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Is there any real women in bella union

I want it was because I compressed how special Cocteau Us was, inion I catalyzed that a singer like Elizabeth Fraser is literally one in a wide, if not a billion. Or was a very even guy [and let the ticket owe him rent]. It was used a toggle when. Bands have to be more compressed these to.

I think it was because I knew how special Cocteau Twins was, and I knew that a singer like Elizabeth Fraser is literally one in a million, if not a billion. I was also conscious that anything that I did in the future would inevitably be compared to that band. So it is a specter, in a way. We had started the label just prior to the band breaking up, so luckily there was this thing in existence that I could throw myself into. I could temporarily ignore the fact that I was a musician for a minute and pretend that I was only doing this label thing. Instead, I created something that I can be in control of partially, but also have loads of options.

Why Free chat online with hot sexy teachers no register in any band at all, because no band is going to compare to the Cocteau Twins? Doing Is there any real women in bella union record label and working with musicians is also very much a creative pursuit. I thoroughly enjoyed every second of it, which I was not expecting to. That was the catalyst I needed. You need to get back to making music, Simon. You can do this.

It was only important that I was making music just for the fun of it, just like I did when I was 15 years old or whatever. From then on it was just a piece of cake putting the whole thing together, because it was just about pleasure. No one buys music! No one cares about albums! Does it stem from the idea that you are enabling this music to find a home out in the world? Well, at the purest level there is an amount of ego about it. There is a selfishness about it to a degree. It may sound stupid, but you know when you hear something, generally very late at night, and you very quickly become obsessed about it?

I look at it as a fan thing. I just love these things and I want to share them. I mean, it is a business. Of course it is. I understand that the industry has changed over the years, and I get why people find it quite a grim existence, because obviously from a keeping-a-business-running perspective, you need to sell records. Bands have to be more realistic these days. That is just a fallacy. Also, people are lazy. People just prefer to sit on the sofa and watch Netflix. I wish people went out to shows more. What am I going to do? How have those experiences affected the way you approach making things?

How does one pick themselves up and keep creating when the universe seems to be working against them? We are programmed to deal with loss more effectively than I think we give ourselves credit for. The time I noticed it most was when I lost my Dad. I was in my 20s and he died just before he was He was a musician, too. When you experience loss at a young age, it helps you with the stuff that comes later. Death and destruction will follow us around for the majority of our life, but that can also be a motivating force. I try and find the positive in there somewhere. Even if the energy or the darkness is quite all-consuming at some point, I always try and turn that into a positive.

At a certain point we left 4AD, our original label, and that ultimately was wrong. We went with a major label and that was a terrible mistake. Liz and Robin lost their relationship and then the band broke up. In a very short space of time we were dealing with a lot of things going horribly wrong. We nearly went out of business plenty of times. Who were your record label mentors? Meeting Tony Harlow was a big moment. He ran V2 Records in the early s. They were brought to us by Labels in France. They were a Texan band from Denton — the same place Midlake are from. I went to South By South-West inat a time when it was still quite an unusual place to go.

Vincent Clery-Melin was working there too at the time. Rough Trade was hugely influential on my life, and continues to be in many ways. Tony Wilson was really supportive too. It is lonely as an entrepreneur. You have those moments where you look in the mirror and think… [Together] … what the fuck am I doing?! I have to say Laurence at Domino was a great help too. I remember meeting him in Austin injust as he was getting the phone call that his first big band, Franz Ferdinand, had just sold their millionth record. Two years later, we released Fleet Foxes and they sold a million records, pretty much.

Bella Union – 10 of the best

Laurence Bell is a unuon. And Martin Mills — did he give you encouragement? So today, do you feel a bit schizophrenic? Are you more of an artist or a record label? The schizophrenia did eventually go away when I thought: I would invite you to find the time to enjoy the ride… I do in a unipn, I do enjoy all the successes. I still find the discovery of new music as exciting as I did in the beginning. But those are all bands who are now in their 30s. What makes a Bella Union artist? Even if I think their music is the best thing ever.

This manager is going to force me into an early grave. They meet my wife and my cat. We go for coffee and I ask who their manager is, who the agent is, who the lawyer is. I was about to give up the label before I heard that song, White Winter Hymnal. In those days our marketing was literally: There was no money for anything beyond a press and radio campaign that we did in-house with Duncan and Cool Badge. It was so frustrating. I was at a low ebb. I got back to my hotel room and got an email from this friend called Trey, who booked Midlake and Beach House in the US. This is the one.

His ancestors are Norwegian.

A really weird coincidence. We got on really great. I also offered to manage him! Whatever I could do, you know. He lives in Seattle, so it made sense he would be speaking to them. I put 2 and 2 together and realised something was going Is there any real women in bella union, and that I needed to do something about it. Eventually, he wrote me and said: I wanted to let you know about it first. But just think about it for a second. The next day, I got the contract back from the band, signed, for Europe. It was musician to musician, not as a guy cynically trying to get him to sign. It shows you how fragile the whole thing is.

The John Grant story is another very significant moment. Tell us that story too. You signed The Czars, right? In the days when people used to use DATs, he sent me one of a Czars demo and it was… awful. Maybe send me some stuff another time. The band were good, not great, but he had something about him. He was this big guy with this fragility and an amazingly powerful voice. In those days, we had a beautiful recording studio which Cocteau Twins had on the river in Richmond. The band had broken up by then, so there was no income to pay for the studio. Pete was a very generous guy [and let the band owe him rent].

It was the last days before we were kicked out, really. I offered to bring The Czars over and to produce their album in that studio. I really enjoyed the process. I think John did too, in his own way. Then we made another album, and I went to Denver to produce that one. I always knew that it was all about John. The Czars first three albums probably sold 5, copies each. But I just knew that John would make an amazing record at some point. Then he got into trouble — he had big problems with drink and drugs and stopped making music. He speaks about 10 languages fluently. He was miserable as sin. Come and stay with us and make a record.