SLUMBERLAND
INTERVIEW WITH FOUNDER MIKE SCHULMAN BY CAMERON CARR
T
he most remarkable thing “I still think of it as our label,â€? Schul- Stereolab’s debut album Switched has helped to continue his passion about Slumberland Records’ man says. “My musical life is still re- On, which remains an essential of for running the label 30 years into 30th anniversary may not be ally tied up with those people.â€? the Slumberland catalog, signaled its existence. that it has sustained itself across a turning point in the growth of the three decades, or that it has put out Sharing equal admiration for jan- label. Released in 1992, Switched On “I kind of have this benchmark that foundational records by the classic gly indie pop acts like Aztec Cam- was one of the first releases outside was always like, ‘are we putting out and modern vanguard of indie era and darker, noisy artists like The the label’s immediate network of records that wouldn’t find a home music including Stereolab, The Birthday Party, the label founders friends. It was also one of Slumber- otherwise?’â€? he explains. “If all of Pains Of Being Pure At Heart, Veloc- pooled together nominal music land’s first full-length albums, as our bands could just go find other ity Girl, and Black Tambourine. The industry knowledge from work at the label begin to shift away from labels right away, then maybe we’re most remarkable thing is that the record stores and college radio exclusively releasing its favored for- not serving the purpose that I set to label has done so while retaining a stations to release Slumberland’s mat of 7â€? singles. build up for the label.â€? singular aesthetic, one that seems debut 7â€?, What Kind of Heaven Do frustratingly close to offering a You Want? “I felt like we were becoming more of To celebrate the label’s 30th anniclear definition—indie pop, posta real label,â€? Schulman says. “Even versary, Schulman returned to his punk, twee, or shoegaze—but never “We were all in noise bands but we though I love singles, and singles love for 7â€? singles, with a subscripquite conforming, almost snickering all really liked pop music,â€? Schul- were more viable then, people al- tion series meant to highlight acts in resistance at times. man recalls. “When we started, it ways take albums a little more se- not associated with the label. The felt like it wouldn’t be hard to find riously.â€? series includes Baltimore dreamAnother remarkable fact is that a niche at all.â€? pop band Wildhoney, Failed Flowers founder Mike Schulman has run the Throughout Slumberland’s history, - featuring Michigan solo artists Anna label almost singlehandedly since The early years of the label show- the label has maintained its indie Burch and Fred Thomas - and culthe beginning. After beginning as case the convergence of those two values (with a lowercase ‘i’, Schul- minates in a bonus 7â€? from the vital a collaborative effort between sides. Take a listen to Swirlies “Didn’t man points out). While the promi- Slumberland band Black TambouWashington, D.C.-area friends, in- Understand,â€? a blur of noise-pop nence of the label has ebbed and rine. Like the rest of Slumberland’s spired to release their own music and shoegazey fuzz, for reference. flowed - including a hiatus from catalog, it’s a collection that’s as difby now-iconic indie labels like K, That period also saw Slumberland 2000 to 2003, followed by a re- ficult to pinpoint as it is familiar. Rough Trade, and Postcard, the la- helping to kickstart the careers of naissance of sorts - Slumberland bel would become the passion proj- fuzzy indie poppers Velocity Girl has maintained a commitment to “The records kind of speak for themect of Schulman in 1992, when he and avant-pop experimentalists the undiscovered and the under- selves,â€? Schulman says plainly. “The moved to Oakland, California. Stereolab. ground. Schulman says that ideal catalog kind of speaks for itself.â€? đ&#x;’Ł
72 NEW NOISE
