This has been once of the most exciting periods within Aardvark
Records' dance division since its official launch
in November 2005. The last
5 weeks have seen
all of the promotional videos from its roster of acts
hitting television screen and video screen throughout
North America. The most recent video additions for
broadcasting have been the remixed videos for QED's
single 'Love Bites' (audio remix by the Club Junkies)
and EricM's new single 'Touch Faith' - remixed by
some of the hottest dance music video remixers from
Import Sound & Vision's stable of video producers/remixers. These videos have been added to Footlocker's in-store entertainment platform across all 2000+ of its North American retail outlets.
Import Sound & Vision, under
an exclusive agreement to promote Aardvark Records'
videos, have introduced the nascent dance division's
videos to the movers and shakers at Screenplay Inc,
Promo Only USA, Rockamerica, bpm:tv Canada, DMX,
Logo (MTV), A3 TV, ADD-TV, QTV. These leading media network companies are in the business of
distribution, display and management of dynamic in-store
entertainment, merchandising and advertising solutions
to the retail and hospitality markets. ISV works
hand in hand with these companies to give artists
maximum exposure and promotion through video broadcast
in the retail and hospitality markets (i.e. stores,
bars, clubs, restaurants) as well as on TV networks
who specialize in music video programs.
One very
positive outcome from all the video promotion campaign
has been a nearly 200% increase in unique daily visits
to Aardvark's website and a substantial increase in
on-line sales of albums, singles and ringtones through
providers like eMusic, iTunes, Beatport, Karma Downloads
and Toryumon.
"Nivek and Fred at Import Sound
& Vision have been phenomenal in what they have
achieved," Alex di Savoia, head of Aardvark's dance
division, said. "Dance labels and heads of A&R
of dance music divisions need to be speaking to this
company if they are at all serious about getting their
videos out in the American public limelight.
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"It has
been an amazing working relationship. Nivek
and Fred's work with our videos gives me the opportunity
to concentrate on press and media exposure for the
artists. I have re-discovered the importance of promotional
videos through our work with Import Sound and Vision.
Working with video promotion companies, VJs and video
pools has been a totally re-invigorating experience.
These contacts have brought our breaking artists into
the very heart of clubland - the very people we want
to experience our new releases. The combination of
audio and video remixing keeps everything fresh, invigorating
and keeps the momentum going."
di Savoia continued, "There is
a bit of confusion about Aardvark and what we do.
It's unheard of for a label whose core activity is
licensing albums and singles to gain such attention
either for itself or for the projects it's handling.
That side of things is typically handled by a manager
or the primary label. However, it's great that Aardvark
can - and does - handle this aspect of the business
in-house. It has always been Aardvark's intention
to release under its own branded label. That
was a major factor in me being offered a position
at Aardvark and my accepting that offer. Recent successes
like the ones we've gained make the roll-out
date for Aardvark singing and releasing artists directly
will make that happen sooner rather than later."
The
fact that Aardvark's dance division is not genre specific
has also made it something of a talking point in recent
months. Considering it handles genres as diverse as
Psy Trance, Hard Trance, Beats/Breaks/D&B, House and
Euro Trance - it's not so surprising. I've been a
lover of dance music since the early rave days back
in the late 80's. I remember the Goa and Ibiza
scenes back in the real early days. The only relevant
distinctions back then were house, techno, garage
and drum and bass. If a track was quality it
didn't really seem to matter what the style was.
People just got into it. That's the kind of mindset
I've brought to Aardvark. It's a mindset that
Andrew Reeve, Aardvark's Chairman, supports."
Aardvark has spent the past
week speaking to UK and European video pools.
di Savoia commented "MixMash has been an amazing
company to get on board with. Mixmash and Aardvark
are totally on the same level with bags of synergies.
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MixMash has a truly excellent presence in the
UK with loads of club venues, bars, pubs and retailer
outlets. I've also recently been speaking with Video Pool UK, Promo Only UK, MTV and EMAP regarding
the broadcast of our videos. Our aim is for video
exposure to match the levels gained in North America.
CD Pools haven't been overlooked. Andy Wetson
recently put out the Club Junkies remix of QED's 'Love
Bites' via his company, CD Pool UK. Promo Only is also handling Aardvark's
dance division's latest singles and remixes for American
dance radio programmes. The timing of both the North
American radio and video promotional campaigns couldn't
be more perfect considering this is the month of Miami's
Winter Music Conference.
"My efforts as head of marketing
and promotion at Aardvark is to get our projects 'out
there' and show that they are genuinely attractive
projects for licensing and distribution," di Savoia
said. "The days of simply saying 'this is a
great project or artist for licensing and distribution'
are long over. It's been a rocky time in the
industry for longer than even I care to think about.
You need to go to a licensee and distributor with
facts and figures and not just hype. They need
to have the confidence that they are taking on a solid
prospect that's going to make them a profit. I can't
blame anyone for that. It's business. I'm in
a position where I can say 'These are the radio stations
playing the promos, these are the club DJs spinning
the tracks, these are the broadcasters airing the
original mix videos, these are the press reviews,
this is the feedback from DJs and radio and these
are the online sales figures for the original mixes'.
" Believe me, that kind of detailed information drastically
reduces the fear factor a prospective licensee has
in taking on an artist in a new territory. And as
much as a potential licensee may want to have that
level of information, I love seeing the
look on their face when it's actually delivered. It's
basically my job to tell an interested licensee (and
show them) that the initial hard work supporting a
project or artist has been done by Aardvark - all
they need do is take the ball and run with it."
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