Less than two weeks before her EP release, Best Ex Mariel Loveland stops by Inside Music to discuss lockdown and the creative process.
The world needs Mariel Loveland. A pop-punk road warrior turned introspective alt-pop creative, Loveland’s work captures moments in time and preserves them for posterity. Her songs touch on the familiar tropes of great music, such as love and growing up, but her exploration of those themes breathes new life into each idea. Listening to her music transports you to a late-night subway ride seated by her side and into her bedroom with your feet on the wall as you overthink everything that happened earlier that evening. Loveland is a storyteller who shares her tales through song, and anyone foolish enough to ignore her inevitably comes to regret that decision. That is what makes her stage name, Best Ex, so fitting. She’s someone you can’t forget.
On May 22, Best Ex will release Good At Feeling Bad, a collection of songs capturing all the pain and joy that comes with finding yourself. Loveland’s signature croon reigns over a series of synth-heavy production that finds a balance between being comforting sad souls and demanding listeners move their butts. The space that Good at Feeling Bad creates makes it possible for listeners to love themselves, and in doing so, gain a new appreciation for everything they experience. Loveland understands that life isn’t about hiding from pain or avoiding tough decisions; it’s about facing the world head-on and searching for happiness. You may not always find what you’re looking for, but the journey is worth whatever comes with it.
On this episode of Inside Music, host James Shotwell calls Mariel Loveland, otherwise known as Best Ex, to discuss her upcoming EP, Good At Feeling Bad. Mariel tells James about her life in lockdown, finding inspiration, and how she learned to stop overthinking her creative process. It’s an illuminating conversation with one of alternative music’s best songwriters, and we think you’ll appreciate the results.
With the release of Ivy on the horizon, Charmer frontman David Daignault stops by Inside Music to discuss songwriting, Covid-19, and more.
On this episode of Inside Music, host James Shotwell chats with Charmer member David Daignault about Ivy, Covid-19, and more. David is a Northern Michigan resident with a unique perspective on songwriting that shines throughout Ivy. He spends the record simultaneously ending threads he’s been building for years and igniting new ideas that may very well carry forward into future releases. His storytelling, coupled with the band’s penchant for unpredictability, makes Ivy more of an experience than a traditional record, and far more special.
Charmer is the product of midwestern skies and long drives nestled between fields and small towns caught in the slow decline of the rust belt. Their music longs to capture and preserve every moment despite a clear understanding that all we are is fleeting. The journeys we take will be forgotten, just like all of us, but that doesn’t mean we should take anything for granted. Charmer celebrates the minutia of existence, from the salty sweat of summer to the raindrops that trickle-down windows, and how every interaction is an opportunity for growth.
Ivy, the band’s second album, builds upon the foundation of hopeful optimism found on Charmer’s previous releases with biting honesty. The record is a snapshot of the time in everyone’s life when they stop long enough to realize everything, including themselves, is changing. The tracks demand listeners let go of their collective nostalgia for the times they thought they would live forever, urging us to live in the present. It’s about moving on, for better and worse, while never losing sight of the things that matter most.
Charmer releases Ivy on April 3 through No Sleep Records. You can stream the album’s lead single, “Slumber,” below.
On “Gap Tooth (On My Mind),” Best Ex provides listeners a space to escape their worries and discover emotional catharsis in the wake of heartbreak.
It’s unclear who was the first artist to realize the best cure for sadness is movement. There were probably generations of musicians who understood this simple fact long before recorded music existed. People would gather in concert halls or theaters or around fires burning as high as the materials would allow, and they would dance while music played. They danced to shake off the worries of the world, to free themselves from the concerns of the day or what may lie ahead in the future. They did whatever they could to be fully present in the moment, and in doing so, reconnect with their souls.
Mariel Loveland, otherwise known to the world as the face and voice of Best Ex, is the latest in a line of musicians stretching back centuries to provide that excuse for escapism we so desperately crave. What sets her apart, however, is that she seeks freedom through processing emotions rather than running away from them. Her music creates a space where listeners can work through complicated feelings of love and loss while simultaneously giving them an excuse to move their bodies. It’s a fine line to walk, and it requires surgeon-like precision to master, but Loveland and her musical cohorts do so in a manner that makes such artistic expression seem easy.
“Gap Tooth (On My Mind),” the latest single from Best Ex, places the notion of caring for one’s self front and center. The track begins as any breakup song would, with an evident longing for a connection that has recently been severed, but as the first verse gives way to the chorus, a more grounded and rational way of thinking emerges. Loveland’s broken heart is begging for something immediate to soothe the wound, such as a kiss from a stranger or a night lived with reckless abandon, but her mind knows better. Life has taught her that trying to fill the void the exists when someone you love leaves with anything less than a more significant emotional connection will ultimately lead to a pang of more profound sadness. A wild night might be fun, but the next day she will wake with the same longing in her soul, so what is the point?
But there’s another problem, and it’s the key to what makes “Gap Tooth (On My Mind)” a compelling song. The recognition of what you should and shouldn’t do when soothing a broken heart does not help with the healing process. Loveland doesn’t want to find someone else, nor does she wish to forget everything she shared with this other person. What she wants more than anything, for better and worse, is the other person in the story. Loveland’s built her life around someone she wants to be with, and knowing that cannot continue has left her at a loss. The only thing she can do is work through the pain, and “Gap Tooth (On My Mind)” provides the perfect song foundation to do that through dance.
The beauty of dance is that it has no rules. We’ve all seen the reality competitions and social media clips of people moving their bodies in jaw-dropping ways, but those individuals are outliers in the world of dance. Most people, including myself, don’t move like that. I don’t know what I look like dancing, but graceful is not a word I associate with how I move to the music I enjoy. What I do know, however, is that allowing myself to get lost in sound and movement is the most freeing experience on Earth. With “Gap Tooth (On My Mind),” Best Ex provides everyone with the ability to shake off the pain and stresses of existence, and that is all any song can hope to offer.
Inside Music is a podcast about the lives of professionals in the music business. Each week, host James Shotwell chats with an artist or industry tastemaker to learn how anyone can navigate the world of entertainment.
On this episode of INSIDE MUSIC, host James Shotwell sits down with Hot Mulligan guitarist Chris Freeman to discuss his band’s not-so-overnight success. Chris recounts the rise of his band from the early days to present, as well as some insight into what the future might hold.
If you have yet to hear Hot Mulligan’s debut album, Pilot, we highly recommend you do so as soon as possible. The eleven-song LP is available now through No Sleep Records.
In other news, Inside Music is now available on YouTube! Click here to stream the latest episode on our official channel. You can also subscribe to the show on iTunes, as well as any other podcast streaming service.
Let’s face it: There is too much content. Try as we writers might to believe our work the best, there is no denying the seemingly endless entertainment options vying the finite amount of time people have in the day to day lives. Watching a video or listening to a podcast may take longer than reading an article, but some consumers see it as being better because both videos and podcasts allow for multi-tasking. It is not hard to listen to a conversation and work at the same time, but reading three-thousand words on an artist who will likely appear on a podcast or release new music soon is another story. Reading requires focused attention, and that is in increasingly limited supply in 2018.
Great up and coming artists are a dime a dozen, but great up and coming artists who can attract and hold consumers’ attention long enough to click a link, let alone read an article are far rarer. Even rarer still are publishers who see coverage of smaller acts as something worthy of their time or funding. There is a discussion to be had as to why this is bad for everyone, including the publisher, but for now, let’s focus on the conversation at hand.
In writing about an up and coming artist, you are hoping to reach two audiences: Established fans and curious consumers. The former will likely share your story, but they’re not as likely to click unless promised something exclusive or otherwise new. The latter will most likely only click if the name sounds familiar or something about the post itself stands out. The trick is in being unique while simultaneously following the lead of what is already popular in culture. For example, memes.
You cannot guarantee how many times the publisher will share your content, but you can tweet all you want through your account. Before sharing your story, take some time to craft clever and original memes inspired by the artist from your article. Do not mention the story, but instead stick to the established joke format used by every other person on the internet. Whenever possible, mention the artist, but only if it makes sense in the context of the meme. If it does not, you can always tag the artist as being in the associated photo.
Taking memes seriously as marketing tools may seem silly or foolish, but in the world of social media memes are a cultural currency that holds immense power, especially among young consumers. A great meme will attract shares and retweets, which in turn promote the artist and your identity as creator. You will receive followers, which may or may not abandon you later, as well as some brief fact time with countless people familiar with the band you are strategically promoting through meme creation.
With a little bit of luck, the memes you create will go viral amongst the artist’s already established fanbase. That may mean ten shares or ten-thousand, but know that every single one counts. The engagement generated by your original content will help to integrate you and your work as being a part of the fan community and not something produced by an outsider hoping to inspire a quick spike in traffic. That familiarity is priceless because it is what will ultimately drive clicks and shares of your story. Every artist community may be different, but the golden rules amongst them all is that fans support fans. Be one, and the rest will have your back.
Here’s an example:
Two weeks before covering up and coming pop-punk group Hot Mulligan I began drafting ideas for memes and similarly shareable content related to the band and their upcoming album, Pilot. It was around this time that two new memes started to circulate online, including what is now known as ‘Savage Patrick.’ The meme, which uses a photo of Patrick Star from Spongebob Squarepants, is used to express a ‘savage’ comment or behavior. In reviewing the lyrics to Hot Mulligan’s then-current single, “All You Wanted By Michelle Branch,” I discovered a line that seemed to fit this idea perfectly. The resulting creation was this:
A few days later, I created another meme, this one borrowing from a viral 2-image series known as the “Sleep On” meme. That meme performed even better than the one before it. It looks like this:
Both Hot Mulligan and their label shared each tweet, as well as several band members through their accounts. Fans soon followed suit.
When my article was published a days later, I returned to those two memes and added links to my story through threaded tweets. As the shares continued, so did exposure to my article. Additionally, several accounts that had followed me in the wake of the memes engaged with tweets about the post without needing to see the threads. The fan community recognized my posts as being from someone they knew to be familiar with the group they loved, and they didn’t think twice to help a fellow fan spread the word.
If all this wasn’t enough, it’s worth noting that both Hot Mulligan and their label appreciated the extra content I created. As silly as it sounds, a meme can often reach more people than a video or a song link, and a great meme shared by passionate fans can do more to encourage engagement with unfamiliar talent than all the well-written words in unread articles ever could.
Journalism is here to stay. Memes, for better or worse, are here to stay as well. Embrace them, master them, and then use them to further your readership. Even if you fail to create a significant surge in traffic you will undoubtedly attract more followers and, in time, those connections will help to grow your audience as a whole. It’s all part of the evolution of this industry. Adaptation is not an option, but a requirement. Don’t wait — create.
We know it would take far too long to highlight every client’s new release each week, so we’re going to choose a few select titles each week that we feel everyone should support. These are albums we will be buying ourselves, and we hope at the very least you give them a proper spin before deciding to purchase something else. James may write the column, but everyone at Haulix will have a say in who gets chosen.
Something about the humid heat of mid-July makes me want to pull the blinds, kill the lights, and lose a day or three while one record spins on a loop a few feet away from me (and my cats, who are no doubt lying at my side). That record needs to be something I can get lost in. An all-consuming listening experience that pulls you in slowly and doesn’t allow you to leave until every ounce of emotion has been drained from your tired bones. When I first heard Run Forever’s Big Vacation EP I knew I had found that kind of album. It’s both catch and hypnotic simultaneously, giving you an excuse to either dance or smoke the day away, and leaving it up to you to decide which is the better choice. If you need an escape this month, let Run Forever be your guide to freedom. Get lost in Big Vacation and watch how easily the stresses and worries of reality begin to fall away, leaving you relaxed and free.
Australia has been a leading force in the development of modern metal music. From Parkway Drive to I Killed The Prom Queen, Feed Her To The Sharks, and now recent Facedown Records signees For All Eternity, the land down under has done more to shape the current state of heavy music than most understand. For All Eternity are still new to the international stage, but their unique approach to metal is sure to quickly win over fans around the globe. I don’t want to undersell the brutality on display, but there is a beautiful orchestration to their label debut, Metanoia, that cannot be praised enough. Amidst a year filled with chug-heavy releases that lack heart and passion, For All Eternity have delivered a crushing, yet gorgeous display of musicianship bursting with emotion at beat. Don’t miss out.
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.
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?
