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#40: Use Social Media (Don't Let It Use You) 

A lot of people complain and argue on social media...often about politics. 

What if they continued that conversation on a blog post, podcast or video?

Then at least you're turning your complaints into something productive...the potential for a future revenue stream.

If you only want to distract yourself on social media, maybe this blog isn't for you.

Every time you post content online (a single tweet is content), you're placing a tiny brick in the foundation of your brand.

I believe that everyone is their own brand whether they realize it or not.

Even if you don't have a tangible product to sell.

Your opinions and beliefs that you post online are branding you.

We’re using Facebook and Twitter to brand ourselves, but most of us aren’t strategizing our brand.

We’re helping Facebook and Twitter’s brand more than ourselves.

“If you’re not paying for it, you’re the product.” 

Every time you post, you’re allowing social media platforms to keep their doors open.

They sell data and ad space. 

They can't do that without consistent, loyal users.

I said in Episode #11 to take your relationships off social media as soon as possible.

The reason why is because you don’t own your social media posts or followers - the platform does.

Every pic you post of your cat or kid or event isn’t your photo anymore.

Facebook owns it.

It doesn’t mean that you shouldn’t use social media, just that social media is a tool for you to use.

It’s just one part of your overall strategy to connect with people.

Since you don’t own your social media posts and you don’t own your list of followers, you need to have a list of contact info outside of social media.  

Relying ONLY on social media could lead to a bad time if your account goes down for some reason.

You can organize your opinions and monetize them one day

If you're archiving your thoughts online anyway, why not organize them beyond social media?

You may be one of these people who can talk all day...

I see a lot of long Twitter threads...

There's your outline for a blog post or for a show.

Turn on your mic and go to town for 30 minutes...then post it.

Then do it again and again and again.

It's cathartic, almost like therapy where you get relief just by getting it out of you.

It might be a long time before anyone wants to buy anything from you.

But maybe someday they will.

If you keep going, you'll find your niche.

Doing this at least gives you control over your problems rather than being a victim of them.

You can at least say you turned the negatives into a positive (you have a cool blog, show, art, etc).

Most people just complain on social media and do nothing positive with that energy.

The energy is always going to be there.

It's up to you to do something negative or positive with it.

Ranting and raving on social media is one way to use that energy...

Here's a more positive way to use that energy, which will also help distract you from your woes:

Turn those same opinions into a well thought out argument, organize it into content on your website, then promote your site and mailing list through social media.

Find your people and community who want to hear from you.

One day, your following and archive will be long enough for you to charge $ for something.

A subscription site, a book, a course, a speaking tour, services for hire...the sky's the limit.

In the peer-reviewed "How much is social media worth? Estimating the value of Facebook by paying users to stop using it," the researchers found that a Facebook user's account is worth at least $1000 a year.

If Facebook were going to pay someone to deactivate their account based on the value of the account (to Facebook), they'd need to pay the user at least $1000 a year.

That’s how much FB owes you for a year of using their site and posting on it.

That’s how much your membership is worth to them.

If you’ve used FB for the last 10 years like I have, that’s $10,000. 

We’re all basically part-time employees with no paperwork. 

If you’re regularly on a handful of social media sites, you’re promoting those sites for free.

The least you can do is use your accounts as a tool to develop your own voice and brand. 

Those long tweet threads make a good outline for a longer piece of content.

You can then promote your content through social media and drive traffic to places you own like your website, channel, mailing list.

It gets you off someone else’s turf like Twitter and playing by your own rules.

If you don’t like to write, record a voice memo or video and go on Fiverr and get someone to transcribe it.

Then you can post the transcription as a blog post or just post the audio/video recording. 

Go earn your $1000 that Facebook won't pay you. 

Take care of yourself by organizing and monetizing your views. 

It’ll take your mind off all the things you can’t change.  

This is in your control.

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#39: The Evolution of the Mixtape 

The evolution of the mixtape goes hand-in-hand with the evolution of hip-hop and rap.

The mixtape has always been an effective medium for street music to be passed around.

I asked you on Twitter if you think the mixtape is dead - it seems not.

Mixtapes have transformed throughout the years since those first hip-hop tapes in the '70s.

It remains to be seen how its role for rappers and DJs will play out.

We can break the evolution into four eras:

1. The ‘70s-’80s focused on the DJ. 

The first hip-hop mixtapes were mainly live mixes for fans to relive concerts.

Hip-hop broke through the mainstream on radio and vinyl sales with "Rapper’s Delight." 

But the majority of hip-hop fans knew that hip-hop was mainly captured on low quality dubbed tapes.

These mixtapes weren't made professionally in the studio.

Some early hip-hop crews like the The Furious Five had dozen of live mixtapes they’d sell at their shows. 

In Red Bull Music Academy's "History of Hip Hop Mixtapes," Grandmaster Flash said people with money would be the ones hitting him up for his tapes...

“'The people that was buying my customized tapes [in the ’70s] were the scramblers, the dealers, people that had money,' Grandmaster Flash told MTV.com in 2007. 'I was making a couple thousand dollars a month, easy, just doing this.'”

That’s almost $5k a month in today’s dollars since the value of a U.S. dollar has doubled since 1980.

Just for dubbed live tapes. 

This was an incredibly lucrative market... even though the tapes weren't sold in more established music stores and catalogs.

These always have been street tapes, away from the eye of the mainstream. 

2. The ‘80s-’90s shifted focus to the vocalist/rapper.

Fans, labels, and music executives began to focus on the rapper instead of the DJ's skills.

DJs responded by making compilations with exclusive artist freestyles.

They concentrated less on their mixing.

Turntablism and scratching became less prevalent. 

Mixtapes were used to launch rapper careers.

The music was no longer focused on DJ skills or live shows but on the vocalists.

Labels and record distributors caught on and the mixtape process became industrialized in cities outside of New York 

In some ways, mixtapes replaced four track demos.

Artists previously pitched their demos to record labels to get signed and drop a more professional album.  

3. In the 2000s, the DJ became unnecessary for a mixtape.

The mixtapes were still curated by DJs...until 50 Cent dropped 50 Cent is the Future in 2002.

As DJ Drama said in Billboard, "There's the mixtape game pre-50 Cent and post-50 Cent."

This changed the entire mixtape landscape.

Rappers no longer needed a DJ co-sign to launch their careers.

The long era of DJs controlling the music was officially over.

Artists used mixtapes for free promotion and to build hype... 

Jacking popular beats with their own raps and promoting as their own song. 

50 Cent is the Future was a smash hit and led to his signing to Shady Records.

Shady released his #1 rap album, Get Rich Or Die Tryin'.

50 Cent is the Future came after his first label, Columbia Records, dropped him.

They shelved his still unreleased original debut album.

50 Cent took his career into his own hands by dropping his own music...

Much like how Jay Z created his own label when he couldn’t land a record deal several years earlier.

50 didn’t even record this album in the U.S...he had to record it in Canada because he couldn’t find a studio in the U.S. who would record him.

Talk about no excuses

Another 50 Cent mixtape before Get Rich Or Die Tryin' had the hit single "Wanksta"...paving the way for mixtapes to achieve radio success. 

Blogs and mixtape sharing sites moved many careers forward with these digital downloads during the late 2000s.

Examples include: Meek Mill, Young Jeezy, Drake, Mac Miller, Logic, Kendrick Lamar, Nicki Minaj, Gucci Mane, and Lil Wayne.  

4. The 2010s…the "studio album" mixtape era

Mixtapes from artists like Drake and Chance the Rapper seem more like studio albums.

They perform well on the charts and award shows .

We're in the era of the "studio album" mixtape, but... 

The mixtape is still, at its heart, a reflection of the streets. 

It’s one of the cheapest ways to throw together a project that reflects your skill as a rapper.

You don’t need original beats or be good at mixing and mastering.

You don’t have to spend a ton of $ on artwork.

There’s charm in the DIY makeshift project that fans still connect with.

This is the spirit of the original dubbed tapes.

It still lives on today as rappers drop mixtapes via physical CD or through platforms like Soundcloud. 

Mixtapes were a way to bypass radio, stimulate your fan base, and stay discreet.

They still are for the majority of hip-hop artists.

Despite the commercialization of the mixtape, they still remain a medium for artists to utilize.

And a way for mainstream artists to satisfy their fanbase in between albums. 

Of course, the mixtape can also mimic a professional studio album if it wants to...

Many mainstream artists in the last several years have taken advantage of the free promo that comes with a highly professional release.

This is quite the opposite from the early days...dubbed tapes from live shows, which might have been recorded on an audience member’s boombox and still sold like hot cakes.

Sometimes at a steep price.

The tapes had to be handmade.

Now, a mixtape that sounds and looks like a full studio album is available to anyone on the planet with an internet connection. 

You don't HAVE to give away your mixtape for free...

Nipsey Hussle sold his physical mixtapes for $100 each last year.

"[Nipsey's] mixtape sold out in 24 hours, and just like that [he] had $100,000 and a whole lot of hype. 'It’s time we acknowledge what we all know: the music is free,' [Nipsey] said. 'We shouldn’t force people to buy it, what we should do is create different methods to monetize the connection.'" 

Smart dude, RIP.

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#38: Is Hip-Hop Dead? 

Another requested topic: hip-hop vs rap.

This is always an interesting discussion, often facilitated by Nas' 2006 album Hip-Hop Is Dead.

We ask is hip-hop dead?

No, it lives on in the underground, people say.

It's led me to ask how you define "the underground."

Nas admitted that although there were deeper implications in his album title, he also named it Hip-Hop Is Dead just to get people talking.

The conversation hasn't stopped.

If you look at the history of hip-hop as a subculture, you could argue that its origins are largely gone...

But that the spirit and power of the movement live on.

We find that most people think of hip-hop as a musical genre.

The "purist" way of thinking is that it's a specific subculture exclusive to its origins in the Bronx and Queens boroughs of New York.

From there, it spread via radio and performance and grassroots word-of-mouth.

That subculture was unique to that era in the ‘70s  

It's often referred to as a lifestyle that incorporates at least four elements of hip-hop: DJ’ing, rapping, graffiti, and breakdancing.

Rap is simply one of the elements...

You could make the argument that as hip-hop grew more in popularity, rap evolved into its own separate category...as a musical genre.

Is rap a lifestyle or subculture? 

A community of people, a spirit, a movement?

Or is it a musical genre?

If you go back to its origins, hip-hop is inherently underground.

That is how it started.

If you're staying true with the original spirit of the subculture:

Music made from turntables...bootleg mixtapes passed around...illegal distribution and profit of copyrighted music...

The idea that a hip-hop artist should not care about money (the way a modern day rapper is perceived to care) neglects the fact that a lot of illegal profit was made during the early days of hip-hop.

In "#39 The Evolution of the Mixtape," I wrote that early crews were making as much as $2000 a month selling bootleg mixtapes in the '70s.

That's pretty good money for no radio play, small niche audiences, and underground mixes.

I've heard arguments that say if you hear rapping on the radio, it can't be hip-hop.

Hip-hop in its original form is by definition underground (if you believe that).

But there’s one problem...

I haven’t really found a good definition of what underground is.  

Has the internet changed the definition of underground?

Is there no more underground anymore? 

An article by Festival Peak argues this about the history of the underground:

"Underground" literally meant you couldn’t see or hear from that artist.

They didn’t have an outlet.

It’s the first time that a light went off in my head by hearing the word "underground."

When something’s underground, you can’t see it.

You don’t know it’s there.

In the older days, being underground meant people couldn’t see or talk to you - literally.

But the internet has made it possible to book all your shows, distribute your own music and have direct relationships with fans. 

Many people mix together "underground" and "independent."

It seems popular to say that independent artists are underground, especially if they're not on radio or considered mainstream.

I took to Twitter to ask you your thoughts on this.

Looks like you don't agree that underground and independent are the same thing!

However, more people agree that the internet has erased the inherent underground nature of music that can't be seen or heard.

If you can distribute your own music, are you underground?

If you have enough core base to make a full-time income from music, are you underground?

These are existential questions that may not have a definitive answer.

But I always come back to KRS One's famous quote:

“Rap is something you do. Hip-Hop is something you live.”

Leave a comment below and let me know what you think.

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Hip-Hop Daily Dose #37: What Would You Do With $1 Million? 

Just a couple things first...

1. The new Laidlaw Media podcast show.

It's Episode 2 and we got another fire episode on the way before December hits!

2. Diving into hip-hop memorabilia.

Starting my collection and giving away my first pieces for free...

The first is an autographed photo of Common.

I have two different photos...if you win, you get your choice.

DM me your email or just click here to sign up.

You'll be entered into all my free contests.

Let me ask you...

If you had $1 mil, what would you do with it?

It's one of the most common questions I've heard throughout my life.

It's easy to sleep on it, but your goals and desires may be buried deep within your answer.

Most of the time I hear people saying they'd blow it all.

It's easy to spend it on a nice house, luxury car, vacations, and expensive products.

There’s nothing wrong with wanting to spend $ on yourself and have fun.  

But...the people who would blow through it all probably aren’t listening to this podcast 

There’s no way you’re listening to this if you don’t have long-term goals. 

Maybe in the past you answered this question and said you’d blow most of it.

$1 mil isn't actually a lot of $.

You'll likely need more than that to retire...just for 20-30 years of living expenses.

We’ve heard hundreds of stories of athletes making millions and blowing through it all ending up bankrupt.

It's easy to do.

The Breakdown

You'll have to pay tax on this income.

You don't really have $1 mil.

Let's keep it simple and not get too bogged down in the taxes...

We'll just say you're starting with $750,000 cash.

Here's what I'd do with mine.

It aligns with my life and career goals

25% of $750k = $187,500

  • Pay off debt
     
  • Put one year of living expenses in checking account ($30k)
     
  • The rest in emergency savings

25% of $750k = $187,500

  • $187,500 invested in index funds and/or real estate
     
  • Not touching this until retirement

We've used up 50% of the total $750k.

Aight.

$5k for business travel

One thing I forgot to mention in the audio show was the $5,000 I'd spend for traveling.

In the show, I only accounted for $745k instead of $750k.

Whoops, my bad.

That $5k wouldn't be for a nice luxury vacation.

I'd go to LA, New York, Atlanta, or possibly an international trip...

To meet music industry contacts and make beneficial connections.

I'm not getting a new house or car at this point.

$50,000 to upgrade my home studio recordings

Nothing too crazy.

Just good quality gear, mics and products to improve the acoustics.

The final $320,000...

All for Monikker Music content and promo.

  • Content production (could get expensive - outsourcing for videos, photos, social media, other content)
     
  • Merchandise and packaging
     
  • Building funnels and creating new digital/physical offers
     
  • Funding a tour

The rest would go to advertising to promote all of the above.

I should have $100k for the advertising budget.

And that's it...

With enough good content, merch, offers, and a good live show + using my advertising $ intelligently...

The goal would be to turn a profit out of $ spent on the entire second half of the $1 mil:

Business travel, upgrading my studio, and content + offers + promo.

If it takes longer than a year to recoup my investment, I still have over $100k in emergency savings.

This allows me another year or two at least of living expenses.

That's more time to successfully turn enough profit on my asset investments.

What would you do?

How has this post and show made you think differently about it?

Drop a comment below or Tweet me.

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Hip-Hop Daily Dose #36: Should You Release a Single, EP, or Album? 



Got a request for today's show from @smokegenerxtor.


Great topic.

In this show and post, I talk about the pros and cons of EPs, singles and albums.

I find often that people don’t know what an EP is.

They’re typically not artists. 

Just as often, I find artists who seem to think an EP is beneath them. 

I’ve never quite understood the stigma against EPs. 

Why is an album better? 

Especially in the current musical climate:

People are ADD.

It’s hard to get and keep their attention. 

A lot of artists release standalone singles to combat this and give people a quick taste of their music.

Personally, (both as a fan and an artist), I’d rather hear 5 rock solid, incredible songs than 10-15 that have filler on an album.

Even if I really like that artist, I don’t tend to listen all the way through albums as much as I used to.

I want to hear the highlights.

But shouldn’t any release, whether it’s a single, EP, mixtape, or album only be filled with your best work?

That’s my mindset and how I want to approach any type of project.

My approach is that any song I write could be a single.

I’ve picked up this idea from TobyMac, who says he writes every song as if it would be the single.

I think sometimes artists get the idea that a “single” means it’s the most commercial track on the project....

Or the most pop, or has the widest appeal.

I just can't come up with a good reason to not get as many listeners as you can with your music.

That doesn’t mean you have to water it down or go “pop” or anything like that.

In my head, it means you’re bringing your best...music, lyrics, and delivery.

If somebody who didn’t know you picked any random song from your project...it should be as strong as any other song on the record.

Even if you’ve got different tempos, styles, and vibes on there.

That’s my mindset but I’m curious to know what you think.

Think of your project as your resume.

This is all that somebody has to go on right now...they’ve never heard of you before.

How are you going to approach that situation?

If you want to date somebody or make a new friend or business connection, do you bring your less impressive “filler” game?

Or are you out to make an impact on them?

You’ll probably at least try to be your sharpest, funniest, charming version of yourself.

Winning a new fan is a lot like seducing somebody (romantically, professionally, or otherwise.)

Give your absolute best.

If you’ve only got the juice to do that on 5 songs, I’d rather hear that project.

You might have to record 10 or 15 songs to get the 5 best songs.

What is an EP?

A recording project between 3 and 8 songs. Total run time doesn’t go over 30 minutes.

Apple actually inserts 'EP' at the end of your project title if your project meets their specific requirements for an EP.

Their definition of an EP is: a record than contains 4-6 tracks and is under 30 minutes.  

We tend to think of a single as just one single song, but Apple and Spotify have different specifications.

They consider a release to be a single if if has 1-3 tracks, and each track is under 10 minutes.

If any of the tracks were over 10 minutes long, they’d consider it an EP.

A lot of artists put "EP" in the title and cover art of their project on their own accord.

I'm not sure why there's such a need to make sure everyone knows this ain't a legit album!

The pros and cons of releasing an EP

Pros:

  • Takes less time and $ to create   
     
  • Easier to plan out a concept or theme 
     
  • Audience attention is on the decline (shorter projects may keep their attention)
     
  • Easier to justify asking for the sale ($5 for an EP vs $10 or $15 for an album)
     
  • Big artists used EPs to help them get a record deal, including Black Flag and Eminem 
     
  • Used by established artists to keep fans happy in-between album releases 
     
  • An excellent project with 5 tracks is better than a good project with 12 tracks 
     
  • Keeps audience hungry … you always want to leave them wanting more, not less 
     
  • Less room for disappointment 

Cons:

  • Often seen as an entry level debut 
     
  • Not taken as seriously
     
  • Media outlets don’t think it’s as newsworthy 
     
  • Weird stigma that an album is better because it has more music on it

EPs are great for artists still building their core base

You're more likely to introduce new fans to your music.

How likely are you to listen to an entire album by a random rapper you saw online?

At this point, I don't always listen to the full albums by artists I've followed for years.

An EP is easier to digest...especially if it's full of your absolute best music.

Whether it's our collective attention span or our patience that's declining...we move on quickly.

We like to stick with what we're familiar with (as much as we say we want novelty).

How will you break through to someone who's never heard of you before?

An EP can give people a taste of your sound and whet their appetite for a larger project.

Maybe people look down on EPs because they see them as an appetizer with the album being the main course.

I’d take an excellent EP over a good album any day.

But there’s no denying that an EP can essentially work as a glorified demo, which isn’t a bad thing at all.

It’s better to give people less and make them want more...than to give them too much.

Always leave your audience wanting more.

This will only help convert people to your side.

I often find that albums are just way too much (even with my favorite artists).

Save the less impressive cuts for your subscription site, mailing list, free download, or a B-side compilation later on.

You can use them for standalone singles in-between projects so people know you’re around with music good enough to release.

Sometimes artists don't release singles from EPs.

Why wouldn't you promote one project as heavily as you promote another?

It doesn't make sense to hold back on EP promotion...except that media publications don't cover EPs as often as albums.

Screw the media!

You've got social media, email, and texting accounts.

Plus doing live shows...and your website.

Get your music in front of people with or without media publications.

I love when artists release most of a project song by song before the final project release date.

Some of my favorite artists will drop a new song every week or every other week before the final release.

Only a few songs on the album are still unheard on release day.

There’s an excitement I get knowing I get to hear most of the album ahead of time if I pay attention. 

It's one of those treats you give to people who always want to hear more from you (your core or true fans).

I think it’s a good strategy to release multiple singles from a project.

Spend anywhere from 1-3 months promoting the crap out of each single.

If every song is hot and you’ve approached each song like it could be a single, why not? 

Most artists just drop the full project at one time with no pre-launch promo...

Other than some social media posts talking about the project.

You can drop one or two singles before the project is out to build anticipation for it.

This does take planning.

Here's what Quartz said in "Unless You're Adele, You Have No Business Releasing Album Tracks All At Once":

Superstars like Adele can get away with dropping a full album of new music...but it doesn’t make sense anymore for lesser known indie artists to spend years working on a new album and not drop any new music.

Quartz advocates for dropping steady singles throughout the year.

Then releasing them in a compilation such as an EP or mixtape.

Everyone's favorite rapper, Macklemore, took this approach to his success:

“More mainstream artists, like Macklemore and Ryan Lewis, took similar routes when breaking into the music scene. The Seattle-based hip hop duo began pushing tracks from their debut album 'The Heist' more than a year before the record dropped in 2012 to hype it up." 

The Chainsmokers stayed creative with their track releases:

"[They] released a new original track every month, along with music videos, behind-the-scenes videos, and other social content. After fans started discovering the new and older tracks, the Chainsmokers compiled their songs into an EP called 'Bouquet,' released in October. As of today (Oct. 29), the compilation is number two on the iTunes dance album charts.”

Whether you've only got a couple singles, a few tracks for an EP, or a full album...

Take the temperature of your core base and marketing strategy.

Have you built enough momentum for a full album release?

Is it reasonable to expect many people to buy it?

If yes, an album might be great for you.

Are you still scraping just to get people to remember your name?

Maybe you could drop your hottest single and promote the crap out of it (see other Hip-Hop Daily Dose shows for ideas on how to do that).

Got people asking what's coming next? 

Drop them with a single every month or so and then compile into an EP or mixtape.

Whatever you do, always remember that it's not so much what you're releasing but how you do it, and why.

Don't give up!

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Just enter your email underneath "Be Part of the Movement" on the Monikker Music Home Page

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Mini Manic: "Nothin's Real" 

HADES is back!

Mini Manic, his duo with New Orleans-based vocalist and guitarist, Jillian Kay, has released its first song.

The music is published via HADES' independent Austin-area record label, Black Market Pluto.

"Nothin's Real" is a trip hop-drenched track with Jillian's deep bluesy vocals.

Jillian's tortured vocals pull you in while HADES' music sounds darkly urgent.

The poetic lyrics represent a soul looking for relief in a broken world.

Reflecting on the new music, Jillian Kay said:

"It's crazy how it came together so unexpectedly.

Hades hit me up to collaborate and at that point I'd never really explored into this genre of music. It felt experimental to me.

I was definitely intimidated at first, but we just opened up another cool little door. I'm excited to keep moving and exploring with this project."

There's an other-worldly feel to the sound.

It's as if ghosts are trying to help us see what they see...the invisible forces around us.

It feels like Janis Joplin was transported back here to settle some unfinished business of her soul.

In the verse:

"Simplicity pulls me out of the self-induced coma my soul's been exploring.

Sacred is broken, nothing aligns in normal formation for spirits as I'm Aquarian, 'I'-rrationally trying to rationalize."

In the chorus:

"Nothin's real...something else shows its face and nothin's real..."

The beat has dropped out and it's mainly manipulated effects behind her vocals.

It feels...ghostly.

Jillian's howls of "Nothin's real!" at the end of the chorus may be the most impactful moment.

I start to believe her (ok maybe I already agreed with her) but now I really believe!

It sends chills down my spine.

The unique sound perfectly captures a dark, cynical, (possibly) fatalistic view of human behavior.

In the next verse, a critique on society:

"Stand back while society burns down...

What's been found by the world's been twisted around, listening to conspiracy sounds."

HADES and I talked about the collaboration back in October.

He described it as "spooky and dark, and bluesy. It's nuts."

Maybe it really is like HADES from the underworld, giving us a glimpse into what hell is like. 

The spider-like key/guitar/horn parts tip toe around in the background shadows, starting at the end of the chorus. 

There are things going on underneath we don't completely know about. 

The spiders fully emerge at the end of the track while Jillian hums. 

I'm really imagining HADES the producer as the mythical HADES of the underworld... 

Locked away in this creepy, dark, candlelit room making music... 

While tortured souls stop by to record guest vocals. 

You can see silhouettes of spiders and cobwebs in the corners of the cold, stuffy, dusty room. 

Ok, I've combined Miss Havisham from Great Expectations with HADES of the underworld.

That's what this feels like:

A Miss Havisham-HADES musical mashup...

It's creepy and wicked.

Black Market Pluto expects to release more Mini Manic songs one by one...the next song expected by the end of November.

HADES said about the new music:

"I'm just hoping these songs find someone who enjoys them and shares them to other people who could potentially enjoy them.

That's what we are currently doing."

Send an email to blackmarketpluto@gmail.com and request to be added to the BMP email list.

Subscribe to the Black Market Pluto Youtube Channel where they'll be dropping new songs.