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Hey, YC here. Today I sat down with JK Phil Osé, one of Fauxtown Record’s many talented musical artists, to talk about a number of things, starting with what got him into music in the first place, then moving into DIY recording of albums, and then moving on to a discussion the nature of the music business as it stands here in 2018.
Because I know Phil personally, from our dual membership in both Try Hardz and Childebeast (not to mention McBain’s World), we accidentally break down the 4th wall so to speak (at first I play the part of the ignorant journalist – so much for that guise), and go into the inner workings of our own mysterious and colourful record label – Fauxtown Records, and how we can ever improve it beyond some of the fascism that exists out there today in order to reach the “free market” and continue to please our fans moving forward. We also discuss musical accessibility, losing and regaining hope, and finding our niche.
You know folks, running an indie record label isn’t easy work, and it takes the cooperation of everyone involved in such a relatively small venture (compared to the big labels that are still operating out there) to do their part and keep the dream alive. But what is that dream, at this point? Is it making a living off your music, bringing fame and glory to our artists, or just sharing music with whoever will listen and appreciate it? In any case, enjoy this interview with J.K. Phil Osé as we cover a variety of topics.
YC: Hey Phil, how’s your day going thus far?
JK: Hello Dave I’m pretty good.
YC: you’ve been busy making music for a while now. when did it all start?
JK: It started when I was 17
YC: Take us back will ya? What happened?
JK: Well…in regard to my shit?
YC: in regard to getting into music.. what sparked your interest and what kind of music were you interested in?
JK: Oh..yea it was a need to find some expression. I borrowed my sisters keyboard for a few months and started writing boring SOft experimental. I was interested in punk as a youth, then hip hop and began to get into abstract music per-say into my twenties.
YC: So initially it was just a means of expression. What was going on at the time in your life that you needed to express via music?
JK: I’d say some familial troubles and personal addictions. And the complications that come from the traumas. Of both.
YC: So you say keys was your first instrument you kinda picked up?
JK: When I was 6 I learnt the C major scale, and some songs to go with it, then 8-9 years later I began experimenting with keyboards. In the interim was playing minimal bass guitar until I was 18. A little piano, a little bass, then at 18 a lot of guitar, bass and minimal piano/key boards.
YC: Did you have recording in mind, or performing, or both, or neither?
JK: I began recording right away. I never had a specific genre in mind and still don’t I play to the feeling of my hands. I simply express melodies, lyrics, and rhythms.
<interjection> – some music
YC: what’s your fav instrument at the moment to play?
JK: I enjoy the Classical guitar the most.
YC: nice…with regards to recording, what do you see the point of that being for you? obviously it is a form of expression, but beyond that, why do you do it?
JK: I see recording as a way of documenting my ideas to listen back refine, and share them with myself and anyone interested in listening.
YC: that sounds reasonable enough 🙂 how interested in the technical aspects of recording at you? i mean, you do your recordings yourself quite often, so i’d assume at least somewhat interested… 😀
JK: I care but I don’t have the financial ease of spending tens of thousands of dollars on full LP’s… so as I get older the less I’ve cared about sound quality and begun to accept what I can produce. Which isn’t anything over the top.
YC: ya, gear is a costly thing that’s for certain…that said, what are you recording with now?
JK: I’m recording with a Rode microphone, an apogee one, and occasionally a friend who is quite talented at sounds engineering.
YC: oh ya who’s that? is it Brennan Galley? The Fiercemule himself??
JK: Yes Brennan Galley.
YC: now that guy has some serious gear for recording and knows how to wield it
JK: Yes, but I don’t rely on him. I record on my own in much lower fidelity to continue getting ideas out there.
YC: a true indie artist to the end
JK: Maybe too independent.
YC: ya but you’re right you can’t rely too much on any one person
JK: You can only rely on yourself.
YC: Indeed brethren
JK: Everyone else is a helping hand whom you are also to them.
YC: it’s the nature of teamwork i guess…people helping each other makes the world go round…plus, recording and playing everything yourself all the time isn’t always fun in the long run.. it’s good to get out there, at least in front of a crowd or something…as opposed to just you on your couch or whatever
JK: I find my couch the most comfortable place to play.
YC: no denying that…certain furniture will facilitate a certain creative mood at times
JK: I’ve thought of Bringing my couch to shows. Just so I can play in comfort.
YC: a novel idea if ever there was one…as an indie artist, what do you think of the whole marketing of yourself to reach fans? do you believe in luck, or hard work?
JK: I believe in hard work. I believe the marketing aspect of it can be deceptive but necessary to reach enough people. I think people generally don’t want to accept new and progressive ideas because it means promoting it within their social circles which can be dangerous. I believe music needs to be attached to a culture for it to blossom. Maybe a marketing tactic would be to create a culture somewhere somehow. But Yea that’s the hardest of work.
YC: would you be happy if your music was listened to by some new people who you don’t know, but you didn’t really get paid for it? or is the goal to make a wage off it selling the music?
JK: Good question. I’d say I wouldn’t care if no one else was making money of my ideas. If no one was then it would be cool but it’s inevitable if enough people would hear the music an artist would make money in some way. Off* Is it about money…money is an important aspect of life. I don’t want to compromise the artistry to attain money but I would prefer if people supported the ideas in a financial way. Then I could be more productive musically and artistically.
YC: are you aware of the idea of the “big rock n roll swindle”?
JK: No sir.
YC: its the idea from like the 70’s / 80’s /90’s where some big record label would pay a band a million bucks, and then that band would just like spend it all and run away or something.
JK: No I didn’t hear about that.
YC: it’s sort of dates back to when major labels would hear about these hyped up bands and try to wine and dine them, and get them to sign their lives away in some crazy million dollar contract…which the bands, not being business people, would sign, with the fantasy of just spending all of “the man” ‘s money…it’s a fairly outdated model now, considering how it is nowadays…typically now it’s like.. you do it all yourself, and figure out every aspect of your business, and if it doesn’t work, it’s your fault…no one’s going to “invest” in you to sell records per se
JK: Yea I don’t think labels and bands believe to thoroughly in the CD anymore. It’s all about being on Spotify and good play and taking percentages. But YouTube is a great way to make money directly. Google Play*
YC: i think so long as you understand how the whole structure works, then that’s fine and good…but say with Youtube, there’s a lot of invisible rules and hidden politics going on that holds some people back and they may not understand why.
JK: Yea I’m not sure how it works on the fascist political side but fuck those who live in that way. I wouldn’t hold back a shitty country music singer who sang terrible lyrics and generic chords just because I didn’t like their music.
YC: It’s about individual expression…well that and finding your fanbase…but the problem is that certain platforms aren’t going to help you find that fanbase.. they really have no obligation to though…
JK: The fan base must be created. How can you find something that doesn’t exist until you show them your stuff.
YC: the fan base i think does exist to an extent
JK: It will exist when they see you.
YC: like with your generic country artist, there are generic country fans..and they need to connect and then all is well
JK: True to the extent that you play within a genre. If you are doing something all encompassing then I think that fanbase needs to be created.
YC: i believe that it’s like the law of attraction…certain people, if they heard you, would like you
but ya they have to hear you…and until they hear you, they are unaware of you basically
JK: Solid Perspective.
<interjection> – some music
YC: so that’s where the corporations come in.. they are the gatekeepers to whether anyone will become aware of you…unless you become your own gatekeeper…but then it’s all on you…people complain when youtube changes things up.. but there’s no one saying you need to be on youtube anyway…same with any of them
JK: Yea I don’t know how to promote my music unless it’s through some interconnected network.
YC: the alternative is just to try to get gigs and talk to real people one on one….but i’ve never really gotten much out of that method myself
JK: Yea that method requires a managerial aspect which I haven’t proven to possess although I am looking to become…The thing about the manager tho was that the manager was an unbiased source of approval to labels. So it depends who you as an independent artist are trying to talk to. If you are an independent artist on an independent label then you have to talk to the corporation yourself.
YC: usually artists and corporate types don’t really have very good chemistry…hence the manager is the middle man for that
JK: But in my case I am a FauxTown Music Label Administrator, and part owner. So I or whoever is running our label because they are few have to get off there arses and start using their brains. So I’m staring to make music videos.
YC: yeah.. i’ve heard a stat that it’s 20% material, 80% marketing in basically any business…which is kinda scary…because as far as material goes, Fauxtown has plenty of that…but i guess too, it’s about knowing what the specific goal is…because we are a label.. so talking to other labels is like.. we don’t really need to…a lot of artists are shopping themselves around FOR a label.. we run the label…but as far as how much clout we have, that is rather a mystery
JK: I think the material isn’t as accessible as it can be. It can be readily accessible to people through different channels. Channels that need to be in place to be visible to people. Like the live show it’s a channel.
YC: ya it’s about knowing those channels and being good at them…because like i’ve said before, i think it’s kinda pointless to put someone in charge of a channel that they aren’t really into
JK: Yes well that’s the goal. Learn how to channel beyond composition.
YC:and that’s the trick for us too…is that most artists we know are really only good at specific things and beyond that they…don’t show interest in those other things
JK: That’s the hard work that needs to be put in.
YC: yes but at the same time, give someone a job they like and they’ll do it all the time…give someone a job they hate and they won’t do it ever…you can tell them that it’s needed all you like…they won’t really do it
JK: Yes and if they don’t like doing anything but music then that’s all they can do.
YC: right and that’s also great…but if say we step into a more managerial role, then it’s good for us to know that…because you’re not going to get that person who only likes being at home making music to tour..or go to events…or meet anyone
JK: It is but the hard work which makes a label tick.. the finding of timely opportunities by working to find them and pounce needs to be done.
YC: well not to tout the virtues of the free market but that’s why i love the free market…and why also the free market is scary…because it’s all there for you.. just go do it…get what you want
JK: Yes I think I have an idea that’s under developed but possible.
YC: personally i don’t see any difference between us and anyone else in terms of how much we care about music…whether they are famous or not…we can do what they do if we know what we’re doing…and also identifying goals and such…accounting is part of the problem…because musicians suck at it
JK: Like you said…and so is cooperation in some ways because ideally cooperation is easy between the people in our group, but in practice it’s a little more difficult. The material is there but the complimentary material needs to be there too (music videos etc) live shows online. Then when the channel is produced it will flow like electricity.
YC: we have one thing that’s kind of going against us…which is that everyone we know has been working on stuff for so long now…that what you’re saying isn’t resonating.. people treat it like they’ve failed already and it’s over so saying “hey, NOW let’s do this” is hard for people
JK: Then if they’ve given up it’s up to us. And we will revive their hopes when we make this happen.
YC: ya people gotta see it to believe it…no one has completely given up.. except those who have
JK: Yes we believe in them even tho they’ve moved on.
YC: well i do agree with you though.. if we can just get all the cylinders firing, we’ll be in good shape…but what i’ve learned is that we need people operating on different fronts.. like say Twitter
JK: They all say they can’t substitute work for playing shows unless the shows pay. So money does really matter.
YC: i used to dislike Twitter, but now i like it but also i have no time to Tweet all day on our behalf…that said, the Fauxtown twitter is back and it’s in better shape than it was.
JK: Which is good news.
<interjection> – some music
YC: it’s stuff like this that needs attention but you and me can’t do everything bro…we can do a lot, but not everything
JK: I’ll need the Twitter account info.
YC: i’ll give it to ya and you can see what’s going on over there…i actually had my VA curate it for a bit and she helped get it looking less lame
JK: We have to do everything we can. And that is asking for everyone’s help which means we will be doing basically everything on the business end.
YC: i think it also gets a bit confusing with money and such…people want to promote their albums their way…and so now with that plugin i’ve got it can link to whatever download you want which is nice…it takes time to find the right software sometimes because there’s a ton of stuff that doesn’t do what you want it to do…but you had a good call on the website by mentioning the mobile thing…it’s way better now i think…so basically more presentable and i don’t feel so bad about showing it to people
JK: That’s good.
YC: so this interview has turned into us talking about our mission.. how did it happen?
JK: Lol you can cut it off when it was a q and a
YC: nah, i kinda like the impromptu nature of it to be honest…unless you don’t like that
JK: I don’t mind. It broke the third wall tho Which was you asking me questions as an interested journalist. Which became we are working for the same people which is us. Lol
YC: lol.. people love that stuff dont’ they…the point is, this is just another channel for us…like the podcast and everything else….i look at it like we put some time into it here and there, and eventually our little interviews can become something…but at first, it’s just us trying and failing and trying again
JK: We can also take the convo sheet and act out the interview.
YC: lol that’s like breaking the 4th wall
JK: Lol I think that’s how most interview go.
YC: how many walls do we need to break?
JK: They pre plan it and then go on camera.
YC: yeah that’s true.. there’s a lot of that now
JK: Their answers are always too perfect to be thought of that fast.
YC: well so long as i can post it like this as well, i don’t care…i’m just into the text form interview right now
JK: Yea. The channels have to be planned. I’m going to work on how to do this.
YC: nice man keep me posted…i guess we can call it here…
JK: Okay take care.
YC: alrighty seeya !