Independent Music Charts

Let's get to know the Sydney-based independent label Resist Records, whose artists Parkway Drive and 50 Lions are both nominated for the 2010 Jagermeister Independent Music Award for Best Hard Rock or Punk Album ['Sleepwalker'' by Parkway Drive embedded above].

Below is an interview with Resist Records' founder, Graham Nixon [pictured right; photo credit 1ovakynd].

How and why did Resist start, Graham?

The initial idea behind the label was to provide an opportunity for local hardcore and punk bands to release their music. At the time there were very few smaller labels and unless you were a band doing really well, there seemed to be very little opportunity to release anything. We wanted the label to be of high quality with the releases not only being sonically great but also as aesthetically and artistically. At the time we were doing all ages in-stores at the original Resist address and from this we did our first release which was a 7" by Newcastle band FMD.

Who was involved at the beginning?

Scott MacFadyen originally started the Resist store in 1996 and I started helping him out around 1997. The label had its first release in 1998.

What changes have you seen since the label began?

The label itself has grown and has released some great titles. The way we approach every release is very much the same as it always was, it’s just nowadays there is a lot more planning and time put into the releases. Regardless if a title was going to sell 500 or 5000, I try to make sure it has the potential to do the best it can.

What does being independent mean to you?

Being independent we have the opportunity to control what it is we do. I’m not too phased by sales figures and what bands are selling, it’s great when things sell well, however if I’m into the band, I will do the release regardless of what it sells.

What are some of the label's proudest moments and success stories?

Doing the FMD 7" was pretty cool as it was the labels very first release and at that stage we had no idea how many releases the label would end up doing. Also releasing albums by Mindsnare and Toe To Toe has been great as both bands have a great history in Australian Hardcore.

Success stories? Parkway Drive's The DVD went platinum a few months after its release and hopefully their latest album will go gold in the coming months, so those things are always nice. Seeing the band go from playing small rooms to selling out huge rooms has been a crazy ride, but great to see.

Conversely, any artists or investments that didn't take off as you'd hoped?

There has been a few along the way that didn’t go as planed, however it's not as though they were major failures, possibly the expectation was just too high. I always say aim low so you always succeed, so I should stick to that a little more!

What's your definition of a successful indie label? 

Being able to put out releases that you want to, regardless of the sales outcome.

What are some of the values that your label adheres to (or tries to adhere to)?

From the 100+ releases the label has put out, only one or two have been by bands I didn’t actually have a friendship of sorts with prior to releasing the release. I try to work with people I know or bands I like, if I like a band and they are happy for me to do their release, its all systems go. Often you will get a band that you can see is popular and doing well and would sell a lot of records, but if I don’t share the same enthusiasm as most, I'd prefer not to work with the band just for the sake of good sales. I like what I like and work with what I like, if others like it as well, it’s a bonus.

What measurable effect has illegal mp3 downloading/'piracy' had on your business?

It’s definitely getting to a point now where you see an effect of this, and unfortunately there seems to be little you can do about it. I think it has to come back to the person downloading things - in one sense so many bands and labels are putting out garbage releases, I don’t blame people for downloading them just to see if they like the release, however with all the convenience of MP3 players and the like these days, its hard to get someone to get out and buy anything. If bands put out good releases, it sells, so maybe bands should look at what they are doing a little more?

Looking to the future, do you see the role of your label changing at all?

Not at all, we just do what we do and hope people appreciate what it is we do.

Finally, give us a hot tip - which local band are you watching closely?

Canberra's I Exist is a young band I’m really into. They have an album out now, and expect a new album out some time in 2011. 

Thanks for your time, Graham! For the latest on Resist Records, head to their website.

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We're not sure if you've read this story [pictured right] in The Music Network about Yolanda Be Cool and DCUP's absence from our list of nominees for the 2010 Jagermeister Independent Music Awards. We've spoken extensively to their label, Central Station, about the issue and we respect their right to voice an opinion on the matter. They are an independent label who have achieved something extraordinary with this release.

Yolanda Be Cool & DCUP's song 'We Speak No Americano' has achieved incredible success as an independent single. It's a worldwide smash-hit. One of the biggest releases in Australia of the year full stop.

Anyway, we at AIR were a little miffed at the fact that The Music Network didn't contact us before publishing their article. So, here's our response. We've sent a copy to them and they can publish it if they like.

Let us know your thoughts in the comments section below. Did it deserve to be nominated? Should the awards just be based on sales or airplay? Should they be based on artistic merit and achievement? What is truly independent and where should we draw the line for these awards?

Dear TMN

Thanks for showing continued interest in the Jagermeister Independent Music Awards. Jamie Raeburn and Central Station's frustrations are understandable and warrant an airing but in the interests of balanced journalism we're surprised that we weren't asked by The Music Network for comment regarding Yolanda Be Cool and DCUP's omission from the list of nominees before you published the article.

'We Speak No Americano's omission was due to AIR's own confusion about Central Station's relationship with Universal. For the sake of these awards only masters that are 100% Australian owned are in contention. Without delving into the contractual details of every record label's relationship with their distributor we do our utmost to discern where the ownership of the masters lie.

'We Speak No Americano's success has been a phenomenon which has been reflected in our own Jagermeister Independent Charts. However, like the ARIAs, these nominees are based on votes from our judging pool and their inclusion in a shortlist would have been no guarantee of nomination. You'll also notice that neither The John Butler Trio or Sally Seltmann were nominated. Not because they weren't deserving or hadn't achieved incredible commercial or artistic success but because our 250 judges chose otherwise. The nominees this year are exceptional across the board and we stand by them.

In response to the article it's worth letting you know exactly what the voting process for the awards is.

1. AIR gathers a shortlist of artists who have made an impact on the Jagermeister Independent Music Charts from the previous year. We also consult with our membership in case their has been an omission or release that deserves consideration despite a lack of commercial success. 
2. This shortlist, including tracks from the album is presented to 250 judges in a secure voting form. The judging panel is made up of music press (online, street press, mainstream newspapers and specialist music publications), radio (community radio, ABC and commercial) and music industry representatives from the independent sector. As a whole they are unbiased and we do not interfere with their judging.
3. Votes are collated, the top 6 announced as nominees and the winner announced at the awards ceremony.

 

Both Dance/Electronica and Jazz are genres that rarely make a charts impact so we rely on a smaller number of specialist judges (about 60) who know the Australian scene well. In the case of Dance/Electronica we had specialist judges from music media, festivals and promoters. Dance judges pointed out that the criteria of "albums" is not representative of a scene whose currency is singles and remixes. We've already begun looking at ways to better gauge the success of independent dance artists in future years.

Cheers

AIR

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Sydney indie rock band The Jezabels [pictured right] are nominated for two Jagermeister Independent Music Awards in 2010: Best Breakthrough Artist and Best Single (for 'She's So Hard'). Ahead of this year's event - more details on that at the bottom of this post - we caught up with The Jezabels' guitarist, Sam Lockwood.

What's your favourite musical moment of 2010 so far, Sam?

Seeing Cloud Control at the FBI radio fundraiser at the Factory in Sydney. I hadn't seen them in ages, and they were already awesome, but to see them play in front of around about 1200 people who were all getting into it - that was really incredible. I think the height of that set was their introduction to 'Death Cloud'. They are really great, really.

Favourite song of 2010 so far by an Australian artist, and why?

'And the Boys' by Angus and Julia Stone. Their simplicity is so genius - when I first heard this song I was struck by how powerful restraint can really be. All of Angus and Julia Stone's songs are written in such a way - but this song in particular is strikingly awesome. [Audio embedded below]

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What does being independent mean to you?

It's quite hard to sum it up but I think it's just a general direction that our band has enjoyed heading in. Money is a big issue - or more precisely our lack of it - but what we lack in money we gain in creative control, ideological control and even financial control. This does matter to us. I feel we would be uncomfortable to be pressured into doing things that we don't agree with, and I think situations like that occur much more when you are under a pile of contracts.

What's the biggest challenge you face as an independent musician?

Definitely money! It costs so much to do anything! Also, you do make yourself a bit of an outsider. When you have record label associations, there are a whole lather of contacts that you immediately create, which can aid your band's growth in so many different ways. It is a completely a 'connections' based industry, so this can work against you. However we have an amazing manager, and he is able to transcend this problem I think. Which we are very thankful for!

Conversely, what's the best thing about being independent?

Everything you do is talked about and assessed within the band, as well as with our manager. We can say no to anything, which, as mentioned above, is a very important thing to us. You learn so much more as well, because you have to be much more hands-on with the whole process. Just as an example, Nik, our Drummer, is very good at website design now, because someone in our band had to learn it! 

As a band, what would you ultimately like to be known and remembered for?

It would be nice to be a band that could be put on a stereo in about forty years or so and still have a bit of relevance. Also I'd hope that we've given a few people some nice memories, of when they came to one of our shows. Nothing too serious! These small experiences are the most important I think (cringe...).

Favourite music video of all time by an Australian artist, and why?

'Solid Rock' by Goanna [embedded below]. It is such an awesome song, and the power of the song is so prevalent in the video clip. It's a simple performance video, but the band is getting so into it, especially the backup singers! The song itself has a great political message as well, so that adds a great meaningful layer to the whole thing. PERFECT!

What's the best thing about being associated with AIR and the Jagermeister Independent Music Awards?

We are actually super surprised at being nominated, so I guess the best thing is to have your name listed beside such distinguished artists! Awards are good things to have, for recognition is something that makes you feel very positive about what you are doing. Now having said that, I'm quite certain that we won't win anything, but it's still great to be recognised!

Which Australian independent act deserves to be the 'next big thing'?

It's a good question. Caitlin Park is a great singer-songwriter from Sydney, as is Eirwen Skye. Isaac Graham is another. There are so many awesome bands and solo artists, of whom all have immense creative ability, I don't know where to start. We'll see I suppose..?

Finally, who do you think is going to win your categories this year? Who deserves runner-up?

I'd say modestly that in both categories, we deserve runner up, but in the others, Richard In Your Mind should win the best breakthrough, and The Temper Trap should win best single. They don't really need a leg up at the moment do they. But they definitely deserve it...

Thanks for your time, Sam! For more info on The Jezabels, visit their MySpace.

The 5th Annual Jagermeister Independent Music Awards are held at The Forum Theatre, Melbourne on Friday October 1st, 2010, featuring live performances from British India, Cloud Control, The Amity Affliction, M-Phazes, Sally Seltmann and Joe Chindamo. Doors open at 8:00pm; tickets are $29+BF and available now via Ticketmaster.

For more info on AIR and Australian independent music, visit http://www.ausindies.com/

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Let's get to know the Melbourne-based independent label Sensory Projects, whose artist Faux Pas is nominated for a 2010 Jagermeister Independent Music Award for Best Dance/Electronica Album ['Silver Line' by Faux Pas embedded above].

Below is an interview with Sensory Projects' founder, Steve Phillips [pictured right].

How and why did Sensory Projects start, Steve?

In 1996 I began publishing a 'zine called Sadness Is In The Sky. I felt like there weren't enough places in the media focussing on the sorts of music I enjoyed, so I decided to do something small to provide a bit of support. A label was simply another thing I'd always wanted to do and in 2000 I decided to set something up, with some encouragement from friends and distribution support from Inertia.

Who was involved at the beginning?

Me; it's only ever been me.

What changes have you seen since the label began?

Somehow it's difficult to say as, as businesses go, I run the label very loosely, and the impact of change is not ever very obvious. I suppose the number of stores buying the releases nationally has dropped significantly, or the stores have closed, which has made the job of distributing the releases more involved. I guess I'm more conscious of what doesn't change than what does change.

What does being independent mean to you? 

Honestly, it's a mixture of good and bad but ultimately, independence in the context of being a business owner and running a business that is still operating after almost ten years without any third parties contributing financially to the support ofor growth of my business, is actually a good feeling.

What are some of the label's proudest moments and success stories? 

The realisation of every release, of every project I'm involved with is an event that I feel good about. But the Hold Hands! show I organised in Melbourne in 2009 was one of the most memorable and wonderful things I have ever experienced and been a part of.

Conversely, any artists or investments that didn't take off as you'd hoped?

Of course, but the 'broader success' of so many things is about timing and sometimes timing is about making it 'your time', and for a small label that's really difficult.

What's your definition of a successful indie label?

My definition is, simply 'to be' is a success! Just being able to continue to do what you  want to do, to support the artists and releases you want to, that's my benchmark of success. I guess to call on an example of a successful indie though you can't really go past Chapter Music, because Guy Blackman is one of the truly clever people active in the Australian music community. Chapter never appears stale, Guy seems to keep the label feeling fresh and his selections are always personal and fascinating on all sorts of levels. 

What are some of the values that your label adheres to (or tries to adhere to)? 

I think all of the same values that are important within our day-to-day relationships; honestly, trust, integrity. The label exists to support the people I admire in doing what they want to do, in my representing their artforms truthfully, with enthusiasm, honesty, andenjoying the relationships I have with the people I work with and appreciating each other. 

What measurable effect has illegal mp3 downloading/'piracy' had on your business? 

Sensory Projects is a small label and frankly I'd be exercising disillusionment if I complained about illegal downloading and our releases. The fact is that it might almost be the reverse, that someone posting our titles for illegal download has somehow increased their profile simply by existing in this space, in the context of being 'available'. Some things are too baffling for me to understand, and this is one of those things. 

How have you been involved with the Independent Music/AIR Awards over the years? What are some of your wins and losses? 

This is the first year that I am aware of where one of our release has been nominated for an award, and I'm really pleased that it's Faux Pas' Noiseworks, particularly because Tim Shiel is a genius and he worked so hard to create this amazing album. It's a win just to be nominated and so we can't lose! 

Looking to the future, do you see the role of your label changing at all? 

I think so, yes. The label is constantly evolving in terms of how we provide support, what relationships we forge, and how we approach each release, so in another year or two things could be dramatically different from the way they stand now. 

Finally, give us a hot tip or two - which local band/s are you watching closely?

Over the past 6 months or so I've seen a few bands that are, I think, great, some exceptional, including White Woods, Crumbs, Hissey Miyake, Owl & Moth, Pageants and No Zu. If I got out more I'm certain I'd have a whole lot of other bands to list.

Thanks for your time, Steve! For the latest on Sensory Projects, head to their website.

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September 2, 2010: Liberation Music are producing and releasing a deluxe packaged vinyl 7” single for the late Rowland S. Howard's ‘The Golden Age Of Bloodshed’. Howard's final album, Pop Crimes, was yesterday nominated for the Best Independent Album award ahead of the 2010 Jagermeister Independent Music Awards at The Forum in Melbourne on October 1. The single's b-side is a previously unreleased instrumental entitled ‘Lost In Space’. 

Howard's bandmates,  Mick Harvey, J.P. Shilo & Lindsay Gravina, had this to say about the track: "‘Lost In Space’ was a piece composed by Rowland for the Pop Crimes album which remained unfinished.  It was mixed after his passing and is presented here respectfully as an interpretation of his original intent."

There will only be 500 individually numbered copies of ‘The Golden Age Of Bloodshed’ available worldwide. The 7" will be released through Liberation Music in Australia and in stores from Friday October 29th. Interested buyers should make sure they pre-order from their music retailer. 

The Richard Lowenstein-directed video for ‘The Golden Age Of Bloodshed’ is embedded below, and can be viewed on Liberation's YouTube channel.

‘The Golden Age Of Bloodshed’ is also available on Rowland’s Pop Crimes album, which is nominated for the 2010 Jagermeister Independent Music Awards as Best Independent Album. Lauded as one of 2009 Australian releases of the year, the album is earning due respect with a local release in the UK and Europeon English indie label, Infectious.   

“Wringing his guitar neck for all that it's worth, this could easily be the sound of some kind of infernal film noir as the echoes and bends cast long shadows among the trails of curling cigarette smoke caught in the dim afterhours lighting.” The Quietus.com, UK 

“8.5 / 10 Thankfully we’ll always have Pop Crimes, a brooding piece that sees the post-punk firebrand playing the existential cowboy as beautifully as ever.” NME, UK 

“4.5 / 5 Howard’s vocals speak of a life lived close to the edge and his garrulous, almost weary delivery is haunting.  But it is his evocative, inventive and constantly surprising guitar playing that leaves the greatest impact.” The Irish Independent

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We're rather excited (read pretty f*ckin pumped!) to be announcing  nominees for the Jagermeister Independent Music Awards!

Big winners were Dan Sultan and Cloud Control, each with 3 nominations. The Jezabels and Eddy Current Suppression Ring also each picked up 2 nominations.

AND THE NOMINEES ARE...

 

BEST INDEPENDENT ARTIST

British India (Independent/Shock)
Cloud Control (Ivy League)
Dan Kelly (Independent/Shock)
Dan Sultan (Independent/MGM)
Eddy Current Suppression Ring (Aaarght!)
Sia (Independent/Inertia)

 

BREAKTHROUGH INDEPENDENT ARTIST

Bridezilla (Inertia Recordings)
Cloud Control  (Ivy League)
Otouto (Two Bright Lakes/Inertia)
Philadelphia Grand Jury (Boomtown Records/Shock)
Richard In Your Mind (Rice Is Nice/Other Tongues)
The Jezabels (Independent/MGM)

 

BEST INDEPENDENT ALBUM

Cloud Control – Bliss Release (Ivy League)
Dan Kelly – Dan Kelly’s Dream (Independent/Shock)
Dan Sultan – Get Out While You Can (Independent/MGM)
Eddy Current Suppression Ring – Rush To Relax (Aaarght! /Shock)
Rowland S Howard – Pop Crimes (Liberation)
Sia – We Are Born (Independent/Inertia)

 

BEST INDEPENDENT SINGLE OR EP

Bliss N Eso – Down By The River  (Illusive)
Little Red - Rock It (Liberation)
Philadelphia Grand Jury – The Good News (Boomtown/Shock)
Sia – Clap Your Hands (Independent/Inertia)
The Jezabels – She’s So Hard (Independent/MGM)
The Temper Trap – Love Lost (Liberation)

 

BEST INDEPENDENT BLUES AND ROOTS ALBUM

Ash Grunwald – Hot Mama Vibes (Delta Groove/Shock)
Dan Sultan – Get Out While You Can  (Independent/MGM)
Jeff Lang  - Chimeradour (ABC Records)
Mama Kin -Beat and Holler (Independent/MGM)
The Beautiful Girls – Spooks (Independent/MGM)
The Red Eyes – Red Army (Independent/MGM)

 

BEST INDEPENDENT HARD ROCK OR PUNK ALBUM

50 Lions – Where Life Expires (Resist/Shock)
Calling All Cars – Hold, Hold, Fire (Independent/Shock)
House Vs. Hurricane – Perspectives (Independent/Shock)
Parkway Drive  - Deep Blue (Resist/Shock)
The Amity Affliction – Youngbloods (Boomtown/Shock)

 

BEST INDEPENDENT COUNTRY ALBUM

Amber Lawrence – When It All Comes Down
Deborah Conway – Half Man, Half Woman (Independent/MGM)
Kasey Chambers, Poppa Bill and The Little Hillbillies – Lost Music Blues (Liberation)
The Dingoes – Tracks (Liberation)
The Sunny Cowgirls – Summer (Compass Brothers/Shock)

 

BEST INDEPENDENT HIP HOP/URBAN ALBUM

Horrorshow – Inside Story (Elefant Traks/Inertia)
Lowrider – Round The World (Illusive)
M-Phazes – Good Gracious (Obese Records)
Ozi Batla – Wild Colonial (Elefant Traks/Inertia)
Urthboy – Spitshine (Elefant Traks/Inertia)

 

BEST INDEPENDENT DANCE / ELECTRONICA ALBUM

Faux Pas - Noiseworks (Sensory Projects/Inertia)
Jamie Lloyd - Beware Of The Light (Future Classic)
Midnight Juggernauts - The Crystal Axis (Siberia/Inertia)
Nick Thayer - Just Let It Go (Independent)
Opiuo - Slurp And Giggle (Addictech)
Space Invades - Soul:Fi (Invada Records)

 

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Sexy, souped up dub/trip hop featuring the gorgeous voice of Catie B and the super laidback (absolutely f*cking cool) production of James Mangohig (TZU). Matched with a stunning clip. Top notch independent music. No doubt.

Darwin is a beautiful and fascinating place, an army town with a thriving arts community, a passionate metal scene, the ridiculous NT News Headlines (Man Attacked by Suckerfish!!!) abundant natural beauty, crocodiles, stingers, insufferable hot weather and a ski club. Almost paradise. The pace of life is slow compared to what we're used to in the eastern states but I suppose that's what makes it attractive for the artists. The contradictions and way of live make Darwin an inspiring place to be creative.

Sietta are one of several acts that divide their time between Melbourne and Darwin. The pace of life and the gorgeous hot dry season mean that writing music is a pleasure. But come time for the build-up and wet season, it's time to head south for the summer to a larger and more vibrant music scene, time for bizness.

Check it - http://www.myspace.com/siettamusic

 

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Proudly presented by Channel [V], NOVA, and MySpace, the fifth Annual JAGERMEISTER INDEPENDENT MUSIC AWARDS (formally known as the Jagermeister AIR Awards) will be held on Friday October 1st at The Forum Theatre in Melbourne.

The event is a rare opportunity to join great Australian Musicians and the Industry at large, as they celebrate success with the Award winners, and enjoy performances by some of the country’s mos sought after artists.

The JAGERMEISTER INDEPENDENT MUSIC AWARDS are Australia’s only official independent music awards, rewarding the country’s highest achieving independent artists across all genres, in any given year.

The evening will feature performances from those purveyors of punk, hardcore rockers AMITY AFFLICTION; new indie darlings and vintage-alt-pop stars CLOUD CONTROL; virtuosic jazz pianist JOE CHINDAMO; indie wunderkids and brit-rock exponents BRITISH INDIA; the intoxicating world-renowned singer-songwriter SALLY SELTMANN; and a hip-hop extravaganza from M-PHAZES WITH ILLY, MUPH & CANDICE MONIQUE, SOLO AND MANTRA which promises some electric on-stage collaborations.

Awards to be presented during the evening include Best Independent Dance / Electronic Release, Best Independent Artist, Best Independent Hip Hop/Urban Release and Best Independent Hard Rock/Punk Release among others, with a number of high profile special guest presenters on hand to help with proceedings.

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3 or 4 years ago, Little Red started out in Ivanhoe, Melbourne playing what they beautifully termed  "ecstatic music for troubled times". Talk of their high energy and oh-so-cute live show spread annd soon word of mouth saw them pack 400 people into the tote for every week of a two month midweek residency at the legendary Tote. It was enough for the often scathing local critic Clem Bastow to pronounce them ‘pretty much the best band in Melbourne at the moment.’

Within months they self released a tinny, garage pop album, full of doo-wop harmonies and twee romanticism called Listen To Little Red. Personally I thought it was kinda corny but it was promptly featured on Triple J, recieved universal acclaim and high profile support and festival gigs. What would I know anyway!?

Now, they've grown up a little, the band have enjoyed a phalanxe of side-projects and returned a little slicker, a little sexier and if the first single is an indication, the best damn pop-smarts in this country.

Ladies and Gentleman, its time so say hello to Australia's newest crossover indie superstars, Little Red are going to be huge.

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Australia's noisiest, most combative and politically active band have just released their first album in almost 4 years, and it's a departure. A powerhouse recording of deep dub and roots, recorded across the world with guest spots from some of the worlds most legendary reggae artists.

Blue King Brown are one of the hardest working bands we've ever had the pleasure to work with. I've had the pleasure of working along side the brainstrust of Natalie P'a'apa and Carlo Santone in a tiny office above a dilapidated pub on Brunswick St. Fitzroy. They took to all their projects with passion and fervour. They're vehemently independent and they have a vision that no one, absolutely no one will get in the way of... ever.

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