What, seriously, already? Actually, as much as Christmas being in the shops already annoys me, and as much as online List Season starting in November also annoys me, at a record label where manufacturing lead times are now measured in months rather than weeks, and where a PR campaign takes four months to execute, 2015 has actually been on my radar for some time.
The thing is, we’re going to be sort of different next year, I think. Our two biggest-selling bands aren’t going to be releasing anything for a while, if at all. Sparrow and the Workshop are in double-baby meltdown/heaven (delete as appropriate) and Meursault are officially no more.
In terms of our more established bands, Adam Stafford is working on a new album, which should be reaching completion near the end of the year, David Thomas Broughton has a mental but brilliant transcontinental project planned, Meursault has become Neil Pennycook who has become Supermoon, and Rob St. John is also working on new recordings. And I haven’t heard much from The Leg recently either, which tends to mean a new album is somewhere in the future.
Before all of this, however, we’re likely to be releasing something like four debut albums, and these can be weird, mostly because they are so unpredictable. The Plastic Animals one is being mixed as we speak, Numbers Are Futile have finished theirs, Ian Turnbull from Broken Records has made a beautiful instrumental album which has just gone for mastering and there is something very rocky and boisterous which we are likely to be releasing but I can’t really announce just yet as I haven’t actually heard the record – tonight, apparently!
The upshot of all this is twofold. Firstly, we could look like a very different label by the middle of next year. All the new bands will give it a very different flavour, I think, and the music is a wee bit different from what we normally release, which is rather nice.
Also – and this is the part which gives me the most thought – a lot of the stuff we’ll be doing will be short-run, either because that’s the safest way to deal with debut albums or just because it is the nature of the project itself. We’re also going to start releasing some stuff on tape too, and these are short run pretty much by definition and should allow us to do a lot more spontaneous, informal recording in our new warehouse space.
Consequently, instead of not having anything by our two biggest-selling artists being a drawback, I actually think it could be turned into a real advantage in a way. I won’t be worrying as much about managing big PR and distribution campaigns, and I think by far the best way to make a virtue out of a necessarily short run is to make each one really quite different. Not that we didn’t put a lot of thought into our releases before, but it simply isn’t practical to give each artefact individual care and attention when you are making thousands of them, whereas with hundreds you can do something a bit more special.
I would like to work a lot closer with local artists and illustrators too, and maybe get them and the bands into the warehouse together and make the release more of a collaboration, get a printing station set up and do our own screen-printing, try and find really nice things to add to our releases beyond just giving people a record, be it art, photography, writing… anything which makes sense with the band and the music and which just makes each release that little bit more personal and that little bit more of a treat.
I don’t know quite how these changes will affect our reputation or the image this label has in the public eye, but it does go back to what we intended to do when we started out, which is to make short, DIY runs of interesting music that might not be obviously commercial, and not worry too much about being a junior version of a traditional record label, which frankly the world has more than enough of already.
So it’ll be different. But I think it’ll be ace – I’m really looking forward to it.