We recently talked with David Vallée of the French netlabel La Manufacture de Bruit to discover a little more on their modus operandi.
Who are the people behind La Manufacture de Bruit? What do they do for a living?
La Manufacture de Bruit was originally created by two persons, Stéphane
F. from the French label “Cauldron Music” and myself, David Vallée, from
another French label “La Cadera”. We have been working together since
1998, for several projects and collaborations. Cauldron was more
oriented towards medieval, folk and neo classical music, La Cadera at
the beginning was producing neo-classical and ambient industrial music.
Cauldron Music has stopped its activities in the mid-2000’s, La Cadera
in 2002, and a few years later, we decided to create a netlabel to
release our most important productions for free. La Manufacture de Bruit
was firstly created for this, for our old productions not to be
forgotten. But quickly we decided to produce other projects as well. At
the end of 2012, I decided to continue the netlabel alone.
La Manufacture de Bruit does not generate income, all our productions
are free and the label only costs us money! Lucky for us, we have jobs
to make a living!
You seem to be very focused on dark ambient / neo classical /
ethereal kind of sounds. Is this correct? Why the focus on this genre?
Yes, this is correct. As I wrote it before, our previous labels were
already oriented towards these styles of music, even if we like other
kind of sounds. Our first music projects were already in these styles
(Fin de Siècle for my colleague and Semper Eadem for me), it was natural
to follow this way, but not only because of this. We also had the idea
not to create a simple netlabel, but instead something covering
different arts, like photography, writing, music, videos and films, and
we thought theses styles of music are very close to different kind of
arts.
We also found back then that dark ambient, neoclassical or ambient
industrial were not well-represented on other netlabels out there, and
this kind of music is relatively unknown, especially neoclassical music,
even if you can hear it in a huge number of films.
When did you feel the need to create a netlabel?
The idea came in 2008, at the 10th birthday of “Cauldron Music” and “La
Cadera” first encounter. We decided to put all our best productions in
the netlabel, and to go on with a new production “Post Mortem
Photographs”, the first work Stéphane and I composed together. Our aim
was not to sell music, but to offer it for free. So a netlabel was the
best way to do this.
Why a netlabel and not a regular label?
We had already directed labels, and we had to stop our activities. You
know, a label and a netlabel don’t work the same. A label needs to
produce and sell enough releases to live, not a netlabel. After our
experiences, and our new way to see music, a netlabel was the best
manner to proceed: to share and promote interesting artists, in the
spirit of our music being freely available for everyone who could be
interested in it.
Can you name some of the labels that influence you?
I cannot speak for Stephane, who left “La Manufacture de Bruit”, but for
me the label that most influenced me is 4AD (for their works in the
80’s), merging music, graphic art, videos, and creating collaboration
between the musicians they produced, as we try to do with our “Les
Bruits de la Manufacture” collection. Except for this specific case, I
can say it is music, arts and artists I like who influenced me, more
than labels.
Can you describe the steps that you typically take preparing a new
release? Do you work closely with your artists? How do you handle
promotion once the release is available?
I prefer having the artists come to us and present their works, more
than looking for them. They propose their music or other arts (like
video, photos) and I find out what they are doing. If I like their work,
I try to understand who they are, their feelings, their thoughts, their
vision about art and music. La Manufacture de Bruit is not a commercial
label, I won’t produce discs like other label, except perhaps CD-r or
why not tapes, so the band must have the same convictions as the label.
We prefer doing music for free. If the artists are interested in working
with La Manufacture de Bruit, they propose me an album, LP or EP, and
we speak about the music, the order or the tracks. I do not direct the
bands, we try to find the best way to produce their music, but most of
the time, I don’t say anything, they are free to propose their art as
they want. In fact, artists who are working with La Manufacture de Bruit
know what they want, and come to our label with a well finished work.
Where we, the artists and myself that is, work together much more is
graphic design. They explain what they want to express with their art, I
try to be closer to their idea. Sometimes, artists propose their own
photos, or graphic ideas, and I work with them to have the best
compromise between their concepts and our graphic identity.
For promotion, we do some, mostly by Internet, sometimes by flyers we diffuse where we can. But bands are free to also do so.
Any release you are particularly proud of releasing?
I’m proud of releasing every production you can find at La Manufacture
de Bruit, but the ones I’m particularly proud are “Fin de Siècle” and
“Puppets Love Dreams”. “Puppets Love Dreams” for their wonderful
compositional technique, their lyricism and emotion, “Fin de Siècle”
because the album “Présences” is the first of this famous French
project, this albums tells the beginning of the great Fin de Siècle’s
story.
I would have been very proud of releasing an album from the French
band Absinthe (Provisoire), but after problems of music rights, it was
impossible to release it for free. It was a wonderful 3 hours album,
between rock and industrial music, very original and interesting. But we
couldn’t release it.
On your homepage you also have a section dedicated to videos from
your releases. Do you feel the video is an important part of your
releases? Do you feel it helps reach a wider audience, or is it just an
extension of your work as a label?
Since the beginning, La Manufacture de Bruit was not solely focused on
music, but on every kind of artistic expression, even if music makes up
the main part of the label activities. Sure, I think video is very
important for music, particularly in visual music like Fin de Siècle,
Cattle Mutilation or Semper Eadem. For example, Semper Eadem was founded
to compose music and sound ambiances for a short film. So, yes, for La
Manufacture de Bruit, videos are intimate links to music. We did not do
that to reach a wider audience, but to widen the music itself, to give
visual life to the music, to create a complete musical and graphic
identity.
We would like to extend our activities to all kind of graphic or
moving arts, like photography, theatre, miscellaneous exhibitions. But
there is no precise project. One day, perhaps.
Thanks for your time. Any last words?
Our aim is to diffuse music, to create collaborations between artists,
so, if some of you want to collaborate, don’t hesitate to send me music,
photos or videos. I do not produce CDs, perhaps CD-R if it is possible
to sell a disc, but we mainly work for art, for music and for free.
Thank you for the interest in La Manufacture de Bruit.
Friday, 16 August 2013
Wednesday, 24 July 2013
Southern City's Lab
We exchanged a few emails with Southern City’s Lab, a more recent netlabel from Russia.
Can you tell us who the people in charge of the label are and what they do for a living?
I am Максим Парасюков, the only person responsible for the label, no assistants present. I work as a mechanic for a living, no musical achievements present though there were attempts to practise music, but all unsuccessfully.
When did you first feel the need to start a netlabel?
The thought suddenly occurred to me around a year ago. At first I wanted to start a music blog, but then I learned about the existence of netlabels. This option was more acceptable, as a lot of my friends and acquaintances are musicians.
Why a netlabel and not a commercial label?
To pay for an MP3 or flac, which can easily be copied and shared for free, seems somewhat ridiculous to me. Another matter are CDs or tape, they can serve as a pride subject for the collector. But I have no opportunity to publish them.
Can you name a few other labels that influenced your decision to start a label?
Clinical Archives
Your website states you focus on punk music. Is this correct? Why this genre?
We don’t just focus on punk. The quote “Southern City’s Lab, a Russian netlabel bringing in some incredible punk releases” was taken from a review written on FMA. I work with many genres. There are ambient/post-rock releases, synthpop, lounge and even works of violinists with an academic background. I love garage rock and hardcore punk, but feel like it would be boring to be engaged only with those genres.
Your website is mostly Russian, are your artists and target audience both mostly Russian?
Honestly, I do not know foreign languages at all. For the most part, our artists are from Russia, but also from Ukraine and Canada. Our target audience is generally from Europe and the US. Our fanbase in Russia is not that strong.
How close do you work with your artists?
I keep in touch
Are you in touch with with local promoters to organize concerts for your artists?
I have some contacts but haven’t organized any concerts.
Could you describe to us your standard process to release and promote a new release?
I upload releases to archive.org, FMA, bandcamp. I update the catalog on our website. I notify our listeners through social media. I’m also planning to do podcasts in the future.
What can you tell us of the Russian netaudio scene? Are there many netlabels active? Do you keep in touch with each other?
There are a lot of netlabels but this structure is badly developed. Very bad support among mass media and blogs.
Any particular release you are most proud of having released?
They are three:
Break The Bans – Okay! Okay!
Powerful garage rock in the spirit of Stooges and Rolling Stones. Their album really went around the world. They have a big future.
Kosta T – Informality
It is a unique album for the punk of a label. Its violin is remarkable.
Pk jazz collective & Pavkashavet Bantut – Ore Empyreum
I take special pride in this one. Joint project of artists of my label. Surrealistic verses of Pavkashavet Bantut read against the psychedelic jazz simply tear off from reality.
Thanks for your time, any last words for our readers?
What to wish to readers… I think it is critical to not give in on provocation and stick to your opinion. Thank you as well. All the best.
Can you tell us who the people in charge of the label are and what they do for a living?
I am Максим Парасюков, the only person responsible for the label, no assistants present. I work as a mechanic for a living, no musical achievements present though there were attempts to practise music, but all unsuccessfully.
When did you first feel the need to start a netlabel?
The thought suddenly occurred to me around a year ago. At first I wanted to start a music blog, but then I learned about the existence of netlabels. This option was more acceptable, as a lot of my friends and acquaintances are musicians.
Why a netlabel and not a commercial label?
To pay for an MP3 or flac, which can easily be copied and shared for free, seems somewhat ridiculous to me. Another matter are CDs or tape, they can serve as a pride subject for the collector. But I have no opportunity to publish them.
Can you name a few other labels that influenced your decision to start a label?
Clinical Archives
Your website states you focus on punk music. Is this correct? Why this genre?
We don’t just focus on punk. The quote “Southern City’s Lab, a Russian netlabel bringing in some incredible punk releases” was taken from a review written on FMA. I work with many genres. There are ambient/post-rock releases, synthpop, lounge and even works of violinists with an academic background. I love garage rock and hardcore punk, but feel like it would be boring to be engaged only with those genres.
Your website is mostly Russian, are your artists and target audience both mostly Russian?
Honestly, I do not know foreign languages at all. For the most part, our artists are from Russia, but also from Ukraine and Canada. Our target audience is generally from Europe and the US. Our fanbase in Russia is not that strong.
How close do you work with your artists?
I keep in touch
Are you in touch with with local promoters to organize concerts for your artists?
I have some contacts but haven’t organized any concerts.
Could you describe to us your standard process to release and promote a new release?
I upload releases to archive.org, FMA, bandcamp. I update the catalog on our website. I notify our listeners through social media. I’m also planning to do podcasts in the future.
What can you tell us of the Russian netaudio scene? Are there many netlabels active? Do you keep in touch with each other?
There are a lot of netlabels but this structure is badly developed. Very bad support among mass media and blogs.
Any particular release you are most proud of having released?
They are three:
Break The Bans – Okay! Okay!
Powerful garage rock in the spirit of Stooges and Rolling Stones. Their album really went around the world. They have a big future.
Kosta T – Informality
It is a unique album for the punk of a label. Its violin is remarkable.
Pk jazz collective & Pavkashavet Bantut – Ore Empyreum
I take special pride in this one. Joint project of artists of my label. Surrealistic verses of Pavkashavet Bantut read against the psychedelic jazz simply tear off from reality.
Thanks for your time, any last words for our readers?
What to wish to readers… I think it is critical to not give in on provocation and stick to your opinion. Thank you as well. All the best.
Tuesday, 23 July 2013
Sincro
I started on a quest to interview different netlabels from different
countries. My objective is to bring some light on how they operate and
relate to their local music scenes. Starting from the letter A, I
searched for netlabels in Argentina and ran into Sincro. So I downloaded their latest release VVAA – Menesunda
and mailed them a few questions. I can tell you the compilation is
focused on microsound and experimental music, which was nice to discover
since I love those kind of sounds.
Y:E:T – Lightsloft
Can you tell us a little more about yourself?
We are Darío Pinto (Asolaar) and Miguel Onofri (Mezzo), we are both experimental electronic music producers and we run Sincro Netlabel. We operate from Mendoza, Argentina, a city with a population of less than a million, in the middle of a very arid area, 1000km to the west of Buenos Aires and quite isolated from the rest of the world. We don’t make a living out of music.
When and why did you feel the need to form the Sincro netlabel?
Sincro was born as a local venue in 2001. First we worked as a platform, organizing local events and trying to bring artists from other places to our town. In august 2006 we became a netlabel, with the launching of our first compilation “Artificios”. We intended to release our own music in the first place, and some other artists from Argentina that we liked. Then the project grew and became attractive to other artists, and we started to receive demos from foreign countries.
Can you tell us a little more about the Argentinian netaudio scene? How many active labels are there and how do they relate to the commercial side of the Argentinian music scene?
We can only mention the netlabel and platform “Sudamerica Electronica”, from the city of Córdoba, run by our dear friend, colleague and ally Jorge Castro (Fisternni). There used to be about a dozen netlabels, but during the last couple of years most of them have become inactive (like Natural Media) or have disappeared (like Audio:808). We are talking about our kind of music, we are not really aware of the situation in other music styles. We don’t really have contact with any other national netlabels. Netlabels don’t relate with the commercial side of the Argentinian music scene at all.
I noticed from your site that you don’t have that many artists and only release almost once a year. Is this intentional or just happens to be how you operate?
What we do is not entirely an accident, it is mostly a conscious choice. We release very little material and in brief format. Only our last compilation “Menesunda” is a full length release, because we celebrated our 10th release and 5 years working as a netlabel. We pay attention to sound, mastering, artwork, concept, etc, and we curate the material quite a lot. With only a few exceptions, we are not interested in netlabels that release a lot of stuff.
The only non-Argentinian artist on your roster seems to be the Ukranian .at/on (he has some great music by the way). How did you get in touch?
We have slowly been gathering artists that we like, basically from Argentina and South America, and then going global. We currently have 18 artists in our roster, from Argentina, Chile, Peru, Colombia, Spain, Italy, Ukraine and Japan. We contacted .at/on by e-mail a couple of years ago, then we invited him to participate on the last compilation. We like the Ukrainian experimental scene a lot, so we also included the collaboration Y:E:T (Ukraine/Japan).
Because Sincro is a small label, I assume you try to support your artists more. Is this accurate? Do you also organize local promo-events or do you work with people who do? What kind of promotion for you releases do you do?
Organizing local events is an important part of our activities. Many of our artists have performed in our shows, and we have had visits from the rest of the world as well. In April 2009 we brought the German artists Alva Noto + Byetone to our city, and we shared the stage with them.
These events have good coverage from local media. We promote our releases quite a lot, through websites, blogs and online radios.
Thanks for your time and keep up the cool work! Any last words of advice for other people running netlabels, netaudio artists or people looking to discover new music?
For people running netlabels:
Be careful with your material. Promote every single release. Be a real curator.
For netaudio artists:
Look for the more suitable netlabels for your work. Do some good research before sending any demos. Try to perform live.
For people looking to discover new music:
Don’t be overwhelmed by the huge amount of music out there. Investigate a little and you will get to the good stuff.
Greetings from the deep south.
Y:E:T – Lightsloft
Can you tell us a little more about yourself?
We are Darío Pinto (Asolaar) and Miguel Onofri (Mezzo), we are both experimental electronic music producers and we run Sincro Netlabel. We operate from Mendoza, Argentina, a city with a population of less than a million, in the middle of a very arid area, 1000km to the west of Buenos Aires and quite isolated from the rest of the world. We don’t make a living out of music.
When and why did you feel the need to form the Sincro netlabel?
Sincro was born as a local venue in 2001. First we worked as a platform, organizing local events and trying to bring artists from other places to our town. In august 2006 we became a netlabel, with the launching of our first compilation “Artificios”. We intended to release our own music in the first place, and some other artists from Argentina that we liked. Then the project grew and became attractive to other artists, and we started to receive demos from foreign countries.
Can you tell us a little more about the Argentinian netaudio scene? How many active labels are there and how do they relate to the commercial side of the Argentinian music scene?
We can only mention the netlabel and platform “Sudamerica Electronica”, from the city of Córdoba, run by our dear friend, colleague and ally Jorge Castro (Fisternni). There used to be about a dozen netlabels, but during the last couple of years most of them have become inactive (like Natural Media) or have disappeared (like Audio:808). We are talking about our kind of music, we are not really aware of the situation in other music styles. We don’t really have contact with any other national netlabels. Netlabels don’t relate with the commercial side of the Argentinian music scene at all.
I noticed from your site that you don’t have that many artists and only release almost once a year. Is this intentional or just happens to be how you operate?
What we do is not entirely an accident, it is mostly a conscious choice. We release very little material and in brief format. Only our last compilation “Menesunda” is a full length release, because we celebrated our 10th release and 5 years working as a netlabel. We pay attention to sound, mastering, artwork, concept, etc, and we curate the material quite a lot. With only a few exceptions, we are not interested in netlabels that release a lot of stuff.
The only non-Argentinian artist on your roster seems to be the Ukranian .at/on (he has some great music by the way). How did you get in touch?
We have slowly been gathering artists that we like, basically from Argentina and South America, and then going global. We currently have 18 artists in our roster, from Argentina, Chile, Peru, Colombia, Spain, Italy, Ukraine and Japan. We contacted .at/on by e-mail a couple of years ago, then we invited him to participate on the last compilation. We like the Ukrainian experimental scene a lot, so we also included the collaboration Y:E:T (Ukraine/Japan).
Because Sincro is a small label, I assume you try to support your artists more. Is this accurate? Do you also organize local promo-events or do you work with people who do? What kind of promotion for you releases do you do?
Organizing local events is an important part of our activities. Many of our artists have performed in our shows, and we have had visits from the rest of the world as well. In April 2009 we brought the German artists Alva Noto + Byetone to our city, and we shared the stage with them.
These events have good coverage from local media. We promote our releases quite a lot, through websites, blogs and online radios.
Thanks for your time and keep up the cool work! Any last words of advice for other people running netlabels, netaudio artists or people looking to discover new music?
For people running netlabels:
Be careful with your material. Promote every single release. Be a real curator.
For netaudio artists:
Look for the more suitable netlabels for your work. Do some good research before sending any demos. Try to perform live.
For people looking to discover new music:
Don’t be overwhelmed by the huge amount of music out there. Investigate a little and you will get to the good stuff.
Greetings from the deep south.
Sunday, 16 June 2013
Pause
We got in touch with Rich Vreeland, also known as Disasterpeace, for a few questions. Together with Eirik Suhrke (aka Phlogiston) he curates Pause netlabel, focusing their releases on the 8-bit / chiptune genre.
??? – Why
Thanks for agreeing to answer my questions. First off, can you tell us a little more about the guys who run Pause? I believe both of you are chip musicians, working freelance on videogame soundtracks when you started Pause, is this correct?
Yes. We were mostly writing music for fun, I think we had both started to work on a few small games by then, but it was nothing major at that point.
Why did you feel the need to create a netlabel?
We wanted to create a place where we could host our music, and the music of our friends as well. We had a friend who ran a netlabel before us, but it shut down, and there weren’t too many alternatives back in 2007.
Were there other netlabels that influenced you early on? Can you do some name dropping for us?
We were both involved with Megatwerp, and I think Eirik might have been involved with Inpuj as well. I was definitely inspired by 8bitpeoples in some ways, namely the way they handled themselves on the web. At the same time, we felt that we were interested in creating a different kind of catalogue, something more in tune with our personal taste in music.
Pause is known for releasing chip music but it also deviates to a few branching genres, can you summarize what the careless visitor will encounter when browsing your catalogue?
Mostly chipmusic, some game music of various kinds, and some electronic music too. There is a general focus on instrumental music, and more specifically, interesting forms/structures, melodies, harmonies and rhythms.
Any particular release you are most proud of?
Not counting my own albums, I think some of the compilations we put out were pretty good. Sea of Ice and Heartcode come to mind. I was also very into ??? – Wall You Need is Love, which I helped to master and assemble, as far as track order and transitions are concerned.
You recently announced Pause stopped their activity with their 100th release. Can you tell us a little more on the reason why? Lack of personal time?
Eirik and I may have slightly different reasons, but for me, I think we’ve reached a point where it has become clear that our priorities lie elsewhere and our interest in curating music is not nearly great as it once was. I’ve become very busy just writing music and living and stuff, and I saw this as a chapter that could be closed gracefully at 100. We hadn’t really given Pause its fair level of attention in about 2 years, so it seemed reasonable to let it go.
Your farewell message mentions you achieved the goals you set initially set out. How do you measure the success of a netlabel?
I think largely about the impact it had on its artists and the listeners. Pause was never about money, it was always about exposure and craft, and I think a lot of people found a lot of great music because of our site, and that was always the prime directive.
Do you believe digital platforms are replacing the role of labels? Not only bandcamp and soundcloud but also commercial ones like tunecore, beatport, etc?
Yes, to some extent. There are still successful netlabels like Ubiktune that show that there is still something to be said about the power of assembly. Ubiktune has a very distinctive sound that comes across in the albums they choose to release, and there’s a good kind of predictability in that, in the sense that you can always count on them to put out a certain kind of material. If you enjoy that style, then that is a great resource to have. Me, I’ve always enjoyed the frontier of the internet, searching out new artists and albums one by one, so I suppose I don’t miss being part of a netlabel too much. Though certainly, if I got a call from Ghostly or Warp, I wouldn’t walk away from that.
Did Pause have connections with local promoters to organize local events?
Nope. It was strictly an online affair. Eirik lives in Norway, and I live in the states, so coordination was difficult. I did organize one Pause show a couple of years ago, which was an instance of Pulsewave (http://pulsewavenyc.com) in Brooklyn that I helped put together.
Can you name a couple of releases from other netlabels that you wish they had come out through Pause?
Cheap Dinosaurs – Cheap Dinosaurs, would have been rad.
??? – Why
Thanks for agreeing to answer my questions. First off, can you tell us a little more about the guys who run Pause? I believe both of you are chip musicians, working freelance on videogame soundtracks when you started Pause, is this correct?
Yes. We were mostly writing music for fun, I think we had both started to work on a few small games by then, but it was nothing major at that point.
Why did you feel the need to create a netlabel?
We wanted to create a place where we could host our music, and the music of our friends as well. We had a friend who ran a netlabel before us, but it shut down, and there weren’t too many alternatives back in 2007.
Were there other netlabels that influenced you early on? Can you do some name dropping for us?
We were both involved with Megatwerp, and I think Eirik might have been involved with Inpuj as well. I was definitely inspired by 8bitpeoples in some ways, namely the way they handled themselves on the web. At the same time, we felt that we were interested in creating a different kind of catalogue, something more in tune with our personal taste in music.
Pause is known for releasing chip music but it also deviates to a few branching genres, can you summarize what the careless visitor will encounter when browsing your catalogue?
Mostly chipmusic, some game music of various kinds, and some electronic music too. There is a general focus on instrumental music, and more specifically, interesting forms/structures, melodies, harmonies and rhythms.
Any particular release you are most proud of?
Not counting my own albums, I think some of the compilations we put out were pretty good. Sea of Ice and Heartcode come to mind. I was also very into ??? – Wall You Need is Love, which I helped to master and assemble, as far as track order and transitions are concerned.
You recently announced Pause stopped their activity with their 100th release. Can you tell us a little more on the reason why? Lack of personal time?
Eirik and I may have slightly different reasons, but for me, I think we’ve reached a point where it has become clear that our priorities lie elsewhere and our interest in curating music is not nearly great as it once was. I’ve become very busy just writing music and living and stuff, and I saw this as a chapter that could be closed gracefully at 100. We hadn’t really given Pause its fair level of attention in about 2 years, so it seemed reasonable to let it go.
Your farewell message mentions you achieved the goals you set initially set out. How do you measure the success of a netlabel?
I think largely about the impact it had on its artists and the listeners. Pause was never about money, it was always about exposure and craft, and I think a lot of people found a lot of great music because of our site, and that was always the prime directive.
Do you believe digital platforms are replacing the role of labels? Not only bandcamp and soundcloud but also commercial ones like tunecore, beatport, etc?
Yes, to some extent. There are still successful netlabels like Ubiktune that show that there is still something to be said about the power of assembly. Ubiktune has a very distinctive sound that comes across in the albums they choose to release, and there’s a good kind of predictability in that, in the sense that you can always count on them to put out a certain kind of material. If you enjoy that style, then that is a great resource to have. Me, I’ve always enjoyed the frontier of the internet, searching out new artists and albums one by one, so I suppose I don’t miss being part of a netlabel too much. Though certainly, if I got a call from Ghostly or Warp, I wouldn’t walk away from that.
Did Pause have connections with local promoters to organize local events?
Nope. It was strictly an online affair. Eirik lives in Norway, and I live in the states, so coordination was difficult. I did organize one Pause show a couple of years ago, which was an instance of Pulsewave (http://pulsewavenyc.com) in Brooklyn that I helped put together.
Can you name a couple of releases from other netlabels that you wish they had come out through Pause?
Cheap Dinosaurs – Cheap Dinosaurs, would have been rad.
Friday, 31 May 2013
Webbed Hand
We recently talked with Chris McDill, curator of Webbed Hand Records to get some insight on their label and how they operate.
Lyndsey Cockwell – DWP
Who are the people behind Webbed Hand Records? What do they do for a living? How did they get involved with music?
I have been at the helm of Webbed Hand since its founding, and presently I am assisted by Aria Nadii, who designed the website and handles some administrative functions outside my skill set. Her input into this label has been of great value. When I first started the label my brother helped, as he was starting a label of his own, so we shared resources and ideas.
For a living we do, to borrow a classic quote, “a little of this and that.” Our involvement in music began as listeners and slowly evolved into being creators. I had sporadic experiments in tape-based sound art dating back to the late 80s, but didn’t get serious until mere months before I founded Webbed Hand.
What was the motive for starting Webbed Hand in 2003? Is it still valid today?
In the beginning, it was not a netlabel, but a CDr label which I started for the purpose of selling my own recordings. At that time I was also giving away mp3s hosted on my website. It was costing me more than I was making and the situation was not sustainable, so I had to seek an alternative.
In 2004, I learned from a friend about Creative Commons licensing and about the new section at the Internet Archive for netlabel hosting, and that inspired me to change Webbed Hand to a CC-licensed netlabel, not just for my own work, but open to other artists who make work that shares my musical aesthetic.
So I’d say the motive that is still valid today started in 2004, and it was a different motive prior to that.
Has your promotional release process changed through the years? Can you share with us your usual steps when dealing with promoting a new release?
By and large, I expect artists to take up most of the burden of promoting their work. I make announcements on Twitter and in relevant forums including Facebook, which does draw some listeners, but the biggest “hits” on Webbed Hand have come from artists themselves passionately spreading the word about their music. This is how it’s always been with Webbed Hand, and I think listeners appreciate that I’m not aggressive about pushing the music.
There seem to be more ambient / drone netlabels then there used to be physical labels. Do you agree? Do you think this is due to the internet allowing people to discover and share niche genres more easily?
Yes, and yes. Ambient and drone music didn’t have a lot of commercial potential, so the big labels weren’t exactly sending out A&R men to sign up ambient acts. Indie labels did release ambient, but only the biggest names sold well. The largest and most overlooked presence in the days before the internet was the myriad cassette labels, sharing experimental, drone, noise and other marginal genres. Highly collectible, some of that stuff. A few of those tape labels even turned into netlabels eventually.
The current prevalence of ambient/drone netlabels can be attributed to a combination of factors. Home recording has become affordable and of a better quality than ever before. Music production software, such as softsynths makes it possible to inexpensively get sounds that once would have required an investment of many thousands of dollars. Broadband internet access and the presence of sites that will host your music for you. It is no wonder there’s been such an explosion of talent, and the ability to share it, bypassing the old music industry gatekeepers.
Have you done or considered printing limited physical editions? Why or Why not?
That is how Webbed Hand started out, but I have not done it since 2004. Since then I have adopted for Webbed Hand the philosophy of 100% free digital-only music sharing.
I do have a plan for selling some of my own music on cassettes, but they will not be under the Webbed Hand imprint. I’ll have to start a new label for work of that kind.
You have a lot of releases out on Webbed Hand. How do you deal with quality control and the quantity of demos submitted?
One of the main ideas behind Webbed Hand is that it’s a label that releases things that are to my taste. If I like something, and it fits within the genres to which the label is oriented, I’ll release it. I’m not looking for the best of these genres, just whatever appeals to me. I have accepted work that from a production standpoint is sub par, but had a good feeling to it.
In the kind of work I release on Webbed Hand, quality is a very subjective thing. Even an untrained ear can distinguish a virtuoso of piano or guitar, but what identifies a virtuoso of drone music? In experimental work the criteria are much hazier. It generally comes down to evocativeness and production quality, and the powers of evocation trump everything else.
The quantity of submissions I manage by revising the submission page on the Webbed Hand site when I get too busy. For example, presently I am not taking work from artists new to the label, except for contributions to our “Rain” series of long-form ambient albums.
I tend not to think of submissions as demos, which to my understanding are rough edits of works in progress. I ask artists to give me release-ready material in the format and bitrate they want it shared at. I try to have a very fast turnaround time between getting the submission, accepting it, and releasing it. I have heard of some netlabels that take months.
Do you (or your artists) have any contact with local promoters to organize local events?
I wouldn’t know about the artists, as they don’t inform me of their personal activities. I share some of their albums, and that’s just about all. Webbed Hand has no local connections. As far as I know, not even any artists or friends within hundreds of miles.
How do you feel about twitter and youtube as a way to promote your work? Does it really reach strangers?
I use both, and they seem to reach some people, about proportional to the effort I have put into them, which is not much. Probably Facebook has a better reach because I’ve built a better network there and am a member of a lot of ambient-related groups. Youtube is mostly a playground for me to make music videos for my own recordings.
Any particular releases you are most proud of?
It’s hard to play favorites, so I’ll take the easy way out and say I’m proudest of the compilations. Some of them were a great success and it was fascinating to see the diverse ways that artists interpreted the themes of each. One of the earliest compilations, Far Afield, is approaching 75,000 downloads. In 2008 I released a compilation of ambient made with string instruments, and there are some terrific pieces on there. Highly recommended.
Thanks for your time! Any last words for our readers?
Sure. A bit about netlabel etiquette for artists who are seeking to get an album released.
In this day and age, there are many places to share your work beside netlabels, and you might even be able to make money by self-releasing, for example on Bandcamp. The primary value of a netlabel right now is if you have work of a specific style or subgenre, a netlabel will introduce your work to fans of that subgenre, and bring you into that community.
So if you say, yes, that’s what I want, then you need to find a label that exactly fits your style. Don’t just e-mail every netlabel you find on Google. Locate a few that closely match your genre, then listen to as much of their catalogs as you can, and really ask yourself which of those do you find the closest affinity with. First approach them. Submit to only one label at a time.
If your work is too different from the typical work on a label, they are more likely to reject it no matter how good it is, because they have an audience established for a certain sound, and they may not be part of other genre communities, so it’s harder to promote what lies outside their area of interest. Many netlabel owners are swamped by submissions that are completely inappropriate, because submitters didn’t do a little research first. Somewhere out there is a perfect netlabel for you that will take your work, and you’re not going to find it by spamming. If you really want to be part of a scene, get to know it. If you want to be heard, start by being a good listener.
Lyndsey Cockwell – DWP
Who are the people behind Webbed Hand Records? What do they do for a living? How did they get involved with music?
I have been at the helm of Webbed Hand since its founding, and presently I am assisted by Aria Nadii, who designed the website and handles some administrative functions outside my skill set. Her input into this label has been of great value. When I first started the label my brother helped, as he was starting a label of his own, so we shared resources and ideas.
For a living we do, to borrow a classic quote, “a little of this and that.” Our involvement in music began as listeners and slowly evolved into being creators. I had sporadic experiments in tape-based sound art dating back to the late 80s, but didn’t get serious until mere months before I founded Webbed Hand.
What was the motive for starting Webbed Hand in 2003? Is it still valid today?
In the beginning, it was not a netlabel, but a CDr label which I started for the purpose of selling my own recordings. At that time I was also giving away mp3s hosted on my website. It was costing me more than I was making and the situation was not sustainable, so I had to seek an alternative.
In 2004, I learned from a friend about Creative Commons licensing and about the new section at the Internet Archive for netlabel hosting, and that inspired me to change Webbed Hand to a CC-licensed netlabel, not just for my own work, but open to other artists who make work that shares my musical aesthetic.
So I’d say the motive that is still valid today started in 2004, and it was a different motive prior to that.
Has your promotional release process changed through the years? Can you share with us your usual steps when dealing with promoting a new release?
By and large, I expect artists to take up most of the burden of promoting their work. I make announcements on Twitter and in relevant forums including Facebook, which does draw some listeners, but the biggest “hits” on Webbed Hand have come from artists themselves passionately spreading the word about their music. This is how it’s always been with Webbed Hand, and I think listeners appreciate that I’m not aggressive about pushing the music.
There seem to be more ambient / drone netlabels then there used to be physical labels. Do you agree? Do you think this is due to the internet allowing people to discover and share niche genres more easily?
Yes, and yes. Ambient and drone music didn’t have a lot of commercial potential, so the big labels weren’t exactly sending out A&R men to sign up ambient acts. Indie labels did release ambient, but only the biggest names sold well. The largest and most overlooked presence in the days before the internet was the myriad cassette labels, sharing experimental, drone, noise and other marginal genres. Highly collectible, some of that stuff. A few of those tape labels even turned into netlabels eventually.
The current prevalence of ambient/drone netlabels can be attributed to a combination of factors. Home recording has become affordable and of a better quality than ever before. Music production software, such as softsynths makes it possible to inexpensively get sounds that once would have required an investment of many thousands of dollars. Broadband internet access and the presence of sites that will host your music for you. It is no wonder there’s been such an explosion of talent, and the ability to share it, bypassing the old music industry gatekeepers.
Have you done or considered printing limited physical editions? Why or Why not?
That is how Webbed Hand started out, but I have not done it since 2004. Since then I have adopted for Webbed Hand the philosophy of 100% free digital-only music sharing.
I do have a plan for selling some of my own music on cassettes, but they will not be under the Webbed Hand imprint. I’ll have to start a new label for work of that kind.
You have a lot of releases out on Webbed Hand. How do you deal with quality control and the quantity of demos submitted?
One of the main ideas behind Webbed Hand is that it’s a label that releases things that are to my taste. If I like something, and it fits within the genres to which the label is oriented, I’ll release it. I’m not looking for the best of these genres, just whatever appeals to me. I have accepted work that from a production standpoint is sub par, but had a good feeling to it.
In the kind of work I release on Webbed Hand, quality is a very subjective thing. Even an untrained ear can distinguish a virtuoso of piano or guitar, but what identifies a virtuoso of drone music? In experimental work the criteria are much hazier. It generally comes down to evocativeness and production quality, and the powers of evocation trump everything else.
The quantity of submissions I manage by revising the submission page on the Webbed Hand site when I get too busy. For example, presently I am not taking work from artists new to the label, except for contributions to our “Rain” series of long-form ambient albums.
I tend not to think of submissions as demos, which to my understanding are rough edits of works in progress. I ask artists to give me release-ready material in the format and bitrate they want it shared at. I try to have a very fast turnaround time between getting the submission, accepting it, and releasing it. I have heard of some netlabels that take months.
Do you (or your artists) have any contact with local promoters to organize local events?
I wouldn’t know about the artists, as they don’t inform me of their personal activities. I share some of their albums, and that’s just about all. Webbed Hand has no local connections. As far as I know, not even any artists or friends within hundreds of miles.
How do you feel about twitter and youtube as a way to promote your work? Does it really reach strangers?
I use both, and they seem to reach some people, about proportional to the effort I have put into them, which is not much. Probably Facebook has a better reach because I’ve built a better network there and am a member of a lot of ambient-related groups. Youtube is mostly a playground for me to make music videos for my own recordings.
Any particular releases you are most proud of?
It’s hard to play favorites, so I’ll take the easy way out and say I’m proudest of the compilations. Some of them were a great success and it was fascinating to see the diverse ways that artists interpreted the themes of each. One of the earliest compilations, Far Afield, is approaching 75,000 downloads. In 2008 I released a compilation of ambient made with string instruments, and there are some terrific pieces on there. Highly recommended.
Thanks for your time! Any last words for our readers?
Sure. A bit about netlabel etiquette for artists who are seeking to get an album released.
In this day and age, there are many places to share your work beside netlabels, and you might even be able to make money by self-releasing, for example on Bandcamp. The primary value of a netlabel right now is if you have work of a specific style or subgenre, a netlabel will introduce your work to fans of that subgenre, and bring you into that community.
So if you say, yes, that’s what I want, then you need to find a label that exactly fits your style. Don’t just e-mail every netlabel you find on Google. Locate a few that closely match your genre, then listen to as much of their catalogs as you can, and really ask yourself which of those do you find the closest affinity with. First approach them. Submit to only one label at a time.
If your work is too different from the typical work on a label, they are more likely to reject it no matter how good it is, because they have an audience established for a certain sound, and they may not be part of other genre communities, so it’s harder to promote what lies outside their area of interest. Many netlabel owners are swamped by submissions that are completely inappropriate, because submitters didn’t do a little research first. Somewhere out there is a perfect netlabel for you that will take your work, and you’re not going to find it by spamming. If you really want to be part of a scene, get to know it. If you want to be heard, start by being a good listener.
Wednesday, 8 May 2013
Tranzmitter
Searching for Brazilian netlabels to interview we ran into Tranzmitter and exchanged a few emails with its curator Marcos Paulo Tiago. The answers are translated from Portuguese.
Substak – Between
First of all, thank you for agreeing to answer a few of our questions. Can you tell us something about the people behind Tranzmitter netlabel and how they got involved with music?
Currently I’m the only person running Tranzmitter. My name is Marcos Paulo Tiago. I have been listening to electronic music since 1987. Even with little resources back then I was always searching for more electronic music.
When and why did you feel the need to create a netlabel? Why a netlabel and not a traditional label?
I first caught wind of netlabels from other countries around 2006. A year later I had some friends who already produced good quality electronic music, and so I decided to get in touch with them to try something out. We received some positive feedback so I immediately created Tranzmitter’s first website to promote it. I think netlabels are the best way for producers to promote their work nowadays, so I never had any interest in creating a more traditional type of label.
Is your label focused only on deep house and techno music?
Our main focus is electronic music, Tranzmitter has releases in genres that range from Deep, House, Techno, Experimental, Downtempo and even Drum’n’Bass and Dubstep.
What netlabels influenced Tranzmitter? Are they still active today?
Yes, Unfoundsound, Deepindub and Inoquo. They are all still active to this day.
Some people are claiming that Jamendo, Bandcamp and Soundcloud are bringing even more artist independence from labels. Not just from the majors but also from indies and netlabels. My question for you is: What are the benefits for an artist to release through your netlabel instead of being entirely independent?
The main reason is because by releasing through a netlabel your music won’t end up restricted to only one channel or platform. Aside from the tracks being available through our website, they are also promoted by us in other channels, increasing the promotional network for the artist’s work.
Are you in contact with local venues and event promoters?
I organized a few events here in Brazil, but there are not that many clubs and promoters opening their doors to local underground music.
We noticed on your website that you also have paid releases available for sale. How do you see the music business operating? How should the free and paid music world coexist in 2014?
I see the relation between free and paid as being positive marketing for Tranzmitter. Having paid releases available is also a good stimulus for the producers who been releasing with us for a longer time.
In the free culture and copyleft movements, Brazil is named quite often for its techno-brega movement. It’s usually mentioned as an example of the anti-capitalist and anti-copyright evolution of music culture. Do you, being a Brazilian, share that view?
Tecnobrega is a popular musical genre traditional from the Northeast Brazil. In the South – where i live – it isn’t played all that much, so I can’t really say much about it.
Care to share with us a net release you are particularly proud of from your label and explain to us why you like it?
It’s hard to pick a release in particular. They all have something that makes them special. I feel proud of Tranzmitter itself, how it turned into a giant of the electronic music scene with over 120 thousand downloads among other things. It also enabled me to become friends with a lot of people, not only here from Brazil but also from other countries. So the label itself makes me proud.
Thanks for your time! Any last words?
Thanks for the contact with netlabelism.com and for the good work you been doing promoting netlabels and electronic music.
Substak – Between
First of all, thank you for agreeing to answer a few of our questions. Can you tell us something about the people behind Tranzmitter netlabel and how they got involved with music?
Currently I’m the only person running Tranzmitter. My name is Marcos Paulo Tiago. I have been listening to electronic music since 1987. Even with little resources back then I was always searching for more electronic music.
When and why did you feel the need to create a netlabel? Why a netlabel and not a traditional label?
I first caught wind of netlabels from other countries around 2006. A year later I had some friends who already produced good quality electronic music, and so I decided to get in touch with them to try something out. We received some positive feedback so I immediately created Tranzmitter’s first website to promote it. I think netlabels are the best way for producers to promote their work nowadays, so I never had any interest in creating a more traditional type of label.
Is your label focused only on deep house and techno music?
Our main focus is electronic music, Tranzmitter has releases in genres that range from Deep, House, Techno, Experimental, Downtempo and even Drum’n’Bass and Dubstep.
What netlabels influenced Tranzmitter? Are they still active today?
Yes, Unfoundsound, Deepindub and Inoquo. They are all still active to this day.
Some people are claiming that Jamendo, Bandcamp and Soundcloud are bringing even more artist independence from labels. Not just from the majors but also from indies and netlabels. My question for you is: What are the benefits for an artist to release through your netlabel instead of being entirely independent?
The main reason is because by releasing through a netlabel your music won’t end up restricted to only one channel or platform. Aside from the tracks being available through our website, they are also promoted by us in other channels, increasing the promotional network for the artist’s work.
Are you in contact with local venues and event promoters?
I organized a few events here in Brazil, but there are not that many clubs and promoters opening their doors to local underground music.
We noticed on your website that you also have paid releases available for sale. How do you see the music business operating? How should the free and paid music world coexist in 2014?
I see the relation between free and paid as being positive marketing for Tranzmitter. Having paid releases available is also a good stimulus for the producers who been releasing with us for a longer time.
In the free culture and copyleft movements, Brazil is named quite often for its techno-brega movement. It’s usually mentioned as an example of the anti-capitalist and anti-copyright evolution of music culture. Do you, being a Brazilian, share that view?
Tecnobrega is a popular musical genre traditional from the Northeast Brazil. In the South – where i live – it isn’t played all that much, so I can’t really say much about it.
Care to share with us a net release you are particularly proud of from your label and explain to us why you like it?
It’s hard to pick a release in particular. They all have something that makes them special. I feel proud of Tranzmitter itself, how it turned into a giant of the electronic music scene with over 120 thousand downloads among other things. It also enabled me to become friends with a lot of people, not only here from Brazil but also from other countries. So the label itself makes me proud.
Thanks for your time! Any last words?
Thanks for the contact with netlabelism.com and for the good work you been doing promoting netlabels and electronic music.
Thursday, 2 May 2013
QED Records
We recently talked with Lionel Valdelion, the person behind the QED Records, the first Philippines netlabel, active online since June 2004.
Makkina – Street Souljah
Did you have any netlabel references when founding QED? Are they still active today?
I was looking at a bunch of netlabels when I started, such as Thinnerism and No Type, and the rest of the regulars over at the Internet Archive Netlabels collection. Sadly many of those first few netlabels are no longer in existence, or have stopped releasing anything new.
The motivation to start my own netlabel really grew when I started subscribing to the netlabel release mailing lists on Yahoogroups. Seeing all this amazing material released out of bedrooms in the farthest reaches of the globe inspired me.
Your website claims QED was the first Philippines netlabel, are there others active nowdays? Can you tell us a little more about the scene there?
There are now at least three more netlabels that I know of, plus a whole lot of individual artists who are packaging their releases on Mediafire and acting as self labels. While netlabelism isn’t something that ever took off here as more of a movement or a scene, it is something that indie artists understand the need for.
Are you connected with the Indonesians Netlabels Union in any way? I know it’s another country, but somewhat close geographically. Maybe you can tell us a little more about it than what we can translate off their website?
No connection at all. That’s been the one thing lacking in my management of the netlabel: any form of organized networking.
What are the predominant type of sounds we can find at QED?
Predominantly chillout and downtempo, but also a lot of breakbeat and DnB, plus everything in between. It never had a real sound because it is held together more by a geographical home base rather than a sonic one.
I read you relocated to the US? Not wanting to pry on your personal life, but can you share with us the reason why? Do you still keep in touch with the Philippines netaudio scene?
My wife and I migrated here to the US to start a family and grab the chance for a better quality of life. So far, it’s working. But I do still keep in touch with Philippine musicians via social media.
You have a very long catalogue for a netlabel, to this date over 4000 releases. My question is: aren’t you afraid that your higher quality releases get hidden under the quantity?
That number is actually deceiving. I started the netlabel with release number qd-4200. So there are only 72 releases thus far. Not very much actually, compared to other, more active netlabels.
But yes, having a large catalog poses a challenge. How do you give equal time to promoting new and old releases? The answer, I think lies in analytics. Look at what people are downloading more of, and promote more of the same sound/genre. Then look at the under-promoted releases you believe in yourself and promote those.
Do you treat all releases the same in terms of promotion? Especially when dealing with different genres it can be difficult to remain in touch with different target audiences, how do you deal with that?
I do promote everything the same way: blasting it out on social media. And to be honest, it never really worked. Or I was never able to optimize the process. I never was able to put enough effort behind it to do it in a way needed for more people to discover us.
I tried video and Youtube for a while, but again, not enough time to do so properly.
Can you share with us your typical promotion of a new release? What websites do you contact? Mailing lists?
I started out promoting the releases using yahoogroups. Today, it’s really only via archive.org’s Netlabel page, Twitter, Facebook, and a few forums. If there’s a manual out there that lists the best ways to promote independent netlabels, I would gladly download it.
Do you have any contact with local scenes organizing or promoting concerts?
I did for a while. But since the majority of electronic musicians QED Records works with are bedroom musicians, there was never enough of a motivation to create events for the releases.
Please share with us a couple of your releases and why any new listeners should listen to them.
I picked these releases based on reader reviews posted on Archive.org:
[qd-4255] Araknidus & aLJar3d – Disturbanz
Kick ass drum n bass by two indie producers who started out producing tracks in the bedroom and parlayed it into gigs at venues.
[qd-4246] Demolee – A World in Slow Motion
Smoothest of smooth chillout and downtempo by a master of sublime groove.
[qd-4214] Makkina – Blissful
Downtempo drum n bass by a reclusive producer whose tracks have been featured on Cafe Del Mar.
[qd-4209] Acid42 – Downtampuhan
Chill house, acid jazz, ambient and a little world/ethnic flavor.
Thanks for your time! Do you have any question you would have liked me to have ask you? Also, any last words of wisdom for the readers?
Support your favorite netlabel by promoting them or buying their products (if they have any for sale).
Makkina – Street Souljah
Did you have any netlabel references when founding QED? Are they still active today?
I was looking at a bunch of netlabels when I started, such as Thinnerism and No Type, and the rest of the regulars over at the Internet Archive Netlabels collection. Sadly many of those first few netlabels are no longer in existence, or have stopped releasing anything new.
The motivation to start my own netlabel really grew when I started subscribing to the netlabel release mailing lists on Yahoogroups. Seeing all this amazing material released out of bedrooms in the farthest reaches of the globe inspired me.
Your website claims QED was the first Philippines netlabel, are there others active nowdays? Can you tell us a little more about the scene there?
There are now at least three more netlabels that I know of, plus a whole lot of individual artists who are packaging their releases on Mediafire and acting as self labels. While netlabelism isn’t something that ever took off here as more of a movement or a scene, it is something that indie artists understand the need for.
Are you connected with the Indonesians Netlabels Union in any way? I know it’s another country, but somewhat close geographically. Maybe you can tell us a little more about it than what we can translate off their website?
No connection at all. That’s been the one thing lacking in my management of the netlabel: any form of organized networking.
What are the predominant type of sounds we can find at QED?
Predominantly chillout and downtempo, but also a lot of breakbeat and DnB, plus everything in between. It never had a real sound because it is held together more by a geographical home base rather than a sonic one.
I read you relocated to the US? Not wanting to pry on your personal life, but can you share with us the reason why? Do you still keep in touch with the Philippines netaudio scene?
My wife and I migrated here to the US to start a family and grab the chance for a better quality of life. So far, it’s working. But I do still keep in touch with Philippine musicians via social media.
You have a very long catalogue for a netlabel, to this date over 4000 releases. My question is: aren’t you afraid that your higher quality releases get hidden under the quantity?
That number is actually deceiving. I started the netlabel with release number qd-4200. So there are only 72 releases thus far. Not very much actually, compared to other, more active netlabels.
But yes, having a large catalog poses a challenge. How do you give equal time to promoting new and old releases? The answer, I think lies in analytics. Look at what people are downloading more of, and promote more of the same sound/genre. Then look at the under-promoted releases you believe in yourself and promote those.
Do you treat all releases the same in terms of promotion? Especially when dealing with different genres it can be difficult to remain in touch with different target audiences, how do you deal with that?
I do promote everything the same way: blasting it out on social media. And to be honest, it never really worked. Or I was never able to optimize the process. I never was able to put enough effort behind it to do it in a way needed for more people to discover us.
I tried video and Youtube for a while, but again, not enough time to do so properly.
Can you share with us your typical promotion of a new release? What websites do you contact? Mailing lists?
I started out promoting the releases using yahoogroups. Today, it’s really only via archive.org’s Netlabel page, Twitter, Facebook, and a few forums. If there’s a manual out there that lists the best ways to promote independent netlabels, I would gladly download it.
Do you have any contact with local scenes organizing or promoting concerts?
I did for a while. But since the majority of electronic musicians QED Records works with are bedroom musicians, there was never enough of a motivation to create events for the releases.
Please share with us a couple of your releases and why any new listeners should listen to them.
I picked these releases based on reader reviews posted on Archive.org:
[qd-4255] Araknidus & aLJar3d – Disturbanz
Kick ass drum n bass by two indie producers who started out producing tracks in the bedroom and parlayed it into gigs at venues.
[qd-4246] Demolee – A World in Slow Motion
Smoothest of smooth chillout and downtempo by a master of sublime groove.
[qd-4214] Makkina – Blissful
Downtempo drum n bass by a reclusive producer whose tracks have been featured on Cafe Del Mar.
[qd-4209] Acid42 – Downtampuhan
Chill house, acid jazz, ambient and a little world/ethnic flavor.
Thanks for your time! Do you have any question you would have liked me to have ask you? Also, any last words of wisdom for the readers?
Support your favorite netlabel by promoting them or buying their products (if they have any for sale).
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