https://www.noisextra.com/2022/01/12/chop-shop-steel-plate/Chop Shop episode. I recall when I was always drooling on this, but RRR catalog at the time said "weight counts like 10 LP's". I'd check the postage rates how many USD to add per LP.. and in the end, always thought, I got to stick on ordering CD's at 3 for 20 bucks...
It took until probably 10-15 years ago, when was visiting mr. Putrefier, and his label was long gone, but not only I got to buy his unplayed DISTRO copy of Whitehouse Right to Kill LP, but I do remember that I also bought this Chop Shop. It is most likely the best Chop Shop release.
New one today:
https://www.noisextra.com/2022/01/19/questions-and-answers-pt-2/QuoteThe tables are turned on Noisextra as we reached out to listeners to see if they had any noise questions for us. Inquiries concerning running a label, favorite releases, show memories and more.
Someone mentioned that episode they were going to do, somehow didn't work out, so here we have second Q+A episode.
I think sometimes that even the "veterans" of the underground publishing may need some advices, or perspectives on things like how to run labels. Like this question of how big royalties should be. Especially with pressed bigger runs, 20% sure, very standard. But, also especially with the CD, it costs next to nothing to press more. So giving more royalties is no problem. Guys who like to give out freebies to his friends, especially those who have lots of friends and associates, and can move 50 copies easy, and doesn't ruin labels possibilities to sell.. I think it can be wise just ask how many free copies you need. Even if band would need 100, and you only thought of making edition of 100, it really is just about the same cost to press 200, and give half to artist. You pay almost identical manufacturing cost anyways. Most of the time, in my experience, artists want less CD's than I'd be giving. They have no contacts, no distro, no gigs.. so they prefer to take handful of their own, and pick up other label titles for their own collection.
I think only thing what one can consider, is that will the artists undercut the price and ruin it for label. Trying to wholesale title for distributors when artists is retailing it for less than that... kind of annoying. Also if artists is so well connected, that he manages to sell album to "everybody" and label is struggling to break even may be issue to some.
I think that is related to talk about what label should be doing. Or could be doing. In WCN Koufar interview he mentioned now that he has had some level of success, suddenly labels try to leech on him. Guys you never heard of, wants to put out stuff. I do get that type of offers, and I often think... why? If I could do any day new tape, move up to few hundred copies over the years.. why I would do edition of 50 somewhere. All the people who in this day and age still interested in something, could be merely told "oh, its gone, better luck next time...". pff... no thanks.
I think it would be somewhat fresh attitude to see labels, who would think what I can do, what others can not, or do not do. Anyone can put out 50 or 100 tapes of band who someone else already made known "in the scene". Its far more challenging to wade kneed deep in mud finding new up & coming interesting artists. Or get the releases to places where artist or other labels don't. Reach new audiences, build something new. Not just walk on already established paths and create items for loyal group of buyers, but somehow push things to new ways. When in episode they talk about digital distribution, and I think that's one element that of course anyone can have their own bandcamp, but if for reason or another, label has several thousand followers, it sure makes difference do you upload noise to your own bandcamp with zero followers. So even digital releases may benefit on being on label, IF label is good. If label has exact same people following what find your stuff anyway, its pointless of course.
What is best Lust Vessel question was quite good in illustrating that, labels popularity and appreciation was not only doing things good (sound and visuals), but also that it was new acts and unique to label? Whole early period is pretty much flawless. But in later part is great, but suddenly Are & Miljö, Knækkede Stemmer, kakerlak, Grim, The Rita and so on... all great bands for sure, and nice presentations.. But it displayed no more
the unique Lust Vessel. Signing projects that are known from elsewhere and already kind of "established", and in a way could have been anyone else picking up the good active names of that moment. First 5 years just unique LV stuff and then... couple batches of kind of random international acts who were recording for a lot of different labels at the time. Of course, known artists need to get invitations too. It seems there is sometimes moments when some formerly "established" artists regresses into self published cdr's, simply because nobody asks them?
Nevertheless, to me it feels, that the old trusted artists are quite safe bet, but when there is new label, that has new artists, none of the old farts have energy or interests to wade through, that can create new interest. Just walking into scene, cherry picking good acts and often feels lacking vision and personality.
