I can’t play favorites, or so they say, and apparently I’m supposed to present the illusion of impartiality. I’m not supposed to have opinions or a personality judging from some of your letters. To you, I’m just text and some icons, but honestly that’s probably the best way to keep our relationship, I doubt you’d want to drag ol’ SITE MASTER out of his drug-den, or what I call my den, for a pic nic, or to share nice moments. WHAT I’M GETTING AT IS ONE OF THE BEST FUCKING LABELS AROUND, TOP 3 IN THE WORLD TODAY!!! HAS MADE A MIX FOR YOURSTRULYBITCHES!!!! IVIYH!!!! READ THAT SHIT AGAIN!!! TOP 3 IN THE FUCKING WORLD!!!! What we are dealing with is one of the most badass mixes of the year, by SPF50/Joe of AURAL SECTS, featuring a remix by MADDEN that appears exclusively (at least for now, or until you chop it out and start trading it as a stand-alone) on this mix!!! LEAKING SHIT IS WHAT I WAS BORN DOING!!! WHEN I GET OLD I WILL CONTINUE FUCKING LEAK SHIT EVERYWHERE!!! I CAN’T GO TO THE GROCERY STORY WITHOUT LEAKING SHIT ALL OVER THE ISLES!!!! SEND ME YOUR SHIT, I WANT TO LEAK IT!!! I am extremely proud that this mix calls IVIYH home along with the incredible catalog of exclusives artists have given us and that I’ve been working on generating for you!!! I ask for nothing in return, except for 5,000 hits a day? What is that to you, fucking nothing. Here you will read an amazing interview with Joe & Bunny the labelheads of Aural Sects, here they give one of the most vital opinions on the state of the music industry, from a label who’s actually doing it the right way, and cares about putting out nothing but awesome-fucking-jamzzzz 24/7. Believe me they give a generous interview and pull no punches!!! They have so much good shit I couldn’t even begin pointing you in the direction of a place to start, go here and start checking out the wall-paper that is the list of amazing releases by this label.
FREE MOTHERFUCKING DOWNLOAD HERE:
AURAL SECTS 4 IVIYH MIX by spf5Ø(RIGHT CLICK DWNLD LINKED FILE)
AURAL SECTS mix by spf5Ø for I VACATION IN YOUR HELL
Spell Hound – I Challenge You!
Purity Ring – Belispeak (spf5Ø remix)
Modern Howl – Green Head
Witchboy – Like White Cats in my Brain
Blown – Temple of the Lord (Drugs for Drunks spiritual mix)
Fifty Grand – Lake
Crystal Castles – Untrust Us (VS//YOUTHCLUB remix)
BRRRANGADANG (asap rocky xx brand new guy — signs bananaclip juke)
Ian Curtis Wishlist – Emerald Park II:
DJ Deathray – Bombs on it
Ron Hardly – TRACKX 4
Diamond Black Hearted Boy – Your Mind is Twisted (Madden remix)
Rachel Haircut – #Aquaflash
PEACHBLACK – NORTHERN WINDS
VS//YOUTHCLUB – HEARTS
INTERVIEW W/ JOE & BUNNY LABELHEADS OF AURAL SECTS:
Can you give our readers a brief history of Aural Sects and how the label got started?
Aural Sects: We started when a group of like-minded musicians met through a facebook group many moons ago. We all started sharing knowledge (some of our number were veterans of music production, and others were novices) and showing each other works in progress and the like, and eventually just bandied together and called ourselves a collective. The label idea came forth as a method to get the collective’s music heard.
After that we started to look for other musicians that fitted nicely into our roster, and from there we just grew. It became clear early on though, that some people didn’t want to be involved in running the label, and this number eventually whittled down to Joe, Bunny, Micah and Jack, who now form the central backbone of the label. Although some of original collective’s numbers have moved on now, the majority are still part of the label.
How did you initially find and select bands to sign to AS?
AS: Initially we just asked people if they were up for it. Various members of the management have always spent hours trawling soundcloud, bandcamp, youtube etc for weird and interesting new music. After finding something interesting, whoever found it has to present it to the others to see if they agree about whether or not to approach the artist for a release or not. We work democratically, so we need a majority vote to approach an artist, and even then on every subsequent release. We’re usually a go, but we just want to ensure everything is fully equal at all stages.
What labels are role models for you and AS?
AS: Tri-Angle records for always picking a wide-range of quality musics, and for their level of engagement with fans and overall professionalism, but other than that, honestly, we look to our peers constantly. Labels like San Francisco’s Tundra Dubs, Black Bvs, Phantasma Disques, the now sadly defunct Pale Noir, and up-and-coming future sounds label Fluorescent Records. Although we have a fair few role models, we’re quite passionate about what we do and what we want do, so we don’t often follow those models down to the letter.
Do you consider AS a genre specific label, or is there a specific sound you want to focus on for the label? How would you classify AS?
AS: We made sure from the start to not be genre-specific. Our motto has always been “we go for anything we find compelling”. That being said, because the label’s signings are based on our music taste, we can sometimes tell whether an artist would be a good fit for us, so I suppose we’re approaching an AS sound.
There is the question of witch house – although a lot of us come from that background (and the members met in a witch house facebook group) – we’ve moved on from that sound arena and tried to forge new paths. Spell Hound are an excellent example of artists that take influences from chillwave and witch house but exist wholly in neither realm. The classification of Aural Sects would pretty much come under the heading of “modern electronic music.” To define it more narrowly than that would do some of the artists a great injustice.
What is AS philosophy about physical releases?
AS: We try where we can, but every protrusion from the digital world into the analogue is a blessing and privilege. We have a plan to put out some releases on CD-R where we can, and try to gather a little more in the way of funds together through those and other means until we can start pressing to the holy grail of vinyl.
Are there any albums/bands that you would like to re-issue?
AS: There are more than a few. We’d like to eventually reissue Witchboy’s Hollymode, Spell Hound’s debut EP (we’re going to package that as a special edition with their first album), VS//YOUTHCLUB’s EP, with remixes, also preferably on vinyl, Moon Mirror’s singles and Eps… The list goes on, really. But that would be in an ideal world.
What is the music scene like currently in Manchester, it’s been such a legendary home for music, does it still live up to it’s rep?
AS (Bunny, who lives in Manchester): The city had a really, dim music scene after the whole Britpop thing and the numerous bands that emerged out of that, and dance music in Manchester seemed to die a bit of the death in the early 00’s, but recently it’s been picking up a lot. The independent music here is now utterly vast, and exciting. There’s a little more pride being taken in the fact that this music is coming from the coldest, rainiest, grimmest city in the UK.
Some people say this is the worst era in history for music, some say it’s the best, how do you feel about the current state of the music business?
AS: First up, we need to point out that the music business and the musical landscape are pretty much separate these days. It seems almost glib to announce that the traditional music business is dead (but it really is), and obvious to point out that something new and interesting is arising from the ashes. The whole boutique label system, and the label as curator rather than as business powerhouse, actually seems to be working remarkably well. We see the people who go to these labels as early-adopters of what will hopefully be a ubiquitous system in the next 5 years or so. The people who are claiming that this is the worst period in musical history are upset about the inevitable lack of the “greats” that hark back to traditional views of celebrity. The modern way is to cater to an audience that isn’t all-pervasive, but is essentially just one mini-culture. There is no forthcoming “Nirvana”.
Do you feel the democratization of technology has lowered the overall quality of music? Is there any merit to this complaint?
AS: In a way there is merit to that complaint – as DAWs (and processing power) have become more available to the layman rather than trained musicians and engineers, through piracy and the like, there has been an increase in the availability of the tools to create music, which means a whole lot more music is getting made, and a lot of by people with little or no skill. In one way, this a bad thing, in that it can potentially cause a pandemic of apathy with any new musician. But this is where small independent labels come in and act as curators of the internet’s audio clusters – we do the finding and sorting for you.
The availability of music making also leads down another road, though, in that it can enable someone with great, left-field ideas to realize their vision with ease, and become known as an a good artist with a minimum of technical ability. Artists like Grimes are the perfect example of this. Also, the punk attitude of these music makes is pretty attractive too – who needs perfectly sterile beats and clean sounds? There’s a whole sonic palette out there.
What are some of your current favorite albums?
AS: It’s hard to pick favorite albums, but here’s 12 we’re currently into:
Alunageorge – You Know You Like It (Tri-Angle, 2012)
Soft Riot – Another Drone In Your Head (Tundra Dubs, 2012)
Death Grips – The Money Store (Epic, 2012)
Taquwami – Blurrywonder (Void Youth, 2012)
Ghosts – Judge (Independent, 2012)
Yoshinori Sunahara – Lovebeat (Ki/oon records, 2001)
Queens of the Stone Age – Era Vulgaris (Interscope, 2007)
Holy Other – With U (Tri-Angle, 2011)
The Knife – Silent Shout (Rabid, 2006)
XXYYXX – XXYYXX (Relief in Abstract records, 2012)
If I was to vacation in your hell what should I expect to find there?
AS: It would probably look a lot like this world, only without Kyary Pamyu Pamyu, and the internet.