Wie ist der korrekte Name des Labels? In welcher Stadt seid ihr zu Hause?
Gibt es Sublabel? Meudiademorte! Wir sind in der einzigen Deutschen Stadt mit einem Französischen Namen zuhause: Saarlouis. Es gibt ein Sublabel namens Pizza Party Productions.
Warum habt ihr diesen Namen gewählt?
Was bedeuten die Namen von Labels für deren Arbeit? So kann ich uns besser googlen. Ansonsten sind namen glaube ich relativ egal.
Wann wurde das Label ins Leben gerufen?
Was waren ursprüngliche Beweggründe, die ursprüngliche Idee? Ich hab das Label 2003 mit einem Freund gegründet, um befreundete Bands bzw. internationale Bands, die uns gefallen, ein Forum zu bieten.
Wieviele Leute arbeiten für das Label? Nur ich.
Welche Kriterien entscheiden darüber, ob ihr eine Platte veröffentlicht oder nicht? Ich muss beim hören total durchdrehen und alle zwei Sekunden “Man, ist das geil” murmeln!
Vinyl, CD oder MP3? Und warum? Vinyl oder Tape. Obwohl, bei MP3s muss man nichts mehr verschicken und kann auf der Couch liegenbleiben… Nein, doch lieber Vinyl oder Tape!
Welche Platte aus eurem Backkatalog repräsentiert das Label ästhetisch, ethisch und musikalisch am adäquatesten? Es ist relativ unmöglich, nur eine einzige zu nennen!
What’s the full name of your label? Which city is the home of your label?
Do you run any sub-labels? Gilead Media. No sub labels. City is Oshkosh, WI, USA.
Why did you choose that name?
Which meaning do names of labels have for their work? I choose the name based on my love for The Dark Tower book series. Gilead is the name of an important place in those books. For me the label name is just something I pulled from my nerdy background that I could slap on records and make me feel entertained that it was based on sci-fi lit.
When did you start the label?
What where initial motivations, what the initial idea? I started the label in 2005. I just wanted a label I could release some of my own music projects under in limited quantities. Then it turned into a legit label, focusing on releasing groundbreaking and special records.
How many people do work for the label? One, but I have some help from time to time.
What criteria decide whether you release a record or not? It’s hard to put into words, there’s a lot of intrinsic things I look at that I can’t entirely determine. Obviously it has to be a record that I enjoy, a band that I feel is doing something different and exciting. But it goes so much deeper than that.
Vinyl, CD or MP3? And why? Vinyl, as much as possible. There is essentially only one band I will do CDs for anymore. I prefer the vinyl format, I like connecting with people that enjoy buying vinyl and it’s just more fun for me. The only downsides are that it takes up a lot of storage space and manufacturing records can be an enormous hassle.
Which one record from your back-catalog represents (aesthetically, ethically, musically) the label best? THOU ‘Summit’ rounds it up really well!
What’s the full name of your label? Which city is the home of your label?
Do you run any sub-labels? Three One G. San Diego, CA. No sub-labels.
Why did you choose that name?
Which meaning do names of labels have for their work? It is the chorus to a Joy Division’s “Warsaw”, which Swing Kids covered. That cover song was on one of our earliest releases. The meaning depends on the label. For us, the relevance of both Swing Kids and Joy Division were meaning enough for the name of our label.
When did you start the label? What where initial motivations, what the initial idea? 1994. To release stuff better, and more efficiently than some of the labels that Justin Pearson was dealing with pertaining to some of his bands at the time. In a sense, a true DIY ethic.
How many people do work for the label? 2 full time and 3 part time.
What criteria decide about whether you release a record or not? If we know the artist, have seen them live and toured with them. Also if they are something we are into and feel that they are interesting, creative, innovative, sincere, etc.
Vinyl, CD or MP3? And why? Depends on the project.
Which record from your back-catalog represents the label best, aesthetically, ethically and musically? V/A “Dynamite With a Laser Beam: Queen As Heard Through The Meat Grinder Of Three One G” LP.
Thanks for the inquiry with Three One G, we really appreciate it. JP
What’s the full name of your label? Which city is the home of your label? Do you run any sub-labels? The name of the label is Trust No One Recordings and I’m running it out of Gnesta, about 1 hour south of Stockholm. I used to live (and run the label) in Stockholm but moved to Gnesta 4 years ago. No, I don’t run any sub-labels.
Why did you choose that name? Which meaning do names of labels have for their work? Well, the name wasn’t really of that big importance when I choose the name but I guess the meaning of it has grown over the years as I release all of the records by my own band Switchblade.
When did you start the label? What where initial motivations, what the initial idea? I started the label in 1995 just to be able to put out recordings by my own band (which I continue to do to this day) but then I figured that I should release records for other bands/friends as well.
How many people do work for the label? It’s just me. And I do it on my spare time but since I work full time at a record distribution company and recordstore, some parts of the label work gets entwined with my everyday work.
What criteria decide about whether you release a record or not? I guess there is two main things I look at. If it’s a great recording that I really like and if I can afford to release it. It’s as simple as that.
Vinyl, CD or MP3? And why? I guess I prefer all three formats in different aspects and situations. I have never sold MP3´s up until the release of the Terra Tenebrosa album because I have always prefered myself to get the “whole package” when picking up a record. I think that artwork and packaging is really importat for the over all feel of a record. But since quite a few people were asking for a digital release of the Terra Tenebrosa album I wanted to give it a shot and see what the result was. But if vinyl and CD was the same price to manufacture I would go with vinyl all the way. The LP format is superior in every way.
Which record from your back-catalog represents the label best, aesthetically, ethically and musically? Hmmm, that’s a tough one… Well, I might have to be selfish on this one and go with the SWITCHBLADE “s/t” (2009) album. Since I have a big part myself in the music, and I also did the design for it, it reflects alot of the inspiration I get from the bands/music/people I work with.
What’s the full name of your label? Which city is the home of your label? Do you run any sub-labels? Holy Roar Records is the full name of the label. We are based in South London, Crystal Palace to be exact and are quite proud of being south of the river. We do not run any sub-labels!
Why did you choose that name? Which meaning do names of labels have for their work? To be perfectly honest, we chose the name of the label by pulling records out of our collection, and looking at song names. I guess it was a pretty lowbrow way of choosing a record label name, but we were stumped for ideas! Luckily “Holy Roar” was a song by TORCHE…..who I still think are one of the best bands of modern times, so it worked out ok! We also used to run a webzine called The Communion, so there was a thematic link with our past, in terms of trying to convey a sort of religious fervour, an intensity, without us actually being religious in our personal lives. I also still like the imagery “Holy Roar” can conjure up – loud, aggressive, powerful, pure, sacred, dedicated, saintly……we could have picked a much worse name!
When did you start the label? What where initial motivations, what the initial idea? We started as an idea in January 2006, with our first release in July 2006. We started because we wanted to continue to have a creative outlet aside from having real jobs, and it’s grown from that! We used to run a webzine/put on shows and released 3 little things (a compilation CD and two 3″ CD EPs by Numinor and Sika Redem) when we were at Uni in Birmingham and wished to continue that activity on in some way. That was our initial motivation. The initial idea was simply to put out great packaged music by bands that were not being supported enough in the UK, regardless of their geographic location.
How many people do work for the label? It’s just me (Alex) full-time, along with co-founder Ellen on an advisory/ad-hoc basis. We then have an ever rotating cast of interns, of which we have two at the moment. Then obviously there is a loose collective of artists, designers, photographers, distributors, and band members who all help out…..they are truly invaluable.
What criteria decide about whether you release a record or not? I guess we kind of operate on a couple of levels with this decision. With very limited runs (CD-Rs, tapes) and co-releases we simply act on music we love. For albums and bigger projects, then first and foremost we must love the band, but they must also work hard, want to tour and play shows, have a good work ethic, not be idiots in how they conduct themselves…
Vinyl, CD or MP3? And why? They all serve a purpose. I must admit I have fallen out of love a little bit with the CD – vinyl sounds and looks the best for home listening (as well as having the most packaging options), whilst mp3s are perfect on the move and to be burnt to CDs for the car (if your car doesn’t have USB inputs or whatever). I mean, with an exception or two, we have always strived for our CDs to look like mini-LPs!
Which record from your back-catalog represents the label best, aesthetically, ethically and musically? I would say at this point in time, in terms of the future and the past, it is the Throats self-titled mini-album. Not only did we go to town doing great vinyl and cd for this release, but it was the perfect recording of their progressive hardcore/grind. Their aesthetic suited us perfectly, they didn’t dress to fit any scene or sound and they did not compromise. They also represented a bridge between some of our more experimental artists, some of our more indie artists and some of our heavier, more hardcore artists. Throats also went on to prove that you can succeed with great, uncompromising music, with pure bloody mindedness – they played Sonipshere, got nominated for a Kerrang award and did many other ridiculous things along the way. There are other releases that have been as important, if not more important to the label, but this release sums us up best right now.
Note: All Holy Roar releases can be streamed from the label website.
What’s the full name of your label? Which city is the home of your label? Do you run any sub-labels? Twelve Gauge Records currently based out of Oakland, CA but was founded and run in San Jose, CA for the first 6 years of it’s life. Funny you ask about sub labels because a good friend of mine who runs a studio and I plan to launch a label distributed by Twelve Gauge with releases where both of us are involved. He records and does his thing and I handle the marketing, distribution and operations. It’s called Family Drugs and is Sam Pura of The Panda Studios and myself.
Why did you choose that name? Which meaning do names of labels have for their work? Honestly, I don’t remember how I came up with the name or who was involved. I’d like to take credit for it and am pretty sure I came up with it, but who really knows or cares?
When did you start the label? What where initial motivations, what the initial idea? The label was started in late 2004 when I met Chris and Dan from Heavy Heavy Low Low. I had been booking shows for a year or two and wanted to contribute to the music scene in a different way. At the time, they were the only band from San Jose doing anything cool and working their ass off. They truly helped me out as they constantly toured and pushed the record. I can truly say they were responsible for selling every record we pressed and setting me on my path. I enjoy record labels more than bands, I think. It’s nice to find a label who just always puts out great records.
How many people do work for the label? The label is owned and run by me, Jihad Rabah but is distributed by Revelation Distribution and Hellfish Family. It would be unfair of me not to mention Jenny, Vique, Adam, David, Michael and AJ as they have just as much to do with this label running as I do (oh yeah, and my parents ran mailorder for about 4 years! They are OG).
What criteria decide about whether you release a record or not? This is very simple for me, it’s one of a few things, if: 1) I like the record, 2) I like the band members, 3) they are willing to work hard (or pretend to). I really enjoy working with friends and people who are passionate about the music they create. A lot of the twelve gauge bands are friends and have been longer than I’ve known them but we all naturally met and began to work and party together. We’re all just one big happy family…
Vinyl, CD or MP3? And why? I’m honestly a fan of all 3 formats. I enjoy putting out vinyl the most because I do my best to choose the best options for packaging, as a result maximizing the aesthetic aspect of the record. CDs are cool because I can play them in my car and they will usually sound different. And who can’t appreciate a 4 megabyte file that you can download for free by googling the band’s name + mediashare.
Which record from your back-catalog represents the label best, aesthetically, ethically and musically? Sabertooth Zombie – Midnight Venom CD. This record was the first full length I put out and if you’ve heard this record you’d know that the 18 track album is some of the band’s best material. I don’t know how to explain it except that putting that record out was extremely exciting for me. It was the beginning of what would become a long-running relationship with some of my favorite friends, Sabertooth Zombie.
What’s the full name of your label? Which city is the home of your label? Do you run any sub-labels? I run a label called Tundra. It’s based out of Berkeley, California. I do not currently run any sub labels although at some point I plan on it.
Why did you choose that name? Which meaning do names of labels have for their work? When I was planning the label, I only really knew what kind of music I wanted to release: dark, brooding, unapologetic, experimental music. I had a lot of names for my label (most very, very bad) and eventually settled on Tundra. I figured it’d be a nice name that adequately sums up the kind of music I push.
When did you start the label? What where initial motivations, what the initial idea? I officially launched the label in September of 2009, although I had spent almost a year and a half planning it. My initial motivation was to just put out friends music (and my own) that I liked and I felt fit together. The initial idea was to start as a tape, CDR, and digital label and eventually morph into a vinyl and digital label.
How many people do work for the label? Aside from myself, my wife does a lot for the label. Mainly mailing out packages and stuff like that.
What criteria decide about whether you release a record or not? The criteria I usually require is: 1) the music has to be good, 2) I have to enjoy working with the artist. Aside from that, I’d like the release to fit the overall aesthetic of the label, but I’ve released stuff that hasn’t quite fit.
Vinyl, CD or MP3? And why? My ultimate goal is to release nothing but vinyl/digital. I love the feel, the sound, the massive artwork. MP3s are great for portability but are ultimately extremely disposable. I do CDRs because I can do them in very limited runs, I can customize the artwork, and they’re a lot easier to do than tapes. I probably won’t ever press a “pro” CD, but who knows.
Which record from your back-catalog represents the label best, aesthetically, ethically and musically? I feel like the ∆AIMON release I put out is the best representation of Tundra so far. The production value is extremely high, but it doesn’t sound polished. The producers behind ∆AIMON are very much into the DIY ways of doing things, too. Overall, I think if you haven’t heard Tundra and would be interested in checking us out, I’d suggest this release for sure.
What’s the full name of your label? Which city is the home of your label? Do you run any sub-labels? The full name I suppose is Hibernate Recordings but I just refer to it as Hibernate. We’re based in a small town called Hebden Bridge which is in the hills of West Yorkshire, UK. Rural Colours is our sublabel we release 3″ CDr ep’s on a subscription basis and release digitally for free or sometimes a paid download.
Why did you choose that name? Which meaning do names of labels have for their work? Hibernate was inspired by both my love for sleepy ambient music as well as the unpredictable, momentary, and quiet solitary beauty of the moors that surround where I live. Rural Colours is pretty much the same but also I borrowed it from a track title from an old favourite band Hood.
When did you start the label? What where initial motivations, what the initial idea? The label started in July 2009, I wanted to support my favourite ambient artists as well as make a product that people would cherish.
How many people do work for the label? Just me, but also my wife helps out with the sewing on the limited editions.
What criteria decide about whether you release a record or not? If I love the music or if I’m a fan of the musician I will release it, as simple as that.
Vinyl, CD or MP3? And why? I’m not a huge fan of MP3′s and much prefer something physical. I really love the 3″ CDr format the most, then CD and vinyl.
Which record from your back-catalog represents the label best, aesthetically, ethically and musically? I don’t think there is any one record that defines either hibernate or Rural Colours. Each release represents my taste at the time, it’s forever changing, much like the weather around here, unpredictable and momentary.
Wie ist der korrekte Name des Labels? In welcher Stadt seid ihr zu Hause? Gibt es Sublabel? Wir heißen Sinnbus. Wir kommen aus und sitzen in Berlin. Wir haben kein Sublabel.
Warum habt ihr diesen Namen gewählt? Was bedeuten die Namen von Labels für deren Arbeit? Wir haben ziemlich viele Namen auf einen Pappteller geschrieben. Irgendwann kam dieser Zustande und einer von uns hat am lautesten gebrüllt, der wäre es jetzt. Der Name des Labels hat die gleiche Bedeutung wie ein Bandname. Er ist Stellvertreter, Identifikation schafft Rahmen und Zusammenhang und erspart ab einem bestimmten Punkt auch eine Menge Erklärungen.
Wann wurde das Label ins Leben gerufen? Was waren ursprüngliche Beweggründe, die ursprüngliche Idee? Sinnbus als solches gibt es seit über 10 Jahren. Wir haben uns zusammengetan, um unsere eigenen Konzerte zu veranstalten und vor allem, um besondere Konzerte zu veranstalten. Wir waren zu dieser Zeit zwischen 20 und 30 Leute, ein mehr oder weniger basisdemokratischer Haufen. Das Label kam irgendwann als logischer Schritt dazu. Als Label arbeiten wir ungefähr seit 2003.
Wieviele Leute arbeiten für das Label? Momentan arbeitet eine Person Vollzeit und zwei bis drei Leute so viel, wie sie der Woche abringen können.
Welche Kriterien entscheiden darüber, ob ihr eine Platte veröffentlicht oder nicht? In erster Linie muss uns die Musik umhauen. Und wir legen Wert auf eine gute persönliche Beziehung.
Vinyl, CD oder MP3? Und warum? Gern alles. Ich persönlich habe Vinyl am liebsten.
Welche Platte aus eurem Backkatalog repräsentiert das Label ästhetisch, ethisch und musikalisch am adäquatesten? Das ist zum Glück nicht auf einen Nenner zu bringen.
Wie ist der korrekte Name des Labels? In welcher Stadt seid ihr zu Hause? Gibt es Sublabel? Der Name des Labels lautet Grand Hotel Van Cleef. Ursprünglich in Hamburg ansässig, arbeiten inzwischen auch in Köln und Berlin Grand Hoteliers. Sublabels gab und gibt es keine.
Warum habt ihr diesen Namen gewählt? Was bedeuten die Namen von Labels für deren Arbeit? Thees Uhlmann hatte das Label Hotel van Cleef, Marcus Wiebusch hatte B.A. Records. Als sich beide zusammentaten und gemeinsam mit Reimer Bustorff ein neues Label aus der Taufe hoben, hat sich der Aufstieg zum Grand Hotel nahezu von selbst aufgedrängt. Und der Name “Grand Hotel” zeugt ja auch von einem gewissen Stilniveau, das spiegelt sich natürlich in der Auswahl der Veröffentlichungen wider.
Wann wurde das Label ins Leben gerufen? Was waren ursprüngliche Beweggründe, die ursprüngliche Idee? Das Grand Hotel gibt es seit 2002 und wurde zunächst gegründet, um das umjubelte KETTCAR-Debüt “Du und wieviel von deinen Freunden” zu veröffentlichen, nachdem andere Label daran kein Interesse zeigen wollten.
Wieviele Leute arbeiten für das Label? Derzeit werkeln im Grand Hotel in Hamburg, Köln und Berlin ungefähr 12 Leute, inklusive Praktikanten und Auszubildenen.
Welche Kriterien entscheiden darüber, ob ihr eine Platte veröffentlicht oder nicht? Musik und Persönlichkeit! Neben außergewöhnlicher künstlerischer Leistung muss auch die Zusammenarbeit auf persönlicher Ebene funktionieren, sonst passt es halt irgendwie nicht. Außerdem muss natürlich auf beiden Seiten der Wille da sein, sich voll reinzuhängen, ausgiebigst zu touren und sich stetig weiterzuentwickeln.
Vinyl, CD oder MP3? Und warum? Alle drei, wobei beispielsweise die Veröffentlichung von exklusiven Vinylsyingles (in etwa von John K Samson) in den letzten Jahren stark zugenommen hat. Beim Label selbst haben eigentlich alle immer noch gern einen Tonträger in der Hand, tendenziell lieber Vinyl als CD. Und weil die Fans eben auch unterschiedliche Format-Vorlieben haben, versucht das Grand Hotel allen ein sorgfältig ausgesuchtes Programm anzubieten.
Welche Platte aus eurem Backkatalog repräsentiert das Label ästhetisch, ethisch und musikalisch am adäquatesten? Das Grand Hotel wird durch alle seine, bisweilen sehr unterschiedlichen, Gäste repräsentiert, die das Label so vielseitig schillernd wie das (stellvertretend für alle anderen) Artwork des “World Record” von BLUNT MECHANIC machen.
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