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Monday Motivation: Simmer

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If you’re anything like me, you probably started the day by recognizing that the start of a new work week had indeed arrived and then immediately began shaking your fists at the sky in anger. Monday is rarely anyone’s favorite day, and from what I have seen firsthand it feels safe to say it’s the one day of the week some people outright hate. I guess to them the arrival of the work week symbolizes the end of their quote/unquote freedom, and as a result they head into the office/factory/restaurant/store with a negative outlook already on their mind. This leads to bad attitudes, which only makes the experience of being at work worse, and for some reason it also seems to make time slow to a crawl. We’re not about that life, and we hope this post can do the same you that the song contained within it did for us.

This morning I woke to the sight of my cat, Paws Von Trier, staring out the window with a look that was slightly different than the one I’ve grown customer to greeting with each new day. He glanced at me after I rustled the sheets, then looked back out the window again. I asked if he was looking at birds, but his head did not swivel as it usually would, nor did his voice crack with the half-squeak half-meow sound that he typically omits whenever attempting to make conversation. That momentary silence told me everything I needed to know about what was happening outside. Paws wasn’t quiet and still because he was worried the birds might catch on to his voyeuristic intention, but rather because he was witnessing the first real snow to hit Boston since Winter began. I don’t know much about the longterm memory of cats, but having survived New England’s worst winter in over a decade with Paws by my side just a year ago, during what would have been his first winter ever on this planet, I’ve grown to believe that he associates any snow falling from the sky as a sign of an impending blizzard.

Of all the ways one could choose to wake up, I’d wager that opening your eyes to almost immediately recognize the fact snow has fallen since you fell asleep is rarely, if ever, someone’s first choice. Knowing the world outside is not only cold, but likely filled with small tasks requiring varying amount of physical labor (snow shoveling, scraping ice off cars, etc), makes an already stressful work day infinitely worse. It also starts your day with a negative outlook, which never bodes well for your personal goals or your interactions with the outside world. You may try to wash off the bad vibes in the shower, or perhaps attempt to drown them in two or four cups of coffee, but more often than not these efforts are futile at best. Nature’s decision to surprise you with snow has cursed your entire Monday, and as a result everyone you meet must feel your wrath.

This is where music comes in. For whatever reason, and scientists will agree, music has the ability to ease the worried mind and relax a tired heart. When all hope seems lost and you feel as if you will soon come apart at the same there is always a better than decent chance a well timed song with just the right sound or feel will save the day. Hell, it may even save your life. Music, and by that I mean the kind of song crafted by one or more people working together in a small space out of a desire to do nothing more than express themselves, is the best medicine outside of actual medicine, and it can work wonders that words fail to properly describe. I cannot tell you exactly why a song or album saved my day, but I can tell you how it made me feel when it hit my body via my ear canal. I can describe to you the way the colors of the world around me grew brighter with each note plucked from a guitar played by Koji, or how the chaos of traffic in a city setting felt somehow complimented by the crashing drums of an overlooked song from Have Heart, but my ability to convey my experience immediately falls apart when asked to explain the mechanism behind it.

I really did begin the day as described above, and I did attempt to shake the negativity from my bones with a hot shower and a gluttonous amount of coffee, but truth be told neither effort made much of a difference as far as my mood was concerned. The snow had chilled my heart, and it had lead me to believe the day would be as dull as the world now appeared to be from my office window. It wasn’t until I had sat down at my desk and began pouring through emails overlooked during the weekend that I stumbled upon a cure for my Monday morning blues. As with all the best surprises, the music that saved my day came from a group I had never known on a label I did not know existed prior to today. My guard was down and my mind was open, allowing me to be blown away by anything truly deserving of my attention, and just as I thought the day was doomed I came across a record that I now believe will soon be changing lives around the globe.

Simmer is a three-piece rock band that brings to mind the glory days of early punk and channels its ethos through a slow and expressive indie-tinged sound that is both ambient and experimental in ways that are endlessly enthralling. Their upcoming debut release for Dog Knights Productions, Paper Prisms, boasts the instrumentation of an angsty Explosions In The Sky combined with lyrical themes of growth, loss, love, and evolving world perspective. As the album plays you get the sense that the members of Simmer are soaking in life and the way it has changed with the passing of time, but they have yet to fully accept that we can never go back. This is a sentiment I am sure most you reading this now can relate to, though you might hate to admit it. There are people, places, and times in our life we spend weeks, months, and even years hoping to return to, even though we know such feats are never possible. Those memories, frozen in time forever, exist to remind us not of what we have lost, but of all the magic that can be found in our everyday lives. We as humans tend to forget that fact, choosing instead to believe those moments point to a time better than the one we have now, but as time carries on we grow to see things for what they really are in our own ways.

Take for instance, “Charles,” the first song from Paper Prisms to be made available to the public. The song sounds like a mix of shoegaze and punk influenced emo conveyed through a wall of sound approach that engulfs the listening from the opening moments and never lets up. You’re carried away in the band’s overall sonic expression before the vocal hit, and when they do their presence only adds to an already rushing wave of sound that you have no hope of escaping unhooked. Like all the best songs, “Charles” sucks you in and refuses to let you go. If you’re willing, “Charles” will allow you to get lost in a world of music far, far away from the inconveniences of daily life. You see, there is no pain in the world of “Charles,” just a journey through Simmer’s art that is both endless interesting and repeatedly jaw-dropping, just like Paper Prisms as a whole.

Whether you’re a post-rock kingpin in need of something new or an aging emo kid turned progressive punk loving adult hoping to find the next band that will change you life I assure you Simmer is a band you need to know. Paper Prisms is the first great indie rock album of 2016 that defies simple classification, and with the right marketing the record could very easily establish Simmer as one of the bands to beat in this still very new year. Even if that doesn’t happen, the record will still be great, and you would be a fool to not make room for it in your personal music library. This is the kind of album that can save you even on the worst days, and really, what more could you hope to find in any work of art?

Paper Prisms will be released on March 6, 2016 by Dog Knights Productions. Click here for pre-order information.


James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Where Indie Musicians Fit In At The GRAMMYs

When I was younger I watched the Grammys every year with awe, rooting for my favorites and even imagining myself as a nominee some day, walking up to the stage to accept my golden award.  A singer/songwriter can dream, can’t she?  Year after year I surrendered to the glitz and glam, the eccentric performances, and the fantasies of one day holding my very own Grammy, seemingly the most prestigious award in the music community, proving to the world: I have made it!

Time ticked by and I threw myself completely and happily into my career in music and throughout the years, reality carried me on miles of touring, hours in studios, and the day-to-day duties of running my own business.  As I lived my dreams, I gradually watched the almighty Grammy show less and less, even outright boycotting it one year, resigning to the fact that a Grammy was meant only for the superstars of the world, which I would never be, nor was striving to be—an unrealistic goal and intangible dream.  It was best to stick to my middleclass place of blood, sweat, and tears, I thought—working hard to make ends meet: the real music business.  Real life was traveling, singing my songs, connecting with people—not the life we saw projected so disingenuously dazzling on TV.  

Then one day, short of a year ago, a fellow musician invited me to a networking mixer at a local bar, hosted by the San Francisco Recording Academy chapter.  Having been hibernating in the studio finishing up my new album, I thought it was a good idea to get out and meet people in the local music scene.  I ended up seeing a lot of people I knew, as well as making new friends.  I learned that the mixer was actually an after-party for the San Francisco chapter’s Music Business Night School, a weekly series of panels that they host every year with professionals presenting topics pertinent to the music business.  I hadn’t known this program existed and the more conversations I had, the more I realized that I hardly knew anything about the Recording Academy and in fact, the Grammys was just one thing out of many that the Academy is responsible for—it’s the highest profiled event, so it’s what most people are familiar with.  I learned that the Academy is made up of 12 chapters around the country, and I even knew some of the board members.  They were musicians and local professionals I had met over the last few years—my peers.  Suddenly, the elusive and impervious Recording Academy had faces—familiar faces—and I was instantly less intimidated by the connotations of its title.  One of the board members, who I had incidentally met years ago when we both played with the same drummer, encouraged me to go online and read about the San Francisco chapter and apply to become a member.  I read that their mission is “to advance artistic and technical excellence, work to ensure a vital and free creative environment, and act as an advocate on behalf of music and its makers.” [www.grammypro.com].  I applied and became a voting member of the Recording Academy, which was actually empowering and fulfilling, knowing that I had a voice in the biggest honor in the music industry: the Grammy!

I met a lot of new people, members of the Academy, independents just like me, in all genres: singers, songwriters, musicians, producers, engineers, both in my local chapter and, thanks to the Internet and touring, other chapters too.  And then came the forever-mind-changing nugget of knowledge that slapped me in the face: some of these indie artists have been nominated for a Grammy, and some are even Grammy winners!  After a moment of stunned wonder, I connected the two dots: If they can do it, I can do it.  In other words, you don’t have to be a megastar to win a Grammy after all.  It’s possible for an indie musician too.

This all occurred during submission season and since my new album, Follow Your Heart, had just been released, my fellow members recommended that I submit my new music for the Grammys.  With help and support, I did just that and as it turned out, the two songs I submitted were accepted onto the initial voting ballot.  I was so excited and proud, and this was another stepping stone to unburying a once improbable dream hidden away—a mirage that turned out to be real after all.

During voting season, I saw the amount of hard work that eligible indies who had their music on the ballot for consideration did to get their music heard, in order to gain more exposure with the hope of achieving enough votes for recognition with a nomination.  I learned and networked a lot, and made some amazing friendships in the process.  And when the official nominations were announced, I barely gave a moment’s grief to not being on that list as I was so profoundly excited to see some of the names of people and albums I had grown to know and love, and some I had voted for in black ink myself.  

It was a sensational whirlwind attending my first Grammy awards show this year.  After a week of pre-parties, concerts, and networking events, I got all dressed up in support of music’s biggest night and saw some of my new nominated friends accept their first Grammy at the pre-televised awards show (where the majority of Grammys are presented before the televised edition).  When their names were called, it felt like a win for all of us indies in a way.  Their Grammy-seeking journey, all the way up to the big win, is nothing short of a massive inspiration to the indie nation and most definitely sends a clear message: It is possible.

I’m still trying to navigate my way as a new member of the Recording Academy, but so far it has been a motivating and educational experience.  In recent news, the Academy has announced the Grammy Creators Alliance, with initiatives to advocate for music creators’ rights, an effort in fact for the working musician.  I don’t know if I’ll ever be nominated for a Grammy, but I can say that I’m grateful for discovering a whole community of like-minded music professionals that I now have access to, and this experience has given me a sweet reminder, as it should for all artists, signed or unsigned: don’t be afraid to dream big.

Katie Garibaldi is a San Francisco based singer/songwriter, who released her seventh album, Follow Your Heart, in the summer of 2014. It is her first full-length release of all new compositions since her award winning Next Ride Out in 2009.  The album, produced by Garibaldi, was recorded at John Vanderslice’s world-famous Tiny Telephone Recording Studios in San Francisco, CA, and was engineered by Ian Pellicci. It features some of Garibaldi’s most personal songs, and includes performances by notable musicians, including the Magik*Magik Orchestra. Brent Black of criticaljazz.com calls Follow Your Heart, “Americana music that transcends genre and geographic location,” in his five-star review of the album.  

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Industry Spotlight: Chris Hansen (No Sleep Records)

Hello and welcome to the only Industry Spotlight feature we plan to run all week. We don’t always advertise this aspect of our site, but a lot of the content that eventually finds its way to our front page does so because our readers requested it. You want to learn about bitcoin’s role in music? We’ve got you covered. Want to know about the guy who runs PropertyOfZack? We cover that too. Today’s post comes in response to a flood of requests we have received over the last six months, and it’s developed into what I believe is one of our best label-centric features to date. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. You can also find us on Twitter and Facebook.

If you want to succeed in music you need to learn to take chances. Everyone who holds a position in the music industry today does so because another current or former industry professional took a chance on them when they were little more than a music consumer with a dream. Was there risk? You bet. Was there a chance someone could lose their job? Definitely. Still, each and every day people take chances on dreamers as a means to promote the continued existence of this thing we call the music business.

For me, it was not until No Sleep Records’ founder Chris Hansen took a chance on a completely unknown high school graduate from Michigan that I was able to find my calling in music. The year was 2006 and I was just a freshman in college with a weekly show on our campus radio station. The studio had great equipment, but due to budget cut backs the music catalog had not been updated since the Y2K scare, leaving all incoming radio hosts to find, request, and otherwise acquire whatever music they wanted for their show. I had been an avid reader of Absolutepunk for about a year at that point, and as I started to plan my show I began using the daily news posts to locate labels and artists I might be able to promote through my efforts. It’s hard to remember exactly how many emails I sent, but I will never forget the rush of excitement I felt when Chris wrote back and asked for an address to send over some promotional materials. The initial shipment included a 3-song teaser from a then unknown band called The Wonder Years, as well as a full length album from The Fire The Flood, both of which I played at great length in the weeks that followed.

I can completely understand how some may see this moment of kindness as a mutually beneficial move for all involved that in no way had to extend further than one shipment of records, but for me it was all the confirmation I needed to know my life was on the right track. The fact I could convince someone like No Sleep to send materials my way meant that I could potentially work with any artist and/or label I put my mind to, which is exactly what I set out to do in the months and years that followed. Everything I have today, from the music news blog I still over see, to my role here at Haulix, only exists because Chris Hansen took a chance on me. He probably does not even realize he made that kind of an impact on me, or that he likely made a similar impact on the lives of countless other industry hopefuls, but that does not change the fact he was a positive force in my life at a time when I desperately needed a sense of direction.

No Sleep has been a member of the Haulix family for a long time, but due to the label’s ever-increasing popularity it has been difficult to find a time where Chris and I could work together on a feature for this blog. Fortunately, such a moment presented itself at the end of May, and we quickly got to work crafting an interview that not only retraces the origins of the label, but also offers some insight on where it may go in the years to come. If you would like to learn more about Chris’ efforts beyond what is found in the conversation below, please make it a point to follow No Sleep on Twitter. Additional questions and comments can be left at the end of this post.

H: Hello. Before we dive in, please take a moment to introduce yourself to our readers:

C: Sure thing! My name is Chris Hansen, I run/founded the Huntington Beach based independent record label No Sleep Records.

H: Thank you for joining us, Chris. We have been looking forward to this interview since we locked it in earlier this month. Tell me, how is life treating you and the No Sleep Records team thus far in 2014?

C: 2014 has been a great year, and continues to get better and better. While the year is half over, we have so many more great releases to put out this year. Looking forward to it.

H: I want to touch on where you are now and the place you may go in the future, but first I would like to get a bit of background information on you. Do you recall the first album you purchased with your own money (bonus point if you include the format)?

C: Oh man, I believe the first Cassette I ever purchased was R.E.M.’s ‘Monster’ and then the first CD was Marky Mark and the Funky Bunch. Pretty sure those are accurate, if not then I have lied many times that they were the firsts.

H: Who was the first artist/group you can remember obsessing over, and how did you initially discover them? We’d love to hear an early Chris Hansen ‘fanboy’ moment if you have one to share:

C: I was in the MxPx fan club in junior high, or high school. Whatever year that was. So I guess that is the greatest “fan” aspect I have done since well I was in a fan club after all. I don’t remember everything that you got for being a member, but I do remember there was an awesome exclusive t-shirt.

H: Let’s pick up the pace a bit. Can you pinpoint in specific events or experiences in your life that may have laid the groundwork for the career you would eventually pursue? Maybe a great ‘lightbulb’ or ‘a-ha’ moment?

C: I have always enjoyed music and all things surrounding it, and I knew early on that I was not meant to play music, so instead I went down the path of working behind the scenes. After a few years of experiences at various other companies, and the timing was right No Sleep was born.

H: Did you seek out any education beyond high school, or did you immediately dive into the pursuit of a career in music?

C: I believe the summer after high school was when I took on my first “internship” at another record label, which eventually turned into a full time gig at their then sister company. As far as education goes, around that same timeframe I went to a community college for about a week, and then I decided it wasn’t for me.

H: While on the topic of higher education, do you feel college is a necessity for those wanting to enter the industry as professionals today? Should it even be considered?

C: This is a topic I have thought about, talked about and argued about many times. School wasn’t for me, but it is for some I think. It all depends on the field you want to get into as well I believe. as there are a lot of fields where school is literally just a debt you will have the rest of your life, and not something that will really help you in what you are doing. But with that said, there are many paths in life where School is needed. Again, that is just my opinion – which could be just because school wasn’t something I was cut out for.

H: The first industry gig I know of you having was an internship with Fearless Records and Smartpunk, correct?

C: Correct, I started an internship at Fearless Records I believe the Summer after High School, which then became a full time gig at Smartpunk who was their then sister company, worked in the same warehouse/etc in Garden Grove.

H: What can you tell us about the application process and your earliest memories with those companies?

C: I believe Fearless Records posted about an internship, to which I simply sent in a resume I had and did an interview. Mostly what I remember about my internship is disassembling a lot of Jewel Cases to be reused. Did that a LOT.

H: You were hired from the internship to handle content at Smartpunk, which you did for a little over a year. After that you had a brief break before joining the team at Revelation Records. Tell me, how did that opportunity come together? What kind of goals did you have for yourself and your professional career at this point?

C: I had known Vique and Jordan at Revelation from my time at Smartpunk and was lucky enough to get an internship when i returned to CA, which lead to a job in the warehouse. At this point I really just was wanting to work in the industry in some way still, and learn whatever I could along the way doing whatever I had to since i’d rather be working in the Warehouse at a label I love with great people, rather than working somewhere else i’d hate.

H: Your role at Revelation comes to an end in mid-2005, just months before No Sleep Records would begin. Did you know when leaving that role that you would be starting your own label? When did the ideas initially begin to flow for what would become No Sleep Records?

C: I had no idea at all, the whole inception of No Sleep in a way was a pure luck. While moving out to New Jersey to work at Trustkill I grabbed lunch with my friend Rick Robinett, who just happened to have a new EP that was paid for/needed a label to put it out on, and the rest is history.

H: We ask this of everyone, but what can you tell us about the story behind your label’s name? What is the origin of ‘No Sleep’?

C: Well i used to do Freelance Graphic Design on the side to make some extra money, the company used to be called Barton Fink Designs (after the movie with John Goodman, amazing film) and i decided to change the name to No Sleep Studios since at the time i had a horrible case of Insomnia (which has completely gone away, if you catch me up till a late hour, the world must be ending).

H: After the launch of No Sleep you joined the Trustkill Records team for nearly two years of work in the art department. What did you take away from your time there, aside from a paycheck, that aided you in developing No Sleep?

C: Everywhere i worked, from interning at Fearless, to being the Art Director at Trustkill helped me to learn various to do’s, and not to do’s in the industry – not to mention many connections/friendships that are still around to this day. Had i not interned/worked at every place along the way I truly do not think No Sleep would be around/where it is today. I am forever grateful for all the opportunities I have had along the way.

H: Was No Sleep a success from the start? If not, how long were you in the red before the company started to make any profits?

C: No Sleep was a success to me from the start, on the books? Definitely not. It took many years of hard work, and massive “debt” to become the “success” that it is today. I would have to say at least half of the time No Sleep was around there was no real profit made if you ran a P&L each year.

H: If you had to pick one release that signified when thing began to ‘take off’ for No Sleep, what would it be? We’d love to hear a bit about where the label was before this record came out, and how things began to change once it reached listeners.

C: There are a few releases that really made a impact along the way, and just made me take a step back and realize “Wow, this is really something.” The first one that really did that was ‘The Upsides’ from The Wonder Years. That album was the first time we made it into Billboard on any of their charts, it helped spread the awareness of No Sleep among the industry and the scene. A few other releases that helped a long the way would of course be ‘Separation,’ ‘Wildlife,’ and ‘Proper.’ But really, every release and every artist up until this point has helped to build No Sleep – sure some of them were successes and some could be called a “flop” from a financial standpoint, but I do not regret any release or band we have worked with.

H: There seem to be more indie labels than ever before vying for a bit of consumer attention. What advice would you offer to those just starting out to help them develop their business?

C: This is a question i get asked a lot, and is something i have a hard time answering. Really there has always been a lot of indie labels, etc trying to get the consumers attention, now there is just more social ways to promote it. So I don’t think it has really changed since when i started No Sleep, so hard work, lots of late nights, spending every penny you have, put out records from bands you truly love, and go in it aware of the fact that you won’t be rolling in the “dough” by any means.

H: Speaking a bit more generally, do you have any guidance to share with those who are simply curious about becoming a professional in the music business?

C: Get an internship anywhere you can that is in the industry, and see where it takes you. You can literally go anywhere from anywhere. The only thing that can stop you, is you.

H: Looking ahead to 2014 and beyond, what are the biggest challenges facing No Sleep?

C: I think one of the biggest challenges is finding true bands with a true purpose.

H: What goals have you set for yourself as far as your career and personal development in this business are concerned?

C: The same goals/etc since day 1. Release music from bands I love, learn as much as I can and enjoy the ride for as long as I can.

H: With the ever-growing amount of competition seeking to make a buck off alternative/indie/punk music, what steps are you and the No Sleep team taking to set yourselves apart from the rest of the industry?

C: The one thing that i think we have always done, and will continue to do so is release records from bands that we truly would listen to. We have stuck to the integrity that i set forth back in 2006, and i believe that is what has helped No Sleep to continue on this upward path. Sure following trends can make you a quick buck, but that won’t last a lifetime, nor will you be happy doing so.

H: You have been a Haulix client for several years at this point. What is it out about digital distribution service that keeps you coming back?

C: We have always been looking for a great place to allow us to share our music with those that need it early, but in a safe way. Haulix was that answer for us, and we will be lifelong customers of theirs.

H: If you could change one thing about the music industry, what would it be?

C: It’s true, there are a lot of shitty people in this industry, and I would love for that to not be the case.

H: When it comes to music discovery, where do you turn when hoping to find new bands? I am sure a number of our readers would love for you to hear their latest creation.

C: A lot of the bands that come to us at this point are word of mouth from other bands on the label, or friends who are in bands on other labels. Just bands that our family/friends have seen at shows or heard, etc. Hard work is the best way to get your music discovered at the end of the day. Cheap shortcuts don’t get you very far in my opinion.

H: Do you have any job or internship opportunities with No Sleep? If so, how should people go about submitting their application?

C: We generally will post about any internships or job openings by way of our social networks, so following them is the best way to be in the know. And just a note, 50% or so of the staff that has been/is at No Sleep was previous an intern.

H: Okay, I think that covers everything. This got a little long in the tooth, but I appreciate you sticking it out. Do you have any final thoughts or observations you would like to share?

C: Death to false music.

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