Writers: This post is about music self-publishing, but also IĀ get intoĀ the implications for writing self-publishing towards the end of the article.
I recently put together my Discography page, which gave me an opportunity to reflect on my music career to date. I’ve released original music on almost every kind of label, including a major (SONY/BMG), a barely-organized collective (Trip ‘n Spin Recordings), small imprints (SOG, NuRepublic, Kubist, Spundae, Dorigen, POD, Mechanism), my own label (Loƶq Records), “big independents” in dance music culture (Global Underground, Armada, Bedrock, Renaissance), and distribution/A&R deals (3 Beat, Silent Records).
My most active period of writing and releasing music was in my late twenties/early thirties. Creating dance music (house, techno, breaks) was my singular, obsessive focus. That period was also the heyday of Qoƶl, the weekly event I threw with DJ Spesh at 111 Minna for over a decade (hugely popular, with a packed dance floor and lines around the block), so I also had a deep sense of musical community, and also a great testing audience for new tracks.
At some point, around 2005, we (myself and my primary music collaborators, Spesh and Mark Musselman, the other halves of Jondi & Spesh, and Momu, respectively) stopped sending out demos to other labels, and started releasing music almost exclusively on Loƶq Records. This wasn’t a conscious strategic career decision — it was just easier. I was co-running a respected, profitable label, so why not release my music on it? Benefits of self-publishing (or at least “own label” publishing) include:
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