by Pandie Suicide

Getting signed is at the top of a lot of bands to-do lists. It marks the pinnacle of their careers, a sign that you’re really ‘making it.’ But with things the way that they are in this digital age, the whole industry structure of record labels, who historically found bands and other artists, signed them for a (sometimes) nice advance, then released, promoted, and distributed the album (or at least oversaw all of this happening)… has changed.



[Lelaina in Graf Park]

Nowadays, the industry has been reduced to a few select major labels, and many smaller, more independent or niche labels, due to the availability of every flavour of music in the world online for free or otherwise – CD’s in some ways are becoming obsolete. Even the concept of an album is becoming somewhat redundant in some aspects – when individual tracks are available on iTunes for 99c a piece, why wouldn’t you just purchase the three songs you like most, rather than paying ten bucks for the whole thing?

Some musicians today are bypassing the traditional record company route and going guerrilla-style with great results, such as my buddy DJ FM of Psycho Realm, who sold something like 10,000 copies of his Mixtape (on CD not cassette!) out of the trunk of his car, or Mary Magdalan who made a living off their homemade albums by selling them on iTunes and on self-pressed CDs at shows with good results. Many other bands, simply record/produce their own album and obtain distribution through stores like Best Buy etc themselves, completely bypassing the record company – and keeping all of the profits. Record companies definitely take a cut of your profits, but there is a reason for this, unless you’re a master of the internet or a self-promoting guru, it is a lot harder to do EVERYTHING, from writing to recording to pressing to releasing to promoting to distributing etc, the album by yourself, and it can be really hard to get that “household name” success of the Beatles, or Beyonce or Marilyn Manson without a major or large indie, label backing you up. It’s not impossible, but it is a lot harder, and if you’re up for the challenge, more power to you!

It’s not all bad news though, there are success stories everyday, and with the advent of the internet, it may really be a blessing in disguise rather than the end of record labels forever, as new and innovative ways to utilize this medium are discovered for finding bands, promoting bands and sell, sell, selling bands. A huge return to the ‘live’ experience has happened also, where playing live shows is so important, with music so easy to obtain online and offline, fans want the authentic experience of a live show, and it can be the make or break way to prove yourself as the “real thing” to a world that has just soo much music in it. So it is definitely important to work on your live show, and use the internet to give yourself a presence online for fans, friends and record labels to take notice and interact with you, most of which is important whether you want a label or not.

But after all this, if you still want to get signed in this strange digital age, I’ve come up with a few pieces of advice for you, some from insiders at record labels, music managers and success stories:

“The best advice I could give to any band who is trying to make career in music and looking to sign with a record label is TOUR TOUR TOUR! Buy a van and trailer, start booking your own shows and networking and don’t look back. The more shows you play the tighter your band will get, the more connections you will make all over the country, and you will gain real fans who will come back and support you next time you come to their town. Second piece of advice would be make sure you interact with your fans as often as possible, via twitter, facebook, live chats, and most importantly at shows. Hang out, don’t play your set and then disappear to your van for the rest of the night, hang out and interact with fans and other bands. If a label can see that you’re working hard promoting your own band, interacting with your fans, and touring as much as humanly possible they will be more likely to sign your band because they know that you already have a solid fan base who supports your band and will buy the records that the label puts out. A lot of people who start new bands think that they can sit at home and record a great album and submit it to a label and everything else will fall into place. It doesn’t work that way at all.” – Tim Patenaude, Metal Blade Records

“Make sure your shit is dope” and get your stuff on YouTube and get that YouTube page looking amazing because – “YouTube is the most visited website in the world, and the player is BETTER than MySpace” – Scott Koenig, King Artist Management, managing Fear Factory, Divine Heresy, Yeti, By Any Means Necessary

Read Music Connection religiously. You can download a PFD of the magazine or even just certain pages that interest you, all for free. It features inside info on the music industry and is a trade publication for musicians, bookers, label people, publicity people, music publishers and more. It contains invaluable information for bands, for example, the current issue features a “26th annual directory of rehearsal studios – 175 contacts!” and “7 ways to be more effective on Facebook”, “Kill or be killed 24 foolproof ways to improve your LIVE gigs” a “Q & A with the Devil Wears Prada” and more scintillating, useful articles as well as profiling important people in the industry. What is even more to your advantage though, as an up and coming band, is the fact that Music Connection has several pages where it features reviews and profiles of unsigned/ newly signed bands, albums and performances, along with artist’s contact info etc, and if you sign up on musicconnection.com with your band’s info and submit yourself, (which I highly recommend) you may get into the magazine, and not only will you have a nice clipping for your mum, but you might just be seen by people who count.

Having said that, get as much press as possible – if you have an album already, send it to magazines both online and offline for review, send it to radio stations, especially college radio – they love unsigned bands, offer yourselves up for interviews – and work on your interview skills, the more interesting/ intelligent/ funny etc you come across as, the more chance you have of being published and therefore noticed by potential fans or record labels. That said, try to be authentic, you want to present the best image possible in an interview and get the best info about yourselves out there, but you still want it to be your image and info, not somebody else’s!

Make friends in the industry! (aka “networking” but nicer) I don’t mean be all fake and “Hollywood” about it, but a little politeness and courtesy can go a long way. However, if you can cultivate real friendships within the industry, and it shouldn’t be too hard – these people have one big interest in common with you, they all love music – you will go far. It’s like any industry really, the whole “it’s not what you know, it’s who you know” does, unfortunately, (or fortunately?) apply. That said, don’t ruin a good friendship by being too pushy with your friend at the label, or step on anyone’s toes, and don’t expect to get signed just because your friend’s Dad is a shareholder in Interscope or something, it might help, but there’s only so much a friend can do, the rest is up to you – make sure your demo/album/ live performance/youtube channel/twitter etc is up to scratch before you try to call in that favour, because if what you give your buddy is a piece of unfinished crap, and they take a chance on you, they will probably never help you again when you give birth to your real masterpiece.

Spend some time in LA playing shows at whatever clubs you can – you never know who might be there. Good places to play include anywhere along the historic Sunset Strip, such as the Key Club, Whisky A Go Go, The Roxy, Viper Room and various Hollywood Clubs which also look great on your resume or band Wikipedia page. As well, this time in LA is a great opportunity to make some friends (see above), record, mix or master a new record, do some publicity or set up some meetings with potential labels, bookers etc.

Good luck!!!!

The last three months of 2009 have been extremely successful for the international writers' cooperative, Year Zero, with the publication of their first seven novels. In addition, the Year Zero group issued an anthology, Brief Objects of Beauty and Despair (download as a free e-book here). Their second anthology, 13 Shadows Waiting for Sunrise, will launch at the end of December, and the group is celebrating with a series of live events featuring readings by the authors, as well as live music.

Their first gig will be at Rough Trade Records, in London's Brick Lane, starting at 6 pm on February 4th, 2010. Anyone associated with SG UK is welcome and entrance will be free. Music will be from singer/songwriter Jessie Grace, and the bands To The Moon and InLight. Authors reading extracts from their work include the fabulous Penny Goring, the incredible Daisy Anne Gree, and founder members Dan Holloway and Larry Harrison. If you've not come across any Year Zero work, check out the flash fiction, video and book chapters on the Year Zero website. Signed copies of novels will be on sale at the gig, together with the Year Zero 2010 Tour T-shirt.

This week in Harsh Light of Day, we're taking a second look at one of the coolest imports to come from Japan since that AZIMO robot thinger in the car commercial. The film, winner of the Most Groundbreaking Film Award at Fantasia Film Festival, is entitled Hellevator: The Bottled Fools.

Now, I know what you're probably thinking. "Another Japanese horror/sci-fi/cyberpunk movie? I already have the collected works of Miike, Versus (even though it sucks), and the collector's edition of Akira. My film collection (and, by extension, my life) is complete - why should I check this film out?" Why? Well for starters, because the film is a whole lotta fun.

Set in a dystopian future reminiscent of Brazil and The City of Lost Children, the story centers on Luchino, a schoolgirl with a troubled past. As she hops into an elevator to evade the cops, she winds up getting stuck with a random assortment of folks - including two prisoners on their way to be executed. You can kind of surmise what happens after that... and why the original title of the film (The Bottled Fools) needed a retarded expository name like Hellevator tacked onto the beginning of it, simply so it could be marketed in uncultured, backwards places like America.

Made on roughly twenty US dollars, the story behind the film is just as amazing as the movie itself. Director Hiroki Yamaguchi won the grand prize at the Independent Film Festival of Japan, and used the prize money to fund production of the movie. The cast and most of the crew were all on a volunteer basis - no one got paid. The sets were constructed from parts salvaged from junkyards and a screw factory. Watching Hellevator, you'd barely know it; the no-budget effects and sets work for the film instead of against it, by providing a creepy backdrop for the actors to play off of. Especially convincing (and stealing most of the scenes he's in) is Keisuke Urushizaki as one of the trapped prisoners; his performance as the rapist Obitani will make you laugh and wince simultaneously. All the actors turn in solid performances, however. There are no weak links in the cast. This is even more astounding when you remember that they were doing it on spec.

The various subplots of the film add a bit of spice to a trapped-room story, although the meat of the film comes from the scenes shot in the elevator itself, and the resultant paranoia within (okay, that might be the most pretentious thing I've ever written).

Still need convincing? Fine, dumbass. Here's the trailer:



Convinced now? Good. You can order it from Netflix, or just buy it here.


MisterSatan is always looking for suggestions for next week's Harsh Light of Day. If you think a movie's gone criminally underviewed, let him know and he'll see if he can "rent it from the liberry".

There’s a film currently playing on the festival circuit that has audiences and critics talking. It’s a crime drama with the kind of disjointed narrative that is exactly like something Quentin Tarantino would have made, say in 1994. It has so impressed audiences, that it’s been rumored that Quentin himself was involved somehow. Speculation has it that QT either wrote, directed or was somehow involved in making the low budget indie Ten ‘Til Noon.

I procured a copy of the film on DVD because I had to see it for myself. Damn! This is inspired filmmaking that must be seen. Ten ‘Til Noon is Tarantino-esque in all the right ways, from the dialog, to the characters, to the intensity of the situations and especially when it comes to the story.

We meet Larry as he is rudely awakened from his slumber at, you guessed it, 11:50 AM or ten ‘til noon. A badass ebony assassin and his statuesque hottie sidekick mastermind a home invasion. The killers sit comfortably in Larry’s bedroom, as calm as can be. At gunpoint, Larry is told he’s about to die, but before that happens, he is belittled by stories of his cheating wife, who is, at this very moment, being plowed by her stud at a cheap motel. He can’t believe his world has been turned completely upside down in just an instant. Then, the gun goes off, blood mixed with chunks of human splatter the expensive painting on the wall and, well, no more Larry. That kind of brutal violence happens in these kinds of crime dramas.


Is Quentin Tarantino in bed with some low budget filmmakers?

We then meet Larry’s wife Becky as she is getting the plowing of her life by a young stud on the verge of letting… loose… any… second! She keeps him from blowing his load by screaming aloud images such as, oh, disgusting maggots and mom jeans. But he releases anyway. After their story plays out, we meet the guys on the surveillance team watching the two lovers on hidden video as they, uh, complete. I don’t want to give any more away, but what follows is the same ten minute period of time, from 11:50 AM to noon, played out as we discover how all the characters' lives intersect… and the way it ends, no one could have ever guessed.


Becky wants it bad.

Every once in a while a movie like this comes along that needs a champion, and I intend to tell everyone I know about this film, starting with the audience here on Suicide Girls. Ten ‘Til Noon is currently playing to amazed audiences on the festival circuit and garnering a ton of accolades. If you can catch it at a fest, I recommend you run to get tickets.


Is Quentin behind this indie?

As for the Tarantino rumor, one critic seriously wrote in his review that the film must have been made by QT himself under a pseudonym. Sorry folks, it’s not true. The film comes from the mind of one Scott Storm, which, up until now, almost no one but myself had ever heard of. Storm made a brilliant film called Burn that played the Slamdance Film Festival years ago and I was one of the lucky few who was able to see it. Due to some BS legal red tape, Burn never saw the light of day. Refusing to give up the dream, Storm went right back to it and has delivered a film worthy of your attention.


These guys spend the entire movie jerkin' around... if you know what I mean.

So, as you are being bombarded with the latest multiplex crap, or season seven of that show you used to like on DVD, or snakes in your pants, remember that many of the filmmakers you admire today came from low budget indies that played on the festival circuit. Bryan (Superman Returns) Singer and Kevin (Clerks saga) Smith and Christopher (Batman Begins) Nolan and Darren (The Fountain) Aronofsky and plenty more all have their roots in films made for less than $50,000 grand that toured festivals. They all broke big and you know their movies today because movie geeks like me went to see their films at festivals when, you know, they would return my phone calls. Now you can get into the cinema of Scott Storm early by seeing TTN, so check out the trailer, visit the web site, or make some friends with these guys on their MySpace page. Right now, they might have some time to write to you. But in the future, don't count on it.

So, don’t just mindlessly go to the movies, make a choice to see something that isn’t pre-sold, pre-packaged and over-marketed.

Gore gone!

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and enjoys using baby wipes on things other than babies.

The heart of the entertainment business is in Los Angeles where movie-going is not just a habit, but a religion. Today’s movie theaters are facing perhaps their greatest threat ever – your living room. As big screen HD TVs and surround sound systems become more common combined with DVDs of major releases hitting shelves within months of their theatrical runs, seeing a movie at home makes sense. In fact, a home theater is something even the average family can realistically afford. However, no 5.1 sound system or theater-buttered popcorn or authentic theater seats can replace a wildly enthusiastic (yet respectful) audience. It is the audience itself that makes the difference – sharing the thrills, the cheers and the tears with hundreds of strangers in a communal experience that is totally unique.
It should surprise no one that LA and its surrounding areas are home to some of the best movie theaters in the country.

The following recommendations provide not only state of the art projection and sound, but an undefinable mystique that make them the best places to go see a movie in Los Angeles, for both locals and visitors.

1. Arclight Hollywood
6360 Sunset Blvd, Hollywood, CA 90028. Call 323-464-4226
The ArcLight is a church where film fanatics come to worship. This theater may have been designed for film snobs, but it comes without the film elitism one would expect, just higher ticket prices to keep out the riff raff. ($14 bucks, which isn’t that bad.) And if you get your ArcLight card, your loyalty will earn free tickets and popcorn, balancing out the higher prices. The ArcLight is home to the Cinerama Dome, one of the largest screens in the city. In addition to superior projection and sound, the seating is assigned which means you can show up one minute before the lights dim and still have the best seat in the house even on a crowded Saturday night. I recommend showing up early, buying your tickets in advance, then grabbing drinks, dinner or appetizers in the restaurant located in the theater – your waiter will even take note of your screening time and get you to the movie without missing the trailers. Best yet, look for films playing at the “Black Box” theater – this screen is over 21 and features a full bar so you can see your favorites with your favorite adult beverage without having to sneak in the liquor. The ArcLight store contains the best of pop culture kitsch from books, t-shirts, magazines and plenty of unnecessaries to complete your gift-giving list. Across from indoor store you’ll see prop or costume displays for films currently playing, so you can marvel at original costumes and weaponry right up close. This is also the theater where filmmakers and celebrities of all kinds come to see films, their own and their peers. On a busy weekend, you’ll see stars not just on the screen, but probably in the seat next to you, so if you care about celebrity spotting, this is your place. The architecture is breathtaking and upon entering the lobby you’ll discover the best part – the vibe. You’ll feel as if you’ve gotten behind the velvet ropes of the hottest club and entered movie paradise. It’s that cool.

2. Mann's Chinese Theater
6925 Hollywood Blvd., Hollywood, CA 90028. Call 323-464-8111
The Chinese is a classic venue that is firmly a part of Hollywood history. Not just a movie theater, but a major tourist attraction with the hands and feet of major stars forever preserved in cement outside the venue. Where else can you compare your shoe size to that of Jack Nicholson or Darth Vader? The screen for the main theater is enormous and considering that films like Star Wars opened there on May 25th, 1977, it’s no wonder that the Chinese has become something of a pilgrimage for movie maniacs all over the world.
And don’t forget, that the Mann Chinese 6, a notable multiplex, located just upstairs from the classic.

3. Pacific Vineland Drive-In
443 North Vineland, City of Industry, CA 91715. Call 626-9619262
It’s like tailgating with movies! The only drive-in left in southern California boasts four screens of entertainment showing two movies each. Best yet, it’s very affordable as tickets are only $7 each, and that’s for two films. (Kids under 12 are free.) On weekends each screen has three showings, repeating the first film in the third slot (for example, shows are 8 PM, 10 PM and midnight), so if you’re smart, you can see three films for dirt cheap! Bring in your own refreshments and save a bundle, and you can fill that cooler with whatever you want. (I like beer myself. Uh, light beer.) For old times sake, sneak a friend in for free as he hides in the trunk. Make it a party by bringing all your tailgating supplies and don’t forget the lawn chairs with those convenient cup holders. The drive-in experience is quickly becoming lost to a generation, so you owe it to yourself to visit the Vineland.

4. Laemmle’s Sunset 5
8000 Sunset Blvd., Los Angeles, CA 90046. Call 323-848-3500
This arthouse venue screens films you would not see at any other theater. Films in limited release or hot off the festival circuit find a home at the Sunset 5. The filmmakers themselves will often attend the screenings, engaging in impromptu question and answer sessions. Once the film is over, you can enjoy all that Sunset Boulevard has to offer, and best yet, your parking is already validated.

5. Pacific Theatres at The Grove
189 The Grove Dr., Los Angeles, CA 90036. Call 323-692-0829
A gorgeous theater with stadium seating throughout located in a trendy outdoor shopping mall that even has a Mac store. Grab a bite at any of the fine restaurants before catching a film and you might even get to enjoy a free concert in the courtyard just outside the theater. The Grove also has something unique: self serve refreshments making lines move faster--and you can fill up your drinks as much as you’d like.

6. Mann Village Theatre
961 Broxton Ave., Los Angeles, CA 90024. Call 310-208-5576
The Village is set to become a future piece of entertainment industry history as the venue plays host to some of the biggest red carpet premieres in Hollywood. (However, this theater is technically located in Westwood.) A Saturday night screening at the Village attracts a dedicated audience of film freaks, so much so that the studios will use the venue as a place to test out reactions to new movie trailers. The enormous screen will have you looking for a seat in the balcony just to take it all in.

7. El Capitan
6838 Hollywood Blvd., Los Angeles CA 90028. Call 323-467-7674
Owned by Disney, you’ll see all the latest releases here from the Mouse presented in a classic movie theater setting. Ticket prices are a little higher here, but worth it for the pre-show organ extravaganza – be sure to show up early so you don’t miss this musical treat. And no theater in LA has a curtain that opens quite as fabulously as this one –those sparkles will blind you. Many props from the film are on display as this is where Disney holds all of their red carpet premieres. Afterwards you can visit the Disney store there for the latest hard-to-find merchandise. Some films are even accompanied by interactive displays designed for kids to experience aspects of the film they’ve just seen live. These are hosted right next door and sometimes require a separate admission fee.

8. Egyptian Theatre
6712 Hollywood Boulevard, Hollywood, CA 90028. Call 323-466-3456
This completely restored classic theater from old Hollywood is home to the American Cinematheque, a program of unique independent films, foreign cinema and the best from film festivals. Many of the programs include conversations with world renowned filmmakers themselves, even George Lucas spoke there. The venue feels as if one has entered a palace from another time adding a magical ambience one won’t find anywhere.

9. Laemmle’s Playhouse 7
673 East Colorado Boulevard, Pasadena, CA 91101. Call 626-844-6500
Arthouse film buffs have seven screens to choose from offering the latest in highbrow cinema. Grab a coffee in the lobby and prepare to see films that are hard to find at any other theater. Located on Colorado Boulevard in Pasadena, it’s a brisk walk to old town to experience the nightlife there with some of the best bars and restaurants just outside of LA.

10. Vista
4473 Sunset Boulevard, Los Angeles, CA 90027. Call 323-660-6639
Another classic theater that, while in need of restoration, retains all its former glory in remaining unchanged. This is how they used to screen films in that golden age of movies and you can experience it today, just as audience’s did back then. Located in the Los Feliz area, the Vista is a short walk to bars and restaurants like the famous Dresden Room, seen in the film Swingers with Jon Favreau.

Arthouses in LA Worth Checkin' Out

Nuart Theatre
11272 Santa Monica Blvd., Los Angeles, CA 90025. Call 310-281-8223
This old standby has healthy treats along with the best from the festival circuit.

Rialto
1023 Fair Oaks Ave., South Pasadena, CA 91030. Call 626-388-2122
Keep an eye on the schedule for an impressive retrospective program and midnight movies like the original Planet of the Apes.

Regent Showcase
614 North LaBrea, Los Angeles, CA 90036. Call 323-934-2944
This single screen venue focuses on the basics – bringing the best of the arthouse circuit to an appreciative audience.

Chris Gore’s Garage
By invitation only.
Yes, I have an amazing set up in my garage. But tickets come at a steep price – you have to be a friend of mine.

Okay, so now it's your turn. Tell me about your favorite movie theaters in your neck of the woods. Post 'em in the comments and then I'll know where to see flicks when I travel to your town.

Gore gone!

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and in his spare time, protects the city of Los Angeles as a crime-fighting masked vigilante.