We celebrate the end of the year the only way we know how: through lists, essays, and mixes. Join us as we explore the music and films that helped define the year. More from this series
What’s the secret of keeping so many projects going?
I’ve been really lucky with the label. Getting to reissue two of my all time favorite private press records right off the bat was a dream come true. Both the Kenneth Higney and Sound Ceremony albums connect with me on a deep personal level, the first for its intensity and melancholy and the second for its bizarre humor. Being able to sell-out the first pressings of both those records within two weeks really gave me a boost and allowed me to put out some great records for my friends which also seem to have been received well. I also live very cheaply and constantly put all the money I make back into all my business ventures. I guess that’s the real answer. I wouldn’t or couldn’t do any of this without a small amount of financial success. Now that the record store has been going for over six months I can’t wait to focus back on the label. I have one thing at the plant as we speak and a lot of ideas floating around right now.
What are your thoughts on selling limited-edition items, special “art”/”die-hard” versions of albums, and/or color-vinyl variants?
It’s not entirely my thing, though I do sell off the test pressings with handmade artwork for everything I put out on the label. I can get behind that because what the customer is paying for is my artwork, as opposed to some gross-looking colored vinyl. Black has the best sound anyway…
I suppose you’ll know the answer to that question if you see me on the unemployment line. I’m a very day-to-day sort of guy, so it’s hard for me to envision one week from now, let alone a future world without physical media. Something tells me kids won’t line up after an amazing set by a band to buy their downloads.
Does the burden of running an imprint interfere with your audio projects?
Pretty much everyday. I’ve been recording way less music, though I still find time to play lots of shows. The last Cave Bears tape (that came out in Serbia only) was recorded over 2 years ago. I’m very happy to say that we have been recording again and I think our new album might be the most fucked up thing we’ve done yet.
Do you think you’re more effective at maintaining a label because of your experience in a band?
I would say so. Not to be all “businessman” about it, but what it ultimately comes down to is getting the records into people’s hands. I would say that half of the sales I do direct to stores have come about from making connections while on tour. The more people who you get in your circle, the more you can get the music out there.
Do you leave art direction to the band(s)?
A little bit of both. With the reissues, I was just striving to make them look as close to the originals as possible and that has definitely been a learning process. I designed the back of the Tracey Trance jacket, but in general with the contemporary artists on the label I let them decide what the album will look like, though I definitely reserve the right to be happy with the finished product.
Do you prefer like-minded acts on your label?
I’ve been thinking a lot about this recently. With One Kind Favor I really want to keep a unified aesthetic: home-recorded or self-produced and sounding like it is pre-1980. I am a child of the 80s and 90s, but spiritually I’m from the 70s. But in my position as a record store owner and a dude who goes to 3 or 4 shows a week, I am constantly meeting new bands that I want to work with. So I actually might start another label to do more modern-sounding stuff. Time will tell…
Have you found people you can delegate to?
The label is just me. I almost had to stop doing Cassette Gods this year (a simple old school blog that reviews underground tapes and vinyl, in existence since 2007 — I am the third editor), because I simply didn’t have time to listen to 20 tapes per week, but thankfully I’ve found a handful of like-minded folks here in Boston who have been keeping up with regular writing over the last couple of months. At the record store I’m even more thankful to be partnered with my pal Peter Negroponte (drummer of the band Guerilla Toss). Our friend Will Mayo also sells techno records on consignment and works the counter a few days per week. Without those two guys I would never have time to focus on anything but the store. It’s a really great team because, though we run in similar circles, we each bring different connections and ideas to the shop.
Do you think record labels as purveyors of physical products can last into infinity?
I suppose you’ll know the answer to that question if you see me on the unemployment line. I’m a very day-to-day sort of guy, so it’s hard for me to envision one week from now, let alone a future world without physical media. Something tells me kids won’t line up after an amazing set by a band to buy their downloads. People are always going to fetishize objects, and I’m not too worried about hard-copy music disappearing altogether. I actually think CDs are going to be cool again eventually.
How do your goals differ regarding your different projects?
I’d like to think that I approach everything with the same passion and integrity. At some point I came to the realization that I am most likely never going to make any real money of off my own music, but that I certainly can make a living from music in general. I suppose that is the reason I’ve got my fingers in so many pies at any given time. I constantly encourage struggling musicians to think outside the box a little: start a distro, Discogs store, label, venue, record store, tape-duplication service, you name it! I mean, maybe you like waiting tables, but it is definitely not for me.
Phil Elverum
(Mount Eerie/The Microphones, P.W. Elverum & Sun)
What takes up more of your time: playing/writing music/etc., or running the label?
Running the label takes more time than music, by far. It’s crazy. But only if I include things like answering emails and sweeping the floor. It’s difficult to summarize what happens to the hours in my days. They blast by, and at the end of the day, I don’t know what happened. I guess things get done somehow.
Which is more important to you?
I enjoy the well-rounded-ness of my existence. I would not enjoy either of them very much on their own. Of course, recording music is much more rewarding on a spiritual level, but living in reality is important too.
The ‘music business’ that existed from about 1940 to about 2005 was a strange bubble where technology and capital synced up and made art temporarily profitable.
What’s the secret of excelling at running a label/playing music at the same time?
P.W. Elverum & Sun is not really a label. I pretty much just put out my own stuff. I am not interested in functioning as a successful label would (curating talent, promoting other peoples’ things, etc.). I have tried to put out friends’ records a few times, and the experiment has been unsuccessful. I am only good at tricking people into being interested in my own music I guess.
What are your thoughts on limited-edition items, special “art”/”die-hard” versions of albums, and/or color-vinyl variants?
Occasionally, I make a limited thing, but it’s usually because it is handmade in some way and can only realistically be produced in a lower quantity. Ideally, everything can be available to everyone. I am contradicting myself here, because last week I released a 300 copies-only picture disc, but still. Generally though, I think it’s important and necessary to make things as nice and sturdy and beautiful as possible. It doesn’t conflict with the music in my mind. It creates a more interesting coalescence of physical and aural, a deeper experience.
Does the burden of running an imprint interfere with your audio projects?
Yes, certainly. Within 2013, I’ve finally allowed my friends to act as part-time employees. They help me pack my mailorder. Now I have a little more time to go to the studio and try to make stuff.
Did you learn anything about the music “biz” from running a label that you weren’t aware of when you were just playing in bands?
I learn new stuff about The Biz every day, but regular non-self-releasing bands have to do that now too. Basically everyone has to pay attention and manage their own rights and “content” now. The idea of why a record label should exist is changing quickly. Everyone is confused.
Do you think record labels as purveyors of physical products can last into infinity?
Earth will be a dusty dead grey rock pretty soon. CDs/tapes/LPs are obsolete NOW. It is only nostalgic freaks like me who are still trying to squeeze the last few drops out of these things. Music will last as long as people do, but the form of delivery is always mutating. The “music business” that existed from about 1940 to about 2005 was a strange bubble where technology and capital synced up and made art temporarily profitable.
J-Cush
(J-Cush, Lit City Trax, Future Brown)
What takes up more of your time: playing/writing music/etc. or running the label?
Work is my priority; there’s not much time for anything else to be fair.
Future Brown is DJ MA and DJ NA of Nguzunguzu, Fatima Al Qadiri, and myself. We are not really a band though, although we will all track out together in the studio when it comes to writing. For the sake of classification, you could call us a production team. We don’t play live sets in a traditional sense.
There is a real balance you have to strive to maintain to be able to run a label and produce music without letting it affect your work with either — even if I’m working 24/7, I still am always finding that there is more work that needs to be done. My schedule changes day to day, depending on what is required of me.
Which is more personally important to you?
Running a label and producing tracks, they go hand in hand… As long as good tunes are being spread, I’m over the moon. If I wasn’t doing both, I doubt I’d be as happy as I am now.
I’m not trying to artificially control the value of records by making them a rare commodity. If people want the vinyl of a record, I want it to be available for them and at a fair price.
What’s the secret of juggling so many projects?
I am learning more and more everyday on how to build and grow — finding more ways to branch out. It’s definitely important to remain consistent. If your energies are drawn elsewhere — here it can affect the label’s visibility in some cases. If you’re not getting stuff out and keeping the name out there, then you’re probably not going to be around for long. The most important thing is retaining the artists’ original vision and establishing firm, solid foundations. If the ground you build on is shaky, then the project could crumble.
What are your thoughts on selling limited-edition items, special “art”/”die-hard” versions of albums, and/or color-vinyl variants?
I’m not too fussed about limited print stuff anymore. I used to collect One Away Records, white labels, limited press stuff, as it was a selling point back in the day for me. Somewhere along the line, probably when I started Lit City Trax, it became more important to get the music to the people then to make marketing ploys to increase the collectibility of a record. I’m not trying to artificially control the value of records by making them a rare commodity. If people want the vinyl of a record, I want it to be available for them and at a fair price. If we only press a limited number and the demand exceeds the supply, I wouldn’t be a very good at what I do. Not into too many gimmicks really, ends up watering down what you do often.
Do you leave art direction in the hands of the band(s)?
We have an amazing in-house artist based in Shanghai that we have started working with recently. His name is Kim Laughton, and he’s been doing all our recent Lit City Rave posters and is working on a lot of covers for forthcoming releases. He is incredible. Since we started working with Kim, the label has began to form a real visual language.
When choosing bands to put on your label, do you prefer like-minded acts?
Everything I’ve signed and the EPs and albums in the works now, all have links to each other whether conscious or not. Everything is very raw, hard, and emotionally driven. If it’s not full of some real feelings, I’m not going to touch it. Everyone on the label is like-minded. They all bring their A-game to the table whenever they send me some new bits, and go super-deep each and every time. To be quite honest, I feel like we are all building an extremely tight-knit family unit together. It’s big. A lot of people, from different parts of the worlds, are in touch with one another. It’s amazing to watch everyone inform each other’s work.
Did you learn anything about the music “biz” from running a label that you weren’t aware of when you were just DJing/producing?
I started producing after I started the label. I’ve learnt plenty prior to the label about the music business from hanging around certain label offices while growing up in London. I learnt plenty through DJing, throwing parties, doing artist management, and bookings, etc. Good business is good business. Either you’re capable of figuring it out or you’re not.
When/if you go on tour, does the label get put on hold or do you maintain it on the road?
I can’t ever put the label on hold. If I did, nothing would get done, ever. I’ve put too much into it to slow down. I maintain it all day, everyday. If I’m on the road, I’ll answer emails on my phone whenever there is a spare moment. Touring doesn’t change much — just need wi-fi access and I’m great. I have my most important documents, contracts, contacts, sales figures, and so on at hand at all times, which makes my life easier.
We celebrate the end of the year the only way we know how: through lists, essays, and mixes. Join us as we explore the music and films that helped define the year. More from this series
