This interview was conducted via emails with Joel Carriere, the Marketing & A/R Manager from Blue Summit, Stumble Records, and Bedlam Records <http://www.bluesummit.com/>. This interview took place over the course of October.

TR- What differentiates your label from a major label?

Money, passion, staffing

Money: Don't have the millions to buy our bands into the mainstream or even buy the bands into it's core audience. So we become more creative and cost efficient with our marketing and promotions.

Passion: Every band we sign, it's out of the love for their music. I don't view a band as a "money maker" when I sign them. I feel if we are all equally passionate about the music that good fortune will come. I know that sounds completely corny but I am still a fan of music and that's important if you want to be happy and successful in this industry.

Staffing: We don't have the fleet of people a major label has. There is myself, office manager, another guy like me, web master and the president. So we all wear a lot of hats. Which is terrific because we all learn and understand about every side of this business.

TR- What is the most difficult aspect of your job that a typical music fan wouldn't be aware of?

The amount of work and effort it takes to get prepared for a release. You got contracts, booking, marketing plan, promotional activity up to the releases, press releases, booking them in the studio, build a story in that time if they are a developing band, and that's before the CD even comes out.

The typical music fan doesn't realize the effort it takes to get them to go dish out their $15 to $20 for one of our CD's. You know what, I'm glad they don't know either.

TR- How important is it to be in a major market city, for a band and for a label, vs. being in a smaller market?

Well, our label and some of our bands are from the smaller market, which benefits us and the bands. We got to sign bands that no one else were looking at because major markets don't realize that beyond their major market there are other scenes. Also we have 2 major markets with in and hour North and South, so getting into these markets isn't beyond us.

Downside to not being in a major market city is that we are not part of the click in these city's, so we don't know who to blow to get want you want, I'm beginning to get jaw cramps man. Just kidding it just takes a little longer to find the key people for stuff. Also some industry folk believe that if your label or bands are not in a major market that your not as serious or important and I'm so ready to prove those people wrong.

TR- What is your favorite label?

Skunk Records, early 90's Revelation Records, Mans Ruin, Dischord, Sub Pop, Doghouse is pretty cool, RoadRunner, Jade Tree, . Bedlam Records and Stumble Records will rule with in a years time.

TR- How did you get into the music biz?

Well it all began when I was 15, that's when I discovered live bands and drinking at bars. From my first drunken stupor after seeing a punk band it's been love ever since. But this girl I had a crush on forever, who was also a good friend and now my girlfriend got me a job at a CD store and that's how it all began.

TR- Generally what do you think about the prevalence of mp3s and the whole Napster Phenomenon?

I don't think because I don't know enough about it yet to make and intelligent opinion on it. If you want my ignorant opinion, I think it's unfortunate that nobody is getting paid. How are bands, labels, distro, etc.. suppose to make money if companies like Napster are offering it for free? Contridicting what I just said, it's cool that small labels and bands can get there product out there to the world for free. So if you look at it has a promotional vehicle it's great because it's free but on the other hand nobody gets paid. So as you see, I am completely unable to make an intelligent opinion on this one, sorry for wasting your time.

TR- Do you believe that the "record" is going to become obsolete in favor of structures like the subscription system that some labels are toying with, and how do you think this change in music delivery changes the way the public looks at bands.

I do not think the "record" will become obsolete. That feeling of going to a CD store and finding a really rad CD or discovering something new that none of your friends of heard, that's a great feeling and I don't think people will give that up. I also don't really think it changes the way the public will look at bands

TR- Do you believe the labels, both major and indie, had the responsibility to see this coming and should've prepared themselves better?

It's kind of hard to prepare for the unknown. Sure it would of been nice if labels would of been more prepared for it but hey, it's done. So now labels have another challenge to face, good luck everyone.

TR- What do you think is in the future for small labels in relation to Napster?

The unique thing about indie labels is we have to find ways to utilize everything around us in a cost effective manner. Now as a indie label, it's pretty cool knowing that our bands are being downloaded across the

board and people usually hunting down indie stuff are using it as a tester. People go in to CD stores consistently and say the heard it on Napster and bought the CD or want to order it.

TR- Do you believe there will ever be any regulation, any royalty paying system for downloaded mp3s?

That would be nice but I don't know.

TR- Do artists lose credibility the more music becomes easily stolen and/or easily downloaded?

No. I don't feel it reflects the artist.

TR- Does music have a significant cultural value that is a necessary element in the survival in a culture like in the US?

I wasn't aware that the US has a significant culture. Haha

TR- Do you believe in the theory that every band has to have a hit single in order to make it?

That's were we get into defining the term making it. If you are a band that gets signed to a major label and have aspirations of being a global act then yes, singles will propel you there. On the other hand, Fugazi aka gods of music, I view them as making it ten time over than most bands that get the hit single and disappear in a year. So I guess my

answer is no, I do not believe in that theory.

TR- What issues would you like to see Tranjka discuss in future editions?

What might be a cool debate is label vs distro vs artist vs retail vs booking vs club. Every one thinks that these people work together and they should but expose the on going bitch sessions that these companies have. It would be f$%king hilarious

TR- Why do you consider Jade Tree or Dischord one of your favorite labels, what's your criteria?

MUSIC: 1. It's still about the music. Those labels and the others I mentioned have signed some amazing bands.

POSITIONING 2. I simply like the way they have positioned themselves in the market. I would wear a Jade Tree, Dischord, Skunk, Revelation, etc.. hoodie. I would be proud to represent them and let them represent me.

TR- Why is Fugazi often considered the aka gods of music, don't you feel the D.C. scene is so insular compared to other cities? Isn't part of their persona stand-off-ish, have you heard anything from them about the whole Napster thing?

No, actually, good point but I believe they have ended their career with their last album so this whole Napster drama was arising when Fugazi ended.

TR- We all seem to consider them the leaders since they have managed to remain outside the mainstream yet musically successful, but it seems there are not too many indie bands that are yelling loud enough to get widespread recognition on the current issues. ...Should we be looking to indie bands to be taking a stronger stand against, or for, Napster. Or even for political causes. Why do their voices seem so quiet?

I think it all depends what the band is about. If they are about the rock and roll, two hands full of horns held high in the sky, then I don't expect them to get political. But if they choose that route, as an indie band, I think that you have to scream louder than the mainstream, why because they don't have as many ears listening so the louder they scream the more people listen.

I think with indie bands are not taking huge stands either for or against Napster because

1. they feel like they are not heard

2. still don't know what to make of it

3. instead of facing it, turning your head and ignoring it is easier

I am sure their are tons of bands taking stands, do we know about them no. Why are there voices quite because Sony does not have a publicist following them around and printing every stand they believe in and spreading it across North America.

TR- Why aren't more indie bands actively involved in political discussions?

Some people really just don't give two shits about politics. Some bands form for the sole purpose to either, get laid, express their emotions, money,and those bands really just couldn't care less. They have other reasons rather than politics. Now if the band is into the politics end of things, then they should organize rally's and benefits, create

awareness for their cause through their music and other mediums. Get involved in political discussions. Follow Rage Against the Machine around and use their money and power and get them to jump on your cause.

haha

TR- Why have politics become so "uncool"? Could this be a reason why so many fans out there download mp3 files without thinking twice?

Maybe. Politics maybe "uncool" because people are bombarded with so much information that they cannot process it all and are selective in the stands they take. For anyone not really into the politics of music, why do they care. If I were concerned with every detail about every product I bought I would go insane. People are simply like that with music and that's fine.

TR- Why does it seem the bands we look to for inspiration, the so-called revolutionary underground, have become eerily silent?

They either have retired and no one knows about it or they are just as confused about it as millions of others. I find myself contradicting myself about the Napster thing often. If I were to take a huge stand, then contradict myself I would feel like an idiot and maybe thats how some of the "so-called, revolutionary underground" bands feel.

TR- Are indie bands even the underground anymore? And if not them, who is?

Good question. I've thought about this before and, yeah, don't have and answer. Just Kidding. Indie bands are still underground to a degree it's just not as deep as it was before. There still communities of people checking out local shows, following these unknown artists. It's just kids are better informed and are able to jump on these things

quickly, which I think is great.

TR- Do you believe politics should be left out of music, or is music inherently political, and if it is then does the lack of political aggression within today's music scene point to a real lethargy within the youth culture? What are the long term implications of this?

Yeah, I answer this question and I'll just appear slow. Music in compasses everything, emotions, stories, beliefs, politics, so to say that politics should be left out of music is inappropriate.

TR- Why do songs have to be around 4 minutes? Is this a natural occurrence or a product of the radio?

I think we have a split here. It could be a natural accordance because of the radio. Alot of bands right songs in hopes of them getting played on the radio. We all know that radio doesn't play anything longer than 4.5 minutes so bands that have a 5.5 minute song may cut it down if they feel it's a single. Plus I feel peoples attention spans have completely

decreased and I know from first hand experience when a song runs into the 5 minute mark people get uneasy. But I do believe radio has a lot to do with it. There is a lot of music coming out and if radio can fit 3 singles in as opposed to one then they will take the three.

TR- Do you believe in radio? Is radio the only truly public form of music (free and easy to access)?

I really don't listen to the radio often anymore. I know what I'm going to hear when I turn it on. Although occasionally I get surprised, like when I first heard Deftones, Incubus, Queens of the Stoneage on the radio, I couldn't;t believe after the years I have been listening to them that they would end up radio bands, which is all good. I still like them, I just don't feel apart of that secret group that liked those bands before everybody else. Yeah I guess radio is truly the only

public form of music because with the internet you pay monthly bills so it's not free, TV you pay cable, so it's not free, so yes I guess radio is the only true public form of music.

TR- Do you think the greater presence of booking agents, distributors, and publicity crews have made indie-rock in the mirror image of the type of musical organizations indie labels were trying to remove/distance themselves from?

To be honest, as a label, I don't try to remove myself from anything. I do find it annoying that our bands cannot get sweet gigs because we don't have a certain booking agent, or certain bands wouldn't look at us because of our distro, that get a little annoying. So with my answer I would say yeah we kind of are mirror images of what we used to be up against.

TR- Do labels become obsolete in the future? A future where a band can inexpensively afford to record two songs and post it on the Internet, and possibly eventually stream their live shows through high speed cable wires?

I don't know if labels will become obsolete. Bands will always want that feeling of being taken care of. Full time bands don't want to concern themselves with the political bullshit that goes on within the industry and that's why there are labels. Also I would never trade the interaction of a live performance for a computer performance. I need to connect with the band, have a beer, smell the weed, smoke, b.o, I need to go nuts, slam, jump, that's something a computer can never offer.

TR- Do booking agents become the real force in the industry since they have the power of who gets to play with the bands that draw the crowds?

Yes they are a huge force. And if there are any out there feel free to give me a e-mail. See what I mean. Yeah it's unfortunate but it's one more hill to conquer.

TR- Should labels be joining forces to buy their own venues to make sure their artists get playing time?

What indie label could do that. Shit it sound like a good idea but I don't think it's worth the cost for a couple clubs. If you cannot play a couple clubs then your label is a bunch of morons or the band is way to lazy.

TR- Do you feel the growing number of label owned online radio stations (k records has one, clairerecords too) means a dividing of the "scene" into competing elements? Do you feel the labels are afraid of going out of business and everyone has become every man for themselves?

Yeah, although we do not operate by this philosophy. We are so into working together with other labels and bands to further the betterment of all parties involved. I love and our bands love too many different styles and bands to segragate ourselves from them.

TR- Does playing live become obsolete? Could it?

No, computers cannot give you the ambience of a live performance.

TR- Does the Internet help or hurt indie labels?

Helps, cheap vehicle to hit the target market

TR- Does the Internet help or hurt unsigned bands?

Help. Farmclub.com, getsigned.com all these help along with a ton of others.

TR- Does the Internet help or hurt music as an art form?

It doesn't really hurt it. People are still making music and that's the bottom line. Now they have another canvas for their art via web-page.

TR- Does the Internet help or hurt contemporary culture?

Both, it can inform and exploit to a larger audience.

TR- Does the Internet help or hurt?

It's both.

TR- What influence will your local elections have on indie music?

Our city is a joke for supporting the local music SCENE but we don't let that bother us, we just do it without them.

TR- Do you feel the merger of AOL and Time Warner will really fuck things up, or make cross entertainment (MSNBC/NBCi, CBS-VIACOM, ABC-DISNEY) the new standard for the future?

TR- Are you afraid of answering these questions knowing that the data you send back to me will always remain in the wires and can be pulled up on a clever programmers screen either tomorrow or ten years down the road?

No I'm not telling you any huge secrets. This is a article to be viewed by the general public. Now it does make me nervous if some one pulled up some personal information about me that I have sent in confidence. But my life isn't that stressful where Something I send could effect people on a huge mass. Or maybe it is.

TR- How afraid are you as a part of an indie label/indie band in voicing a strong opinion knowing you might ostracize some of your audience?

Not too afraid. Actually I'm lying. I can't count how many times I wanted to tell some people at some retail stores, distro companies, booking agents, clubs just to go fuck their selves. Actually today I had to bite my tongue twice because of an insecurity issue on behalf of someone I was dealing with, and the other on a overly sensitive person that has no personality at all. But if I feel really strong about it, there is a reason and if some of the audience is ostracized so be it.

TR- How afraid do you think musicians are these days about voicing their opinions?

We all seem to be whores to the companies that we deal with and with being a whore comes a certain type of discretion or censorship. The music industry is so small and political and if you piss off one key person, 1000 other people may not want to deal with you. That's why labels can't occasionally tell there distro company to fuck off, bands don't tell their labels to fuck off. People have to become less sensitive and realize that we are all in this for one reason, because we love music. I believe a lot of people forget that and it's unfortunate because I hate dealing with people like that and to deal with someone still loving music is the greatest thing in the world.