Interview with Ryan Duncan by Steve Brydges.
It’s a sad state of affairs when one of
the better labels is closing in on forty releases (in just five years’ time)
and yet it still has to fight for every scrap of press and acclaim for
its bands. When it takes hiring gatekeeper publicists or being on one of
a select few labels to be approved by the almighty Pitchforkmedia, whose
sphere of influence borders on the absurd, it is unsurprising anymore,
but no less disappointing.
Yet Ryan Duncan remains undaunted. The proprietor of the Chicago-based
Sick Room Records, together with the help of co-owner Mitch Cheney (ex-Sweep
the
Leg Johnny, ex-Rumah Sakit, ex-had-a-head-of-hair), has amassed an impressive
catalog of releases that boasts an international flavor. Of the label’s
thirty-eight releases presently available, nine are from bands outside the
USA. Mailing a letter to Chevreuil, Cheval de Frise, Rockets Red Glare, Instrumental
Quarter, and Kash would each require a foreign postage stamp. Even within
the contiguous 48, Sick Room has spread its arms wide, taking in bands from
Salt Lake City, (Form of Rocket), San Francisco (Triclops, Sleepytime Gorilla
Museum, Rumah Sakit, and Bottles & Skulls), Portland, OR (Tic Code),
Austin (AM Syndicate), and Jacksonville, FL (The Julius Airwave) in addition
to those residing within the 312 area code like Mass Shivers, Just a Fire
(ex-members of Abilene, Sweep, June of ’44, and Hoover), Lozenge, Check
Engine, and Bear Claw, among others.
The international outreach makes sense when one considers Duncan and Cheney,
along with another co-founder of Sick Room, Steve Sostak (formerly of Zzzz,
Sweep the Leg Johnny, Check Engine), aren’t exactly shut-ins. Sostak
presently lives in Peru with his wife, both of whom teach school. Duncan
spent a few weeks this past summer combating his fear of heights hiking in
the Peruvian wilderness with the Sostaks and a sherpa guide, and this past
spring, he and Cheney traveled to Italy. While the Italian bands Kash and
Instrumental Quarter record for the Sick Room label, one doubts there’ll
be their Peruvian indie rock equivalent getting signed anytime soon. As Duncan
told Copper Press over burgers and beer after the recent Touch and Go anniversary
celebration, indie rock doesn’t exist in Peru. Knowing how freely music
travels in Sostak’s bloodstream, we predict that before the decade
is out, Sostak will be at the helm of the first post-punk band to descend
from the Andes. And chances are its debut will be adorned with the Sick Room
logo.
The following is an email interview that took place with Ryan Duncan, summer
and fall, 2006.
"I can't believe I have to eat the whole thing." Ryan Duncan laments his
fortune as Mitch looks on in astonishment and some Italian dude smiles.
Sick
Room Records... why Sick Room? Do you have a fascination with illness?
Are these bands 'ill" (as in "dope" or "sick")
and are confined or quarantined to your label? Explain it to those
of us in good health.
Sick Room comes from Rumah Sakit, Mitch’s old band from San Francisco.
Rumah Sakit means “hospital” in Indonesia, or literally, “Sick
Room.”
Who is responsible for starting and running Sick Room?
I don’t know if any of us are particularly responsible, but the label
was founded by Mitch Cheney, Steve Sostak, and I. Mitch and I are the ones
who have carried on to the present day. Steve teaches school in Peru with
his wife. I was down there in July for a visit. It is a beautiful, awe-inspiring
place. The Andes are incredible, and Lima is a fantastic city. They have
really created a wonderful life for themselves down there, and I am totally
jealous.
Sick Room Records tracks in the releases of many a foreign band. Kash,
Chevreuil, Instrumental Quarter, and Cheval de Frise are all from Europe.
How is it you have become so international in your scope?
I met Paride Lanciani when Kash and my old band, The Distances, played
a show together back in 1999. Later on, he sent me a demo for his other
project, Instrumental Quarter. We’ve been working together ever since.
Mitch organized the licensing deal with Cheval De Frise from Sonore Records
in France, and did the same with Chevreuil and their label, Ruminance.
Oh and don’t forget Rockets Red Glare are from Canada, AKA America-lite!
Although it’s easy to take for granted, Chicago is absolutely teeming with incredible musical wonders. It’s where I live, so I’m lucky to be a part of it. We’re always looking for new bands, in Chicago and beyond. I’m not naming names though. We are doing a solo record in 2007 for Alexis Gideon, who is half of Princess, and also the new Che Arthur record, Iron, but he’s moved to Austin.
What's Let's Be Active about? Your site mentions it will not only entertain, but educate me. How? No doubt I need some more learnin', but how is this DVD/CD going to "show me the way"? Is that a Frampton reference, by the way?
Let’s Be Active is the brainchild of Jarrett Mitchell. It’s part-music, part-comedy, part-performance, part-politics. The movie is a documentary, filmed by Dallas Hallam, depicting a short Midwestern tour that he did with ft (The Shadow Government), Paradise Island (Jenny Hoyston from Erase Errata), and William Elliott Whitmore.
Let's Be Active: Keep the Fuzz
off My Buzz
Actually, with the 2007 projects, we are up to 44! When I look at the big picture, I am really happy and amazed that we’ve been able to build such a catalog. Not only based on the number of releases, but also considering the quality of each one. It’s definitely my life’s biggest accomplishment, way beyond any expectations I had when we started. In any case, it wouldn’t have happened without help from all of our bands, friends, and families.
Southern has been a big help, too, and there is no way for me to over-emphasize Mitch’s gargantuan contributions. Sick Room wouldn’t even exist in its present form if it weren’t for all of his hard work and sacrifice.
The biggest struggle is simply adapting to a changing environment. I’m kind of old school when it comes to a lot of aspects, and sometimes my personal philosophies don’t always match up with the prevailing opinion.
I was coming up in the early 1990s when we had “alternative music,” and the concept of "indie rock" hadn't yet solidified. Or at least it was at a point where it simply meant music that was produced and brought to the public via the DIY ethos, and it wan't just some label people tossed around. The network was evolving between fanzines, college radio, the first generation labels (SST, Touch And Go, Dischord, Matador, Sub Pop, etc.), and the touring bands, but it hadn't gelled into this bush league, mini-major set up that we see in 2006. I really like the idea of being able to throw a release out there on a wing and a prayer, empowering the band to go on tour, and just letting things happen naturally. If that worked, then it worked, and if it didn't then either try again or pack it home to momma.
Now, things are totally different. There is way too much careerism and middleman gatekeeper BS to contend with. The indie label has to go to indie PR just to get noticed by the new breed of stuck up publishers and writers, whether at a pretentious, I'm-cooler-than-you web site or some glossy hipster rag with rock stars and fashion models draped all over it. Meanwhile the real fan-based publications and supporters are struggling. Because college stations are flooded with shitty releases, and MDs can't decide for themselves what's good anymore, the label now has to hire indie promo if they want to make any impact. And even bands themselves, they can't just go make a few phone calls and pile in the van anymore, they need an indie booking agent in order to get their foot in the door at the fancy rock clubs, and more indie PR to get "the right people" out to their shows.
Obviously, there are exceptions and shades of grey here, but at times it seems the whole thing has definitely become a machine, based more on money, style and cachet as opposed to hard work and talent. It also sets the stage for tons upon tons of mediocre bands who are able to just buy into the system without paying their dues, while equally as many great, worthy people get left in the wake, just because they may not be so rich and market savvy.
This all might sound like sour grapes from some tight ass, but I think the overall change in philosphy is evident, and although I might not agree with everything, in order to survive I have to remain pragmatic about the situation. . That's where the struggle is. I am torn between just sucking it up and going with the flow, or being an old fuddy duddy stick in the mud. My principles are definitely important to me, but I'm nobody's boss here. I work for my bands - they don't work for me. So is standing by a certain set of old fashioned ideals worth seeing the company that Mitch and I have been building for the last five years go down the shit can? Is it worth holding our bands and our friends back, who work so hard, to watch them hit some sort of glass ceiling without reaching their full audience or their full potential? That's a tough nut to crack.
Bear Claw
Ryan and Mitch
Why run a label? Wouldn't it make more sense to spend that money on,
say, just buying records by these bands you like and, oh, meeting rent?
Music has always had a profound effect on my soul and my personality.
Being a fan is wonderful, but it’s a whole new world once you decide
to roll up your sleeves dig in, and really commit yourself to something
100%. My hopes for Sick Room are a little bit broader than just a label.
It might be a little hokey or idealistic, but I would love to see it
blossom into a community of artists and others who can all share ideas,
support each other, and work together to create something truly special,
beyond just music, in terms of relationships, friendships, mutual respect
and positive change.
Every label has a record (or several) which they think is going to be
a breakout release and do quite well at the register (or, in 2006speak,
at iTunes), yet for some reason, is perplexingly disappointing. Got any
releases like that? I mean, some, you know aren't going to sell a lot
of copies for any number of reasons (the band has broken up, won't tour,
is really out there, is French, etc.), but I'm referring to one for which
you had higher expectations.
I try not to really place a heavy burden of expectations on any project
in particular. It’s been said before, but they are really like
children to me. Obviously, I would love to see everything do well, but
we work pretty much exclusively with new, untested artists, and it’s
always an uphill battle to try and command people’s attention.
The quickest way to end up disappointed is to shroud things in all kinds
of high hopes. It’s always a rollercoaster ride though. I love
it.
