If Koretzky, Richards, Frank, and Clark weren’t enough for you, here are even more as-told-to accounts from local labels (illustrations by Johnny Sampson):
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Billy Helmkamp, Whistler Records
With the amount of attention we’ve gotten for our cocktails and live music, the Whistler as a bar has overshadowed the label. Of course when we first opened the bar much of our focus was on keeping the business afloat. We managed to produce a couple seven-inch records here and there, but it’s only in the past year that we’ve been able to focus more of our energy on records and artist development.
Explore the roots of four local labels (and give them a listen): »HoZac’s catalog of rock ‘n’ roll, garage, and scuzz »Chocolate Industries bridges IDM with hip-hop »Peira packages the abstract »Not Normal Tapes documents the midwest hardcore scene
The minds behind Drag City, Thrill Jockey, and more explain, “This is how I’d run a label”: »Dan Koretzky, Drag City »Bettina Richards, Thrill Jockey »Matt Clark, Tic Tac Totally Records »Michael Frank, Earwig
Working behind the bar at a venue is ideal for discovering new music. I book the bands and I get to see them play. This is really the crux of the “music venue as label”: it gives us the opportunity to take that relationship with the artist beyond the actual stage.
Steve Mizek, Stolen Kisses/Argot
To update an old adage, I fall into the category of “those who can’t make music start record labels.” As my ticket inside dance music’s underground, Little White Earbuds has greatly honed my taste and afforded me opportunities to meet extremely talented individuals. Last year I was offered an opportunity I couldn’t pass up—a publishing and distribution deal—from which Stolen Kisses was born. Soon after I realized Stolen Kisses more of a limited series kind of imprint, which became ongoing concern. This month that concern blossoms in the shape of Argot.
