Electronic PR built around the club, not the blog
Campaigns for producers and electronic artists that target the DJs, the community radio ecosystem and the label network that actually move records in this genre.
Electronic music is the genre where press coverage correlates least with actual traction. A record breaks because DJs play it, because a label with standing releases it, and because it works on a floor. Not because a website reviewed it. Any campaign that treats editorial as the primary target is optimising for the wrong thing.
So these campaigns are weighted towards DJ servicing, specialist radio and the label ecosystem, with press as a supporting layer. It is a different shape of campaign and we will explain exactly why before you commit to it.
The outlets an electronic campaign is built around
Where the work actually happens in an electronic campaign at this level.
Direct servicing to DJs and selectors. In this genre, frequently the highest-value activity in the whole campaign.
Noods, 1020, Balamii, EH-FM, Clyde Built and their equivalents. Small on paper, genuinely influential in practice, and open to new music.
Extensive UK dance coverage that is accessible to developing artists.
For the leftfield, eclectic and genuinely strange end of the genre.
The smaller sites and newsletters covering specific corners of the genre properly.
Guest mixes and podcast slots, which in electronic music do more than a review ever will.
The independent label ecosystem, which carries a large share of the credibility in this genre.
Genre playlists with real listenership rather than inflated follower counts.
This is an illustrative view of the landscape rather than the list you would receive. Your actual media list is built for your specific release and sent to you for approval before anything is pitched. Coverage is never guaranteed anywhere.
The tier above, named honestly
The titles and stations that define the genre's mainstream. Reached with club support and a credible release behind you.
The principal UK dance title. Premieres and features carry weight across the scene.
Broad electronic coverage with significant international reach.
The most credible editorial voice in underground electronic music, and correspondingly selective.
Enormously influential across the more experimental end, and heavily contested.
Specialist shows are the realistic route. The daytime playlist is not.
We list these so you can see the ladder, not to imply that one campaign puts you on it. If your release is genuinely in range of this tier, we will tell you, and we will tell you what it would take.
How we build an electronic campaign
DJ servicing before press outreach
Getting the record into the hands of the right forty DJs will usually do more than any placement. We treat this as the core of the campaign, not an afterthought.
The label is part of the pitch
In electronic music the label carries a large share of the credibility. If you are self-releasing we will be honest about how that changes the ceiling, and what to do about it.
Remixes are campaign infrastructure
A well-chosen remix extends a release's life, opens a second press cycle and reaches an adjacent audience. It is often a better use of budget than more outreach.
Club plays are the story
Where a track has been played, by whom, and in which room. This is the substance a dance journalist actually responds to, and we build the pitch around it as it accumulates.
What we work across
House and its many UK variants. Techno. UK garage and its revival. Drum and bass and jungle. Bass music and dubstep. Ambient and experimental electronic. Leftfield and club-adjacent pop.
What's included
The same package regardless of genre. What changes is who we pitch, how we pitch them and when.
Electronic PR by city
Where local media and the local circuit change how an electronic campaign should be run.
Questions
Planning an electronic release?
Send us the track and the date. We will tell you which outlets are realistic, what the timeline needs to be, and whether it is worth running at all yet.