, our own support network.”

    That can be emotionally comforting, but it doesn’t necessarily get your music in front of listeners who are in an actual listening mindset.

    People aren’t engaged everywhere. They’re engaged in specific places, for specific reasons.

    Your job is to find those places and enter them respectfully.

    Examples of where people are already engaged:

    • Genre-based communities (synthwave, shoegaze, lofi, etc.)
    • Emotion-based spaces (grief support, breakup recovery, anxiety, healing)
    • Topic communities (sci-fi fandoms, gaming groups, spirituality, parenting)
    • Lifestyle and identity groups (neurodivergent communities, LGBTQ+, over-40 creators, etc.)
    • Mood and function spaces (study playlists, sleep music, workout mixes, background instrumental)

    Notice what all of those have in common:
    They are not about “discovering random musicians.”
    They are about a shared experience.

    If your song speaks to that experience, you can share it in a way that feels like contribution, not intrusion.

    Playlists Still Work – If They’re Purposeful and Organic

    A lot of musicians are chasing playlist placements, but they’re thinking about it backwards.

    A playlist is not just a container for your track. It’s a tool for the listener.

    Good playlists answer real-life questions like:

    • “What can I listen to while I can’t sleep?”
    • “What helps me calm down after a rough day?”
    • “What fits my 2am driving mood?”
    • “What makes me feel like I’m in a retro movie?”
    • “What do I put on while I write, study, or paint?”

    If you’re building your own playlist or aiming to join someone else’s, the key is purpose:

    • Define what the playlist does for the listener.
    • Curate it carefully — not just your own songs, but others that honestly fit.
    • Keep the vibe consistent so people stay once they press play.

    A playlist full of random AI tracks is not a selling point.
    A playlist that helps people through insomnia, heartbreak, grief, focus, or joy is.

    When your track supports the intention of the playlist, engagement feels natural. People are there to listen, not just scroll.

    Your Story Matters More Than Your Tools

    If you lead with “I made this with AI” or “This is a Suno track,” you’re starting in the wrong place.

    Most listeners don’t care how you made it. They care why you made it.

    Why this song?
    Why these lyrics?
    Why this feeling?

    Did it come out of a breakup, a burnout, a late-night realization, a childhood memory, a spiritual crisis, a moment of joy, a long silence where you thought you were done creating?

    That’s what people connect to.

    The tool is just the instrument.
    The story is the bridge.

    When you share your music, try framing it like this:

    • “I wrote this after losing someone and trying to put the grief somewhere.”
    • “This is the first time I’ve heard my lyrics as a full song after 20 years of writing in notebooks.”
    • “This track is about being completely stuck in life and still moving forward one tiny step at a time.”

    Now you’re not asking people to “check out my song.”
    You’re inviting them into a moment that might mirror something they’ve lived.

    Social Media Is Topic-Based, Not Music-Based

    This is a big one.

    Most platforms are not designed for people to say, “Please show me unknown songs from unknown artists today.”

    They are designed for:

    • Relatable posts
    • Shared experiences
    • Emotional validation
    • Humor
    • Outrage
    • Advice
    • Community chatter

    So if you just drop a link and say:
    “New track, what do you think?”

    You’re asking people to stop what they’re doing, click away, listen, come back, and then respond. That’s a big ask.

    Instead, you can align with the topic.

    Examples:

    In a group about grief:
    “I wrote this trying to put words to that feeling when someone is gone but somehow still in every room.”

    In a group about anxiety or burnout:
    “This song came out of being completely overwhelmed and trying to breathe through it. Sharing in case it helps someone else feel a bit less alone.”

    In a genre group:
    “I tried to capture that hazy late-night city feeling I get from old trip-hop records. Would love thoughts from anyone into that sound.”

    You’re still sharing your music — but through the doorway of the topic, not just the doorway of “I made a thing, please listen.”

    People Can Smell Selfish Motives

    This part is uncomfortable, but it’s true.

    If your main motive is:
    “Please give me validation. Please prove that my art matters.”

    People feel the pull and instinctively resist it.

    If your motive is:
    “I made something that might resonate with what you’re going through, and I’d like to offer it.”

    People feel the difference.

    This doesn’t mean you’re not allowed to want listeners, or streams, or fans. It means that the way you show up — your tone, your captions, your consistency in giving as well as taking — shapes how your posts land.

    If you never comment on other people’s work, never join the conversation, and only appear when you have something to drop, your music becomes another ad in a feed full of ads.

    Engagement is a two-way street. If you want response, you have to be willing to be part of the ecosystem, not just a constant promo.

    There Is No Easy Button

    The hardest but most freeing truth is this:

    There is no trick that will make people suddenly care.

    Not AI.
    Not an algorithm hack.
    Not a magical group.
    Not even a “support each other” circle on its own.

    What still works is:

    • Being honest about why you create.
    • Placing your music where it actually fits people’s lives.
    • Building or joining purposeful playlists.
    • Sharing sparingly but meaningfully, in topic-based spaces.
    • Engaging with others without an agenda.
    • Accepting that it’s slow, and that slow isn’t failure.

    If one person, somewhere, really connects with something you made — that is not nothing. That is not “just one like.” That is the real thing all the vanity metrics are trying to simulate.

    We don’t control who shows up or how fast.
    We only control how we show up, and why we keep creating.

    And if your songs matter to you, and you’re willing to do the slow, human work of connecting them to real moments and real people, engagement can happen.

    Not easily.
    But genuinely.

  • How Artists Can Prevent Streaming Manipulation and Protect Their Releases

    How Artists Can Prevent Streaming Manipulation and Protect Their Releases

    Digital distributors and streaming platforms are becoming increasingly strict about identifying and removing artificial streams. While these systems help protect artists and maintain fairness across the industry, many musicians are surprised when they receive warnings for suspicious activity they never knowingly engaged in. Understanding how manipulation is detected—and how to avoid it—is essential for keeping your catalog safe.

    Below is a clear guide to the real steps artists can take to avoid artificial streaming and prevent accidental violations.

    Promotional Methods and Services to Avoid

    Artificial streaming most commonly comes from third-party services that promise fast results. Artists should stay away from:

    • Any service offering guaranteed streams
    • “Organic growth” packages
    • Inexpensive playlist placements with no identifiable curator
    • Discord or group “stream teams”
    • Bots, click farms, or incentivized listening
    • Networks that encourage users to run songs on repeat for rewards

    If a service cannot explain where streams come from or how listeners are reached, it is risky. Even if the artist’s intentions are legitimate, platforms will interpret these patterns as manipulation.

    How to Vet Playlists Before Pitching

    Playlist pitching is valuable, but only when done carefully. Before submitting music, artists should check:

    1. Whether the curator has a real, public identity
    2. Whether the playlist has consistent engagement over time
    3. Whether the follower count looks realistic, not inflated
    4. Whether listening patterns show natural variation
    5. Whether tracks remain on the playlist for reasonable durations
    6. Whether the playlist appears on suspicious promotion sites

    Playlists with sudden jumps in followers, repeated track cycling, identical daily numbers, or anonymous curators should be avoided.

    Avoiding Self-Generated Artificial Activity

    Sometimes artists accidentally create suspicious patterns. Platforms automatically monitor unusual behavior such as:

    • Streaming your own music repeatedly
    • Using VPNs, proxies, or multiple devices to boost play counts
    • Encouraging fans to stream songs on loop overnight
    • Asking followers to hit minimum daily streaming quotas
    • Running browser-based auto-repeat tools
    • Hosting “mass streaming parties” where the goal is play count inflation

    These patterns are flagged even when humans are listening, because they resemble bot activity.

    Legitimate Promotion That Is Safe to Use

    Not all promotion is risky. The following methods are fully legitimate and widely used:

    • Facebook and Instagram ads
    • YouTube pre-roll ads
    • TikTok promotions
    • Google Ads campaigns
    • Working with verified PR companies
    • Posting on social media
    • Reaching out to blogs and magazines
    • Building a mailing list
    • Sharing content directly with an organic audience

    The key is that these methods promote to real people and do not incentivize unnatural listening behavior.

    Monitoring Analytics for Warning Signs

    Artists should regularly check their dashboard data. Unusual trends to watch for include:

    1. Sudden streams from countries where you did not promote
    2. A large spike in a short period without explanation
    3. Streams coming mostly from unknown playlists
    4. Identical numbers repeating daily
    5. Very short listener durations or high skip rates
    6. Significant traffic from one small region or device type

    If anything appears suspicious, contacting the distributor proactively demonstrates responsibility and avoids escalation.

    Working With Collaborators Safely

    Every collaborator’s actions affect the track. A song can be flagged even if only one contributor uses a questionable promotional service. To prevent issues:

    • Have clear agreements with collaborators
    • Discuss acceptable and unacceptable promotion
    • Share analytics so everyone sees the same data
    • Avoid co-promoters who guarantee numbers
    • Keep communication open about marketing plans

    Carefully coordinating promotion helps everyone stay compliant.

    Why Re-Uploads Should Be Done Carefully

    Frequent takedowns and re-uploads can raise system flags. When replacing a track, artists should:

    1. Wait a reasonable period before reissuing
    2. Use accurate and matching metadata
    3. Clearly indicate if the track is a remaster or revised version
    4. Avoid creating multiple identical versions of the same song

    This helps platforms distinguish intentional updates from suspicious activity.

    The Importance of Good-Faith Effort

    Artificial streaming threatens the integrity of revenue systems across all major platforms. While enforcement can feel strict, artists who make consistent good-faith efforts to follow best practices avoid most problems. By staying informed, vetting partners, watching analytics, and choosing safe promotional routes, musicians can confidently build their audience without risking their catalog.

  • Making a Life in Art: Creativity Between Paychecks

    Making a Life in Art: Creativity Between Paychecks

    Most artists I know live somewhere between two worlds. There’s the creative one — full of sketches, half-finished songs, ideas scribbled on napkins, and those small, perfect moments when you lose track of time in the act of making. Then there’s the other one — the world of rent, groceries, client deadlines, and clock-ins.

    For most of my life, those two worlds have overlapped in messy, surprising, and sometimes beautiful ways. Like many artists, I’ve earned my living outside of making art. I’ve worked in the print industry for decades, helping small businesses and other artisans tell their stories — through design, color, ink, and paper. It wasn’t glamorous, but it was creative. And it taught me something important: the tools of art aren’t limited to brushes or guitars. They’re also spreadsheets, printers, and people.

    Every print job was a kind of collaboration — a way to help someone else express what mattered to them. And in that, I found a rhythm that kept my creative life alive, even when my own projects were on pause.

    Now, as I step into a new phase — a slower, more intentional one — I’m thinking about what it means to finally live as an artist. Not just to make art in the cracks of life, but to shape life itself as an artistic act. That’s what DiY Art is about.

    It’s not a platform for perfection or profit. It’s a gathering place for makers who build their own paths — who know that creativity doesn’t wait for permission or funding. It happens in the margins. It grows in garages, basements, kitchens, and quiet corners after long days of work.

    If you’re balancing art with a day job, you’re not alone. You’re part of a lineage that stretches back through cassette traders, zine publishers, mural painters, and folk singers — people who made do, made art, and made meaning.

    This is the life between paychecks — where the creative pulse never stops, even when the world demands your time elsewhere. It’s where the DiY spirit thrives: not in what we have, but in what we make of it.

  • Hallwood Media, Neil Jacobson, and the AI Artist Gamble: Lessons for Indie Musicians

    Hallwood Media, Neil Jacobson, and the AI Artist Gamble: Lessons for Indie Musicians

    Neil Jacobson has been around the block in the music industry. As the former president of Geffen Records, he’s worked with some of the biggest names in the business. Today, he runs Hallwood Media, an independent management and publishing house. But lately, Jacobson has made headlines not for another superstar signing, but for something far more provocative: record deals with AI-assisted artists.

    Two names in particular have grabbed attention. imoliver, described as a “music designer” making songs through Suno AI, and Xania Monet, an AI persona guided by poet and designer Telisha “Nikki” Jones, have both landed contracts with Hallwood. Monet’s deal — rumored to be worth $3 million — has especially set off debates, drawing both fascination and outrage across the industry.

    For independent musicians trying to make sense of what’s happening, it’s worth looking past the hype. What is Jacobson actually doing with these deals? Why are they making so much noise? And what lessons can DIY artists take from this moment?

    Why the Media Loves “AI Artist Signs Record Deal”

    The first thing to understand is that headlines drive everything. When Hallwood announced these signings, the phrase “AI artist” did most of the heavy lifting. It’s new, it’s controversial, and it makes people click.

    The reality? Both artists are human-driven projects. Imoliver writes and directs his own songs, using AI tools as part of the process. Xania Monet is a persona, but every lyric and creative direction comes from Jones. The “AI” part is more about the framing than the actual work.

    But that framing works. It turns an ordinary indie signing into a global talking point. And in the attention economy, attention is currency.

    Hallwood’s First-Mover Strategy

    Labels have always chased the next big thing — the new sound, the new movement. Jacobson’s move is about planting a flag early in AI music.

    If AI-assisted creation becomes mainstream, Hallwood will already be the label known for breaking it. If it fizzles, they still got the headlines, the conversations, and the early lessons. It’s a low-risk, high-reward branding play.

    By signing and promoting these acts now, Jacobson positions Hallwood as the pioneer rather than the follower.

    The Legal Storm Cloud

    Hovering over all this are lawsuits. The RIAA and major labels are suing Suno and Udio, claiming they trained their models on copyrighted recordings without permission. If courts rule against the platforms, questions will ripple outward: What happens to songs made with those tools? Who owns them? Who is liable?

    Hallwood seems to be hedging. By emphasizing the human role — calling imoliver a “music designer” and framing Xania Monet as a poet-guided persona — they align with current Copyright Office guidance that allows protection for human-authored works that incorporate AI as a tool.

    It’s a gray zone, but Hallwood is positioning itself carefully so that if the legal winds shift, they can argue their signings still fall on the “human authorship” side of the line.

    Why the AI Persona, Not the Poet?

    One of the more subtle but strategic choices is who gets spotlighted. Hallwood PR talks endlessly about Xania Monet, the AI persona, not Telisha Jones, the poet and designer behind it.

    Why?

    • Virality: “AI artist” gets more attention than “poet signs publishing deal.”
    • Differentiation: Centering Jones would make this look like any other indie signing. The AI framing makes Hallwood stand out.
    • IP flexibility: A persona can be turned into avatars, virtual concerts, and brand deals. That’s harder with a single human identity.
    • Backlash buffer: If criticism gets harsh, the AI character takes the heat, not Jones personally.

    For Hallwood, the persona is the product. The human creator remains important but stays behind the curtain.

    Controversy as Marketing

    Not everyone has cheered these deals. Artists like Kehlani and Chlöe Bailey have criticized AI signings as taking space from human creators. Many fans feel uneasy about the idea of “fake artists.”

    But here’s the thing: controversy amplifies reach. Every time someone posts angrily about Xania Monet, more people discover her. Every hot take turns into free publicity.

    Jacobson understands this dynamic well. He knows that in today’s media cycle, being the center of debate is often more valuable than being universally loved.

    AI Platforms as A&R Pipelines

    Beyond PR, there’s a practical reason for signing AI-platform stars. Platforms like Suno are giant talent pools, with millions of songs being made, shared, and rated by users. That means Hallwood can spot which creators are already connecting with listeners before investing.

    It’s a low-cost A&R model: the platform does the filtering, and the label swoops in for the breakout acts. Production costs are lower too, since AI tools handle part of the heavy lifting. For an indie label, that’s a very efficient strategy.

    What Hallwood Is Really Testing

    Look closely, and you can see Hallwood experimenting on multiple fronts at once:

    • Legal boundaries: How far can you go with AI involvement while staying copyright-safe?
    • Cultural boundaries: Will fans embrace or reject AI personas?
    • Economic boundaries: Can AI-assisted projects make money with lower production costs?
    • PR boundaries: How much mileage can you get just from the word “AI” in a press release?

    The answers to these questions will shape not just Hallwood’s future, but the industry’s response to AI music as a whole.

    The Risks

    For all the buzz, this isn’t a guaranteed win. The risks are real:

    • Legal: If Suno loses big in court, past works may face ownership challenges.
    • Audience fatigue: Once the novelty fades, will listeners stick around?
    • Authenticity backlash: Fans may feel misled if they think an “AI artist” is fully artificial when in fact it’s human-driven.
    • Regulation: Lawmakers or industry bodies may require disclosure of AI use, which could strip away some of the PR mystique.

    Jacobson is walking a fine line between visionary and opportunist. Whether he lands on one side or the other depends on how these risks play out.

    Lessons for Indie Artists

    So what can independent musicians take away from all this?

    1. Your story matters as much as your music. Hallwood isn’t just selling songs; it’s selling the story of “AI artist signs a deal.” Think about how your own story can grab attention.
    2. Be transparent about your tools. Whether you use AI, a four-track, or an iPad, document your process. That proof of authorship could matter for copyright or credibility.
    3. Use platforms as launchpads. Just as Hallwood scouts Suno, you can use Bandcamp, SoundCloud, TikTok, or Submithub as ways to validate your music before asking for bigger opportunities.
    4. Don’t fear controversy. If your art sparks debate, that can be an asset — provided you’re clear about who you are and what you stand for.
    5. Think beyond the song. Characters, personas, and multimedia projects can expand how your art connects with fans. You don’t need an AI persona, but you can create a compelling narrative world around your music.

    The Bigger Picture

    Neil Jacobson and Hallwood Media are playing a high-stakes game. By betting on AI-linked artists, they’ve turned themselves into the loudest voice in a cultural debate that’s only just beginning.

    Love it or hate it, their strategy underscores how music in 2025 is about more than sound. It’s about narrative, legality, technology, and attention — and how all of those intersect.

    For indie artists, the lesson isn’t to chase AI for the sake of novelty. The lesson is to understand that the music industry rewards those who frame their story in a way that cuts through the noise. Hallwood is doing that with AI. You can do it with whatever makes your own journey unique.

    Because in the end, what matters most is the same thing it always has: building a base of people who love your music, your story, and your vision.

  • Paying to Be Heard: Playlists, AI Music, and the New “Review” Economy

    Paying to Be Heard: Playlists, AI Music, and the New “Review” Economy

    Scrolling through a thread the other day, I saw a musician talking about their experience with Submithub, Submitlink, and Groover. They’d put $20 into pitching a country song to eight playlists—every one declined, though the platforms refunded the money. They tried again with a pop track and got the same result. Their conclusion: unless you already have a following, these curators aren’t interested.

    Others chimed in with mixed results—some had a handful of successes, some ran into bot playlists and warnings from DistroKid, others noted the limited number of curators even willing to touch AI-made tracks. One comment stood out: most curators are just making pocket money and sending copy-paste feedback. Even if you land a slot, you’re just track #47 on a 200-song list, and nothing sticks.

    That hit me. Because when I first heard that people were paying money just to get on playlists or to get a review, I didn’t understand how that became normalized. Back in my zine days, reviews weren’t something you bought. You sent your tape or CD into the world and hoped someone connected with it. If they wrote about it, it was because the music sparked something in them.

    There was no transaction—just exchange. You mailed your work, maybe you wrote a letter, maybe you got one back. If someone scribbled a paragraph in GAJOOB or any of the other zines, it meant something because it was given freely. It was a conversation.

    Now that conversation has been replaced by micro-transactions. Playlist spots, “reviews,” or “exposure packages” that promise access but often feel hollow. Even worse, sometimes you’re not even reaching people—just bots. And for AI music makers, the funnel is even narrower: fewer curators willing to consider the music, less chance of honest response, more hoops to jump through.

    I get it—promotion costs money, and we all want our songs to be heard. But I can’t shake the feeling that something gets lost when the act of listening becomes a service you pay for. Feedback should come from genuine engagement, not from someone checking a box because you slid $2 across the table.

    It makes me wonder if we’ve traded away the deeper connections we used to have in favor of “metrics.” Streams, clicks, placements—things that look like progress but don’t always build fans. In cassette culture, the magic wasn’t in the numbers, it was in knowing that someone out there was spinning your tape because they cared enough to.

    Maybe I just missed the boat on this new model. Or maybe I still believe that music deserves conversations, not transactions.

  • From Cassette Culture to TikTok: The Ongoing DIY Spirit

    From Cassette Culture to TikTok: The Ongoing DIY Spirit

    Back in the late 1980s, when GAJOOB first launched, the world of DIY music was built on tape hiss, photocopied zines, and the steady hum of a 4-track recorder. Musicians recorded songs in bedrooms, garages, and basements, then dubbed cassettes by hand and sent them across the world in padded envelopes. Every tape was a personal artifact — a little piece of someone’s creative life, mailed with hope that it might connect with another listener.

    That spirit — the desire to share music directly, outside of gatekeepers — hasn’t gone away. It’s simply shifted. Today, the padded envelope is a streaming link. The photocopied zine might be a TikTok clip or a Discord channel. The hiss of magnetic tape has been replaced by the compressed crunch of an MP3. But the heart of it all — that raw, unfiltered I made this and I want you to hear it — is exactly the same.

    The tools have changed, but the mindset hasn’t. Whether you’re splicing loops on a 4-track or stitching together a reel, you’re doing the work of a music artisan: crafting something from what you have, finding creative ways to share it, and building a network of people who care.

    And here’s the secret that hasn’t changed: you don’t need permission. You didn’t need it in 1990, and you don’t need it now. What you need is persistence, a willingness to experiment, and the courage to let your music out into the world, however imperfect.

    So if you’re staring at the endless scroll of platforms and algorithms, wondering how to get noticed — remember this: you’re part of a long lineage of DIY creators. Cassette culture didn’t die; it evolved. And TikTok, Bandcamp, zines, newsletters, podcasts, even NFTs — they’re all just new iterations of the same impulse: musicians reaching out, finding each other, and keeping the underground alive.

    The artisan path isn’t about chasing the spotlight. It’s about carrying the torch, sharing your songs, and building a life where your music matters — to you, and to the people who discover it.

    Welcome to Music Artisan. Let’s keep that spirit alive.

  • Why I’m Releasing All My Music Under CC BY 4.0

    Why I’m Releasing All My Music Under CC BY 4.0

    Copyright law is broken. It doesn’t protect creativity—it fences it in.

    That’s why I’m releasing all of my music under the Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows anyone to use, remix, adapt, and build upon my work—even for commercial purposes—so long as they give me credit. That’s it. No permissions, no gatekeeping.

    And this isn’t just a personal stance—it’s part of a growing movement I support wholeheartedly: FREEARTISTS.ORG.

    FREEARTISTS.ORG: A Real Movement for Real Freedom

    FREEARTISTS.ORG isn’t a metaphor—it’s a real initiative pushing for a better model for music and art. It promotes the idea that art should be freely shared, reused, remixed, and evolved. The site advocates for Creative Commons licensing as a tool to reclaim artistic agency from corporate control and outdated legal systems.

    It’s a model for how we build a thriving culture, not through ownership, but through openness.

    Copyright Is a Class Tool

    Modern copyright law doesn’t empower most artists—it entraps them. It’s a system designed to preserve media monopolies and centralize profits around the few who can afford to control distribution and enforcement.

    As an independent artist or small label, trying to navigate that system is exhausting and usually fruitless. Worse, it assumes that creativity can be locked in a vault.

    Releasing music under CC BY 4.0 is a way to step outside that system. It’s not about giving up your rights—it’s about choosing a different kind of relationship with your audience and your peers.

    Music Is Shared Expression

    When I hear music that moves me, it becomes part of how I think, feel, and create. That’s how musicians work—music is absorbed and transformed. Every new piece is stitched together from everything that’s come before.

    To pretend that music can be owned in isolation is dishonest. Music is a shared expression, not a commodity to be chained to contracts and licensing forms.

    Let It Evolve

    I want my music to live and grow.
    To be sampled, remixed, translated, visualized.
    To inspire new sounds, new movements, new ideas.

    That’s why I release under CC BY 4.0. It invites others to build on what I’ve made. It gives people permission to take part in a collaborative creative process.

    The Future Is Free

    I’m not waiting for permission from the music industry to share my work.
    I’m not trying to guard my songs from the people who find meaning in them.
    I’m saying: here it is. Use it. Make something. Just credit me.

    Platforms like FREEARTISTS.ORG are lighting the path forward—toward a more equitable and exciting artistic world. One where artists don’t fight each other for scraps, but build on each other’s work without fear.

    That’s the world I want to be part of.
    That’s why I’m releasing everything under Creative Commons.
    That’s why I’m a free artist.

    Let the music live. Let it grow.
    Let it be ours.

    What About Publishing, Covers, Sync, etc.?

    What if I release music under CC BY 4.0, can someone just release it themselves with attribution? Like if I release an album on Bandcamp, another label could release it, as is, just as long as they attribute me as the creator, correct?

    Secondly, how does publishing work for CC BY 4.0. If the music is released by me or anyone else, I still own the songwriting and publishing rights, correct?

    YES — Under CC BY 4.0, Others Can Release Your Album

    If you release music under Creative Commons Attribution 4.0 International (CC BY 4.0), anyone can:

    • Share it (copy and redistribute it in any format)
    • Use it commercially (including uploading it to streaming platforms or reselling it)
    • Remix, adapt, or build upon it

    …as long as they give proper attribution.

    So yes — if you release an album on Bandcamp, another label could technically re-release it as-is, even sell it, as long as they clearly credit you as the original creator.

    Why That Works for Me (and Maybe for You Too)

    This setup works for artists who believe that:

    1. Art Is Meant to Be Shared

    Music thrives when it’s spread.
    If someone else distributes your music and brings it to a new audience — that’s success, not theft. As long as they credit you, your name and work travel further.

    2. I Don’t Need to Own Distribution

    Let the world distribute your music. You don’t need to control every outlet. The work is out there, alive, and being heard — that’s the goal.

    3. I’m Not Playing the Scarcity Game

    Copyright is built on scarcity. CC BY 4.0 embraces abundance. If someone else makes a buck from it, fine — your reach is greater, and your music might inspire something even more beautiful or meaningful.

    4. Community Over Control

    If someone re-releases your work, maybe they care about it. Maybe they’ll translate it, remix it, write about it, use it in film. CC BY 4.0 encourages creative reuse.

    5. Attribution Is Reputation

    The more people share your music with your name attached, the more people discover who you are and what you do. That’s long-tail value.

    🎼 Songwriting & Publishing Rights Under CC BY 4.0

    Here’s the key: CC BY 4.0 only affects the sound recording. It does not waive your rights as a songwriter.

    ➤ What you still own:

    • The composition itself (lyrics, melody, chord progression)
    • Publishing rights (which PROs like BMI, ASCAP, SESAC recognize)
    • Mechanical royalties from cover versions or physical media sales (if licensed appropriately)
    • Sync licensing rights (use of your song in TV, film, etc.)

    Even if someone else shares or sells the recording, they do not own the song — and they can’t:

    • Claim your song as their own
    • Register it with a PRO as theirs
    • Stop you from doing anything you want with your own work

    🟡 Summary

    TopicCC BY 4.0 Effect
    Releasing / SharingAnyone can share, distribute, and sell your recording with attribution
    Remixing / CoversAllowed, with attribution
    Songwriting / CompositionStill fully owned by you
    PublishingStill yours unless you assign it to someone else
    Credit RequirementAlways required under CC BY 4.0
    Control of distributionLoosened — but reach and collaboration are amplified

    More about publishing and sync

    What You Can Do

    You can:

    • Own and retain publishing rights (as the composer)
    • License sync uses separately (you or your publisher approve those case-by-case)
    • Release your sound recordings under CC BY 4.0
      • Allowing others to remix, sample, reinterpret, or cover your music
      • As long as they give you credit

    This creates a flexible setup: You allow open creative use, but maintain control over monetized uses like sync.

    How This Works in Practice

    Use CaseIs It Allowed Under CC BY 4.0?Do You Retain Control?
    Remixing / sampling✅ Yes, with attributionYou don’t control how it’s used, but must be credited
    Reposting / distribution✅ Yes, even commerciallyAgain, attribution is required
    Covering the song✅ YesBut you still own the composition (publishing)
    Sync licensing (film/TV/ad)❌ Not automatically granted✅ You retain control & can charge fees

    So:

    • If someone remixes your song and posts it to YouTube: ✅ Fine.
    • If someone wants to use your song in a Netflix documentary: ❌ They still need your sync permission.
    • If someone covers your song: ✅ Okay.
    • If they distribute a recording of your exact song in a compilation: ✅ Okay, with attribution.

    But What About Composition Royalties?

    Releasing under CC BY 4.0 doesn’t waive:

    • Performance royalties (from PROs like ASCAP, BMI, etc.)
    • Mechanical royalties (from cover versions)
    • Publishing splits (if you co-write)

    So you still get paid when:

    • Your music is performed live
    • It’s broadcast or streamed (and the streaming service pays into the PROs)
    • Someone covers your song commercially

    You retain publishing ownership unless you explicitly transfer it.

    Sync Is Still Yours to License

    This is key: CC BY 4.0 doesn’t include sync rights — that is, the right to pair your music with visuals in video, TV, games, or film.

    So even though people can use and remix your audio, they still must get your permission for any audiovisual usage that syncs it with moving images.

    This gives you leverage to:

    • Approve/deny sync requests
    • Charge a fee
    • Customize usage terms per project

    How to Signal This

    If you want to be crystal clear, include a short license statement with your music:

    License: CC BY 4.0 — Sound Recording Only
    You are free to remix, adapt, and share this recording, even commercially, with attribution.
    This license does not include sync rights or waive songwriting/publishing ownership.

    You can also register the composition with a PRO (BMI/ASCAP), ensuring you’re recognized as the composer even as the recordings are freely shared.

    Summary

    You can absolutely:

    • ✅ Retain publishing and sync rights
    • ✅ Allow derivative use and commercial reuse under CC BY 4.0
    • ❌ Not automatically allow sync licensing — that stays under your control

    This approach lets your music circulate and grow creatively while preserving key monetization rights.

  • How to Generate Your Own ISRC Codes

    How to Generate Your Own ISRC Codes

    Yes, you can generate your own ISRC codes — but only if you register to become an ISRC Manager (Registrant) through your national ISRC agency.

    Here’s how it works:

    What is an ISRC?

    An ISRC (International Standard Recording Code) is a unique identifier assigned to each individual recording (not to an album, but each song or version of a song).

    Option 1: Register as an ISRC Manager

    To generate your own ISRC codes, you need to:

    1. Apply for a Registrant Code from your country’s ISRC agency (in the U.S., this is the RIAA via usisrc.org).
    2. Once approved, you get a Registrant Code (like US-ABC).
    3. You then create your full ISRCs using this format:
    Country Code + Registrant Code + Year + Designation Code
Example: US-ABC-24-00001
    1. You assign a unique ISRC to every distinct recording you release.

    Pros:

    • Full control over your codes
    • Useful for labels or artists with many releases

    Option 2: Use a Distributor

    If you don’t want to manage ISRCs yourself, you can:

    • Use a digital distributor (like DistroKid, CD Baby, TuneCore)
    • They’ll generate ISRCs for you when you upload your music

    Note: You still own the ISRCs they assign to your recordings.

    Should You Get Your Own Codes?

    If you’re:

    • Releasing a lot of music
    • Running your own label
    • Managing multiple artists

    …then yes, it’s worth becoming your own ISRC manager.

    Otherwise, it’s fine to let your distributor assign them.

    What If I Only Release Music On Bandcamp, My Website and Internet Archive

    Yes — registering your own ISRC codes can still make sense even if you’re a label that only releases music on Bandcamp, Your Website or Archive.org, but it depends on your goals. Here’s a breakdown to help you decide:

    Why You Might Want Your Own ISRCs:

    1. Professional Metadata & Catalog Control
      Even on Bandcamp or Archive.org, ISRCs allow you to catalog each recording uniquely and consistently. This is useful for archival, sync licensing, royalty tracking, or future distribution elsewhere.
    2. Future-Proofing
      You may later want to:
      • Release to streaming platforms
      • Submit to licensing libraries
      • Register your recordings with a performance rights organization (PRO) like BMI or ASCAP
        These often require or benefit from having proper ISRCs already assigned.
    3. You’re Building a Label Catalog
      As a label, having your own ISRC structure makes your catalog more standardized, even if it’s just for internal or archival purposes. This gives you flexibility down the line.
    4. Grants, Sync, or Copyright Applications
      Some funding bodies, legal registrations, or sync agents like seeing proper ISRCs as a sign of professionalism.

    Why You Might Not Need Them:

    1. No Interest in Streaming, Licensing, or Monetization
      If your releases are purely for free/donation-based listening and you don’t plan to enter any commercial systems, ISRCs might not add real value.
    2. Bandcamp Doesn’t Require Them
      Bandcamp doesn’t use ISRCs for anything—it doesn’t report to SoundScan or PROs.
    3. Archive.org is Metadata-Flexible
      Archive.org doesn’t rely on ISRCs either, and custom metadata fields can be used instead for cataloging.

    Recommendation

    If you’re:

    • Treating your label seriously as an archive or long-term project
    • Releasing other people’s work and want to catalog it cleanly
    • Potentially using your music in other channels someday

    Then yes, registering for your own ISRCs is worth it.

    It’s a one-time process and free in most countries (including the U.S.).
    You’ll then have a personal Registrant Code for life and can assign codes yourself forever.

  • How a DIY Band or Label Can Start Marketing Themselves in 2025 and Beyond

    How a DIY Band or Label Can Start Marketing Themselves in 2025 and Beyond

    Marketing as a DIY band or label in 2025 doesn’t mean selling out—it means showing up. With the right tools, mindset, and a bit of grit, independent artists today can build real audiences without needing a corporate machine or massive budget. Here’s how to start attracting true fans, engage them directly, and grow a sustainable creative project in today’s landscape.

    Step 1: Understand What a “True Fan” Means

    A true fan isn’t just someone who streams your song once—they’re someone who wants to know what you’re making next, someone who might pay for your cassette, read your zine, buy a shirt, or back your project on Patreon. According to the “1,000 True Fans” theory, an independent creator can earn a full-time living by nurturing a relatively small, loyal audience.

    But even 200 true fans paying $49/year can fund gear, studio time, or even press a record.

    Step 2: Attracting the Right Fans

    You don’t want everyone. You want the weirdos who vibe with your sound and vision.

    • Start where you are: Local shows, open mics, art markets, zine fests. These are all community spaces.
    • Post with purpose: Share your process on Instagram, Threads, TikTok, or wherever you naturally hang out online. Show behind-the-scenes, record pressing photos, jam sessions, or song inspirations.
    • Drop breadcrumbs: Let people discover your work on platforms like Bandcamp, SoundCloud, and YouTube. Use smart tagging and titles to match niche interests.
    • Be specific: Niche works. “Sci-fi shoegaze for VHS collectors” will find its people faster than “indie rock.”

    Step 3: Contacting Fans Directly

    Algorithms change. Email doesn’t.

    • Start an email list early. Offer a free download, zine PDF, or sample loop pack as a thank-you.
    • Use tools like:
      • ConvertKit or MailerLite (great for musicians)
      • Bandcamp Fan Messaging
      • Substack or Beehiiv (newsletter + blog vibe)
    • Collect emails at shows and online. Print a QR code on your merch or instrument case.

    Step 4: Use the Right Tools

    Think like a local business—because you are one.

    Online Tools:

    • Bandcamp – for sales and music discovery
    • YouTube – music videos, live performances, vlogs
    • Instagram/TikTok – visuals, humor, snippets, fan interaction
    • GoHighLevel or ConvertKit – fan CRM, email blasts
    • Discord – build your fan community space
    • Linktree or your own site – one place to direct fans

    Merch Tools:

    • Printful, Sticker Mule, or Vistaprint for print-on-demand
    • Kunaki, Duplication.ca, or A to Z Media for cassettes and vinyl
    • Big Cartel, Shopify, or Bandcamp Merch for storefronts

    Step 5: Do I Need a Website?

    Yes. Social media is the alley. Your website is the house.

    Own your domain (e.g., yourbandname.com) and use it to host:

    • Music and merch
    • Tour dates or livestream schedule
    • Email signup form
    • Embedded YouTube videos or blog

    Your website doesn’t have to be fancy. It just needs to work.

    Step 6: Touring vs. Not Touring

    Touring helps build community IRL. If you can hit house shows, DIY venues, zine fairs—do it.

    But you don’t have to tour to grow a fanbase:

    • Host livestream shows on YouTube or Bandcamp Live
    • Release exclusive online-only tracks or videos
    • Run remix contests or fan art features
    • Post regularly and make fans feel seen
    • Collaborate with other DIY acts across regions

    Step 7: Use YouTube to Tell Your Story

    Don’t just post music videos—use YouTube like a sketchbook:

    • Songwriting diaries
    • Tape dubbing videos
    • Visuals for ambient/noise releases
    • Tutorials for making DIY pedals or zines
    • Document your creative process

    Example: A lo-fi artist might post a video titled “How I Made a Tape Loop Track in My Bedroom With 3 Pedals and No Plan.” That’s content true fans crave.

    Step 8: Merch Matters

    Fans want tokens of connection. Keep it weird and personal.

    Ideas:

    • Cassette tapes with hand-stamped labels
    • Zines with lyrics, art, and liner notes
    • T-shirts with inside jokes or obscure references
    • Postcards from tour
    • Buttons, patches, stickers (DIY style or limited runs)

    Make the merch feel like art—not just branding.

    DIY Bands & Labels Making an Impact

    Final Thought

    The tools are here. But it still takes honesty, consistency, and a strong point of view. Build a world your fans can step into—one email, zine, or noisy tape at a time.

    Your first fan might come from a Bandcamp search. Your 100th might be someone who saw your YouTube comment. But your true fans come from the weird, brave parts of your art—shared sincerely and persistently.

    You’re not just marketing music. You’re inviting people into your orbit. And that’s as DIY as it gets.

    Follow GAJOOB’s 2000 Fans topic for further thoughts and resources moving forward.