Vancouver-based Kim Juneja makes up one-half of the prestigious Canadian publicity firm Indoor Recess. Working alongside her partner Joanne Setterington, Indoor Recess currently boasts label clients such as Rounder, Ropeadope, Nettwerk, Aquarius and Last Gang. Together they have promoted artists including Sum 41, Caribou, Junior Boys, Sarah McLachlan, Metric, Death From Above 1979, Moka Only and Four Tet.
What can you offer a band or artist?
A lot! Joanne and I come from two very complementary areas in this business. Joanne's been doing publicity for ten years and has aided the careers of many hugely popular Canadian artists. Top that with her experience at BMG, and you have someone with a range of skills that covers every facet of the music business. A lot of my own experience has been working with independent artists largely from the UK, U.S. and Canada. For the last seven years I've been lucky to work with innovators, people that define new sounds and genres. It's been fascinating to work with all types; it keeps the job fresh! Also, as we're based in Toronto and Vancouver, we have an advantage on how we cover the country. It's allowed us to develop long-standing relationships with music media across Canada, which is key to being a successful publicist. Overall, we take an artist-driven approach and work to be creative, detail-oriented and comprehensive.
What do you look for when you decide to work with a band or artist?
A great vibe both musically and as a person. It's also helpful for that artist to have a good team behind them (great management, solid booking agency, etc.) along with all the resources we need to make it all happen smoothly. I'm talking about a good, solid bio and a nice selection of press photos. I can't emphasise this enough! Artists out there: the better the photos (and the more variety) you have at the onset, believe me, the more music editors will be inclined to use them. Lastly, having an artist who's willing to work hard. This may sound obvious, but in this business it's definitely those artists that are on time for interviews and open and willing to do whatever we send their wa, that tend to be the most successful. Enthusiasm really sums it up.
What kind of expectations should a band or artist have when dealing with a publicist?
I think the most important thing to remember is to be realistic. It's great to work with artists who know where they are within the musical community and have all the essential tools ready to go meet their goals (video, tour dates, press photos). Many bands don't initially understand the ramp-up time needed to conduct a good publicity campaign. The best-case scenario is to have a solid lead-time to start the project. Having promos of the CD well in advance to service both the long-leads and the major media before release date is tops!
When is the best time to approach a publicist?
I'd say when the finished CD is in your hand or as soon as your tour dates are confirmed it's time to give us a call. Have your photos ready, be ready to talk endlessly about yourself and we'll put together a fantastic press campaign for you.
What can you offer a band or artist?
A lot! Joanne and I come from two very complementary areas in this business. Joanne's been doing publicity for ten years and has aided the careers of many hugely popular Canadian artists. Top that with her experience at BMG, and you have someone with a range of skills that covers every facet of the music business. A lot of my own experience has been working with independent artists largely from the UK, U.S. and Canada. For the last seven years I've been lucky to work with innovators, people that define new sounds and genres. It's been fascinating to work with all types; it keeps the job fresh! Also, as we're based in Toronto and Vancouver, we have an advantage on how we cover the country. It's allowed us to develop long-standing relationships with music media across Canada, which is key to being a successful publicist. Overall, we take an artist-driven approach and work to be creative, detail-oriented and comprehensive.
What do you look for when you decide to work with a band or artist?
A great vibe both musically and as a person. It's also helpful for that artist to have a good team behind them (great management, solid booking agency, etc.) along with all the resources we need to make it all happen smoothly. I'm talking about a good, solid bio and a nice selection of press photos. I can't emphasise this enough! Artists out there: the better the photos (and the more variety) you have at the onset, believe me, the more music editors will be inclined to use them. Lastly, having an artist who's willing to work hard. This may sound obvious, but in this business it's definitely those artists that are on time for interviews and open and willing to do whatever we send their wa, that tend to be the most successful. Enthusiasm really sums it up.
What kind of expectations should a band or artist have when dealing with a publicist?
I think the most important thing to remember is to be realistic. It's great to work with artists who know where they are within the musical community and have all the essential tools ready to go meet their goals (video, tour dates, press photos). Many bands don't initially understand the ramp-up time needed to conduct a good publicity campaign. The best-case scenario is to have a solid lead-time to start the project. Having promos of the CD well in advance to service both the long-leads and the major media before release date is tops!
When is the best time to approach a publicist?
I'd say when the finished CD is in your hand or as soon as your tour dates are confirmed it's time to give us a call. Have your photos ready, be ready to talk endlessly about yourself and we'll put together a fantastic press campaign for you.
