From its roots as a music blog to a fiercely independent label built around physical releases, Somewherecold Records has grown from Jason Lamoreaux’s love of experimental music into a deeply personal effort to give artists and their work something lasting to hold onto.
There’s (still) a Chill in the Air…
When did Somewherecold Records start, and what was your inspiration?
Jason Lamoreaux :: The original version of the label was a partnership with another label in Texas. I think we put out 8 or so albums with them. In 2008, the blog shut down for really accidental reasons and I wanted to start it back up again in 2016. Part of the initiative was the fact that I started to record under The Corrupting Sea and wanted to put my own music out because I thought no one else would care (I’m glad I was very wrong).
Anyway, I was a shoegaze DJ at the time and ran into The Beremy Jet‘s EPs but they had no physical release. For me, digital only is a travesty for many albums. I’m very much a physical media person because the entire package is the album. I love putting artwork together, getting the right combination of packaging, and offering the world something to actually hold. Perhaps that’s the Gen Xer in me but I can’t get beyond it really. So, once The Beremy Jets was on board, I began reaching out to folks I had interviewed or reviewed or I was a fan of and brought some into the label.
As of now, the roster has been whittled down extensively due to money, health issues, and just the world in general seeming to reject art (perhaps out of financial desperation or something other). At the end of the day, I just want to leave something beautiful behind in this world.
The structure of the label is very much inspired by Daniel Miller and the early Mute Records approach to artists. He did it right with honor. He can sleep at night while I don’t know how other record label CEOs can (I’m speaking primarily about major labels that rip off their artists). Anyway, That’s the short of it.
Who were some of your initial artist relations, and did your location help or hinder progress?
Jason Lamoreaux :: I started the label while living in Texas. I hadn’t gotten to the point where I wanted to play live or even had figured out how to do so with what I was putting together. The location however was great because there are so many experimental artists in Dallas and Austin and getting to cut my teeth live in those places was a huge challenge and inspiration. I didn’t get any on the label till later for some reason, but the label was young and others had different outlets.
Initial artists included Aidan Baker, Ummagma, Mis+ress, Yellow6, Niev, Zombie Girlfriend, Thee Koukouvaya, Winterwood, and then my projects like The Corrupting Sea, The Warm Jets, and more came later. I think I’ve worked with around 50 artists over the years.
What were some challenges of starting the label, and how did you envision it standing apart?
Jason Lamoreaux :: I’m not sure how to answer this except the Somewherecold reputation was well received in the music world because we did a lot of work on interviews and reviews between 2000-2008. I initially started the blog up again with interviews from God is an Astronaut and The Album Leaf but the label side of things started to overwhelm and I decided to move in that direction for the time being.
The label is curated by me and I guess that’s the thread through the label. Walls of sound, intimate ambience, electronic experimental, cowboy drone, and other genres are, for me, deeply connected and I wanted the label to reflect my love for those things. Further, I’m an artist. I wanted to be an artist available to other artists. It felt like purpose and, in many ways, still does.
What is your motivation in keeping the label moving forward into the next decade?
Jason Lamoreaux :: This is a constant question in the back of my mind. I would love for it take off and people to actually support it in full. We don’t press very many physical copies but the current landscape makes it almost impossible to sell out it seems. There is a lot of noise out there, too many algorithms, and a ton of cynicism. So, in my mind, I’m taking it year by year. Once it becomes too onerous, I will likely walk away and maybe keep me and a few collective artists to keep it going. But, for now, we stay the course.
That said, Elasticstage in the UK has made it possible to release so much music on vinyl and CDs over on the European side of things. My first 10 The Corrupting Sea albums are now up for order there as well as all the new releases for the label. It’s a press on demand site and the products are beautiful and sound great. The shipping is very low if you order 3 items (their limite right now per order) at a time.
“There is a lot of noise out there, too many algorithms, and a ton of cynicism. So, in my mind, I’m taking it year by year.” ~Jason Lamoureaux
How do you deliver the label’s “sound” to listeners and fans (through distribution, campaigns, live shows, word of mouth, etc.)?
Jason Lamoreaux :: There are a number of ways. I have a rather large promo email system but that is also an issue since so many get inundated with requests for review, etc (I know you probably get the same). The label does have distribution through The Business in Anacortes, Washington. The place is run by this amazing couple and I wish folks would use them more. Again, getting above the noise as it were.
Most of my artists play live but I don’t see that as a deal breaker. A Journey of Giraffes is a studio project and has been so well received. Others are new and I’m not sure if they will play live or not. Again, not a deal breaker. I think people can enjoy music outside of the live world especially considering how terrible support for local artists has become in those live spaces. In terms of word of mouth, well, the silence can be deafening. As a label owner, you often have no idea what fans are thinking, if the label is being well received, or artists being listened to until you bump into someone who tells you differently. You would think that with the mountain of communication options, you would hear things. But you don’t and it can get quite lonely.
I do post on social media but I’m beginning to see it as a hindrance rather than a plus. The label is heavily pro-lgbtq+, anti-war, pro-immigrants, and more. The people who run these sites have proven to be otherwise and it’s becoming more and more difficult to justify any presence on Social Media. At this moment, plans are being sorted to go to a singular website with Bandcamp attached and nothing more.
Lastly, I have uploaded to streaming, which, financially, is a joke. Does it capture people’s attention? I have no idea. You have to have so many streams even to make a penny. I’m behind on those uploads but the label is in a moment of organization and I’ll be uploading past albums that I’ve missed due to daily life. For me, streaming is not a priority. For the same reasons I dislike social media, I dislike streaming companies even more. Spotify, for me, is now a no go. I refuse to place my own music up there but my other artists are welcome to on their own. I don’t control their music.
The Déka box set is encased in a purple velvet box set. It contains the first 10 albums remastered by Jason T. Lamoreaux. All come in artwork matching the box. Also, each album except for Ontology has a brand new track attached as a hidden track.
Visit Somewherecold Records: Bandcamp | Somewherecold.net
![[2View] Xurba :: DFTSKZ-V333 & The Dexadream EP’s (Electric Studios)](https://igloomag.com/wp/wp-content/uploads/2026/09/xurba-dftskz-v333-the-dexadream_feat-75x75.jpg)
