There's a new record label down south in that place called Melbourne where trains freely roam the streets, and it's name is Departed Sounds. MMB interviewed the brains behind the operation with a series of intrepid inquiries. So settle down, get some snacks and embrace the scroll button on that mouse of yours cause it's a looong post.
What/Who is Departed Sounds?
Departed Sounds is a record label founded and run by myself, Andrew Keese, a Melbourne based singer/songwriter and my friend, Ashley Sambrooks, a Melbourne based publicist. Our stated aim is to bring the finest pop, rock, folk and noise to the world.
Was there one particular moment or experience that lead to you deciding to form your own label?
There was no pivotal, light from the heavens moment which drove us into forming the label. It was more like a long sequence of small events.
For me, it was the frustration of seeing great bands and artists not getting the recognition I felt they deserved. I was very much of the attitude of "safety in numbers" and the idea that if we could build something centred around shared ideals, it would be to everyone's benefit.
For Ash, I think it was much the same, though I also suspect he also had a life long dream of running a record label. Ash came from the publicity and promotion side of the business and it was obvious he had talent in that area. I guess he wanted to put that talent to good use and invest it into something he really believed in.
Ash was the one who went after the idea with determination, vigour and drive. I was a little reticent at first, being very cynical about the music industry and the treatment of artists in general. But over time, I started to absorb Ash's enthusiasm and once things started rolling, we both threw ourselves headlong into the task.
Departed Sounds professes to believe that 'technology is something to be harnessed rather than tamed'. What do you mean by that and how do you plan to turn that to your advantage?
That phrase, "something to be harnessed rather than tamed", is a coded reference to the behaviour exhibited by the music industry in response to the rise of illegal downloading.
Here was an entire industry that failed to see change coming, did not take advantage of change when it did come and then responded to change by harassing and bullying their own customer base with lawsuits, intimidation and threats.
The fact is that the way in which people discover and consume music has changed forever. Technology has been a significant enabler of that change. But rather than holding technology responsible for the inability to shift massive numbers of units in short periods of time, maybe the industry should be looking at producing small, balanced returns over a longer period of time.
A few weeks ago, we released Lindsay Phillips' debut album "Varning". About a week later, I found it on Rapidshare. The link to the Rapidshare file came from a forum in Spain. And without being particularly well versed in Spanish, I could glean that someone in the forum has discussed the album, then published it on Rapidshare for other in that forum to download. A couple of days after that discovery, we sold both vinyl and digital copies of "Varning" to buyers in Spain. So the fact that someone freely published the album didn't hurt us at all. Matter of fact, I suspect they did us a favour.
That's essentially what we mean by harnessing rather than taming. Labels need to work with, rather than against, current technology. Contrary to what the industry trumpets, I don't believe that sales are dropping as a direst result of downloading. They are dropping because people are getting more and more selective and niche oriented. And shutting down those who download content illegally is ridiculous and it is not a workable solution.
The workable solution is to make great albums at the lowest cost possible and then make those albums completely accessible, so that people don't have to procure them illegally in order to hear them. You then need to sell those albums at a price which is cheap enough the people won't bother to download them illegally.
Were you influenced by other label initiatives from elsewhere?
Any influence we might have had must have expressed itself sub-consciously, because I don't recall specifically discussing which label we wanted to be like, or base ourselves upon.
In retrospect, I think that's part of the reason we're so unique. We've built something based purely on our own feeling and ideas without reference to the past or present.
I do know that we watched Melbourne label 'Mistletone' with interest for some time. We were impressed by their ingenuity, their DIY attitude and consistent work ethic. But in terms of creating Departed Sounds, I think we wanted to stand completely apart from every other record label.
What kind of music are you looking to attract to your label? Is there a typical 'Departed Sounds' sound?
I don't think we have a specific type of music that we want to find or draw to the label.
Our attitude reminds me of what Terry Gilliam said about his film adaptation of the novel "Fear and Loathing in Las Vegas". To paraphrase, he said that art is like a flare that you launch into the sky. You let it burn up there and see who the light attracts.
I don't think there is a particular Departed Sounds "sound". I know that we're not really concerned with genre or style. An artist can work in any style they like, as long at they own it, if you know what I mean.
I do think there are a few key elements which link our artists lyrically and musically; soul, inventiveness, intelligence and individuality. But it's hard to say much more than that, because the beauty of music is that it is about aesthetics and emotions. It's about the things you can't really put into words.
If I had to summarise it, I'd say we deal in music that moves.
How has the Melbourne music community responded to your label?
With great interest, encouragement and excitement.
It's as if there was a collective feeling which we somehow managed to tap into and turn into something concrete and visible. In that way, it also feels as though Melbourne is part of the label. I think people feel directly connected to it. At least, I hope they do.
What current Departed Sounds acts are you most excited about?
All of them. We're genuinely excited about all of them.
What are your future hopes for the label?
Naturally, we'd like the label to be a success, for our artists and for ourselves. I don't think you should shy away from wanting things to succeed on some level, as long as that desire is not driven by avarice.
We'd also like to partner with other companies we respect and also expand our ideas into other areas of the industry apart from releasing records.
And, I suppose, we do harbour a secret yearning to take over the world. But you have to remain humble and realistic and take things one day at a time in this business.
And finally, to fit with the whole 'My Music Brisbane' thing, do you have a favourite Brisbane band of the moment?
I'll be perfectly honest and say that my knowledge of new Brisbane bands is limited. We're a bit parochial down here in Melbourne, you know. However, I was sent an album by a band called The Bell Divers a few months ago which I really enjoyed. Very gentle, reflective, off kilter stuff. Well written and very well delivered.
Having said that, if there are any bands in Brisbane who think we really should know about them, well, you know where to find us.
Departed Sounds - Website
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