As a small music journal, we rely heavily on the work of independent tape labels to discover and share the incredible artists that we have dedicated this site to. Whether through press lists, recommendations, artist connections, social media support or supplying physicals, these homemade labels are the often-unsung heroes of the industry. Today, the ugly hug is highlighting the work of our friends over at I’m Into Life Records.

I’m Into Life Records is a tape label out of Ashville, North Carolina that was founded in 2022 by Ethan Hoffman-Sadka, who also releases music under the project Trust Blinks. What began as happenstance for Ethan to help some buddies out with their debut album has since grown into a mighty collection of recordings from an eclectic roster of artists. With a focus on the found community that comes with sharing music, I’m Into Life has become a staple in many scenes across the country. Over the years, the label has shared the works of remarkable artists such as Open Head, Laceleaf, Jolee Go, Tombstone Poetry, Good Trauma, Nobel Beast, Idle County, Finnish Postcard, Theadoore, Fraternal Twin, Adriana McCassim and Molly Drag.

We got to chat with Ethan about how the label began, what lessons he has learned and how the label got its image.

This interview has been edited for length and clarity.

Ugly Hug: What sparked the idea to start a label? What were the initial goals, and have you seen those goals shift over time as you get more practice?

Ethan Hoffman-Sadka: It’s funny, I just did a music business presentation about the label, so I’m ready to talk about it [laughs]. What sparked the label starting was actually my friend’s band Open Head finished their debut album and they didn’t have a home for it or a way to market it. The label started from their release. Just as a way to help them and make vinyl for them. And then from there it grew a little and I was like, ‘Okay, I guess we’ll just roll with it’.

Did you have any prior experience with the whole releasing and marketing aspects of a label? Did you do any of that work when it came to your own projects? 

I knew nothing about physicals. I think I had probably by then ordered tapes for my own music, but I also didn’t really start getting into music until a few years prior to starting the label. I was kind of a late bloomer, but I knew a little bit about the industry stuff. I used to work for this music blog called Alston Pudding when I lived in Boston and I did all their video stuff for them. And I also ran a social media account for my hedgehog at the time called Spiked Jones [laughs], so that was all I knew about using Instagram. I definitely learned the hard way how expensive vinyl is and have since pivoted to really prioritizing tape and CD releases.

Starting with Open Head, a few of the first artists you worked with were Jolee Go and Laceleaf. How did you approach finding the artists you worked with and how did you build this little community?

I’m not sure how I found Jolee Go, I think we just had mutual friends. And then serendipitously I had moved to Los Angeles around that time, and she was moving there. We’re both from New York, so I just really resonated with her first EP and saw that she didn’t have any merch for it. So, I just reached out and offered and then we developed a nice friendship. That was a kind of random one off. But after those first three releases, it more solidified an idea that it’s sort of a collective vibe, and if one artist succeeds, then everyone succeeds and gets a little more traction. To this day that’s kind of what makes the label worth it in my eyes. Artists that join the label are kind of all in this together.

As you started to build out your catalog, piecing together all these bands and making physicals, what were some of the trial and errors that you experienced, and what did you learn to embrace that has brought the label into what it is today?

This was actually a big part of the point I was trying to make in that music business lecture. You have to learn to straddle this line of being DIY, but not being a total punk, and still having some sort of business acumen. As much as it sucks, you do have to think about things like, ‘oh, will these tapes sell so you don’t just go bankrupt?’ So, I think I’ve definitely learned that. even if I am so confident in a release and love the music so much, you still need to plan around that in a financial way. It’s hard not to be like, ‘oh, I’m so in love with this release, you guys deserve vinyl.’ Which I still believe in my heart, but I’ve had to learn to be more practical. Also, this is probably not the best business minded idea, but I am always encouraging artists that if they get a bigger opportunity that they should go for it and sign to a bigger label that can pay out better. It was really exciting when Open Head just signed to Wharf Cat. It was a cool, full circle thing to have gotten to give them some sort of small platform.

When things become so hectic, what makes you most excited to run a label?

A lot of it comes from the releases, where I’ll hear something that’s so different or weird, and it reinvigorates that excitement for music. Our most recent release, Fool’s Errand by Theodore, it’s the project of Grace Ward whose music I’ve loved for a long time. But hearing their new album was such a great experience – the music is so creepy and cool and complicated, but it makes sense. So definitely the releases keep that fun and excitement going when they’re sent to me. And then also I just try to keep it fun with shipping out the orders. I’m always at the dollar tree, buying weird stickers and candy to fill the orders. I definitely want each package to feel like a Wonka Bar or something.

It’s all in the name. Who designed that animated poster that you use often? It’s such a fun visual.  

So that original artwork actually came from my grandpa. He was an illustrator in the sixties in New York City, and every now and then we’ll come across one of his pieces online. That one I couldn’t find what it was illustrated for, so a friend helped me restore the image, and then we pulled the logo from it. We have not gotten into any legal ramifications for using it so far [laughs].

So is that where the name for the label came from, too? 

Yes, it was in that poster. I’d imagine it came from some sort of magazine he did. So really, in the beginning, I had the release first and then started the label, kind of working backwards. So I definitely needed to think of a name. I pulled a few friends and I was definitely looking at some cool, more mysterious and edgy names, but that one kind of stuck with me because it was so almost not cool [laughs]. Especially because a lot of our music falls into a category of, ‘we’re all depressed and anxious’. But, you know, we’re still trying to make the best of it. And as long as that doesn’t get grouped into pro-life. sentiments, then, yeah, that’s how the name came about [laughs].

What are some releases that have stuck with you over the span of the label’s history?

A big one was organizing the Halloween covers compilation. It was shortly after the label started and I thought it would be cool to do something to help put the label on the map. I’m so obsessed with Halloween and so obsessed with so many of the artists on that compilation. I’m definitely still proud of that one just because I think it’s pretty unusual to make this grouping of songs where you encourage all the artists to record a whole new song. It was a lot of work, and I had to start it like over 6 months in advance and then keep following up with artists because we’re all super spacey. It definitely snowballed and became this huge thing that really did help put the label on the map for a little bit and get on those huge blogs that we hate like Pitchfork and stuff [laughs].

You’ve done a handful of comp releases, one of the more recent being the Hurrican Helene relief comp, Song to the Siren. Do you see yourself doing more compilations? Does it feel like a thing that kind of encompasses and connects what’s around you?

Definitely. A lot of the time, unless I really find someone who I’m obsessed with their music and they happen to not already have a label or a friend making merch for them, I don’t have a project I’m working on. At least with the compilations I have the control to make something happen instead of waiting around. The fundraiser ones are great because we can actually do something meaningful to the rest of the world. But with the #1 and #2, I wanted to tap into some really specific sounds, that if you’re kind of in the scene, you’re kind of aware as to how all these bands are connected. It’s cool to put that in a compilation and see all these artists on the same release.

Do you have anything in the works that you’re looking forward to?

It’ll sound kind of sad, but I have literally nothing in the works which is exciting to me. I have learned now over the years that I’ll have nothing on my radar, and then something will come out of nowhere, whether it’s like a new artist or a new release from an existing artist. That’s an anti-answer, but that’s how it seems to go. I had no releases for a while and then suddenly July became such a busy month. So, I’ll probably just be working on some retroactive promotion and pushing the older catalog. 

Along with this series, our friends over at I’m Into Life Records are offering a merch bundle giveaway! The bundle includes How Could I Be So In Debt? vinyl (2024) by Tombstone Poetry, Hiding Places, trust blinks., Tombstone Poetry Split x3 (2025) cassette, Fool’s Errand cassette (2025) by Theadoore, as well as some I’m Into Life and ugly hug goodies.

To enter the giveaway, follow these easy steps below!

1. Follow both I’m Into Life Records and the ugly hug on Instagram.
2. Tag your music friend.
3. Comment your favorite inherited artifact.

The winner will be picked next Friday, August 8th and will be contacted through Instagram.

All of these releases and more can be found on the I’m Into Life Records bandcamp page in limited quantities.

Written by Shea Roney | Photos Courtesy of I’m Into Life Records