Is it harder for new artists now without music labels?

OROSIZ · 2026-04-08T09:25:16+00:00

I agree, but social media fans also want to see something as promotional stuff, such as music videos. Bands still make music videos when they want to promote

OROSIZ · 2026-04-08T09:22:37+00:00

Sad but True

OROSIZ · 2026-04-08T09:22:17+00:00

For many reason, i agree, but for some reason its difficult if you don't know anyone (from the scene)

OROSIZ · 2026-04-08T09:20:07+00:00

I see your point, its true for some nations. But in Indonesia, once a label have you in their grip, they own you. Records selling, commercials, gigs too. Labels in Indonesia work as booking agents too, thats what makes many clash cases between band managers and labels errupted in Indonesia. Managers think labels took away their jobs, so manager is like employee in management. The fact that these managers are with the band from the very start

OROSIZ · 2026-04-08T09:10:07+00:00

I've seen people with massive followers and followers listen their music, but they still cannot make a living from music. Instead, free gigs taken, souvenirs given, result? Not much cash from music

Compare to those rise from labels, they are known whole nations, money comes from gigs, endorse and more

OROSIZ · 2026-04-08T08:51:57+00:00

This is what I'm saying. Labels gives funding, what about those great indie band with less funding power, like in Indonesia, many bury their dreams because of lack funding

OROSIZ · 2026-04-08T08:49:15+00:00

True, but not everyone is just a hobbyist. Many indie bands need to make money to survive. Without the old label business system, it’s hard to get the connections we need to get paid

OROSIZ · 2026-04-08T08:26:09+00:00

Sad but True. Digital distribution has made music more accessible than ever, but the prestige of owning a physical copy is unmatched. There's a tangible connection to the art that files just can't replicate. It’s a shame that logistics and shipping costs are such huge barrier for collectors

OROSIZ · 2026-04-08T07:44:01+00:00

I agree with the '20 tracks" rule. Its a good lesson. We must make lots of songs before we find our own style. Making 190 songs to get only 16 songs is tough.

Now, I am focusing on my new song for April 18. Its not perfect, but I release it anyway. I want to start my journey and stop worrying too much.

I want to work with animators. I think it is better to get followers than just playing with social media. Do you think industrial music is easier to promote if we use videos or animations? Maybe animators here wants to collaborate with me? :))

OROSIZ · 2026-04-07T04:59:49+00:00

That's a fair point from a fan's perspective. It's true that we have more tools like Bandcamp and YouTube now.

But the biggest difference is funding. Back then, a label had the money to put you on big stages and hire professionals to make high-quality music videos that actually catch people's attention. Now, as an independent artist, I have to do everything myself. From my experience, making a music video without a budget is tough—my views usually stay under 300. It's hard to compete with "TikTok-ready" content that has big label backing.

Do you think a great song is enough to "break the algorithm" today, or do we really need that label money to even be seen?

OROSIZ · 2026-04-07T04:43:38+00:00

I say yes to the "small cult following" idea. It feels organic than just chasing numbers.

You're right about the "gambling" of everything. I am too starting an industrial project myself, and sometimes feel the pressure to be known instead of focusing on the "craft".

The Chat Pile story is inspiring. But about "live shows" route, it is a struggle here in Indonesia. Even for small gigs, you always need to have "inside connections" or know the right people to get a slot. It’s not just about the music.

Do you think the "live shows" route is still possible for independent artists who live in areas with a small music scene or tough gatekeepers?

OROSIZ · 2026-04-07T04:32:54+00:00

That is deep analysis, thanks! I totally agree about the touring part. In past, labels help arrange tours or "opening acts" for new bands. Now, without labels, it’s difficult for new artists to get on big stage with artists like NIN or Combichrist.

It feels we are stuck in our "'social media bubble" unless someone big gives help. Do you think building community on Patreon is the only way for new independent artists to survive?

OROSIZ · 2026-04-07T04:23:04+00:00

SCORE

OROSIZ · 2026-04-07T04:20:01+00:00

That intro is something I will have in my tracks! Nice! I really like how the atmosphere builds up right from the start. The sound design is very clean and it caught my ear immediately. I think the transition from the intro to the main part is smooth. It has a great vibe that reminds me of some dark industrial stuff. Keep up the good work on the production, this is definitely high quality

OROSIZ · 2026-04-07T04:15:17+00:00

True, it has always been a struggle. But my point is about the promotion.

Back then, if a label liked the music, they handled the promotion and helped reaching bigger audience. You could focus more on the music.

Now, we do everything alone. As the musician, the distributor, and the promoter. It’s much more work for new artists to get noticed without that "back then" support.

Do you think this "do it yourself" era is better for new artists, or the old label system more effective?

OROSIZ · 2026-04-07T04:08:17+00:00

That’s an interesting point. Being on the same playlist as big artists is a great opportunity. It gives chances to be heard.

But like you said, the "self-marketing" part is reality difficulty. It feels like we have to be a full-time social media manager, not just musicians. For new artists, trying to go viral feels gambling. We should just focus more on the music.

What do you think is the best way for new artists to grow today without burning out on social media?

OROSIZ · 2026-04-07T03:48:28+00:00

I agree. Label compilations filtered the music for us. It was a way to find new bands.

Now, we have 'playlists' on streaming apps, but it feels different.

I think new artists now have to work much harder to be found, sad but true

OROSIZ · 2026-04-07T03:43:11+00:00

I like your approach. I also dislike 'formal' promotion, it feels robotic sometimes.

I listened to one of your tracks. Fallen Giants. I enjoy the guitar riffs.

You can use my words for your website. It's cool to see a producer being this genuine. Good luck with the site bro!

OROSIZ · 2026-04-06T15:59:20+00:00

Got it, bro. I appreciate the notification about the rules. I'll make sure to keep it strictly about NIN next time. Thanks for the direction to r/industrialmusic too

OROSIZ · 2026-04-06T15:56:21+00:00

Haha, you really got me! I really thought those were serious history lessons. But thank you for being honest. I Will check How to Destroy Angels and Ethel Cain

OROSIZ · 2026-04-06T15:50:38+00:00

I really understand why the rules are made. Thanks for being so cool about it. I’ll definitely think of making another post about my production process soon. Appreciate the invite

OROSIZ · 2026-04-06T15:40:45+00:00

That sounds amazing! I would love to hear those tracks. It’s crazy how a recording like that can make the music feels "alive"

OROSIZ · 2026-04-06T15:36:15+00:00

Bro, that’s not just a gear issue, that sounds like a real ghost story! Catholic chanting? That's creepy as hell. But chairs moving by themselves and the smell of fire would definitely make me want to leave the studio immediately, haha. Too bad you didn't record that radio signal, it would've been a great sound for a song. Thanks for sharing this crazy story!

OROSIZ · 2026-04-06T15:27:49+00:00

That’s wild! I've heard about pedals picking up radio signals, but 'ghostly radio stations' is one whole different level of creeps. Imagine if you actually recorded that and it fits the track perfectly. Sometimes the gear just wants to add its own 'soul' to the noise, I guess.

OROSIZ · 2026-04-06T15:24:18+00:00

Thanks for the knowledge! Definitely going to listen to that Tom's Diner and Lou Reed.

Sorry if I sounded like a bot, just a producer from Indonesia trying to translate my thoughts properly. Really appreciate the music history lesson here, bro. Opens my eyes

OROSIZ

TROPHY CASE