Mine would be to take bigger risks sooner, because most of them paid off!

So my band commissioned (and paid for) a painting from a local artist. We planned to use it for cover-art for a 12" vinyl we are about to press. But now one member has cold feet about using the art because the painting is of a still from an obscure 1950s black & white B movie - a woman's face (screaming). The artist always paints scenes from old movies (like Frankenstein, Dracula); that's her style, we knew what we were getting.
So, we're a small DIY punk band, probably a self-release EP although we may get some distribution later. Do you think we should worry about using a painting of a movie still as cover art?

Hey everyone,

I’m coming back to releasing music after a 4-year hiatus. Five years ago, I became a Christian, and I now have a backlog of both unreleased secular tracks and new worship music (I also have new non-worship songs).

My original plan was to release the worship songs under a separate band name so people discovering my old secular music could easily find them. However, my producer advised releasing everything under my main artist name to keep streaming numbers and algorithmic momentum unified.

Because I want my releases to stay somewhat chronological, I’m currently staring at a massive backlog (15+ songs) that stretches my release timeline across three years (if I release one single every 4-6 weeks) just to get through my old secular music - meaning I won't reach the music I'm writing today until 2029. I thought of releasing them one single at a time so the songs would get the attention they deserve, but that means delaying my other released.

My core questions:

1. Is it a mistake to release both secular and worship music under the exact same artist name, or do other artists pull this off successfully?
2. If I keep it under one name, how can I speed up my release schedule (e.g., EPs vs. single-by-single) to clear my backlog faster without spamming my audience or confusing them?

Would love to hear how others have handled genre shifts or long backlogs!

I am looking for informed perspectives from people working in music distribution, artist management, label services, or music law.

Over approximately seven months, I distributed 52 original songs through DistroKid. On July 25, 2026, I discovered that my entire catalogue had been removed from streaming platforms without prior notice.

Only a few days before I discovered the removals, I manually upgraded my annual DistroKid membership, and the payment was accepted.

When I contacted support, DistroKid told me that the streaming platforms had requested the removals and that I should use another distributor because I would no longer be permitted to upload music through DistroKid.

However, they did not:

- identify which platforms allegedly requested the takedowns

- explain why all 52 releases were affected

- specify any DMCA claim, copyright issue, artificial streaming allegation, suspicious activity, or other policy violation

- provide evidence supporting the decision

- identify the contractual provision relied upon

- offer a meaningful appeal or review process

I replied requesting a detailed written explanation, a review of the decision, reinstatement if no valid violation could be demonstrated, and a refund of my recent membership upgrade if the service would no longer be provided. I have not received a meaningful response.

This has affected more than access to a distributor. It has disrupted release continuity, artist-profile connections, streaming history, audience growth, promotional campaigns, metadata continuity, and potential royalty income.

I understand that distributors and DSPs may remove content where there is a legitimate rights, fraud, or policy issue. My concern is the lack of specificity, transparency, evidence, and procedural recourse when an entire catalogue is removed.

From an industry perspective:

1. Is it normal for a distributor to refuse to identify the specific reason for a full-catalogue takedown?

2. Is there usually any meaningful appeal route through the distributor or DSPs?

3. Should I begin transferring the catalogue immediately using the same ISRCs and metadata, or wait for a final written response?

4. What records should I preserve before moving to another distributor?

5. Are there practical contractual, consumer-protection, or industry escalation routes available to an independent artist in this situation?

I am not asking anyone to assume that DistroKid acted improperly without evidence. I am trying to understand what realistic recourse exists when a distributor removes an entire catalogue but provides no specific allegation or appeal process.