Deep Elm Records is one of my favourite labels out there. Not only because they release great  music by great bands just as Brandtson, The Appleseed Cast, Deep Red Sea etc. but also because they support the scene by helping smaller fanzines (just as the one your are currently reading). As I decided to do this label special, Deep Elm was one of the first labels I wanted to feature. Chuck (the promoter) and John (the founder) found the time answering my questions...

First off, how did it all get started with Deep Elm? In an info sheet you sent me I read that it began in 1996 with the release of a 7" (which band was that by the way)?

John: The label started with nine seven inches for New York area bands. I was living in New York City, and I wanted to help local bands. The goal was to keep it community-oriented and help build the local scene. Since I had no prior experience in the music business and zero relationships, it was pretty hard getting started. No band wants to be the guinea pig for a new label. It was rejection after rejection after rejection. I had to walk up to bands and say "Hey, I'm John. I've never put out a record before, but I've read a lot about it. Do you want to put out a seven inch on Deep Elm?" I mean, could you blame them? Everyone was like, "Who the hell are you?" One day I was hanging out on the corner of 16th and the guy was Chris Jacobson from the band Curdlefur. They broke up a long time ago, but that was our first release -- a two-song seven inch on white vinyl. I met the Nada Surf guys like a month later -- our second seven inch. Man, we've come a long way since then. A long way. But technically, the bands recorded all those songs on their own. Deep Elm's first recording was actually Camber's "Beautiful Charade" (also their first full-length release and first CD). We had put a seven inch out for them and became friends. They handed me some demos and told me they wanted to record with John Agnello (Jawbox, Chavez, Dinosaur Jr.). I contacted him, he came to a show, and soon said he wanted to work with Camber. They recorded at Water Music in Hoboken, NJ in late '96. We released the record on March 4, 1997. Prior to that date, Deep Elm was a hobby. Now it's a full-time thing -- I really don't see myself ever doing anything else.

How many people are currently working at Deep Elm and how does a "normal" day of work look like for you? Is there kind of a "boss" at Deep Elm?

Chuck: There are two people in Charlotte - John and I - and two people in Chicago - Bryan and Zak - who work retail sales and whatnot. Since we're an indie label, both John and I do a bit of everything, but he's more focused on artwork and the business end of things, while I do all the promotion and publicity... and mailorder. Oh, the mailorder. Of course, it's John's label, so he is the boss. He's taught me so much about the everyday operations of Deep Elm and the inner workings of the record industry. Keep in mind, there is plenty I have yet to learn.

How do you see the development Deep Elm has made since the beginning?

Chuck: In the two years I've been here, Deep Elm has grown by leaps and bounds. First, I think that all of the bands have really come into their own - matured and developed a distinctive voice. I don't think we even fall into a particular category. Everything is unique... and good. From The Appleseed Cast to Red Animal War to Slowride to David Singer... it's all very extraordinary. Furthermore, there are new people from all around the word visiting the site and contacting us every day. It's very exciting and we appreciate every single person who supports the label.

Also, I think that the presence of Deep Elm in Charlotte has done wonders for the scene. Of course, we owe a lot to Buck, the local promoter, but we've gone from shows with a handful of kids to selling out venues. Brandtson played here a few weeks ago and they were turning away people at the door. It was amazing. In general, the indie rock scene in Charlotte is very positive, not just for Deep Elm bands but for anyone.

Basically, we're busy all the time now. Mailorder is constant, our release schedule is full and the kids are really spreading the word.

Is there a certain philosophy behind Deep Elm? In other words: What do want to achieve with the label?

Chuck: Simply put, we want to release amazing music from bands that really move us. We also want the bands to get noticed and reach that next level. We want kids to be positive and excited about the music. We try to be all-inclusive at Deep Elm... to build a sense of community, if you will. There is just too much politics in this scene and we'd like to avoid that altogether. In general, John and I are having fun. When people ask me what I do, I try to whittle it down into the most basic explanation - I listen to great music and talk to people from all around the world. Does it get better than that?

Do you still have the time to go to shows or does the work for the label take most of your time?

Chuck: We work crazy, long hours at Deep Elm. I should set up a bed in the office. Honestly, it is the biggest part of my life right now. For John too. Still we try to make time for friends and family, and perhaps a little personal time as well. I try my best to make an appearance at all the shows in Charlotte. I like to support the scene, even if I'm not familiar with the band.

Did you ever play in a band yourself or do you still?

Chuck: Does marching band count (Not really, hehe - Stefan)? I played trumpet for 8 years, through high school, but I've never been in a 'band' per say. Of course, I have those "rock star fantasies," but who doesn't? (Yeah! Rocking out to tunes from the stereo playing air guitar rules! – Stefan)

I think that Deep Elm has unmistakably found its very own style or type of music. I mean in most cases one can guess that this must be a Deep Elm release. Would you agree? Is there any musical style that you have your focus on?

Chuck: I think everyone on the label has their own unique sound. Maybe you hear a distinctive voice in the recording quality, which always sounds terrific (thanks to the producers, studios and mastering) and the musical proficiency of the bands, but I don't believe we're focusing on any one type of music. I mean, you couldn't possibly be any more different than Planes Mistaken For Stars and David Singer (That’s true – Stefan). We have records coming out in the near future that will even further set us apart from the rest... Drive Til Morning and Lewis in particular. We just release stuff we love.

Which release of Deep Elm are you most proud of and why? Which one's your favourite?

Chuck: That's so hard to say. Camber's "Beautiful Charade" was the first Deep Elm record I ever bought, long before I worked here. It will always hold a special place in my heart. It introduced me to a lot of great new bands, too. I really like what some of our younger bands are doing these days. Red Animal War just keep getting better and better. Benton Falls really strike a chord with me, and Slowride simply rock! Still, some of our tried and true veterans, like The Appleseed Cast and Brandtson, continue to impress me as well. All in all, I'm proud of all the records. It would be impossible to do this job if I weren't.

Which Deep Elm band sold the most copies of an album?

Chuck: If I told you that, I'd have to kill you. All kidding aside, our most popular bands are the ones that tour a lot and who really work to make something of themselves.

Is there any band that you didn't sign but would like to sign now? Which band on a different label than Deep Elm would you like to release?

Chuck: John makes all the decisions about who to sign (I give him my input), but he's never regretted anything. We choose our bands very carefully... based on the music, what type of people the band members are and their willingness to get out there and work as hard as they can. Perhaps that's being really general, but I think it's an accurate description in a roundabout way.

There are a few labels who put out some quality stuff, but I honestly love our bands the most. I've never really listened to a record and said "Man I wish Deep Elm could release this." Maybe Spy Versus Spy's "Little Lights." For some reason, that album really gets to me. Plus, being a UK band, they didn't get much press in the States, which would make it kind of fun exposing them to a new audience here. Unfortunately, they're broken up.

John would say Sigur Ros' "Agaetis Byrjun." He's seen them twice and said it was possibly the most incredible thing he's ever witnessed.

Who decides which band gets signed and how do you get to know a band? Do they send you demos and then you get in touch with them?

Chuck: As I mentioned before, John makes that decision. After all, it is his label. We discover bands a lot of different ways though - referrals from other bands and people we respect, seeing them play live, through the Emo Diaries, licensing from another labels (as in the case of Last Days Of April and This Beautiful Mess) or even from an unsolicited demo. We don't actively look for bands. We've been fortunate to find the ones we have. I think it's fate. Someone wanted Deep Elm to kick ass.

How about the deals with the bands: Are these deals made for only one record or for multiple albums? What do you think is the best way?

Chuck: We like to work with young, up and coming bands... to build and grow together. That's how it's been from the beginning and how it will continue to be.

One trademark of Deep Elm is the Emo Diaries compilation series. There are lots of unknown bands featured on these records, so I guess the underground is very important to? Is that part of Deep Elm's philosophy?

Chuck: Certainly. We get music from so many great bands, but being an indie, we can't work with them all. The Emo Diaries is a way for us to help out smaller bands. Anyone can send us anything and we'll listen. It's all based on the song... nothing more, nothing less. I can't think of anyone else who does that sort of thing.

During the last two years I had the impression that there was something like an Emo hype going on in the media. I mean bands like the Get Up Kids or Jimmy Eat World had been around long before, but it was then when the bigger media seemed to notice and push them. Now people from the so-called "scene police" labelled lots of Emo bands as sellouts, did you make similar experiences? I mean have there been any accusations that Deep Elm would be kind of trendy (which would be absolute nonsense by the way as well as talking bad about bands just because more people know them)?

Chuck: I think that most people realize that we're releasing good music. Period. No one is trying to ride on the coattails of this "emo hype" thing. I don't even know what the word means anymore (not sure I ever did). It's just a catch phrase - like punk or hardcore - which is helpful when you're quickly trying to describe a type of music. Mat Bates, a DJ at KXTE in Las Vegas, said to me "Rites of Spring were the only emo band... ever." That definition works for me.

How do you finance recording sessions and tours? I could imagine that especially in the early days of the label it must have been pretty hard? And what about "big projects" like the Appleseed Cast's double release "Low Level Owl"?

Chuck: I don't finance anything. I'm poor as shit. Seriously though, being an indie, we have budgets, and everything must fit within those parameters, plain and simple. No band gets special treatment - everyone is equal in our eyes. That includes recording sessions. Tours finance themselves through door money and merchandise sales. We promote them of course with posters and records to press and radio. Everyone does well on tour though and comes home with a little bit of change and hopefully a vehicle. John used to help finance van purchases. In fact, I think he owns about 30... all dead and strewn about the United States. In any case, this is indie rock dude! If an indie band comes through your town, give them food and shelter! They will love you forever.

Is it possible for the bands on Deep Elm to release split releases on a different label and to do projects?

Chuck: Sure. Most of our bands have done other things - seven inches, comps and whatnot.

Why aren't there any vinyl versions of Deep Elm's releases? Is it too expensive?

Chuck: We have vinyl versions of Planes Mistaken For Stars "Self Titled," The Appleseed Cast's "Mare Vitalis" and Pop Unknown's "If Arsenic Fails..." Vinyl is cool, but with only two people working here, there's only so much we can concentrate on. Maybe in the future... (I hope so – Stefan).

Which other labels do you like and why?

Chuck: Dischord, Lovitt, Second Nature, Level Plane... for the same reason I love Deep Elm: They release quality music and they seem to care about what they're doing. They have something positive to contribute.

How long do you think Deep Elm will go on? Do you think you will work at Deep Elm for the rest of your life?

Chuck: John has me under contract until the year 2045. Seriously, I don't plan on going anywhere. I love the bands, I love my job, and as long as it's fulfilling and enjoyable, I'm staying put. Sometimes, it's hard to imagine me working here when I'm 55 (punk rock grandpa) but as long as I don't feel too ridiculous and I still have a sense of accomplishment, then why not?

Ok, I guess we’re done. Did you like this interview and do you have anything to add?

Chuck: Good questions. I had fun!

Contact:

media@deepelm.com
***NEW: (803) 631-6319
***NEW: (803) 631-6314 fax

deep elm records
po box 36939
charlotte, nc 28236 usa
http://www.deepelm.com

Bands:

appleseed cast . benton falls . brandtson . camber . dead red sea . emo diaries
drive til morning . hundred hands . last days of april . lewis . music by log
red animal war . seven storey . david singer . slowride . this beautiful mess

Discography: