With riffs and hooks to spare, Michigan’s Dogleg is perfectly positioned for success. Their debut album has everything alternative music today needs, and the band still has more to offer.
Kanye West said it best. The Midwest is young and reckless. Dogleg, the latest in a long line of alternative bands to rise from the mitten state in recent years, is chasing dreams of changing lives and selling records with a passion unmatched by their peers. The band’s Triple Crown Records debut, Melee, speaks to that ferocity with ten songs built upon all the angst and stress of trying to survive in our modern times. It’s a cathartic collection of high hopes and broken dreams that reaches through the speakers with each note and lyric, urging listeners to get off their ass and influence positive change in the world around them.
But let’s back up. The beauty of Dogleg’s music is that it recognizes the struggle to develop, let alone maintain an optimistic outlook. The world is on fire in more ways than one, and heartache is readily available anywhere you dare to look. Elected officials have let us down, ecosystems are crumbling, and there is an undeniable sense of panic in the air. These problems are not necessarily new or in need of examination, but they do outline the contributing factors behind many smaller, more personal battles individuals face daily. Dogleg’s music speaks to those struggles, and they seek to see brighter days through perseverance. They write songs about holding onto friends as you age and fighting for a livable wage. Their music speaks to the souls of working-class folk trying to their best to get by with unwavering recognition that they are still more blessed than most.
In the simplest terms, Dogleg’s Melee is a collection of anthem for underdogs being released when underdogs need it most. The band had no way of predicting the way the world would look when the record dropped, but the chaos surrounding us only makes the points being made on Melee. Dogleg wants you to feel good enough for the things and people you love, but they also want you to consider everyone else and the role you play in the world at large. You can be a leader or a follower, but you cannot be an asshole. Possessing empathy is more far more punk than your ego, which is a lessoned outlined on this record many times over. We need one another now more than ever, and through the help of Dogleg’s music, we can come together to create a better future for everyone.
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.
The Cleveland-based rock band’s frontman appears on Inside Music to discuss their upcoming Sophomore album.
If you read Haulix Daily on a regular basis, then you already know our love for Cleveland’s Heart Attack Man. From advice columns to videos, we’ve spent a lot of time and dedicated a lot of space to discussing the group’s unique approach to marketing and promotion. We’re doing even more of that today, but this time we’ve involved the man behind all that creative content.
On this episode of Inside Music, host James Shotwell calls Eric Egan of Heart Attack Man to discuss his unique approach to music marketing, as well as his band’s upcoming album. Heart Attack Man has a social media presence unlike any of their peers that solely relies on original ideas from Egan’s mind to drive engagement. Through creative videos and hilarious posts, Egan and his bandmates have built a community (the ‘Baby Carrot Gang‘) that is already busy promoting the band’s new album, despite the fact, almost no one has heard it. Eric tells James about the record, developing a fan base, and how he does his best to stay true to himself through all endeavors inside of music and out.
Music marketing has changed. Not long ago, artists hoping to stand out would turn to blogs with strong followings to premiere music and share insight into their records. That approach still works today, but with more artists and blogs than ever before, the return for any one piece of content has dramatically been reduced.
These days, artists hoping to make themselves known in a crowded genre need to be more creative than their peers, and that task extends beyond songwriting. Artists today also need to be producing engaging content, primarily social media updates, that generate interest in their music that extends beyond their follower content. That is because going “viral,” if you will, can do more to help someone grow their audience than any premiere or song release.
In 2018, one group making better content — and songs — than practically anyone else in the alternative space is Triple Crown Records’ group Heart Attack Man. Take a listen to their music:
Hailing from Cleveland, Heart Attack Man consists of four young men whose presence on Twitter and other platforms has helped to catapult their unique take on rock and roll into the hearts of music fans and industry influencers around the world. Through clever videos and self-criticizing memes, the band has managed to develop a reputation for creativity that has encouraged many (including this author) to check out their music. Here’s one example of their social media presence, which was used to promote a recent show in Ohio:
At the time of publication, the video above has over 52,000 views (original tweet). The band only has roughly 3,300 followers on Twitter.
Heart Attack Man creates a lot of great content that isn’t meant to sell anything as well. Here’s one example, which takes aim at the repetitive nature of ‘music journalists’ in 2018:
Heart Attack Man does not post a new video every day, but they are continually adding new content to their social pages that have the potential for widespread engagement. By making light of the industry as they know and experience it, the band is bringing people into their world and allowing them to join the unpredictable nature of working in music.
The catch to all of this is that you cannot duplicate what Heart Attack Man is doing and expect the same results. The reason these videos, as well as their other content, works for them is because it’s developed from their personal experiences. There is an authenticity to their creativity that we, as an audience, recognize without thinking about it. The only way to find similar success in your career is to develop marketing materials that are equally authentic. Use your experiences, thoughts, and opinions to shape the way people engage with you on a day to day basis. If they relate, the chance they check out your music will be great. If they don’t, who cares! There are plenty of potential fans out there.
On this episode of INSIDE MUSIC, host James Shotwell calls Tanner Jones from You Blew It! to discuss his band’s latest album. The recording took place the day after the US presidential election, so that is where the conversation begins, but soon the focus turns to how the band continues to capture the struggle of growing up through their music. Jones tells James about the process of creating Abendrot, as well as what he hopes to accomplish through releasing the record (on November 11).
The song you hear in this episode of the show is “Forecasting,” which comes from the new You Blew It! record due out this Friday, November 11.
You may already know this, but Inside Music is available on iTunes. Click here to subscribe so you never miss an episode!
There comes a time in every twenty-something’s life when they must face the realization that the songs they relied on to get them through earlier years no longer possess the ability to cure modern stresses. The life of a young adult in America today is one that does not need gratuitous amounts of broken hearted anthems or songs about road trips you can no longer afford to take. What people need today is something far more personal and grounded in the reality of our times. That might not sound nearly as fun as the pure escapism the bands of our youth aimed to provide, but I would argue you the only reason you feel that might be true is because you have yet to spend time with a band that really knows how to touch on the things that keep you up at night. Such artists and groups do exist, and one of them by the name of You Blew It! (YBI) has a new album arriving in stores later this week.
Abendrot refers to the atmospheric phenomena accompanying the daily disappearance of the sun. It also happens to be the title of You Blew It!’s latest album, which finds the emo Florida natives growing right in time with their audience. The record rises and falls with themes of growing older, reflection, and that ever-present sense of longing every creatively inclined individual feels burning in the pit of their stomach. I am not a member of the band and have yet to speak with them about it, but when I hear the record I it perfectly encapsulates everything I have felt as I’ve slowly, but all too quickly transitioned into the latter half of my twenties. This isn’t an album about finding yourself as much as it accepting the person you discovered yourself to be and finding the strength to make changes where you feel they are needed.
When you were young you probably heard one or many people say that you can be anything you want in life. While it is true that we are all capable of aspiring to heights we have not yet reached it is a bit misleading to pretend that everyone will ultimately become the people they see themselves being while they are still young. In some cases, this is a good thing – great even – because the people we become are better than the vision of ourselves we have carried with us. In other cases, the people we become may fall short of our personal expectations or goals. As much as we’re told to aim high we are given very few lessons on what to do or how to behave in the event things do not turn out the way we see them in our heads. The struggle between who we see ourselves as and who we really are kicks into high gear just as the music and experiences of our youth begins to change. We need new soundtracks because we are new people, and there are very few artists working today who are able to capture the eternal lightness of youth while also addressing the woes of the present quite like You Blew It!
James Shotwell is the Digital Marketing Coordinator for Haulix. He is also the Film Editor for Substream Magazine and the host of Inside Music Podcast. Follow him on Twitter for pop culture references and photos of his french bulldog.
On this episode of INSIDE MUSIC, host James Shotwell chats with Dylan Mattheisen of Tiny Moving Parts about his band’s new album. Dylan tells James about his creative process, as well as the way bands in the midwest build their careers from basements to nationwide headlining tours. We’ve already talked about several phenomenal records hitting stores this month, but Tiny Moving Parts’ Celebrate may be the absolute best. Click here and support the band by ordering a copy of the record today, or grab a copy in stores starting May 20.
The music you hear in this episode is from the song “Common Cold,” which appears on Celebrate.
You may already know this, but Inside Music is available on iTunes. Click here to subscribe so you never miss an episode!
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.
Bands comes in all shapes and sizes, cropping up wherever there happens to be a group of like-minded people with a passion for creativity, but I have always felt a sense of kindred spirits with people from places no one knows. Well, not actually no one, as almost anyone from anywhere knows someone who knows they exist, but people from tiny towns and villages that only register as legitimate places to people who grew up in the same geographic region. That was always the case with my hometown, a tiny village in the Southwest corner of Michigan known as Constantine, and as I’ve grown older I’ve unfortunately witnessed the town sinking further and further into obscurity as state plans to change the paths of major roads have made the once thriving community a place where many residents are fighting to maintain their way of life. It’s heartbreaking, but not all that unusual in the so-called rust belt of the midwest, and whenever I meet another young adult from a similar town we seem to share a mutual understanding that the place we could quite possibly outlive the place we call home. We hate that fact. Every single one of us hates this fact. That doesn’t change anything though, so instead we push forward, striving to create something that speaks to the inspiration and experience we gained from our lives in our hometowns, and in doing so at least a part of us feels like we may keep our community alive — at least in spirit.
Tiny Moving Parts hail from a place in rural Minnesota they themselves will tell you no one knows. It’s a tiny community lacking any tangible music scene, yet it gave the members of Tiny Moving Parts everything they needed to find a unique take on the crossroads between punk and indie-rock that has now become the group’s trademark sound. Listening to their latest release, Celebrate, brings to mind a lifetime of memories spent contemplating the unpredictability of the human experience from the security of your childhood home. It tells of growing up and finding one’s true identity, as well as all the hardships and unforeseen consequences that you must face in the search of truth about practically anything. In roughly thirty minutes, Tiny Moving Parts encapsulate a moment in life when you finally realize just how unique and inexplicably beautiful your own existence is, and through doing so they challenge you, the listener, to ask what you’re doing to make the most of your time.
What is it about Tiny Moving Parts’ hometown that made it possible for the young men in this group to be who they are? I could not tell you. Even if you could tell me, I am not sure I care to know the answer. When Tiny Moving Parts share their art with the world they are consciously sharing every pivotal moment and emotional exchange they have experienced through a riveting and lively take on rock that is unlike anything their industry peers are even attempting to produce. It’s a style of music that the group has more or less been sharing since day one, but in the roughly five years since they became the talk of the alternative underground no true competitors or knock-offs have made themselves known. The reasons for this are probably as varied as the reasons why certain people prefer sneakers to sandals, but I like to believe it’s because we as an alternative community recognize they are something special unto themselves. Tiny Moving Parts are part of this world, but they exist on an island unto themselves, and each new release shares a little more insight into how they see the world around them. Celebrate is the best example of this yet, and I cannot wait to see what they do next.
James Shotwell is the Digital Marketing Manager for Haulix and host of the Inside Music Podcast. He is also the Film Editor for Substream Magazine. When not working, James can be found in Minneapolis with his two fat cats, Paws Von Trier and Chub E. Chubs, watching old police procedurals and eating copious amounts of popcorn. You should follow him on Twitter.
On this episode of INSIDE MUSIC, host James Shotwell speaks with Caspian guitarist Philip Jamieson about his band’s upcoming new album, Dust And Disquiet. The pair also discuss the current state of post rock, as well as Caspian’s unique way of engaging their fans. There are few bands in the world who have managed to carve a path as unique and interesting as Caspian, and we feel honored to have Philip on to share his journey.
The music you hear in this episode is “(Hymn for) The Greatest Generation” from Caspian.
You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.
Hello, everyone. Whether this is your first or one hundredth visit to our site we are beyond excited to have you joining us for this afternoon’s feature. We were asked way back in the fall of 2013 to begin speaking with more label owners, and it did not take us long to realize those professionals are some of the hardest in the entire music industry to track down for an interview. To date only a few names have graced our page, and today we add another as Triple Crown Records’ founder Fred Feldman finally shares his store. If you have any questions about developing as a writer/blogger in music, please do not hesitate email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
For more than a decade Triple Crown Records has been a tastemaker for alternative rock and beyond. By forgoing the typical label approach of finding one sound to push, founder Fred Feldman and crew have made it a point to work with any artist they found interesting, regardless of genre. The result of these conscious efforts is one of the most diverse and beloved indie labels in existence, and today the story of how it all came together is being shared by the man who first brought the company to life.
I don’t remember where I was the first time I heard an album from Triple Crown Records, but if I had to take a stab in the dark it would probably be somewhere between 2003 and 2004. It was during this time that the label, which was only a few years old, began releasing albums by Brand New that would quickly become staples within the alternative music scene. Those albums hooked me, as well as thousands of others, to the label’s work for life even though many of their artists did not sound like a Jesse Lacey fever dream. I now own well over a dozen Triple Crown releases, and based on their current roster I am confident I will add many more titles in the years to come.
If you want to learn more about Fred and his efforts at Triple Crown, please take a few moments and follow the label on Twitter. Additional questions and comments can be left at the end of this post.
H: Please introduce yourself to our readers:
F: My name is Fred Feldman and I own Triple Crown Records
H: Thank you for joining us, Fred. We’re very excited about this.
F: No Problem, happy to help.
H: Before the music industry ever came along, what are some of your earliest memories of music?
F: Just being a fan, really. From an early age I was a big fan of music. In high school I played in bands. Nothing good, of course, but I still love playing and being around music. I’m a little older than my audience, so when I was coming up I would take photos for actual fan zines and magazines, not websites. That was back when print was something special [laughs], but yea – decided I would like to have a career in it even though I couldn’t play and took an interest in the business side.
H: What was your first concert experience?
F: It won’t go over well even now probably, but my first concert ever was going to see Boston with Sammy Hagar at the Nassau Coliseum.
H: That’s amazing.
F: Oh, you have no idea. I always smile whenever I see something on Sammy Hagar because that was the first real arena rock moment for me. He stepped out on stage and it was just unreal. I think I was eleven or twelve at the time.
H: A lot of people seem to witness those key ‘influential’ concerts in their early teens.
F: Yea. When I grew up it was all arena rock. My first punk show was in high school with Heart Attack. It was also the first time I saw a pit, which was pretty life changing as well.
H: You mentioned that you started off taking photos for zines. Can you recall your earliest project in music?
F: Well I always very interested in music. This was before you could just email someone for a photo pass. I shot for friends’ fan zines, shooting punk rock stuff in New York that was pretty easy, but a lot of the other stuff would involve attempting to sneak your camera into gigs, getting close and grabbing shots. Then you would write to people, send them your pictures, and hope to get your stuff published. It was always rewarding to see the final product, to open a fan zine or magazine and see your work.
I didn’t really get serious about the business end of things until college. At that point I started booking shows and working at a radio station. That’s when I realized “Oh, this could really be something.“
H: I read online that you attended Syracuse University. Did you study Business?
F: Sorta. I got a liberal arts degree, but I think the thing that was a great opportunity for me at Syracuse was being on a big campus and being able to book concerts for the Concert Board. You weren’t booking a DIY venue, you were booking shows that dealt with real agents, real venues, big production, and generally speaking a lot more tasks than DIY venues would be less likely to handle.
H: Is it through booking at Syracuse that you found your first job in the industry?
F: No, I got out of school and had no idea what I wanted to do. I couldn’t find a job because I never took an internship. I think internships are great and they can certainly be very beneficial, but I did not take the internship route because I had a job and needed to make money. So I literally contacted a bunch of companies and told them I would work for free. Through someone, a friend of a friend of a friend, I landed a job in the mail room at Profile Records. From there I worked my way up from a part time job to a full time role at the company.
H: Wow. That’s similar to those classic industry tales you read about where someone starts in the lowest position and works their way to running the company.
F: I did end up running the company. I got pretty lucky there because there came a point where the two owners of the company split, and I was going to leave the company, but one of the owners told me that if I stayed I could start what he called ‘my little rock thing.’ I loved hip-hop, and I loved working with it at Profile, but I grew up interested in punk rock and initially went to profile because of their rock releases. I ended up doing every job there, and then started another company called Another Planet while running Profile Records.
H: One more question about life at Profile – Did you get to work with Run DMC?
F: Yes, I did. It was a wild time, and I can only say my entire experience there, aside from being very education, put me in a lot of places and allowed me to do a lot of things I never imagined. I worked with them (Run DMC) on their comeback album and it was crazy. To see them perform and work their way back to the top was just amazing. Run is that character people see on TV, he’s both very humble and kind.
H: You mentioned Another Planet. Is that what eventually became Triple Crown?
F: No, that was a label that we started there. Profile also owned Rock Hotel Records, which had put out some of the most important New York hardcore records. The catalog was kind of dormant, so I suggested we reissue those records and sign new things. I’m not delusional, it was kind of hit and miss, but when the label was purchased by Arista they kept that roster and catalog.
H: I was building up to that. When the company sold were you cut, or did you choose to leave and do your own thing?
F: No, they kept me on during the transition. We had a few successful artists at the time, and I was the person who knew those artists, so they allowed me to stay on for a while and make sure everything went smoothly. It was a good position for me because it allowed me to start my own company [Triple Crown] while still having something to fall back on. I think when you decide to do something like start a business you have to dive in, but for a while there I had a safety net.
H: Who was the first artist you signed to Triple Crown?
F: Oddly enough, I was about to make a deal with 25 To Life when I started to think that Profile was going to be sold, so I sat down with the owner to discuss the possibility of taking 25 To Life. I spoke with Rick from the band and told him that I was leaving to start my own thing, but still wanted to do their record if he was interested. He was and we did it. We we also had a Stubborn All-Stars record that was completed for Another Planet, so I licensed that and those became our first two releases.
H: You started Triple Crown in 1997, but then in 2001 you have a small roll at Fat Beats Records. What is the story there?
F: When you’re starting a business and you’re throwing everything you have at it, you just have to hustle. I was looking for distribution and my friend with Fat Beats told me they could help me out if I worked with them to start an in-house label. A year and a half later we signed Atmosphere, so again my hip-hop history started to come through in my work. It was a crazy time, but also an awesome time.
H: How many people are on staff right now at Triple Crown?
F: It depends, really. I think we have three people right now. We assemble a team around each artist/project and move forward from there. Every artist and every audience is different. There may be some crossover, but at the end of the day the best option we have found is to start fresh and build a plan from the ground up.
H: I read in another interview that one of the first things you do with every new band is to get them on the road, playing at least five or six times a week. Is that true?
F: In our industry, touring is one of the most important things. I also think it’s the best way to connect with music fans. As long as the band we have signed recently have a little touring under their belt, we work to give them that extra push that allows them to tour more frequently.
H: Where do you turn when looking to discover new music?
F: Everywhere, really. I try to keep an open mind. Honestly, sometimes I find bands online, or through recommendations. Sometimes I read a story somewhere and start connecting the dots. Maybe I catch an opening slot on a tour we have artists on. The guys in Hit The Lights were the first to tell me about Fireworks. Brand New turned me on to Manchester Orchestra, and even though we did not end up signing them it started a strong relationship with Andy that has lasted several years.
H: Let’s focus on one of your recent signings. What is the story behind the discovery of Tiny Moving Parts?
F: The first time I ever heard about the band was seeing something on PropertyOfZack. It was a video or something, and I was very into what they were doing. The manager reached out a short time later, and from there I caught them live the next time they were in our area. That sealed it for me.
H: What advice would you offer those looking to enter the professional side of the music industry?
F: I always say hard work. Let your work speak for you. Find a way to get an opportunity in the music industry and make the most of it. This is why I think internships are so great. They give you some of the worst or busiest work and allow you to show them how much dedication you have to the job. I’ve been in the business for a long time, and there will always be people who enter with a sense of entitlement, but I think a willingness to do the work is really important. I read an interview not long ago where someone suggested “Don’t be a dick” and really, that’s accurate. Be honest and work hard. Don’t be a dick.
H: Triple Crown has been using Haulix for a long time now. What keeps you around?
F: It’s great. It simplifies everything, and the support is amazing. This used to be so hard and now it’s quick and easy. Also, publicists love it and it saves us a bundle on physical watermarking. I had an issue not long ago that required help tracking down the person behind a leak, and I think Matt (Haulix CEO) replied to me within 12 hours with all the information I needed to move forward.
H: You’ve accomplished a lot with your career, especially during your time working on Triple Crown, so what are your current goals in life?
F: I just want to keep putting out interesting music. If there is one thing that has been a blessing and a curse for us is that we don’t have an identifiable sound. Kids don’t buy a record just because it is a Triple Crown release. I think there are some common threads throughout the music, but there are also some big leaps. I’m really excited about what we have on the horizon. Tiny Moving Parts is really great, which I know we already talked about, but so are the releases we have planned a little further down the road.
H: How many times a month do people ask you to repress Brand New’s Deja Entendu on vinyl?
F: Haha, that’s my favorite question! It’s one of those things where I have to remind myself not to be a dick. (laughs) I have a very close relationship with the band, and they always want to put music out a certain way, both aesthetically and sonically. That’s why I don’t want to just press it and put it out there. When we reissued Your Favorite Weapon they went back and remastered the whole thing. They always want to do things a little bit differently. It’s going to come, that’s all I am going to say, and hopefully there will be a few surprises included as well. The band was very important to me and the label, so I don’t want to just press it and put it out there because it’s not what they would want.
I like when people ask me about this from an innocent angle. Kids will suggest pressing it again to me as if it’s something we have never heard before. I get it. It bums us and the band out when we go online and see how much some people are willing to pay on eBay for copies.
H: We have finally reached the end! Before I let you go, do you have any final thoughts or observations to share?
F: I think we covered a bunch of great stuff. We have a couple more vinyl things planned for the year, so please keep an eye out for that.
