RELEASE STRATEGY

HOW TO RELEASE YOUR SONG, RUN A

PR CAMPAIGN, GET WRITE-UPS, GET
ON PLAYLISTS, AND BUILD A CAREER
AS AN ARTIST.

MARK ECKERT MARK-ECKERT.COM

VERSION 2.0
This ebook has been downloaded by nearly
4,000 independent artists around the world now.

Holy fuck.

I can't even believe how many people this

helped. Really has been such a rewarding thing
seeing this methodology help artists near and
far get closer to their goals.

I was inspired to write this because an artist I've

worked with for years called me up crying her
eyes out because she spent thousands of
dollars on a PR Campaign (from someone that I
did not know) that truly shit the bed.

I swore to myself, I wouldn't let that happen

again.

That's why I took off time from production to

focus on writing this.

From writing this up, starting as a simple 'guide'

for the artists I produce and develop, to
becoming a full fledged 'movement' of people
tagging me left and right on IG with new Write-
ups, Spotify official playlists, Shows, Tours,
Radio, (and even international festivals. again,
holy fuck.) they landed directly or indirectly
because of this ebook. It's been unbelievably
cool to see how many of you this truly helped.

Anyways, just wanted to thank everyone for the

kind words. It truly means a lot. Just trying to
help everyone out. Really proud of everyone's
hard work.
We've approached a new era of the music
industry, specifically for independents, and the
results people are getting prove it.

Ultimately, the harder you work, and the more

persistently you work, the more results you get.

Proud of ya' for downloading this and taking the

steps that are needed to share your music with
those who need to hear it most. I am truly excited
to hear what you achieve with the words and
insight that follow...

Grab some coffee, sit down, get comfy, take some

notes, take action - and have a kick-ass day.

- Mark
CREDITS FIRST:
We need to put credit where credit is due. To put
some perspective in the credibility of what you're
going to learn in this ebook, these methods have
been used time and time again to get the artists I
work with into earmilk, kick kick snare, noisey,
spotify playlists, radio, store playlists (Hollister,
H&M, Urban Outfitters) to name a few, and has
also helped me get more connections for pitching
songs to ads/film for my publishing & licensing
companies, THAT NINETIES KID and THAT PITCH .

The advice in this particular ebook is a collection

of best practices from 2 of the most badass PR
agents I know/have worked with, as well as a few
Producers / Label Owners who fuckin' slay.

A huge shout out to Lynn Banks of

ICON ISLAND in Toronto.

As well as a huge shout out to Nicole Riolo of

THEY CALL ME RIOLO in NYC.

Thank you for all of your advice, and willingness to

give back to independent artists all throughout the
world. Links are provided to their sites up above.
Should you need additional help for a larger
campaign, I highly suggest putting your investment
in with either of these agents. You'd be in the right
hands working with either. They are wonderful.
SO YOU KICK ASS...
This book is divided into 3 Parts.

The first part is called "Mentality" - which

covers the overall process and mentality
needed to have yourself a successful release
strategy, and PR campaign. By "Release
Strategy and PR Campaign," I mean so a shit
ton of people listen to your song(s) and you
get further along in your artist career.

The second part is called "What You Need"

which covers everything you need (press
release, photos, software) etc. It also
includes details of each of the materials so
that all of things you send off to a music
journalist or playlister etc is at an industry
standard level and you don't embarrass
yourself.

The third, and final part of the ebook is called

"The Playbook" which gives you actionable
steps to position yourself as an artist, and
then run a proper PR Campaign for your
upcoming song release.

To get the most value out of this book, it is

best that you read it page by page, in order -
so you're not confused as fuck.

Let's jump in.

- Mark
 MENTALITY
THE MINDSET, AND OVERALL
STRATEGY NEEDED TO HAVE A
SUCCESSFUL RELEASE STRATEGY AND
PR CAMPAIGN.
So, I'm just going to be straight up as hell.
You worked a year and a half on a song, hired a
producer, got your live show together, got all the
groupie homies to rep your merch at that trashy
dive bar that you still can't remember the name
of - and you still have no idea how to release
your song, get it premiered on a cool blog, and
get it on playlists. Subsequently, you just keep
telling everyone "I'm getting my release strategy
together" - but deep down... you literally have
no fucking clue what that means. You just heard
the term "Release Strategy" before, so now
you're repeating that. You've become a parrot.
Well, my dude/dudet, I'm here to remind you,
you're not a parrot - you're an artist.

Listen. I get it. Seems crazy as hayullll because

the last thing you want to do is put this track out
you slaved over, just to get that dreaded "
<1,000" caption on your song on Spotify. A
really shit thought, and for sure something we
all try to avoid. So, you want to do it right...

This process is the biggest stressor, over-

thinking time-period, & overall waste of
energy artists I work with deal with. After
producing well over 50 artists around the
world, drumming for them, developing them -
I have decided, we are done with the "What.
The. Fuck. Do. I. Do. Now." mentality.

So... let's get this explained. Right. Now.

The reason I made this book, is #1 - I want to
stop explaining this constantly. Because it's a
lot to go through, and I just don't consider
myself an educator at all. I just like hooking
everyone up who's going for it. It's really that
simple.

#2 is more important though. When I work with

an artist on their record - I want to provide them
actual results. Not just make a track, then leave
and not talk until we're in the studio together
again.

My passion is developing the artists I produce &

drum for. Meaning, I help them get to the vision
they have created for themselves - no matter
what that means.

If writing this ebook, and offering more

resources for the artists I produce & develop
helps them get further in their career even by a
little bit - then I'm going to do it. Period. Just
how I roll.

I want you to know, the problem of "release

strategy" is an age old problem. A problem that
every single artist I've worked with has gone
through. But year after year of being in this
industry - I'm reminded over and over, there
aren't many secrets in the music business.
There's just people with knowledge, acting
mysterious and inaccessible.

Here's the thing though: its really not that

mysterious - and fuck it, I'll be accessible.
I want to make very clear - providing you follow
these directions to a T - this ebook will change
the direction of your career, save you 10's of
thousands of dollars on PR campaigns because
you'll be able to run your own, will give you
actionable results AFTER running your PR
campaign so you can continue to build
relationships to the 'gatekeepers,' and without
doubt, can finally prove to your old man - YES
your song IS worthy of being in Rolling Stone
AND the Victoria Secret in-store playlist (his
childhood dream that he will now vicariously live
through you.)

When I first decided to write this, the idea was to

provide this strictly for the artists I produce. But
after literally 1-minute of thought - I decided,
fuck it. I'm going to give this ebook out to
everyone for free.

Why? Because frankly, I think this industry

needs a little less "how can you help me" and a
little more "how can I help you."

There is plenty of "success" to go around, and

plenty of good people that need guidance. So
here is some guidance, my good people of the
earth. An offering to all the homies, a massive
hookup to running your own PR campaign so you
can have a badass release that you're proud of.
So, if you know of any artists who need help, tell
them about this ebook, it will always be free af.
WHO THIS IS FOR
AND WHO THIS IS
NOT FOR.
This book is for independent artists who are
building their careers, or artists on labels that
want to rely less on someone else and take on
more personal responsibility for their career (for
whatever reason.) This is for people who don’t
blame their surroundings for their lack of
success. This is for people who take on full
ownership, responsibility, and control over their
own career and future.

This book is NOT for people who aren’t willing to

hustle and make it happen by any means
necessary. This is not for people who make
excuses. This book is not for people who “wait
for the right time.”

Essentially this book, (and me personally) is not

for people who wait to get all their ducks in a
row. This is for people who find a duck, and work
with that.

Ultimately to build a career in anything - you

need to create hype for yourself to propel
forward, be your own salesman/saleswoman, and
have chutzpah. If you don’t fall into ‘who this is
for’ - this book will not apply to you in the
slightest.
HYPE: WHAT IS IT?
Perception is Reality. If someone says you’re
doing something cool, and people trust that
person - that means you are doing something
cool. Whether or not you’re actually unbiasedly
doing something cool. Remember, it’s not who
you are - it’s how you are presented, and who is
doing the presenting. That’s why everyone in this
industry pushes their ‘credits.’ I know people
that are making close to a million a year
independently, and I also know people who have
a major label deal and can barely get by every
month. Yet the label represented person is
treated differently by peers - because they are
associated with the establishment that is
perceived as ‘higher’ over decades and decades
of societal training.

Now, the industry is changing fast, but it’s like if

you see someone who is verified on instagram.
At first glance, they can sometimes be treated
differently - like they are higher tiered than
someone else. Without doing anything other than
the establishment (Instagram in this case)
declaring them as someone legitimate.

This is all psychological, and the music industry

, (and entertainment industry as a whole) have
designed it as such for the very reason I am
about to state: Hype is essentially our product to
the masses. Music itself is enjoyable, but there
are plenty of enjoyable free things. Hype though,
is what people buy into.

Let me continue...
The more respected and established the
publication that puts you out first is, will ultimately
give you the credibility needed to move to other
publications (relative to the status of your first
write-up.)

Popular kids in high school started the trends.

Then the average kid followed it.

Everyone is a follower to a certain degree. I'm

wearing joggers right now (I don't jog.) These
things look fucking ridiculous and lazy, but I (to
some degree) bought into them because people
with hype, or "perceptual value" changed my
perception about them. Music is not a product like
something in technology where we are fixing a
problem. Medicine cures tangible diseases. Cars
tangibly move us from point A to B.

Music does incredibly beautiful things in this

world, saves lives, cures depression, brings
together communities, gives us identity - but there
is nothing tangible you can see at face value.

Our value is convinced, or perceived through

feeling (much of which feeling is determined by
perception.) Thus, the music that is heard most by
the masses is not the hardest music to play /
perform - it is the one best packaged to attain a
higher perception of value to a potential audience,
or 'consumer.'

It is not just the music. It is not just the brand. It

is not just the live shows. It is 'everything,
packaged' that counts.

So, let's talk about some people who give you

hype, or 'perceived value' in the next chapter.
MUSIC
JOURNALISTS AND
PLAYLISTERS
WHO THEY ARE AND
HOW TO APPEAL TO
THEM
Music Journalists are curators, skilled writers,
and exceptionally hard working people - just as
you are with your craft in music. They are a
majority-hold gate-keeper between you and an
audience that you have never met in person.
(This discounts the importance of Social Media
of course.) They deserve respect, and admiration
from you. Do not treat them as a servant. They
have worked their asses off to be where they
are, and you need to be aware of that. They
have their own goals in their own career and you
need to be empathetic with their time. Because
usually - they are exceptionally busy. You are
never the only one reaching out to them.

Professional Journalists for notable publications

(typically) are paid for each article they write
*that is approved by the editor.* Now, typically,
if a journalist is on staff, it means that 90% or so
of what they write is approved.
However, the reason why they have a high
approval rate, are well respected, and are
doing this full time - is because they write
great stories for an audience that resonates
with them.

A good story drives traffic to their

site/publication, builds their brand awareness
and respect, gives them potential for more
quality stories, attracts advertising dollars and
brand partnerships, which will give them an
ability to grow the publication. There are many
stories of publications that literally blew up,
because of one exclusive story they covered
first.

Example: Average consumers did not give a

flying shit about Wikileaks before the Edward
Snowden story they covered.

Point made. Keep reading..

You are pitching them a story of value - about

you, and your music. That story needs to help
the writer and publication’s brand, which in turn
will help their business in the long run.

In order for you to provide value to them, you

need to be interesting, you need a good
relationship with them, and you need a story
their target audience will enjoy and resonate
with.

If you are first starting out - this takes time

AND self awareness to understand how to
position yourself/story.
Do not think you’re going to get a write-up for
your new indie group in Billboard tomorrow when
it’s your first song with this project. I have a
friend who’s done that (and it seemed like they
randomly got hooked up) but we ran into each
other at a show and talked in more detail. Turns
out, they became tight with that journalist over a
10 year period from pitching / eventually getting
write-ups with their previous band. That
journalist was very familiar with their story and
took a genuine interest in their new single.

Building your relationships takes real time.

Providing value to a publication takes time and
proper positioning. If you’re not willing to commit
yourself to this long term, then you’re not willing
to commit yourself to your career, because a
career in this IS long term.

It will be exhausting at times, a bummer at

others - and the best feeling ever on occasion.
This is what you’re signing up for. So, don’t
complain to people if you chose this path.
Because this ebook will give a play by play of
how to do this and continue doing it so you can
build yourself up. You can always hire a proper
PR agent later on (who have these trusted
connections,) but starting out? - like we said
earlier...

you got a duck, homie.

This ebook is a duck.
Work with it.

Speaking of building relationships, let's talk

about that in more detail...
RELATIONSHIPS
Relationships are everything. We all know this
- but I am telling you factually, since this is a
how-to book so-to-speak, that there is no way
around having solid relationships. It is just as
true in the music industry as any other industry
- your network is your net worth.

Having said that, if you are living in the middle

of nowhere, there are plenty of ways to still
connect with people in high places via the
internet.

No matter what though, ultimately, you need

people behind you that believe in what you’re
doing. They need to like your music, and they
need to like you.

If they don’t like your music, they don’t like

your story, and they don’t like you - you will
not get any write-ups and you won’t get into
playlists.

It should be of no surprise, if you’re an anti-

social, miserable, boring douchebag with
terrible songs, nobody will pay much attention
to you and your 5th re-released remix of
‘Hungry Like The Wolf by Duran Duran.’
I know people who had incredible records, and
had no process for marketing it, had no
personal connections, and didn’t hustle it.
Subsequently, the record went nowhere.

I also know people with pretty great music

(arguably not life-changing though) that are now
touring internationally with Tier A artists. All
because they were able to build their hype,
craft a story of themselves, their music, and
their life with perceived value so journalists
found them valuable to their readers.

The music ABSOLUTELY needs to pass a

certain threshold of badassery.

I want to make that INCREDIBLY clear...

You DO need an incredible song, and an

incredible production. 10000%. This book will
work providing you ALREADY have that.

But once that is there (non-objectively) - it's all

about your packaging, and the perceptual value
or "Hype" you can obtain for it.

It is NOT like the old days where if you don’t

live in NYC, LA, or London you’re fucked and
not taken seriously.

You don't need to hire a producer that costs

250k for a record (yes that was a normal thing),
to get connected to specific people, and then at
chance maybe get in a b-rate radio station. Or
just be shelved for the next 7 years on contract.
Here is what I am saying...

You. Can. Meet. Anyone. Now.

You. Can. Do. Anything. Now.

There are no real rules anymore, and the

market / fanbase is open for you to take if you
can position yourself strategically.

Most people get scared when there are no

rules. But I thrive in it, and the artists I choose
to work with also do.

The internet is INCREDIBLY dope, and you are

capable of just about anything now. So embrace
it. Realize when you 'find a duck,' and ignite
your chutzpah when you do.

Now that your mentality is put together to run

your own PR campaign / form a proper release
strategy, let's move forward to the actionable
steps.

The remaining portion of the ebook is 'What You

Need' and 'The Playbook.' Covering materials
needed for a release strategy, and the step by
step actions to run your very own PR campaign.
WHAT YOU NEED
WHAT YOU NEED, AND WHAT THE HELL
THESE THINGS ARE.
1. 6 WEEKS TIME
- You need 3 Weeks before your Release Date, and
3 Weeks after.

2. PRESS RELEASE
- A bio on single / album (1 Paragraph MAX) Craft
a good story and tell it. Quickly.
- A brief bio on artist/band. 3 Sentences Max. (you
have one shot to get through to them, don’t bore
them with too many words - they’re busy, they
simply won’t read it.
- Album / Single Artwork Image (1400px1400px)
- Promo Picture (Often, writers want to include a
promo shot of the artist or band, along with the
album/single art.
1 HD Promo Photo, no more.
- Your email Subject should be a very convincing,
head-turning headline that says “Who, What, and 1
Interesting Detail."

Example: “Asap Rocky announces NJ Generation

Tour” Respect Magazine

Example: “Montreal’s Golden Child releases new

single My Slime” Complex

Essentially, write what you think their headline

should be, in the publication when they publish the
story.

4. Links to Socials, and Website.

Yes, you need a website.
- If you're new to web design, I suggest using
Squarespace and buying your site domain through
there. The templates are great, and a simple
design is fine.
5. Private Soundcloud Link.
You will need a private Soundcloud link to share
with the journalist for a premiere. You will need a
public Soundcloud Link for additional write-ups
after your release. (Private can be converted to
Public.) DO NOT send an MP3. They won't open it.
Make it as simple as possible for them to listen to
you.

INSIDER TIP: If someone does asks for an MP3, be

weary because typically they’re trying to get quick
licensing rights for their youtube channel. You
would most likely not be getting paid for it. This is
called getting "fucked over." We are trying to avoid
that.

6. "Representation." (A false email)

Remember - Perception is key.
On Squarespace, you can get a custom domain
name with Google Apps. There, you can get an
email for yourself with your site in it. Do not email
someone with bandname@gmail.com - You'll look
like shit. If you email with a yahoo or askjeeves...
just fucking give up.

Info@bandname.com or press@fakemgmt.com is
much more convincing that you're someone legit. It
sounds like you have it together, and you're taking
this seriously. More than anything - It doesn't
sound like you're alone. It sounds like there are
people who already believe in you. You can be
yourself when emailing if you want to (or, if you're
moderately good at bullshitting) you can create a
'fake agent' so to speak. "Hi, I'm Janet with SOSO
Agency and we are interested in a premiere for an
artist on our roster." There is no right or wrong,
people do both all the time. If this is controversial
to you, please read back to who this is for and not
for. <3
7. Have both a "press" and a "fan" email.
Again, perception. Make an 'alias' email in google
(look it up,) and this will give you the ability to
send from different 'departments' so to speak.
You can email journalists from
press@fakemgmt.com etc and you can contact a
booking agency at booking@fakemgmt.com etc. It
will all go to your same inbox - and it'll look very
good to everyone else.

8. Mailtrack.io
Mailtrack.io (that's the site) is a free software you
can install with your gmail. It will tell you when
someone opened your email, or if they haven't
yet. This is a game changer for following up.

EXTRA CREDIT:

9. Create a mailing list with Mailchimp.

Mailchimp is an incredibly easy software to use
for mailing lists. It also syncs perfectly with
Squarespace. You can get your fans, friends, and
grandma on your mailing list - so you can let them
know when a new song is out, or to push your new
song and post it. You can also give them the
ability to 'pre-save' your song (if you distribute
with distrokid) so it notifies them when the song
drops. #marketing #sexytime

BUT HERES WHERE IT GETS REAL FUCKIN

TECH SEXY.You can ALSO upload those emails
into an ad campaign for Facebook / Instagram
audience targeting and you can advertise to them
for pennies on the dollar. EXTRA EXTRA credit,
you can make a "look alike" audience on facebook
ads and facebook will generate an audience with
similar likes to your email list - so you can market
yourself to strangers who will probably dig ya'.
Thx Zuckahboothang.
THE PLAYBOOK
ACTIONABLE STEPS TO RUNNING YOUR
OWN PR CAMPAIGN FOR YOUR RELEASE.
 SPU-ETIRW
LANOITIDDA DNA
STSILYALP ELTSUH EREIMERP A ELTSUH
ESAELER
EROFEB YAD 1
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RELEASE DATE (SPOTIFY APPLE ETC) RELEASE DATE
3 WEEKS AFTER RELEASE DATE 3 WEEKS BEFORE
ENILEMIT NGIAPMAC*  SKEEW 6
STEP 1
SET YOUR RELEASE
DATE & DISTRIBUTE.
CHOOSING YOUR DISTRIBUTOR
If you’re a nobody. Distrokid / Ditto / Landr is
great. Just understand, since they are making
money up front for distribution, they will not be
actively hustling your material to playlists -
because they have already been paid.

If you’re a somebody. Leverage your existing

streams / monthly listeners to get on something
like Symphonic, United Masters, or AWAL etc.
Since they make money on the backend (they take
a percentage of your streaming royalties in
exchange for their distribution service) they will do
their best to get you as many streams as possible
- because if you make money, they make money.
They charge nothing upfront - but they require a
following already, to minimize risk.

WHEN TO RELEASE
You need at minimum 3 weeks time to give enough
notice for a premiere. So anytime works, so long
as you give yourself 3 weeks to hustle (look at
diagram earlier.) Check out this site so you can
see releases from bigger artists coming out soon
so your release isn't overshadowed that day.

Set it on a Friday for New Music Friday (Spotify.)

If you want less competition, New Music
Wednesday and New Music Monday exist as well.
Significantly less listeners, but great cred builder
for long term, and less competition.
Set your release at 12AM if the option is given.
STEP 2
PITCH TO WRITE-UPS AND
HOW TO LAND A PREMIERE
To start, you want to get an “Exclusive
Premiere.” Make sure to mention that in the
email. Premiering a song on a site, gives them
the ability to be the first showcase of your new
work. Since you will be offering it to them
exclusively, this incentivizes the journalist -
because it’ll be the only place someone can
listen to the new song. If you have a following,
this will increase traffic to their site, and can
potentially add tremendous taste and respect to
the writer, should you blow up. Think of why
Tiffany’s is worth more than somebody buying a
ring at Costco. They’re the same fucking
diamond, but you can onlyyyy get that diamond at
Tiffany’s. It’s all brand. Help them increase their
brand with your work. You are a Tiffany Diamond,
bb.

Once you get a premiere, that's when things start

moving- because more people want to write about
you - because now, you are perceived as worth
something. You've gained some Hype! Mazel Tov.
Exclusivity is how you get a premiere, period.
Offer this to every journalist initially. Whoever
responds first (and is decent) gets it. Once you
land it, update every other journalist you reached
out to about the premiere. They will then think
they missed out. They can feature it once the
song is out. there is your perceived value, your
hype. Point is, you really gotta hustle a premiere.
A solid premiere, will give way for a solid PR
Campaign.
STEP 2 
EMAIL FOMULAS
& EXAMPLE
INITIAL COLD-CALL EMAIL FORMULA:
SUBJECT
- Imagine what you believe the subject of the
write-up would be. If your goal is a premiere, say
"EXCLUSIVE:" followed by your ideal head-
turning subject of the write-up.
BODY
- First Paragraph on Song
- Second Paragraph on Artist
- Maybe some (quick) additional info afterwords
to help sell it to them / mention creds.
- Links to induldge (socials, past write-ups etc.)

CLICK HERE FOR EXAMPLE

FOLLOW UP EMAIL FORMULA:
SUBJECT
- Literally just let them know you're following up.
BODY
- A few sentences asking whether they saw your
previous email, and restating you think it would
be valuable to their audience. You can alter your
email depending on if mailtrack lets you know
they read your email or not.

FOLLOW UP A MAX OF 3 TIMES OVER 10

DAYS. IF THEY DON'T RESPOND. STOP. THEY
CAN (AND MAY) BLACKLIST YOU.
STEP 3
RELEASE DAY
ON THE RELEASE DATE - send a follow up to
press, letting them know its released to the public,
and provide the public link to the song instead of the
private.

The people who haven’t responded, try to get the

public soundcloud or spotify link sent over to them
so they can write a story on it after the release if
they want to (one final time.) Include details of your
press release within the email obviously.

Send press writeups to fans (premiere and

additional write-ups,) post them on your instagram,
facebook, twitter, (tinder?) and feel free to run those
ads I talked about earlier (go back to the extra credit
section of WHAT YOU NEED if you feel inclined to
do so.)

To fans who already exist, these perceived

successes will in turn, increase their engagement
with you and make them more avid listeners. They'll
consider themselves OG's now, and some
pride/community is built with that. To strangers, it'll
give more incentive to become a listener of yours.

Always remember, a lot of people haven't listened to

you NOT because your music sucks - but because
they simply don't even know its out! A release
strategy and proper PR Campaign just lets people
know its out, and gives them a reason to listen.

After all of this - START PITCHING TO

PLAYLISTS...
STEP 4
PITCH TO PLAYLISTS
Firstly, it's very difficult to get into a major playlist
unless you have an established connection. The only
other way in (to my knowledge) is if the Spotify AI
algorithm sees your song organically doing extremely
well through independent playlists.

So, if you don't have an established connection, focus

on Independent playlists initially.

You can find playlisters all over the net, but an easy
way of doing so is just going on Spotify (or other
streaming platforms) and find independent playlists,
and looking up the person who made it. Easy as pie.

Email / contact them - and do the same schpeel that

you did to music journalists. Just with playlists in
mind.

Do this with any playlist that fits your style of music.

There are MANY.

NOTE: Now, as you saw on my site - I have a

proprietary master sheet of around 1,000 playlister's,
nearly 5,000 journalists, and contact infos for
everyone in Spotify, Apple, Deezer, Pandora, Amazon,
Major Labels HQ's etc. I give these contacts info,
additional insight and industry know-how to artists I
am producing & developing free of charge. However, if
we don't work together, these 6,000+ contacts and a
bonus insight series is available for purchase on my
site. Quite literally, people have gotten coverage /
cross platform marketed in MTV, Earmilk, H&M, and
have played pretty massive festivals because of it.
If we don't work together, it is available for purchase
on my site here: Mark-Eckert.com/indieprbundle
STEP 5
FOLLOW UP FOR WRITEUPS
AND PLAYLISTS
For the remaining 3 weeks of your campaign, follow
up, and continuously reach out to literally everyone
you can.

Now, as far as the 3 week campaign goes after

release... you can continue to push on Spotify
forever. But the reason you should start winding
down after 3 weeks for write-ups is simply because,
you're old news after 3 weeks. Can't pitch old news.
You're not able to add much value to a publication at
that point.

Simple as that. (Unless there's a sex tape or you're

arrested / get caught for racketeering. Yeye.)
NURTURE
RELATIONSHIPS
So the vast majority of artists I work with, I have
on a monthly retainer that is affordable so they
can have (on average) an EP's worth of music out
a year, on a consistent basis. The reason for this,
is because you need consistent material out,
consistent relationships being built, and
consistent advancement in what you're trying to
achieve. It's cyclical. It all goes together. You
need to nurture your career in general.

You should follow journalists, spotify playlisters,

and anyone in the industry on IG. Be tight with
them, on a personal level. Keep building the
relationship. If you're in the same city (living or
touring through,) offer to take them out for coffee.
Your treat. After someone writes up about you,
send an email, text, or something THANKING
THEM for doing that. Keep building relationships.

If someone that gave you a write up is in a small

publication - they're most likely hustling their
career as much as you are. They may move on to
a bigger publication later on. And when they're
there - you'll still be tight with them.

Don't overlook becoming tight with these people.

Being a good person, having friends, and checking
up on people is great for your mental health AND
career.
ARTIST RESOURCES:
So, this has given you the basics of what you need to
do to create a proper Release Strategy and PR
Campaign for your upcoming release.

Along with this book, I have MANY additional

resources for artists I work with, along with artists I
don't. All I want is to help you as an independent artist
get further along. From production, to shows, to
getting your song placed on a commercial, to building
a fanbase. That's my job as a producer and artist
developer.

If you'd like to make your PR Campaign a helluva lot

more effective, you can have access to over 6,000
Bloggers, Playlisters, Spotify, Apple Music, Amazon
Music (and more) contacts, with a really badass
additional insight series I made covering everything
you need to know about the ins and outs of running
your campaign. This is the exact framework I give to
the artists I produce and develop. It's called the INDIE
PR BUNDLE, and it's available on my site here.

If you want to start pitching your music to

advertisements and major motion film for sync
licensing, I am the owner and founder of THAT PITCH.
We send you all the opportunities for these ads. You
send us a song. We pitch it to our contact. If you land
it, you keep 100% of everything. We don't take a dime.
Click here to start pitching your music.

If you want me to produce and develop you

1-on-1, you can hit me up here.

If you want more free artist resources, you can go

back to my site here.
WE DONE NOW.
HERE'S MY "LEGAL:"
This ebook is the intellectual property of me. If
you copy it and distribute it / try to sell it, I'll sue
yo ass and give all the $ to all the downloaders.
Because, this ebook will be free 4evr &
alwyzzzzz. - Mark