DiS' regular column from Kev Douch of independent label Big Scary Monsters.
As I've mentioned once or twice before, 2008 ended in slightly unfortunate circumstances. The recession was taking hold everywhere you turned and Pinnacle - a partner of our distributor, Shellshock - went into administration, causing one or two sleepless nights and some difficult decisions to be made. However, by the time the clock ticked over to 2009, my glass was back to being half full. A romantic sense of the hard-working creatives rising to the top - whilst the by-numbers, copycats were falling off the bottom - prevailed. Everyone knew it would be a long, hard twelve months ahead but I had an image of 2010 being the shining light at the end of the tunnel. The promised land. And now that we're on our way there, be it the Utopian paradise I dreamt of or not, I'm going to remember this year for one thing ahead of anything else: the DIY uprising.
Big Scary Monsters Records has always been a very do-it-yourself setup. I, like many others in the surrounding, similar boats, sign the bands, run the website, help book tours, organise press, post out mailorders and everything inbetween. But this year things just seem to have taken a step further into the unknown. I'm looking around and seeing everything as a blank canvas; a world of possibilities, fun and new challenges.
For instance, a few months ago I was dragged to an arts and crafts show at the NEC in Birmingham, which I came away from with hundreds of small, CD sized envelopes that later became compilation sleeves. This past weekend, I went back to my parents house to finally clear my junk out of their garage. In amongst the rubbish I found boxes of forgotten old BSM CDs, which can be sent out free with mailorders, and 90's cassette albums which can be recorded over with selections of our new favourite bands for anyone who cares to take one. Next month, we're releasing an EP from Calories which will come in a sleeve made of denim, ripped from old jeans out of own wardrobes and bags of unsellables from charity shops in the Midlands. Suddenly there's no such thing as trash, everything has a purpose and potential.
Shoes And Socks Off
SASO is the solo project of former Meet Me In St Louis frontman and Shield Your Eyes bassist, Tobias Hayes. Since December 2008 we've already released two albums; the first was recorded acoustically one afternoon whilst sitting on a chest of drawers in his bedroom, the second (a re-working of the debut) featured contributions from friends across the country, lending their time and talents for free. Before this year is out, a third record (another full band, multi-location piece of work) will surface. All three releases are made to order. Toby designs the artwork, a friend of ours handles the printing, then I cut, fold and package them. This project isn't about magazine coverage, radio plays, first week sales or worldwide tours, it's simply making music and remembering why we first chose our respective jobs. When you take the (often self-inflicted) pressures away, you start to realise that things aren't so bad after all.
With recording equipment, printing and manufacturing facilities, digital distribution channels, a wealth of promotional possibilities and a 24/7 online connection with anyone, anywhere in the world at your finger tips, there's no longer a need to rely on anybody else to help you out, let alone pay out frightening and risky lump sums of hard-earned money. It's the perfect time to do it yourself.
- Calories to release new EP
- Column: Drowned In Scary Monsters #5 - The DIY Uprising
- In Photos - Johnny Foreigner @ The Deaf Institute, Manchester
- In Photos: Dananananaykroyd @ DiScover Sheffield
- New Music Week: Label Focus #1 with Bella Union, Big Scary Monsters and Holy Roar
- Johnny Foreigner's 2008 diary: July
- DiScover Monthly: August 2008
From the archive
This is great.
People realising that they can do it themselves, its hard work, its all graft in the true sense, but its all theirs. No one to talk down to them about market share, first week sales, merch and tour costs, percentage cuts here there and everywhere. Musicians and artists no longer need the machinery that the corporations own. The corporations can easily be seen as redundant, made redundant to a certain degree, have their power and control over music, how it is consumed and how much it is worth, taken away from them.
Just people making music and putting it out themselves, using all the available means that we now have to make that happen.
This to me is heartening and positive, regardless of whether I would like the music, the fact that an alternative model is being used to get it out there is fantastic. I'm sure its happening all the time, in loads of places around the world. It just gets lost in the press about x band doing a(nother) world tour, y artist making fuckloads blahblah, corporation z complaining about people stealing music when all they had to do was keep up with technological advancement and the shift in distribution and demand...
Well done. I endorse this article and the artists and workers involved.
A welcome sentiment
but it is a frightening time. Tigertrap is more streamlined and cost-conscious than ever, but the fact of the matter is it's virtually impossible to sell enough CDs to cover costs and promotion at this level in the current environment.
Of course, if you get the artist to pay for recordings and call in a lot of favours and then sell maybe 1,000 copies you're heading in the right direction, but even that's a big challenge. As a yardstick, as an established band's new album (from a larger label I work with) that's been all over the radio, had great reviews everywhere and a decent indie ad budget has just shipped 2,500 copies. Not exactly reasurring. :-I
I know what you mean, Tom
It's scary because I look up at the bigger indies and see them racking up sales figures which, in some cases, aren't very much bigger than ours, even though they're spending 10 times more money and getting a lot more press, radio play and big tour supports/headline shows. It just seems that the gap between big and small indies is closing.
My current thinking is that it's getting harder and harder to increase sales (due to shops closing, more competition, etc) so if I can't push sales up, I'm going to have to bring costs down. In many ways its been quite exciting, experimenting and looking at different ways of doing this and I think the days of thinking "ok, new release, I'll have 1000 CDs please" are definitely behind me, as shown by the above. Who knows what they'll be in another years time though!
Thanks to everyone who has read the column, by the way. Hope you enjoyed it. Or at least didn't hate it!
hand reared suburban piglet is brilliant
binzo recorded some of it in my house and hearing the finished thing surprised the crap out of me.
Yeah I know what you mean
I had high hopes for that record but it came out even better than I was expecting. Can't wait to hear the next one.
Kev, you're an inspiration
People who really love music will always find a way to be involved with it. Lying awake at night worrying about unpaid bills and mounting debts is easily the worst part of running a label. Finding a way to remove that is a challenge faced by many labels in these difficult times. Thanks for the reminder that there are other ways to serve music.

The See MJ Music Marathon
DiScover Monthly: August 2008
In Photos: Dananananaykroyd @ DiScover Sheffield
Calories
Meet Me In St. Louis
In Photos: Swn Festival Day Three
DiS presents: BAD FRIDAY
Idiot Pilot: foolishly ascending?
In Photos: Arctic Monkeys @ Wembley Arena, London
In Photos: The Flaming Lips @ The Academy, Manchester
In Photos: Moby @ The Palace Theatre, London
In Photos: Tegan & Sara @ Shepherds Bush Empire, London
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