terrorbird

Event, et al.

 


Gold Standard Laboratories misc  
 
I've heard a couple different versions of how and why Gold Standard Labs started--give us a rundown on how and why you started the label.

The label started in late 1993 when I was attending CU in Boulder, CO. A lot of local bands in the Boulder/Denver area were going unnoticed outside the state because there was no one releasing records for them, so one thing kind of led to another. I had a little "experience" already from releasing 7"s by my own bands (on the only local label, Titanic). I got offered way more financial aid than I needed to live, so after declining some of it and then having second thoughts, I took it all and released the first couple of singles. GSL was very much a hobby for the first couple of years. It didn't get serious until I moved to the Bay Area in early '96



I know you currently still tour and record as singer of Year Future, but with being in other bands like Subpoena the Past and most notably The VSS--does being in bands help you run the label in terms of knowing what bands actually need in a label?

I feel like it definitely gives me an insight into a band's perspective on their relationship to the label. These days we release a pretty varied assortment of "kinds" of bands and groups, and in many ways the expectations or requirements (of the musicians) differ from one to the next, so each project is kind of a learning experience. But being out on the road definitely gives me a chance not only to see and meet new people and bands, but also a shared experience of sorts - I can relate to their needs, even if I can't necessarily satisfy all of them.



One of the things that first hit me about the label years ago was the distinct aesthetic that communicates beyond the music. From colored vinyl, to odd shaped cds, to having a livejournal community long before the blog/myspace craze--how do these things help define the label and why does that continue to remain important to you?

Well, the physical "presence" of our releases has always been a big concern of mine. I was an art major in school and have approached GSL as sort of an extended art project, particularly during the early years when the business of the company was almost secondary to whatever statement I felt like we were making aesthetically. I was hugely influenced by Gravity and the distinctive "handmade" feel to a lot of the records - envelope sleeves, screenprinted art, etched vinyl, etc. My spin on all that was to embrace the "plasticity" of the materials and kind of pay homage to Gravity by creating items that were almost the exact oppposite, if that makes any sense. The idea of putting a 7" into a thick, plastic picture-disc sleeve, with the actual (colored) record visible through the back of the sleeve, seemed to me to be the essence of that. It started with The VSS EP on Gravity, but I feel really hit its stride with the first Locust 7" on GSL. When UNWOUND put out the album "New Plastic Ideas" it was like a vote of confidence from the universe! I've always felt as though punk/the underground are inundated with generic, trivial junk, with no effort behind it (the obvious exceptions being Dischord, etc.). The concentration on cool packaging was one way of differentiating ourselves, and also a personal sort of challenge to keep ahead of the curve in that respect. Plus, The Locust themselves were very into the idea of making their records as weird as possible - so it was a perfect match.



Looking at your upcoming release schedule, GSL is looking to have a crazy-ass second half of 2006. Radio is just getting their hands on Anavan (Bret rules, one of the sweetest bands in LA right now) and soon the Coaxial full length. Tell us about those and about some of the other stuff you have lined up this fall.

Both Anavan and Coaxial are local to us and are friends/peers, first and foremost. They're new bands who have not yet established themselves within the greater context of "indie" music (or whatever) but who produce interesting, inspiring recordings and possess an honest degree of dedication to their craft. Anavan are the freshest sounding "new wave" band I've heard in years, and are capable of writing some genuinely exciting pop music, almost an oxymoron. Coaxial are hip-hop, but not in the traditional sense. I have a hard time describing them because they remind me of a lot of disparate things, for instance Colder and DJ Shadow. They're definitely out on a limb, and I have a lot of respect for that. Other new things in the works include Crime In Choir (a San Francisco band reminiscent of Tortoise and Yes), Die Princess Die (L.A. based wall-of-noise postpunk), and Big Sir (Lisa Papineau and Mars Volta bassist Juan De La Pena; musically in the realm of Massive Attack/Bjork, we're releasing their third album).



Angel Hair, !!!, The Locust, The Faint, Vue, Outhud, Gogogo Airheart, The Mars Volta--that's quite a lineage, and that's just naming a few. How have you seen music (bands/industry/live shows, etc.) change since GSL has been around?

Live shows haven't really changed much, in my experience. The best shows with the most "spirit" and community seem to be in the smallest, most obscure places - which makes sense, since a support network is crucial in scenes like that. The industry on whole continually sinks to new lows of manipulation and infiltration, but that's par for the course. The music industry is never going to be anything but a reflection of the values and priorities of society in general. We live in a corporate, profit-motivated world which applies as much to music as it does to cat food or stock options. I've seen bands get a lot more serious about making careers out of their music, which has to do both with the changing "industry" but also, naturally, with the ages of the people in question. We still release music by "kids" but these days there are a lot more "adults" and adult priorities factoring into the business of the label. I think flipping through a magazine like AP is a pretty good barometer, culturally speaking. 10 years ago (OK, maybe 20 years ago) you would never have imagined page after full-page ad of perfectly manicured "punk" groups in identical tight black tshirts, identical product endorsements, cookie-cutter hairdos and attitudes - all with nothing to say except, at best, that they read the Bible and are eager to conform. That's the modern face of "punk" music, and I can't relate to it whatsoever. GSL exists and perseveres as a challenge to the mentality behind all of that crap.

Thanks for your time Sonny. I have to ask though. VSS dvd. Fact, or fiction?

Truly my pleasure, any time. As for The VSS, I can tell you solidly that "Nervous Circuits" will be reissued next year (its 10th anniversary), with some unreleased material. I have a box full of random VHS tapes people have sent me over the years that I'm slowly digging though and making sense of. If I uncover any footage worthy of release, then yes, something akin to a DVD may actually see the light of day. If so, it will most likely be included in the reissue.