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Cyclone Records is an independent record label and music management firm based in Toronto, Ontario. Cyclone also works as a sub-licensing agent for artists outside of it’s roster, promoting artists to radio and operates a CD/DVD manufacturing brokerage.
CEO, Brad Trew, kindly agreed to answer a few questions...
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Hi Brad, how did you start your label and what inspired you to do so? |
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I started Cyclone Records in the mid-80s as a way of releasing my own band onto vinyl. We didn’t have a fanbase or budget large enough to support a dedicated release so I sold time slots on the album to other bands and released a compilation. Each band received a portion of the albums pressed. Distribution and promotion was taken care of as the bands sold their allotment of the albums pressed and, in doing so, my band was promoted alongside everyone else. Fast forward to 2005 when I woke up Cyclone Records and released 3 compilations using the same formula as before. That then led to releasing full-length albums, promotion and artist management. |
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What are you trying to do differently as president of Cyclone Records? |
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With the constant flux that has defined the music industry over the past couple of years, Cyclone has always stayed on the leading edge of new opportunities, avenues and technologies. Being a smaller company, we can respond quickly – virtually overnight – to any changes that will continue to position Cyclone Records as an industry leader in innovative change. One thing that I am adamant about is that artists retain all aspects of ownership of their music. |
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What genres of music are on your label? |
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Starting the label, my strategy has been to focus on quality rather than genres. Having said that, Cyclone is afflicted with a split personality, being perceived as a metal label in some respects, a rock label in other respects and a rock revival label in other respects, celebrating a return of 70s and 80s style rock. We have also worked with and released artists in the folk and country vein. |
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What active bands are on your label? |
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I have a great selection of talent on the label. Steve Negus, the drummer and co-founder of Saga released his solo album through Cyclone Records; Caveat is a prog metal band from Western Canada that is gaining worldwide recognition; Holly Woods was the lead singer of the platinum selling 80s band Toronto and I have released a lost master that was recorded back in the mid 80s; Stir of Echoes is a retro rock band that who’s latest album was produced by Steve Negus; Prism is an internationally known pop rock band who I am releasing their latest album in the UK and Europe; lastly, Double Jack is a southern rock band from Alberta. I also manage bands such as Moxy, which is a classic rock band that has been going strong for over 30 years; Russ Dwarf, the frontman of Killer Dwarfs, has a new band and he is delivering the best of the Killer Dwarfs. |
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What do you look for in a band? |
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I look for a band that has the makings of a success story within their own realm and under their own control…good music, a marketable image, strong business sense, purpose and drive. These are the cornerstones of success and bands that have recognized this and are exemplifying these attributes have a much greater chance of success. From a label perspective, my job is then half done and I can use my expertise outside of the music creation process to bring as much exposure to the band. |
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Have you ever signed a band from a demo? |
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Yes, Holly Woods. In essence, hers was a fully recorded album that never got off the ground and sat in storage for over 20 years. When I became involved, the album was still on 2” multi-track tape and unmixed. I then produced and remixed the album to bring it up to today’s standards while retaining its 80s feel. |
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What advice do you have for bands trying to get your attention? |
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Don’t wait for anyone to come along and hand you your success. Bands need to be a well-oiled, focused and dedicated machine before anyone will look at them. In a sad reflection of these times, the quality or appeal of the music is secondary to how much money the enterprise can make. I receive submissions from bands from all over the world and some are so poorly prepared that I don’t even consider them. I also get some that clearly have custom packaging and it is just too much. I like something that exemplifies the music, the bands philosophy and successes to date. |
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What one marketing/promotions tool do you find is your greatest asset? |
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The internet is the greatest tool but how it’s used really dictates your success. I use a wide variety of outlets to promote such as MySpace, Facebook, Last.fm, Airplay Direct, DMDS, etc. The key is to exploit the strongest attributes of each of the various features rather than focus all your attention in one area. The goal is to reach as many fans as possible with as little work as possible…let the processes work for you, not the other way around. Viral marketing and street team strategies go a long way to maximize your exposure. The downside is that you are now competing against 100’s of thousands of other bands attempting to achieve the same thing. Trying to have your voice heard and your face seen above every one is a challenge. |
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Do your artists retain ownership of their music and have full creative control? |
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Yes, to me it’s all about the music. I do this for my love of music in the same way that motivated musicians to pick up their instruments. To take away, alter or try to mold their vision and passion is unthinkable. From a business perspective, finding artists that can create a finished product that is appealing and compelling is one of my most important criteria. |
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What has been your greatest achievement to date in your music industry career? |
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To be recognized as a respected force within the Canadian music industry in a relatively short period of time. I am still awed by the quality of talent that I have surrounded myself with, some of them being artists that I grew up idolizing and are now amongst my closest friends. To be recognized as a peer to them is the greatest reward I could think of. |
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What’s next for Cyclone Records? |
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I heard an interesting statistic that 95% of all downloaded music is pirated. This has been called “a wonderful problem to have” in that there is such a high volume of music consumption. Music is the business card of the band and the more people that know about, and connect with a band, the stronger the enterprise. Pirating music is the most powerful, widespread distribution network the music business will ever know. Knowing how to capitalize and monetize that is the challenge the industry will be fighting for years to come. My goal into the future is to find ways to connect fans to the artists as part of a community, source out alternate revenue streams such as merchandise, film/TV/game licensing, ringtones, advertising, interactive music packages, etc… everything that surrounds the music that cannot be easily converted and pirated. |
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Finish the sentence… “The best thing about my job is…” |
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…seeing the results of my hard work. I am still awed by the quality of talent that I have surrounded myself with, some of them being artists that I grew up idolizing and knowing that I am an integral part of moving them into the next chapter of their careers. I also enjoy introducing music to a new audience and hope that they hear the magic as I did when I first heard it. |
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To check out more about Cyclone Records, visit |
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I would like to thank Brad for this interview. Keep It Loud!
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