AD NOISEAM :: Nicolas Chevreux
Igloo :: What is the “mission statement” for your label and how do you approach and nurture artist relationships?
NC :: Ad Noiseam’s raison d’être is to release and spread “good,” interesting music. It’s not limited to any genre, style or niche, and does not pretend to do anything else than act as a purely music label. I keep in close touch with most of the active artists on the label, mostly through internet (as most do not live in Berlin), or by meeting each others at gigs or festivals. With releases, concerts, remixes, compilation tracks and so on, there’s no shortage of activity, and I am in constant contact with a lot of the roster’s artist.
Igloo :: Is there any particular “ingredient” to keep and maintain a consistent release schedule?
NC :: Just don’t try to overdo it. Once you start working with a few artists, you get new material from them relatively regularly, meaning that the room left for new signed acts shrink relatively quickly. Since a label the size of Ad Noiseam can only release so many records, I can not really go and actively hunt new acts, as it would be detrimental to the people already on the label. So while I keep my ears open and listen to all the demos which are sent to me, it’s very rare that the initiative comes from me.
Igloo :: What are your views on growing the label for 2010 and beyond (physical / digital releases / gigs)?
NC :: Do you have a “all of them” check-box? Obviously, the music industry in general and the underground electronic scene in general is heavily weakened and particularly confused. We all find ourselves running scared in the dark towards whatever flicker we might see. So yes, as far as Ad Noiseam goes, I want to put the focus on concerts and festivals and have an heavier and wider promotion policy. Physical releases, which are the core of the label, won’t be touched and will keep their role. As far as digital goes, the challenge will probably to keep on being present on as many platforms as possible, while trying to make sense of the myriad of digital distribution channels that have popped up recently.
Igloo :: Is there anything you would suggest / recommend to artists sending demo’s?
NC :: Definitely: please read the demo policy FAQ on Ad Noiseam. To sum it up:
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HERB :: Craig Murphy
Igloo :: What is the “mission statement” for your label and how do you approach and nurture artist relationships?
CM :: We don’t really have a mission statement as such as the goal is to let the label evolve over time and basically see where the ride takes us. In saying that, we’ve always tried to find releases that comfortably bridge experimentalism with aspects of what would be considered perhaps more commercial or mainstream music. The thinking behind this approach was that it would hopefully give the artists a platform to move onto something bigger, whilst at the same time introducing a different demographic of listeners to experimental electronic music. From a purely personal perspective, I’ve always listened to a wide variety of artists and styles and perhaps this has been a key ingredient in my aim to keep the sound eclectic.
Regarding artist relationships I just try to be up front with them about what’s happening and tell them that I will basically give them a chance if I’m into the music. I see it as a team effort and if you’re not interested in being part of a team, then I’m not interested in releasing your music. I find it’s best to be up front about things because it saves problems down the line and in an industry where there’s very little revenue for artists or labels, it’s extremely important to me that there is a degree of trust and respect between both parties; otherwise there is no motivation and no point.
In respect of nurturing artists, I don’t try to shape their sound or style. If something doesn’t appeal to me, it doesn’t appeal to me. I would actually prefer that they went back to the drawing board and tried something new, rather than asking me to tell them what to do, or simply me having to tell them. I can’t really tell them anyway, no one knows what’s going to grab them next, so it’s always good to keep your mind open.
Igloo :: Is there any particular “ingredient” to keep and maintain a consistent release schedule?
CM :: I can’t say there has been anything particularly that has helped maintain the release schedule. Other than the fact there’s a great bunch of artists on the label who are consistently behind some excellent music. We’re always looking for new music as well though and I believe it’s vitally important to continue looking for new artists as this is what keeps music evolving. I’ve been very fortunate so far in having been able to release so many talented artists in the 4 years we’ve been in existence. Long may it continue!
Igloo :: What are your views on growing the label for 2010 and beyond (physical / digital releases / gigs)?
CM :: So far we have 2 confirmed releases lined up, Beautiful Isolation by Kingbastard and Magus by Shoosh. There’s also another 2 releases by 2 new Scottish acts in the pipeline that have still to be finalised. We’re also in the process of setting up a regular Herb Night in Glasgow, Scotland, though this won’t be happening until the spring of this year. I also believe that Shamanic Technology isn’t too far away from completing the follow up to Doorways and Engine7 is also working on new material. The Herb is looking healthy long into 2011. Sadly we’ve had to take the decision to cancel CD runs for the foreseeable future though. Quite simply we lost too much money on them and the only way for the label to survive was to go digital.
Igloo :: Is there anything you would suggest / recommend to artists sending demo’s?
CM :: Keep trying! Don’t let refusal put you off from making music and keep in mind that because a label doesn’t release your music, it doesn’t mean that it’s no good or they don’t like it.
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HIDDEN SHOAL :: Cam Merton
Igloo :: What is the “mission statement” for your label and how do you approach and nurture artist relationships?
CM :: As a label, we’re a bit wary of mission statements, but if we had to tie ourselves down to one it would be something like, “to release exciting and engaging new independent music, unbound by genre or style”. When it comes down to it, we release music that we fall in love with – music that we’d be seeking out and listening to obsessively, regardless of whether we ran a label or not. The label allows what may seem like disparate musical styles and approaches to sit together as one. Our approach is a curatorial one; we’re not interested in presenting homogeneity or cornering a particular genre. We’re looking at the label as a way to develop an engaging collection of music that comprises many diverse shades, yet works as a whole. It reflects our own musical tastes, and it also echoes a discerning listener’s approach to music, where you can move from experimental ambient work to epic indie rock within the space of 10 minutes.
In regards to nurturing artist relationships, as an artist, you not only want to work with people who understand what you’re doing musically, but who are finding the true resonance in your music – people who believe that it must be heard by a wider audience. It helps to generate a feeling that we’re all working together towards the same goal, and instead of a roster you have a community of artists. When the whole community starts working together and helping each other out with things like touring, or press and radio contacts, you have something that you’d never have on your own. This is particularly important for us and our artists, seeing as we have such an international roster and promote and distribute across a number of territories.
Igloo :: Is there any particular “ingredient” to keep and maintain a consistent release schedule?
CM :: Great music. It’s a dumb answer, but that’s the key really. We have a pretty active release schedule because we’re presented with so much wonderful music that we feel compelled to bring to a wider audience. In terms of keeping up the energy and momentum from our end, it comes down to the love for the music we’re releasing. As I’m sure any smaller independent label will tell you, if you’re in this for the money then you’re going to become disappointed very quickly! It doesn’t mean you can’t make a living out of such an enterprise, but if you aren’t driven by passion for the music then you’re mostly going to find a whole lot of exhausting work ahead of you.
Igloo :: What are your views on growing the label for 2010 and beyond (physical / digital releases / gigs)?
CM :: We’re currently running a series of digital-only releases, which began late last year with Stray Ghost’s Each Paradise Is A Lost Paradise EP. This year will see digital-only releases by Boxharp, Markus Mehr, and a number of others to be announced soon. The digital-only releases act as either an introduction to a new artist, or in some cases an introduction to an upcoming album. I think they fit well in the larger release plan.
We’re also looking at new ways to work with physical releases and see how we can move away from traditional packaging and create more engaging physical product. We want to create compelling packaging on a larger canvas than a standard CD sleeve. We’ve been throwing around ideas, which are still firmly in the lab at the moment – but hopefully some of them will be realized sometime this year. Along similar lines, we’re also looking to expand our digital packages and include a lot more in the download package in terms full digital booklets, interviews, music videos, and other artwork.
We’ll also be continuing to develop the licensing arm of the label (film, TV, games, etc., as well as some other unique avenues), with some great upcoming projects in the works. We hope to see this aspect of what we do flourish over the next few years and become a major income source, as well as a promotional avenue for our artists and the catalogue.
Igloo :: Is there anything you would suggest / recommend to artists sending demo’s?
CM :: If you love the music that you’re making and truly believe that it’s ready to reach more pairs of ears, contact labels that you feel you have an affinity with and see if they resonate with what you’re doing. But, only start doing this when you know what you’re sharing is the best it can be – labels hear so much music that it’s easy to overlook stuff that isn’t fully formed, yet has the potential for greatness. You’ll know when what you’ve got is ready. I think another piece of advice is to be patient – most labels receive a huge amount of demo requests or material and it can be difficult to get to it in any kind of timely manner. You also do have to follow up as well for the same reason – just don’t do it a week after you’ve sent something though!
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HIGHPOINT LOWLIFE :: Thorsten Sideb0ard
Igloo :: What is the “mission statement” for your label and how do you approach and nurture artist relationships?
TS :: Our intent is quite a broad remit, to release interesting quality electronic music, irrespective of contemporary fashions, so one release may be drone based, the next might be techno or more abstract beats. The artist relationships is very important, and I would say the most essential aspect of running the label. I run the label myself, so it’s a very personal one-on-one relationships with the artists, and I keep in quite close contact with almost everyone. We actually have a discussion list, which isn’t HPLL specific, but does include many of the artists on our roster, so through that I’m in regular contact with most everyone. Of the new demos we receive, obviously the music is critical, but the decision to take on a new project is also very much based on the communication between us, whether they fit into the broader scheme of Highpoint Lowlife’s approach and sensibility.
Igloo :: Is there any particular “ingredient” to keep and maintain a consistent release schedule?
TS :: As we have quite a solid and ongoing relationship with artists, I’m usually sent quite a lot of new projects they have been working on, so there’s not much letup in content to release. I try not to take on or plan too much in advance, to allow for a certain flexibility in the release schedule, and I also try to mix it up, so that we don’t fall into a pattern or become know for one particular style. On the technical side of the release schedule, it becomes easier after a while, when you know all the steps involved in a release, from mastering to artwork to distribution, and once you have that framework in place and good people to work with, maintaining a consistent schedule becomes a lot less hassle and you don’t need to reinvent the wheel each time.
Igloo :: What are your views on growing the label for 2010 and beyond (physical / digital releases / gigs)?
TS :: I’m really excited about 2010, it feels like a completely level playing field at the moment, with a load of evolving and developing opportunities for labels and artists, and that we are only starting to see the changes that are brought about by internet distribution and channels. A model is forming which is a multi-faceted approach, using a combination of physical and digital releases, depending on what is right for the project. My views for the moment are to keep on what we’ve been doing, continually keep an open mind and an eye on emerging technologies and sounds and generally just moving with and adapting to changing circumstances. It feels like there is a lot of room for creativity and a lot of untapped potential.
Igloo :: Is there anything you would suggest / recommend to artists sending demo’s?
TS :: I find I am much more inclined to give someone’s material a listen to if they are familiar with the label’s output, rather than just sending out a mass demo to every label they can find. It shows the artist is aware of what kind of material you are releasing, and that if they still want to send it in, then hopefully they feel some kind of affinity with the other work released. Also more compelling is if the artist is actively engaging with audiences themselves, being proactive and sending out mixes, playing live and/or DJing. That’s not essential, I’m quite happy and willing to release from complete unknowns who may be more happy being an anonymous producer, but it does helps.
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N5MD :: Mike Cadoo
Igloo :: What is the “mission statement” for your label and how do you approach and nurture artist relationships?
MC :: Considering our tagline is emotional experiments in music, I feel our mission is fairly clear . I do feel that it often gets miss represented as being experimental music that has some emotion to it. The true meaning and intention of our mission statement is that our artist experiment with the feelings of their music. Most of them being very confident and almost instinctual in projecting their emotions in their music which does take some experimentation in the technical aspect of the creation of music . There are some emotions that are hard to convey without sometimes dropping into pastiche or predictability and I think artists on n5MD never go to that extent to convey their feelings. We are all tied by a common thread be it Shoegaze, Post-rock, Electro-acoustic IDM, Dubstoned (yes it’s a genre now! 8^), Ambient or Armchair Techno in that n5MD artists are honest, creative and emotionally expansive in the creation of their music.
I would say that my relationship with each artist is different. Some may ask for advice or assistance in the creative process and some just go off and do what they do. I am fine with either situation as I feel i really am here to aide our artists in seeing their vision come to fruition.
Igloo :: Is there any particular “ingredient” to keep and maintain a consistent release schedule?
MC :: Honesty, creativity, thick skin and detail transparency.
Igloo :: What are your views on growing the label for 2010 and beyond (physical / digital releases / gigs)?
MC :: I really have never had a this year outlook in label expansion. I feel it very hard and almost impossible to live up to ones own expectations and for this I have always had, and still do have, a slow and strong philosophy for n5MD. I also really have never bothered to look around as to what other labels were doing or trying as I feel that would really negate the honesty of what the label and in turn our artists’ are doing. As for what is on the horizon for n5MD.
November 2010 is n5MD’s 10th anniversary. So for this year there is a lot of releases scheduled leading up to that watermark. Albums from AEM, ent, SubtractiveLAD, Bitcrush, Ruxpin, Near The Parenthesis, Lights Out Asia, Funckarma, Proem, Dalot and even possibly Dryft. There is also an anniversary comp in the works as well. In addition to the MMX comp that was recently released in conjunction with Bandcamp (n5md.bandcamp.com) there will also be free download releases available there in the coming months from Ruxpin, Bitcrush, and Near The Parenthesis as sort of a thank you to our artists’ fans. We are also trying to get port-royal and Plastik Joy over for a tour this year.
Igloo :: Is there anything you would suggest / recommend to artists sending demo’s?
MC :: Our demo policy can be seen as obsessively focused. There is really only one criteria that people tend to overlook; the emotional honesty in their music. I know it is not easy for all musicians to display such emotion but I could get a grindcore demo and connect with it emotionally and it could possibly be the next n5 signing. It is really that easy.
I do actually give all demos a listen. There are several stages to the review of demos. I open it when I get it and listen to it in the car on the way to the office. If I “feel it” then it goes in the “listen later” stack. If when I listen to it later it does not have the same effect on me I unfortunately pass on it. To give perspective; I would say that over the past 9 years the signing ratio has been about 2 per every 100 demos received. SubLAD, Vesna, Near The Parenthesis and most recently Aerosol being signed from sending in demos. I save all demos even if I did not connect with it emotionally, I know the artist worked very hard on it, and would never disrespect or negate that time spent by throwing them in the trash.
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Special thanks to Nicolas Chevreux (Ad Noiseam), Craig Murphy (Herb), Cam Merton (Hidden Shoal), Thorsten Sideb0ard (Highpoint Lowlife) and Mike Cadoo (n5MD) for their time in sharing these responses.
