Welcome, followers of all things sludge, we have
another amazing 20 Questions interview for your perusal today.
Following the popular interviews with two of my
favourite undergrounds labels, Gogmagogical and STB records, I’m pleased to introduce
you to another amazing underground label, Easy Rider Records.
Our good friend Heddbuzz reviewed the Easy Rider
Records release, Salems Pot and it was him as well as Steve from STB who first
brought this amazing label to my attention.
So, having released a string of successful releases, Salems Pot, Albino
Python and Red Desert, I thought because i’ve be stalking this guy on FB,
Twitter and Instagram, that it would be only good and proper to get him to talk
to us, here at the haven of Sludge.
So without further ado, here is my interview with Dan
from Easy Rider Records. Enjoy and
remember, support the underground, buy vinyl and spread the word. Until next time, thanks for reading. Aaron.
Dan, I appreciate you taking the time
to talk to talk to us, here at the Sludgelord. Kudos to you, as I am are big
fan of what you’re trying to do at Easy Rider Records and your support of
underground music.
Q) Where are you at the moment and what are you doing
in terms of the label? At the time of writing this, you have just put out the
Slow Season 7”. How has that process been? How has it differed from say, the
release of Salem’s Pot?
ER) Hey Aaron,
Thanks a lot for
taking an interest in Easy Rider Records! There is lots’ going on,
so much it’s hard to keep up. (feel free to take any of this out, I
am just giving you the rundown of what is happening) and for ANYBODY who reads
this whole thing its long and I am pretty sure that I will lose your interest,
do me a favor and just read about the bands below and what’s going on and come
on over to the site and check it out!
· Salem’s Pot is pretty much sold out will be
getting repressed in an edition of 200 with 2 different colors soon.
· The Slow Season – Heavy 7” is for sale now as
of yesterday (Monday, 24/6/2013) . The leather cover die hard sold out in a matter of
minutes and was limited to 20 copies. There are still a few of the
limited to 50 on clear left but they are going fast! There are about
40 of each of the other colors available too, it’s been a steady burn, I am
really satisfied with the response and how it the project overall came out.
· Red Desert “Damned By Fate” is available on
Tape – Limited to 100 and there are a handful of copies
left. Jermaine Rogers is doing the art for the vinyl which will be a
double LP and be available sometime in September.
· Albino Python – The Doomed and The Damned,
has sold really well and there are only a handful of copies left. David Paul
Seymour is doing the art for the LP and it will be out in August.
· SLEEP – HOLY MOUNTAIN, Easyrider records has
the cassette rights and it will be the first pressing of this since
1993. I plan to do some really super limited crazy shit that is so
top secret; I can’t really talk about it. But know this; it’s going
to be a game changer.
· Sons of Huns – Just signed with Easy Rider
Records and there will be a double LP coming out as soon as Art is done (do you
see a common thread here?) This band absolutely rips and I am so
excited to have them on the label. Adam Burke will be doing the art
(he did the Uncle Acid Poison Apple 7”)
· There are 5 other pretty large cassette
announcements that fit in with the vibe of Easy Rider Records that I won’t talk
about yet, but I can promise that your average Sludgelord reader will probably
think it’s cool. =)
The Slow Season
record was a bit of a nightmare to be honest; I went through a super shady
record plant to “save” some money (EKS IN BROOKLYN). They burned me
for $500 and caused major delays. Its ok, they will get theirs one
day, karma is a bitch. It actually gave me more time to concept out
the limited packaging though, so was a blessing in disguise. I was
fortunate enough to meet Jeff Haugjord (howg-yord) on instagram who is a
SUPER BAD ASS LEATHER WORKER and we figured out that the art for the 7” would somewhat
translate to what he does on a mass level of 20 copies. Both Slow
Season and Salems Pot were great experiences, I have actually talked to the
Slow Season guys on the phone as they are from Central California so I
definitely have gotten to know them a bit. Salem’s Pot doesn’t communicate
with the outside world except through email, I have no idea what they actually
look like or sound like other than the recordings. I think it’s kind
of fun like that!
SL) For those people who are not familiar with you or
your label, could you tell us a little about yourself, your label and why you
decided to start Easy Rider? When Easy Rider Records first started? Current
Roster?
ER) I have been
working in music since 1995. I got my first internship at American
Records, it was a real special time at that label and I got to see a lot of
really historical shit go down first hand. It was also when the
music biz was still making boatloads of money (the good ol’ days). I
finished college bounced around and started my first label in 1999 with a couple
of friends. It was a West African funk reissue
label. Think James Brown, but more African, more obscure, more
psych. That sort of fell apart and I have been working various jobs
in music as life has gone on from doing in clubs to consulting for companies on
music.
Fast forward to
2013, John from Granite House sent me a link to the Salem’s Pot demo
on Band camp, I was all about it! I wrote them and asked where the
vinyl was, they didn’t have any. They emailed me back a couple weeks
later saying that they had a tape going on sale in a couple days. It
sold out in 5 minutes, I grabbed 2 and then proceeded to email them and asked
if I could press the vinyl for Watch Me Kill you. This was in
February, like 4 months ago. A lot can happen in 4 months.
I started Easy
Rider Records to put out Salem’s Pot, that’s it…I didn’t have my eyes on any
other bands, I had no idea what would happen, it was just about making sure the
Watch Me Kill you 12” became real. Easy Rider Records is an
extension of me aesthetically and musically. I put out records that
I like to listen to and look at. From putting out that record, I
started finding all of these sick ass bands that needed a “home” for lack of
better words. They are DIY, they work hard, they are nice people,
and they could use someone like me to get some product out there and market it
for them.
SL) What made you start the label and were you
involved with bands before?
ER) I have been
involved with bands my whole life, playing in them, working with them,
etc. I was playing drums with a bunch of friends on a regular basis,
just jamming really but we were too stoned to get it out of the
house. It was more about the hang. As mentioned before, I
spent the better part of my 20s DJing in clubs sort of on accident but it took
off so I went with it. I played a lot of rap, classic rock, funk, etc.
all the while collecting records along the way. I am not DJing any more
that part of life is over.
SL) It is seemingly harder and harder to make a living
in the music industry for bands and labels alike, bearing that in mind, what
motivates you to continue with the label?
ER) You are right; it’s rough out here in these
streets. Plain and simple…Easy Rider Records really is a labor of
love. If I wanted to make money I would not be doing a doom stoner
psych label with limited runs of vinyl LOL! What motivates me is the
music, the people, and connecting with other like minded individuals whether it
be fans or band members or other label types like Dave Sweetapple from
Outerbattery/1939 Skates, Gerardo Martinez from Nuclear Blast,
Gordon Conrad from Season of Mist, Steve from STB Records, Rennie
Jaffe of Relapse etc. I learn from all of these guys and they all
inspire me in different ways
SL) So, let’s talk
Die Hard versions of vinyl, what is it and what do you feel is the significance
of releasing such a package?
ER) I am going to be really real with you right
now. People like to feel like they have something exclusive, I am
just giving them a chance to be a part of it. We aren’t selling
music anymore…we are selling packaging. I can prove this because if
it was about the music, they would be happy with the free download of the Slow
Season tunes and not click refresh a million times until the Leather Sleeves
are up for sale for $44 which then sell out in 2 minutes. $44 for a
7” is steep, but it’s an investment and its art and that’s what this is
about. If it was about the bottom line, there is no way I could sell
a hand tooled leather sleeve, a screen printed cover, and a test pressing for
that price.
For me, it’s about making people stoked that they have
something they paid good money for and it’s something that they want to buy
regardless if they like the band. I have tons of records I
bought blindly for the art, most of the time music is cool but there are a lot
of times that the music is horse shit and you just say fuck it and realize you
got the art without the soundtrack.
SL) Is there a specific person or persons that you
looked up to in terms of modelling your label upon?
ER) Yes – Frank Kozik. Mans Ruin Records was
an inspiring thing to see watch grow in front of my face. I have
lived in LA my whole life and seeing him pick up bands like Kyuss, Unida,
Queens of the Stone Age, Electric Wizard, The Heads, Church of Misery, the
Hellacopters, etc. and having artwork that was completely outrageous and didn’t
really fit the vibe of the music was and is my greatest inspiration as a
label. The only problem with Mans Ruin….too much art….not enough
business. It went under and that was that. I hope to
learn from watching things happen over the years and not make the same
mistakes. On a more one on one type thing, I really dig what the guys at
Relapse do with the vinyl thing…they do it well.
I think the coolest label I have been able to experience firsthand
is Third Man Records; Jack White is like fucking Willy Wonka. I
don’t like everything he has on the label (actually a lot of it) but god damnit
if I don’t see all their shit and I want it. It looks beautiful,
they are innovators in the vinyl field, and they are changing the
game. He pretty much prints his own money over there. I
was fortunate to go there last month get the full tour, meet the man himself,
see the full operation, the tape vault, etc. It’s really really
inspiring and nice to see someone who is successful put his money into making
more great art and giving other bands a shot. Say what you want about
Jack White but the world is a better place with him in it.
I also dig Tee Pee records, Rise Above, Southern Lord,
etc. Then there are the people I consider to be friends like STB
Steve, Dave at OuterBattery, Dom at A389, Larry at In The Red records and Jamie
at Innovative Leisure (not a metal label) who are busting ass to make the best
shit they can and doing it on a very limited staff or by themselves.
SL) In your experience, how easy/difficult was it for
you to get coverage for your debut release?
ER) Well…to be
honest…I didn’t really try because I was too busy assembling die hard packages
and fixing my site (thank god for my wife). I got real active on
Instagram and told all my friends who are “influencers” within the vinyl world
to buy multiple copies from me or I would never speak with them again
=). Its really hard to get press to be honest, fortunately for sites
like Sludgelord it’s about writing about music you guys like and not about
selling ads etc. I read the pitchforks etc. and I realize I would be
better off looking at the wall.
SL) What do you look for in band, in order for you to
say ‘hey I’d be interested in releasing your stuff?
ER) It starts
with them as people, then their music has to be good, I have to like the
vocals, if the art isn’t my cup of tea, we can work on that. It’s a
shame how many great musicians will never really get out there because the
voice on top of their music is not desirable to listen to. I like to
think that every band on Easy Rider Records has a good singer, that’s my story
and I am sticking to it.
SL) Based on your own experience, what do you think is
the most important thing for a new label to do in order to promote themselves?
ER) Be active on
social media, learn how to hashtag and search hashtags, follow people back and
engage with them. If you can’t connect with your audience, how can
you expect them to connect with you? Figure out who the editors are
at the biggest blogs you can get to and try to get them to take a listen to
what you are up to.
SL) What are some of the difficulties/frustrations of
running a label, because there are many other commitments such as family, work
etc, that perhaps restrict the amount of time you can dedicate to the band? Not
to mention the financial pressure?
ER) I haven’t had too many except for those dickheads at
EKS Records who burned me on the Slow Season Record. Obviously it’s
hard to juggle it, I don’t have kids and don’t plan to, my wife and I are very
career minded and the label is fun to me…it’s a creative outlet so it’s not
really “un-fun”. I think the financial pressure can be an issue if
you are hoping that selling doom and psych records is going to pay the
rent. For me, it’s about working with bands, helping people out,
making and getting a shit ton of records as well as hopefully inspiring others.
SL) Where do you see the role of blogs such as the
Sludgelord is in the music industry promoting/ reviewing your records? What are
your thoughts on changes in the industry over recent years in terms digital
versus CD/Vinyl?
ER) The blogs are
important, it all starts here! I say that with complete honesty, you
guys give people their first shot (sometimes it’s their only shot) but you give
it to them. Without a place like Sludgelord, there is nowhere for
people to read about stuff from like minded individuals. We need
blogs to keep it going.
I think CDs are
just a means to get MP3s into a person’s computer. I think vinyl has
turned into Baseball cards that you can listen to. I think that
tapes are making a comeback because they are cheap to get a run of 100 done and
it’s much more “fun” than CDs. God how jaded do I sound?
SL) Is there a massive cost in terms of signing the
band, manufacturing the music and the promoting it? Is running a label
sustainable financially and can you make a living do it?
ER) I am not
signing bands like a typical record deal (well there is one that I am talking
to) but all of my deals are product deals. I make the records; the
band gets 20% of whatever I make. I suppose if something really took
off, the deal would change after some records have been sold. That
hasn’t happened yet. If the band isn’t happy then they should split,
I don’t want to work with anyone who isn’t happy with what I bring to the
table, therefore…I don’t have typical contracts with any of them. If
I pay for a recording etc. that will be a different story.
I guess I could
make a living doing it if I had to, but it would be a VERY different existence
that what I currently live in. When you have to start doing
something to keep the lights on, it’s not fun anymore. I am
hoping that I am always able to have the label as something I work on when I am
inspired and it doesn’t become a grind.
SL) Lets concentrate on your recent
releases. Slow Season!! You’ve released 4 different types of 7”
vinyl, some in a leather jacket, something I have seen before. How
do you come up with the ideas for your releases and what were your aims for
this release?
ER) I take a ton
of LSD listen to the record on 10 and then shit just comes to me.
SL) Our blog recently reviewed Salem’s Pot
and also a digital version of the Red Desert record. Both records
are great, how did your involvement come about and what are your thoughts on
the final result in terms of both bands?
ER) I heard the
records and hit them up! Albino Python, Sons of Huns found me, and I
hit up Slow Season after hearing Heavy as well as Red Desert after listening to
Damned By Fate like 20 times in a row.
SL) Why do you
think the cassette making a comeback?
ER) It’s cheap and quick to manufacture, its analogue,
and it feels “different” for a lot of people and it has way more vibe than a
CD.
SL) Given that you have a number of releases under
your belt, how do you measure the success of future releases, are you reliant
on selling all of the record to release the next one?
ER) No, I am not reliant on the one release to make the
next one. I am constantly buying and selling records (kind of like
stocks), success is I make money…moderate success, I break even, even if it
doesn’t make money and loses, it’s ok. Some guys like playing golf
every weekend, others work on cars…I like to put out records, buy records,
trade etc.
SL) How much input did the band have in terms of the
finished product?
ER) Working with
a band is a partnership, everyone has to be on the same page to move forward. I
am not spending money on something I am not excited about and a band isn’t
going to promote the record if they don’t feel good. I feel people
out first before really going in with them, if it seems like there is going to
be some “personality issues” I run for the hills.
Q) If you could have released any record past or
present, what would it be and why?
ER) Well…that is a great question. I can tell
you that I would love to have Electric Wizard and Uncle Acid on the label, I
can tell you I would have loved to put DopeSmoker out but I don’t think anyone
could have done a better job than Southern Lord that re-release was
FLAWLESS. I would have liked to put out the Melvins Senile
Animal. I love that record and I think that HydraHead KILLED that
vinyl release. I would also like to put out the new FUZZ record, it’s
amazing and Larry at In The Red Records kills it!
SL) What are your thoughts about free legal
downloads (I am referring to bandcamp) and the difference between buying a
physical copy? Is that helpful to you?
ER) For me…I don’t control anyone’s masters or publishing
so if they want to give their shit away so it gets the word out and they want
to come and buy vinyl from me then I am all for it. I think it would
be different if I owned the masters like a more traditional
label. Hoping that if someone likes something enough they buy
something…maybe it’s a t shirt, a sticker, ANYTHING. Recently a guy
was streaming a record that is on the label and he wrote me asking permission
that he was “trying to support the band” through his YouTube
channel. I think that’s cool, especially if you have a ton of reach
to subscribers to your YouTube channel, but nothing really is more supportive
than buying the band’s merch. I am a strong believer in that, and my
wife hates how many t shirts I have because of it =).
SL) What are your plans for the rest of the year
and 2013?
ER) I am working
on a local band here in LA that when we get them unleashed, it’s going to make
a lot of noise! That deal is almost done, other than that, working
my ass off to put out some cool stuff in a cool way.
SL) Thanks for answering my questions, but one final
question, you got anything you like to say to people who buy your
records?
ER) To everyone
who is still reading this…holy Christ! Thank you for the support,
really…the fans and supporters are the key to this whole operation. If
you don’t buy the shit that gets put out, then it’s not going to happen.
Thank you for taking an interest in what I have been working on, and thank you
Sludgelord for being the first one to give EasyRider Records our first bit of
press
