The New Music

While the music industry continues its journey into the unknown, there has been a growing argument that with the unlimited possibilities of online networking, record labels are becoming an unecessary middle man between artist and consumer. The last couple years has seen Radiohead and Nine Inch Nails prove a point with successful business models, which gave fans direct access to brand new music through readymade sites. But those two bands found their die-hard fanbases being signed to labels such as TVT, Interscope and EMI, companies that - for better or worse - helped them become the influential artists that they are.

Up and coming artists need to start somewhere. Sure there are the occasional exceptions, where a stroke of luck has elevated an artist to reach tremendous success without the assistance of a label. But it’s pretty rare. Having your single up on iTunes does not mean you’ve made it. Record labels release, market and promote albums, but the good ones can also build reputations to the point where you the consumer can trust their taste as a gauge for what you like. Some of the best have designed a catalogue that more often than not is a trustworthy source: 4AD, Matador, Dischord, Merge, Touch and Go, Creation, Def Jux, Sub Pop (okay, forget the late ’90s slump), Sincerely Yours, Warp, In The Red, Domino… and so on.

This profile is about shining a spotlight on the burgeoning labels out there that have built their own identities based on the talent they have discovered. Mexican Summer, for instance, is an upstart Brooklyn-based label that specializes in limited edition vinyl and download releases by who they feel are some of the underground’s best emerging artists. Over the last year, the label has put out quite a range of EPs by the likes of Toronto-based lo-fi punkers Little Girls, magical psychedelic bluesman Kurt Vile, folky shoegazer Marissa Nadler, avant-pop experimenter Ariel Pink, and crusty black metallers Nachtmystium.

Below is a Q&A with Keith Abrahamsson, Mexican Summer’s Head of A&R.

When was Mexican Summer founded?
KA: The label was founded in the Summer of 2008.

How did you come up with the name Mexican Summer?
KA: The name was inspired by a Marissa Nadler song, “Mexican Summer,” on her Songs III… LP. I love the song and it just seemed to fit the label aesthetic.

Mexican Summer is a digital and vinyl-only label that operates as a subscription service. What made you choose this approach?
KA: To clarify, I should say that our records are also available at a number of indie stores across the states, and through our website. Subscribing is one way to get the records. I think we chose this approach because we’re fans of record clubs and I really like the idea of someone buying into a chunk of music that they might not know much about. As a music fan, I have bought records from certain labels just because it was on that label, like SST, Vertigo, etc. The idea of someone putting faith in a label and their taste is something that we want to encourage.

What made you decide to ignore CDs?
KA: Outside of the fact that CDs are their way to being obsolete, none of us really care for that format.

What do you make of the return of the cassette as a format? Does that appeal to you at all?
KA: Absolutely - I mainly had cassettes when I was a kid and held on ’til the bitter end before buying into the CD. We have yet to do a cassette release on Mexican Summer, but I wouldn’t rule it out.

Why limit the numbers of records you press?
KA: Because I like the idea of giving someone the feeling that they’re buying into something unique and curated. We are repressing records, but none of those repressings will be the same as the first editions.

What kind of results have you seen from this buisiness strategy?
KA: So far, so good - our pressings are selling out quickly and we have an incredibly full release schedule.

What are some of the biggest challenges you face operating Mexican Summer?
KA: Staying on top of production and getting parts in on time. With the “resurgance” of the LP - plants are absolutely inundated with orders.

Would you say there is a way for labels to release good music and still see money come in?
KA: For sure - we’re not doing half bad. Vinyl/digital is the way to go.

What do you look for when you’re scouting for new bands?
KA: Just needs to sound/feel good. There’s probably a more specific criteria, but I’m not sure how to articulate it.

Which band were you most excited to get? And which release is your personal favourite?
KA: Ariel Pink, Wooden Shjips, Bobb Trimble, and most recently, I secured a license for an amazing reissue - it’s a private press record from ‘71 called Moon Blood by a band called Fraction - we’re putting out the first fully authorized LP reissue this October with a bonus 10″.

Do you sign contracts with the bands you work with?
KA: Yes.

What is your best-selling release to date?
KA: Hmm… Kurt Vile, Ariel Pink, Wooden Shjips, Tallest Man On Earth… they all have sold well.

What are some of your current releases?
KA: The Orkustra, Bobb Trimble, Wooden Shjips, Farmer Dave Scher…

What do releases do you have coming up?
KA: Real Estate, Pearl Harbour, Fraction, John Carpenter, The Alps, Young Prisms, Robert Lester Folsom, Mayfair Set and many others.

Posted on Tuesday, July 28th, 2009 at 1:03 pm by Cam and is filed under The New Music.

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