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
Do you think record labels as purveyors of physical products can last into infinity, or at some point do you envision CDs/tapes/LPs becoming obsolete?
There will always be the need for a record label to handle the work that comes along with releasing music, even if it’s just digitally. Without a label, it would be a whole lot harder for artists to focus and find their success.
I do think that the demand for CDs, LPs can fluctuate with time. However, vinyl sales have been on the rise steadily for years now. Also, those who buy CDs aren’t the same people who buy the records, and neither of those people are the same people who buy the digital stuff. Eventually certain formats may make way for alternative formats. I’m not too certain what’s to come.
How do your goals differ regarding your different projects?
They don’t differ. I put 100% into everything I do. Like they say: “go hard or go home.”
André Foisy
(Locrian/Kwaidan, Land of Decay, Ablution Media)
What takes up more of your time: playing/writing music/etc., doing publicity, or running the label?
I stopped running my label (with Terence Hannum) earlier this year so that I could focus on being creative, running Ablution Media, and teaching yoga. Land of Decay was a small label, but we achieved what we wanted out of it and we ended it on a high note.
Which is more important to you?
Playing music and creating music was always more important to me than running a label.
What’s the secret of keeping on top of so many projects?
Running a label is something that’s easy to start, but many people realize that they don’t want to run a label after they start one because it’s a lot of work.
Labels need a lot of the same skills as playing in a band. It’s taboo for musicians, especially “cvlt” musicians to talk about the importance of having business skills, but those are really important to a having a sustainable band or label. Successful labels (whatever success means to that person) are something that comes out of consistent dedication and excitement. Excitement will get you a long way in life.
One thing I’ve learned, though, is to never assume that anyone out there is like-minded.
What are your thoughts on selling limited-edition items, special “art”/”die-hard” versions of albums, and/or color-vinyl variants?
It depends on the context of these items. For me, I just want the music. I only pay for vinyl and for digital downloads occasionally. I’m currently going through my record collection and I’m finding all of these really thick, gatefold albums that are single LPs. I think they look great, but I only have a certain amount of space for my albums, so keeping these albums takes up a lot of real estate in my apartment.
Does the burden of running an imprint interfere with your audio projects?
Yes, it’s always a juggling act. Land of Decay took a lot of time to administrate, but it was really rewarding to connect with musicians that I respect. That aspect of running the label was actually very inspiring.
Do you think you’re more effective at maintaining a label because of your experience in a band?
Totally. Playing in a band taught me how to get my music to writers, how to promote shows, and that I really like working with other artists. These traits helped the label to be successful.
We ended up breaking even on our projects, but I’m sure that we could have made money had we made choices to accomplish that. I’m sure that artists would do well to understand what labels have to go through.
Do you leave art direction to band(s)?
We would let the artist choose, but Terence was open to the artist using his artwork.
When choosing bands to put on your label, do you try to reach as far out as possible, or do you prefer like-minded acts?
Some people got in touch with us. We contacted some people because we were fans… One thing I’ve learned, though, is to never assume that anyone out there is like-minded.
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?
Yes, last year was the first year that I claimed my music and label expenses on my taxes. It was a lot of paperwork. I know how to keep better track of the paperwork now, but it was a pain.
Running a label taught me to respect labels more. It’s so much work to release an album and it’s so expensive. I don’t think that most labels are making much, if any, money. I hope that people who were sending Land of Decay money now are sending their money to some label that needs it.
Do you think record labels as purveyors of physical products can last into infinity, or at some point do you envision CDs/tapes/LPs becoming obsolete?
I don’t think that any of these formats will become obsolete anytime soon, but there’s nothing permanent in this world.
Some labels will last. There’s a myth out there that it’s impossible to make money running a label and I know that there are some labels that are making money. It’s just a matter of having your stuff together and keeping your vision.
How do your goals differ regarding your different projects?
We started Land of Decay because we wanted to connect with musicians that we were inspired by, and so that we could help to raise money for recording costs. Now we have a record label who helps us with recording costs and we have a booking agent that gets us enough to cover our expenses.
Mike Paradinas
(Planet Mu, µ-Ziq/Kid Spatula)
What is more important to you, running the label or creating music?
I would say my own music is more personal, because I don’t really have to deal with other people’s expectations in the same way.
What’s the secret of running an excellent label?
What makes a good record? That’s where it gets… cloudy and more interesting. A lot of labels have a house sound, which makes the whole thing a bit easier for the audience to grasp.
When I started out 20 years ago, I was very idealistic, but soon realized about the gutter biz when I signed to a major label.
What are your thoughts on selling limited-edition items, special “art”/”die-hard” versions of albums, and/or color-vinyl variants?
Limited-edition items have their place I guess, but personally I’ve never really been into stuff like colored vinyl or picture discs, as I find the pressings of lower quality (although I hear that’s changed now). I do, however, like extravagant packaging, but as a label, we’ve never really had the budget for it. There is a lot of that stuff about though, and as a label, we have to compete with it. In the end, it’s really the artist’s decision. If they feel that a particular packaging, special artwork, or 180-gram pressing is important to their release, then we always seriously consider it. The only thing stopping us would be budget considerations.
Does the burden of running an imprint interfere with your audio projects?
Definitely. There have been several years where I’ve not made any music at all. Although that might not have been solely to do with my label workload. Maybe burying myself in growing the label enabled me to get through a writer’s block?
Are you a more effective label owner because of your experience making music?
It does make a difference when you’re at the receiving end of label decisions. I’ve had many years of not being paid what I’m owed, so we always try and keep on top of artists’ accounts. Although artists always want to release something the minute they’ve made it, I’ve now realized that a bit of time and planning, holding off the release until the right time, makes all the difference to press and sales.
Did you learn anything about the music “biz” from running a label that you weren’t aware of when you were just making music?
When I started out 20 years ago, I was very idealistic, but soon realized about the gutter biz when I signed to a major label.
Have you found people you can delegate to?
Planet Mu was a one-man operation for the first nine years of its existence, but now we have four employees, and I can delegate almost everything. Thomas, my label manager, has been with me for six years now and has learned the ropes better than I did.
Do you think record labels as purveyors of physical products can last into infinity?
I think humans as physical entities will become obsolete eventually, so I guess music will before that. (To clarify, I think humans will continue as material objects, patterns.)
How do your goals differ regarding your different projects?
Well, we do have certain releases that we all decide (us and the distributor) are “key releases,” and we put most of our resources into those. Sometimes a particular release may turn out to be more popular (or less popular) than we envisaged, so we sometimes change our plans/budgets mid release-cycle.
Alex Cobb
(Students of Decay, Taiga Remains/solo)
What takes up more of your time: playing/writing music/etc., or running the label?
Definitely the label. I’m always tinkering with musical compositions or improvisations but it’s a slow process and, really, I’m quite content at this stage to have an album come out every couple years and no more frequently. SOD is my full-time job and most all of my energy goes into producing/promoting releases from day to day.
What’s the secret of excelling at running a label?
I think it must have to do with seeing connections between artists within and across genres. The best labels, at least to me, exhibit cohesiveness and consistency — you can buy any of their releases with the assurance that, even if you’re unfamiliar with the artist/band, it will be good music and emblematic of what you associate with the label releasing it.
Making [Students of Decay] into something successful and sustainable has been a long process (nigh on a decade now). I have no background in business and am not the most logistical person, so there has been a learning curve as well as ups and downs.
What are your thoughts on selling limited-edition items, special “art”/”die-hard” versions of albums, and/or color-vinyl variants?
Mixed feelings for sure. Reading the front pages of certain distributors’ sites has become a bit like looking at Etsy or something (“Comes with a handstitched obi,” “limited to 150 in silkscreened duotone polysleeves,” “first 50 copies on ruby red and herringbone-colored wax” etc). The first SOD vinyl releases did have limited color editions, and it is absolutely a way to move units from the jump and appeal to a certain demographic, but I’ve realized it’s not for me and is not what matters most. The fact that the fidelity of colored vinyl is fundamentally inferior to that of black wax is also a total dealbreaker to me.
Does the burden of running an imprint interfere with your audio projects?
No, not at all. If anything I find the process of helping artists realize their strengths and produce an album to be motivational for my own output.
Do you think you’re more effective at maintaining a label because of your experience in a band?
I don’t think so, no. Making SOD into something successful and sustainable has been a long process (nigh on a decade now). I have no background in business and am not the most logistical person, so there has been a learning curve as well as ups and downs.
Do you leave art direction in the hands of the band(s)?
I like to make it collaborative. I always want the artist to be 100% happy with the final product. If they have an idea and can do design work, we’ll go that route. Alternatively I have designers who I work with regularly (and consider lifesavers generally) who are able to help out if the artist is drawing a blank.
When choosing bands to put on your label, do you prefer like-minded acts?
I really just work with people whose music I’m enamored with and with whom I get along. I’m pretty quick to terminate a release if there’s drama, unreasonable expectations, or really any unpleasantness.
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 learned how difficult it is to run a label properly and for real. Juggling projects/production costs and doing good PR is full-time work.
Do you think record labels as purveyors of physical products can last into infinity?
I think (hope?) that there will always be a market for physical objects that consists of people who care about things like aesthetics, fidelity, and supporting the musicians whose output matters to them.
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
