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.
…And we’re back.
On this episode of INSIDE MUSIC, host James Shotwell calls Carousel Kings founder and vocalist David Alexander to discuss his band’s upcoming Victory Records debut. Charm City is the third full-length record for Carousel Kings, and it also happens to be their most personal record to date. David tells James about how his approach to songwriting has changed over the years, as well as what the band had to do to make it out of their hometown. This podcast is the second in a newly announced series focusing on artists who we believe could have huge year ahead, and we hope you enjoy the show.
The music you hear in this episode is the title track from Charm City, which arrives in stores February 10 through Victory Records.
If you have not done so already, please subscribe to and review Inside Music on iTunes.
Hello and welcome to the second Artist Spotlight feature of the week. We told you earlier this month that we were focusing on developing our newer columns and that is exactly what we aim to accomplish with this feature. The first few spotlights focused entirely on the world of metal, but in this piece we talk about punk and electronic music, as well as the pros and cons of being a signed artist. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts.
Relationships are everything in the music business, and that is one point I cannot stress enough. Trends change, business models change, but the relationships you forge with others in the music business have the power to last and last. When the business side of things turns its back on you and you find yourself both broke and unemployed it will be the people you’ve met through your efforts that help you pick yourself up and piece your life back together. They will send you messages of support when your health fails or when you’re dealing with typical day-to-day drama that life tends to bring. It’s a rarely discussed, but deeply appreciated aspect of working in a tight knit global community that can (and likely will) change your life.
I cannot recall the first time I crossed paths with William Francis, the musician behind William Control, but it was not too long after he and his bandmates in Aiden signed with Victory Records during the mid-2000s. Our relationship was purely fan and artist at first, but over the years I began to more passionately pursue my interest in music and the dynamics of our relationship began to change. Instead of simply being fan and artist, we were also blogger and artist, or web video personality and artist.
It’s important to know that I was not the only one changing during this time. Aiden released a handful of albums, each featuring a distinct change in sound and direction, but ultimately went on hiatus so that the various members could pursue other projects. For William, that meant starting William Control, a synth-fueled electronic offering that dabbled in bondage and victorian literature. It was another clear departure from everything he had done before, but it also felt like the most honest expression of who Will was as a person, and many fans who loved his punk efforts continued to follow him.
By the time William Control was off Victory and thriving as an independent act I found myself out of college and working full time in the music industry. Seeing Will on the road was still exciting, but somewhere over the better part of the last decade our relationship dynamic changed once again to be friend and friend. We would still do interviews and we would still talk shop, but we would also catch up on life and wish the other well whenever they’re going through hard times.
When I started at Haulix I knew one day I would have the opportunity to share Will’s journey through the business with our readers, and I am beyond excited that day has finally arrived. He’s a friend and an artist I continue to admire to this day, but more importantly he is one of the smarted people I have met in my entire life. His unique perspective on existence and the way this business works is the type of thing that could fill volumes, but for now the few thousand words below will have to suffice.
H: Hey there. Before we dive in, please take a moment to introduce yourself:
W: Well hello to you sir, my name is William Control. I sing, write and travel the world.
H: Thanks for joining us, Will. I have been looking forward to this interview for some time. We like to begin these features by learning a bit about your history with the creative field you’ve made a career. Tell me, what comes to mind when you think of your earliest memories with music?
W: My very first experience with music was in the mid-eighties. MTV was only two years older than me and I used to watch videos while I was at home with my older brother. Bruce Springsteen had a hit called “Born In The USA”. I can remember distinctly watching that video and singing along. As a 4 year old I didn’t really understand the concept and just thought it was a catchy tune. It wasn’t until I was about 8 or so when I really started loving bands and music. The first artists I truly fell in love with were Nirvana and Depeche Mode. Violator and Nevermind were both at the top of the charts and MTV played those videos non-stop. I couldn’t ever really connect with the hair metal stuff they played, those spandex shorts and teased hair just didn’t do it for me.
H: Do you remember the first album you purchased with your own money?
W: It was either Nevermind or the Black Album by Metallica. I know that it was a cassette tape. That I am sure of.
H: How about the first show you attended? Bonus point for more details than name and location. We want to know about your experience becoming fascinated by music.
W: My brother took me to see Nirvana on their “In-Utero” tour for my birthday. It was jan 8th 1994 at the Seattle center mercer arena. This was the second of a two-day performance. I was 12 years old and it changed my life forever.
H: You had some personal struggles in life before coming to music. When did you first begin writing songs?
W: I suppose I’ve been writing songs and stories since as far back as I can remember.
H: When you wrote, did you see yourself fronting any specific kind of band? I know you played bass in your first band (Aiden) before eventually transitioning to vocalist.
W: It wasn’t until I discovered punk rock in the summer of 1994 that I saw myself fronting a band like that. The change was immediate and precise. I knew then and there that I wanted to play music for a living.
H: Before we abandon your days as a bassist altogether, I have to ask: Who taught you to play? Did you have any bass idols growing up?
W: I actually grew up playing the guitar and I am self taught. I learned how to play by listening to the songs And figuring them out. I had no formal training. I had some friends and showed me different chord structures and a few scales but that’s about it. Bass was something I picked up later because the band already had guitar players in it. Bass is a pretty easy transition. But to be honest, all my favorite musicians were singers.
H: Okay, so you moved into the position of vocalist for Aiden and, in 2005, signed a record deal with Victory Records. What was your life outside of music like at this time, and how did the presence of label support change that in the coming years?
W: Prior to the record deal with victory, my life consisted of working as a dishwasher at a small diner in Seattle, going to band practice and attending rock shows. That was pretty much all I had time for. The internet was just beginning to explode with regards to the social network experiment but I didn’t really have time for that either.
H: Aiden found a good amount of success, but you ultimately began to have an interest in areas of music outside the punk/rock sound that drove the band’s material. When did the idea for William Control, you current project, begin to take shape? Tell us the origin story, if you will.
W: in 2008 I was going through a terrible relationship breakup, boring I know, but coupled with the stress of being on tour for the 3 years straight it was too much for me to handle. I quit Aiden and temporarily lost my mind. I left the country and decided to write lyrics to an album that was more like a film, a screenplay of sorts. I knew I wanted to create something that was on the other end of the spectrum musically. I wasn’t interested in doing something that would sound like Aiden b-sides. My friend Kenneth Fletcher and I got together and began writing songs with a drum machine and the sound just evolved over the course of writing that first record. It was a strange experiment. We had no idea how to make electronic music at all. Most of our favorite bands were punk. Bad Religion, Misfits, Nofx. But we also loved New Order, Joy Division and Depeche mode. I suppose that was the depths of our electronic musical influence.
H: How long was it between when you realized there was another creative avenue you wanted to explore and when you told your fellow band members about your plans to launch WC? How did they respond?
W: I worked William Control between Aiden cycles so it didn’t really affect our pace and if it did bother the other guys, they never made that frustration known.
H: By the time you release ‘Hate Culture’ under the name William Control you had already seen a good part of the world throughout touring and sold a repeatable amount of records. What goals did you have for this project at that time? How have those goals changed in the years since?
W: I had no goals for William Control. I didn’t start this venture under the assumption that the Aiden fans would even like it. In fact I knew that most of them would hate it. Honestly I didn’t even want to tour as William Control when we started it. I just wanted an avenue to explore a side of me that was undiscovered. I still really don’t have “goals”. I’m not trying to change the world, or bind people together in an environment where they can feel like they fit in the way we did with Aiden. I still love performing live, I still love creating a work of art, I still love the adventure, but my happiness doesn’t depend on the crowd any longer. It doesn’t depend on being a part of a scene. With Aiden it was all about saying something positive in a world filled with negativity, shitty religions and oppressing totalitarian regimes. With William Control I’m writing a continuous novel about a man losing his mind and trying to find himself. It’s a very selfish endeavor.
H: Aiden never official broke up, but you did eventually go on hiatus. Was it hard to let go of that chapter in your life even though WC was already beginning to thrive?
W: Not really, the other guys wanted normal lives, job security, health benefits, a steady paycheck. Punk rock doesn’t really pay the bills. I’ve always been up for the challenge of surviving and with WC beginning to do well, I didn’t have any issues.
H: Outside of WC, you have also begun recording and producing albums for other bands. When did this interest first begin, and where do you do the majority of your studio work?
W: It began in 2007 when we recorded Conviction. I watched as the producer we were paying 50k lay on the couch all day and say “Yeah thats cool” while the engineer did all the work. It was ridiculous. I decided then and there that I was going to record the albums moving forward. Since then I have amassed a bunch of pretty spectacular studio gear and have even built my own studio from the ground up. Artists these days have to be pragmatic about where they spend their money. If one can track a record on their own, that leaves more money in the budget for mixing, promotion and touring.
H: Can you ever foresee a time when you give up recording/touring to focus solely on working with and helping develop others?
W: No not really. I find that recording gets pretty boring after 6 weeks, and to go directly into another project would just be too much. I’d rather split my time on the road or doing other things than spending all day every day in a control room pressing buttons.
H: Back to WC, you started on Victory and eventually went solo. Do you feel this project works best when you do everything on your own, or are you still in the market for a label deal?
W: I only signed to victory with this project because thye had “First rights of refusal”. Meaning that since I owed victory a couple more Aiden albums they were the first label that I had to send demos to. They could have told me now but he decided to sign me anyway. Since completing the contract I have definitely done much better on my own financially. At this point I think I’ve done all I can, and although I make a decent living, if I am going to want to take this to the next level, I might need to sign a new deal somewhere. I’ve received a couple offers so far, but I am not the naive kid I was in 2003. I have a much better head for this business and am not going to take a deal just to say I’m a signed artist. That doesn’t hold a lot of water these days.
H: What would you say has been the hardest part aspect of developing the WC name as an independent artist?
W: Shipping orders out. The post office is a nightmare and having a one man operation is the pits. The last couple of years now I’ve had help from a friend that takes care of this stuff while I’m on the road but like I said, it’s a small operation and we can only do so much at one time to keep up with the amount of orders that come in.
H: A lot of musicians who transition between genres and styles throughout their career maintain a decent portion of their initial fan base. Has that been the case with WC?
W: Hmm I wouldn’t say a huge number of Aiden fans crossed over no. There has been some. Absolutely. I’ve been friends with some of these people for a decade. I’ve watched them grow up, finish school, get jobs, have babies. But a good portion of the William Control fans are new and either don’t like or don’t know who Aiden is.
H: You recently released a brand new EP, which was funded by fans of your music. Do you feel crowd funding is a tactic you will continue to use moving forward?
W: It was actually a full length. The Neuromancer. And yes, crowd funding is the most direct way to get the funds you need to make an album. Lucky for me that I have enough money to make these records and am just able to offer cool incentives for fans to pre order it before the release date.
H: Do you have any advice to offer up and coming musicians who dream of establishing a sustainable career in the music industry?
W: Quit this nonsense and go get a regular job as a nurse or doctor, lawyer or hairdresser. This is not a joke. You’ll be much happier.
H: After all you have seen and accomplished, what drives you to keep crafting new material? What personal goals do you have for yourself and this project?
W: Life drives me my friend and Art is the vehicle. It’s the inexhaustible need to create something from nothing and have people connect with it in such a way that they are rendered speechless, or made to dance or brought to tears. To stand upon that stage and sing my heart out every night. To see the world, to feel something, to laugh at something to die for something. My goals have changed yes, and they are to leave behind something I can be proud of. I suppose that is the case with any man on this earth. Legacy, Truth and Happiness.
H: You’re on tour right now and you’ve just released a new record. What more can fans expect from WC in 2014?
W: Well at the time you sent this interview I was on tour, but because I am so busy it’s take this long to complete. For that I apologize. But I am home now just finishing up a DVD we made on that tour and next month I’ll be headed back to the Old World (England) for a headlining tour. As far as the rest of 2014, I’ll be supporting Black Veil Brides and Falling in Reverse on their “Halloweekend” shows in Arizona and Los Angeles, then in November I’m head overseas with Combichrist for a pretty extensive european adventure.
H: Speaking of touring, it seems like you have made an effort to put yourself in situations where you have to win over the audience. From Combichrist to the Black Veil Brides, you always fit on a bill, but you rarely sound like any other artist performing that night. Is this one of the most exciting aspects of your efforts?
W: Well to be honest, I’m not sure what artists I would really fit in with musically. If there are bands out there that sound like William Control, I have yet to find them and hit up their agent about the possibility of touring together.
H: Okay, I think I have taken up enough of your time. Before I let you go, do you have any final thoughts or observations to share with our readers?
W: Keep up with what I’m doing or where I’ll be headed at www.williamcontrol.com. See you all out on the road somewhere. -W
Hello, everyone. Welcome to the very first Artist Spotlight of the new year. we have been getting a large volume of requests for this series, and in the months ahead will be expanding its reach to include a variety of talent from all over the industry. 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. We can also be found on Twitter and Facebook.
If you were to ask a teenage Eric Morgan what his dreams were for his future in music he probably would have confessed a deep-seeded desire to one day be signed to a top record label. If you were to post that same question to Eric Morgan today however, he would probably tell you he’s happy just being able to make music with his friends. He has spent the better part of the last decade on one of the largest independent labels in the world, and in that time seen the best and worst sides of the business, but in the fall of 2013 that project (A Hero A Fake) decided to call it quits. Now he’s returning to music with his new group, Bornstellar, and in the interview below he tells us about the lessons he’s learned along the way.
I first came into contact with Eric while covering A Hero A Fake debut album on Victory Records. At the time, I was merely a fan trying to learn more about a promising new bands, but in the years since I have been fortunate enough to know Eric on a more professional level. He’s a brilliant team player, but he also has the leadership qualities needed to hold a group of creative minds together. Further, he has the kind of always-positive outlook on things that one needs to survive the often turbulent waters of the music business, and it rubs off on everyone he meets. His future has yet to be written, but I am confident he has a long career ahead of him in the music business.
If you would like to learn more about Eric and his thoughts on the world we highly recommend following him on Twitter. If you want to learn more about Bornstellar, click here. Additional questions and comments can be left at the end of this post.
H: For the record, please state your name, job title, and the group you’re currently involved with:
E: My name is Eric Morgan and I play guitar for Bornstellar.
H: Thank you again for taking the time speak with us. We like to build these features from the ground up, so let’s dive in with a little bit about your history. When you think of a formative moments/experiences that lead you to a career in music, what comes to mind?
E: My fascination with music began fairly young. When I was seven years old, this traveling folk band came to my elementary school to perform in our auditorium. At some point they handed out all these different instruments to the students so we could play along with them. I ended up getting the spoons and it changed the course of my life (ha!). I completely lost myself in the music that day. We were supposed to stay in our seats but I HAD to get up and rock out. It was the first time I had ever played an instrument and the feeling of playing along with the band overwhelmed me. I actually ended up getting in trouble with my teacher for being too wild.
I still get that same feeling today when I go on stage. It would look 100x’s cooler if I picked a couple good poses and stuck to them but I just get so absorbed in the music that I have to jump around and go crazy.
H: Was music always present in your household growing up, or was it something you found later in life?
E: My father played guitar in a couple bands when he was younger and so we always had instruments laying around the house. When my brothers and I were young, he would sing us these songs with his acoustic before bed and would kind of just make up these silly lyrics that would have us all laughing. It was one of my favorite things as a kid and I would beg him to play me songs all day. He eventually taught me a few chords on guitar and from there I taught myself everything else.
H: What was the first album you purchased with your own money (and the format)?
E: The first album I purchased was All the Pain Money Can Buy by Fastball on CD. I had an older brother so initially I would just steal whatever he was listening to – Green Day, Butthole Surfers, Third Eye Blind etc. I also had this little boombox that I listened to the radio on while going to sleep. It had a cassette recorder and I would jump out of bed if a song I liked started playing to hit the record button.
H: The age of digital media has changed the buying habits of many consumers. Do you still buy a large volume of music? Do you prefer physical or digital releases?
E: I pay for an Rdio subscription and I love it. Before I had a streaming service, my music collection was growing quite stale – I wasn’t actively discovering new albums or artists. Being able to listen to new bands on the fly is great and it has definitely sparked my own creativity. It’s $10/mth so while it seems pretty cheap for an unlimited library of music, $120 a year is more than I was spending on CDs.
Physical releases have become more-or-less art pieces because logistically they just don’t make sense as a convenient medium. More and more bands are skipping CDs all together and releasing on vinyl with digital downloads. Vinyl’s collectability has proven valuable to fans and having great design can turn the larger vinyl covers into great pieces of art. I think this is where physical can still play an important role.
H: Onto your life in music. What can you tell us about the local scene where you grew up?
E: The scene in North Carolina, and Charlotte in particular, was booming when I was going through high school. Bands like Hopesfall, Between the Buried and Me, and all the Tragic Hero Records bands were starting to get national recognition and that helped churn out even more great local bands that went on to become national acts. Around 2005 when we started playing out with A Hero A Fake, it seemed like every weekend there was a local show that was packed. The scene died down a little around the end of that decade. However, in the last year or so there has been a resurgence of new and great sounding local bands that have started to pack out shows again and North Carolina in general is cycling back around to being a healthy music scene.
H: When did you first pick up a guitar, and how long was it until you started creating and/or participating in bands?
E: I started getting serious about guitar when I was around 12. It took a while for me to find other people that wanted to make music, my school wasn’t exactly the best place to find musicians. One of my neighborhood friends also took up guitar so I would always print out song tabs for us to learn. I would take them to school and hand them to him like homework. I don’t think he was as into it as I was…
H: You found a wealth of success with your efforts in A Hero A Fake, which we will get to in a moment, but I am curious about the bands that came before AHAF. What can you tell us about those groups?
E: Justin [Brown], also vocalist for Bornstellar, and I became best friends in high school and eventually met Lenin [Hernandez]. The three of us started writing music together and ended up spending everyday after school practicing. The first band we started was called Nothing Gold Can Stay and we recorded a six song demo that we passed around school. It sounded awful, the recording was garbage, but just having our own music on a disc was a dream for us at the time.
H: Onto the band that launched you into the national spotlight. When did A Hero A Fake form, and how long were you together before Victory Records came into the picture?
E: That core of Justin, Lenin, and I eventually became A Hero A Fake in 2005. The same year we recorded the Friends Are Family EP with drummer Evan [Kirkley] (who would rejoin the band in 2010) and shortly after added guitarist Patrick [Jeffers] and bassist Matt [Davis] to the band. In the fall of 2005, Justin and I went to college together at UNC and put the band on hold while Evan left to focus on his band Cambridge and later Seneca. In 2006 we got back together to record a new EP with Peter [Gwynne] on drums. Peter left soon after and that’s when Tim [Burgess] joined and would end up playing drums through our first two Victory releases. Justin, Lenin, Patrick, Tim, and I spent much of 2007 writing Volatile and in December of that year went to Jamie King to record our first full length.
A few months after submitting the album to labels, I was at work and got a call from Tony at Victory. It was one of those things that you daydream about but never really expect to happen. Many of my favorite bands were on Victory and at the time they were the biggest indie label around. We had a couple offers from smaller labels but this was the label we dreamed of being on and having the owner call me out of nowhere was one of my most surreal moments. We released Volatile at the end of 2008, graduated from college that spring, and then started touring full time.
H: You released a handful of albums while on Victory, but in the fall of 2013 A Hero A Fake decided to part ways. What can you tell us about the time leading up to the group’s decision to go your separate ways?
E: It’s incredibly difficult to keep a band together no matter what level of success they’re having. You give up so much to be on the road full time – money, relationships, a home – that eventually it wears you down. At the end of 2010 as we were coming off a tour with Texas In July and Like Moths To Flames, Justin and I weren’t seeing eye to eye on things, we both had issues outside the band that were stressing us, and then our van breaks down in Cleveland causing us to miss the last couple days of tour. We spent a few thousand dollars fixing our van, basically wiping away any money left in the band account. We drove all night back to North Carolina with this dark uncomfortable cloud over all of us and I remember thinking on ride down, “Did I just play my last show without even knowing?” Justin and I had been best friends for years but after that tour we didn’t talk for nearly six months.
H: During this transitional period, did you ever think your career in music was over? When did Bornstellar, your new effort, come into existence?
E: Right after that tour I definitely thought my music career was over. Evan had moved to Pennsylvania and it seemed like a long shot to try and get a band together again. However after several months of no communication, Justin sent me one of the nicest, most heart warming emails, and we ended up hashing it out and putting all the negative stuff behind us. It felt great having my best friend back.
We ended up talking about music and what style of songs we really wanted to write and how much we missed playing since we had stopped. Patrick and I then got together and started writing these new songs so we could test them out on the road. I ended up booking a DIY tour out to the west coast in December 2011 and we ended up having a blast so we decided to make a new album. That album was The Future Again and was the last one we put out as AHAF, though it has some of my favorite songs on it.
After that album, we really wanted to keep pushing in a new direction but felt tied down by the AHAF name and that style of progressive metal that was expected from older fans. After our tour last spring with the UK band Fathoms, we immediately went into the studio with Drew Fulk and decided then we would start fresh as a new band so we would feel free to write songs exactly how we wanted.
H: We have spoken to a few people who have told us about getting burned out on a specific genre after working in that area for a couple years. While Bornstellar is no doubt a new band with a unique sound, it’s likely the group will be placed in the same ‘hard rock/metal’ field as AHAF. What is it about this area of music that keeps you coming back?
E: To me, music is all about the energy it creates. There is just so much vigor and passion in the alternative genres that make it appealing to me. I have a little studio at my apartment and I’ll write anything from pop/rock to dubstep when I get inspired but the heaviness of metal and hardcore sparks something within me and I crave that energy.
H: Can you see yourself creating music in other genres down the line? Does that even interest you at this point?
E: Definitely. I write songs in other genres already and so if I ever had the time and met the right people to start a different style project I totally would. I’d love to do some type of pop/rock in the future.
H: As someone who has been on and off a fairly recognizable label, what advice would you offer to aspiring musicians/groups dreaming of creating a lasting career in the industry?
E: A lot of people define success in music by being on a certain label or management group but in reality that alone will never make you last in this industry. No matter what label you are own, you will be the one promoting your band the hardest and if it is truly something special people will take notice. It’s also important to define what exactly success means for yourself i.e. Do you want to just get your music out there? Tour? Try to make a living through music? Every step you climb will lead you to another so at some point you have to say: Is this working or not? I think if you can find happiness in the process and be open minded about learning every part of the business then you will enjoy being in the industry. Enjoying what you do is so important because it makes you willfully work harder at your craft and that is one of the keys to being successful.
H: What would you say is the biggest lesson you learned from your time in A Hero A Fake, and how has that changed your approach to Bornstellar?
E: The biggest lesson I learned from my time in AHAF was to be patient. I’m a pretty anxious person in general and tend to get pushy about having everything happen as quick as possible but that often isn’t the best tactic. With Bornstellar we took our time writing the songs, getting things right in the studio, working on our branding, and made sure we were presenting ourselves exactly how we wanted when we finally announced. You want to try and get your music out there as fast as you can once its recorded but it really does make a difference if you take your time and plan everything out in all the other areas (social media, publicity, artwork, etc) so that when you do get it out there it makes the biggest possible impact.
H: Piracy has been in the news a lot of as late, but we both know it has been a hot button topic for years. How has your career been impacted, for better or worse, by music piracy over the years?
E: I don’t think my career has been affected by piracy all that much. Maybe if we were selling 100k+ in albums it would come into play but even then the effect would be minimal. If you’re on a label, you’re not going to be making your money through royalties – even the biggest artist make nearly all their revenue on the road. With how easy it is to stream with services like Rdio and Spotify, I think it’s even less of an issue moving forward.
H: You have a new band and a new album prepped for release. Looking beyond 2014, what are your career goals at this point in life?
E: Bornstellar is all DIY for now and so we’re trying to build the band up carefully and take our time doing things the right way. The EP will most likely be self-released in the spring and I’m actually quite excited about that as we’ll directly see the results of all our efforts. Looking past the EP, my goal is to be able to fund a full length by the end of the year. I don’t think signing with a label is necessarily the only way forward, we are just working to make this project self-sustaining and put ourselves in a situation where we can balance life and music.
H: If you could change one thing about the music industry, what would it be?
E: The music business, like all industries, can be cliquey at times. It can make it hard for talented younger bands to get out there if they don’t know the right people. I’ve built a lot of relationship from my years on a label and from touring so I have a lot of advantages now that I’m starting this new project but at the same time it’s disheartening to see how fraternizing it can be.
H: We’ve reached the end! Before I let you go, do you have any final thoughts or observations you would like to share with our readers?
E: First, I really appreciate what Haulix is doing. I’ve read a lot of the interviews through your Tumblr page and it’s fascinating to hear all these different experiences from within the industry. Bornstellar’s first single “Wake the World” comes out Tuesday, January 21st so please go check it out, we’ve worked so hard on the EP and I can’t wait to show it to everyone!
