If you’re of a certain age, you’ll be with me and remember and or recognise your first exposure to vinyl and many of you will have been addicted ever since. Am I right??!!
However with the emergence of technology, the music
world introduced us to cassette tapes, CD and even minidisc (can you remember those,
haha). With two of the latter formats
practically obsolete, we are have now been ensnared by the digital era too.
I am a sucker for the convenience of digital music
as much as the next person, however it wasn’t until I started with the blog,
until my love affair with vinyl was re-established. Vinyl junkies are the lifesblood of
underground bands and labels alike, with any given individual spending
thousands of pounds/dollars/euros on a quality products and as music buyers, we
want something memorable and collectable.
Gogmagogical records, recently released two of the
best vinyl releases of recent times
(this is only my opinion btw), with as recent Cold Blue Mountain release,
as well as Violence by Fister, which was
issued in 5 different colours, yes 5!!. It
is because of independent labels such as this and underground bands that
Sludgelord even exists, therefore I thought it would be a cool idea to talk to
some of the people behind the labels, who release these great vinyl packages,
not because they wanna make a few quid, but because they are fans of heavy
music.
So Enjoy!
Here is my 20 Questions with Gogmagogical Records.
Hey G.R., How are you? I appreciate you taking the
time to talk to us, Kudos to you, as I am are big fan of what you’re trying to
do at Gogmagogical records and your support of underground music.
Q) Where are you at the moment and what are you doing in terms of the label?
At the time of writing this, I’m still salivating at the Cold Blue Mountain
vinyl you sent; it is a work of genius.
Congralutions!!
GR. Thank you very much. I am really, really
pleased with how that record came out. Everyone delivered in spades. It was a
fantastic recording to begin with, Aardvark mastered it to vinyl very well,
United Record Pressing hit a home run with the depth of the blue against the
white split and Holy Mountain Printing made an absolutely lush folder to
showcase that astounding Matt Loomis artwork. I feel kind of badly feeling
“proud” of it as I didn’t make any of the creative contributions but I sure am
pleased with the final results and am more humbled than anything that all of
these artists trusted me with their work.
Q) For those people who are not familiar with you or your label, could
you tell us a little about yourself, your label and why you decided to start Gogmogogical?
When the label first started? Current Roster? BTW what the hell does Gomagogical
mean and where did the name come from.
You can’t say it 3 times real fast under the influence of alcohol that’s
for certain.
GR. I am just your typical Midwestern US music
lover. I grew up digesting whatever I could tune into on radio, which was
largely country & western and pop
rock of the early, early 80s and only began to develop an appreciation for
metal as gateways like early Quiet Riot and AC/DC combined with some savvy
record store clerks led me down the proper paths. 40 years old this year, I started with vinyl,
experienced lots of great music across a few formats, saw vinyl resurge a bit
in the indie scene again in college in the 90s and, lately, in a big, big way.
I had the idea for a record label floating around for years on and off simply
as the product of being a music lover who isn’t very talented musically. I
wanted to be more involved than the average consumer and got spurred to action
at show with Jungle Rot and Immolation a couple years back. Kingsblood opened,
it was the first time I had ever seen them, and they had zero merch. At the
Jungle Rot table, kids kept asking for vinyl and the band had none. I had a
little savings set aside, thought “why not try to bankroll a record?” and went
from there. Looking back at old Facebook posts, Kingsblood were the first to
give some positive feedback to the idea and I started to get everything off the
ground. While I laid all of the foundations for the business in preceding
months, I’d set our official birthdate with the order for the Fister record in
September of 2012 – so we’re not even a year old.
We’ve got records out
from Fister and Cold Blue Mountain and a Kingsblood 7” currently in production
with test pressings due any day. I have another record in the works but am not
quite ready to announce. I believe it’ll be a split so we may add two more
bands for the price of one, so to speak. So far as calling that a roster, none
are tied to me beyond our current release and all are free at any time to
release music independently or with other labels. I try to keep our agreements
as free as possible as I am acutely aware that I did not create this music. It
does not belong to me. I want to make it possible for others to hear it and
enjoy it and, ideally, make my investment back but, beyond that, I don’t want
any artist feeling like they’re indebted in any way. I would be thrilled if
some of these bands would like to work together again in the future but no one
is compelled to do so by any agreement.
“Gogmagogical” was on one
of those word-of-the-day desktop calendars a co-worker gave me as a gift a few
years ago. I loved it immediately. It was an archaic term meaning, essentially,
“tremendous.” Its origins are biblical with Gog and Magog alternately referring
to nasty nations or individuals , depending upon where you find them. I was
more taken with the mutation into British folklore in which Gogmagog was a giant who wrestled with someone in
Brutus’ army before falling off a cliff to his death. So it was a cool word,
lots of consonants and syllables and it meant “huge.” I tucked it away and
eventually used it for a blog of the same name, really just trying to
communicate the enormity of music. From its breadth and depth to its influence
over every aspect of my life, it really is tremendous.
All that said, it’s a
bitch to say out loud. More than once a postal clerk or writer has referred to
it as something like “Go, Magical!” and I don’t bother trying to correct
anyone.
Q) What made you start the label and were you involved with bands
before?
GR. I was never involved as a member of any band,
just a big fan of music. I would love to be able to compose and perform but,
realistically, it’s just not my talent. Still, I was a little restless as
observer and consumer. As someone who collects records I figured the next best
thing would be to somehow be involved in making the records others may want to
collect.
Q) It is seemingly harder and harder to make money in the music industry,
bearing that in mind, what motivates you to continue with the label?
GR. I will not make money here. I figured as much
from the get-go and am convinced now more than ever. In these small quantities,
costs for vinyl are very high. Keeping a fan’s budget in mind, I hate to see a
single LP go even to $15 and want to produce something that feels rich that a
fan can take away and enjoy as more than shelf fodder and a means to a
download. At this point I am losing a little money on my last two projects,
actually selling each title at a net loss but I am thrilled to come close to
break even. As long as the label has a positive balance in the bank account I
will continue to invest in the next project. That may mean a little more time
between each record but I absolutely love the fact that some kid out there sees
or hears this band, enjoys them, goes online to find their record, ends up with
me and I’m the one that gets to put it in their hands. I love that a band who
may not have had the liquid cash can go to a show, prop up some colored vinyl
they got as a result of our partnership and thrill some fan while going home
with a little more merch money in the band fund. Maybe I’ll get cold and
cynical as time goes by but, for now, this is the reward and the motivation.
Who is Gogmagogical? Is a one man
show, so to speak?
GR. Me. It is a one-man show in one spare room in
a suburban basement. I work the corporate 40-hour week, go home, grab some time
with the kids, scratch out some lousy notes on my own guitar and fill any free
time I can with making and moving these records.
Q) Lets talk about something which may be the bane of independent
labels, the rise in postage cost. As a
new convert to all things wax, who lives in the UK, often the cost of postage
put me off buying stuff. In real terms,
how does it affect small labels such as yourselves?!!
GR. It’s abysmal. Even in the US shipping is
easily 50% of the cost of the record. A 12” record alone costs about $16 US to
ship to Europe. And I try to charge just postage internationally. So I’m still
losing on the box, the tape, the bubble wrap, the PayPal fees and fuel to the
post office – all costs I would normally try to fold into a shipping fee. I
have tried to supply some European distributors and many balk at absorbing the
shipping costs, especially when I cannot offer much of a wholesale discount
margin. All I can say for UK – and any fans outside the US - is “I’m sorry!” I
really do try to cut your expense to the bare minimum and I know most other
small labels are doing exactly the same. Thirty percent of my orders have come
from overseas so I really want to cater to these folks. If you have some
like-minded friends and want to split the costs of a larger order of more items
contact me directly and I can compile, weigh and quote an exact fee. In the
end, I’ll do whatever it takes to get the music to the fan at the lowest
possible expense.
Q) You’re obviously a big fan of rock/metal, what bands may have
inspired you to start the label or was their a specific reason you felt you
wanted to support Fister or Cold Blue Mountain for example, who may not have
otherwise have received a vinyl release?
GR. Kingsblood, whose 7” we’ll release very soon,
was the first inspiration as I mentioned earlier. Likewise, Dismemberment, a
blackened thrash powerhouse from Ohio, was also an inspiration. They’re always one
step ahead and have been doing their own releases across all formats for
themselves but, as part of the same scene, they set the bar as one of the bands
to whom I would want those working with my label to be compared. Fister and
Cold Blue Mountain were both unknown to me before they contacted me and it was
simply the music that clicked. A few others had asked for deals and submitted
music but these guys resonated. After speaking with each we just hit it off
right away and it was immediately apparent to me that I wanted to be involved
with each of these bands. They good people making great music and it’s a
no-brainer to try to be involved in that process.
Q) Is there a specific person or
persons that you looked up to in terms of modelling your label upon?
GR. Frank Kozik above all else. First, his art
dominated the posters for shows I was attending in the 90s. Then I started buying
his records on Man’s Ruin. Lots of 10-inches, an underrepresented size I always
adored, and always cool as hell jackets and such a variety. As I learned about
his short licensing terms and the fact he eschewed ownership of the music, it
all hit home with my own ethics in this arena. I know this wasn’t necessarily a
successful business model, money-wise, but I challenge you to find anyone
familiar with the label’s output who will say these weren’t absolutely
fantastic releases. Many people still revere their Man’s Ruin records. I know I
do.
Q) In your experience, how easy/difficult has been to get coverage for your releases, are you reliant on goodwill of people for example or to you reaching out to people? I remember kinda courting you, after I purchased the 5 copies of Violence, haha?!!
GR. It’s easy in the sense that people in the
metal community are generous. That seems consistent. Whether they’re writers,
label folks, musicians – everyone seems eager to help one another out. Most
blogs and review sites I have contacted have been gracious and responsive and
happy to give the records some print. It’s very hard, on the other hand, in that
there are just so many outlets. Even with great press – and both of the records
so far have gotten great reviews – it’s very hard to make ripples in this
ocean. And great press does not necessarily equate to great sales. Violence got a great little write up
in Decibel’s vinyl column. Know how many I have sold since that issue
came out? Two. Word of mouth and hands on the physical product seems to matter
most. I consign these records to a small independent shop locally and
consistently sell several a week. And these are to people who probably don’t
know either band. They’re simply vinyl shoppers who see a cool record, maybe
sample at the listening station and go home with something special and unique.
In the end, though, I still want to spread the word. While press may not equate
to many orders for me, it may drive folks to the band’s digital products and
backcatalogues. I am exploring a PR firm as we speak, though; to see how to
bolster my presence and better infiltrate more review outlets.
Q) What do you look for in band, in order for you to say ‘hey id be
interested in releasing your stuff’ or do you ask bands to contact you, what
the modus operadi?
GR. I haven’t proactively approached anyone yet.
There are always a few at any given moment that I would love to work with, in
theory, based solely on their music. Mount Salem, for example, have an
excellent album, Endless, out
and the sound and aesthetic are right up my alley. I’d have loved to have had a
hand in any of the Venomous Maximus releases if they didn’t already have vinyl.
Likewise with Prosanctus Inferi. I saw Jake Kohn perform last year and was so
blown away that I have honestly been too awestruck to even approach him at any
shows after though he seems to have no problems whatsoever getting his stuff
out on vinyl. So far, bands have been contacting me and that has worked well. I
cannot just take something on immediately at this point so our schedules have
to align. Right now, we have one project in the works for late this year,
hopefully, and I’m very excited with this prospect.
Q) Based on your own experience, what do you
think is the most important thing for a new label to do in order to promote
themselves?
GR. Make that first partnership stellar. Treat it
like it may be the only thing you’ll ever create. It was apparent at the outset
that Fister had a great reputation and a loyal following across the world.
They’re not a household name but they have opened doors and supplied instant
credibility. Of course I worked hard to create a solid, quality record with
them but, again, the art and craft was all theirs and my name attached to them
has helped immensely. I try to stay engaged in the music community. If people
contact me, I reply. If I need help, I ask. Knowing where you fall short is
important. I don’t have a significant presence on social media. I certainly
don’t have the money to buy ad space in print. Again, PR is not a dirty word
and I am not so married to “DIY” that I won’t seek assistance. Choosing the
right people to partner with, though, is obviously paramount.
Q)
What are some of the difficulties/frustrations of running a label, because
there are many other commitments such as family, work etc, that perhaps
restrict the amount of time you can dedicate to the band? Not to mention the financial pressure?
GR. Work and
family and finances. You hit them all. Family comes first. While it may not
fulfill, work pays the bills and my own job occasionally requires travel that
can conflict with live shows, order fulfillment and more. I simply sleep less.
I travel with a supply of the records. If I make a commitment to a band, I’ll
follow through to the letter. There are too many options out there. My
reputation needs to remain rock-solid. The finances aren’t so much a pressure
as they are an influence on the timetable. I’d start a record a month if I
could. As it stands now, though, I need to sell a couple hundred of what I have
before I can start the next.
Q) Where do you see the role of
blogs such as the Sludgelord is in the music industry promoting/ reviewing your
records? What are your thoughts on changes in the industry over recent years in
terms digital versus CD/Vinyl? Providing DL links with vinyls, some are for and
against the idea?
GR. Blogs are crucial. What credible,
far-reaching, influential print media remains? Maybe Decibel and Metal
Hammer? As a blogger myself I know the community is saturated with fans
writing about music simply because they love music. I know there’s no real
revenue or reward for 99% of you guys and, at the same time, your word is gold.
I’ll read a review in one of the magazines and maybe buy a record. But if my
favourite blogger recommends it, I’ll snatch something up blind. That’s why I
am doing my damnedest to get physical vinyl to bloggers. I know this stuff
isn’t getting tossed aside. Real fans of music who appreciate the tactile
package are going to actually interact with the record and research the bands
instead of relying on a streaming sample and a snippet from a one-sheet.
I dislike digital. But I
also consume digital. It’s an ugly, permanent reality. If I go for a run, I
sure as hell take an iPod. If a band doesn’t have a physical record, I’ll buy a
download. I will never purchase a download, though, if a physical alternative
exists, even if out of print and overpriced. I am in love with the idea of the
album proper as a group of songs meant to be played in sequence together
complete with artwork I can hold, feel, even smell. I dislike how digital has
made albums invisible, music dissectible and, ultimately, disposable. It’s a
convenience, to be sure, and for that reason I like to include download cards,
but the experience of listening to music has largely been relegated to the
background of other daily life when we really should be sitting in a quiet
room, holding a jacket and leaning toward a set of speakers and paying
attention.
Q) Is there a massive cost in terms of signing the band, manufacturing
the music and the promoting it? Is
running a label sustainable financially and can you make a living doing it?
GR. I haven’t signed anyone to any commitment
beyond the record in question. For two of these, we were releasing music that
had already been recorded and released in cassette format. There the cost was
nil aside from pressing the actual vinyl. For Kingsblood, I asked for two new
songs to be exclusive to the label for three years and paid a good portion of
the recording costs. The basic agreement for everyone so far has been really
simple: I print 300-500 records, you get 100. No strings attached. You sell
yours, I’ll sell mine. If you sell all of yours, you can buy half of mine that
remain from me at cost. If we re-press, you get 100 again and we start all
over. The cost to manufacture is substantial. The vinyl itself is not horrible
but jackets cost as much, if not more, than records. Add in postage from the
plant and to the artist and you easily add $300-500. Vinyl is heavy and
expensive to ship. If you could somehow manufacture your own jackets you may
make money on small batches of records. If you somehow broke through and sold
out of a pressing and repressings, which are less expensive, of course, you may
start to turn a profit. Promotion will be an out-of-pocket expense and it’s a
gamble. I would love to have the optimism to say I could make a living at this
but, no, not with my agreements as they are. I don’t want to be the guy who
gives the band ten records, charges for more and promises royalties on future
sales once we realize a profit. I don’t want to be the guy who demands the band
owes them something. I want to be the guy the band says kept his word and
treated them fairly. It won’t ever pay the bills but it does make me happy.
That’s worth more than a little.
Q) Lets concentrate on your recent releases; our blog recently reviewed Cold
Blue Moutain. How did your involvement
come about and what are your thoughts on the final result in terms of their
debut? Is it pleasing to see it finally released and what are your thoughts on how
it has been received?
GR. Cold Blue Mountain contacted me after I had
started production on Violence
based on my involvement with Fister. I am very, very happy with the final
result. It is thrilling to see the record complete and I have not heard a
negative word about it yet. Once we make an agreement, a record becomes a repeat
part of my daily listening. I memorize every nuance because, when that test
pressing comes, I want to be able to hear that every little thing is in its
proper place. You would think I may get sick of a record over time but in the
case of Cold Blue Mountain, I like it even more. I still listen to it every few
days.
Q) Violence also turned out brilliantly well, 5 different colours and
10” (I bought them all for info). What
are you thoughts about it now and did you learn anything from that experience
going into your next project? I can’t
think of anyone better to release their new record on vinyl, any plans to do
that?
GR. It’s interesting to
contrast against Cold Blue Mountain
and says something to me about record buyers in this day and age. People like
collectibles. They like sets of items. I sold many, many sets of all five
Fister records. People plunked down fifty dollars to buy five copies of the
same music. Different colors, different covers, they wanted them all. I’m a
collector, too, but often choose one color I like when buying and stick with
that. I’m a listener, first and foremost, though, and don’t stick my nose up at
black vinyl, either. That said, the immediate response to Cold Blue Mountain, while
overwhelmingly positive critically, has been much slower on the uptake in terms
of sales. In this case, the band has all the colored vinyl save for my handful
of review copies and I am certain their fans are fulfilling their collectible
needs and supporting the band by buying directly from them – as they damn well
should. I have no doubt the black copies will move but I think this limited
lesson speaks a lot to vinyl as a collectible perhaps overshadowing vinyl as
musical medium at present.
I would love to be
involved with Gemini if it
goes to vinyl but don’t know, first, if the band would ask and, second, if
finances and timelines would align. It’s an astoundingly good record and I
would be an idiot to miss out on it but it would also be a double-LP and
deserves some kind of incredible package. It would be monstrously expensive to
do it justice but Kenny seems to be a master of creative collaborations so
would likely come up with a solution. A double-LP designed around the theme of
twins – can you imagine the possibilities?
Q) Given that you released two
sets so far, how do you measure the success of your releases? Breaking even? Or getting enough funds to
release your next release?
GR. Either would please me. I’d love to break
even and know I lost no money but, really, as soon as I recoup enough for the
deposit on the next project, I’m ready to go. Life is shorter every day so I
just want to get that next record started.
Q) How much input did the band
have in terms of the finished product? Was the idea of the blue/white CBM a joint
decision or did it come from you or the band?
GR. I’ll offer suggestions but the band has final
say. It’s their art with their name on the front and every decision is theirs
entirely. I generally offer up to three colors, if they’d like, but would never
balk at black. In the case of Cold Blue Mountain the colors were actually my
suggestion. We had started talking about three colors, clear blue, white and
black and then settled on a split as a band exclusive. They liked that idea and
we ran with it.
Q) If you could have released any record past or present, what would it
be and why?
GR. This is going to sound weird. It would be an
utter impossibility as the man is the epitome of DIY but I would love to have
been involved with Glenn Danzig’s solo 7” of “Who Killed Marilyn?” and “Spook
City U.S.A.” The man is an icon to me and I find that transitional phase from
the Misfits to metal nothing short of fascinating. The Warhol-like aesthetic of
the sleeve with its shocking spots of purple is utterly appealing and the sides
themselves are fantastic music. It’s not fancy, it’s not considered any kind of
groundbreaking recording but instead feels to me very accessible. I know Danzig
has a reputation as a loner and controller, to put it lightly, but, for some
reason, reading up on this era, he simply seemed eager to make his art. Like,
given the right time and place and circumstances, I could have helped make that
record. I used to own what I am certain was an original Plan 9 pressing and it
has long since been lost. I have been seeking another ever since and it’ll
eventually crown my collection again.
Q) What are your thoughts about free legal downloads (I am referring to
bandcamp) and the difference between buying a physical copy? Is that helpful to
you?
GR. Again, I dislike digital as a format but I
would be foolish to say these don’t provide a superb avenue for a band to gain
exposure. I have no issue whatsoever with bands providing digital copies
parallel to the vinyl release. Those buying vinyl want it and I doubt any
potential record buyer would be swayed away from vinyl just because digital is
available or, conversely, tempted to buy vinyl solely due to the absence of a
stream or download.
Q) 2013 seems to be the start of something special from Gogmagogical. What
are your plans for the rest of the year and 2013? I saw picture of a Kingblood
vinyl? Antifreeze colour?
GR. Kingsblood will likely be the last release of
the calendar year. I hope to sell a hell of a lot of records and get GOG-004
agreed and underway. And screw antifreeze, that’s Dragon Blood! In this case,
the band chose the colors entirely but we were going to go with a transparent
green. United came out with this fluorescent lemon-lime and I liked it,
suggested it and they agreed. It costs a little more but it’s worth it.
Q) Thanks for answering my questions, but one final question, you got
anything you like to say to people who buy your records?
GR. Thank
you, thank you, thank you, thank you. A single purchase realizes a lot of
dreams for a lot of people. Literally every penny I take back in goes straight
toward the next record. Your purchase is an investment in art beyond any simple
addition to your own collection and I hope you realize what a fantastic thing
you’re doing for the music you love.
A massive thank you to Gogmagogical Records for
talking to us. Support this great label
and buy their stuff here. Read our
review of Cold Blue Mountain here and also read my interview with Fister here
and a review of Gemini by Fister here.
