Welcome to Press Play, the monthly playlist curated by labels and artists from around the world. Today Sonosphere highlights the French label, A N Y W A V E. We had the pleasure to correspond with Aurel Delamour, artist and co-creator of the label.
Check out the interview, mixtape and track list below. Subscribe to us at SoundCloud, itunes, and GooglePlay.
Tell me about Anywave, how did it begin?
I created the label with my friend Stephanie 15 years ago – mainly because we wanted to release our own work. But we quickly took a break… that lasted over 10 years! As for the name, it was her idea, IIRC she thought about no wave and I was very much into new wave, so that’s what “Anywave” is supposed to mean: the synthesis of different types of wave music – hopefully it’s still relevant, now that we’ve been releasing music for real.
How do you find and work with your artists?
We dig through Internet every day with my buddies in the label. But we also receive many submissions from artists.
It has happened many times that we worked with other labels. Sometimes, because we need extra money to achieve a budget, sometimes just because we want to have a release in common with people we like, like with Lentonia or Montagne Sacrée for instance.
What do you look for in an artist/band? How do you shape or “feel out” the “sound of Anywave”?
“Singularity” is a word I much enjoy to use when I speak about our artists, singularity can take different shapes, I’m fully aware that it’s very difficult to be purely innovative, you always take from what has been done before. For instance, Heather Celeste’s work gathers dark techno codes, it also includes minimal wave, but she doesn’t simply put all this together, she really does something special, with a lot of improvisation, a rather lo-fi production – at least on the material she’s released on Anywave. It’s her personal balance that makes her music unique to our ears. It’s true for most of the artists we’ve produced, they do their stuff in a very particular way.
When we decide to work with a band, we try to include their project into our own story. As we seek total freedom in our artistic choices (no boundaries of style, no strategic plan), we give the artists the same freedom. So we have to find a way to make their project a part of our own without betraying their intentions. Sometimes enthusiasm and mutual love just do the job! But I think the visual work we do might be the cement that makes the label understandable at first.
What is your preferred “genre” or sound to represent on the label? Is it mostly personal taste or does some consumer demand play in?
I don’t know. « Bedroom-pop », or « bedroom-something ». As for A V G V S T, which is my own band, I once wrote “postwave”, and then “pornwave”, though it has nothing really [to do with] porn. My friend Zane O’Brien who rules escc9 and Lux Era found an excellent genre designation: “post-whatever”, I’m a bit upset I couldn’t come up with that myself!
Who was the first Anywave artist/band signed?
A V G V S T, obviously. Then, we really started the current version of Anywave with two Egyptian bands, PanSTARRS and Gast, by the way, the two most opposite sides of our catalogue, one a pure lo-fi post-punk band, and the other an IDM project, sounding a bit like the early Warp Records’ productions.
Who is the newest addition to the label?
Patrick Wiklacz, a French ambient / experimental electronic composer and sound designer, who never released his work on a label before. An album will be be out in April or May.
And Laura Gozlan : we’ve published Physical Self, her exhibition soundtrack. The format of this project is a bit unusual for a music label because it is an artist book by Myriam Barchechat and Laura Gozlan with a download code for the music, a 10 minutes track of abstract darkwave composed by Laura. The book reinterprets her video installation, it is meant to be an adaptation of the original artwork.
Has the label evolved since the beginning? If so, how?
A lot!! We went through v1, v2, v3, and we’re heading to v4. It fits better to our current frame of mind , I guess our scheme wasn’t very clear, and rather clumsy, at the beginning. At some point, I got a bit pissed with mimicry. The fact is we didn’t plan to make things grow, but when you’re releasing 5 to 7 records in one year, I guess you can say you are actually developing the label. So you try to make something that works, and as you have no idea how things work, you look at what other labels do… and then you realise after a while you’ve just been in someone else’s shoes. Still, I’ve got many references, and there are many inspiring labels, but as far as we’re concerned inspiration should stay on an artistic level, we have to find our own way to make things work.
Who presses your vinyl records/cassettes? How important is physical copies of music?
We like to work with small factories for vinyls and tapes. We’d like to be able to press the cassettes ourselves in the near future. That’s what we already do with CDs. For us physical copies are important for different reasons: first it gives the project some credibility in the eyes of the audience and of the media (it’s almost impossible to get any review with only a digital release). The second reason is that we love creating objects, touching them. Myriam, our art director, is a great designer, and I do share her concern about giving a physical shape to music, that can add a meaningful dimension to a record – not to mention the aesthetic dimension of course. Hence it’s a real pleasure to go on with physical copies, in particular when it’s handmade limited series.
Streaming services have been great for finding new music. How is it working through bandcamp/soundcloud? Does that drive the business?
It’s been a primary tool for us to get our name out there. Well, we’re not really famous of course, but we have a little audience we can reach through social networks and platforms like Soundcloud and Bandcamp. Changes in those platforms have huge consequences on the way we communicate and share music, so it means we might be too dependent on them.
What are you excited about for the next year for your label? What do plan for future?
You may have noticed this last year was a rather quiet one. We’ve been focusing on other matters than music production, such as booking a tour for the Ukrainian duet Bad News from Cosmos, or questioning ourselves about the meaning of a label in 2017. By many aspects, a label is more or less comparable to a political party, especially when you rule it with three other persons, you have to make decisions but you also have to listen to what they have to say. I can be a bit authoritarian when I’m discussing our projects, but I’m also full of doubt. This year was a year of doubts, to be honest. Now, we’ve decided to rule Anywave in a different way: we’re gonna travel light. What I’m saying regarding the future is in total contradiction with our next release! Indeed Fléau’s second album is the most ambitious project we’ve ever made (thanks to the help of our friend label Atelier Ciseaux, who co-produced the record): a double vinyl and a collector edition with an artist booklet… But then, we plan to release mostly limited editions, screen printed CDs and tapes. What’s already on track is a split album with Bad News from Cosmos and Heima Matti, Patrick Wiklacz’s album « N » and the sixth volume of the Wavecore series.
Side A selected by Bad News from Cosmos:
1 Vitamin Wig C – Why A Key Go (Wavecore 3, 2014)
2 Crystal Coast – DSTNT (Wavecore 4, 2015)
3 A V G V S T – The Hill (A Sorry Plain, 2005)
4 Verpackt – (Wavecore 4, 2015)
5 Seahorse Hunter – Disappear (Wavecore 1, 2013)
6 Tainsus – Computer Screen (Wavecore 4, 2015)
7 Jacqueline Sauvage – (Wavecore 2, 2013)
8 Ferdinand Carclash – Donde no Hay Despues (Wavecore 3, 2014)
Side B selected by Aurel:
9 Fléau – IV (intro) (Fléau II, 2018) premiere
10 Sphyxion – Sphyxion 3 (Sphyxion, 2016)
11 Heather Celeste – Lemon Trade (Modern Death, 2015)
12 Bad News from Cosmos – Someday (Minn Sjo, 2016)
13 Gross Net – Spiralling Down (Wavecore 4, 2015)
14 Mareux – Cold Summer (Wavecore 2, 2013)
15 Patrick Wiklacz – N5 (N, 2018) premiere