Whitelabrecs is a boutique label based in the UK that has its origins in the world of netlabels, specifically Audio Gourmet which ran from 2010 through 2018 and built an impressive roster of artists and catalogue of releases. Initially functioning as a sub-label launched in 2015, Whitelabrecs was the home for physical releases, usually in the form of very limited run CD-R in hand assembled packaging Label operator Harry Towell, who also records primarily under the alias of Spheruleus, works to maintain a level of excellence in his choice or releases and how they are presented, as well continuing to adapt and add new elements to the label's presence both online and in the real world. Most recently he featured a series of 30 COVID lockdown inspired Eps called Home Diaries as well as a line of what he dubs eRecords that are digital downloads enhanced with liner notes and artwork. Harry took the time to answer a few questions about the label, the ambient music community, and make a few listening recommendations.
Does Whitelabrecs feel like part of a community of labels? Is there much sharing of ideas and resources (aside from artists) between boutique labels?
I certainly feel there’s a community, as many labels are run by artists who tend to sometimes release with other labels. I know many other label owners from the years I’ve spent being involved with ambient music, so we generally keep in touch and support each other’s work. In terms of resources, I feel there’s definitely plenty of encouragement out there, and sharing of ideas, contacts and suppliers. I guess people will have a limited budget to spend on music and therefore, we’re technically in competition if you look at it that way. But the scene has never ever felt like this and I’ve found it to be such a supportive place.
Did you ever consider running the label in a more traditional manner, with distros and unlimited releases and so forth?
We do have some distributors that we work with, such as Juno here in the UK, Linus and Tobira in Japan for example. But the experimental scene is pretty niche and so orders are quite low. I think to go unlimited or bigger, it’d cost us a fortune in marketing/PR costs and there are no guarantees it would work, and thereby we’d risk the whole thing grinding to a halt. So for now, as we’ve done since the beginning, we’ll keep things nice and small.
Do you think the limited edition approach has an effect in driving sales... creating a kind of collector's desire for the releases... and do you have feelings about people buying the albums for their potential value over their aesthetic quality?
I think in some ways it still does, although that said with streaming and the digital age, there are fewer people who buy CDs, as you touch on in your next question. We started off doing just 50 handmade copies and I’ve always felt these being more limited, meant that they were more collectible and would sell out quicker. The runs of 100 are probably about the right balance; all our costs have increased as the label has developed over the years so if we dropped back down to 50 again, even if they sold out, it wouldn’t be viable.
On the point around people profiteering from limited edition CDs, I know it’s not popular among my peers. It’s a shame in many ways, that someone buys our music and sells it on again for profit, but then if someone is willing to pay extra then it goes full circle and is quite nice to know that there’s someone out there who really values one of our records. That said, I don’t have any knowledge that anyone has paid over the odds, so maybe it’s not happened to one of our editions!
With the CD format being progressively abandoned by labels and younger artists, do you feel pressure to diversify releases? Do you have any personal feelings for the CD format?
I really like CDs over digital, as there is that tangible product to hold, to experience the artwork in different lights. To hold physically an artefact as you hear the music designed to match the imagery. Looking at a physical collection is that bit more special I feel, than looking at a digital library or a playlist. That said, people cannot buy everything and even if they could, they cannot store everything. My own listening habits are changing and I find myself using Bandcamp and Spotify to stream new releases and I’ll then narrow down a wish list to buy my favourites in physical format. There are many people out there who only buy digital, or listen via streaming platforms and so I launched our digital only series called ‘eRecords’ last year and this has gone really well. I had the idea to try and further expand the digital format, by including a digital booklet of photos, artwork, liner notes etc and I hope our listeners enjoy these.
What qualities or elements capture your attention when hearing ambient music you consider for the label?
I personally like music to mean something. Whether that be a concept, a theme or some details that help bring the music to life. Sometimes we get demos that we help develop a story a little; perhaps through artwork as a starting point, or we might use artwork to help get a vision across. When we get demos, I tend to be drawn more towards something that looks evocative, is presented in a beautiful way, or the track titles and inner story is intriguing. Then when I’m listening, I’m looking for a reflective mood; something dreamy, melancholy or textured.
What three albums, either on the label or otherwise, would you recommend to someone who is interested in exploring ambient music for the first time?
From the label, if we’re talking of a more classic ambient music rather than the modern classical or acoustic stuff, and something recent, I’d point them to Peter Kvidera’s album Verism. Then looking back at an older release, I’d suggest The Home Diaries compilation we put together, which includes tracks from the 30 albums we released through the summer of 2020 as the height of lockdown ensued. It’s a real cross-section of ambient music, from field recordings, soft drones, calm sleepy vibes and some light acoustic tones.
Elsewhere, it’s very tough to pick just one album to recommend as an intro to ambient music. But in the end, it’s pretty easy - the epic and Their Refinement of the Decline by Stars of The Lid. I own one of the triple vinyl copies and it’s something I still play regularly all these years on since its release.
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Whitelabrecs most recent releases include glåsbird's pacifica and on the eRecords label More Frantic 2012-2022 by Matteo Cantaluppi. Harry Towell's most recent releases are Canvas Homes + Supplémentaires as Spheruleus on Whitelabrecs and Restful Spaces under his own name in collaboration with Guy Gelem on Toronto label Polar Seas Recordings.