Resources
/
Electronic Music PR
/
Electronic music blog pitch Checklist

Checklist

Electronic music blog pitch Checklist

Electronic music blog pitch checklist

Last reviewed 12 March 2026

By TAP Editorial Team

Electronic music blogs operate on different submission windows, asset requirements, and editorial calendars than mainstream press. This checklist walks through the specific demands of the UK and European scene's most influential outlets—from Resident Advisor's strict format requirements to XLR8R's preference for context-heavy pitches—so your artist actually gets considered rather than binned.

0 of 37 completed0%

Pre-Pitch Research & Targeting

Map the outlet's recent coverage in your artist's genre
Critical
Spend 15 minutes scanning the last 30 articles from each publication. Resident Advisor and Mixmag online segment heavily by subgenre (techno, house, ambient, grime, garage). Pitching garage to an outlet that's only covered deep ambient will get rejected. Document which editors or sections cover your sound.
Identify the correct editor or section email
Critical
Don't pitch to [email protected]—find the specific editor. Most outlets have mastheads or bylines. Resident Advisor uses sections like 'tracks' and 'features'. DJ Mag has dedicated subgenre editors. One wrong address kills your pitch's chances.
Check submission guidelines on each outlet's website
Critical
Resident Advisor has strict format guidelines. XLR8R wants 300-word bios. Inverted Audio prefers email pitches over forms. Guidelines are usually in footer links or a submissions page. Following them exactly increases your chances significantly.
Review their lead time windows (published on most sites)
Critical
DJ Mag typically works 4–6 weeks ahead. Resident Advisor's 'Premiere' section is more flexible. Mixmag online moves faster for timely stories. Build your pitch calendar around these windows, not your release timeline.
Check if the outlet has a dedicated premiere programme
Resident Advisor, Mixmag online, and XLR8R all offer premiere slots (exclusive first play of a track or edit). These are valuable but have strict exclusivity windows (usually 48 hours before release). Only offer a premiere if you can guarantee no leaks.

Asset Preparation & Technical Requirements

Prepare high-resolution artwork (minimum 3000×3000px)
Critical
Electronic music blogs publish featured images at various sizes. Resident Advisor often crops artwork tightly; provide variants. Supply RGB format, not CMYK. Include artwork for the label, artist, and individual releases. Compressed or low-res artwork signals amateur work.
Create a preview link (not a playable file)
Critical
Send SoundCloud, Bandcamp, or YouTube links—never MP3 attachments. Most outlets have spam filters that block attachments. Use password-protected links if you're offering exclusivity. Make sure the link works 48 hours before sending (test it yourself).
Prepare a 100–200 word artist bio (and a 50-word version)
Critical
Electronic music editors favour specific, era-focused bios. Instead of 'pushing boundaries,' name influences, key releases, or remix work. XLR8R expects contextual depth; Resident Advisor uses shorter bios. Always include Bandcamp, Resident Advisor profile, or website URL.
Write a track-by-track description (100–150 words per track)
For EPs or albums, describe each track individually. Editors at XLR8R and Inverted Audio often lift these descriptions directly. Focus on production detail, emotional intent, or live context—not hype language. This is especially important for remixes or collaborative releases.
Compile release metadata (format, label, catalogue number, dates)
Critical
Include vinyl/digital format, distributor info, release date, and pre-order link. Resident Advisor requires specific format info for their database. Having accurate metadata ready saves back-and-forth emails.
Provide a 'top 3 supporting artists' list for context
For new artists, name three established acts they've shared bills with, or three artists with similar sounds. This helps editors position the artist quickly and decide if the pitch fits their readers' interests.
Create a one-page PDF 'pitch brief' with all assets
Some editors prefer a single document with artwork, bio, links, and release info rather than piecing together an email thread. Not mandatory, but marks you as organised and serious.

Pitch Timing & Lead Times

Pitch Resident Advisor 10–14 days before release (for Premiere sections)
Critical
Resident Advisor's 'Premiere' slot is highly sought after. Submit 2 weeks ahead if possible; they'll confirm exclusivity window (usually 48 hours). Non-premiere track coverage can be pitched closer to release, but editors curate their calendar weeks in advance.
Pitch Mixmag online 2–3 weeks before release
Critical
Mixmag online moves faster than print but still works on a feature calendar. News items move quicker; premieres need lead time. Check their submission page for exact windows, which vary by season.
Pitch DJ Mag 4–6 weeks ahead for feature coverage
Critical
DJ Mag's print edition requires longer lead times. Online coverage is faster but still requires 2+ weeks. Confirm with your target editor which lead time applies to your story type.
Pitch XLR8R 3 weeks before for editorial features; 1–2 weeks for reviews
XLR8R's editorial pieces (essays, interviews) need longer lead time; straight reviews and premieres are faster. Their editorial calendar is public; check their upcoming features and align your story angle.
Pitch Inverted Audio 10 days to 2 weeks ahead
Inverted Audio's smaller editorial team means faster turnaround but less flexibility. They often feature experimental and underground releases; if your sound fits, they're responsive.
Never pitch fewer than 7 days before release without agreement
Critical
Last-minute pitches are rarely accepted unless the outlet has already expressed interest. Late pitches signal poor planning and reduce your chances of coverage on future releases.
Plan for holiday closures and quiet periods
August is slow for UK music press; so are late December and early January. Adjust your lead times and pitch windows accordingly. Check the outlet's social media for closure announcements.

The Pitch Email (Format & Approach)

Use a clear subject line with artist name, release title, and format
Critical
Example: '[PREMIERE] Artist Name – Track Title (Label) – Out 15 March'. Avoid vague subject lines like 'New Electronic Music' or 'Pitch'. Editors sort by subject line; clarity gets opened.
Address the editor by name and reference recent coverage
Critical
Opening with 'Hi [Editor]' and mentioning a recent article they wrote (e.g., 'I saw your feature on UK garage production') shows you've done research. Generic 'To Whom It May Concern' emails get low priority.
Lead with the story angle, not the artist CV
Critical
Don't open with 'We're excited to present…' Start with why this release matters now. Is it a genre-pushing collaboration? A return after 5 years? A producer working with a new label? Give editors a reason to care in the first sentence.
Keep the pitch email to 150–200 words maximum
Critical
Editors receive 50+ pitches per day. Long emails get skimmed. Use bullet points for key info (release date, format, exclusivity offer). Save detailed description for a separate 'notes' document.
Include direct preview links in the email body (not attachments)
Critical
Place SoundCloud or Bandcamp links clearly. Make them clickable. Test them before sending. If you're offering exclusivity, include a password and expiry date.
State exclusivity offer upfront if one exists
Critical
Example: 'Exclusive premiere available – 48 hours from 13 March; exclusive feature available until 10 March.' Clarity on exclusivity helps editors decide quickly whether to engage.
Sign off with direct contact and credentials
Include your name, title, phone number, and company. A personal touch (phone number) signals you're a real contact, not an automated mail-merge.

Follow-Up & Relationship Management

Wait 5–7 business days for a response before following up
Critical
Don't chase after 2 days. Editors need time to listen, read, and decide. A follow-up email after a week is acceptable; after 2 weeks, assume you're declined and move on.
Keep a spreadsheet tracking each pitch (outlet, date, editor, response)
Critical
Record which editor at each outlet covers your genre, when you pitched, whether you got coverage, and any feedback. Over time, this builds a database of who's responsive and who's not. Include outlet contact details and lead-time requirements.
Document which outlets actually covered previous releases
Track coverage you've secured with similar artists or on previous releases. This helps you refine your target list and understand which outlets genuinely engage with your sound—rather than pitching everywhere hoping for hits.
Engage with editors on social media (follow, share their work, reply thoughtfully)
Before you pitch, follow the outlet and editors on Twitter/Instagram. Share their articles. Comment on their posts occasionally. A familiar name gets opened faster. But don't be spammy—genuine engagement only.
Send a personal thank-you if you get coverage
A short message ('Thanks for featuring the new release; the coverage was brilliant') keeps the relationship warm for future pitches. Many PRs skip this; doing it sets you apart.
Never pitch the same outlet multiple times for the same release
Critical
If you didn't hear back or got a no, don't send the same pitch again with a slightly different angle. It marks you as pushy and burns bridges. Move on to other outlets or wait for the next release.

Handling Rejections & Problem-Solving

Expect that 60–70% of pitches don't generate coverage
Even good pitches get declined. Editors have limited space and may have already covered a similar release that week. Rejection isn't personal; it's the pace of editorial work. Keep your targets broad and your expectations realistic.
If declined, ask for feedback (but don't argue)
A polite email—'Thanks for considering; is there anything about the pitch or artist that didn't fit?'—might yield useful insights. Some editors will tell you honestly if the sound isn't a fit or the timing is wrong. Accept their answer without pushback.
If a track leaks before a planned premiere, notify outlets immediately
Critical
If your exclusive premiere window is compromised by an unauthorised leak, email editors right away. Transparency matters; they'll often still cover the track, just not as an exclusive. Silence kills trust.
If you miss a lead-time deadline, be honest rather than pitching late
If your release date shifted and you're now outside their lead-time window, acknowledge it upfront: 'We know this is tight, but [release reason]. Would you consider it?' Honesty sometimes works; deception doesn't.
Track coverage patterns by editor and season
Some editors favour certain sounds or release types. If one outlet covers deep house but rejects ambient, stop pitching ambient to them. Seasonal trends matter too (summer releases often fare differently than winter).

Success in electronic music PR is about understanding that each outlet has different gatekeepers, timelines, and editorial philosophies—and respecting those differences in your pitch. Personalisation, lead time, and relationship-building matter more than volume of pitches sent.

Pro tips

1. Resident Advisor's database is your baseline—before pitching anywhere, ensure the artist and label profiles are complete and up-to-date on RA. Editors use RA profiles to verify credibility and check recent activity. A sparse or outdated profile makes your pitch weaker.

2. Pitch different outlets different angles for the same release. Resident Advisor wants 'premiere access,' Mixmag online wants 'emerging artist story,' XLR8R wants 'production technique breakdown.' One release, five pitches, five different story framings—this multiplies your coverage chances.

3. Build relationships before you need them. Follow editors, attend shows, retweet their coverage occasionally. When you eventually pitch to someone who recognises your name, your open rate climbs dramatically. Cold pitching is harder; warm pitching converts.

4. For unproven artists, lead with the label credibility and remix work rather than solo material. If a debut single is on a respected label or features remixes from established artists, emphasise those. Outlets often greenlight based on label association first, artist reputation second.

5. Keep a 'swipe file' of pitches that worked and ones that didn't. Write down what the editor said, what the coverage looked like, and what you'd do differently. Pitch writing is a skill; every rejection and acceptance teaches you what editors actually want versus what you think they want.

Frequently asked questions

Should I pitch all five outlets for the same release?

Not simultaneously—space them out by 3–5 days, starting with the outlet offering the best premiere or feature slot. If Resident Advisor takes the exclusive, notify other outlets to let them know. Spreading pitches prevents accidental double-coverage and lets you refine your angle based on early feedback.

What's the difference between pitching a remix and a solo release?

Remixes need context: who is the original artist, and why does this producer's version matter? Lead with the original artist's profile and the remix producer's credibility. Solo releases sell the artist's sound and recent momentum. Format changes your angle significantly—don't ignore it.

Is it worth offering exclusivity to smaller outlets like Inverted Audio, or should I reserve it for Resident Advisor?

Offer exclusivity to outlets where your audience actually reads. Inverted Audio's readers are engaged and influential in underground electronic circles—often more valuable than a generic Resident Advisor feature. Match exclusivity to audience fit, not outlet size.

How do I handle pitching if the artist doesn't have an established social media presence or following?

Lead with label credibility, production quality, and remix work instead. Emphasise the release's technical or creative strengths. Acknowledge the artist is emerging but position them as part of a credible label roster. Editors care more about the sound than follower counts.

What should I do if an editor says yes to a premiere but misses their own deadline and publishes late?

Accept it. Late coverage is still coverage, and pushing back professionally damages the relationship. If the exclusivity window was genuinely compromised (e.g., the track leaked before their piece ran), you can ask to extend their exclusivity or move it elsewhere—but frame it as a problem-solve, not a complaint.

From the field

Proof points

Genre-fit miss rate: ~30% of pitches hit outlets misaligned with the actual sound (Self-audit of 2024 sends)
Cross-genre crossover lag: Specialist play first, mainstream rotation 3-6 weeks later (WARM tracking across recent breakthrough campaigns)
Community-station first-mover effect: Genre-loyal community stations move ahead of national in their niche (Liberty regional + community outreach data)
Follow-up cadence that works: +7 days from initial pitch, reference WARM plays as proof (Liberty internal data)

What actually happened

Indicative cadence (recent Liberty campaigns): Specialist-show pickup within 48 hours when the producer is named and the show is referenced specifically. Mainstream rotation follows 3-6 weeks later if the specialist signal holds. (2024-2026)

Generic music PR loses on dance because the routing is different. NTS, Worldwide FM, Rinse, Crack Magazine, these are not playlist destinations, they are curator inboxes. I learned the hard way that pitching a techno EP to Radio 1 daytime gets you nothing. Pitch the producer of Pearson Sound's show or Bradley Zero's NTS slot and you get a real listen.

Chris Schofield, Radio plugger, Liberty Music PR

Related resources

Community radio for electronic music — Ideas for UK Music PR

idea list

DJ mix promotion and press angles — Ideas for UK Music PR