NEW (ish) labels / imprints

[FreakAnimalFinland]

I was checking one noise/y review blog that included a bit of noise from the part of scene I sort of "associate with". Sonically - for most part. Not sure is it plain fact, or merely matter how one is exposed, but there is some difference of noise thats almost purely online, and noise that is first and foremost in physical realm.

It doesn't seem to be that genre related phemomena, but applies to all. "Power Electronics" made solely for internet seems to be quite a bit more suckier than even average tape. Noise the same thing. Amount of generic ambient that ain't worth a CD seems abundant. All sorts of digital experimentation. At least judged from my own tastes.

Anyway, the blog I was reading, had like Umpio review. So something that I can use to evaluate authors tastes and style of relating to noise. Knowing the album being reviewed, and seeing how author will feel about it. This can be helpful for reading other texts, when knowing a bit of taste and possible background.

Also curious was "favorite labels" section of the blog. I guess 50-70 labels, and I could recognize like Narcolepsia, No Rent, handful of others.. but most were totally new to me. Or something that hasn't registered to brain at all. How come there are countless labels I have not heard of? Well... After investigating a lot of those labels, turned out that most of them exists merely on bandcamp. Digital only releases, and in some cases there would be edition of 10-25 tapes sold via bandcamp before it comes digital only. So that is the main reason. I just can't get into idea of digital only releases. Not only that, but also there was very little strikingly good stuff. There was many releases I thought to be promising, good to certain point, but missing that little something, why I would personally feel like placing order for item (if it existed). Of course most of the stuff is something that is a bit out of my musical interests anyways.

However, out of so much "labels", "imprints", "bandcamp sites" out there, there must be something new and great coming? It would be almost statistical impossibility that there would not be. Something you can not find from distributors, have not read from any of noise 'zines, don't see people praising on SI forum at least, and so on.

Newish' labels/imprints or even projects you'd suggest others to check out, despite there might be nothing to be bought?

I'd start with INITIATION SERVICE. People are not new, but the releases, recordings and "imprint" is new. It sets quite unique tone, despite there may be severe level of historical appreciation. There is something done unlike the usual stuff these days.

Eroticism
https://initiationservices.bandcamp.com/album/once-and-again
Tape packaged like some old Slaughter prod or some Master/Slave Relationship tapes. And this could be also sonic reference. Think of M/SR at her best, blending in simple keyboard patterns, into industrial sounds, voices, sort of musicality of late 80's tape industrial - but never really "music" per se.

Overload
https://initiationservices.bandcamp.com/album/overload
Instant thoughts were that Atrax Morgue meets Final Solution, but also there is something of Iugula-Thor (we're ready, AWB 7"), perhaps even the ULTRA vibes or early 2000's SJ here! Some of the synth is quite playful and clean, but also elements of total amplified perversions to be heard. Best tracks are really good ones in their simplicity.

[[MBD]]

Rogue State University run by Jim from Lussuria (and Rogue State) immediately comes to mind as it's snail mail and invite only. I believe you need to mail an application the "university" before becoming a member of the mailing list. All releases that have been done so far seem to place an emphasis on unique packaging such as tapes wrapped in various wires, etc. along with stickers and posters. The recordings that were done for Hospital are on their Bandcamp page but everything else remains physical only.

[CannibalRitual]

Sometimes you still discover some interesting stuff on Bandcamp, this is a nice comfort in days of ever-growing problems with international shipping even if tape-purists don't want to hear this.

I never understood the purpose of "Bandcamp labels", nor did I ever accept an invitation when some of them asked me for a release. If you want to have your stuff online just put it there on your own site. One could say it's easier to reach more people listening to your stuff, but at the same time it occurs to me as a bad sign to be part of this 'movement' so no thanks! As for my own project I maintain a Bandcamp site but don't really put everything on there at all. It doesn't really matter as I'm not very good in promoting my releases anyway. I just occasionally put a new release on there or sometimes older OOP stuff. Years back I did one or two online-only releases that ironically got removed by Bandcamp in the meantime.

[brutalist_tapes]

maybe check out sektion1 out of denmark. label has very little online presence and he is in general a very old school guy. minimum editions of 50, no online audio and not in a hurry to put out mediocre releases every month or so.

i personally think bandcamp is an ok medium for labels and artists if done right, but i definitely see what you mean. it is probably just by now old debate that more information, more bandwidth, music making opportunites quality tends to drop in general as it becomes easier than ever to do things that used to take effort. i could probably never convert to digital only releases, but i must admit that i think that if music is good, it is pretty much 95 % of what counts in release. but a lot of people could definitely release less and use more quality control
also i get the nostalgia for at more analog underground time, but this is probably the reality now, even though if stubborn underground guys keeps the offline flame alive (which of course is a good thing)

[Eigen Bast]

Detachment Programs have been consistently excellent, from design to the material itself. Currently listening to the DEFECTIVE - Piecemeal Social Engineering tape and it rules; power electronics in the vein of early CONTROLLED BLEEDING, more noise with vocals than anything - awesome full sized booklet with lyrics and imagery.

I have been enjoying what I've heard from Hostile 1 tapes as well. It kind of reminds me of Fusty with it's eclectic mix of artists ranging from more established artists to debut releases and some interesting packaging and aesthetic. Gordie Howe noisecore, etc.

Speaking of Rogue State U, I received the Manifesto in the mail a few days ago, great stuff. Now I need to submit my handwriting sample....

[absurdexposition]

Writhing Flesh Prod - https://www.discogs.com/label/1728223-Writhing-Flesh-Prod / @writhingfleshprod

Newer small-run label out of Vancouver, BC. Strong DIY/underground approach with often hand-crafted packaging.

PRESSORTAPE - https://pressortape.bandcamp.com/

From Seattle, WA. Started just last year and already establishing an identity not only through well-made unique custom packaging but also a finely curated focus on blistering harsh noise and cut up.

[Woundfucker]

PRESSORTAPE - https://pressortape.bandcamp.com/

From Seattle, WA. Started just last year and already establishing an identity not only through well-made unique custom packaging but also a finely curated focus on blistering harsh noise and cut up.

Thanks for the head's up here. Gonna have to keep an eye out for more of this stuff. The NBDY tape looks amazing.

[Bloated Slutbag]

PRESSORTAPE - https://pressortape.bandcamp.com/

From Seattle, WA. Started just last year and already establishing an identity not only through well-made unique custom packaging but also a finely curated focus on blistering harsh noise and cut up.

Thanks for the head's up here.

Cosigned. Think I visited the bandcamp once a while back, everything was gone so never made it back. Now I see they were the ones who did the scum shikaku, of course long gone too! edit With any luck not one of those labels I'm destined to admire from afar.

[absurdexposition]

PRESSORTAPE - https://pressortape.bandcamp.com/

From Seattle, WA. Started just last year and already establishing an identity not only through well-made unique custom packaging but also a finely curated focus on blistering harsh noise and cut up.

Thanks for the head's up here.

Cosigned. Think I visited the bandcamp once a while back, everything was gone so never made it back. Now I see they were the ones who did the scum shikaku, of course long gone too! edit With any luck not one of those labels I'm destined to admire from afar.

I'm sold out of that scum / Shikaku tape as well, but do have copies of some of the other titles. Usually always get a few of each, and I think Oskar does, too, but perhaps he missed this round while he's out filming. https://www.screamandwrithe.com/?product_tag=pressortape

[HateSermon]

I've frequently considered  deleting my bandcamp but I seem to have a group of listeners from overseas and buying the digital release is the cheapest/easiest option due to postage. So I guess it sits as is for now. Recently I've been working on starting my own PE/Noise/Visual Art label "Suspicious Activity" but I'm unsure on how to present it. I really don't want to be another bandcamp or instagram label so I may just post updates here with info on how to order. Of course, a physical catalog would be something great too, and I'm leaning towards that direction.

[Human Larvae]

I think it's simply a case of, if you don't have to invest real ca$h in a physical release, quality of recording is not top priority either. The thought of "Is this really worth it?" will not play a big role. Upload and hope somebody will pay for download. If not, no loss.

[FreakAnimalFinland]

I guess it is little another topic, but one reason for digital label (or even things like youtube channels, spotify playlists!) is: Followers.
Of course artists can load their own page, channel, or service, but who'll find it?

People often claim that label does not matter anymore, but according to all what I know how contemporary people "consume" music, if you attempt to reach large amounts of people, the label, or the system how labels operate, is more crucial than ever before. Anyone can put their music online, but how people are going to know about it? It is via "trusted provider" so to say. Someone who has cumulated following.

As example, releasing metal demo on your own new channel, one could expect dozens, hundreds, perhaps thousand(s) of listeners eventually. Getting the demo on popular channel, you may get tens of thousands listens in blink of an eye. Spotify listening is apparently well based on their style of curated (and label paid) playlists.

Even in NOISE UNDERGROUND, I am pretty damn sure that some recording will get more plays via established and largely followed bandcamp label than opening your own.

It is different questions should this matter? I have absolutely zero interested in digital-only release (as noise maker) nor I care if the works are listened by 100 tape owners of thousands online. However, for those who want their material to be heard as widely as possible, it can be good to observe difference of simply "uploading stuff" vs. letting someone else to do it (label or mentioned services).

[CannibalRitual]

I think it's simply a case of, if you don't have to invest real ca$h in a physical release, quality of recording is not top priority either. The thought of "Is this really worth it?" will not play a big role. Upload and hope somebody will pay for download. If not, no loss.

It's certainly true for many new artists. When you see a lot of releases popping up in such a short time it already says a lot. But artists who focus on digital only releases, even if no money involved doesn't necessarily mean everything they do lacks of quality. There could also be guy puking out 5 tapes a month with no effort put on them. So in the end it's simply a case of what kind of quality control do we have here, not on which format it's released.

[Human Larvae]

I think it's simply a case of, if you don't have to invest real ca$h in a physical release, quality of recording is not top priority either. The thought of "Is this really worth it?" will not play a big role. Upload and hope somebody will pay for download. If not, no loss.

It's certainly true for many new artists. When you see a lot of releases popping up in such a short time it already says a lot. But artists who focus on digital only releases, even if no money involved doesn't necessarily mean everything they do lacks of quality. There could also be guy puking out 5 tapes a month with no effort put on them. So in the end it's simply a case of what kind of quality control do we have here, not on which format it's released.

no, certainly my statement does not apply to all artists or labels that release only digital. But it is definitely linked to rise of cheaper, accessible formats (e.g. tapes, cdrs, digital). Low production costs also influence the quality control.

[CannibalRitual]

This applies for a small project/label of course. But depends on how much money is available, and how much is coming back after a release. For established label with so many distribution contacts and good customer base the quality would not necessarily play an important role anymore as any of their releases would be picked up anyway.... It's also up to the listener what material he prefers. A cheap DIY tape you got from a random trade or a CD you bought for 17€. I personally rather prefer the first option to be honest.