Indie Dispatches: Requiem for the 90’s; aka Remembering Creation Records
As a logical segue from the recent piece on 4AD is a discussion about the other of the twin towers of British independent labels from the 1990’s – Creation Records. The two companies took very different paths in the end, with the 4AD remaining a true independent label (selling out to the equally indie, Beggars Banquet), and continuing as an entity to this day, meanwhile Creation sold to the majors (Sony), and then flamed out when the two founders – Alan McGee and Dick Green – thought the time was right, around 1999, to pack it all in – living by the live fast, die young… adage and leaving a legacy untainted by any current musical flavors du jour.
The history of the legendary Creation has been a topic of conversation this year after the debut US screenings of the documentary Upside Down: The Creation Records Story. The film, which tracks the history of Creation from the chaotic early days in the mid-80’s to the later days, which were equally chaotic, for different reason, and highlighting the status of the label – and especially McGee – as true mavericks. Upside Down also represents an amazing reflection on a very different time in the music business – a period where there were no 5-year marketing and promotion plans, no 360 deals, no American Idol, and when it truly was, more often than not, just about the music. An era, I’m sorry to say, that was in many ways infinitely more exciting. Think of bands and labels devoid of the obsession with social media, alternative income streams and the quest for that elusive TV license as an essential marketing tool, a time of seat-of-the-pants decisions, borderline craziness, and yes, the archetypal “sex, drugs and rock’n'roll”. And the documentary shows that Creation was fueled by all three.
But it was truly about the music. Fancy that – a company run by music fans – and the artists who signed recognized that, and as a result the label put out a range of some of the best tracks of the era. It is staggering to realize that Creation issued My Bloody Valentine’s Loveless, Primal Scream’s Screamadelica and Teenage Fanclub’s Bandwagonesque albums, all within the space of a few weeks in 1991 – releases that are both hugely influential and legendary, and still stand up some 20 odd years later. Something tells me you’d be hard pressed to find any of the 2011 crop of indie labels such as Neon Gold or IAMSOUND releasing one album with that status or lasting impact, let along three at the same time! And then of course on Creation there are the rest… Felt, (the massive selling) Copper Blue by Sugar, along with Ride, Super Furry Animals, the Boo Radleys, Saint Etienne… the list goes on. There’s no disputing Creation did release its fair share of duds, especially in the years when they were skating on thin-ice and releasing as much as possible to keep the doors open and stave off bankruptcy, but in 2011 their iconic status still stands, in no small part due to that little band called Oasis… While there is an argument that Adele is successfully flying the flag for indies in 2011 (on XL ex-USA at least), it’s hard to comprehend an artist nowadays having the sort of impact Oasis have had. Watching the jaw-dropping footage in Upside Down of the band’s now legendary Knebworth concerts, gives an indication of just how truly massive in size Oasis became, and how they were part of the fabric of daily life in the UK at that time. And of course the Creation story wouldn’t be complete without the band that punctuated both the beginning and end years of the label – the Jesus & Mary Chain. So it is fitting that the documentary – a rollicking, fun, inspiring journey itself – draws its title from their notorious debut 45. Upside down indeed. Alas, there is no current news of further screenings, or a DVD release for the documentary in the USA, but once the film secures distribution, it should be on the agenda for every music aficionado.
- Cool Hand Luke
08.11.11Indie Dispatches: Independent Labels Face Uncertain Future Following PIAS Fire
The dominating chatter this week in the indie sector is the gut-wrenching news from the UK about the fire at the Sony DADC warehouse set during the London rioting, that destroyed most, if not all of the stock held there by PIAS distribution. The list of the labels affected, who lost massive quantities of LP’s and CD’s in the fire, is a veritable who’s who of the UK & US indie sector – 4AD, Sub Pop, Domino, XL, FatCat, Matador, Secretly Canadian/Jagjaguwar, Warp, Memphis Industries, Chemikal Underground, Ninja Tune, Rough Trade, Setanta, Soul Jazz, Wall of Sound, DriveThru and SideOneDummy just to name a few. In fact, it may be easier to compile a list of indies that didn’t suffer losses. And some of the figures coming through are staggering – Beggars Group head Martin Mills stated they lost over 750,000 units of stock, and labels like Memphis Industries claim all they are left with was the meagre remaining stock they had on hand in their offices.
There is no argument that this could deal a crippling blow to many companies, who are already finding it hard to keep the doors open due to the overall slump in the record business, and could even signal the death knell for a number of indie labels. There is reportedly insurance coverage, though with possible questions as to whether the underwriters will enforce the typical force majeure clauses in their policies to escape from their obligations, with back up legislation in place for government agencies to foot the bill as a last-resort, but such payments would only extend to actual cost of product (of a dollar or two), and excludes the additional margins a label would make. So chances are that won’t guarantee survival of some labels, who are suddenly faced with a lengthy period with minimal cashflow coming in from physical sales, compounded by the need to spend cash to replace the stock, with any funds from insurance estimated to take a minimum of six months. In the meantime there are artist payments, overhead, salaries, marketing costs to cover, and often the smaller indies get by on a month-by-month basis. Labels could also have paid significant sums for marketing programs that now are worthless due to a lack of stock to ship to retail, and bands won’t be able to purchase stock to sell on the road, not to mention the sheer length of time and difficulties in getting vinyl pressed… The list of ramifications are extensive. Larger companies like 4AD, Domino and their ilk will be able to weather the storm, and some US labels could benefit by having stock they could ship from this side of the Atlantic, but there is no disguising that everyone will be impacted to some degree, and it may well become the proverbial ’straw’ for any companies already teetering on the edge. And for a lot of the labels this week has constituted a double hit, after many, such as Sub Pop, lost money when Pinnacle Distribution went bankrupt two years ago. At that time, PIAS stepped in to partner with many indies that were caught up in the liquidation, the same indies who were just struck a body blow this week with the warehouse fire. Mind you, the elephant in the room is that for some companies it could be a blessing in disguise, as a warehouse full of dead stock (that they pay monthly storage on), which maybe was worthless and destined for the crusher, could suddenly be eligible for an insurance payout, recouping costs of manufacture – far more return than the label would otherwise receive. And of course an upside, if there is one, of the decline in the market for physical product over the last few years, is that at least the expansion of digital distribution has led to a viable alternative to the CD and LP, now accounting for a healthy percentage of sales, and the week’s disaster has not left labels with zero income opportunities. Ten years ago, that would not have been the case, and a tragic event such as this would more than likely have resulted in many more indie labels biting the dust.
- Cool Hand Luke
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Indie Dispatches: Interpol’s Return to Matador, Original Signal in Trouble? & Labels Act on Active Child
Interpol parts ways with Capitol, set to release new album on Matador
Cementing the fact that 2010 is going to be a blockbuster year for independent artists, was the news last week of the impending release of a new record from Interpol. The album will be self-titled and is the New York band’s fourth full-length release. The interesting twist to the story is that the group has decamped from their major label, Capitol, returning to their original home on indie-label Matador Records, who will release the album on September 14th. Those keeping score may recall quite the melee in 2006 as a slew of major record companies tried to sign the band, with Capitol ultimately winning the derby and releasing the band’s third album Our Love to Admire. But the stay proved to be an unsuccessful one, with figures showing the earlier Matador albums greatly outselling the Capitol release, leaving the two to part ways after just one record. As to whether this is an ominous signal for other indie acts that have recently signed to major labels, such as Band of Horses and James Mercer (of The Shins), only time will tell.
The independent arena itself is not free of travails however, if rumors of the demise of Original Signal Recordings prove to be true, it will leave a number of high profile indie bands looking for a new home. Best-selling Swedish group, The Sounds, Kill Hannah, and Ingrid Michaelson are just three of the acts that had their music released via the NY-based label, and who could now be highly sought after free agents.
Finally, it appears that L.A. combo Active Child currently has at least five independent labels vying to ink the band, with suitors including heavyweights Vagrant, Glassnote, and XL. Active Child is centered around choirboy-turned-indie-musician Pat Grossi, who is also noted for his harp playing on stage. The group was among the buzz acts to come out of SXSW this year, and they recently released an EP, Curtis Lane, on Filter Recordings.
- Cool Hand Luke
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