We're Hiring on our Marketing and Business Affairs Teams

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We have multiple opportunities available. 

Marmoset is seeking a Digital Strategist, a Copywriter and a Music Licensing Coordinator. Applicants are encouraged to apply immediately — we are actively reviewing candidates on a rolling basis as applications are received. Please carefully follow the application guidelines. Applications that don’t strictly follow the above guidelines may not be considered. Marmoset is an equal opportunity employer.

Learn more below and visit our hiring page for more information. 


Do you know what "frictionless commerce" is? Would you call Google Analytics one of your close friends? Marmoset is seeking a Digital Marketing Strategist. 

This role is crucial in ensuring Marmoset’s digital marketing and content efforts are planned and optimized to maximize sales. The ideal candidate is focused on data-driven marketing while maintaining care and reverence for the brand. You have a strong understanding of the rapidly changing state of e-commerce, and how Marmoset can leverage these trends and changes. You have a firm grasp on concepts like “conversion rate optimization” and “frictionless commerce.” The ideal candidate is a self-starter, a natural leader and is able to help keep our Marketing Team moving quickly and in the right direction.

The closing date for this position is Friday, November 3, 2017 

Click here for details on how to apply. 


Are you a versatile creative writer? Do you write relatable, fun, engaging copy in your sleep? We are seeking a Copywriter. 

The ideal candidate will be responsible for all copy and creative content for Marmoset, working closely with the Brand Strategist and Digital Marketing Strategist to ensure all content aligns with Marmoset’s brand guidelines and marketing goals. The ideal candidate will bring a creative, refreshing voice to Marmoset’s brand. Must haves: 1. The ability to demonstrate a strong sense of humor. 2. Skills to think (and write) outside of the box -- willing to experiment with new, innovative and untraditional writing styles. 3. The ability to craft inherently fun, engaging content, while always exhibiting a deep understanding of Marmoset’s brand and audience.

The closing date for this position is Friday, November 10, 2017

Click here for details on how to apply. 


Are you a master of spreadsheets and numbers? Do you excel at working through things swiftly and diligently and have 1-2 years of demonstrated Business Affairs experience? Marmoset has an opening for a Music Licensing Coordinator. 

Marmoset is seeking a Music Licensing Coordinator to specifically focus on license renewals, working with our Business Affairs team. We’re seeking someone with proven administrative experience, laser-like attention to details and process, and killer communication skills. Primary duties include regular outreach to our filmmaker and creative community, delivering invoices, explaining contract terms, providing quotes, collecting payment, and admin support for the team, as needed. The ideal candidate is someone who is process and numbers-minded, flexible and who’s not only good with people, but sincerely enjoys being in a helper role, providing administrative support, and working on a team. Note: this is an administrative and support-focused role.

The closing date for this position is Friday, November 10, 2017. 

Click here for details on how to apply. 

Posted on October 20, 2017 and filed under Marmoset.

Artist Spotlight: Sol Rising

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Growing up in a home where practicing transcendental meditation was the norm, Brandon Au has been on a spiritual — and musical — path from a young age. He says he started meditating at age four and discovered his passion for hip hop in his teenage years, when he taught himself to scratch DJ from video tapes he ordered from magazines. The tapes paid off — Au soon found himself placing as a finalist in DJ scratching competitions, eventually landing in second place at national DJ competition, DMC.

After branching away from music briefly to pursue a degree in accounting, Au found his way back, producing mellow electronic soundscapes under the moniker Sol Rising and touring all around the world playing yoga festivals like Wanderlust.

Following the release of his newest album, Soul Vibrations, we caught up with Au to talk about how he found his sound, the biggest thing he learned when releasing the album and what he does to get into a creative mindset.


Marmoset: Can you tell us how you got started in music?

Sol Rising: I was born in Vancouver, Canada and moved to Fairfield, Iowa, a small midwest town and the hub for transcendental meditation when I was 7 years old. I grew up in an interesting spiritual community and learned meditation, yoga and Sanskrit.

When I was 14 or 15, I became interested in hip hop and wanted to learn to DJ, so I saved up for some turntables. I started as a competitive DJ and worked my way up the ranks and ended up placing in a bunch of national competitions, like DMC.

I wasn't into producing music at the time. I was just scratching and playing house parties. I went to university and decided there's no way I could make a career doing music, so I studied accounting. After that, I didn't really want to do accounting, so I went to India and went on a spiritual quest.

Then I realized the power of music to as a tool for transformation and decided to study music production at Pyramind in San Francisco. That's where my music production journey began and I committed to making music a career.

You talked about getting your start in scratching and being more interested in hip hop. Now you have these really interesting and mellow soundscapes that you make. How did you get there?

I got into my current sound because of my involvement in the yoga festival scene. I travel internationally with Wanderlust and several other festivals and wanted to play my own original. My vision is to create music that is a hybrid between yoga music and mainstream electronic music.

Once I committed to catering to my yoga audience, I began having more success. I think it’s good to find a lane and stick to it so that people know your brand and what to expect.

What's something you learned while working on Soul Vibrations?

One thing I’ve learned as a producer is that it’s ok to have influences and learn from your favorite artists. I began to make the most progress when I started to really listen and learn from people that are better than I am. I think everybody copies or is influenced by others. I like to think of it like practicing an instrument — learn what the pros do, build your chops, take all of your influences and combine them into something unique.

Is there a routine that you have to get you into a creative mindset?

I wouldn't say I have a routine, but living a healthy lifestyle, getting enough rest, practicing yoga, drinking green smoothies etc. helps. Also listening to different kinds of music and going to shows can inspire me to create. Taking breaks is important to clear the mind and allow new ideas to come in.

What would you say is the hardest part about being a producer?

When making music starts to become a job, that can be difficult creatively, because I can start to rush or feel pressure to make music that will have success. So I start to create music for others rather than my own inspiration. It’s easy to follow trends and emulate music that's having success but when you do that you are usually behind and not being yourself. As an artist I want to feel inspired and create regardless of whether I’m getting paid or not.

Jumping back to your career in scratching, what is one thing that people might not know about scratching?

A turntable can be used as a musical instrument. DJs can be legitimate musicians. I always get, "What do you do? Oh, you're a DJ? Do you play any instruments?" I'm like, "Yeah. I play a turntable." A turntablist is a musician.

What is the best piece of advice you've ever been given?

My stepdad used to always tell me, "See a good job. Do the job. Avoid the misery."

Posted on October 19, 2017 and filed under Music.

Label Spotlight: Powerful and Energetic Hip Hop from Illect Recordings

There are times when you need gentle, delicate scores made for easing stress and setting atmosphere...and then there are times when you need hard-hitting beats, poetic flows and contagiously catchy samples. The latter is the specialty of Illect Recordings, a Seattle-based record label formed in 2003 with a knack for releasing unique and infectious indie hip hop. Riding the line between golden age throwbacks and slick, futuristic rhythms, we are honored to work with eight artists from Illect, crafting music that’ll keep you on your toes and have you reaching to turn the volume just a little bit louder.


Posted on October 18, 2017 and filed under Music.

3 Tips for Finding Music When You Have No Time

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So you’ve emerged from that dark, all-absorbing rabbit hole of editing and your project ships in two days. Or one day. Or a few hours. But...you haven’t thought about music yet. What do you do?

We talked with our creative teams to come up with three simple tips to help in those moments when you need to find music but you’re running out of ti-


1) If you don’t know what you want, know what you don’t want

Do you want a song that has banjo in it? Does your video need a little metal music in the background? No? Believe it or not, this is a good place to start. Make a list of what the music shouldn’t sound like, and go from there. You’ll be surprised how much it can narrow down.

“Knowing what you don’t want is helpful because you can avoid falling in love with a song that is almost perfect," says Music Supervisor, David Katz. "This is important to avoid when you’re on a tight timeline. Normally if it’s a song we have stems for, we can customize it, but we require a minimum of 72 hours to turn around a first pass. So knowing what elements you don’t want will increase the potential to get a song licensed on a tight timeline."

2) Identify what you want the mood or tone of the project to be

Most music licensing websites will allow you to filter a search for songs by things like mood or emotion. When approaching the process, ask yourself the following questions, according to Producer, Katy Davidson:

  • Who’s the target audience?

  • What is the film supposed to feel like?

  • How are you supposed to feel at the end?

  • What’s the main takeaway of the project?

These are things that can help you identify the emotional tone of the project.

Or, you can view it even more simply: “Usually, you can think of it kind of black and white, like either you want a project to be optimistic, or maybe you want it to be a downer and more serious,” says David. “Or maybe you want it to start as being a downer and then open up to like an optimistic ending. Knowing those types of things helps.”

3) Be as specific as possible when you reach out about a song.

You’ve decided to reach out to a team of experts to help — first of all, it’s good you reached out! They’ll hustle so you don’t have to. Second of all, all of the details that you have and can give — we’re talking your timeline, your budget, your terms (i.e. web only for one year) will get things rolling faster by saving back and forth emails that suck up your already limited time.

“Sometimes it helps if they just come right out with the budget so we can get that negotiation rolling while we search,” says Katy. “It would be good for them to come prepared with some kind of creative brief, even if it’s just some kind of YouTube reference of a song, so that we can move quickly on finding music for them.”

David Katz seconded the importance of a reference song. “Usually, if you know what you want, like if you know you really want a Chet Faker-sounding song, then send us a ref to that,” he says. “That’s usually the best way to get quick results from us.”

4) Drink some water

Okay, our creatives didn’t mention this. But have you had a drink of water post rabbit hole times? You’re welcome.


Not to get all sales-y on you, but our team is here to help. If you’re looking for a pre-existing song, you can reach out to our Music Supervision Team at flashlight@marmosetmusic.com. If you’re looking to have some new made from scratch, holler at our Original Music Producers at magic@marmosetmusic.com.

Posted on October 13, 2017 and filed under Marmoset, Music.

Genre Spotlight: Electropop

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When tapping into the electronic genre, there are nearly unlimited avenues you can go down. Have you ever heard of Electroclash? What about Moombahton? That’s okay — this mixtape isn’t about those. Instead, we’re taking some time to focus on the pop side to electronic music, heavy on billowing, shimmering, synth-y goodness, big drum machine beats and undeniably infectious choruses.

Our A&R Team searched through our roster of artists to curate a handpicked list with some of the best and brightest electropop music out there. Hear for yourself in the bouncy, youthful “White Hot Heart” by Mint Julep, the pumped beats of Patternist’s “Far From Now” or the retro synth notes of The Boy and Sister Alma’s “Brightly." Great for fashion projects, event coverage or just your own one-person dance party, these electropop gem are sure to inspire. 

Posted on October 11, 2017 and filed under Music.

Field Notes: An Interview with Jay and John of Match Frame Creative

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"Finding the right things and the right approach to telling the stories to grab people — it really does affect everything." - John Pottenger

Co-founders of Match Frame Creative, Jay Irwin and John Pottenger, have spent the last four years as the yin to each other’s yang, working with clients to craft unique and genuine messages to their corporate videos.

But when the chance to work on the new documentary series, The Kindergarten came along, the two took the chance to step away from their norm to try something different, and despite their hesitation to jump into such a challenging undertaking — tackling a large subject that has landed them with more than 70 hours of footage to sift through — they found a new passion project. The Kindergarten, sees the two working to tell a story about the origin of Kindergarten as invented by Friedrich Froebel, and where the education system is at now. 

Intrigued by the trailer to their new series — set to an driving, imaginative soundtrack by Marmoset artist, Keen Collective — we chatted with Jay and John about what they look for when putting music to picture, how to hone in on one message when storytelling, and their best piece of advice to their younger selves.


Can you tell me a little bit about the upcoming documentary, The Kindergarten?

Jay: We primarily focus on corporate work here at Match Frame, but one day a friend of ours came in the door and he did this pitch for us. He wanted to make a Kickstarter video to make a pitch video to raise more money to do a film, which would hopefully raise more money to do a series.

It's been two and a half years now since that encounter and it hasn't ever ceased to blow our minds about how far-reaching it is, how impactful it is and how deep it goes — the story just keeps getting bigger. We just keep uncovering more and more. We've become addicted and in love with the topic. What started off being like, "Well, this guy might be crazy, but we'll give it a shot."

That's awesome. It sounds like there's a lot there, and that's really cool to find a story that unfurls in front of you as you dig deeper. What was the biggest challenge in filming a film like this?

John: The biggest challenge for us is figuring out how to tell the story, because it really goes in so many directions. It touches the women's movement, it touches modern art, it touches, of course, every aspect of education, today's problems with education, from assessment to management to funding, teaching training — all kinds of things that are happening today that are not good. Politics, it just scatters everywhere. It's just like, "Where do you start? How do you do this story justice?" It's been extremely challenging. Some people know who Frank Lloyd Wright is, famous American architect.

Some people don't know who that is, but they're passionate about mathematics or crystallography or they're passionate about the women's movement. Pick one of those angles; you maybe isolate just one specific audience. Finding the right things and the right approach to telling the stories to grab as many people, it really does affect everything.

On the reverse side, what would you say is the most valuable thing that you've learned so far?

Jay: John and I both have kids, so obviously this became something deeply personal to us, not to mention our own schooling experience and all of that. It's just having the blinders taken off and understanding why education is what it is today and also giving a glimpse into what education could easily offer that it's not offering. Thinking about how that would make a difference in my life and knowing how it could make a difference in my daughters' lives. It's just a powerful thing.

Do you, after all of this research and filming and everything you've done, see a solution to the system?

John: There's just so many factors, but if you can understand where we came from and how we got to where we are today, then I think that informs your specific circumstances and you can guide things in your circumstance, if that makes sense.

Yeah, there's not one system or one option or one field that we could tap that would fix everything, but I think if people can embrace the greater topic and have the conversation around it all, then I think we'll be able to come up with solutions for a kid.

Awesome. Shifting gears, you mentioned that you make a lot of more corporate videos with Match Frame Creative and you help communicate and shape messages. What are some important things that people should know when approaching making corporate videos for a business?

John: I think it's so easy, especially in corporate work, to lose that core message and get lost in trying to manage the project or just getting it done or making it look a certain way or things like that, that you forget what that source message is.

That would be the key thing that I would say, is always go back to that source. Another way of recapping that: we say often, "What is the one-sentence takeaway that we want people to have when they watch this video?"

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What do you usually look for when picking the music to go along with one of your projects? How do you know when the song is the right fit?

John: For me, it's the emotional appropriateness of the piece.

Jay: Yeah. Music is usually one of the big characters of the entire piece, so it's like casting. What are the major characters to your entire story?

John: It's the emotional parallel that you need to move the content forward. You can put a lot of stuff out there, but sometimes it drives the creativity. If we have a real creative idea, we need to now find music to match that, and sometimes it's the other way: sometimes we'll stumble across a song that inspires an idea that shapes our creative. Sometimes it's fun to approach it with our expectations and sometimes we come to it with an open mind and see if something can surprise us.

What makes a film or a commercial or a short great for you? Are there certain qualities that make it better in your eyes?

Jay: I'd say for me, personally, there's a whole bunch of factors. The experience, going through the entire experience with the client — was it a great experience? Were we able to really help them out in a significant way through the experience?

John: For me, what makes a good video is one that you can tell the person thought about the story and then successfully executed that. You can tell when the story is not there. It falls down, sometimes several times throughout the process.

If you were to meet your younger self, what advice would you give to yourself, maybe when you were just starting off filmmaking?

Jay: Oh man, I would definitely tell myself not to worry so much. If I would've had any idea that I would get paid to have as much fun as we get to have, I think life would've been a lot less stressful.

John: For me, it would be try and not do everything, but try to find fewer things and do them well instead of doing a lot of things sort of okay. Just pick one thing that you're really good at, focus in on that. If you know your focus and you know your goal, then stay with that. That's what I've taught myself.

 
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Posted on October 6, 2017 and filed under Field Notes.