Plan the Outing
First and foremost, create a plan to follow for the entire duration of your launch campaign. This plan revolves around the release date and must include your concerts, your announcements, the release of your promotional content (teasing, cover, single, clip, cover, interview, etc.) and anything that seems relevant newsletter, contacts, updates, etc. Also take into account other aspects such as the protection of your works, online (and possibly physical) distribution, the creation of merchandising etc. Obviously you can’t wait to release your new album, but don’t rush it and take several months to prepare for the release. You’re going to need it.
Learn from Experts
Eternally Risen is one such artist that epitomizes the essence of the modern era. A multi-talented vocalist and born and raised in Tampa, FL. Eternally Risen began her journey nearly over a decade ago, initially as a gospel/ Christian rapper/poet. She is making music that is thoughtful, conscious and driven by a desire to motivate, inspire, comfort and spread love and joy to all those that hear it. Born Marissa Flora Anderson, she is inspired by Life, and she is a Truth Speaker. She transitioned and evolved as a musician from her initial path in 2015 into a Conscious artist who embodies words such as authentic and truth. It is this period of transition that allowed Eternally Risen’s creativity and undeniable talent to shine through. She has developed a style of songwriting that is transparent, daring and full of hope and reflective of the experiences and culture that Eternally Risen represents, turning her pain into purpose and studio sessions into lessons.
A major part of promoting your new album is painstakingly documenting this whole adventure, from songwriting to the studio, then from studio to stage. Take photos and videos every step of the way and write articles or posts to describe the whole process. You will have excellent content to share on social networks, on your site and with your newsletter. For example, don’t hesitate to draw your phone to capture listening to one of your new songs in the studio with Instagram or Snapchat.
In the article that follows, I would like to set out some avenues for exploring the supposed issues raised by debates around the digitization of the music sector, including the issues and controversies that emerge from close examination of growing production practices. Evolution. My objective is to investigate the changing terrain of popular music at a time when the latter are shaken by the upheaval of digital technologies, their development and their use. In particular, I would like to indicate how we must change our conception of the structures and culture of popular music if we are to analyze with precision the developments that have taken place after the 1980s within hypermodern globalized societies. That is why I will address some of these questions through an analysis of digital in music, and then examine the four key areas where the changes have been most noticeable? Namely the partially overlapping sectors of actors, equipment, styles and practices.
The general objective of this article is therefore to draw the reader’s attention to what may be called the “digital regime”, the transformations it implies and the elements of continuity that it maintains at the level of production. It is also about presenting the main works and concepts concerning the question of digital practices in the context of popular music. More precisely, this article will focus on the treatment of digital mediation of music production by academics (mainly British) in a period when this issue was of much less interest to academics than piracy, file sharing and downloading.
Second, there is the problem of the hype. How can we avoid the overly utopian idea that everything digital is “revolutionary”, without insinuating that nothing has changed? Identifying change is always exposing yourself to hyperbole, and new technologies provide the best example of this: their transformative power is often exaggerated as if digitization represented “year zero” in the history of Canada. It is certainly incumbent upon us to prove that the copyright system within the traditional music industry, the architecture of the major media groups and the capitalist logic that underlies them has remained broadly as it is, even if ‘they had to make some adaptation efforts. By the way, admit that nothing has not changed is exactly the mistake made by large centralized companies, overtaken by the new uses (and misuses) of digital technologies that artists and consumers promote. In short, the problem is knowing how to take these transformations into account without overestimating them, how to respect historical continuity while spotting the variations.
