record label – and so she thinks

An interview with Easter Island Records

admin — Fri, 12 Apr 2019 10:15:20 +0000

The Kent music scene is buzzing. No longer are bands and labels confined to the big cities, but there’s plenty happening in regions around the country. Local label Easter Island Records are doing great things, so I caught up with them to find out more.

Why did you set up Easter Island Records?

Initially we just had the idea of putting on a couple of shows for some punk bands we knew and respected. We are made up of musicians and artists and wanted to try putting on a show as we had spent years hanging out in basements listening to over amplified punk and thought it would be a fun thing to do ourselves. We started putting on a few more show’s before Trent from The Spanish Infanta asked us to put out his record Lame Temples on wax. So it all kind of came together through trial and error, we said ‘let’s try this’ and then ‘okay’ to a few things and before we knew it we were haphazardly running Canterbury’s new DIY record label, and having a blast.

What do you mean by it being a ‘community based record label?’

We are community driven and work in the wider Canterbury area on local charity projects whilst also producing global record releases. We began as a punk DIY record label and are proud to still support those principles. We want to support brilliant artists to release their music on ethical principles. Profit doesn’t drive us but supporting artists to be autonomous and creative and have their music heard as widely as possible does. On our website, we include a step by step guide to help local musicians publish and share their music. Outside of the label releases, we are passionate about working alongside artists and developing their craft. One of the core members of Easter Island Records runs a recording studio, Roswell Records where we have been nurturing and helping artists develop their music whilst retaining and promoting that sense of ‘community’. Being working class and having to work for our privileges, we had to self fund everything at the beginning and rely on favours until it started paying for itself. The truth is: You get out what you put in.

How do you choose the bands that will make it on to your roster?

We seem to jump around with the music we release. There are four of us currently on the label team with four different opinions, and we all find artists from completely different backgrounds in music. We all play in bands, promote shows, produce music, but we are all involved in the arts in one form or the other. I guess we try to distinguish ourselves by what we all like as opposed to what we should like, a consolidation of all our musical interests. Right now with Tokyo Tea Room, Stirrat, Hayes & Baynes and Aunt Margaux it’s quite dreamy and indie. Some psychedelic notes with some folk thrown in there but all linked to the ‘canterbury sound’, whilst never turning away from what’s new or forward-thinking. We have got some other things on the cards, a few wildcards to throw in the mix.

What is the Kent music scene like?

The Kent music scene is vast. There’s a massive versatility to everyone involved that always astounds us. The artists we have known for so long have had time to learn their craft and truly come into their own, but there are more and more new artists popping up every day. It’s a great time to be into music, it’s everywhere.

What successes have you had? (What counts as a success?!)

I think just organising a show, sourcing the PA, getting everyone in the building and loaded in on time and then leaving the venue without owing anyone money is a massive victory. Sometimes its hard putting on a ‘gig’. It’s a vulnerable thing, trying to put a show on and showcase a musician. I mean we’ve had sold out shows, overseen multiple vinyl releases, and had airplay on Radio 6. Right now Tokyo Tea Room’s latest single got premiered by Line of Best Fit and is in the H&M in store playlist and it’s doing incredibly. I think it’s hard to say as our goal posts are constantly getting moved, right now we are a little less DIY and getting a little more ‘professional’ with things but I would like to say that it will always be about just putting on a decent show.

Easter Island Records will be hosting the Aunt Margaux single launch at Bramley’s in Canterbury on Wednesday 17 April.

Sonic Cathedral

admin — Thu, 12 Dec 2013 00:56:09 +0000

Much of the music I listen to would not reach me without the support of independent groups, individuals and organisations In the music business. I am always curious as to how these people tarted out in the music industry, or often found themselves in the said place. One of my favourite independent labels is Sonic Cathedral, a label that like many others has evolved and grown in different incarnations, every guise having the same core tenet at heart – music is visceral, vital, wonderful and to be enjoyed. Shoegaze to the core, celebratory in style, they are the current home of Young Husband, Happy Families and Dean Wareham. I caught up with the guys to learn more and have my curiosity abated…
First off, can you give me some background? When and how did Sonic Cathedral start?
It started as a club night and it was supposed to be a one-off. On October 23, 2004 I put on The Radio Dept at The Legion on Old Street and DJed loads of old shoegaze records, essentially for fun. The place was beyond rammed, people of all ages came along, some wearing dusted off old Slowdive T-shirts that had been in the wardrobe since 1991; it was like all these people had finally got somewhere to go that reflected their love of this music. I felt I had to carry on doing nights and then, a couple years later, the label just came about as the logical next step and has since grown into what it is today. I hate to use the word organically, but it’s the most appropriate. There was no five-year plan. In fact there was no plan at all. One thing has led to another and now I’ve released records for two of the artists I respect and admire more than anyone – Neil Halstead and Dean Wareham. I feel proud and extremely fortunate. (Then I remember I’m still skint!)
And more importantly, why?
See above, really. I started it for fun, essentially; an excuse to dust off all my old 12″ singles that I still loved and played. But when all those people showed up it had to carry on, it was like a public service! The label has taken on a similar feel these days – it’s nice to work with artists like Neil and Dean and release their records with the love and attention to detail that they deserve.
What makes Sonic Cathedral different?
The fact that I don’t have an office or any interns?!
Do artists even need a label these days? What do you do?
Maybe some don’t, but I still think the role of a label is an important one. I do think it’s changed a bit over the years – whereas once it was telling artists what to do and imposing ideas on them, these days it’s more a question of guidance and working alongside bands to help them realise their vision. For example, with the Younghusband album, myself and the band worked really closely with Heretic (the design collective) who did all of the artwork. It’s not just about spending money, either. Especially if you don’t have any like me.
How do you choose a band? Is it sound, lyrics, the feeling you get, or their personalities?
I guess it’s a combination of all those things and more. You just know when the right thing comes along I only ever release records I genuinely love, and as I’m only answerable to myself there are not too many arguments.
How important is a wotk ethic for a band, or should they focus solely on creativity?
Work ethic is important, and it’s great to have a band who are keen and hungry and resourceful. But if a band is more focused on the creative side of things then that is fine too, and that’s where the role of the label comes in handy as in the question above.
As genres and fashions change, is there any type of music that you think defines Sonic Cathedral?
Well, the club night was a shoegaze night. That was the whole point of Sonic Cathedral. But I’ve always resisted releasing straight up shoegaze copies. I always like people to add something of their own. And although that was the starting point for everything, a lot of what I release isn’t shoegaze at all – i guess the label’s grown into more of a reflection of my personal tastes.
What advice would you give a band looking for a label? What about someone thinking of setting one up?
Think about who you approach, don’t just fire off an email to everyone from the Music Week directory, or to a 1000 people on SoundCloud. What’s the point of that? A bit of research will give you a good idea of which label(s) would be right for you. The personal touch goes a long way. Spamming people with random MP3s just leads to deletion. And for people thinking of setting up a label, I’d say ‘don’t do it!’ and then I’d quantify that with a reminder that it’s really hard work, so make sure you really want to do it and you genuinely love the records you’re putting out. It may seem fun to begin with, but if you’re sat there filling in great big sheets of metadata at 2am, it really helps if you strongly believe in the end product.
Who should we be keeping our eye on?
Younghusband will go on to big things – their live shows are getting better and better. I’m excited to see what happens with Happy Families, whose debut single I release over the summer, and I’m also working with some really exciting bands from Mexico (Lorelle Meets The Obsolete) and the US (The Vacant Lots), both of whom will be releasing albums and touring next year.