Get heard. Be understood. Grow your audience with better PR.

Here's what that means.
For $150:

presskit

You get an EPK.

  • An artist bio (300 - 500+ words)
  • An artist brief (3 - 5 sentences)
  • A press release (300 - 400+ words)

($50)

pitch

We do 100 custom pitches.

  • Tailored to each publication
  • Includes follow-ups to each
  • You stay updated on all activity

($100)

Want just the EPK? Want us just to pitch? Go ahead and pick one.

You can expect:

3 guaranteed placements. The industry-standard response rate is about 3-5%, which shakes out to 3 to 5 coverage opps per 100 pitches. A lot of the time, we get more. But if we haven't gotten 3 placements by 100 pitches, we won't stop pitching until we're there.

A month-long campaign. We'll take our time to shape the angle and strategy of pitches to make sure we're targeting the publications that'll be best for you.

Total belief in your music. We only work with artists we love. Fact: it's impossible to promote music you don't believe in.

Let's do this.

If you're ready, we're ready. Let's get the coverage going.

Here's why getting covered is good.

Publications (Blogs / Mags)

  • When you're covered, people find your music and your audience grows. Yeah, that's kind of obvious, but it's nice.
  • Coverage generally snowballs - so, getting a few placements opens up doors to others. And there's a level of street cred to coverage that opens up doors to other opportunities.

Playlists

  • People listen to your music and you rack up the streams or sales.
  • Other people (blogs / venues / labels) look at your streams and think you're legit. It's another way street cred factors in, which, for good or bad, is definitely a thing.

Really, let's do it.

We're still ready for ya. Let's get the coverage going.

Here's why we're good at getting you covered.

In other words, this is why it makes sense to use PR.

In all honesty, here's the biggest reason: it takes time.

The industry reality is that there's about a 3-5% response rate on pitches. As we mentioned above, that means that, for 100 pitches, you'll end up with three to five placements. Or, put another way, it takes 100 pitches to get three placements. If you're an artist trying to make music, that's a lot of time to spend focused on marketing away from the music.

We literally exist to spend time on this.

Also: connections help.

Another reality is that a lot of artists are starting from scratch when the time comes to reach out for coverage. That means any request is basically a cold email, which kind of sucks.

We've built up relationships with publications, which makes response rates higher.

Last true thing: it just makes you appear more legit.

This is the street cred thing again. In terms of the EPK, you just look more legit if you've gotten a professionally-written press kit from a third party (versus writing it in the first-person, or worse, trying to pull off the third-person review of your music yourself - I've seen that too often, and it's always weird).

In terms of the actual coverage requests, the same thing's true.

We promise to make you look good.

If you are still reading at this point, it's time.

Get in touch, at least. We can talk details or answer any questions you've got.

Here's where it started.

Hey, I'm Jon.

I've always been into music and stories. In 2016, I founded Two Story Melody, a blog dedicated to both. By the end of 2017, I was getting 200 submissions per week from artists looking for features.

I started this PR platform to help artists stand out from the noise, get heard, and be understood.

jon