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Bio
Constructing intelligent music PR which communicates effectively. Unique, targeted and collaboratively structured campaigns created by real humans.
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www.pressconstruct.com-
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Recent posts
This is where we live
31 Jul 2026
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18 May 2026
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27 Apr 2026
Having rearranged the runes, I see a way forward
26 Mar 2026
The genius of @beingmalcolmgarrett Still missing one. As a result, I get no sleep at night.
18 Mar 2026
The crazy world of Northern Soul Pt. 376. Record collecting is chock full of cranks and pot herbs who mostly shouldn’t be out alone. But Wigan’s chosen few really do have few peers
14 Mar 2026
Extraordinary 1966 conversation with prophetic sonic avatar and recording evangelist, Glenn Gould on BBC4 this evening (and iPlayer beyond). Gould imagines the future of music as a genuinely collaborative live conversation with the listener in environments beyond the concert hall. He was a gloriously eccentric and prodigiously talented classical pianist whose revolutionary thinking is in play everywhere, in every genre today. It’s no stretch at all that it predates and makes sense of the creativity of the remix, dub, deconstruction, electronics and an egalitarian approach to music beyond the ancient division between a privileged performer and the lowly listener. If you’ve ever thought about music as more than a backdrop to your daily compliance, this is a uniquely inspirational must watch.
08 Mar 2026
New arrivals feeding the teenage fan I was, and in some significant ways (sadly perhaps), I still am. Couldn’t afford all the records, but the badges were buttons. Once a Pinhead…..
08 Nov 2025
Promotional badge for the release of Talking Heads More Songs About Buildings And Food in 1978. Andy had expressed an interest in the record prior to its release. You were encouraged to turn up to a record store when it was released and simply point to your badge to obtain a copy. Simple, playful and creative. The hard sell is overrated.
20 Oct 2025
Malcolm McLaren had many skills- some notoriously questionable. But what he certainly was is apparent here- a very good and shit-stirringly unconventional PR. The music he always claimed (perhaps disingenuously) as incidental. His perfect crime-foisting his dirty swindle on an established industry he despised- was undone by the fact that earnest practice and bloody mindedness made The Sex Pistols a rather nifty and eventually decidedly traditional rock and roll band. His inspirational creativity, humour and need to disrupt are seen here in this first press release: ‘Their spontaneity and honesty threatens all the highly polished pop of the past’. The second image shows the reverse of the Xmas ‘77 Huddersfield miners benefit poster. What we read, scrawled with an ink-dipped twig, is that he was never simply frivolous emerging as he did from a hippy 60s, still full of insurrectionist post situationist attitude, ideas and belief. The hippy he never trusted and really never escaped was himself. It’s a moving admission of defeat- with the mission effectively terminated- and with the band already as good as broken. God couldn’t save the Sex Pistols but he apparently loves a trier. And despite him becoming a punk rock dartboard, We Love Malcolm. The world hates ideas and play. The record industry went Pete Tong a long time ago. Time to play again.
18 Oct 2025
Your focus should of course always be on the listeners who are readily engaging with you, but what about those people over there? What about the people who you just know will never buy what you do? Should you simply ignore them? It seems (on the surface at least) to be the only sensible and plausible reaction. Colonel Tom Parker was deeply frustrated by this naturally subjective aversion, and the impact on his earnings via his boy Elvis. As many Americans hated him as loved him deliriously. The Colonel’s undoubted genius saw him anonymously manufacture I HATE ELVIS merch (including this badge) and he quickly made a killing from those swearing they’d never purchase a record by the smouldering Molotov who divided a nation. Pop history buffs, Stiff Records cleverly alluded to his campaign in a typically arch PR assault on behalf of their own Elvis with the badge here also. There are many modern Marmite pop performers who might do well to explore this perhaps unusual revenue source. Malcolm McLaren’s knowing construction and manipulation of a volatile notoriety in regard to the Sex Pistols- a blaze he couldn’t ultimately control- relied on attracting an audience seduced, not by the music, but the febrile spectacle resonating around them. The industry ultimately crushed this interesting idea and fed the group through the existing sausage machine. So what can YOU do to explore the potentially profitable promotional possibilities beyond mere adulation? To engage those spectators not entirely convinced? To make a noise which shouts, OVER HERE!
11 Sep 2025
Having headed a Media Degree, I’ve seen students basically divide between those who are interested in working in PR and those who want to write. As someone who has done both professionally, the question is, is there any value in being a poacher tuned gamekeeper? I’d say yes without hesitation. I’ve written for almost every major UK music publication. And (on music and culture) most newspapers too. Mostly in a freelance capacity. What I know is that the mindset of the freelance music writer is not readily understood by many music PRs. My experience as a poacher/content creator- with some very notable exceptions- was that what writers are looking for rarely aligned with what was provided by PRs. As a writer it seemed odd I’d get asked if I’d like to write about a kind of music or an artist my available content made clear would be of no interest to me. I’d receive week long biogs, dense thickets of information which would have taken a week to consume as initial enquiries. As a starting point, should you be doing it yourself in terms of PR (or employing someone else) do you research- or pay someone to do it for you. Keep your initial approaches succinct. You can send a War and Peace styled biography once interest is established. And start with writers whose work you like and read. Don’t aim to scattergun. Make a plan to connect with a few people in a meaningful way. Personal, not cut and paste. This may also be the start of mutually beneficial relationships. Unless you’re Billie Eilish, 200 people aren’t going to write about your next record. But maybe 5 will. Hopefully positively. Build. It’s a process….Further free rudimentary guidance incoming- for which you should follow!
01 Sep 2025
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