TBP Interview - Justin Barwick (Weekender Records)

(Chikinkis neuestes Album wurde auf Weekender veröffentlicht)

"I saw Black Kids in New York a few
weeks ago and was very disappointed!"

Please introduce yourself to our Readers:

Hello, I’m Justin Barwick, 43 years old and living in the Tirol but originally from just North of London, England. I was a fanatic of music from a very young age and regularly attended concerts whilst still at school. I also started DJing when I was just 15 at private parties and local hotels in my home town. I’m happy to say I still have most of the records and my preference is still for vinyl, although I’m happy to adapt to new technologies.

What was your reason to move to Austria, and also set up a Label there?

In the 90’s I worked in telecoms for an English company. Before Austria I was living in The Netherlands and Belgium. My company won a project to work for Connect Austria (ONE) so as International Director I came to set up an office. On my first day I met a local girl and married her 6 months later. After I quit telecoms and sold another business that I had a shareholding in, I was able to pursue a career that was more pleasure. As a fanatical music fan I was getting sick of always having to drive to Vienna, Munich or back to London to see good bands. I had been DJing for a few years in bars in Innsbruck so I knew there was an interest in Indie & Alternative music so I got together with another local DJ friend and we started Weekender Club specialising in ‘our’ type of music. The record label was a natural progression from this.

Three Important things for New Bands to get more attention from Tastemaker, A&Rs, Djs and Music - Journalists?

1) Be original – nobody wants another Libertines, Arctic Monkeys or Muse.
2) Play live – anywhere and often. Develop a good confident live set.
3) Style is important. Dress well and get an image. Presentation can get you far!

Do you have a Manifesto or a Weekender Records Philosophy?

We don’t have a specific manifesto or philosophy. We like to work with artists who are nice people without big egos. We are always looking for new artists and they can be any style as long as ‘we’ get it.

In my thoughts, the Music Industries are still a very familiar thing.
It doesn´t helps to send in unsolicited Demos, if the Artists or their Management didn´t know Record Label A&Rs etc personally. So do you think that a Band should still try this usual way? I mean it´s also quite expensive to sent demos via regular Mail.

In general I agree with you as we get lots of demo’s and don’t get to listen to all of them. These days Myspace, Youtube and Facebook are very important as you can get a much better idea about an artist. Seeing a band live is still the best way to find a new act though. We have signed a few bands that came to play Weekender Club and impressed us so much we offered them deals.

You living in Austria since a few Years and set up
a new Spirit for Indie and Rock Music in Innsbruck. Would you say that
things has changed in Austria Since then?

Thank you, I take it as a compliment that you say we have set up a new spirit for Indie and rock music in Innsbruck. I certainly get a great deal of pleasure from knowing that we have done our bit to put Austria on the map for this style of music. I do think there is a bit of a change throughout Austria now with more people taking notice of Indie and Rock and less emphasis on Techno, House and Afro which were so prominent before (although I must say I have an exceptionally broad taste in music so can appreciate all genres).

Weekender Records only has signed British Artists at the Moment. Are you
also interested in Acts from other Countries…and probably also from Austria?

This is not true at all. Currently we have released or will release records by The Puzzle (Hungarian), 1984 (French), Five!Fast!!Hits!!! (German), NiTasha Jackson (American) and of course Naked Lunch (Austrian). Nationality is not a problem for us, the only important thing is that we like the music. We have considered a number of Austrian artists but sadly it is very difficult to break an Austrian band outside of Austria unless they are able to move to the UK. Check the website: www.weekenderrecords.com

Is the Austrian Music Industry that worse as like many people said, and what should happen to change a lot of things?

It’s not so much that the Austrian Music Industry is bad it’s just that with a population of only about 8 million people sales are not enough to justify the investment like in bigger countries. There are some positives such as the excellent FM4 radio but I can’t see any way to change things. Even in Germany it is very difficult for bands to become successful worldwide because if they sing in German it means they have a limited audience and if they sing in English they are up against massive competition from the UK and America.

In our last talk, you meant that you will expand Weekender Club over
the whole Country. So that there should be a few Weekender Club Locations
in Austria. Is this still your plan?

I would sincerely love to have a Weekender Club in all the big towns of Austria but it is not a high priority. I would hate it if I permitted someone to use the brand and they got it wrong. I am very protective about the style so when the time comes I want to ensure it’s done properly.


It´s easier to produce Music than it was in the 90ties. There is a lot of Software around, and that’s the reason why so many young Bands produce their own songs. But, if i look to the next Hype thing, Black Kids form Florida, they only have a 4 track demo around in the internet and now they must record an Album and also do a tour. Isn´t that dangerous concerning Artist Development, as they haven´t time for develop their Song writing Skills BEFORE they get a bigger publicity?


Many bands get lucky and become hyped but often before they are ready. In most cases they are an overnight sensation and then quickly disappear. I always tell bands make sure you have written enough for 2 albums before you record the first. That way if they do become successful it takes the pressure off writing a second album whilst promoting the first. Every band should take some time working hard and perfecting their skills before trying to become successful. The opposite is that when it doesn’t happen after a while a band who wants success should quit and try in a different way. If a band starts to get some hype they need to get signed at the first attempt. If they hold out for a better deal or don’t get the offer they want it might never happen. Everyone in the industry is wary of bands that’ve been cited as the next big thing but then are not signed. (incidentally I saw Black Kids in New York a few weeks ago and was very disappointed!).


10 years ago, the Internet wasn´t important concerning scouting New Bands. 2007, it´s really important to spread the word over Weblogs.
Do you think that Weblogs could be the next Major Labels. That they release Records cause if their huge Audience, as it´s more easy to
sell Music for them?

No I don’t think weblogs will become Major Labels, but I do think Major Labels will try to manipulate Weblogs. The internet has revolutionised music and the industry is trying to understand how to handle it. I am a great believer that people who like a band ultimately want a physical product to show to their friends and so there will always be a market for Vinyl, CD’s or some other product. Also, merchandising is very important. Weekender Records is about to become the very first label in Germany to release an entire album on USB Memory stick with Chikinki’s ‘Brace Brace’. The album will be available in a standard CD jewel case with normal artwork but inside will be the memory stick with the Chikinki logo printed on it. The stick can then be put in a computer where there will be the whole album. The bonus is that we can add videos, photos and other band info. I’m hoping that people will see it as the best of both worlds, digital and physical!

Radiohead released their Record as a Full Download Version on the Internet, for "Free". Is this also a possibility for Young Bands to making more money as if they have a "regular" record Deal or just a perfect way for well known Artists
to get full control about their Copyrights etc?

From my understanding Radiohead still charged for their album but they let the purchaser decide the price (which I believe averaged at about 4 UK pounds). This is just a gimmick. However, The Crimea and The Charlatans have both made their entire albums available for free download. I think this just devalues the band and their music. I believe the music is not as respected unless it’s been paid for. Other bands will realise this and I don’t expect it to become a trend. Record labels will discourage it as they will always need the revenue from sales. Also, new bands are not going to give away albums for free as they don’t have the big fanbase so what’s the point? Bigger bands could justify that they can still earn enough from live shows and merchandise, but for how long?

Do you have any favourite Austrian Acts?

Fortunately I have had the chance to see a number of Austrian bands many of which have been excellent. Apart from the obvious like Naked Lunch, Velojet and The Staggers I also like Deckchair Orange, When The Music’s Over, Lorry Box, The Shirley MacLain’s, Golden Reef, The Seesaw, Wo’xang, The Glamour Street and Jellybeat. I’m sure there are plenty more that I can’t remember now!

And if, could this Acts also have a chance to breake UK, Sweden or anything else?

As mentioned before it is very very difficult to break an Austrian band in the UK (or Sweden). The only chance would be if they were really talented then they would have to move to London (or Stockholm) and play loads of shows. Just releasing a record and playing a few shows is not enough when they are up against so much local competition.


I often compare the Austrian Music Industry with our Football. Austrian Football Player really should move to UK or France or Germany etc to develop their skills…so, in music biz, would you say that it´s important for our Artists to tour through foreign Markets from the begin of a band career? To play every fuckin toilette, as it Matthew Bellamy from Muse meant in an Interview a few years ago?

See above! (although I like Austrian football and British football has mostly foreign players!) – come on Wacker Tirol!!!

Now days, it´s even harder to get booked from Clubs. And, Pay for play is also a huge Problem. If an Austrian Band like to play in the UK, to get an
Audience there, it´s much more harder. So, what is the best
Strategy to get booked there?

Sadly there is no magical answer. I hate the way bands are treated in the UK but as there are so many bands it’s easy for promoters to treat them badly. We treat bands very well at Weekender Club and get a very good response from them. However, some Austrian and German bands have a very poor attitude and strut around with a level of arrogance way above their status. If they went to the UK they wouldn’t last longer than a few days!

Last Question. What are your future Plans?

I’m not really a planner. I would like to develop the Weekender brand so it is recognised worldwide for good music. I’ve just employed a licensing manager to help get deals for our bands in Japan, America, Australia, Scandinavia and throughout Europe. I am also building a new division in the UK called Weekender Tour Assistance where we will supply tour busses, backline and Tour Managers. I also wish to do more in the way of merchandising and I want to have a publishing company – phew……

TBP Interview - Toby L (Transgressive Records) 2007

(Transgressive Hot Tipped 2008 - Foals)

It´s 2007, so…what things happened since our first Interview in November 2005?

Everything. We’ve released almost a dozen albums, been in the charts with the likes of Young Knives, Iron & Wine, Regina Spektor, The Shins, and others, and signed some of the best music we’ve ever heard. Have you heard Foals? They’re one of the best new bands for years and years, completely invincible live. We’ve started Publishing and Management offshoots, too, so we can work with artists in other creative and representational roles… Our rockfeedback.com site is about to have an amazing facelift and a proper push in 2008, and our tv show has done pretty well, being broadcast in 16 countries through MTV, and on Channel 4 in the UK. Our club-nights have been putting on some great new bands, too. It’s all happening.

You´ve recently signed So So Modern from New Zealand and Cut off your
Hands signed by 679. It seems that there coming a lot of good Stuff from
there?

Seems so. Although, for such a small island, it’s always had a great wealth of musical talent – the government there is very instrumental in supporting its local music scene, providing grants for touring funds… That is something that I think couldn’t work in the UK – because seemingly everyone 14 and upwards seems to be in a band these days! Or at least aspires to be, if only in secret. It’d cause an economic recession trying to give everyone start-up funds in London! Also, how would you guage who deserves the dosh? By how ruffled their hair was, or how many holes were in the crotches of the band members’ jeans?

Three Important things for New Bands to get more attention from Tastemaker, A&Rs, Djs and Music - Journalists?

Be original, have your own set of ethics, enjoy it. So many bands are forming bands purely for fame’s sake or to get a house from an advance cheque – fuck them. I got into this because I love music and want to be helping people get heard. One day it’d be nice to live more ‘comfortably’ from it, but that’s not really the main agenda.

Did the British Music Industry become much more younger? I mean, more young people are Record Label Owner, Alan Mc Gee quit and left the Country to the US cause he only will work with People who “inspire” him now, and
the Bands are getting a Buzz when they still in School.

Haha. I think the Internet being a more accessible medium has meant that anyone who is a music fan and is young has suddenly got a resource at home or school they can immediately tap into and follow up… the avidness ofyouth, and all the free time of pissing about of course, means younger people are naturally more likely to research and investigate music and artists, and then get involved. Previously, there was the restriction of having to have more than pocket money to go out and buy CDs in record
shops in order to become really attached to music. For better or for worse(for the music industry in its current model, it’s the latter!), now people can go online and get tonnes of music and not even have to leave their house. Wait ‘til it becomes even more mobile phone-centric like Japan in the next few years!

How important are Social Network Sites like Lastfm etc today?

Massively – as per the last question – people, especially those slightly younger, are wanting to discover more and more music, and these sites make it idiot-proof as a concept. I think they’re amazing.

Black Kids gain a massive Buzz at the Moment. They have 4 Demos released and it seems that a Bidding War comes up. Isn´t that a stupid
thing?

It depends what else they have up their sleeves. If they have four songs, and no live show, then I could see that as worrying. If they have fourteen amazing songs, however, having only released four publicly, and a great live show, then it might be cool. Or, if they only have four songs, BUT have huge ambition and great ideas, and a will to do things differently, then that’s fine with me; good luck to them.

Gallows already have done a Major Deal with Warner for 1 Million Pounds. That’s also really Stupid. Is that something like the last Breath of a Major wich comes out of a big despair?

Haha. It was actually far less than that, I heard, but it was still a big deal. I think signing anything that’s a six figure deal, or more even, is completely terrifying and very unfair on both the artist and the label; it’s placing too high a recoupment figure for anyone to actually succeed in the relationship further down the line. In the traditional music industry model (not that deals such as these are getting offered anymore, as of two weeks ago, virtually!), bands should be encouraged to sign for less and go for a higher royalty, and go in for the crusade. In the past,
the majors exploited artists; the last few years, it turned on its head, with artists and lawyers trying to get as much as they can out of these fast-crumbling music companies… which was amusing for a bit… but you only have to look at how many bands have been dropped of late to realise it can’t be such a smart move in the long-term.

A well known Music Journalist in Germany, Albert Koch, wrote a Book called “Fuck Forever – The Death of Indie Rock”. He criticised that a “Big Sell Out" happened after Kaiser Chiefs etc hook up with Major Labels
and that Indie become Mainstream and also a Fashionable thing. So how dead is Indie Rock in these Days, cause I think it is more alive than ever before

I don’t know. It’s easy to forget, but major labels have released some of the best music we’ll ever hear – Tom Waits, The Rolling Stones, Neil Young, Bob Dylan, The Beatles, Radiohead, Blur, Bruce Springsteen, REM, Madonna, and billions more. Indie labels have equally shaped culture from the grassroots upwards. I don’t think indie rock is dead. I’ve heard five amazing new bands recently, and they’re all totally different to each other, and what’s gone before. I hope we can sign them all!

To be an A&R is really hard in an Era where it is easy to produce with Software and to put it online to Myspace etc. If I look to your Record Labels Roster, you have still good bands? Whats your secret concerning
scouting new Acts?

Only working with real music that you believe in. Most A&Rs scout music that other A&Rs are listening to, because they lack conviction in their own beliefs and want to sign a buzz band. We’ve signed bands that no one wanted to sign, and they’ve become successful. We’ve also signed bands that everyone else wanted to sign, but we might have got in there earlier, purely because of luck and friends with good tips! Always listen to the songwriting and the artistic vision, that’ll guide you.

The End of the year is near. Any Hot Tipped Act for 2008?

Yes, Foals. Mechanical Bride. Ox.Eagle.Lion.Man. OK, so we work with all of them, but I have to plug, y’know!

In 2005, Transgressive barley started out. 2007, your Label is well known also here in the G/A/S Area, put a lot of great Bands out…so…what are your Future Plans now and how full is your releasing Schedule for the
upcoming year??

That’s really nice to know… We’ll just keep plugging away to do our best at representing the best music and the most honest and talented musicians out there, and making people hear about this great music. With rockfeedback, we’ll keep covering everyone we can, and making things happen! Our release schedule comprises the amazing, second Young Knives album ‘Superabundance’, Foals’ debut LP, Johnny Flynn’s first record (he’s an act we manage, signed to Vertigo/Universal), and too many to list here! Stay tuned at our myspace.com/transgressiverecords and
www.transgressiverecords.co.uk websites. Thank you!

Myspace is not your...

..."real" Website. Meint der britische Online Music
Consultant Andrew Dubber.

Auf seiner Website "New Music Strategies" ist unteranderem auch die Social Networking Plattform Myspace
ein Thema. Vor allem da Myspace in letzter Zeit verstärkt als eigentliche Bandwebsite benutzt wird, ist das eine wichtige Feststellung.

Myspace ist in seinen Augen nicht mehr als eine Promoplattform die als Clickthrough zur richtigen Website dienen sollte, da man bei dieser selbst die Kontrolle über Design, Content und Usability hat.

Mehr darüber im Interview mit Andrew Dubber welches ihr demnächst hier vorfinden
werdet.

Die neuen Indie Österreicher (pt.2)

Oder...Warum wollt ihr nach Deutschland?

Schon diese Einstiegsfrage ist meines erachtens
die Kernfrage die sich die heimische Indie
Szene stellen sollte.

Deutschland hat einen aktuell grauenhaften
Musikmarkt. Die Indie Szene ist mehr tot als
sonst was, und Innovation kommt gleich null.

Dominiert wird der Markt von innovationslosen
Altstars wie die Hosen oder Ärzte, Ghettogangsta Style
Rapper wie die Jungs von Aggro Berlin,
Teeniekreischorgien Marke Tokio Hotel oder
Eurodancelfloor Müll Produkten wie Scooter
und co.

Ausgenommen Berlin. Klar tut sich dort was,
klar sind da viele Künstler zu Hause und
tüffteln an neuen Sounds. Nur, der Massenmarkt
in Deutschland kriegt davon nichts mit. Und
um erfolgreich zu sein, muss man ja genau dort
hin.

Nein, bis auf Berlin hat Deutschland nichts
zu bieten und zudem, die Radiolandschaft
ist eine Katastrophe.

Trotzdem, fast jede österreichische Band
die englischsprachige Musik macht,
probiert es im deutschen Markt.
Und das Ergebnis bisher? Nicht vorhanden.

Als Primäres Ziel sollte also ein Trendmarkt
anvisiert werden? Warum?

Ganz klar, weil Trendmärkte wie der Namen
schon sagt, die Richtung vorgeben, die dann
die klassichen Consumer Märkte wie es eben
der Deutsche ist, vor gesetzt bekommen.

Die Musik selbst ist ohnehin einem Wandel
augsesetzt. Eine Band die in einem Trendmarkt
tourt, bekommt das mit, und im besten Fall
schlägt sich das und die gesammelten Eindrücke
aufs Songwriting etc nieder weil sich die
Denkweise komplett ändert. Der Gedankenausstausch
mit Musikern aus Trendmärkten
führt zu einer absoluten Weiterentwicklung.

Und, über die Tour kann man gute Kontakte
knüpfen, diese Pflegen und wiederum im besten
Fall schon einige Monate später einen Single
Release wagen um den Markt anzutesten.

Ein Label zu finden für eine Single ist weitaus
einfacher als Labels die fixe Deals anbieten,
da die Single nur als Instrument
zum austesten des Potentials im Markt dient.

Natürlich wird hier ein mittlerweile recht
wichtiger Punkt, nämlich die Vernetzung
der Welt, ausgelassen und eher das "alte
Modell" erklärt. In der heutigen Welt
kann es natürlich schon passieren das man
durch starke Präsenz im Internet auf diversen
Weblogs, von Tastemaker entdeckt wird.

Wege gibt es viele um die eigene Musik
bekannt zu machen. Jedoch führt am klassischen
Weg der auf Networking aufgebaut ist,
nichts vorbei.

Wie die Trendmärkte derzeit im Detail aussehen,
erfahrt ihr über die Interviews mit Szenegrößen,
welche in den nächsten Wochen gepostet werden.

Soviel für heute.
-
Die neuen Indie Österreicher (pt1)

TBP Interview - Toby (Transgressive Records UK) 2005

Vor 2 Jahren konnte ich Toby von Transgressive Records (UK)
interviewen. Damals war Toby gerade einmal 20 Jahre alt
und hatte bereits Singles von "The Subways", "Duels",
"Mystery Jets", "The Pipettes" uvm , veröffentlicht.
Mittlerweile zählt Transgressive Records zu den absolut
wichtigsten Labels in Großbritannien, und der Roster
wurde unter anderem mit Bands wie "The Young Knives",
"Regina Spektor", "Battle", "The Rumble Strips" und
die aktuelle Newcomer Hoffnung aus Neuseeland,
So So Modern.


Ein Interview mit dem heute 22 Jährigen Toby ist in Planung. Hier
nun aber das in English geführte Interview.
--
TBP: First of all, please Introduce yourself to our Readers.

TOBY: I'm a 20-year-old, London-based music-obsessive
called Toby L. I run an online music-magazine called
rockfeedback.com, plus monthly, sell-out club-nights
which occur under the banner of The Basement Club
(past acts: The Libertines; Bloc Party; The Futureheads;
Graham Coxon; The Magic Numbers; Hard-Fi; and DJs such as
Boy George and Rough Trade's Geoff Travis),
present/produce/direct new MTV2 series, 'rockfeedback tv'
(debut episodes which went out in June 2005 featured Sonic
Youth, Steve Albini, The Shins, Dizzee Rascal and many more
live and in conversation), and am co-director of new indie
label, Transgressive Records. I'm, unquestionably,
a lucky bastard, that loves every bit of it.

TBP: “rockfeedback.com” is your online mag. It seems
that “transagressive/rockfeedback” is on the same way
than “drowned in sound”, is this the time to build up
a fanzine, a label as well doing own nights on clubs?
Seems like a total change of the UK music industry in
the future, cause it´s also a fact that the DIY generation
of the twenty somethings are now in the main focus at all.

TOBY: I think any time is the right time to work
hard to fulfil and achieve in the any faction of your
interests; it's always important to try and supercede
the outdated models in avenues that you feel are being
poorly-represented. When I first started in music,
found music-journalism cynical and flaccid; at
least now I have an outlet I can personally contribute
to which feels like the antithesis of that
(rockfeedback); club-nights which hopefully aren't
about which haircut you have, but instead what calibre
of bands is playing (The Basement Club); and a record-label
(Transgressive), as run by myself and fellow rockfeedback
scribe and all-round genius Tim Dellow (responsible for
releasing the first singles from Bloc Party and The Rakes
on his prior label, Trash Aesthetics) that isn't trying
to rip off bands. It's a concerted effort to provide a
better alternative for true, devoted music-lovers.
And to entertain myself, of course!

TBP: Major labels all around the world gain huge
problems regarding scounting new acts. The indie
scene runs better and better, and if I look to
some very popular acts of the last time, it looks
that the majors become more a role of publishing
and distribution than a strong new talent
development department, cause the independent
labels are develop new acts, before majors sign them.

TOBY: This is definitely a fair, general
synopsis in the realms of 'alternative' music.
In the UK, the most successful achievers have
been indie labels; the most popular signings of the
last four years... Bloc Party, Kaiser Chiefs, The Strokes,
The White Stripes, The Killers, Franz Ferdinand...
have all been made on indies. The majors, however,
excel in big-spend marketing when acts need to break,
in addition to leading pop artists. Otherwise,
they're pretty much moribund. The clever majors are
the ones working closely with the indies to strategise the future.

TBP: Your demo policy sounds similar then other
indie labels, but everyone knows that it´s very
hard to get feedback if you´re in a band and
sent out a demo. So where are you “around” when
you scouting new acts. What Buzz must happened,
before you going to a gig, cause there are hundret
bands a week in UK around, and all of them will
play in front of a bunch of A&Rs.

TOBY: It's not quite so calculated; usually, a friend
will pass on the name of a band s/he recommends/likes,
or we'll chance upon a band in a club which we really
like the energy and - most crucially - ideas of, no matter
how fledgling in those early days. In reviewing demos
on rockfeedback or signing bands, it's very rare, sadly,
that the best material we receive is from unsolicited demos;
usually, the finest bands are out there playing and
oning their craft before people stand up and take
notice off their own back.

TBP: “white heat”, “high voltage”, “stylish riot”,
“dead disco” and many many more. Those are just a few
names of club nights with a very good reputation.
The place where the hottest acts around play their
asses off. Do you think that it´s the best thing for
new talented acts to play one or more of those club nights,
to gain a good buzz in UK music scene?

TOBY: I think club-nights are definitely a safe,
enioyable way for a new act to actually play to a
guaranteed decent turn-out in a competitive music-culture
such as London. Those named club-nights in particular
are the most fun and best-attended for a small crowd
in London; you never know who'll be in the audience,
industry-wise, and the usually slightly inebriated
attendees themselves are commonly up for a dance.

TBP: What is the london indie mafia, and who
is their “godfather”?

TOBY: Haha! It's too sprawling and varied to
specify such terms, but most certainly the 'mafia'
could be perceived as Camden, seeing as so many key
industry big-hitters are based there (Queens of Noize,
Alan McGee, 679 Recordings, MTV), not to mention a
whole consortium of record-shops and toilet-circuit
venues. It's the first port of call from a
tourist's perspective, musically, too.

TBP: Across the pond, in US and JAPAN, UK acts
are gain big media at the moment. It seems
that Acts like FRANZ FERDINAND, COLDPLAY etc
open the biggest markets for UK acts. Do you
think that the United States are slowly change
their musical tastes, beside the major themes
like R&B and HipHop?

TOBY: Having just returned from New York
after the CMJ Conference, it seems the States
is certainly opening up slightly to the notion
of alternative music making considerable headway
in a mainstream sense. But, that said, 'alt'
has always been of great importance to the key
cities in the US - New York, LA, Seattle, Chicago,
San Fran, etc. - which are more arty in their
inclinations, and are thus more susceptible and
open to such tastes. Middle America continues to
be slightly sluggish in its reception; I don't
think Franz would ever appeal as much Eminem
within the populist culture. It's too skewed,
cheeky and irreverent, despite the great tunes.

TBP: Last week, Germany´s Rock Act No. 1 SPORTFREUNDE STILLER
played together with COSMIC CASINO and MONTA 3 sold out shows
in a row in London. In November, another famous Act, called
WIR SIND HELDEN, come to the UK to play an one off show in London.
And I know many acts from GSA territory who are
interested to come over and doing the same thing.
Is the UK open minded for foreigen acts, beside USA and Scandinavia?

TBP: Certain foreign acts receive pockets of
interest when over, yet generally to just those
already aware of their activities. However, the
UK is a great, effective launch-pad for certain,
emergent new acts to make a mark in the early days -
e.g. many American bands choose to tour here extensively
and make a name for themselves, due to the prestige
that could be heaped on returning home and proclaiming,
'We just broke the UK!' The acclaim of respect
from the UK continues to be an important tool in
establishing the credibility in new talent abroad, it seems.

TBP: What do you think about online Demo Submition?

TOBY: we listen to a lot of music online
these days in consideration of what new talent is out there,
whilst still receiving physical material through the post.
I think the distribution/sharing of mp3s and online link sharing
is a crucial, powerful tool in not only unearthing new,
courageous artists, but also in developing fan-bases and
a community-minded online presence. One thing I've learnt
in doing rockfeedback for five years is just how vital
the Internet has now become in providing unbeatable,
instant-ish exposure; a priority in marketing new acts
you could say; whilst outlets such as Myspace provide
everyone the chance for bands old and new to gain
stature and a platform to reach a varied, global audience.

TBP: At the end of the interview, what are the
main future plans for TRANSAGRESSIVE, and do you
see your record label as a develop department, cause I
know that it is really expensive to release a huge amount
of records, and there are many labels out there who need
to quit after they had a breakthrough artist.

TOBY: Transgressive has barely got started. Our release-
schedule is stretched until the end of 2006, and we'll
work these bands we're fortunate enough to know and sign
(current roster: The Young Knives / Regina Spektor/ Ladyfuzz / Jeremy Warmsley / Battle) until our fingers, minds and hearts bleed to the core.
They're all possessive of genius. Any other acts we work
with in our time will also be of the utmost of relevant
and important to us, and all that will hear them.
We see Transgressive as a vital launch-pad for
new acts, and a long-term home for the future - a brand
for the bands and listeners alike to know and trust.