LABEL PROFILE: Amadeus Records

Today I chose to expose a lesser known, emerging record label – Amadeus Records. A boutique imprint focused on “the freedoms of expression, the delicacies held above genre stereotypes, and the overall pursuit of unorthodoxy.” In other words, the label is focused on “arcane” deep house – spatial, engaging and bass heavy.

Curated by a crew of well respected tastemakers – Zacharie Jos Montpetit (aka Forrest, 1/2 of Prince Club), Alex Beauchesne (Montreal DJ and promoter), and Taylor Freels of Los Angeles (Urulu, Lawrence Black) – the imprint already features a variety of artists from as far as New-Zealand and Chicago.

How did the idea of starting this label come about?

It was essentially from being surrounded by friends who were making quality music, and not having the platform to release on. From there we developed the aesthetic and now here we are…

Some people say the present time is the worst time to start a record label, many say the opposite. What challenges do you face as an emerging label in this strange post-CD music market?

I would never recommend anyone to get into label management if you’re only focused on profit. You have to see everything as an investment. Develop a solid brand and start building an audience. If anything, I learned it takes patience.

What are your day to day tasks within the organisation?

Checking emails is a first. Then comes the Soundcloud rummaging and constant netflix breaks haha, Heaps of computer work.

How would you describe the process of finding an artist and how you come to the decision to work with them?

We like to keep the releases within a tight knit community of artists; Friends of friends, who all share a strong aesthetic and an even stronger production flow.

You seem to pursue a certain specific aesthetic in your releases. What is this sound and where is it going?

Simple, aesthetically pleasing artwork, coupled with intellectual dance music seems to be the goal. However, I don’t want to be labeled as another, strictly “House” record label. I feel with the Tomas Rubeck EP we did just that; a cross-bred of experimental techno and luminary soundscapes. Expect more left-field releases like this in the future.

I heard Alex joking one night and saying that “if people listened to more house music there would be peace on earth” or something to that effect. What is it about house music that is so unifying and inherently good (as in good vs evil)?

It’s a universal language. A genre that’s withstood over two decades and can still be seen under a limitless spectrum.

What’s the best part about running a record label?

Releasing the music we love.

What’s next for you guys? Where do you see the label in 5 years?

I really want to set some time aside to start a monthly party, either in Los Angeles or Montreal, but that (ofcourse) will take some time. Next up, release wise, we have an EP from LA native Steve Huerta, then a compilation to wrap up summer.

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Mincha Hit by Seavibe, JPEG

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Seavibe stalwart JPEG’s latest contribution comes to us via a remix of Mincha’s ‘All the Way’.

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NOTICE:  The following is in French.

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For those who listen to alot of new music, the end of November and early December is a chance to revisit and rediscover what made the year – who stood out of the pack, who had the sounds that will be immortalized in our collective unconscious. This year we invited a bunch of our friends and fellow music nerds to contribute and weigh in on the subject. The result is lengthy post about the year 2012 in music from a variety of perspectives. They all made their picks, and they can be found after the break!
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ECHOLOCATION Vol. 1: DUB DITCH PICNIC

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Echolocation is a mixtape series that seeks to expose various musical schools of thought. Once in a while these will pop up, curated by creators, label owners and DJs we approach. In this first post we explore the very eclectic sounds of Dub Ditch Picnic Records, a tape focused imprint based out of Winnipeg. 

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