⭐ What should an artist have to attract the attention of a record label looking for new talent? Part 1

Serie de tips para conocer el movimiento en la música y las tendencias actuales en términos de lo que buscan los sellos discográficos frente a los artistas independientes.

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A question that takes shape from the publication of an article by La Nación.Com where they interview executives of four global companies for the music sector, Spotify (Latin America manager), Ultrapop, Warner Musica (Argentine subsidiary), S-Music .

▷ Alejandro Varela , President of S-Music
49 years old, producer and former president of EMI Argentina and Chile.

Gustavo "Hippie" Kisinovsky , Director of Ultrapop
49 years old, musician, producer and editor responsible for a catalog with good taste.

Gustavo Diament , Spotify Regional Manager
43 years old, fresh into the music business and former Unilever.

Diego Villanueva , President of Warner Music Argentina
41 years. Former president of Universal Music.

"What does an artist have to have to catch your attention and offer you a contract?"


It's been about 13 years since the idea of ​​a record label changed forever. We are no longer a company that publishes records, we are rather a company that does logistics, production, marketing and distribution of creative content. We work throughout the production and value chain of artists, smaller labels or other producers.

In this context we have different levels of association with them. Whether it is distributing CDs, vinyl or digital formats, or doing marketing and press or producing concerts and events, we work together with artists to give them sustainability.

That is why we work with one hundred artists and producers supporting the local scene and establishing dialogues with artists from other territories, beyond our personal tastes.

And when we like an artist a lot and we feel comfortable working with him, we incorporate him into the label and try to work on 100% of the production chain, or at least help him in whatever way we can. As has happened to us for 15 years with Daniel Melero .

Warner Music:

Possibilities in Argentina and abroad. The companies still sign for the long term. Its work team, managers and staff are also key for me. I think there are few good managers , that is a key position in the entertainment industry.


We do not have a direct relationship with artists, but artists seek us out a lot through their record companies or their staff dedicated to digital content.

Many artists understand that we are the future of music and that with Spotify a music experience that was previously illegal or very little monetized can be legal and monetized.

We know that we have a global average of users of 28 years; people who grew up with Napster , with piracy, and who before Spotify used to pay little or nothing for music.


Ultimately it ends up being personal taste. Except when you are going to buy a hit, that you buy that and not its music, it is very difficult to know if an artist in the beginning is going to be so popular as to sign a contract.

And what happens is also that if a company like ours manages to impose an artist, surely one of the major record labels will come and buy it from us, as happened to a friend with Tan Biónica , because there comes a point where you have to Get out, you can't compete against what those kinds of big companies can offer you.

Taken from the article The future of music - La Nacion.Com

Beyond these important opinions, we undertake the task of getting more answers to this question that all musicians ask ourselves at some point, here are some and we will soon publish the second part of this interesting topic.

Demo - Three Topics

Back in the days when demos were recorded on chrome cassettes with Dolby noise reduction, there was a rule of thumb: three tracks at most. Technology has changed, but that rule is a good one. For a label it takes three (often two) songs to figure out if it is going to work with a band.

Don't send ten topics. Three are enough. It's supposed to be your best stuff, right? Actually, the demo / preview of an album is a business proposal that the artist makes to the label, in the same way that a company sends another a document proposing to enter a business.

A serious company does not send 328 documents to see which one they accept. You don't even start by sending anything, you start by contacting the other company asking if they are interested in a business and explaining a little what it is about. Much worse than submitting ten tracks is submitting twenty tracks all in half to show that you are prolific. I want to hear three finished not twenty unfinished. Let's be serious.

Taken from article 11 Tips - Emiliano Canal

According to much of what is said, the music business has changed and it is necessary to visualize which way to go, many artists have defected from the big labels to start their own record companies and contribute with nearby artists who have not had those possibilities, generate their own income and be in control of their company.

A new question arises along this route: Can we survive as independent artists? This means joining a group of artists who take control of their careers and decide to do so without depending on these companies.