It is. And I've spent twenty-five years inside it, as North American publicist to Carl Cox.
AAA is not a database — it's the room. Every month I tell you who's actually commissioning, what they're hungry for, and how to reach them without landing in the delete pile.
Nobody will tell you who to send it to. The press in this scene has shrunk faster than anyone wants to admit, while the number of people pitching into it has exploded. Three numbers tell you everything.
Artists, labels and PRs send thousands of promos a day. An industry has grown up monetizing that flood.
You buy credits at roughly $0.80 to $1.10 each. A curator is paid for their listening time — not for playing your record, not for writing about it. You get a paragraph back. Between 5% and 20% of submissions get approved depending on who's counting, and the share that becomes a published review is smaller again.
None of that is secret and none of it is illegal. It's the published model. But here's the part nobody says out loud, so I will: a lot of that spend was never for the artist. It's for the report. We buy the comments so there's something to show the client at the end of the month. I've sat in those meetings. I've built those decks.
Feedback is not coverage. A paid listen is not a relationship. And a folder full of paragraphs from people who were paid to write them is not a press campaign — it's a receipt for one.
AAA exists because the alternative to paying for attention is knowing where to put it.
Every artist alive has sent a pitch into silence and never learned why. Editors almost never explain. Not even to friends.
I've pitched Lesley Wright plenty of times and been passed over without a word — and we're mates. Twenty-five years in and I still don't always get told. That silence is the most expensive thing in this business, because you can't fix what nobody will name.
So every month, one editor takes one real pitch they passed on and tells you exactly what happened. Where they stopped reading. What the subject line did. What would have changed their mind. Anonymized for the artist, on the record from the desk.
Nobody publishes this. Nobody has ever been willing to.
Monthly. Who's commissioning right now, what they're covering, their real lead times, and who quietly moved outlets last month. Intelligence that goes stale in weeks — which is exactly why it's worth having fresh.
Inside the brief →The whole method, written down. Bio and release craft, the promo itself, embargoes and exclusives, campaign timelines, target tiering — and a line-by-line teardown of pitches that died.
Nine parts →Send me your bio, your release and your pitch email. You'll get back a written teardown — what an editor kills in the first three seconds, what your real story is, and where it belongs. Ten working days.
Inquire →US, Canada and Mexico. Written by Sara Cooper — 25 years as Carl Cox's North American press manager.
UK, EU and the Gulf — written by Lesley Wright, founder and Editor-in-Chief of iamCrü, formerly an editor at DJ Mag and Hype UAE, with seven editorships behind her. Pro subscribers get both.
Start with the free brief. Every two weeks, no cost, one click to leave. Don't wait for the scene to find you — walk in.
A monthly intelligence brief on the North American electronic music press. Who's commissioning. What they want. Who moved. What actually landed.
15–25 named editors, writers, radio producers and curators commissioning across North America right now — what each covers, real lead time, and whether they'll take an unsigned artist.
Who changed outlet. Who got promoted. Who left. Which section got cut. The fastest-decaying intelligence in the brief — and the most valuable.
Three campaigns that got real coverage this month, anonymized and pulled apart. What the angle was, who took it, and why it worked.
Real pitches that failed, and exactly where each one died. Usually the subject line. Usually the first sentence.
One editor takes one real pass and explains it in their own words. Anonymized for the artist, on the record from the desk. Nobody else publishes this.
What to pitch now for cycles closing next quarter — Ibiza season, ADE, festival announcements, awards, end-of-year lists.
Founding rate — $249 a year, locked at that price for as long as you stay subscribed, and it never goes up. Checkout opens October 1, 2026, the day Issue 01 ships. Join the list and you'll be told first, before it goes anywhere else. Cancel any time, online, in two clicks — here’s how. Full refund within 30 days.
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The complete method for getting electronic music covered, written down for the first time. Roughly 140 pages, twelve working templates, one campaign calendar. Read it once — then keep it open every single release.