There’s hardly anything I’ve been doing constantly for such a long time like Let it Burn Records… 10 years is a long fucking time and sometimes it surprises me, that the label is still alive. When I started LIB in 2000 with my friend Daniel, none of us would have thought that this would go ANYWHERE.
In fact it was the release of FEAR MY THOUGHT’s debut album “23″ that accelerated the label growth for the first time. Even though there was no other label interested in releasing their album, there was already a bit of a “hype” around the band which rapidly lead to 1500 sold (oh well, most of the cd’s were traded for other label’s crap we never got rid off) copies. The band played constantly and the name “Let it Burn Records” got heard by more and more kids. FEAR MY THOUGHT’s second album “Vitriol” followed shortly after and doubled the buzz around the band and the label.
The next “big thing” for Let it Burn Records was continental licensing. SAVING THROW, ARMA ANGELUS (whose members are now in RISE AGAINST and FALL OUT BOY), SCARS OF TOMORROW and others were released for Europe. Unfortunatelly most of the bands never came over to tour or split up before they got a chance, so this kind of cooperation never was as close and thrilling as with European bands.
In 2003 we released another crucial debut album. This time it was a new and hot band from Hungary called BRIDGE TO SOLACE which had already gained international attention in a slightly different line up under the name: NEWBORN. BRIDGE TO SOLACE’s music was punk, hardcore and metal alike and it seemed as if the band offered what everyone had been waiting for. “Of bitterness and hope” sold 3000 copies and it’s successor “Kingdom of the Dead” another 2000.
It was until 2006 when we had the next “big album” at Let it Burn Records. FINAL PRAYER’s debut “Right Here Right Now” marked a new musical direction for the label (we hadn’t really released any “tough” hardcore so far) and attracted a whole bunch of new kids who had never heard of the label before. The album went well, just like the career of FINAL PRAYER, who, among very few others, form the spearhead of European Hardcore these days.
In 2007 we only had one release (the biggest failure by the way, we still have around 70% of the first press on the shelve) and everything that we put out since 2008 basically forms our current roster: RED TAPE PARADE, THE CASSIDY SCENARIO, STORM&STRESS, TODAY WE RISE and DEATHSPIRIT.
Our latest signings BLACK FRIDAY ‘29, ZERO MENTALITY, TO KILL, TEAMKILLER and GOLDUST outline very well what Let it Burn Records has become in 2010: One of Europe’s leading hardcore labels.
I am VERY proud of what we have accomplished within these 10 years. Most other labels that started their business around the time we did, called it a day when the music industry started suffering from “digital age cataclysm”. Without sound winy, we also had hard times and still do, but working with such amazing bands and releasing music that we personally go crazy to is one of the best things in the world. As long as this label pays for itself Let it Burn Records will be around delivering high quality wild music. That’s for sure.
Tags: hardcore label, indie, label history, let it burn, letitburn, record label
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Saugut!
Da schlag ich mich dem Feivel gleich mal als Street Team Mitglied vor. -
i really like the honesty and dedication that shines through in a lot of chris’ writings, although he sometimes puts on too much of a “professional” or “music biz” touch.
when people like chris or myself got into HC in the early 1990s, nobody in europe though about doing a HC-label professionally like a business… it was an expensive but rewarding hobby, much like doing a band was/ is.
so why all the fuzz and all the crying about the future of the “industry”? As Biohazard (get the irony) once said: “music is for you and me, not the fucking industry”! So just keep doing what you are doing for the right reasons and you will be rewarded with some great releases to show your kids one day, amazing memories, and outlet for creativity and a tool to communicate (through label policies, artwork, blogs etc.).
if you want more, why don’t you get yourself a real job… which is nothing bad by the way at all.
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I totally agree with felix and investing 30+ nonpaid hours per week is a clear statement of passion and “when I first got into hardcore”-ethic.
But when it comes down to threatening my real day job (Infact I do have one) or constantly investing not only working hours but also cash into this “hobby” I am forced to handle the business-side of music, too.
I wish it was like back in the 90s when Felix’ and my “investment” were 0,80 DM for postage, 1,50 DM for a blank audiotape and 2 hours for a handwritten letter but these days are quite obvious over and probably won’t come back again.
However I do enjoy working with people who have experienced both, the inculpable amd the demonic side of the music business.
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no offense, but it seems to me getting music released has gotten much cheaper since the 1990s. pressing costs decreased, recording costs decreased thanks to pro-tools etc (everybody can record a half-decent song in his bedroom – given the fact that your neighbors tolerate the sound of the drums), no more postage costs for day-to-day communication and promo (you send out emails and mp3s). labels also tend to not pay bands advances for recording costs anymore etc.
therefore it seems to me that releasing records has gotten cheaper. what-s problematic is the decrease of potential buyers… but than this could also be the case due to a plethora of labels flooding the market with releases. seeing that it’s so easy to release a cd these days, everybody does it! whereas in the 1980s and 1990s many bands only did demos and never ever released anything “proper” until they disbanded. nowadays it seems that every band five months and as many songs into their existence has a cd out.
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Sorry Felix, but you are wrong on this one. It is true that recording costs decreased drastically due to digital tools such as pro-tools, logic etc. (a clear benefit for bands by the way, not for labels) but the pressing costs basically stayed the same over the past 10 years. Apart from that the understanding of the term “promotion” has shifted drastically from “sending out a few copies to some people who run a fanzine” to an extremely expensive and time-consuming untertaking. The funny thing is: it is not only the labels who have gone crazy on this one but also the bands who “ask” for such monstrous promo-campaigns including overpriced advertisement, stickers, posters, web-banners, shitloads of flyers, etc. In addition to that the digital age hasn’t arrived on the press’ end yet. Magazines still ask for physical promo copies, expensive finished products with ever increasing postage rates.
As for your last point (decreasing number of buyers) I totally I agree with you. However, just like you, I would never dare to blame the kids for not buying our records anymore because the number of releases that come out every month simply is ridiculous. I just wish they’d be more open minded, critical and careful when it comes down to spending their hard-earned money on music. It is not the always the biggest ad or the most fancy packaging that brings forth the best music.
With an average of 4 “hand-selected” releases per year (re-releases and compilations included) I affirm that LET IT BURN RECORDS still stands for quality music which we are trying to make available all around the globe for reasonable prices.
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