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.
Sunday, 16 June 2013
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).
Wednesday, 20 March 2013
Audiotalaia
I recently got in touch with Edu Comelles, the main person behind the Spanish netlabel Audiotalaia.
Hello Edu, can you tell us a little more about who is behind Audiotalaia?
Audiotalaia was founded in 2007. Since then I have managed the label by myself with punctual collaborations. Right now I work with Óscar Palou who’s in charge of developing the site. Also with Jaume Muntsant, we are usually in touch to work out collaborations or when he releases his podcast Nuvol de Fum. Also Carla Ariza designed the logo and a few guidelines about Audiotalaia’s aesthetic imagery.
But yes, basically it’s me coordinating the whole thing. In a few months we will start new projects in which more people will join me in a new endeavor involving physical releases. And yes, even though I’m by myself I always speak in plural when Audiotalaia is in the conversation: it sounds better
Can you tell us a little more about your artists and your aesthetic vision for the label?
At the beginning our main target was to release works of experimental music or sound compositions closer to an ambient approach. With time, the interests of Audiotalaia has widened the range of styles and genres. Nowadays we focus on various styles and we don’t close the door to proposals ranging from field recordings to circuit bending.
During the past three years the label has focused the interest on works and artists composing in Spain, we have discovered a very vivid and active scene (especially in Valencia) and we are focusing on spreading and disseminating works made in our country (at least we have something worth-exporting). So in the end, Audiotalaia has taken the responsibility of promoting and producing works by local and national artists. Even though we don’t close the door to foreign artists, not at all, but our primary goal is to contribute to this growing community of artists, living (or leaving) Spain.
Can you tell us about one of your recent releases and why we should check it out?
Our latest release by Basque Artist Lauki is a very nice release. He’s been collaborating for a while with Polish artist Pleq and this is his first solo album since 2010. We are happy to release his work because it captures the essence of the aesthetic philosophy of Audiotalaia. A very beautiful work based on recordings of string instruments processed and re-arranged by Lauki himself. After releasing his work we will receive him in Valencia as a guest artist at Off_Hz and this is something we rather like in Audiotalaia to meet the artists we are working with.
Lauki – CEO
I know you organize a few events now and again, especially in Valencia. Can you tell us a little more about your experience organizing local events and dealing with local promoters?
The experience in Valencia has been absolutely stunning so far. After my arrival (almost four years ago) I have discovered amazing artists working on a daily basis and producing a lot of good stuff. Avelino Saavedra, Jean Montag, Jorge Marredo, Martí Guillem, Alozeau, Josué Moreno, Víctor Trescolí or Josep Lluís Galiana are a few examples… But I could be writing names for a while. We can say that nowadays we have a very active local scene that is seen from the rest of Spain as a surprising outburst of creativity, events and culture in a political and socio-economical moment like this one.
We have an average of 3-4 concerts per month in a city not bigger than 800.000 inhabitants, a few self-catered festivals and a monthly based sound art event called Off_Hz curated by me and Carlos Flores. Off_Hz is presenting every month a double concert on different art gallery every time. Each concert counts with a local artist and some other artist we bring from the rest of Spain.
Off_Hz is having a tremendous success in the city. In this small world of experimental music or sound art or whatever you want to call it, there is only a very small amount of people you may reach, still with this disadvantage Off_hz is filling art galleries with people listening to weird music. This is just an example but the case is that Valencia (I don’t know why) is very eager to listen to new music, after three years of continuous work and a lot of pedagogy and didactics we have managed to attract new public and every time more people get interested in that.
We have always been against the inherited elitism of some festivals where you play in front of a few sound artists and composers, you deal with each other and nothing really happens. We are always avoiding this, we take the risk of confronting a non-literate audience, and see how they react, the feedback you get at the end of the concert is richer than any literate comment by some Electroacustic Music legend, something that, make no mistake, we also respect, but… sometimes a fresh and clean approach by someone with “clear ears” is a nice slap in the face.
In regards to the question about the local promoters, we in fact are some sort of local promoters, we work on a self-cattered, DIY philosophy and it has been working nicely so far. Valencia is a city that allows an easy way to organize things, the law is flexible and the rents are low. Also the underground scene in Valencia is quite a vivid one. There a lot of locals and venues where to organize a concerts is quite easy, some of them have even amazing sound equipment such as Plutón.cc a venue we collaborate with often and a epicenter of a part of this scene. In the past, places like La Clínica Mundana (currently closed) functioned in similar ways.
What is your standard procedure when promoting a new release? Do you have regular contact with album reviewers or certain preferred platforms to announce your releases?
We promote basically through social networks such as facebook and twitter. Also we have a very strong mailing list with local and international media reviewers, radio programmers and so on. One of our targets is to be very present on radio in a Spanish basis also we keep promoting the latest release until the next one pops up after (more or less) one month. We like to give time the album to widespread and become sometimes viral. Of course we send personal emails to concrete reviewers that are eager to talk about our releases. This part of the promoting machinery is focused on international media blogs or review platforms, as said before our main target is to show things done in Spain abroad.
The music world is always changing and labels need to adapt and try new models. Can you tell us more about your plans with Audition Records that are described in your homepage?
Audition Records is now in full control of Julián Bonequi. Nowadays the label has stopped production for a while. Bonequi has done amazing work recollecting and preserving a very complex and rich scene based in Berlin, after this hard work I think he deserves a break and a lot of applause.
With Audiotalaia the path leads to another adventure. We are going to open a new catalogue for physical editions that will come to fruition in the following months with new and very promising projects. Also and this is still too early we are starting to think about vinyl editions. For now we will start with CD and limited editions and as this works out we’ll see if we go further. Still with this new addition we won’t leave the free download catalogue, this will continue as always.
What are your plans for the future?
Well I guess I have answered a bit of this in the previous question but the future (as uncertain as it is) will lead us to expand our activities, we want to place a special effort on exporting our model of work to other cities and to start moving artists around the country in new projects we are already working on. So the future, I think is gonna be tough but exciting.
Any last words or a question you would have liked me to have asked?
Just to thank you Filipe for the opportunity to share with you guys what we are working on here in Valencia and Audiotalaia. Thanks very much and congratulations for the work done so far at Netlabelism.
Hello Edu, can you tell us a little more about who is behind Audiotalaia?
Audiotalaia was founded in 2007. Since then I have managed the label by myself with punctual collaborations. Right now I work with Óscar Palou who’s in charge of developing the site. Also with Jaume Muntsant, we are usually in touch to work out collaborations or when he releases his podcast Nuvol de Fum. Also Carla Ariza designed the logo and a few guidelines about Audiotalaia’s aesthetic imagery.
But yes, basically it’s me coordinating the whole thing. In a few months we will start new projects in which more people will join me in a new endeavor involving physical releases. And yes, even though I’m by myself I always speak in plural when Audiotalaia is in the conversation: it sounds better
Can you tell us a little more about your artists and your aesthetic vision for the label?
At the beginning our main target was to release works of experimental music or sound compositions closer to an ambient approach. With time, the interests of Audiotalaia has widened the range of styles and genres. Nowadays we focus on various styles and we don’t close the door to proposals ranging from field recordings to circuit bending.
During the past three years the label has focused the interest on works and artists composing in Spain, we have discovered a very vivid and active scene (especially in Valencia) and we are focusing on spreading and disseminating works made in our country (at least we have something worth-exporting). So in the end, Audiotalaia has taken the responsibility of promoting and producing works by local and national artists. Even though we don’t close the door to foreign artists, not at all, but our primary goal is to contribute to this growing community of artists, living (or leaving) Spain.
Can you tell us about one of your recent releases and why we should check it out?
Our latest release by Basque Artist Lauki is a very nice release. He’s been collaborating for a while with Polish artist Pleq and this is his first solo album since 2010. We are happy to release his work because it captures the essence of the aesthetic philosophy of Audiotalaia. A very beautiful work based on recordings of string instruments processed and re-arranged by Lauki himself. After releasing his work we will receive him in Valencia as a guest artist at Off_Hz and this is something we rather like in Audiotalaia to meet the artists we are working with.
Lauki – CEO
I know you organize a few events now and again, especially in Valencia. Can you tell us a little more about your experience organizing local events and dealing with local promoters?
The experience in Valencia has been absolutely stunning so far. After my arrival (almost four years ago) I have discovered amazing artists working on a daily basis and producing a lot of good stuff. Avelino Saavedra, Jean Montag, Jorge Marredo, Martí Guillem, Alozeau, Josué Moreno, Víctor Trescolí or Josep Lluís Galiana are a few examples… But I could be writing names for a while. We can say that nowadays we have a very active local scene that is seen from the rest of Spain as a surprising outburst of creativity, events and culture in a political and socio-economical moment like this one.
We have an average of 3-4 concerts per month in a city not bigger than 800.000 inhabitants, a few self-catered festivals and a monthly based sound art event called Off_Hz curated by me and Carlos Flores. Off_Hz is presenting every month a double concert on different art gallery every time. Each concert counts with a local artist and some other artist we bring from the rest of Spain.
Off_Hz is having a tremendous success in the city. In this small world of experimental music or sound art or whatever you want to call it, there is only a very small amount of people you may reach, still with this disadvantage Off_hz is filling art galleries with people listening to weird music. This is just an example but the case is that Valencia (I don’t know why) is very eager to listen to new music, after three years of continuous work and a lot of pedagogy and didactics we have managed to attract new public and every time more people get interested in that.
We have always been against the inherited elitism of some festivals where you play in front of a few sound artists and composers, you deal with each other and nothing really happens. We are always avoiding this, we take the risk of confronting a non-literate audience, and see how they react, the feedback you get at the end of the concert is richer than any literate comment by some Electroacustic Music legend, something that, make no mistake, we also respect, but… sometimes a fresh and clean approach by someone with “clear ears” is a nice slap in the face.
In regards to the question about the local promoters, we in fact are some sort of local promoters, we work on a self-cattered, DIY philosophy and it has been working nicely so far. Valencia is a city that allows an easy way to organize things, the law is flexible and the rents are low. Also the underground scene in Valencia is quite a vivid one. There a lot of locals and venues where to organize a concerts is quite easy, some of them have even amazing sound equipment such as Plutón.cc a venue we collaborate with often and a epicenter of a part of this scene. In the past, places like La Clínica Mundana (currently closed) functioned in similar ways.
What is your standard procedure when promoting a new release? Do you have regular contact with album reviewers or certain preferred platforms to announce your releases?
We promote basically through social networks such as facebook and twitter. Also we have a very strong mailing list with local and international media reviewers, radio programmers and so on. One of our targets is to be very present on radio in a Spanish basis also we keep promoting the latest release until the next one pops up after (more or less) one month. We like to give time the album to widespread and become sometimes viral. Of course we send personal emails to concrete reviewers that are eager to talk about our releases. This part of the promoting machinery is focused on international media blogs or review platforms, as said before our main target is to show things done in Spain abroad.
The music world is always changing and labels need to adapt and try new models. Can you tell us more about your plans with Audition Records that are described in your homepage?
Audition Records is now in full control of Julián Bonequi. Nowadays the label has stopped production for a while. Bonequi has done amazing work recollecting and preserving a very complex and rich scene based in Berlin, after this hard work I think he deserves a break and a lot of applause.
With Audiotalaia the path leads to another adventure. We are going to open a new catalogue for physical editions that will come to fruition in the following months with new and very promising projects. Also and this is still too early we are starting to think about vinyl editions. For now we will start with CD and limited editions and as this works out we’ll see if we go further. Still with this new addition we won’t leave the free download catalogue, this will continue as always.
What are your plans for the future?
Well I guess I have answered a bit of this in the previous question but the future (as uncertain as it is) will lead us to expand our activities, we want to place a special effort on exporting our model of work to other cities and to start moving artists around the country in new projects we are already working on. So the future, I think is gonna be tough but exciting.
Any last words or a question you would have liked me to have asked?
Just to thank you Filipe for the opportunity to share with you guys what we are working on here in Valencia and Audiotalaia. Thanks very much and congratulations for the work done so far at Netlabelism.
Tuesday, 19 February 2013
This Side Music
The next netlabel interview in our monthly rotation is with the guys behind This Side Music,
a duo based out of Greece, focusing their netlabel on electronic music
(house/techno). They have been running it since 2007 and have had 18
releases so far.
Lee Fraged & Double Trouble – Say it with your own words
Could you please introduce us to the people behind This Side Music? Who are you? What is your background? What do you do for a living? How did you get connected with music and netaudio?
The netlabel started in Crete island, Greece, by Lee Fraged and Linny Berret and it was a product of a years-long friendship and musical companionship. Lee currently has an office job, he has worked in record sales for many years. Linny is a computer engineer. We have both been spinnin’ records (house/techno) and serving the local scene since the late 90’s – the club is where we met. What brought us even closer was a common taste in music and, of course, living in the same house for many years.
We also consider Dimitri Barnias (aka Dok) the third member of the family. Dimitri has contributed a great deal with his music, his spirit and his studio equipment and time to what we do.
When and how did you feel the need to start a netlabel?
Back in 2006, when the idea was first conceived, we had already experimented with various methods of electronic music production along with friends in the local scene. We tried to find ways to express ourselves independently, outside the music industry rules and commercial mindset, and the technology was available to help us achieve our goal. Several other existing netlabels inspired us (such as Thinner/Autoplate, Deepindub, Tropic et al.) so when we had enough material to justify the creation of a new one we decided to set it up – that was in 2007. One of our main goals was to share and promote music of our personal taste with a focus on great sound, as close as possible to the traditional labels. We wanted This Side Music to be a musical commonplace for like-minded people, rather than just an outlet of random sounds.
Do you feel the premises that made you start are still present nowadays or has the world changed and your objectives along with it?
This Side Music is still a resource for good electronic music, under a Creative Commons license, so our main goal is still alive. Items are available for sale from time to time – we’ve had a DIY CD release that fared quite well in terms of sales and there is also a release available on Bandcamp. It’s important to keep in mind that this is a non-profit situation, so we have to cover all expenses such as server & mastering costs ourselves – actual income from donations or sales is minimal. Kudos to Dimitri’s Diapason Studio for serving us for free when we need it!
The world changes of course; we relocate from time to time (Lee has lived in Berlin for 2 years, Linny currently lives in Athens), we get busier in our personal and professional lives, and this translates to a slower release cycle. We believe that having 3-5 releases per year is good enough if we want to keep the spirit alive. We also have other projects we plan to associate with This Side Music, such as a traditional vinyl release.
How do you measure the success of your netlabel?
It’s been more than five years since the first release, and we have a nice roster of artists that support us and have become our friends, some of our releases were really successful, in terms of downloads and feedback (while some others not so much), but most importantly we have enjoyed some fine music. It is an ongoing ride and we plan to keep a steady, albeit slow, pace.
You divide your catalogue into 2 sections, can you tell us a little more about that? Why does that division make sense?
We indulge ourselves in a wide spectrum of electronic music, so in the sense of “releasing good music”, we decided that we should release more than one specific style. The division in 2 sections was the simplest that could be, one “Up” section for mostly uptempo, driving stuff and one “Down” section as a space for home listening, ambient or esoteric music. Every listener can choose to follow the activity on the “sublabel” that interests them most; someone interested in dance music might want to filter out the experimental sounds of This Side Down, for example, and vice versa. Each section seems to have its own fan base, the “Up” being more popular as expected. Moreover, the ‘This Side Up/This Side Down’ juxtaposition sounds nice.
Can you tell us a little about the situation in Greece and how it affects your personal life and also the label?
The financial crisis has affected friends and people around us deeply – increased unemployment and depression – and it’s hard to overlook such a situation. We try to counterbalance this with good music and engagement in creative activities on a personal level as well as through the netlabel.
Are you connected with local promoters to organize local gigs for your artists?
We prefer to organize our own gigs and events in local venues – including Healthy Summer, an annual summer event in southern Crete. Local artists get more exposure – covering travel expenses to the southernmost point in Europe is not cheap – but sometimes artists from the label come on vacation here, so we hook them up with a gig or two if possible. Other promoters in the area are mostly all about money and cheesy commercial music so smaller or specialist venues are our targets.
How do you see the world of music evolving in the next couple of years?
The fact is that music gets recycled as time goes on, while technology evolves and production values and techniques change. We expect to hear fascinating and unexpected new sounds, as well as some of the same, modernized probably, yet actually tried and tested formulas.
Can you tell us a little more about your next upcoming release?
Currently we are working on a new Dok release for This Side Down, a conceptual mini LP with manipulated ambient recordings from his DAT tapes.
Thanks for your time. Any last words of wisdom for our readers?
If you really believe in something, do it yourself. Don’t expect others to do it for you.
Link to the Label Page.
Lee Fraged & Double Trouble – Say it with your own words
Could you please introduce us to the people behind This Side Music? Who are you? What is your background? What do you do for a living? How did you get connected with music and netaudio?
The netlabel started in Crete island, Greece, by Lee Fraged and Linny Berret and it was a product of a years-long friendship and musical companionship. Lee currently has an office job, he has worked in record sales for many years. Linny is a computer engineer. We have both been spinnin’ records (house/techno) and serving the local scene since the late 90’s – the club is where we met. What brought us even closer was a common taste in music and, of course, living in the same house for many years.
We also consider Dimitri Barnias (aka Dok) the third member of the family. Dimitri has contributed a great deal with his music, his spirit and his studio equipment and time to what we do.
When and how did you feel the need to start a netlabel?
Back in 2006, when the idea was first conceived, we had already experimented with various methods of electronic music production along with friends in the local scene. We tried to find ways to express ourselves independently, outside the music industry rules and commercial mindset, and the technology was available to help us achieve our goal. Several other existing netlabels inspired us (such as Thinner/Autoplate, Deepindub, Tropic et al.) so when we had enough material to justify the creation of a new one we decided to set it up – that was in 2007. One of our main goals was to share and promote music of our personal taste with a focus on great sound, as close as possible to the traditional labels. We wanted This Side Music to be a musical commonplace for like-minded people, rather than just an outlet of random sounds.
Do you feel the premises that made you start are still present nowadays or has the world changed and your objectives along with it?
This Side Music is still a resource for good electronic music, under a Creative Commons license, so our main goal is still alive. Items are available for sale from time to time – we’ve had a DIY CD release that fared quite well in terms of sales and there is also a release available on Bandcamp. It’s important to keep in mind that this is a non-profit situation, so we have to cover all expenses such as server & mastering costs ourselves – actual income from donations or sales is minimal. Kudos to Dimitri’s Diapason Studio for serving us for free when we need it!
The world changes of course; we relocate from time to time (Lee has lived in Berlin for 2 years, Linny currently lives in Athens), we get busier in our personal and professional lives, and this translates to a slower release cycle. We believe that having 3-5 releases per year is good enough if we want to keep the spirit alive. We also have other projects we plan to associate with This Side Music, such as a traditional vinyl release.
How do you measure the success of your netlabel?
It’s been more than five years since the first release, and we have a nice roster of artists that support us and have become our friends, some of our releases were really successful, in terms of downloads and feedback (while some others not so much), but most importantly we have enjoyed some fine music. It is an ongoing ride and we plan to keep a steady, albeit slow, pace.
You divide your catalogue into 2 sections, can you tell us a little more about that? Why does that division make sense?
We indulge ourselves in a wide spectrum of electronic music, so in the sense of “releasing good music”, we decided that we should release more than one specific style. The division in 2 sections was the simplest that could be, one “Up” section for mostly uptempo, driving stuff and one “Down” section as a space for home listening, ambient or esoteric music. Every listener can choose to follow the activity on the “sublabel” that interests them most; someone interested in dance music might want to filter out the experimental sounds of This Side Down, for example, and vice versa. Each section seems to have its own fan base, the “Up” being more popular as expected. Moreover, the ‘This Side Up/This Side Down’ juxtaposition sounds nice.
Can you tell us a little about the situation in Greece and how it affects your personal life and also the label?
The financial crisis has affected friends and people around us deeply – increased unemployment and depression – and it’s hard to overlook such a situation. We try to counterbalance this with good music and engagement in creative activities on a personal level as well as through the netlabel.
Are you connected with local promoters to organize local gigs for your artists?
We prefer to organize our own gigs and events in local venues – including Healthy Summer, an annual summer event in southern Crete. Local artists get more exposure – covering travel expenses to the southernmost point in Europe is not cheap – but sometimes artists from the label come on vacation here, so we hook them up with a gig or two if possible. Other promoters in the area are mostly all about money and cheesy commercial music so smaller or specialist venues are our targets.
How do you see the world of music evolving in the next couple of years?
The fact is that music gets recycled as time goes on, while technology evolves and production values and techniques change. We expect to hear fascinating and unexpected new sounds, as well as some of the same, modernized probably, yet actually tried and tested formulas.
Can you tell us a little more about your next upcoming release?
Currently we are working on a new Dok release for This Side Down, a conceptual mini LP with manipulated ambient recordings from his DAT tapes.
Thanks for your time. Any last words of wisdom for our readers?
If you really believe in something, do it yourself. Don’t expect others to do it for you.
Link to the Label Page.
Thursday, 27 December 2012
Zorch Factory Records
Our netlabel interview tour continues, this time focusing on France with Zorch Factory Records. A netlabel focusing on alternative / dark / goth / punk music genres.
Madame B – Religious cold
Can you please introduce the people who run Zorch Factory Records? What are their backgrounds and how long have they been involved with promoting music?
Well in fact there is only me, Manu, running the label, for the greater part of our existence since our founding back in 2008. Two months ago I started cooperating with a writer that helps me with record reviews and summaries. He’s American, thus a native English writer, and it gave a new dimension to the label.
About me, I would say that I have been into music since 2003. I played in a couple of bands, including my own project, Camp Z, created in 2006, went on stage a few times, met a lot of other bands and people within the scene (promoters, djs, writers of fanzines and webzines).
I read from your website that you started the label in 2008. Why did you feel the need to start Zorch Factory Records?
I created my own musical band/project in 2006. In 2007/2008 I was signed by a wonderful dark indie label. But soon after it was clear that I would not sell much. After 2005 it began to be hard for traditional labels to sell CDs and I wasn’t doing much gigs with this band… So I decided to release the next records of Camp Z online, as free download so that a maximum number of people could be reached. I was a webmaster, web programmer and designer… That’s how it all started.
Did your motivation or objectives change since then? If so, in what way? If not, hasn’t the music world been changing since then?
No, my motivation or objective are the same. Surely the music world has been changing since, digital music taking over more and more. But the idea of an independent netlabel, a place where people could discover and grab good underground music for free is the same. I just added a little commercial dimension. I signed a partnership with another dark indie netlabel, afmusic that distributes some ZFR releases on all major digital music stores.
Zorch Factory focuses on the so called alternative and goth genres: deathrock, post punk, batcave, industrial. There aren’t that many netlabels focused on these niche genres. Compared to the number of netlabels releasing techno for example. Can you share your opinion on why that might be?
I think the reason is quite simple. These genres are closer to “rock” music attitude rather than electro. So they remained away from the computer longer than the techno or electro musicians. They were still focused on the classic aspects of the genre like, rehearsals, gigs, recording full length albums in studio, and making “discs” whether it was vinyl or CD. At the same time electro people were already very active on the net, sharing music, recording on their laptop, producing music on the net, etc.
Rock musicians became familiar with releasing their music online later, through services like last.fm, jamendo, myspace, etc. And for niche genres, dedicated labels like Zorch Factory was a good way of being visible. That’s why I received so many demos & applications.
Can you tell us a little about the netaudio scene in France? Are you in touch with other netlabels? Are there many active netlabels?
I am not really aware of the netaudio scene in France. Not at all in fact, except for these niche genres. And in France there are no other netlabels like ZFR. Yet some traditional labels in the scene are starting to release things as digital, like free samplers of their artists. And some other netlabels appear from time to time. And there are some bands which are very active on their own. I mostly cooperate with my big partner afmusic, which is really a leader of the genre in Europe at least.
Your deal with afmusic from Germany enables you to publish CD releases. Do you feel physical releases still carry a certain importance? We all know they reach less people, but do they generate more reviews and specialized attention?
Well the deal with afmusic only covers commercial digital releases. Meaning these releases will appear on iTunes, Amazon, Deezer, Spotify… Still I agree with you regarding physical releases. These are still generating more attention from traditional magazines for example, while reaching far less people…
Do you collaborate with local promoters to organize events for your artists? If so, can you tell us in what form? If not, why not?
No, simply because I do not have the time for this. I’d love too, but I have a job, a family, and not enough time or energy for more than the label!
Why the restriction of no derivatives on your standard creative commons license? Are you against the remix culture? Wouldn’t it make sense to let the people who are inspired from your releases to create and share their work? You don’t lose anything from it, only stand to gain more publicity. Or are you concerned with protecting your image?
Well it’s more something related to the “rock” music culture which is not that familiar with remixes, we expect that the band asks for such remixes and provides the remix kit for it, or if someone does a remix they let the original musician know about it before releasing it. So it was more a choice to have a license model that fits the label band’s culture in general. But each band is free to ask for a more flexible creative commons license model.
Thank you for your time, and good luck with your future efforts.
Madame B – Religious cold
Can you please introduce the people who run Zorch Factory Records? What are their backgrounds and how long have they been involved with promoting music?
Well in fact there is only me, Manu, running the label, for the greater part of our existence since our founding back in 2008. Two months ago I started cooperating with a writer that helps me with record reviews and summaries. He’s American, thus a native English writer, and it gave a new dimension to the label.
About me, I would say that I have been into music since 2003. I played in a couple of bands, including my own project, Camp Z, created in 2006, went on stage a few times, met a lot of other bands and people within the scene (promoters, djs, writers of fanzines and webzines).
I read from your website that you started the label in 2008. Why did you feel the need to start Zorch Factory Records?
I created my own musical band/project in 2006. In 2007/2008 I was signed by a wonderful dark indie label. But soon after it was clear that I would not sell much. After 2005 it began to be hard for traditional labels to sell CDs and I wasn’t doing much gigs with this band… So I decided to release the next records of Camp Z online, as free download so that a maximum number of people could be reached. I was a webmaster, web programmer and designer… That’s how it all started.
Did your motivation or objectives change since then? If so, in what way? If not, hasn’t the music world been changing since then?
No, my motivation or objective are the same. Surely the music world has been changing since, digital music taking over more and more. But the idea of an independent netlabel, a place where people could discover and grab good underground music for free is the same. I just added a little commercial dimension. I signed a partnership with another dark indie netlabel, afmusic that distributes some ZFR releases on all major digital music stores.
Zorch Factory focuses on the so called alternative and goth genres: deathrock, post punk, batcave, industrial. There aren’t that many netlabels focused on these niche genres. Compared to the number of netlabels releasing techno for example. Can you share your opinion on why that might be?
I think the reason is quite simple. These genres are closer to “rock” music attitude rather than electro. So they remained away from the computer longer than the techno or electro musicians. They were still focused on the classic aspects of the genre like, rehearsals, gigs, recording full length albums in studio, and making “discs” whether it was vinyl or CD. At the same time electro people were already very active on the net, sharing music, recording on their laptop, producing music on the net, etc.
Rock musicians became familiar with releasing their music online later, through services like last.fm, jamendo, myspace, etc. And for niche genres, dedicated labels like Zorch Factory was a good way of being visible. That’s why I received so many demos & applications.
Can you tell us a little about the netaudio scene in France? Are you in touch with other netlabels? Are there many active netlabels?
I am not really aware of the netaudio scene in France. Not at all in fact, except for these niche genres. And in France there are no other netlabels like ZFR. Yet some traditional labels in the scene are starting to release things as digital, like free samplers of their artists. And some other netlabels appear from time to time. And there are some bands which are very active on their own. I mostly cooperate with my big partner afmusic, which is really a leader of the genre in Europe at least.
Your deal with afmusic from Germany enables you to publish CD releases. Do you feel physical releases still carry a certain importance? We all know they reach less people, but do they generate more reviews and specialized attention?
Well the deal with afmusic only covers commercial digital releases. Meaning these releases will appear on iTunes, Amazon, Deezer, Spotify… Still I agree with you regarding physical releases. These are still generating more attention from traditional magazines for example, while reaching far less people…
Do you collaborate with local promoters to organize events for your artists? If so, can you tell us in what form? If not, why not?
No, simply because I do not have the time for this. I’d love too, but I have a job, a family, and not enough time or energy for more than the label!
Why the restriction of no derivatives on your standard creative commons license? Are you against the remix culture? Wouldn’t it make sense to let the people who are inspired from your releases to create and share their work? You don’t lose anything from it, only stand to gain more publicity. Or are you concerned with protecting your image?
Well it’s more something related to the “rock” music culture which is not that familiar with remixes, we expect that the band asks for such remixes and provides the remix kit for it, or if someone does a remix they let the original musician know about it before releasing it. So it was more a choice to have a license model that fits the label band’s culture in general. But each band is free to ask for a more flexible creative commons license model.
Thank you for your time, and good luck with your future efforts.
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