Finn Johannsen – Radio Študent Interview

Posted: April 9th, 2014 | Author: | Filed under: Features | Tags: , , | No Comments »

radiostudent

 

Interview at Radio Študent


Finn Johannsen – Sound Of Thought 14

Posted: December 18th, 2013 | Author: | Filed under: Features, Mixes | Tags: , , , | No Comments »

Screen Shot 2013-12-17 at 6.36.10 PM

For our final podcast of 2013 – vinyl devotee, Hard Wax curator, part-time journalist, Macro co-boss, family man and a damn near impeccable selector, Finn Johannsen steps up.

Having been one of a select few at the helm of the Hard Wax institution since 2010, it comes as little surprise that they would turn to somebody such as the likes of Finn for the coveted position. Casting his net wide, Finn’s general philosophy when it comes to music echoes the sentiments – if you are no longer being stimulated by what you are hearing, then “look elsewhere, or look harder”. Though in his eyes a decidedly necessary standpoint for somebody that has been frequenting clubs since the 80s, Finn’s ability to keep his finger ahead of the pulse demonstrates a breadth of knowledge that shines through heavily both in his selections and writings.

A unique and highly refreshing figure, Finn turns in over two hours of fresh wax for us – with an extreme wealth of wisdom to back it up, take time with both facets of this episode, as there is much to take in.

So we come to you as 2013 draws to a close – as somebody that is so involved with new releases from far and wide through your position at Hard Wax, do you feel 2013 has been a good year for electronic music? Has your wide-ranging palette been mostly satisfied?

There was only one period where I was really bored with House and Techno, that was the mid 90′s. The wild creativity made way for bigger clubs and the according income boost possibilities, and innovations seemed to trickle in comparison to the years before. But then there were other styles emerging, especially in the UK, and as I dug deeper, I also found enough interesting music to keep me hooked. Which since then I had established as a rule for myself. If there is not enough happening in what you are used to, look elsewhere, or look harder. Since then I did not find any year in electronic music disappointing. I took home a lot of good new releases week in week out, year in year out. Discovering a lot of new names, new labels and lost or overlooked obscurities in the process. For me personally, there is still too much music released that tries to recreate something that has already been done, especially when you consider the fact that both the landmark originals and the according copycat records from the same period of time are easily accessible via second hand. But if I were 20 and just becoming aware of certain sounds, it would probably thrill me in the same way. And of course the overall interest in vintage blueprints brought a lot of interesting reissues as well, some of which I did not know before. But generally the amount of previously unreleased or longtime deleted material is not a particularly healthy sign for such a fast evolving culture like club music. And I could not help noticing that the producers and DJs moaning the most about retroesque phenomena were often a bit more seasoned, and also often the ones seemingly failing to deliver the same spark they felt was now lacking. If you have the feeling that things are developing for the worse, take a close look first at what you can do or actually do about it. In any case, what interests me most is what happens next.

In the Critic’s Round Table edition of RA’s Exchange in August, you state that personally, “surprises” when going out or listening to music are fewer and further between. Though you also state that this is to be the natural state of things when you have been engaged in both activities for as long as you have and those pioneering years have well and truly past.

We’re interested to know what some of these more recent surprises have been and what it takes to grab your attention when you have been steeped in this history and culture for such a significant period of time. And do these increasing lapses between ever cause you to lose some of your vigour for the scene?

I started collecting records in the mid 70′s, 6 years old, and sneaked my way into clubs in the early 80′s. And I still buy records and go out. So a certain degree of recurrences is just natural. Hype tends to move in circles. There are shoes I still like to wear that have been in and out of fashion so many times that I simply do not care anymore if they are fashionable or not, and the same applies to music or club nights. Music production is so standardized by software today that it is unlikely that someone comes up with a sound unheard of before, and using analogue gear does not guarantee an individual signature sound either. For some time now, a lot of interesting innovations in electronic music happen in the realm of recontextualization, deconstruction and interpretation of certain traditions. And if it is done with enough fresh ideas to add a new perspective, I do not mind that at all. I look out for artists who have their own sound. And I must add that in that aspect it does not matter if a producer able to do that is just surfacing or has been around for a longer time. I do not make a big difference between artists refining their own sound, or artists just establishing it. The main difficulty is trying to remain relevant, and I salute everybody trying and succeeding. Thus for example, I had the same pleasure with artists like Mark Pritchard, Soundstream, Pépé Bradock, Terrence Dixon, Kode9 or Terre Thaemlitz still doing their thing as it should be done, as with newer artists like Tapes, Call Super, DJ Richard, Gorgon Sound, Moon B, Aquarian Foundation or MGUN, who are just in the process of developing their own creative persona. There are many more fine examples for both camps, of course. For inconsiderate omissions, please consult what I charted and mixed in 2013. Read the rest of this entry »


RA Ex163 – Critics Roundtable

Posted: August 29th, 2013 | Author: | Filed under: Features | Tags: , , , , , | No Comments »

ex163-critics-roundtable

Info


Finn Johannsen – Welcome To The Room No.23

Posted: April 5th, 2013 | Author: | Filed under: Mixes | Tags: , , , , | No Comments »

000025


Stocking The Shelves

Posted: April 13th, 2012 | Author: | Filed under: Features | Tags: , | 1 Comment »

Interview Header

To mark the start of our new podcast mini-series on record shops, Finn Johannsen of Hard Wax Records Berlin chats to Josh about his place of work, the state of the vinyl industry, and of course his excellent newly recorded Louche Podcast.

So Finn, this marks the first of a new mini series of Louche podcasts, focusing on dudes like yourself who work in record shops. Tell us, how long have you been working in Hard Wax and how did it come about?

I’m working there since the end of 2010. It was basically coincidental. I realized that all the deadlines that come with working solely as a freelancer were not that compatible with my newborn daughter and I was vaguely looking for some additional steady work. I was a regular customer at Hard Wax and dropped some hints that I would be up for it if there was some vacancy. Then Achim (Prosumer) decided to quit working at Hard Wax and I got the job within just a few weeks.

Your one of the shop’s house music specialists right? Do you take pleasure from discovering music to sell in store?

I’m probably particularly knowledgeable with House and Disco. But then I’m over 40 now and buy club music as long as I can remember, thus I’m able to offer some good advice on almost anything we are selling. And this applies to anybody working at Hard Wax. We all know a lot about music, and all of us are eager to learn much more. And we like to provide our customers with what we know and love. You need the urge to do so by any means, else maintaining the high standards of the store would not be possible. If you lose the thrill of unpacking and checking the week’s news or delving into sounds you were not accustomed with before, you better reconsider. But I doubt that will happen too soon. There is always good music to discover, every day.

Do you feel responsible for breaking any producers into the scene? Has anyone seriously blown up after Hard Wax stocked their music?

I certainly helped some producers before I started working at Hard Wax, particularly as a journalist. But I’m modest enough to not drop names. They know. As an institution, Hard Wax surely plays a role. A record stocked and recommended at Hard Wax is still a welcomed quality marker, and it takes some responsibility and care to maintain that status and also not to abuse it. There are quite a few labels and producers affiliated with the store who left their mark after the heyday of the classic Hard Wax labels, which is great. The same goes for labels and producers we discovered or supported over the years. If you follow our tracks on a regularly basis, you should be aware of who I am talking about. But any store in our position should do that the best they can, to keep things going.

You must have an absolutely massive vinyl collection at home, but whats the deal- do you get to take home whatever records you want?

I have a few thousand records but I decided to keep it at a certain level and thus my collection is now more or less like a revolving door. Whenever I buy some records, I also sell some. I have the privilege of being handed vinyl promos and of securing records that sell out quickly, but it is not that anything that might interest me automatically gets put into my shelf. When I’m not in the shop, I check out the website like any other customer, and I also miss out on releases if I do not have the time to do so. But if you are surrounded by so many new releases every week you also learn to distinguish what kind of records you really need. I only buy records on the terms of my musical preferences, and nothing else.

What do make of the vinyl game currently, or after the last few years? Do you think there has been a noticeable resurgence in people buying wax recently?

Vinyl sales are still going very strong at Hard Wax, but sadly that is not necessarily a reality for other smaller shops, who are often struggling to stay open or have to close down eventually. There will always be music collectors who prefer the convenience aspects of digital releases, and music collectors who favour a haptic vinyl release. It is a fact that there still is a DJ and collectors vinyl market that labels and producers can cater for. And I do not blame anybody for preferring a certain format, as long as they make good use of it. Hard Wax is very determined to sell vinyl as long as possible, that is for sure.

Do you produce Finn? Or ever considered getting into it?

No, I don’t. Being a father, working at Hard Wax, co-running the Macro label with Stefan Goldmann, playing out in clubs, writing. Consider me well busy. Who knows, someday a ridiculously limited stamped white label hyped and killed for by people of all nations could be my doing, but I probably won’t tell. As for now, I have nothing to tell. That is the absolute truth.

Can you tell us a little bit about the mix you recorded for us please?

It’s basically a run through records I took home from the shop and played out regularly at the moment I recorded the mix, two months ago. A mixture of artists and producers I think are well worth supporting and who have their own distinctive signature sound, and some tunes that just stood out for me. It also touches most characteristics I look for when buying records. If you would have heard me playing out at that time, this is what it probably would have sounded like. I rarely ever play the same set twice, but some of these are still in good use. Which speaks for the records included.

And lastly, what are your favourite record shops to go digging through?

Since I started working at Hard Wax, I have considerably less time for digging than before, but I try to spare some if possible. But then it is mostly shops with second hand vinyl, or flea markets. In Berlin, I like shops like Audio-In, O-Ton, Power Park, Cover Music and some more. I also love checking out shops I haven’t been to before, which luckily enough is still happening. Shops in other cities that I enjoyed the most recently were ZeroZero in Zürich, and A-Musik in Cologne. My favourite shop ever for digging is a store called Plattenkiste, in my hometown Kiel. The sheer amount of rare and good stuff I bought there since the 80′s is just incredible. The owner is not really interested in music, and every record costs 1 €, regardless of format. You have to dig deep, but you will find.

Thanks Finn!

Words by Josh T

Interview for Louche April 2012


@ DJ rooms

Posted: February 26th, 2012 | Author: | Filed under: Features | Tags: , , | No Comments »

We go back in the days when DJ rooms only existed as an expanding Facebook page. Finn Johannsen, author, label owner and DJ from Berlin sent us his wonderful room, packed full with records. Of course we’ve had a little interview with him…

Tell us and our readers, when you started DJing:

“I’m playing records in public since the mid-80′s”

What else can you tell us about you:

“I’m an author for several mags (de:bug, resident advisor, sounds like me, groove and numerous other print and web publications). I’m also co-running the label Macro Recordings, and working at Hard Wax. I live in Berlin”

The size of your record collection?

“I think around 8000 records”

What equipment do you use in your room?

“2x Technics SL-1200 MK2 turntables, 1x Ecler SmacFirst mixer, 1x Yamaha RX-495RDS Receiver, 1x Harman Kardon HD7300 CD Player, 2x 1970′s Bang & Olufson speakers, 2x JBL Control 1 Pro monitor speakers, 1x Sony MDR-7506 headphones, 1x Technics Stereo Cassette Deck RS-TR373, 1x Technics Cassette Deck RS-B675″

Your record choice for the lonely island?

“Sister Sledge – Thinking Of You”

dj-rooms.com 02/2012


@ RA Exchange

Posted: February 9th, 2012 | Author: | Filed under: Features | Tags: , , | No Comments »

Resident Advisor Info


Edit Etiquette

Posted: January 31st, 2012 | Author: | Filed under: Features | Tags: , , , | No Comments »

Contributed some thoughts on edits for Will Lynch’s feature at Resident Advisor.


How To Label (Design) – Interview with Philip Marshall

Posted: September 30th, 2011 | Author: | Filed under: Features | Tags: , | No Comments »

Should anybody starting up a label in these crisis-shaken times even consider commissioning a proper graphic designer for label artwork, or is it better to spend the money elsewhere first? Have priorities changed?

Running a boutique label is a very good way to spend a lot of money with no real certainties of seeing that money again… A label’s or artists’ art direction can be an amazing strength, if well done. But, the initial attitude and concept of the release, the sequencing, its originality, the quality of the mastering – all these factors are important. I would suggest that unless you view every aspect of the release, including the cover art, as essential, then don’t bother. It’s all part of a beautiful whole.

Could you observe some sort of increasing DIY approach from the labels’ side in reaction to shrinking production budgets?

More, an increasing desire from labels to ask designers to work on tiny budgets. DIY: whereas at one point one would have a budget for a full campaign, these days the money goes less far – sometimes the finest details are skipped…

As someone who designed for bigger labels and smaller ones, are there differences in the assignments and necessities besides financial aspects?

In my experience, the success of any project, regardless of size of the label, depends entirely on a client/artist/someone in the process, having an eye for such details. Simple as that. I have worked for both large and small labels where a key individual has had personal interests in the whole and has allowed more time, money or “play” to occur. I’ve also known indie labels, full of cred, simply not be bothered by their design output. I’ve known major artists and marketing teams get very excited about artless details – “make the logo bigger” etc… But, so long as someone cares, or someone trusts enough, something good is usually allowed to happen…

Do you think that the flooding with releases even requires a bigger effort in the design stakes, to already stand out visibly?

The flood is a digital one, mostly, and there artwork is somewhat lost – and few artists have begun to think, or had budgets to realise, what an album could be in these iPadded times… An effort, a point of difference, always is a good thing. However, there are so many people broadcasting on so many blogged-out channels, broadcasting to an ever-distracted audience, that one wonders if much what one sees sticks in the memory… Famous for 15 people…

How do you best make a point if you opt for artwork as a label owner?

I prefer direct – one message, simple, clear, yet with attention to detail, something other

Are there rules for what a good artwork for a record release should display?

That’s a very difficult question to answer, as each release/artist/label has different requirements. Each project should be approached on its own terms.

Is there some kind of solidarity between designers and label owners to keep both fields going?

There are definitely teams – links between musicians, labels, archivists, curators, designers – who work well together, who have a shared agenda to keep on keeping on.

What do you think of alternative ways for artworks, like stamps, stickers, inserts etc. Do they limit the possibilities, or the opposite?

Again, each project should have its own voice, its own language – sometimes such things could work.

Would you say that the days of stamped white label releases to generate some mystery are soon over?

A mystery lasts a lot less long these days; “I have a mystery to share with you all” screamed from many social networks… One can still try to work in hiding, and this to me seems increasingly appealing, when there’s simply so much noise out there, so much broadcasting of average product. But then, to generate mystery in itself, the release must be perfect.

Is corporate identity still important for a label, or should every release test new ground?

I think that depends on whether the label wants to be an artist itself, to have a curatorial role. Certainly a house-style can amplify an imprint’s voice.

What will the near future be for graphic designers in the music business? Is a designed physical release something that will still matter?

I hope that as long as there are people making music and releasing music who have a passion for the sheer beauty of what an object can be, and as long as there are designers who simply want to do something out of love, not money, there will be. …but, if I knew the answer to that… I’d be learning Android app programming.

de:bug 10/11


How To Label (Design) – Interview mit Michael Hain

Posted: September 29th, 2011 | Author: | Filed under: Artikel | Tags: , , | No Comments »

Als jemand der schon seit vielen Jahren jeden Tag aufs Neue mit Artworks für Vinyl-Veröffentlichungen umgeben ist, hat sich die Herangehensweise an das Thema von Label-Seite geändert, seit die Produktionsbudgets schrumpfen?

Ich habe in puncto Vinylgestaltung zwei gegenläufige Trends beobachtet, um mit der oft beschworenen Krise umzugehen; einerseits der Stamp/DIY-Ansatz, der u.a. von Veröffentlichungen, die mit Hard Wax assoziiert werden (z.B. MMM, WAX oder MDR), losgetreten wurde und andererseits, besonders in den letzten ein, zwei Jahren, auch eine Tendenz zum aufwändig und professionell hergestellten Vinyl-Release. Dabei denke ich besonders an einige Labels aus UK. Daneben gibt es auch Mischformen, wie ein clever gestaltetes Universalcover, das mit Hilfe von Stempeln oder Aufklebern an das aktuelle Release angepasst wird, oder auch mit Siebdruck oder anderen Handarbeitstechniken hergestellte Fast-Unikate. Im Grunde steht immer die Frage im Raum: wie bei kleinen Absatzzahlen trotzdem zumindest auf eine schwarze Null kommen? Produktionskosten gering halten oder teurer zu verkaufende Sammlerobjekte schaffen?

Ist Artwork für ein neu gegründetes Vinyl-Label immer noch ein Aspekt, in den investiert werden sollte? Was kann man mit einem gut gestalteten Release heute noch erreichen?

Ja, auf jeden Fall sollten wenn nicht mal unbedingt Geld, doch zumindest Gedanken investiert werden. Wie bei jedem Produkt, das man an den Mann oder die Frau bringen möchte, ist die Verpackung natürlich wichtig. Ich zum Beispiel orientiere mich sehr stark an Cover-Gestaltung, wenn ich Platten suche. Nach einer Weile entwickeln sich Heuristiken, mithilfe derer man Musik finden kann, die einem gefällt. Daher kann sich ein Label mithilfe von Artwork und Design in eine bestimmte Traditionslinie oder Kultur einordnen, um wiederum die potentiellen Fans gezielt anzusprechen. Persönlich empfinde ich es so, dass ein gewisser Aufwand auch Selbstvertrauen und Zuversicht in die Musik ausdrückt. Wenn man gerade mal die Minimalanforderungen für eine Vinylveröffentlichung erfüllt, dann frage ich mich als Plattenkäufer auch, wie viel Herzblut in der Musikproduktion steckt. Daran, dass man die Musik zu allererst mal visuell wahrnimmt, haben Downloads und Internet-Plattenversender nichts geändert: man sieht immer erst das Cover-Thumbnail, bevor man auf den Anhör-Button klickt. Im Plattenladen ist es ja noch offensichtlicher. Du weißt ja selbst, was es bedeutet, wenn eine Platte im Hard Wax an der Wand hinter dem Tresen hängt und durch ein herausragendes Artwork auffällt: natürlich wird nach dieser häufiger gefragt.

Braucht man heutzutage noch einen Grafikdesigner, oder wird das, wie auch andere Aspekte der Plattenproduktion, eher in die eigene Hand genommen um Kosten zu sparen? Wie wichtig ist dabei die Professionalität? Wie reagiert das Gewerbe auf DIY-Typo und Bildbearbeitung aus dem Internet? Wie stellst du dich als Grafikdesigner auf veränderte Ansprüche ein?

Ich bin ja auch nur ein Autodidakt und habe nie Grafikdesign studiert. Grafikdesigner sind gerade in Berlin ja ziemlich einfach zu finden. Es muss nicht immer eine teure Agentur sein, die einem das Cover gestaltet, damit es ein gutes Release wird. Wichtiger ist, dass der Grafiker die visuelle Einordnung oder wie man das auch immer beschreiben möchte, bewerkstelligt. Es sollte irgendwie passen. Das kann durch einen befreundeten Grafiker passieren oder durch eine professionelle Agentur. Bei Agenturen oder professionellen Grafikern habe ich aber manchmal das Gefühl, dass diese eigene Trends haben, denen sie nachgehen. Es gibt Monate da kommen zwei, drei Platten auf unterschiedlichen Labels heraus, die sehr ähnliche Cover haben oder zumindest ähnliche Gestaltungsprinzipien verfolgen. Ich denke dann immer, dass die bestimmt alle das gleiche Gestalter-Magazin abonniert haben.

Sollten Labels noch auf eine Corporate Identity setzen?

Wenn man als Label wiedererkennbar sein möchte, dann ja. Es gibt aber sehr unterschiedliche Möglichkeiten. Die meisten Labels in unserer Szene sind ja keine Labels im Ursprungssinn, sondern die Veröffentlichungsplattform eines Künstlers oder Künstlerkollektivs. Zur Label-Arbeit gehört ja traditionellerweise A&R. Das fällt weg, wenn ein Künstler selbst sein Label gründet. Wenn ein Label für Qualität steht, dann ist es natürlich auch gut, wenn es erkannt wird. Aber das muss man im Einzelfall sehen. Es gibt unendliche Möglichkeiten, vom Standardcover bis zum kleinen Logo irgendwo in einer Ecke.

Gestempelte White Labels oder Platten ohne Cover sind ja eine Strategie, die gerne mit dem Hard Wax-Umfeld assoziiert wird und auch heute noch vielfach angewandt wird. Wie siehst du heute dabei die Gewichtung bzw. Wechselbeziehungen von ästhetischer Überzeugung, ökonomischen Zwängen und Abgrenzungsüberlegungen? Hat sich die Wirkung evtl. schon verbraucht?

Ganz am Anfang war das überhaupt keine Strategie. Wenn ich mich richtig erinnere, waren Erik und Fiedel mit MMM die ersten, die es so gemacht haben. Und damals – es war immerhin 1996 – war es tatsächlich eine rein ökonomische Überlegung. Nach der was-weiß-ich-wievielten Auflage hätten sie sich auch sicher gedruckte Labels spendieren können, aber dann haben die beiden es einfach weiter so gemacht wie bisher. Die Stempel-Releases jetzt stehen ja auch für ein gewisse Herangehensweise: es gibt keine Vorab-Promos, keine Info-Sheets mit halb erzwungenen Statements von DJs etc.: die Platten kommen aus dem Presswerk, werden dann gestempelt und stehen dann auf der Hard Wax-Webseite – “quick white label action” wie es unser Chef-Einkäufer Torsten so schön genannt hat. Das Design war also direktes Ergebnis der Produktionsweise. Andere haben das dann als Erfolgsrezept angesehen und aufgegriffen, oft jedoch nur den Aspekt des Stempel-Designs beibehalten. Wenn es das ganze Promo-Tamtam gibt, dann ist das Lo-fi-Erscheinungsbild ein bisschen albern. Ich denke auch, dass es jetzt zur Masche verkommen ist und dass wir wohl nicht mehr viele neue Stamp-Release-Labels – zumindest aus dem Hard Wax-Umfeld – sehen werden.

Was hältst du von alternativer Gestaltung, z.B. Inserts, Stempel, Sticker, Lochung etc. Ist das eine kreative Begrenzung oder eine Notlösung, oder ist da noch viel künstlerische Luft? Kann man auch mit geringem Aufwand ein Artwork umsetzen, das vom Material her aufwändiger ist? Sollte man das sogar?

Ich finde alles gut, wenn es in sich irgendwie Sinn ergibt. Dieses auf Biegen und Brechen Unikat- und Sammlerobjekt-sein-wollen finde ich auch komisch. Da ist für meinen Geschmack eine Schieflage in die andere Richtung erreicht: die eigentliche Musik tritt vor den limitierten, durchnummerierten, farbigen oder sonst wie auratisch aufgeladenen Vinyl-Sammlerstücken in den Hintergrund. Das wirkt oft so, als wäre die Platte direkt für den Discogs-Gebrauchtmarkt hergestellt worden. Prinzipiell sollte man alles ausreizen dürfen, was die Fertigungspalette hergibt, solange es als Gesamtprodukt funktioniert und nicht zu sehr gewollt wirkt. Ich habe zum Beispiel gerade sehr viel Freude beim Entwerfen von mit Lyrics bedruckten Inner-Sleeves gehabt. Das ist so was Klassisches, was einen Mehrwert für den Käufer der Platte darstellt.

Ist das Vollcover trotz Krise wieder auf dem Vormarsch?

Ich denke ja. Nach dem Trend der steigenden Release-Zahlen, um die schrumpfenden Verkaufszahlen pro Release zu kompensieren (was eine Milchmädchenrechnung ist), wird es eine Tendenz zu mehr Qualitätskontrolle und Begrenzung geben. Die klassischen Label-Tugenden wie gutes A&R, Künstleraufbau etc. werden in kleineren Rahmen wieder an Bedeutung gewinnen und die Musik wieder langlebiger werden. Damit kann auch wieder mehr in einzelne Releases investiert werden. Das ist aber nur zur Hälfte meine Einschätzung und zur anderen meine Hoffnung.

Es wird heute auch bei Vollcovern meistens nicht mehr viel in Material und Druck investiert. Wird das so bleiben, und kann man das umgehen und dennoch “aufwändige” Effekte erzielen?

Für einen kreativen Kopf stellen Limitierungen ja auch immer Herausforderungen dar. Ich mache mir da keine Sorgen. Die Technologien haben sich immer verändert und die Leute mussten zu jeder Zeit alles herausholen. Selbst wie Kartoffeldruck wirkende Reggae 7″s sehen ja teilweise genial aus. Und man kann sich immer nach neuen (oder alten) Techniken umschauen, wenn einem der Laser-Print von Online-Druckereien nicht gefällt. Honest Jon’s hat z.B. wundervolle Platten mit Prägedruck und Buchbinde-Rücken herausgebracht und ist sowieso ein gutes Beispiel für hervorragendes Plattendesign. Wie oben schon angedeutet, gibt es einen Zusammenhang von der Qualität der Musik und dem Design. Wenn eine Platte eine Halbwertzeit von ein paar Wochen hat, dann investiert man natürlich auch nicht unendliche Summen in das Erscheinungsbild.

Wird das Artwork immer ein integraler Bestandteil von Label-Arbeit sein, wenn man physikalisch veröffentlicht?

Auf jeden Fall, denn das ist ja gerade der Unterschied zum nur-digital-veröffentlichen, dass man etwas mit vielen Sinnen Erfahrbares produziert. Das merkt man auch an den ganzen eben erwähnten Techniken, die in letzter Zeit öfters benutzt werden, wie z.B. Prägungen. Das kann man als 600×600 Pixel-Bild natürlich nicht wiedergeben. Der Drang, etwas zu erschaffen, was sich von dem Vorangegangenen unterscheidet, erstreckt sich auch auf das Cover-Design und sollte es tun. Dafür ist allerdings die Grundvoraussetzung, dass man sich tatsächlich unterscheiden möchte.

 de:bug 10/11