By Brooke Parciak
With the major label system crumbling in front of our eyes
and more and more indie labels capturing at least a piece
of the music industry pie, the idea of DIY – doing
it yourself, and starting your own record label –
is enjoying a vogue it hasn’t enjoyed since the heyday
of the college-rock Eighties. Mint 400 has long been one
of our favorite Jersey labels, growing along with the rise
of the Internet to release a consistent string of quality
local bands, as well as the music of the label’s founder,
Neil Sabatino of the band Fairmont. In this interview with
college journalist Brooke Parciak, Neil talks about what
it takes to run an indie label, and some of the lessons
he’s learned along the way.
Q: How early in life did you have the sense that
you wanted to be involved in music or entertainment?
When I was a kid I knew I liked music and I would make
up original songs on a little Casio keyboard I had probably
from the age of seven. I was also forced to take piano lessons
and had no interest in playing traditional music, reading
music and playing standards. I remember touching a guitar
when I was about 10 and couldn’t figure out how to
make a musical note come out of it. In about eighth grade
I remember this kid in my grade was in a rock band and they
covered Sweet Child O’Mine at a talent show and I
just thought because I hadn’t already learned an instrument
and started a band that I was just too old to pursue it.
The same kid years later offered to teach me bass if I bought
one when I was seventeen and I decided to give it a shot.
I had the bass for a week and somehow had transposed everything
I knew on keyboard to bass and was writing songs. I talked
a friend of mine into playing drums and from then on I have
always been in a band for 20 years now.
Q: What inspired you?
I went to art school and always viewed my band and record
label as art. I have a vision for both and try to sculpt
both to fit that vision. I have been inspired by everything
from filmmakers to musicians to painters. I like the term
Auteur, I feel like certain artists, for instance in film,
Wes Anderson with each film sculpts out a world view that
is unique to his vision and the viewer dwells in that world
for the duration of his film. With each film he refines
that universe that his characters are in. Tarrantino does
the same thing. It’s also like Picasso moving into
his blue period and making a major shift in his artwork
and then moving out of that and into cubism. Also like Johnny
Cash going from squeaky clean country songs to more grittiness.
All of these artists worked for years and years to create
their niche and I have tried to do the same thing with my
band and label. I am also only looking for true artists
to add to the labels roster. I look for bands or songwriters
that are prolific and trying to become their vision. I have
been as inspired by everyone from John Coltrane to Stanley
Kubrick. So in short I am inspired mostly by artists with
vision.
Neil performing with Fairmont
Q: Did you have any role models in terms of label?
In terms of label and a record label there were a few things
that were catalysts for it. The digital age of music was
a big help and in that regard because there were no other
digital record labels that I had heard of I had no other
role models to follow. As far as aesthetic, there was a
label in the 1960’s called Command Records started
in Harrison, New Jersey by Enoch Light. Enoch Light was
a very famous producer and bandleader of his own orchestra
the Light Brigade. His record label was one of the first
to experiment with stereo sound. As well every album cover
for all of his initial releases were created by world-renowned
artist Josef Albers. Every record on Command Records had
it’s own unique lounge-y jazz stereo sound and had
a unique look to all of their product. You can spot a record
that was released on Command from a mile away at a garage
sale or record shop because of it’s unique look and
the same was true about the listening experience. The records
all had a unique sound to them. Part of this was because
Enoch Light appeared as the producer on many of the releases
but as well he signed artists that had a similarity to him.
Some things on the label were a stretch but somehow fit
with the whole feel of the label. The label attempted many
genre’s from lounge to cha cha to country to folk
and in the short amount of time they were in existence they
never strayed from their vision. With my label I try to
let the artists do their own thing but also have a certain
aesthetic that I try to keep everything within. Of course
when I am producing things and creating the artwork they
all fall square in the middle of that aesthetic but I am
open to things that fall to the left and the right of it.
However I know right away even if something might make me
a few bucks if it’s not within my vision I just have
to pass on it. Keeping strictly to these guidelines is the
only reason that this label that is run out of my house
has gained attention nationally and has led to things like
a licensing deal and press on a regular basis.
Q: Why did you want to start your own label?
Originally my band Fairmont was releasing it’s 4th
full length record and we had spent 5 years on small indie
labels and never were satisfied with their efforts. I had
also been on larger indie labels and had seen the negative
side of the label in full effect. By this point I was hiring
the producer, hiring the PR firm, hiring the ad company
and basically doing everything for our releases. Our label
would hand us money like a bank and we just had to pay it
back and then after that it was a 50/50 split. If you’re
not touring full time and by that I mean over 150 shows
a year, then this deal sucks. We basically sold CD’s
for the 100 shows a year we played and all that money went
right to the label. So we were out the money we had spent
on PR, studio time and advertising and all of our money
paid back what we spent on CD pressings and the rest went
to gas and hotels. We would take about a year to pay the
label back then we would be ready to do our next record
and the whole cycle would start again and we never recouped
what the band had to put out. As I said we were on our 4th
full length record and we also had a handful of EP’s
out and our manager at the time let us use her semi-fake
label’s name for our new record but in actuality she
was getting no money, we were running the show and doing
everything. It was at that time we also were able to get
digital distribution and switch every Fairmont release to
this new entity. At that time I was called crazy for trying
to start my own label and was told by a few people it was
too much work and money. One of those people was our own
manager, we parted ways and I started Mint 400 Records in
order to have a label to digitally distribute our records.
As I got talking to our digital distributor they basically
said that Fairmont had enough records and EP’s to
sign up for digital distribution as a label and not just
as a band. We released our entire catalogue and then inquired
about helping other bands release records through our Mint
400 digital distribution account. The answer was yes and
now seven years later we have over 45 releases.
Q: What jobs helped you build the experience necessary
to start your label?
Although I have always hated it I was forced to be a salesman
when I was younger and feel it really did help with some
of the basic skills you need to run a record label. I sold
ad-space for a newspaper and was even a telemarketer. Things
like that in later years helped me to sell ad-space when
I was running my own art zine and was able to get enough
ads to fund three issues. This in turn down the road helped
me to be able to basically sell the label and bands to different
websites and publications for press coverage and things
like that. It also is what led to the labels licensing deal
and other various dealings. Art school is what prepared
me for the creative part of the job and it helped me in
a sense to become a jack of all trades which is now used
to help bands on the label. I really hustled after college
to find work and basically learned all about graphic design,
video editing, film editing & directing, web design,
music production, etc. All of these skills that I learned
at various jobs allow me to take on artists with the label
that have no budget and help them create a web page, CD
design, produce an album, produce a video, etc. Currently
I work in special education and I feel like even now just
working with students who have significant issues and trying
to figure out creative ways to help them learn has helped
me to look at problems and solutions in whole new ways.
Also working with high school age students I feel keeps
me in the loop with what music is out there that I wouldn’t
necessarily have known about. For instance I have a few
students who are into all kinds of metal, death core, screamo,
etc. and I noticed similarities in what I do and what these
metal labels do. They have vision just the same as me, bands
that share common influence as well as an aesthetic. Although
cliché, it gives their fan base something they can
be engulfed in, an instant familiarity with new bands because
they have a similar feel to everything else on the label.
A really big reason I feel my record label might actually
succeed and where others fail is that this is not my livelihood.
I have a full time paying job and have been developing the
label over the course of a decade and am able to take artistic
risks and not worry about making my mortgage payment. If
from the start I was depending on this to pay my bills unfortunately
I would have starved to death and been divorced. I feel
like bad artistic choices are made by people looking for
a paycheck. If this label had to pay my bills I would have
signed a lot of bands that were popular for a short span
and made me money but were awful musicians and did not fit
the labels vision. It is only by trying to keep the label
“pure” that I feel it’s any good. I believe
in the label and believe that in time by keeping a certain
code of ethics that this label will be very special and
different from anything out there and that even though there
are ways to make a quicker buck, that is not what I am after.
I was told the first day of art school that if I wanted
to be a real artist I should be prepared to die poor.
Q: What were your biggest concerns when you were
just starting out?
My biggest concerns came when I began releasing other bands
albums. Now my decisions didn’t just impact me they
were impacting these other bands that I loved and I was
worried if a release just kind of flopped that I would be
responsible for these bands fighting and maybe breaking
up. I had to be willing once I started a label to fight
as hard for other bands to get press and different things
as hard as I would fight for my own band. I had been part
of the indie world for a long time and had witnessed companies
that had lost over a hundred thousand on a band and not
broke a sweat and I saw that because I had released so many
records I knew better then them what sold records. I had
seen that bands with $40,000 videos sold only 100 records
and knew that I had to avoid wasting money at all costs.
One of these ways was that basically I could offer them
the whole package from beginning to end without the bands
or myself spending almost any money, from album production
to cover & web design. Luckily I started the label with
the idea of being a digital label between 2007 and 2009
right when compact discs were majorly declining and becoming
a thing of the past. I was concerned that I did not really
offer a physical product and that remains a worry but through
other sources such as licensing is where our artists could
see money instead of back in the day where traditionally
they would make money from album sales.
Q: Did you have a formal label plan?
The record label’s label plan started
out simple, don’t lose money and don’t make
the band lose money. In the world of indie records I had
been part of projects that went on to make over $500,000
and the bands initial budget was $1500. That was a fluke
and it usually doesn’t work that way, but we got lucky.
As I got rolling with my band Fairmont we had over the course
of seven years increased our annual album budget from $1200
a record to $12,000. For struggling bands that plan on making
the same mistakes I did, I suggest getting a credit card
with a good APR. The funny thing is that as the decade progressed
we saw less physical sales and almost made more money at
the very beginning. A typical record consists of hiring
a publicist, running an ad campaign, radio campaign, making
a video, producing/mixing/mastering your record and then
making a physical product and getting it distributed. With
every release we hired a bigger better publicist and tried
to buy more ads and do a higher quality video. In the end
we ended up mostly breaking even, we got bigger as a band
but spent so much money getting there that there was no
monetary reward. It wasn’t until we researched dates
of sales spikes and correlated it with what services were
in place during those times. For us the ads were getting
us nowhere, the publicity was ok but basically if you got
five good quotes from notable publications you didn’t
need to hire an expensive publicist. Videos could be clever
and do their job without costing a mint. We found with the
label that radio was one key for sales spikes and so was
album quality. That was where our focus needed to lie, we
wanted quality records and we got them out to radio. We
also shopped around forever before finding the best deals
on all of the other necessary expenses. By reducing fees
such as mastering from $800-$1200 down to $200 or less through
an experienced local studio we were able to save significantly.
We also were able to work out retainer deals with certain
companies like our radio promotion company and in the long
run it ended up costing us significantly less for one of
the most important aspects of releasing our records. After
our peak spending in 2005 when we spent $12,000 on one record
we were able over the years to reduce that to under $500
with better results. This is something that however took
time because in 2007 when I started the label I was not
able to produce and engineer a record fully, it took years
of sitting with other producers and learning. However everyday
we are learning where our money gets the most bang for the
buck. Hence, not losing money and not making the band lose
money has always been the label plan.
Q: How did your location or geographic region impact
your label?
Being in the northeast and near New York City benefitted
the label in the early years when label showcases in bigger
cities helped us to build awareness and even now we try
to do at least one big showcase a year with all of our local
bands. A majority of our bands are in the northeast and
that does help them to all network with each other for tours
and show trades and things like that. It does make it easier
when a band is local that we are working with because services
like recording, art design, etc. are easier to do face to
face. Like currently one of our bands is older guys all
with day jobs who are recording their record in pieces and
if they weren’t local it would be impossible. As far
as our online presence we could be located in a barn in
the middle of nowhere and as long as you have wi-fi you
would have access to us. So region affects the product being
made but doesn’t affect it’s distribution at
all.
Q: What was the biggest obstacle you had to overcome
while starting your label?
One of the biggest obstacles was trying to sign bands and
have them not jump ship if they got a better offer. By better
offer usually it meant someone offered to make them a physical
record but they didn’t offer anything else that I
offered. So bands would get their nice new shiny CD’s
or vinyl and they’d sit on the 900 copies they had
left after their friends and families bought it and that
other label would be done because there was nothing else
they could do but say “give it to a record shop on
consignment”. For a small number of artists who are
insistent I was able to get a physical distribution deal
and they pressed their own album but I have seen every artist
who has made physical albums not be able to move many at
all because they are not full time touring bands. That is
not what the label is about and I could care less if a band
plays arenas or just in their own bedroom, I am concerned
with musical talent and songwriting and that may make the
label look bad to some artists who are looking to sign.
You win some and you lose some as far as artists who are
willing to sign with you. However I have always left the
door wide open because there have been artists who say no
and then have changed their mind. Also I try to make the
label what the artist needs, I have very few stipulations
and the little artist agreement I have with every band is
very much in the artists favor. It does become hard when
you find that artist you kind of make into your star attraction
and they just kind of fall off the face of the Earth. It
has happened a few times and I still bug them from time
to time to just write music and send me a song but I guess
when you hit your mid 30’s you kind of realize the
music industry is an awful shallow place, things become
less fun and you kind of just part ways because of the bad
taste it left in your mouth. Hopefully when the mood strikes
them and they find their passion for it again they will
give me a call and release a record. It does become heartbreaking
for any artist to go unnoticed.
Q: Do you feel as if there was a break through
moment when you knew your label would work?
We started to see things like my band charting with CMJ
and other bands on the label getting invites to SXSW &
CMJ and it was at that point that I kind of felt like I
had made good choices on the bands I decided to sign. I
also am very happy when I really like a small band and pursue
them and they go on to be very big. It makes me feel like
my intuition about signing bands is right on. It’s
happened a few times. Recently we were told that Fairmont
is being considered for a Game Of Thrones commercial and
it feels good to know that music directors are starting
to pick up on the label.
Q: What are your core beliefs and how do you keep
them?
My core belief with the label is that I will not sign shit.
I don’t care if some huge band like LMFAO or Justin
Beiber asked me to release their next record, I think it’s
awful, I barely call it music and it would undermine what
I tried to spend the last five years building. If I stray
from my main objective to release quality music that exhibits
certain aesthetics then it just wouldn’t be fun for
me to do this anymore. What is money if you aren’t
proud of the company you built.
Q: Do you ever find your creative brain at odds
with your label brain?
Not really, as stated before I don’t depend on the
label to pay my bills and I am building towards something
slowly and I won’t get there if I go for the quick
buck and sign a terrible band.
Q: How has your label changed from your initial
vision?
I never thought I would be able to find so many talented
bands that I actually wanted to work with. I was shocked
when I talked to some of them and found out they had no
other labels interested at all. I originally thought the
label might end up being only three or four bands and maybe
two releases a year and it has exceeded that greatly.
Q: How has the economy affected your label?
Unfortunately there is very little money left in the music
industry and I could write you a 500 page paper on why that
is. As the economy has declined and as technology changes
so does the system for music delivery. For awhile you could
get anything you ever wanted for free online by searching
“ mediafire .zip “ and the artists name. Millions
of people had uploaded everything under the sun and there
was no regulations and you were a sucker if you paid for
music. Regulations recently have made that tougher, where
as the government now holds websites responsible like mediafire
and they kind of locked down all that. So just when labels
thought YAY we can actually make some money, Spotify and
services like that show up and say enjoy everything you
ever wanted to hear for free and we’ll pay the artists
a fraction of a penny when you do. So the label and artist
are stuck between a rock and a hard place. How do you go
on when you can’t make money? Most bands don’t.
The trick is finding the money, it is there in touring and
you can’t download a t-shirt for free but even that
has been on the decline over the decade. Small bands have
very little shot of being noticed when they are up against
major label bands in major cities. Where as ten years ago
kids couldn’t see a band live on youtube they actually
had to leave their house. So right now the money is in licensing
for the bands on my label and unfortunately that seems to
be it. However you will notice the licensing world is just
as shitty sometimes as the rest of the music industry. One
month there are 500 bands and songs that sound like Edward
Sharpe and the next month every car commercial sounds like
NIN side project with just low rumbles and sparse drums.
The declining economy I feel has cleared the room of all
the posers and the ones who are left are in it for the long
haul and hopefully will benefit financially at some point
for their hard work.
Q: Do you have any future plans on expanding your
label?
We have built slowly over the years by working with companies
such as Rumblefish and Pirate who give us the best shot
at being heard and we are always looking for more opportunities
like that for our artists. We have many things that we would
like to do like a Mint 400 Tour or different things like
that, that hopefully we will eventually do. However in the
meantime we are researching everyway possible to get our
bands out there and heard.
Q: Do you have any regrets or anything you would
change?
I would have started this label a lot sooner had I not
listened to the few morons who said it was impossible. I
don’t regret anything, I feel like every mistake allowed
me to grow and move the label in a good direction.
Q: Do you have any advice for prospective entrepreneurs?
Someone is always going to tell you why something is a
bad idea. If you think your vision is worth pursuing then
at least you can say I tried. However, you don’t have
to go bankrupt chasing your dreams. Build at a pace you
are comfortable with otherwise you will be your own worse
enemy and be forced to fold.
For more information on Mint 400 Records, visit
their website.
JerseyBeat.com
is an independently published music fanzine
covering punk, alternative, ska, techno and garage
music, focusing on New Jersey and the Tri-State
area. For the past 25 years, the Jersey Beat music
fanzine has been the authority on the latest upcoming
bands and a resource for all those interested in
rock and roll.
|
|