STILL ROCKING AFTER ALL THESE YEARS
4AD celebrates four decades in the business with Bills & Aches & Blues
There are probably many music listeners who are into artists and their music, but not quite aware of the record labels behind the success of their albums. Whether you’ve heard of 4AD or not, if you were growing up in the 80s and 90s, or loved indie and alternative music, this UK-based label was one of the first who started it all, alongside names like Mute, Warp, Sub Pop, Flying Nun, Creation and Rough Trade.
4AD was founded in 1980 by music producer Ivo Watts-Russell in London as a small imprint under the umbrella of iconic record label Beggars Banquet. The label gained prominence in the 80s for being home to a number of alternative rock, postpunk, gothic rock, shoegaze and dream pop artists that went on to become some of the most influential figures in music today, such as Pixies, Throwing Muses, Bauhaus, Cocteau Twins, Dead Can Dance and This Mortal Coil.
Under Watts-Russell’s direction, 4AD quickly established a unique identity throughout the 80s and 90s thanks to those amazing bands and the jaw-dropping visual designs of the late British graphic designer Vaughan Oliver, whose artwork became a staple for 4AD that was closely linked to the sound of the moody, murky releases of the label. When Watts-Russell stepped down at the end of the 90s, we saw 4AD move away from its golden era, yet continue to have success in the 2000s with new albums by indie rockers Blonde Redhead, TV On The Radio, Camera Obscura and Deerhunter.
Then former Warp Records managing director Simon Halliday took the helm of 4AD in 2007 and remains the label head to this day. Halliday’s curation brought the label into new territories and more US and Canadian artists. With a current roster featuring the likes of folk ballad strummer Bon Iver; brooding art rockers The National; indie feminist hero St. Vincent; experimental popsters Ariel Pink or synth-pop hyper-sensation Grimes, 4AD is arguably enjoying another golden era.
4AD is entering its fourth decade, and is celebrating in a big way. The label has just dropped a new 18-track compilation album titled Bills & Aches & Blues: 40 Years Of 4AD. The album features some of 4AD’s current artists covering classic tracks from the label’s back catalogue, such as The Breeders’ take on His Name Is Alive’s The Dirt Eaters; Jenny Hval covers Lush’s Sunbathing; Bradford Cox of Deerhunter plays The Breeders’ Mountain Battles; and Tkay Maidza’s electrifying reimagining of Pixies’ Where Is My Mind?.
Life recently spoke to 4AD boss Halliday about the new release as well as how the label stays relevant after more than 40 years in business.
4AD is entering its fourth decade now, and is seemingly constantly changing. How do you see the label changing over the years? How is being a label different nowadays than it was when 4AD started?
In the post-punk era some labels held a social place in the development of music, art and fashion. Normal people would follow a label because of ethos. That has pretty much disappeared in larger independent labels, which are now run by music business professionals who partner with musicians to get the best results within the current framework. In the early 80s, independent labels were still fighting against a more rigid major label-dominated world and this probably helped their ethos too. The victories achieved during those times helped indie labels promote their bands easier on a worldwide level — which 4AD greatly benefits from today.
What is special about Bills & Aches & Blues: 40 Years Of 4AD?
We really just wanted a snapshot of how some current artists would remix an old track of their choice. And to see what happened. See what is created. Not really a celebration of the label’s longevity as an exercise in creating something.
How does the label stay relevant today when you already helped create the genre of ‘independent music’ four decades ago and are remembered as the label whose legacy is greater than all?
By just signing the most original and exciting music we can find. Keeping it as simple as that — not thinking about sales or genres, just asking is it good? I think we forget about the past when we sign new artists. Four decades is a long time ago and that time is quite mythical, but it can be viewed as good and bad to have such a legacy.
How much has 4AD been affected by Covid-19 since 2020, and how do you as a label and the artists cope with these challenging times?
Streams are down a little but not catastrophic. Vinyl sales have proven steady. We have been making lots of promotional items for radio and TV to substitute for not being able to go promote in person. This is a new development and it has been working out well.
Could you recall the time when you took control of the 4AD at the end of 2007? And how much was needed to adjust or change the strategy of the label?
Luckily at the end of 2007 when I arrived, my ambitions of what the label should do was a good fit with some of the staff already there and some of the artists that were already signed. A few new additions and some label re-structuring meant we had an excellent, nimble roster — Beirut, TV On The Radio, Deerhunter, St. Vincent, The National, Bon Iver, Tune-Yards. It felt good.
Were you a fan of 4AD in the early days? And where did 4AD fit into this for you, as a listener?
Not really, but I loved the Cocteau Twins, the first This Mortal Coil album had a big effect on me, MARSS, some of The Wolfgang Press. I always had a penchant for dance music and beats. Some of 4AD’s output in the 80s fit into my view of how music should be. Though I never felt the desire to explore all the things on 4AD I was unaware of.
In your opinion, where’s the pulse of indie music right now?
There is some excellent music being released by the good indie labels and that feels a healthy ecosystem. Bandcamp and self-released albums by new artists is also a great place for seeing new people developing.
Are there any developments you think are exciting now? Do you keep your eye on the sub-genres for the latest thing?
There are always reactions to the actions. All genres and vibes seem valid nowadays as long as the artist is bringing the right integrity. Just when you think you may be done with a genre or style, something new appears and makes you re-evaluate. I genuinely thought guitars were done in 1988 yet the early 90s proved a huge explosion in indie rock bands.
What’s the future for 4AD? What advice would you have for labels starting out today?
We keep trying for consistency. Every year, some new good music. Every year a fresh slate to try our best. Advice? Love the music you release and not care too much how successful it is in the moment.
Last question, have you ever told Kim and Kelley Deal to step up their games and release new Breeders music a little more often? It seems that they release new music every 10 years?
I think All Nerve in 2018 was brilliantly timed and received. The timing felt perfect. I think whenever the next one comes will be the right time.