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In Profile : Black Lake Records

Continuing our series of interviews with some of the smaller/independent players in the record releasing business this month we focus on Aberdeenshire-based punk/hardcore/whatever label Black Lake. Founder & head honcho Ewan Cameron was kind enough (not to forget extremely swift) to respond to a few questions that we sent his way.
 
MG: I suppose the first question has to be how long has Black Lake been on the go & what prompted you to set up the label in the first place? Which is really two questions ...
 
EC: The label started out in March/April 2012 so just over 4 years ago. I've collected records since I was 13/14 so vinyl has always been something I've had an interest in. In terms of actually starting the label, though, I basically saw what some friends were doing with labels at the time in Aberdeen (Tuff Wax and Bitter North) and thought that would be something I'd also like to do, if I were able to. So I thought about the bands I knew and the people I wanted to try and help and set out to do that.
 
MG: Where does the label name come from? Given your location I'd have expected Black Loch. And is there any significance in the font you've chosen? It's pretty striking; right off the bat it's a statement of intent. 
 
EC: It's a Twin Peaks reference. The lake on which Laura Palmer's body is found is called Black Lake. Also the lake in Harry Potter is called the Black Lake as well, which I don't object to, but it was always more of a Twin Peaks thing for me. There is no significance to the font at all. I basically just worked on something that could be used as a brand logo, or something instantly recognisable and that's where the double-stroke A came into play.  
 
MG: Would you say the scene you operate within is healthy currently (to the extent, say, that sales are rising) and is the label itself enough of a business to be a full-time job or, like this site, is it more of a hobby which pays for itself and no more?
 
EC: For the last two years the label has been my job. Though not particularly lucrative, it did enough to get me by so I can't fault that. Business can always be better though, and I have noticed a slump in sales/activity in the last 6 months or so compared with the last couple of years, but the record sales industry will always come in peaks and troughs, so it's not something I'm worried about.  
 
MG: Little, I expect, has felt as good as getting the label's first release out for sale but can you give a couple of examples of discs you've been particularly pleased to have helped see the light of day?
 
EC: The Brighter Arrows record Dreamliner was a very cool project for me. I am a big fan of how Colin plays guitar and was a big Phoenix Bodies fan back when they were on the go so being able to put out their record was really fun for me. I also was really excited to do the UK/EU pressing of Between Bodies for The World Is A Beautiful Place & I Am No Longer Afraid To Die. I've been friends with Derrick since they first started out and seeing how they progressed from the first demo to that spoken word record has been awesome and inspiring. I also really enjoyed getting to do some wacky colourways on that one.  
 
MG: I first heard about Black Lake at last year's Book Yer Ane Fest in Dundee - will you be involved with that event's 10 year show in December?
 
EC: I'll be there again flogging my wares, and also both my bands BOAK and Clearer The Sky should be playing, which will be a blast, I'm sure.
 
MG: Lastly, what releases can we look forward to from you in this second half of 2016?
 
EC: Honestly, I have nothing planned right now. I'll be moving to Berlin for a few months at the start of 2017 so I need to work on having enough money for that when it comes around. 
 
Many thanks to Ewan. We'll likely be covering Make That A Take's Book Yer Ane Fest again this year (link here) so keep an eye out for reports of him onstage rather than in the day job.
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An Interview With Uncle Lucius

Four albums into their recording career and Uncle Lucius have shown us that the Texans are only growing better and better with each release. Ahead of their UK tour later this year, we caught up with the band to learn a little more.

MG: Uncle Lucius! Introduce yourselves...

UL: We are a collection of thirty-somethings with no sense of fashion and a drive to remain afloat financially by creating and performing music. We're averse to the rat race and remain steadfast in our determination to never have a “straight job” again. For the last ten years the band has toured the States extensively and released four studio albums along the way. You could say we are jaded by the business side of the music industry, but move forward despite that. Deep down we hold to the belief that as long as we pursue our bliss, everything else will take care of itself.

MG: Your latest record is The Light. Tell us about it.

UL: This one is a culmination of our ten years as a band. It reflects our musical influences and delves into the question of self and the journey toward understanding.

MG: Tell us a secret from the songwriting sessions.

UL: No matter how complete a song may seem, it doesn’t make the cut unless we are all in agreement that it passes muster.

MG: How does your songwriting process play out?

UL: There’s no set formula. Sometimes we collaborate, sometimes songs are brought to the table fully written. Once it’s on the table, though, everyone has free reign to edit.

MG: The current single is "Age of Reason". What is the age of reason for you?

UL: A time and space in which common sense takes centre stage.

MG: What inspired the song?

UL: I didn’t write it, but a very close friend of mine did. I am honoured to be the voice through which this message is delivered, and agree with every word of it. I would venture to guess that current culture of fear, the twenty-four hour news cycle and the hateful rhetoric so prevalent in society may have inspired the song.

MG: How did you select it as a single?

UL: This one’s timely. It was almost a no brainer. The fact that we enjoy playing it so much didn’t hurt! 

MG: Do you each have a favourite song on the album?

UL: Not really. The answer to that is constantly in flux.

MG: What is the best feedback you have received to date?

UL: We’ve had a few people tell us it’s difficult to classify our sound.

MG: And the funniest?

UL: From a first time Uncle Lucius live show attendant: “You’re like a mix of Pearl Jam and Dolly Parton!”

MG: Comparisons in the industry are inevitable, aren't they? Who are you compared to most often?
most frequently?

UK: Dolly Parton! Just kidding. The Band seems to come up quite a bit. That’s pretty humbling.

MG: If you had to file yourself between two artists, who would they be? The Band and The Temptations.

MG: We've heard that the Uncle Lucius live show is something to behold. What does it consist of?

UL: I’ll start by telling you what you won’t see. There are no choreographed moves, matching outfits, smoke or mirrors. What you will find is a band that is comfortable with each other. You’ll find a level of tightness that comes only by playing so many shows together. You’ll see five men who enjoy and believe in what they do.

MG: Are you a band who prefers life on the road or in the studio?

UL: We prefer a balance of both. The road builds your chops, the studio gives you the creative outlet.

MG: Lastly, if you could collaborate with one artist, who would it be?

UL: Quincy Jones, obviously.

*** 

To keep up with Uncle Lucius, keep an eye on their website and social media. You can download The Light on iTunes. 

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An Interview With Samuel Jack

Samuel Jack is clearly an artist to keep a close eye on. Not long after deciding on a career in music, he landed a gig at Glastonbury. All this before any material was even recorded. A year later, he is ready to get his career into the next gear and we absolutely love his soul drive on lead single ‘Let It All Out’. We decided it was high time to catch up by the man who is on a well-balanced midpoint between Sam Smith and Hozier...

MG: Hi Samuel. For those that know nothing about you, tell us three interesting facts…

SJ: Other than music I've only ever had one other profession: I was a chef for nine years and had my first job in a kitchen at 13. I can sing the South African national anthem in Zulu. I'm a movie geek.

MG: We hear that your first gig was at Glastonbury. How did that come about?

SJ: I was playing a little gig in a pop up restaurant, fortunately one of the stage programmers was in the audience and offered me a slot at Glasto straight after my set. Only two weeks before! There was a mad dash to finish some of my songs that I wanted in the set. Looking back, that was an important two weeks for me.

MG: Given the fact that you had such a high profile first gig, how have those afterwards lived up to Glasto?

SJ: Glasto is incomparable really. Not just for its size but just the vibe there. It's a special festival and on my doorstep. I've had equally as brilliant, but very different, gigs on other stages. Glasto is a one in a million type affair.

MG: What is the Samuel Jack live experience?

SJ: I guess my job is to entertain and captivate in a nutshell. I like to take the audience on a journey with me. Ups, downs, and those comfy middle places. I want to tell my stories. I like to think of the Samuel Jack experience as being an energetic, raw and importantly, honest performance - with me and my friends.

MG: We spotted a co-headline show with Beth Rowley on your schedule. How did that come about?

SJ: Our eyes met across a crowded room...kiddin'! I met Beth at one of my shows and our paths have crossed a couple of times since. Recently we were on the same bill at Innocent Festival. I've always been a fan of hers and I can't wait for our first show together! 

MG: Any plans for a collaboration?

SJ: Well, we've been in the studio together recently, so you'll have to come along and find out for yourselves!

MG: Beth Rowley aside, are there any artists you dream or performing or collaborating with?

SJ: I'd love to get in a room with Foy Vance, who is just an incredible storyteller and generally just pretty amazing. Also Jessie Ware, I love her voice, I'd love to duet with her. I'd have to check my diary but I could probably make time for Adele too.

MG: Now to your music - tell us about the track ‘Let It All Out’…

SJ: ‘Let It All Out’ is about release. It's about making mistakes, moving past them, being together, loving each other and having a good ol' sing song.

MG: Was there a particular situation you had to let out of your system?

SJ: If I'm honest, no there wasn't. The song came about from a conversation I was having with a friend about getting things off your chest. About being honest and about being you. 

MG: It’s lifted from the 'Live From My Caravan' EP. What can we expect from the it? 

SJ: I'm so excited to get my first music out there! Expect smiles, swagger and tears..

MG: Who would you say were the key influences sonically?

SJ: I love all roots based music, blues licks, gospel choirs, thumping bass lines. I was raised on soul, Motown and blues and have grown up listening to iconic writers like Lennon and McCartney, Simon and Garfunkel, James Taylor and loads, loads more.

MG: Can you tell us a little about your creative process?

SJ: It either starts with a bunch of words or phrases and I'll sit down at the piano with them, or more recently I've been playing the piano in 'vibe'. I'll have a sing over that vibe, then go from there. But I've written songs in lots of other ways too.

MG: Lastly, tell us the best or worst piece of feedback you have ever received.

SJ: I think the worst so far was someone telling me 'I've got weird Joe Cocker hands' - the thing is, I quite like Joe Cocker and so having similar hands is cool with me!

***

Samuel's first EP, 'Live From My Caravan', is available now. Buy it on iTunes or give it a spin on Spotify. To keep up with future releases and live shows, check out his website.  

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In Profile : State Records

State Records are quickly becoming one of the hottest labels on the garage and beat scene right now. With releases from bands of high calibre such as Thee Jezebels, The Thanes, and Graham Day and The Forefathers to name but a few. I asked co-founder of State, Mole Tozer, how it all began...

Mole: Initially, the label was formed by myself and Marty from The Higher State (hence the label name and ‘THS’ catalogue prefixes) in 2007, specifically to release a Higher State single, because we didn't want to waste time and energy schlepping demos around to various labels, with the usual lukewarm (or non-existent) responses, so we pooled a little money we had between us, and got the 1st record out (The Higher State ‘And In Time’ b/w ‘If We Don’t Realise’) ...no sleeve, no distribution at that point, but it was out! 

Over time we started working with other groups, starting in 2009 with the 1st single from garage punk legend, Paul Messis (‘Stuck In Society’ b/w ‘The World Is Square’). We picked up decent distribution from Clear Spot in Holland and Get Hip in the US, branched out into mail order, stocking ace new titles from other hip labels around the globe, then in 2015, Marty dropped out, leaving me in charge of the whole operation.

Debbie: What do you get out running the label in terms of rewards? I'm guessing it's a passion rather than for financial gain?

There’s SOME financial gain—there has to be, it’s my only source of income! I do this for a living now, which is tough to say the least, but it’s just about viable. The real reward is unending positive feedback from people on each successive release, paired with repeat buyers and regular customers who basically buy everything I put out, which would seem to indicate that the label now has a good reputation for picking up interesting groups.



A massive reward for me is the sound of the records. Most of them we actually recorded ourselves, starting off on a cassette 8-track machine, graduating to a half-inch 8-track reel-to-reel about 5 years ago. I’ve got a home studio set up, crude and basic but effective. It also functions as a side-project to the label, if I record something I won’t (or can’t) put out....the label doesn’t really deal with LPs anymore (I just LOVE singles!!), so for instance, The Baron Four just tracked an LP’s worth of material with me, but someone other than State will put it out.

Releases selling out is also a buzz; although I wholeheartedly believe in EVERYTHING we’ve put out, it’s validated by people actually buying the things! 

The other huge positive for me is the packaging and presentation of the releases...little things like finding a company that will press 7” records with an old-style push-out centre...having a print firm that can accommodate laminated flipback sleeves and produce our wonderful Parlophone-style company bags...the heavyweight vinyl runs we did for a while...the rubber-stamped plain sleeves...the hand-numbered postcards...

Debbie: What can we look forward to from State in the very near future?

Next on the list is a killer 45 from French garage/soul band, The Missing Souls (‘Sweet, Sweet Sadie’ b/w ‘The Alligator), due out 18th July. After that is the “comeback” single from The Embrooks (‘Nightmare’ b/w ‘Helen’), which should be out late August... other things in the pipeline include further singles with Les Grys-Grys and The Beatpack, either later in the year or early 2017.

Debbie: In terms of the garage/beat (and associated genres) scene, how do you feel it's faring just now? 

Things seem like they’re in a good place right now, in terms of the ‘scene’ (not sure you can really call it that...) ...there are certainly some great groups doing the rounds now, alongside some older muckers (myself included!) who never lost faith. The ‘return’ of vinyl (I know—it never went away, but in mainstream terms) I think has had a positive effect on the smaller labels and groups, although everyone’s now fighting for pressing time/space with the majors, but we’re getting there. The various festivals in the UK and Europe (Hipsville, Franklin Fest, Funtastic, Purple Weekend etc etc) all seem to be flourishing, and there are plenty of younger people attending, hungry for something outside the narrow confines of media-fed listening.

Hoorah to that! A lot to look forward to. Thanks to Mole for taking the time out to chat. You can find State Records here... http://staterecs.com/

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In Profile : Noisolution Records

 

Maintaining your independence in the music industry isn't easy but German label Noisolution have managed to persevere since the 1990s. Founder Arne Gesemann recently took the time to answer a few questions that we put to him:-

MG: Noisolution has been going for 20+ years – what inspired you to start the label in the first place? And was it hard to initially make an impact on the industry?

AG: Inspiration was the spirit of punk rock and its DIY attitude. Its always better to do something than to wait for the perfect moment. Be part of a scene. That was important to me so I started, aged 15, selling tapes and writing a fanzine, or organizing shows. After a while I started a vinyl label and moved into a bigger independent company learning this job professionally. There I got the chance to found Noisolution in 1995 and after a while I bought all the rights and took over. So somehow I do this all my life now and am not yet tired. It´s great “work” and as long as the motivation is high and the attitude is optimistic, I'll continue.  

MG: It kind of amused me that you’d been advised (maybe not too seriously) not to try to break into the UK market but you must surely view that as a potentially lucrative area? Indeed aren’t all English language territories desirable areas for rock bands to gain coverage in?

AG: Sure, the music on Noisolution is kind of international and close to the US-UK-Independent music anyway. But usually it´s really hard for a non-British/American band to conquer these markets. The most successful German bands on international markets are the “typical German” ones like Trio, Rammstein, Kraftwerk or in the '70s Krautrock acts. We have a great and very vivid Stoner and '70s retro-rock scene over here, but most of these bands are just successful on the German market. It´s different for US and UK bands and surprisingly for Scandinavian bands as well. 
So most of my colleagues told me not to waste time and money into promotion and marketing in GB. But I´m surprised by the response. It´s very cool and many are interested in our new bands like Coogans Bluff or Black Lung.

MG: Are digital releases slowly taking over from physical ones in terms of sales?

AG: No. Not here. The German market is still very “physical” although the digital sales get bigger and bigger, but the whole market is still more than 60% physical and our sales are 80% CDs and LPs. That´s cool, cause all what we do and sell is so much more than what you can hear. Image, Style, Artwork... all this is important, but also the “feeling for an album” is important. – I personally don´t like streams at all but accept them as a tool.

MG: To date who would you say has been your most successful act or artist?

AG: Hard to say... Mother Tongue (Los Angeles), Smoke Blow (Kiel), Firewater (NYC), Flying Eyes (Baltimore) and Rotor (Berlin).

MG: That last answer rather negates this next question but do you sign mainly Germany-based acts or anyone international who fits the mold?

AG: It´s about music and not nationalities. We try to develop new bands but also work with popular international artists such as Firewater or Foetus. If we get into the music and get the chance to cooperate, we like to work with the artist and their music. That really is a motivation for us.

MG: And finally - do you have a many new releases scheduled for the second half of 2016?

AG: Bad question. :-) First half was brilliant and each month we had a release, but now there´s not too much confirmed for second half 2016. We're working hard on this. Two are fixed now, many are promised but I don´t see a final schedule right now. Sometimes it´s hard, but we work for the music and artists and have to react to their schedules... and finally we can´t go “shopping” for some new acts just because we need some right now.

Noisolution's output both old and new can be accessed via the link at the top of this interview. Expand your horizons and check them out. 

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A Chat With Louise Connell aka Reverieme

 

Reverieme released one of the most compelling EPs of 2015 so when we heard they were returning with a fully fledged album we couldn't wait to hear more. When offered the chance for a chat with founder-member, vocalist and guitarist Louise Connell, we jumped and immediately accepted. Here is what we found out. 

MG: Straw Woman was released last week: congrats! How did you choose the title?

LC: Some people have spouses, some people have children, some people have incredibly fulfilling careers; I have a book of logical fallacies that I enjoy quoting whenever someone tries to engage me in a spurious argument. I’m just kidding! I used to have a book of logical fallacies. The straw man argument is one of the easier and more annoying of these to point out when your companion is spitting an impassioned rant in your face. [It's a 'common form of argument and is an informal fallacy based on giving the impression of refuting an opponent's argument, while actually refuting an argument that was not advanced by that opponent'. Thanks, Wikipedia — Features Ed]. Calling the album Straw Woman is mostly just me trying to be clever and annoying, which is also all I really hope to be during most arguments. 

MG: The album follows your acoustic EP Or The Light from last year. For those not already familiar with your music, can you tell us about what we can expect from the album?

LC: It was only when we completed ‘Or Else the Light’ that I realised there’s a fair difference between an acoustic song, like those on the EP, and a song that’s referred to as being acoustic because it doesn’t feature drum fills and overdriven electric guitars (but still has eleven percussion tracks and eight harmony vocals). For the acoustic EP, we only recorded lead vocals and one or two accompanying instruments. The new album was always going to be a fairly distant departure from that in terms of production and composition, though I did retain all the screamo parts.

MG: You received rave reviews for the EP. Does that place you under pressure creatively for the album?

LC: Fortunately, as far as the writing process goes, I had penned all the songs on the album before the EP was released, which meant I didn’t need to consider what anyone had critiqued or commented on (at least at that particularly vulnerable stage). Of course, that doesn’t mean I don’t retroactively hate, and panic over, each song regularly.   

MG: The album is headed up by the release of 'Golem'. How do you know what songs should be singles?

LC: I don’t take much to do with that decision, thankfully. There are certain, commercial, aspects of the album release that swoop past my head, and I happily wave them on their merry way. I think I’m slightly too close to the writing and production of the album to be objective about what songs other people would like most. It has to be a colder process than having me sit at my highchair, jabbing my chubby finger at my favourite songs while cawing, “ME LIKE DIS!”

MG: Are there any songs on the album you are nervous about people hearing? 

LC: For the four people who listened to and enjoyed the acoustic EP, some of the songs on the album will be a change from what they’re used to. Everything’s still very jolly, and the release falls firmly into the realm of pop music, but a few songs have transformed in their journey from one release to the next. It’s like watching the second series of a TV programme after it’s been renewed and has had a budget injection; suddenly they’re filming on location and one of the cast of Friends is guest starring.

MG: As an artist you are in charge of all aspects of your project, what part of the project do you most enjoy?

LC: I love all the creative parts of making an album. Writing songs can occasionally feel less like a choice and more of a necessity (it’s like a penance for my sanity – like, it prevents me from eating the wallpaper or collecting moths or listening to Nickleback records), but it also makes me feel like me. I’ve really enjoyed helping with the production of this record, too, and seeing how much of an art form this part can become. Creating the artwork is tremendous fun, too, though I’m writing this as I wrangle with template after template to create the album layout, so I’m probably less enamoured than I could be.

MG: As a performer you are known for the intimacy of your live sets. What's the secret to engaging your audience?

LC: More and more, I think engaging an audience has as much to do with the crowd as it does with the performer. I played a few shows in Sweden last year and I was mesmerized by the way that the people, who had come along to listen to music, actually came along and listened to music. Over the preceding months, I’d been so used to playing, and attending, concerts where the first musical note heralded a trip to the bar (or the opportunity for people to start screaming their conversations) that it totally baffled me at first. “You’re all listening!” I’d spurt, confusedly. “This won’t be getting any better, you know. Seriously, you’re very welcome to talk amongst yourselves.” Of course, it transpired fairly quickly that this is actually the normal way to behave at concerts. It taught me that, if both parties fulfill their side of the concert bargain, the performer will benefit and the audience will receive the best show possible.

MG: You are also known for your wicked sense of humour. Do you have to pre-prepare for live ad-libs?

LC: I’m prone to some fairly ridiculous manifestations of nerves on stage. There’s the usual where-to-look dilemma, as well as some localized shaking in my various appendages, but I also need a tissue on hand for an uncontrollably runny nose that develops whenever I’m nervous. All this has led me to prepare a few, marginally insane, talking points for one or two shows. At my last album launch, I copied out notes from a book about dealing with nerves and recited them to the audience. One of the pieces advised that you should imagine a confident person and channel their chutzpah when you’re feeling nervous. Long story short, I wound up taping a picture of Cliff Richard to my guitar for the rest of the gig. It was a better evening than you’d imagine, I swear.

MG: Which part of the album release do you enjoy most - writing, recording or performing?

LC: In the past, I would have said writing without any hesitation. Recording this album has been fantastic, though, and I can’t wait to get back in the studio again soon.

MG: Lastly, if you could collaborate with one artist on a future release, who would it be?

LC: Let’s say John Grant. I love how his songs toe the line between beauty and whimsy, but at the core they’re absolutely furious. That’s if Chad Kroeger isn’t available, of course. 

*** 

Reverieme's latest album, Straw Woman, is out now and you can buy it on iTunes and Amazon. To keep up-do-date with future releases and live dates, keep your eyes on Reverieme's website, Facebook and Twitter. 

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