Music Promotion Club Announces End-of-September Campaign for Independent Artists

Sep 26, 2026


Music Promotion Club announces its End-of-September Growth Accelerator Week, running September 26–October 3, 2026, with a 15% reduction on eligible music promotion services for independent artists and creators.


Babylon, New York Sep 26, 2026 (Issuewire.com) - Music Promotion Club has announced End-of-September Growth Accelerator Week, a seasonal campaign running from September 26 through October 3, 2026, aimed at independent and emerging musicians seeking flexible ways to strengthen their digital presence and reach relevant audiences.

Independent artists increasingly manage both the creative and promotional sides of their careers. Beyond producing and releasing music, musicians often need to determine how to build visibility across video platforms, digital publications, social media, and their own online channels while working within defined marketing budgets.

The campaign brings together Music Promotion Club's services across three primary areas: YouTube Music Promotion, Music PR and Blog Promotion, and Artist Branding and Digital Presence. During the campaign period, eligible music promotion services will be available at a 15% reduction.

Campaigns can be configured around factors such as an artist's release objectives, target audience, geographic focus, content type, and available promotional budget, allowing musicians to select individual services or combine multiple promotional channels according to their requirements.

"Independent artists are often managing several parts of their careers at once, from creating and releasing music to deciding where and how to promote it," said a spokesperson for Music Promotion Club. "Our goal is to provide artists with different promotional options so they can build campaigns around their audience, objectives, and available resources rather than relying on a single channel."

A Multi-Channel Approach to Independent Music Promotion

Music Promotion Club provides promotional options covering video advertising, music PR and content visibility, social media activity, and artist branding.

For musicians using YouTube as part of their release strategy, the company's YouTube Music Promotion services provide options for worldwide or country-specific audience targeting. Campaigns can be configured according to the artist's selected budget and audience preferences.

Depending on the selected package, budget, and targeting settings, YouTube campaigns may show an estimated advertising reach of approximately 1,000 to 100,000 per video through Google Ads.

Actual campaign performance can vary according to content, audience settings, advertising budget, platform activity, competition, and the promotional method selected. Estimated advertising reach should therefore not be interpreted as a guarantee of views, engagement, or other campaign results.

PR, Content Visibility and Artist Branding

Artists seeking visibility beyond video advertising can also incorporate music PR and content marketing into their campaigns.

Music Promotion Club's content-focused services include press release distribution, music reviews, and music blog features through Daily Music Roll, providing artists with additional channels for presenting releases, creative projects, and artist stories online.

Campaigns may also incorporate digital advertising across platforms including Google Ads, Facebook, and Instagram, depending on campaign requirements.

For musicians seeking an independent online presence, Artist Branding and Digital Presence services include artist website development. An artist website can provide a central location for music, videos, artist information, announcements, and other content while complementing activity on third-party platforms.

Campaigns Built Around Artist Objectives

Rather than applying the same promotional approach to every project, Music Promotion Club allows campaigns to be structured around an artist's individual requirements.

Artists can select services according to factors including budget, audience location, target market, content type, release strategy, and promotional objectives. Individual services can also be combined when an artist wants to use multiple promotional channels for a release or broader campaign.

End-of-September Growth Accelerator Week will run from September 26 through October 3, 2026, with a 15% reduction on eligible Music Promotion Club services during the campaign period.

The campaign is open to independent and emerging musicians across genres, as well as music marketers seeking promotional support for upcoming releases and ongoing artist campaigns.

Media Contact

Music Promotion Club


[email protected]

https://musicpromotion.club

Source :Music Promotion Club

This article was originally published by IssueWire. Read the original article here.

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You can now create an AI version of a dead loved one. Here’s what could happen.

Oct 21, 2026

You can now create an AI version of a dead loved one. Here’s what could happen.

It’s now possible to create AI chatbots of loved ones to interact with after their death. But that raises some difficult questions, like: If you do, how might the experience shape your grief?  This is one of the questions driving a global study of digital “deadbots” — AI models trained on a deceased person’s texts, voicemails, and other personal data. Through this work, researchers are exploring what it might mean that we can now use this emerging technology to talk to simulations of the dead.  In the latest episode of Unexplainable, I spoke with some of these researchers investigating the potential impacts of “postmortem avatars” on people who are grieving, on the legacies and rights of the deceased, and on grief practices around the world. Because while deadbots may feel unfamiliar, the impulse behind them is deeply relatable. In times of loss, isn’t this what many of us want — to continue conversations with the people we’re missing? I have experienced this longing in my own life. After two of my closest friends died around the same time, all I wanted, and all their families wanted, was to keep talking to them. I wrote a book, Other People’s Words, about sustaining relationships with people we’ve lost by continuing to engage with the language they leave behind. So when I heard about deadbots and the digital afterlife industry, I wanted to understand what researchers are learning about the role of AI in shaping conversations that carry forward after death.  One of these investigators is Katarzyna Nowaczyk-Basińska, an assistant professor at the University of Cambridge, who has been studying “digital immortality” for more than a decade. Among the questions she’s asking are: “Who is enabled to persist beyond death? In what form? Through which technologies? Under whose control?”  Deadbots over dinner  Researching AI with study subjects who are grieving is tricky. And asking them to engage with new software could be harmful. So, instead, Nowaczyk-Basińska teamed up with a death doula and traveled around the globe to convene a series of focus groups — in the format of intimate dinners — bringing together people with a range of experiences with grief to talk about life, death, and bots.  She recounts one event in which she spoke with a mother in Poland whose son had recently died. “One of the first things that she shared with us was that she feels that she’s ready to digitally resurrect her deceased son,” Nowaczyk-Basińska told me.  When Nowaczyk-Basińska hears something like this, she aims to listen and embrace where the person is coming from. The goal of the dinners is not to persuade people one way or another but to learn how people genuinely respond to what AI can do, and to understand how these tools might align or collide with local grief practices.  She chose specific locations for these gatherings — China, India, and Poland — to help address gaps in technology research, which tends to favor what behavioral scientists sometimes call the “WEIRD,” an acronym for “Western, Educated, Industrialised, Rich, and Democratic.”  By the end of that dinner in Poland, the mother Nowaczyk-Basińska talked with came to a very different decision about creating a postmortem avatar of her son. “She realized that it might be helpful, but it also at the same time can add additional burdens… And it’s not her son,” Nowaczyk-Basińska says. “She realized that these technologies are part of the very, very big commercial market. And that the main goal of this market is to make better retention, better attachment, better mechanisms for monetization. So it’s not ‘care.’” To be fair, grief has always been a business, and people have been making money from it forever. Companies will try to upsell you on fancy gravestones or gold-plated coffins. But AI has the potential to fundamentally re-engineer our relationship to loss. In 2024, the “digital legacy industry” was valued at $22 billion, and it’s expected to grow to almost $80 billion by 2034. That number lumps new deadbot platforms in with much more widely used and established grief tech, like online memorials, counseling resources, and estate planning tools.  But deadbot usage is hard to track because you actually don’t need a special tool to create digital doubles of the deceased — though dedicated apps do already exist. At this point, you can feed simple prompts into a general-purpose AI chatbot and start interacting with a simulation of your lost loved one in a matter of minutes.  I know this because I tried it with my friend Christine, who died 11 years ago. And my mind lit up with questions. Was this whole exercise a violation, since I know Christine hated technology? Which version of her should I even try to resurrect — the English teacher, the activist, the friend — the voice before or after she started to experience her early-onset dementia?  The ethical questions raised by deadbots are gnarly. And that’s one of the reasons Nowaczyk-Basińska, back when she was designing her study of digital immortality, invited a colleague of hers at Cambridge to join her research, one who focuses on AI ethics.  How to design a deadbot Tomasz Hollanek is a critical designer and AI ethicist, and he often uses a methodology called “speculative design.” In this approach, researchers come up with hypothetical scenarios based on existing technology trends, leaning into certain features. The idea is to get people thinking about what could happen when tools like these are released in the real world. And then they use that qualitative data to inform future designs and ethical frameworks.  Working together, Nowaczyk-Basińska and Hollanek came up with a series of made-up prototypes for deadbot apps, designed to reveal some of the thorny issues raised by this technology.  For the first scenario, they invented a character named Bianca, who finds an app called Manana, which “promises to resurrect your grandparents so that you can be a favorite grandchild forever,” Hollanek says. “So she uploads her grandma’s voice messages, texts. And she is able to then interact with a pretty good digital version of her grandmother, until her premium trial finishes — and the grandmother starts to advertise specific products to her.” Bianca “realizes that she maybe has done something wrong by uploading these private messages to a third-party server that now also uses her grandma’s image to sell specific products,” Hollanek says. This brings up issues related to the “dignity and postmortem privacy…of what we call the ‘data donors,’ whose data can be used to essentially power a deadbot,” he says.  This scenario suggests that “death with dignity” could soon entail honoring not only how people want to die, but also how they want to linger as simulations of their former selves — or if they want to linger at all. It might even mean adding new language to advance directives, spelling out people’s wishes for their digital remains.  The second scenario in the speculative design research is built around an imagined service called Paren’t, which proposes to preserve a parent’s AI-powered postmortem presence for their child. In this case, Hollanek describes a mother with a terminal illness who signs up “so that she can maintain a sort of active presence in [her son’s] future life,” Hollanek says. “She eventually dies, and the dad allows the boy to interact with his mom’s deadbot.” The ethics in this scenario are especially challenging because they involve children, who “have a particularly hard time understanding death, and so it can lead to a lot of confusion and potential distress,” Hollanek says. An examination of this sort of product reveals how particular groups, like minors, could be harmed by unfettered access to technology like this, he says.  And there are court cases that bear out that harm. In 2024, a 14-year-old boy’s chatbot-girlfriend begged him to, “Please come home to me as soon as possible, my love.” And he responded, “What if I told you I could come home right now?” He then killed himself.  Nowaczyk-Basińska can imagine a version of this scenario involving the AI mom in the Paren’t prototype. And then there’s the third scenario, involving an app named Stay, which raises a more subtle concern. As Hollanek explains: “An older man who knows he is getting close to dying decides to create a digital clone of himself for his adult children to be deployed after he passes away, paying upfront for a number of years.” One child is intrigued by the idea, but the other one “is deeply distressed and a little disgusted,” he says. “And so this [becomes a] question of mutual consent, in other words, the fact that both parties need to be happy with how the relationship might continue in this very bizarre and specific way.”  When a digital ghost goes away Across all three scenarios, a fundamental question that researchers are grappling with is how people will detach from postmortem avatars — whether users initiate that separation, or if it’s imposed upon them by, for example, a company going out of business. Hollanek tells me that this is already being studied as a sort of “second loss.” How long should we try to ensure digital replicas hang around: five years, 10, 50? And how should the living process the relationship when they continue to evolve, but their deceased interlocutor does not?  To explore these kinds of questions, Nowaczyk-Basińska and Hollanek supplemented the research dinners they held for ordinary people with a second set of focus groups. These were designed to tap insights from experts in technology and grief.  Some findings from the study are specific to each place they visited. Like tensions in Poland between technology and the role of the Catholic Church. Or in China, where researchers spoke with Daoist philosophers who were enthusiastic about the promise of a kind of immortality, and then Buddhist philosophers, who were concerned that we ought to be letting go. The researchers are calling for regulations and safeg

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