"Besides the technical advantages of the medium, our will to work with vinyl is mostly driven by the idea that we want to make a ‘complete’ object of each of our productions and that vinyl, for now, is the most adequate format to do so. Vinyl has its advantages, but it definitely has its weak points too. […] It’s very hard to break even. Downloads are a welcome additional income but not a reliable source for maintaining a label. There’s definitely something to be done about the sky-rocketing demand/insufficient supply problem the industry is facing. It can postpone projects by several months and no-one likes that. ‘Keeping the industry sustainable’ is a subject way too vast to tackle here but at our level we’re trying to make every vinyl part of a precious and valuable object."
"It’s the format we treasure the most. All my own personal money goes on vinyl. It’s my world, so it was always gonna be front and centre. When you spend a life buying vinyl there aren’t really too many alternatives when it comes to putting out your own music. All the same qualities that people espouse re: vinyl are true for us too. The physical thing is the most commonly talked about I guess, but it’s true: there’s a completeness to putting music out on vinyl that you just don’t get with digital. This is a product that we believe is worth something. I think that’s important for our artists too. It costs money to put things out on vinyl, such that you rarely really make much from it. But that’s important for the artists too. It’s us saying that we believe in the music, that it deserves investment, love, effort. When you put something on wax it immediately earns a place in the world — in shop racks, in personal collections, on turntables in clubs. It exists. We want our music to take its place in the world and not just exist in the ether."
Emerging Vinyl Record Labels in 2014 Interviews
"After a few years of listening to so many demos, you oversaturate yourself and you realize a lot of producers out there are over-reiterating the same ideas. I find there is a balance between listening to new and interesting things, but also being in the right frame of mind. Things can skew your perspective. If I’m listening to hundreds of demos where people try to sound like Boddika or something, that gets boring but at the same time it doesn’t necessarily mean that you should abandon some of those ideas yourself. I always used to do this thing where I’d be reacting like, "Right, where is my space?" And sometimes that’s not the best way to approach things. The exciting thing is when younger kids come through in the scene and they just don’t think about these things. They start pulling in influences and sounds that you may have considered cheesy, because they’re sitting in a certain context in your own mind. But if you don’t have those walls, then what comes out can be a lot more natural. It’s a hard balance to achieve."
Pinch Interview on RA
"I feel like I have a duty to do things with sound because it’s such an incredible opportunity to be able to make music out of a fruit salad, or Egypt or a Tory Party conference, or a women’s refuge that The Coalition have shut down. Any story that you want to tell, you can record sounds from and make music. I feel like I have a duty to take that as far as I can imagine it going. The world is a messed up place and people are struggling to make sense of it. Capitalism is destroying so many of the things that we need just to survive. Music is a form of escape, all I can do is make it and it’s up to other people how they respond to it."
Matthew Herbert Interview