Electronic music PR — press, premieres, covers, radio, distribution
Editors publish it
because it’s already written.
One press release sent to a list is not a campaign. I write a separate piece for every outlet, in its language — because I write for those outlets myself.
Campaigns run in Spanish and English, from Madrid, for labels and artists anywhere.
Recently placed
The records, not the deck.
Premieres, features and campaigns that went out on the outlet. This keeps changing while you read.
Magazine covers
Covers closed, not covers pitched.
The hardest placement there is, and never for sale. Negotiated, and the artist has to be worth it. Every one below links to the issue it ran in.
Brothers
OFFBeat
Draccar
Worked with
Artists and labels on the desk.
A rolling selection. Techno, house, progressive, from first releases to names that headline.
The network
The desks where it actually counts.
Working relationships, not a bought media list. These six move a career.
Billboard, Rolling Stone España, Pitchfork, The Fader, VOGUE, XLR8R, Electronic Groove, When We Dip, The Brvtalist, Trommel, Progressive Astronaut, Les Yeux Orange, Melodic Deep, Phuture Sound, The Playground UK, Como las Grecas, Beatburguer, Wololo, Sync Beat, Zone Magazine, Feeder, Technowerk, Minimal Mag, DV8, Drum Thud, Mixmuse, Loud Agent, Droprave, A. Room, RCRD LBL, Four Four and forty more, across Spain, Europe, the Americas and Asia.
The work
One release.
Dozens of desks. A different piece for each.
Dozens of specialist outlets carry the same release, and not one of them gets the same text. Here is a real campaign: Occipital — “Epiphany” on Runemark, remixed by Ten Walls. Pick an outlet and read what landed on that editor’s desk.
Occipital debuta en Runemark con “Epiphany”, entre la melancolía y la tensión progresiva
El productor e ingeniero español Occipital presenta “Epiphany”, su debut oficial en Runemark, un lanzamiento que sirve tanto de presentación artística como de declaración de principios. El EP reúne la versión original junto a una reinterpretación de Ten Walls, construyendo dos lecturas diferentes alrededor de una misma idea emocional.
What I run
Everything between the master and the audience.
I run a label and
I distribute records.
That is why none of this
gets subcontracted.
Melómana RecordsComo las GrecasGameboyzModernphaseUttopion
Melómana Records is mine. Como las Grecas, the magazine, is mine. I release as Gameboyz and Modernphase. I have cut the metadata, chased the stores and read the feedback on my own records long before doing it on yours. You brief one desk and the whole release happens there: writing, placements, promo, stores, and the mix if it needs one.
Press & editorial coverage
Reviews, interviews and features, each written for the outlet that receives it.
65 outlets · 13 in SpainPremieres
The exclusive first play, negotiated and timed with the label so the streams land on day one.
29 outletsMagazine covers
Covers and long-form features, print and digital. Editorial production and photo coordination included.
9 placed to dateBlog & search positioning
Placement across digital-native outlets, so your name is already there when someone searches it.
14 platformsRadio & DJ network
Stations, podcasts, mix series and full artist radio shows, Spain and abroad.
Spain · Ibiza · internationalDJ promo servicing
Delivered to DJs who actually open it, with written feedback you can read. Never “sent to 500 contacts”.
Feedback you can quoteWriting
Biography, release notes, EPK and label copy. Written so it survives contact with an editor.
Spanish · English · GermanDistribution
Every store and platform. ISRC and UPC handled, metadata clean, release date honoured.
WorldwideEngineering & ghost production
Mixing, mastering and full production delivered under your name. Twenty years of studio work behind it, including sound design, foley and mastering for documentary and feature film. Confidential by default.
Under NDACampaigns
Built per artist, per release.
A first single and a fourth album need different campaigns. Every tier closes with a report: clippings, reach, and what the editors said.
Essential
The first clippings, and the credibility that comes with them.
- One exclusive premiere, Spain or international
- Two to three reviews or features in selected outlets
- Social distribution included
- Post-campaign report with clippings
Professional
Most chosenA full press campaign at home and abroad, running at once.
- One exclusive premiere in a top-tier outlet
- Five to eight features across Spain and international press
- Interview pitches to the outlets that fit the record
- Newsletter inclusion where available
- Complete post-campaign report
Premium
Full international activation, cover pitch included.
- Premium premiere in a flagship outlet
- Ten or more features across every territory
- Cover pitch: DJ Mag, Mixmag, Vicious
- Long-form interview
- Blog and search wave across five to ten outlets
- Full report with analytics
Who is behind this
A journalist who happens
to run the campaign.
Luis G. Vallespín
“Kali”
Founder · Luis V PR
The reason a piece gets published is almost never the pitch. It is whether the editor has to rewrite it.
I came into this through the desk, not the inbox: twenty years in recording studios first, then the editorial side of Spanish electronic music from 2012, writing and commissioning long before representing anyone to the press. That order is the whole difference. I know what a deadline looks like from the other side, which angles an editor is already tired of, and how a release has to be framed so it reads as journalism rather than promotion.
promotion, communications and PR
Journal
How this industry actually works.
Fourteen years on the other side of the inbox, written down. English and Spanish.
How to pitch a premiere without getting ignored
What an editor needs in the first three lines, why release day is the wrong day to ask, and the attachment that gets your email deleted unread.
ReadEN PressWhat a press release actually needs
Six facts, in this order. Everything else gets cut before publishing, and most press releases are ninety percent everything else.
ReadEN Working togetherHow much does music PR cost, and what should you get for it
Why nobody publishes a price list, what changes the number, and the three things a campaign must hand you at the end or it was not a campaign.
ReadStart here
Tell me about your release.
Before it comes out, not after. Four weeks of lead time is the difference between a campaign and an announcement. I answer every brief personally.
Directluisv@comolasgrecas.com