Nach den weitestgehend krachfreien Releases “Coyote” (2010, Hydra Head) und “Stained Glass” (2011, Hydra Head) scheint Tobi Driver seinen Spaß an härteren Klängen wieder gefunden zu haben. Auf dem jüngst veröffentlichten Album “Gamma Knife” tummeln sich die von ihm angeführten Schrägsinfoniker KAYO DOT nämlich nicht nur ausschließlich in verjazzten Zwischenwelten, sondern kommen, wie bereits in früheren Tagen, beizeiten auch schwarz und metallisch daher. Stark!
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? 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.
„The Tunnels“ ist das wilde, noisige, düstere und beklememnde Erstlingswerk der radikalen und avantgardistischen Krachformation TERRA TENBROSA. Grundlage des Sounds des schwedischen Trios ist das repetitiv-monoton scheppernde Schlagwerk, welches für ein unterkühltes Industrial-Feeling sorgt. Darüber schieben sich verzerrt-wirre Stimmbeiträge, tiefergestimmte, in dissonanten Anti-Harmonien wühlende Saiteninstrumente sowie wie grelle Lichtblicke durch das Klangdickicht dringende Synthies zu angeschwärzten Nebelschwaden in-, über- und durcheinander. Das Ergebnis ist ein fremd erscheinendes, verstörendes Klangbiest. Metal-Wurzeln sind nur noch als rudimentäre Basiselemente zu erkennen, verschüttet unter albtraumhaften Noise-Texturen und in ein pechschwarzen Mantel gehüllt. Erinnert in Sound und Ästhetik an das Frühwerk von NEUROSIS. Eine absolut hervorragende Scheibe!
“The Tunnels” ist im April 2011 bei, schwedischen Avantmetal-Gourmet-Label Trust No One (TNO037) auf CD erschienen. Die 2xLP-Version entstand in Kooperation von Trust No One und dem deutschen Apocaplexy-Label.
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.
Die Diskografie von THOU liest sich schon beeindruckend: seit 2007 – also in den letzten drei Jahren! – hat die Band aus Baton Rouge, Louisiana nun drei Alben, sechs EPs und acht Split-Releases veröffentlicht. Auf dem unlängst veröffentlichten Langspieler „Summit“ haben die Jungs nach dem von ihnen bekannten und gewohnten Prinzip NEUROSIS-Doom, bluesigen Hardcore und verschleppte Black Metal-Elemente mit zermürbend walzender Zähigkeit zu einer derben und schlammig-fiesen Soundmasse vermengt. Das ist ihnen derart überzeugend gelungen, dass sich nun die Doom-Avantgardisten von Southern Lord der US-Südstaatler angenommen haben und die Scheibe als Doppel-Vinyl veröffentlichen werden. Neben der erneut respektabel verwirklichten Verklanglichung ihrer Weltsicht, ist es aber vor Allem die beeindruckende Arbeitsethik, welche die Band zu einer positiven Ausnahmeerscheinung in der gegenwärtigen Independent-Klanglandschaft macht. THOU haben eine klare Vorstellung davon was sie wollen und beweisen enorm viel Rückgrat bei der Realisierung dessen. In der erfolgreichen Kombination aus harter Arbeit und querstellender Konsequenz zeigt die Band relativ erfolgreich einen möglichen, gangbaren Weg für DIY-Bands im Post-Label-Zeitalter auf und ist damit so etwas wie ein Musterbeispiel.
Was ist euer genereller Ansatz eine Rock-Band wie THOU zu betreiben?
Wir haben alle einen DIY-Punk-Hintergrund und in diesem Sinne betreiben wir auch die Band: wir haben keinen Booking-Agenten, keinen PR-Beauftragten und keinen Manager. Es gibt weder Sound-Crew noch Tourbus oder Business-Plan. Wir schreiben Musik, an der wir alle Spaß haben. Wir spielen nur solche Konzerte, die wir alle spielen möchten und nur an Orten die wir alle sehen möchten und nur für Leute, mit denen wir alle unsere Zeit verbringen möchten. Im Endeffekt läuft es für uns einfach darauf hinaus, unser Begehren zu befriedigen, Musik zu kreieren, auf die wir alle stolz sind und aus diesem Prozess noch so viel Vergnügen wie nur möglich zu ziehen. Wir fühlen uns nicht wirklich irgendeiner externen Erwartung wie wir zu klingen oder zu handeln haben verpflichtet. Sollten wir uns eines Tages dafür entscheiden lieber eine 311-Cover-Band zu sein, wäre das für uns kein Problem und in Sekunden getan.
Ihr habt seit 2007 insgesamt drei Alben und ein gutes Dutzend EPs und Splits veröffentlicht. Neben den Arbeiten und Aufnahmen zu diesen Scheiben wart ihr ständig auf Tour. All das verlangt gewisse Ressourcen an Geld, Zeit, Energie und Enthusiasmus. Wie könnt ihr euch das leisten?
Mit Hängen und Würgen! Wir haben alle feste Jobs und diese sind wesentlich dafür verantwortlich, dass wir nicht so ausgiebig touren können, wie wir das gerne würden. Statt also sechs Monate am Stück zu fahren, mussten wir bisher immer enorm erfinderisch sein, um so viele Shows wie möglich in extrem kurze, mögliche Zeitfenster zu packen. Wir spielen oftmals zwei Gigs pro Tag, wenn sich diese Möglichkeit während unserer Touren oder kürzeren Wochenendtrips ergibt. Wenn wir nicht auf Tour sind, treffen wir uns im Proberaum, um zu üben, neue Songs zu schreiben oder die Platten zusammen zu stellen. Wir spielen auch viel hier in der Gegend. Alle Mitglieder von THOU sind in mindestens einer weiteren Band, manche zudem als Konzertveranstalter tätig. Ich arbeite auch noch in einem lokalen Infoladen namens The Iron Rail und habe soeben das Label Howling Mine gegründet. Ich denke alle diese Aktivitäten außerhalb der Band demonstrieren unseren Willen und Enthusiasmus etwas zu kreieren. Statt durch das Fokussieren auf nur ein Betätigungsfeld auszubrennen, beschäftigen wir uns mit vielerlei Ideen, Blickrichtungen und Personen und können daraus wiederum Inspiration für THOU ziehen. Das hält uns auf Trab und davon ab fade, ausgelutschte Musik zu machen. Weiterlesen
Das französische Quartett SOFY MAJOR scheint auf der qualitativen Höhe seines Schaffens angelangt. Das neue Album “Permission To Engage” besticht mit metallischem, zuweilen auch noisigem Post-Hardcore, der stets und absolut intentional auf einen Punkt ausgerichtet wirkt, sich dabei aber erlaubt auch Nebenpfade und abseitige Gefilde zu beschreiten. Die zehn Songs sind durch schneidende Gitarren-Texturen, knallige Akkord-Verschiebungen, schroffen Gesang und solide, treibende Rhythmus-Fundamente charakterisiert. In den Lyrics wird ein düsteres Bild von der Welt gezeichnet, über physische und psychische Zerstörung geklagt.
Eine der fiesesten Scheiben, die im Jahr 2010 erschienen sind, ist wohl ohne Zweifel das Debütalbum von COFFINWORM aus Indianapolis. In dem mit faden Imitaten überschütteten Metal-Genre sorgt eine solche, mit aggressiv ausgestrecktem Mittelfinger und einer lässigen (Selbst-)Ironie (Songtitel wie “Start Saving for Your Funeral” und “Spitting In Infinity’s Asshole” sprechen da eine deutliche Sprache) zu einer rotzigen Originalität findende Scheibe wie “When All Became None” für wohlige Abwechslung. Gänzlich unbeeindruckt von etwaigen Genre-Konventionen entgehen COFFINWORM geschickt jeglichem Plagiatsvorwurf und erschaffen aus Death/Grind-Elementen der Vorgängerband Black Arrows Of Filth And Impurity, den eindringlichsten Qualitäten des Black Metal – Riffs und Atmosphäre – sowie einer deftigen Portion krustigem Sludges ein nihilistisches Doom-Erlebnis der ausserordentlichen Art: eiskalt, finster, schmerzvoll, schauderhaft, erbarmungslos. Insgesamt wohl mit das roheste und wütendste Material, was im gegenwärtigen Klima der kulturellen Weichspühlerei vorstellbar ist. Bei mir ist die Scheibe schon längst auf Dauerrotation.
“When All Became None” ist als CD-Version beim kanadischen Label Profound Lore erscheinen. Die Vinyl-Variante ist in einer auf 514 Stück limitierten Gatefold-Auflage im August 2010 von Seventh Rule veröffentlich worden.
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