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Speaker 1: Welcome to the Mentor. I'm Mark Boris Luke Bevan's welcome

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Speaker 1: to the Mentor.

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Speaker 2: Made thank you, thanks for having me.

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Speaker 3: You're the founder. I guess you're the founder of Impressed Records.

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Speaker 2: Yes, yeah, yeah, that's me and.

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Speaker 1: Impressed actually good word.

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Speaker 3: Actually, I guess there's a bit of a play on

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Speaker 3: the pressing records or something like that that.

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Speaker 2: Is the go Yeah. I worry sometimes if Yeah, it

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Speaker 2: is a bit of a too much of a play

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Speaker 2: on words. It's not meant to be ironic, but we

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Speaker 2: like it and we came up with it and we

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Speaker 2: go with it.

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Speaker 3: Actually, when you come up with a name like Dad,

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Speaker 3: are you trying to be a litmit ironic a little bit?

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Speaker 2: I didn't come up with it. So our creative director

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Speaker 2: at the time, John O Sidler, who's also a bit

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Speaker 2: of a Sydney personality and an author, he came up

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Speaker 2: with it. John O is just a very creative guy

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Speaker 2: and he was trying to see as many different angles

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Speaker 2: as possible.

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Speaker 3: Oh well, that's interesting. So you had a creative director.

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Speaker 3: So how do you when you kick off a business

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Speaker 3: side this Impress Records? I mean, how do you kick

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Speaker 3: it off?

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Speaker 2: Like?

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Speaker 3: Was it just something you were doing in the backyard

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Speaker 3: or the back in the garage at home, And what

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Speaker 3: did you say? Okay, this is the team I want.

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Speaker 3: This is the a team I'm going to get career director.

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Speaker 3: Blah blah blah, maybe some vests.

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Speaker 1: How did you kick it off?

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Speaker 2: That's that's exactly how it happened. So I put together

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Speaker 2: a team of people who I wanted to work with.

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Speaker 2: It started when I was I was working at Apple,

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Speaker 2: and for one reason or another, having done nearly eleven

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Speaker 2: years at Apple, I decided it was time to think about, well,

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Speaker 2: what else I would want to do with my next

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Speaker 2: part of my working life. And reality hit and I

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Speaker 2: was forty five and about to be a father for

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Speaker 2: the second time, and I thought, you know what, I

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Speaker 2: really want to give having a record label a really

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Speaker 2: good crack my. The people I always looked up to

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Speaker 2: were the likes of Tony Wilson, who founded Factory Record

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Speaker 2: in Manchester, Alan McGee who founded Creation Records in London,

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Speaker 2: and Michael Gadinski here in Melbourne, who did such an

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Speaker 2: incredible job of building up Mushroom into what it is

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Speaker 2: today that Matt's doing such a great job carrying on

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Speaker 2: and so I thought, what am I going to do

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Speaker 2: for fifteen years. I'm going to give this a really

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Speaker 2: good shot. I'm going to create a record label in

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Speaker 2: the way that I want it created. I'm willing to

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Speaker 2: put in some of my own money and bootstrap it.

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Speaker 2: And that's the way I wanted it to be built,

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Speaker 2: and I wanted it to be done correctly, and I

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Speaker 2: wanted the business model really importantly to be able to

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Speaker 2: be a win win, and I think that's the point

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Speaker 2: of difference for Impressed from the artist and the label

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Speaker 2: side that makes us different from others. And I also

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Speaker 2: wanted the customer experience, the kind of amazing customer experience

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Speaker 2: that you have at Apple to be the same thing

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Speaker 2: to apply to vinyl buyers in at and that was

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Speaker 2: where I felt that we could meet and create something

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Speaker 2: really awesome.

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Speaker 3: It's cool, it's I'm obviously denoting it. I think it

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Speaker 3: looked it's like an English accent button, which part of

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Speaker 3: England from where you're from.

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Speaker 2: I'm originally from Leicester and I am a Leicester City

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Speaker 2: fan for my sins. And when I first arrived in

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Speaker 2: Australia in two thousand and seven, no one had heard

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Speaker 2: of Leicester City and now everyone has because they're the

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Speaker 2: greatest sporting story ever told. So yeah, originally, and I

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Speaker 2: came here but seventeen years ago.

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Speaker 1: But have you always been interted in the music industry?

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Speaker 3: I always worked in music, Yeah, your whole life. Yeah,

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Speaker 3: So we'll just take me back. So where'd you start off?

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Speaker 1: For music?

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Speaker 2: I started offered a label called HUT Recordings, which was

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Speaker 2: part of Virgin in the UK in nineteen ninety nine.

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Speaker 1: Hut.

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Speaker 2: It was called Hut Hut. So for those of you

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Speaker 2: who like indie Rocket had the Smashing Pumpkins, Placebo Gomez,

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Speaker 2: the loads of great, amazing, amazing indie rock bands. Had

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Speaker 2: a mentor there called David Boyd, who was an incredible man.

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Speaker 2: He signed all of those artists, attracted them to the label.

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Speaker 2: And I think there's only seven of us who ever

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Speaker 2: worked at that label.

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Speaker 1: Wow.

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Speaker 2: And I got the job because I knew all the

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Speaker 2: catalog numbers.

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Speaker 1: What does that mean?

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Speaker 2: So you know all the numbers on the that are

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Speaker 2: assigned to all the records. I knew all the catalog

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Speaker 2: numbers because I was such a big fan. And so

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Speaker 2: when I got finally got you knew that. Yeah, So

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Speaker 2: when I got into the interview. I was like, well,

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Speaker 2: I know this catalog number, this catalog number, I know

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Speaker 2: everything about the label. And they were like, oh my god,

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Speaker 2: we're gonna have to hire this guy. And so I

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Speaker 2: was just deeply passionate about the label and I got

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Speaker 2: the job from there and I signed for Hut Records

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Speaker 2: the same week that Richard Ashcroft, who was the lead

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Speaker 2: singer of The Verve, they just released Urban Hymns. He

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Speaker 2: signed for ten pound an album and I signed for

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Speaker 2: ten pounds a year.

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Speaker 3: So actually topped me through because like signing someone off

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Speaker 3: to a record label, which used to happen in those days,

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Speaker 3: now doing it again, but.

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Speaker 1: Just tend me through that process, Like how do you

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Speaker 1: do that? Like, are you like a business development manager.

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Speaker 3: You're out on the road, You're knocking on doors, you

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Speaker 3: go on to gigs, you're hearing seeing someone's good or

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Speaker 3: you heard about someone's really good, or someone's got a

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Speaker 3: big following. Back in those days, wouldn't have been Instagram

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Speaker 3: or anything. That was sort of by word of mouth,

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Speaker 3: I guess, or just by experiential watching it.

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Speaker 1: What's the process? So you go, hey, dude, you know

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Speaker 1: you want to sign up. What's the story.

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Speaker 2: Yeah, Look, the process is called in the in the

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Speaker 2: music industry is called artists and repertoire or A and R.

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Speaker 2: So there's still A and R men out there who exist.

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Speaker 2: Sydney is home to some of the best A and

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Speaker 2: R men in the world, including yeah, a man called

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Speaker 2: Stephen Pavlovich who founded Modular Modular Recordings. He found he

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Speaker 2: was the first person to tourn Havana, he found Time

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Speaker 2: in Parlor, amongst many others, wolf Mother pre sets, pav

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Speaker 2: did all that. There's lots of great other A and

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Speaker 2: R men who are in Sydney. You know, Kadinski was incredible.

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Speaker 2: But yeah, so A and R is a skill in itself.

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Speaker 2: It is like business development. In business, it's about being

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Speaker 2: able to find what you think is going to be

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Speaker 2: great next and then develop it to a point where

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Speaker 2: the market is going to accept it.

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Speaker 1: So it's not already great.

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Speaker 2: It can be, it might not be. So, you know,

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Speaker 2: there's lots of talk of you know, so Alan McGee,

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Speaker 2: for example, founded found Oasis in the first on the

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Speaker 2: bill in Glasgow and he just went that's the most

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Speaker 2: amazing band in the world. They're going to be massive.

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Speaker 2: That's it. And then there's other A and R people

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Speaker 2: who like to develop. There's lots of you know, there's

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Speaker 2: lots of different ways of doing it. It's a lot

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Speaker 2: about finding your nose and being able to know where

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Speaker 2: the market is potentially in business speak, know where the

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Speaker 2: market is for the music.

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Speaker 1: Yeah, but you're a young guy, so I'm forty six.

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Speaker 3: No then yeah, then then back then yeah, back in

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Speaker 3: Leicester's city.

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Speaker 1: How did you get like and who's your first one up?

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Speaker 2: I was terrible, had it, but I was learning, That's

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Speaker 2: the thing. I had my own little label on the side,

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Speaker 2: and I did a terrible job. But you learn, you

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Speaker 2: learn what the market wants. You learn, like every somebody,

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Speaker 2: you make mistakes, and I was really grateful that I

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Speaker 2: learned with my own money as well on the side.

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Speaker 2: So everybody's got a little side hustle. I had my

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Speaker 2: own side hustle. It was a terrible record label called

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Speaker 2: head Wreca Records. In two thousand and four. Our peak

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Speaker 2: was that we got to number seventy seven in the

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Speaker 2: UK charts with a bank called Fans of Kate. There

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Speaker 2: you go. I still remember, though, and you makee all

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Speaker 2: the terrible mistakes that you do, But what happens is

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Speaker 2: by having exposed to the industry, being exposed to other artists,

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Speaker 2: other people who know, people who you can learn from.

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Speaker 2: That's how you are able to find your nose, find

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Speaker 2: what works, find what you think is going to work.

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Speaker 3: But you're looking at and I guess what you're trying

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Speaker 3: to do here, is you particularly back then audiences you're

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Speaker 3: looking for an audience, But audiences then probably less a

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Speaker 3: little less complicated than that today because look, I would

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Speaker 3: imagine and I don't know, you tell me if I'm

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Speaker 3: right or wrong. There's lots of subclasses today. It seems

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Speaker 3: to be like subclasses everywhere, in sub classes of subclasses

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Speaker 3: and sub subclasses like small pockets niches, more niches today

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Speaker 3: than ever before, because everybody's got so many choices and

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Speaker 3: we see everything now and whereas before it was a

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Speaker 3: bit more like, oh you should hear this mob. They're great,

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Speaker 3: and you tell your friend and you go along to

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Speaker 3: the concert or whatever it is, getting in the pub

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Speaker 3: and you listen to them, and you become sort of

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Speaker 3: an instant fan.

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Speaker 1: Because I remember it, like I'm going back a long time.

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Speaker 3: But when I was in my when I was a

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Speaker 3: teenager or just before, I was just around twelve thirteen.

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Speaker 3: My mother's sister who live with us, was maybe six

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Speaker 3: seven years older than me. My mother's substantially younger than

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Speaker 3: my mother.

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Speaker 1: And.

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Speaker 3: I used to followed bands that she would follow, only

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Speaker 3: because I didn't know any better, and plus I know

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Speaker 3: access to anything, so there's nothing around, and I would

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Speaker 3: just follow what she would follow, and then I would

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Speaker 3: see all her friends, and all her friends follow what

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Speaker 3: they were, So there was no real subclasses as such.

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Speaker 3: And as I remember, actually the groups she used to

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Speaker 3: like was there was two. There was initially there was

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Speaker 3: a mob called you probably know them because I don't

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Speaker 3: know these guys, but the Australia one was called Ray

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Speaker 3: Brown and the Whispers and Billy Thorpe and the Aztecs.

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Speaker 3: They were the two big ones. And then a few

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Speaker 3: years later I remember one called Hush and I remember

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Speaker 3: the individuals in that band and only found following because

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Speaker 3: of her. So in terms of your analytics, yes, more

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Speaker 3: so today, how do you how do you think through

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Speaker 3: where what's trending is probably a good way of putting

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Speaker 3: it or where will the trend go?

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Speaker 2: That's great, I mean great question. So music, because of

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Speaker 2: now it has access to data and it has become

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Speaker 2: significantly more data oriented.

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Speaker 1: Yeah. So there's analyticsy Yeah.

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Speaker 2: I mean, and it's very simple, right. You can open

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Speaker 2: up Spotify straight away and you can see how popular

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Speaker 2: a song is. It tells you how many streams it's

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Speaker 2: had it. Weirdly, ten years ago, I was arguing I

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Speaker 2: was working at Universal Music in digital what was then

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Speaker 2: called digital, and I was arguing for a lot more

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Speaker 2: data driven decisions at that point because there was no

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Speaker 2: access to that data. One of the first things that

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Speaker 2: again fifteen years ago when I was working at Universal,

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Speaker 2: that we would look to do is to be able

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Speaker 2: to create email databases for bands. And again that's something

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Speaker 2: that is tangible. They're people who are going to care

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Speaker 2: deeply about your product. They're going to open your email,

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Speaker 2: They're going to potentially buy something and tell their friends. Right,

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Speaker 2: they're really important metrics. Now almost of have too many

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Speaker 2: metrics in music. One of the things that inhibits, in

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Speaker 2: my opinion, creativity is that access because people say, oh,

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Speaker 2: well it's not popular, so it can't ever be popular. Yeah,

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Speaker 2: Whereas I do ironically, having been through a period of

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Speaker 2: say arguing four more data, I'm now particularly with impressed

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Speaker 2: arguing that we should follow our nose, we should follow creativity,

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Speaker 2: and that we should try to how do we say,

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Speaker 2: we should try to embrace what we don't know a

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Speaker 2: little bit more. And I think that we will definitely

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Speaker 2: be better off and have a much more vibrant music

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Speaker 2: scene as a result.

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Speaker 3: Because if everybody had of as interesting, you should say,

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Speaker 3: because some if everybody, just if we took digital ability

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Speaker 3: back to say we're nervous is around yes, okay, and

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Speaker 3: you know Chuck Berry and few of those, and we

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Speaker 3: just said, well, I I have sort of into data intelligence,

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Speaker 3: and maybe you could even output in the chatch'd be

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Speaker 3: chief it existed is what is working? And it would

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Speaker 3: have said do more elvers, do more Chuck Berry doah

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Speaker 3: blah blah blah. Then if someone had to come along

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Speaker 3: and said, look, the new thematic is the Beatles, and

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Speaker 3: someone might have said, well, that's not trending, that's not

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Speaker 3: working according to the data, which means you may never

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Speaker 3: have had the Beatles.

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Speaker 1: Is that a good example of it?

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Speaker 2: Yeah, that's a great example. And I'm always you know,

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Speaker 2: I always say to my team, you know, being able

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Speaker 2: to be on the edge of popular culture is the

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Speaker 2: ability to zig when other people are agging and like,

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Speaker 2: that's what we want to be able to do. We

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Speaker 2: want to be able to show people that there's something

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Speaker 2: else out there. I think that's not driven by an algorithm.

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Speaker 2: I think that's one thing that's really important that's not

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Speaker 2: driven by AI. That being able to be in touch

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Speaker 2: with musical culture, not just in Sydney but in Australia

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Speaker 2: as a whole is really important. Then the world and

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Speaker 2: then in the world. Yeah, and that that is the

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Speaker 2: that that is scalable. One of the things that is

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Speaker 2: worth thinking about is that because you know, the music

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Speaker 2: streaming platforms are so scalable now, what happens is that

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Speaker 2: there is an enormous amount of content. So more music

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Speaker 2: is being released every day than ever before. So there's

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Speaker 2: this enormous volume coming at people on these platforms on

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Speaker 2: their phones that are immediately accessible. And what happens is

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Speaker 2: is that that breeds a lack of scarcity and a

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Speaker 2: lack of specialness in the product. I'm sure that it

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Speaker 2: must have happened to you. It's happened to all of us,

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Speaker 2: isn't that. You know, we open up our streaming service

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Speaker 2: and it says, hey, one of your artists has released

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Speaker 2: a new album and you're like, oh, yeah, great, I

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Speaker 2: put on two tracks, I go in the car, and

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Speaker 2: then I forget that it ever existed. And that's because

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Speaker 2: literally there's another album coming out next week. What Impressed

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Speaker 2: is trying to do is to be able to say, hey,

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Speaker 2: remember there's this body of work that this artist has

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Speaker 2: probably sat down thought deeply about, and that is important

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Speaker 2: than that we think is worth you spending the time

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Speaker 2: with for you to a purchase it and be spend

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Speaker 2: some time with it in the same way as like stop,

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Speaker 2: you know, let's put your phone down a little bit

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Speaker 2: and let's read a book. Maybe that's going to be

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Speaker 2: something that's going to be better for is in terms

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Speaker 2: of enriching our mind, but maybe it's also going to

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Speaker 2: be better for us in terms of enriching us all culturally.

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Speaker 3: And how much of this thought process and yours is

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Speaker 3: more than four processes you've turned into a business with Impress,

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Speaker 3: But how much of that comes out of.

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Speaker 1: Sort of like a.

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Speaker 3: Response to having worked at places like Universal and Apple.

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Speaker 2: It is a response. I mean, there's that's a great question.

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Speaker 2: There's no doubt.

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Speaker 1: How both of them.

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Speaker 2: I was at Universal for nine years and Apple for

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Speaker 2: eleven and what we're doing at those two places so universal.

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Speaker 2: I work my way up. I was head of Digital

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Speaker 2: and then head of Australian Artists here, very fortunate to

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Speaker 2: work with a lot of big Australian artists at the time,

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Speaker 2: like Powder Thing, And then I left. I went to Apple.

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Speaker 2: I ran the app store for seven years. I got

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Speaker 2: out of the music business, learned a lot of great

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Speaker 2: business people, entrepreneurs, and then they pulled me back into

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Speaker 2: music and I'll be honest, I didn't like it very much.

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Speaker 1: You did like the thesis, you liked the music.

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Speaker 2: Yeah, I mean I just felt And again that's nothing

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Speaker 2: against Apple or Apple Music and their attention to detail

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Speaker 2: and the product, et cetera. But I wasn't increased. I

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Speaker 2: was increasingly uncomfortable working in music streaming. That's not necessarily

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Speaker 2: what I believe to be the best platform for the

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Speaker 2: music that I believe in, and also though for remunerating

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Speaker 2: artists and also for remunerating labels. And in terms of

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Speaker 2: a it's great for scale, it's an amazing for scale,

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Speaker 2: and it's amazing for discovery, but in terms of going

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Speaker 2: deep and monetizing, it obviously doesn't work in.

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Speaker 3: Terms of going deep You mean me the audience going

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Speaker 3: deep into an artist, Yeah, what the artist is capable of. Yeah,

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Speaker 3: So to actually really get into the artists hit as

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Speaker 3: opposed to it just being like a quick consumption.

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Speaker 2: One hundred percent. And one of the things that I

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Speaker 2: kind of love and hate about streaming is that so

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Speaker 2: I grew up on the Beatles. My dad's a massive

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Speaker 2: Beatles fan. And you know, when the Beatles release all

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Speaker 2: these B sides and all this unreleased material, for me,

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Speaker 2: that is literally like the magician is showing you all

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Speaker 2: their tricks, right, It's like that level of magic to me.

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Speaker 2: But the fact is you can just open up your

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Speaker 2: phone and listen to them all and they're just there

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Speaker 2: all the time, and that that removes anything special about it.

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Speaker 2: It removes the It just removes the magic. It's not

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Speaker 2: no one's attempting to do it, but that's the way

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Speaker 2: that the feeling happens. For again, I hate using the

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Speaker 2: word the consumer. It really feels like as a fan

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Speaker 2: and there's a difference between the fan and the consumer.

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Speaker 2: It devalues the experience. And I think it's important and

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Speaker 2: Universal are amazing at doing this, as are you know,

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Speaker 2: lots of people, but it's important that we add value

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Speaker 2: to the experience for their customer and that we say

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Speaker 2: that this product is worth more than thirteen dollars a month.

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Speaker 1: Yeah, so, and I get that because the.

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Speaker 3: By the way, I'm not saying that I still won't

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Speaker 3: I won't listen to Spotify or whatever of going to

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Speaker 3: Spotify and paying my subscription, but I get that because

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Speaker 3: it's sort of the difference between music transactions and you

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Speaker 3: put it, that's quite succincly being an actual fan of

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Speaker 3: a particular individual or whatever the case may be, and

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Speaker 3: because there are for me, there are some individuals I

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Speaker 3: really would like to listen curiosity. Curiosity sort of takes control.

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Speaker 3: I would like to listen to everything they've they've they've

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Speaker 3: they've produced or created. But equally, I quite like just

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Speaker 3: consuming in a transactional sense, I listen. Okay, I might be,

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Speaker 3: you know, doing something in there might be in the gym, whereas.

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Speaker 1: I'm concentrated in my gym, but I want something in

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Speaker 1: my ear.

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Speaker 3: For whatever reason, I don't want to listen to the

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Speaker 3: music that's in the gym, usually because it's usually shy,

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Speaker 3: and so I want to listen to something just to

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Speaker 3: just to help me keep going along.

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Speaker 1: I don't want how to think about it.

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Speaker 3: It just helped me move along and just take take

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Speaker 3: steps into doing someonever I'm doing. So there's sort of

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Speaker 3: a place for both, but for a long time there

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Speaker 3: there wasn't. In that well, there's always been a place both,

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Speaker 3: but for a long time there wasn't both. And when

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Speaker 3: you talk about experience, I think that's a good way

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Speaker 3: of putting it. I'd like you to talk to me

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Speaker 3: about the importance of just picking up a record. Take

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Speaker 3: me through that, because it's obviously tactile, but they just

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Speaker 3: take me through that process. What do you think about

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Speaker 3: it when you when you looked at a record before

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Speaker 3: you started this business, what did you think about that?

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Speaker 2: Look? Look. The most valuable possession in my life is

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Speaker 2: my dad's Beatles record collection, right he was an old

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Speaker 2: school super fan. He has a first UK press of

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Speaker 2: every single album. They were very very well looked after.

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Speaker 2: They still are. They're now in my house in Bondai,

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Speaker 2: and you know, I take them out and I play

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Speaker 2: them and they still sound absolutely fantastic. Now they've also

382
00:19:31,359 --> 00:19:36,600
Speaker 2: got bumps and scratches and bruises, and sometimes they've got

383
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Speaker 2: I think my uncle's handwriting on them, and there's all

384
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Speaker 2: the and sometimes they've got labels on and sometimes it

385
00:19:41,840 --> 00:19:45,520
Speaker 2: tells you what store they were bought at. What's important

386
00:19:45,600 --> 00:19:48,719
Speaker 2: is it tells a story, and it tells you know,

387
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Speaker 2: it's they're sixty nearly sixty years old, and they tell

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Speaker 2: a story. And they also soundtracked my dad's life and

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Speaker 2: so I feel really close to him when I'm playing that,

390
00:19:59,400 --> 00:20:02,320
Speaker 2: playing that those records, and I feel like I've got

391
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Speaker 2: something that I can hold on to now. Also at

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Speaker 2: the same time, I love being able to go deep

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Speaker 2: into that world, right and the Beatles is an obvious example.

394
00:20:11,920 --> 00:20:14,240
Speaker 2: Again you can look really deeply at you know, what

395
00:20:14,359 --> 00:20:16,840
Speaker 2: is the number plate on Abbey Road and all of

396
00:20:16,880 --> 00:20:20,400
Speaker 2: those little little snippets that are really really important. And

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Speaker 2: that's that you can't do that in the digital world.

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Speaker 2: You can't do that. You can't pass on an heirloom,

399
00:20:28,480 --> 00:20:31,639
Speaker 2: and you can't say that it's going to add emotional

400
00:20:31,720 --> 00:20:35,840
Speaker 2: value down the track. There are certain things, certain products,

401
00:20:36,520 --> 00:20:42,040
Speaker 2: certain physical media products which are now you know, relatively cheap. Again,

402
00:20:42,240 --> 00:20:43,920
Speaker 2: you know, there's so many books in the world, there's

403
00:20:43,920 --> 00:20:47,399
Speaker 2: so many CDs, there's so many records. What I always

404
00:20:47,480 --> 00:20:50,560
Speaker 2: think I try to do with impressed is with the record?

405
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Speaker 2: Is to say, is this a record if you're a

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Speaker 2: fan of this music, that you would give it to

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Speaker 2: your grand kids and that they would play it. I

408
00:20:57,640 --> 00:21:01,159
Speaker 2: think that is that's what we should be for. Is

409
00:21:01,200 --> 00:21:04,359
Speaker 2: there are there liner notes that people can absorb themselves in.

410
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Speaker 2: Is there a world whereby somebody can sit down, pull

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00:21:07,640 --> 00:21:09,919
Speaker 2: themselves a glass of wine or a cup of tea

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Speaker 2: and really get involved in the music but also the

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Speaker 2: artists world? And I think that that is a really

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Speaker 2: important attribute that only Vinyl does.

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Speaker 3: Just it's interesting you're speaking about vinyl. Why not CDs

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Speaker 3: and or tape? Why vinyl is relative to those two.

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Speaker 1: And the other two.

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Speaker 2: Sure? So the first thing is times ugly, I get it.

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Speaker 1: Vinyl.

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Speaker 3: Vinyl's got some beauty to it for some reason. What

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00:21:36,920 --> 00:21:38,560
Speaker 3: it is maybe it's a shape of it. I've got

422
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Speaker 3: no idea.

423
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Speaker 2: I think it's the shape. I think it's probably that

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Speaker 2: retro feel. It's also vinyl is from a further audio file.

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Speaker 2: Vinyl is uncompressed, which means what so it is actually

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Speaker 2: as the artist intended it to be. So anything else

427
00:21:53,960 --> 00:21:56,720
Speaker 2: that you listen to has been digitally compressed by a computer,

428
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Speaker 2: whereas the vinyl has not been digitally compressed. It has

429
00:22:00,520 --> 00:22:04,200
Speaker 2: been cut. Lacca has been cut and then created into

430
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Speaker 2: a stamper, and that is supposedly the purest art form

431
00:22:08,160 --> 00:22:10,800
Speaker 2: that you can get in terms of reproduction of the film. Yeah,

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00:22:10,840 --> 00:22:15,240
Speaker 2: so that's why it's it's special. We will be doing

433
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Speaker 2: CDs and consettes soon because some artists are asking for

434
00:22:18,000 --> 00:22:19,960
Speaker 2: them and there's probably a market for it, so we

435
00:22:20,000 --> 00:22:24,439
Speaker 2: will do them. But our core will always be vinyl.

436
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Speaker 1: Yeah, and.

437
00:22:27,400 --> 00:22:28,840
Speaker 3: A lot of people talk about vinyl, but is it

438
00:22:28,880 --> 00:22:32,359
Speaker 3: actually vinyl? I mean the original records were they vinyl? Yeah?

439
00:22:32,440 --> 00:22:35,320
Speaker 3: So this it's PVC and the original original were the

440
00:22:35,359 --> 00:22:36,480
Speaker 3: hard ones because they.

441
00:22:36,400 --> 00:22:39,440
Speaker 2: Were shell ac. Seventy eights were made out of shell ack.

442
00:22:39,560 --> 00:22:41,240
Speaker 3: So because that was the very first record over got

443
00:22:41,240 --> 00:22:44,159
Speaker 3: was a seventy eight eight? Yeah, and was it a

444
00:22:44,200 --> 00:22:44,760
Speaker 3: forty five?

445
00:22:45,080 --> 00:22:47,439
Speaker 1: Seventy eight? Seventy eight is a small one, isn't it?

446
00:22:47,480 --> 00:22:48,639
Speaker 2: No, forty five is a small one.

447
00:22:49,280 --> 00:22:51,600
Speaker 3: The bigger one, forty five is what i've There was

448
00:22:51,600 --> 00:22:53,000
Speaker 3: a thirty three too, wasn't it. Yeah?

449
00:22:53,040 --> 00:22:55,359
Speaker 1: Yeah, so thirty three was the big album.

450
00:22:55,359 --> 00:22:58,280
Speaker 2: Most of ours are thirty three, right, So I got.

451
00:22:58,960 --> 00:23:02,919
Speaker 3: I got a forty five and I remember it well.

452
00:23:03,040 --> 00:23:04,840
Speaker 3: It was the first gift I ever got, record gift

453
00:23:04,840 --> 00:23:07,880
Speaker 3: I ever got, and it was I can't remember who

454
00:23:08,600 --> 00:23:10,880
Speaker 3: the name of the group was, but I remember the song.

455
00:23:11,760 --> 00:23:15,320
Speaker 3: It was called Danny Lime Wine and I don't even

456
00:23:15,400 --> 00:23:18,320
Speaker 3: know they were, but my best mate at the time,

457
00:23:18,359 --> 00:23:18,680
Speaker 3: I was.

458
00:23:18,640 --> 00:23:19,639
Speaker 1: Like fourteen fifteen.

459
00:23:19,680 --> 00:23:21,120
Speaker 3: He gave it to me for a Christmas present, which

460
00:23:21,119 --> 00:23:23,439
Speaker 3: is a bit odd because I never received a Christmas

461
00:23:23,440 --> 00:23:25,520
Speaker 3: present from my mates and I never gave anything to anybody,

462
00:23:25,520 --> 00:23:29,160
Speaker 3: but he bought me this forty five and I sup

463
00:23:29,200 --> 00:23:29,760
Speaker 3: played it all the time.

464
00:23:29,920 --> 00:23:31,080
Speaker 1: Was because I had one record.

465
00:23:31,440 --> 00:23:33,200
Speaker 3: My mum and dad had a record play, which is good.

466
00:23:34,960 --> 00:23:38,240
Speaker 3: But it was quite hard. It was very hard. I'm

467
00:23:38,280 --> 00:23:43,600
Speaker 3: talking about I'm going back fifty odd sixty fifty odd years,

468
00:23:43,720 --> 00:23:47,280
Speaker 3: so fifty three years so that's a long time ago.

469
00:23:47,560 --> 00:23:49,719
Speaker 1: But it was it was quite rigid. And then I

470
00:23:49,760 --> 00:23:51,200
Speaker 1: remember over time they got a bit softer.

471
00:23:51,400 --> 00:23:54,440
Speaker 2: That's happens, yeah, I mean particularly in Australia, right, is

472
00:23:54,480 --> 00:23:54,760
Speaker 2: that right?

473
00:23:54,840 --> 00:23:55,040
Speaker 1: Why?

474
00:23:55,520 --> 00:23:58,240
Speaker 2: Just because the heat so like again they said there

475
00:23:58,320 --> 00:23:59,880
Speaker 2: melted plastic a PPC.

476
00:24:00,200 --> 00:24:06,560
Speaker 3: Right, okay, So, and I also remember the one of

477
00:24:06,560 --> 00:24:08,800
Speaker 3: the things that I really liked about some of my

478
00:24:08,960 --> 00:24:14,640
Speaker 3: mother and father's albums was the covers, particularly the ones

479
00:24:14,680 --> 00:24:19,480
Speaker 3: for the Beatles. They were cool, like because it looked

480
00:24:19,520 --> 00:24:21,520
Speaker 3: like a bit of artwork. They're quite interesting to look

481
00:24:21,520 --> 00:24:25,960
Speaker 3: at and they look like they look like the has

482
00:24:25,960 --> 00:24:28,800
Speaker 3: put a lot of time into making sure that it

483
00:24:28,840 --> 00:24:31,760
Speaker 3: was designer certain way or someone did in terms of

484
00:24:31,800 --> 00:24:35,680
Speaker 3: being creative, and it actually told a story, the whole thing,

485
00:24:35,720 --> 00:24:36,359
Speaker 3: total story.

486
00:24:37,800 --> 00:24:40,360
Speaker 2: That stuff's really important to us. So, for example, there's

487
00:24:40,400 --> 00:24:45,040
Speaker 2: an amazing going to be huge Australian artists called James Johnston,

488
00:24:45,080 --> 00:24:48,199
Speaker 2: who's probably the biggest Australian artist in country music at

489
00:24:48,240 --> 00:24:52,200
Speaker 2: the moment. And with James, we did a really limited

490
00:24:52,320 --> 00:24:57,280
Speaker 2: version which looks like Johnny Cash's Orange Blossom Special. Again,

491
00:24:57,359 --> 00:24:59,440
Speaker 2: like because I was a fan of Orange Blossom Special,

492
00:24:59,600 --> 00:25:01,800
Speaker 2: I thought, I ate, well, there's a chance that James

493
00:25:01,880 --> 00:25:04,040
Speaker 2: might be so we just mocked it up and then

494
00:25:04,080 --> 00:25:05,840
Speaker 2: again we wrote an essay and put it on the

495
00:25:05,880 --> 00:25:09,480
Speaker 2: back again like they've used to in the sixties. And yeah,

496
00:25:09,480 --> 00:25:11,600
Speaker 2: we're really proud of that one. We just you know,

497
00:25:11,640 --> 00:25:15,119
Speaker 2: we art directed it from scratch. It's totally different to

498
00:25:15,240 --> 00:25:19,160
Speaker 2: his usual album. It's the same music doing those things

499
00:25:19,240 --> 00:25:22,000
Speaker 2: that are a bit special and sometimes retro, I think

500
00:25:22,040 --> 00:25:24,880
Speaker 2: are really important. It's important to have that creative element

501
00:25:25,480 --> 00:25:29,679
Speaker 2: to the products because that provides specialness and scarcity.

502
00:25:30,000 --> 00:25:31,400
Speaker 1: Okay, we're going to go break. We want to come back.

503
00:25:31,400 --> 00:25:35,399
Speaker 3: I actually want to talk about your business model, and

504
00:25:37,200 --> 00:25:43,560
Speaker 3: I want to understand how you commercialize by using sort

505
00:25:43,600 --> 00:25:50,960
Speaker 3: of techniques like uniqueness, special, storytelling, experiential, those sorts of things,

506
00:25:50,960 --> 00:25:53,399
Speaker 3: which seems to me what people are prepared to play for.

507
00:25:53,480 --> 00:25:55,320
Speaker 3: But I want to go to break, come straight back.

508
00:26:03,320 --> 00:26:03,760
Speaker 1: We're back in.

509
00:26:03,840 --> 00:26:07,320
Speaker 3: I'm actually talking or we're talking about records, the old

510
00:26:07,359 --> 00:26:11,679
Speaker 3: school record players. But before I get onto that, I

511
00:26:11,760 --> 00:26:17,040
Speaker 3: recently thought I would fit out a little building.

512
00:26:17,080 --> 00:26:19,600
Speaker 1: I built like residential building.

513
00:26:19,600 --> 00:26:22,000
Speaker 3: I built in a retro style sixty stole because I

514
00:26:22,000 --> 00:26:23,800
Speaker 3: don't know why, I just thought I would do it. It

515
00:26:23,840 --> 00:26:29,320
Speaker 3: was a bit of a COVID adventure, which is a

516
00:26:29,359 --> 00:26:30,159
Speaker 3: lot of people.

517
00:26:29,920 --> 00:26:32,400
Speaker 1: Did I guess, And so I bought the furniture blah

518
00:26:32,400 --> 00:26:32,879
Speaker 1: blah blah.

519
00:26:32,880 --> 00:26:34,320
Speaker 3: So I thought I was no. I got to buy

520
00:26:34,320 --> 00:26:36,440
Speaker 3: some records. I actually had a couple of records, but

521
00:26:36,440 --> 00:26:40,440
Speaker 3: I got to buy some records. So there's a there

522
00:26:40,480 --> 00:26:43,440
Speaker 3: was a guy in Byron.

523
00:26:43,560 --> 00:26:47,439
Speaker 2: Who's got a record store halomone. Yeah, well you know,

524
00:26:48,280 --> 00:26:50,520
Speaker 2: oh my god, Okay, keep going because I've got some.

525
00:26:50,680 --> 00:26:52,119
Speaker 3: So I ran down to the dude I can't remember

526
00:26:52,119 --> 00:26:54,840
Speaker 3: his name now, Mario, I said, Maria, And I said,

527
00:26:54,960 --> 00:26:57,480
Speaker 3: I go, Maria, I want to buy some records, but

528
00:26:57,480 --> 00:26:59,240
Speaker 3: I don't need to get a record player, and I

529
00:26:59,320 --> 00:27:01,000
Speaker 3: need to get some speed. He gets blah blah blah.

530
00:27:01,160 --> 00:27:06,200
Speaker 3: And I actually had an old I got it. I

531
00:27:06,280 --> 00:27:09,400
Speaker 3: still got it, an old bo Center banging Olsen CD

532
00:27:09,560 --> 00:27:12,760
Speaker 3: play which actually inside of it had an AMP and

533
00:27:12,920 --> 00:27:14,920
Speaker 3: obviously it was connected not obviously, but it was connected

534
00:27:14,920 --> 00:27:19,199
Speaker 3: to some really good quality being banged Olsen speakers. So

535
00:27:19,240 --> 00:27:20,760
Speaker 3: I was trying to work out how he get a

536
00:27:20,800 --> 00:27:24,639
Speaker 3: record player and use the amp in the bino in

537
00:27:24,680 --> 00:27:27,120
Speaker 3: the bo Center system, play through.

538
00:27:26,960 --> 00:27:31,400
Speaker 1: The you know, play through those speakers, and fuck knew everything.

539
00:27:31,840 --> 00:27:33,280
Speaker 3: He said, you've got to order this, you got to

540
00:27:33,280 --> 00:27:35,000
Speaker 3: go there, you got to get this from England, fucking

541
00:27:35,040 --> 00:27:37,840
Speaker 3: blah blah blah, and was like a full mission for me,

542
00:27:37,960 --> 00:27:40,720
Speaker 3: like it has become like a like a like a

543
00:27:41,040 --> 00:27:41,880
Speaker 3: massive adventure.

544
00:27:42,640 --> 00:27:43,480
Speaker 1: Anyway, in the end.

545
00:27:43,400 --> 00:27:46,040
Speaker 3: I didn't do it because it was too complicated for

546
00:27:46,040 --> 00:27:48,760
Speaker 3: my brain. But I bought I bought from him a

547
00:27:48,800 --> 00:27:51,399
Speaker 3: record player, and I bought an AMP from him as well. Okay,

548
00:27:51,480 --> 00:27:54,119
Speaker 3: so and some speakers, and I just and I just

549
00:27:54,160 --> 00:27:58,240
Speaker 3: played the CD players separately with CDs when I think

550
00:27:58,240 --> 00:27:59,960
Speaker 3: about it, when I feel like it, but I do

551
00:28:00,080 --> 00:28:02,480
Speaker 3: play the records. And because I went with.

552
00:28:02,480 --> 00:28:03,040
Speaker 1: The retro thing.

553
00:28:03,119 --> 00:28:07,679
Speaker 3: But the experience of the whole not just the experience,

554
00:28:07,760 --> 00:28:11,080
Speaker 3: not just listening to music, but the experience of actually

555
00:28:11,119 --> 00:28:14,760
Speaker 3: building the whole system was really cool. And I found

556
00:28:14,800 --> 00:28:17,480
Speaker 3: an electrician who you know, I've got a bit stuck

557
00:28:17,520 --> 00:28:19,280
Speaker 3: with a few things because I wasn't getting that it

558
00:28:19,359 --> 00:28:19,919
Speaker 3: wasn't quite right.

559
00:28:19,920 --> 00:28:22,680
Speaker 1: And I found this old electrician up and Byron.

560
00:28:22,720 --> 00:28:25,360
Speaker 3: I just talked to him and he says, mate, I've

561
00:28:25,359 --> 00:28:27,359
Speaker 3: got the biggest record he's got the biggest record collection.

562
00:28:27,359 --> 00:28:29,080
Speaker 1: Blah blah. I didn't realize the record freak.

563
00:28:29,520 --> 00:28:31,760
Speaker 3: And he kme of deliving for free because he was

564
00:28:31,840 --> 00:28:35,120
Speaker 3: really enthusiastic about it. And I must say, it does

565
00:28:35,160 --> 00:28:38,880
Speaker 3: give you a gradular pleasure. And I do feel feel

566
00:28:39,000 --> 00:28:44,640
Speaker 3: like doing silly things like maybe sitting on a lounge

567
00:28:44,680 --> 00:28:48,240
Speaker 3: and having a whiskey or something. That's it right, Whereas

568
00:28:48,240 --> 00:28:50,440
Speaker 3: I wouldn't normally do that. Yeah, it sort of, it

569
00:28:50,480 --> 00:28:54,880
Speaker 3: sort of brings for me a whole experience. I get incentivized,

570
00:28:54,920 --> 00:28:57,400
Speaker 3: if that's the word, to have a whole experience. Now,

571
00:28:57,400 --> 00:29:01,080
Speaker 3: I haven't gone down to looking for a particular artists,

572
00:29:01,080 --> 00:29:05,560
Speaker 3: particularly contemporary artists, and what they're doing in terms of

573
00:29:05,800 --> 00:29:07,480
Speaker 3: buying one of their records. I haven't got into their

574
00:29:07,560 --> 00:29:10,720
Speaker 3: territory because I don't spend enough time there. But yeah,

575
00:29:10,920 --> 00:29:13,680
Speaker 3: but I probably would now that I've been talking to you,

576
00:29:14,720 --> 00:29:16,560
Speaker 3: But I should ask you, how do you know the

577
00:29:16,600 --> 00:29:17,240
Speaker 3: Hellomone guy?

578
00:29:17,440 --> 00:29:17,760
Speaker 1: Mario?

579
00:29:18,560 --> 00:29:23,200
Speaker 2: So, one of my business partners had her parents live

580
00:29:23,280 --> 00:29:26,200
Speaker 2: next door to Mario. Oh really and Mario, by the way,

581
00:29:26,320 --> 00:29:29,120
Speaker 2: like if it wasn't for Mario, Mario has kicked off

582
00:29:29,200 --> 00:29:33,120
Speaker 2: early stage three of our business plan because I walked

583
00:29:33,160 --> 00:29:36,960
Speaker 2: into hell Amone and I said, Byron in Byron and

584
00:29:38,040 --> 00:29:39,560
Speaker 2: at the start of the year, and I just said,

585
00:29:39,680 --> 00:29:44,400
Speaker 2: what's good local bands? What what's good? Environ's this record?

586
00:29:45,200 --> 00:29:47,120
Speaker 2: You need to you need to, you need to, you

587
00:29:47,160 --> 00:29:49,000
Speaker 2: need to buy this record. You're gonna love this record.

588
00:29:49,120 --> 00:29:51,760
Speaker 2: I was like, okay, cool. I put it on and

589
00:29:53,000 --> 00:29:55,480
Speaker 2: I was like wow, And I phoned my business partner

590
00:29:55,520 --> 00:29:58,080
Speaker 2: and Mario just told me this this record, it's this

591
00:29:58,160 --> 00:30:01,640
Speaker 2: band called Liminal. Never heard of them? Do you know

592
00:30:01,680 --> 00:30:04,840
Speaker 2: about them? And we phoned them up. We bought all

593
00:30:04,880 --> 00:30:07,560
Speaker 2: the rest of the records off them, and we said,

594
00:30:07,600 --> 00:30:10,600
Speaker 2: we want to be your label, we want to work

595
00:30:10,640 --> 00:30:12,000
Speaker 2: with you, we want to manage you.

596
00:30:13,160 --> 00:30:15,200
Speaker 1: And now we are And what genre of music is it?

597
00:30:15,280 --> 00:30:17,960
Speaker 2: So they're a psychedelic rock band, So they're very much

598
00:30:17,960 --> 00:30:23,160
Speaker 2: in the tame in parlor King Gizzard Vain. But you know,

599
00:30:23,200 --> 00:30:27,400
Speaker 2: they're phenomenally talented and have a really long career ahead

600
00:30:27,400 --> 00:30:29,160
Speaker 2: of them. And one of them is still at school.

601
00:30:29,200 --> 00:30:32,600
Speaker 2: So they'll be playing south By Southwest this year and

602
00:30:32,720 --> 00:30:35,400
Speaker 2: one of them, Oscar, we'll be doing his HSC and

603
00:30:35,440 --> 00:30:38,120
Speaker 2: has to live, has to do it has to be

604
00:30:38,200 --> 00:30:40,760
Speaker 2: at my house during south By Southwest in order to lead.

605
00:30:41,160 --> 00:30:44,040
Speaker 1: So SXSW this year is in.

606
00:30:45,520 --> 00:30:45,960
Speaker 2: October.

607
00:30:45,960 --> 00:30:50,040
Speaker 3: October, yeah, okay, okay, so it has to be your house.

608
00:30:50,200 --> 00:30:54,200
Speaker 3: So that that's mad. So how amonal Mario's business down

609
00:30:54,200 --> 00:30:58,280
Speaker 3: there up there? I should say that sort of introduced you,

610
00:30:58,520 --> 00:31:00,600
Speaker 3: introed you to some of you signed up.

611
00:31:00,960 --> 00:31:02,400
Speaker 1: So what I've been talking about.

612
00:31:02,280 --> 00:31:06,560
Speaker 3: Is is sort of more nostalgic. The experience of records,

613
00:31:07,640 --> 00:31:09,520
Speaker 3: what you're talking about them, what your business is in

614
00:31:09,560 --> 00:31:14,840
Speaker 3: press records is more about taking that emotional feeling, that

615
00:31:14,920 --> 00:31:16,920
Speaker 3: experience we get when we use record play and all

616
00:31:16,920 --> 00:31:19,360
Speaker 3: that other stuff, but actually signing new artists.

617
00:31:19,800 --> 00:31:21,320
Speaker 2: So it's a bit of both, and I think that's

618
00:31:21,360 --> 00:31:23,600
Speaker 2: what's really important. So what we try to do is

619
00:31:23,640 --> 00:31:26,960
Speaker 2: to cater for an audience like yourself. And we'll also though,

620
00:31:27,000 --> 00:31:31,720
Speaker 2: trying cater for an audience which is probably significantly the

621
00:31:31,800 --> 00:31:34,320
Speaker 2: nicest possible way marks or are younger yep, and who

622
00:31:34,360 --> 00:31:37,440
Speaker 2: they are. Yeah, and some of those people won't will

623
00:31:37,440 --> 00:31:41,760
Speaker 2: buy vinyl but not play it. And that's fifty percent

624
00:31:41,800 --> 00:31:43,760
Speaker 2: of the vinyl that's sold is never played.

625
00:31:45,080 --> 00:31:46,160
Speaker 1: What are they doing with it?

626
00:31:46,520 --> 00:31:49,520
Speaker 2: They collecting it? They want Yeah, it's a keepsake.

627
00:31:49,560 --> 00:31:50,280
Speaker 1: Yeah, it's a collection.

628
00:31:50,320 --> 00:31:52,600
Speaker 2: Again, it's like being able to though again, as I said,

629
00:31:52,680 --> 00:31:54,680
Speaker 2: go deep into the experience. They might not have a

630
00:31:54,720 --> 00:31:59,000
Speaker 2: record player, but they're able to really. Yeah. So we

631
00:31:59,160 --> 00:32:01,480
Speaker 2: I mean, this week we're working with a bank called Dice.

632
00:32:01,560 --> 00:32:05,000
Speaker 2: They'll probably be number one. This week we did a

633
00:32:05,000 --> 00:32:11,080
Speaker 2: two hundred run, only very limited amount of records, mostly

634
00:32:11,120 --> 00:32:15,200
Speaker 2: bought by by where their fan base is young, young

635
00:32:16,280 --> 00:32:19,960
Speaker 2: eighteen year olds in Western Australia. And yeah, I would

636
00:32:20,000 --> 00:32:23,160
Speaker 2: guarantee that some of those customers don't have record.

637
00:32:23,360 --> 00:32:24,200
Speaker 1: What are they buying for.

638
00:32:24,640 --> 00:32:26,880
Speaker 2: They're buying it firstly to be able to feel like

639
00:32:26,920 --> 00:32:30,440
Speaker 2: they're supporting the band yep. Secondly because they want to

640
00:32:30,480 --> 00:32:35,680
Speaker 2: be able to give the van their money and support them.

641
00:32:35,920 --> 00:32:39,040
Speaker 2: And then also though they want a keepsake of this time.

642
00:32:39,480 --> 00:32:44,200
Speaker 1: Yeah, it's like a like a token of what it

643
00:32:44,280 --> 00:32:45,160
Speaker 1: is that they appreciate.

644
00:32:45,280 --> 00:32:48,200
Speaker 2: Yeah, and you know, so one of the things. For example,

645
00:32:48,200 --> 00:32:50,080
Speaker 2: Taylor Swift is the biggest selling artists in the world,

646
00:32:50,120 --> 00:32:52,280
Speaker 2: biggest selling vinyl artists in the world. They estimate that

647
00:32:52,360 --> 00:32:56,680
Speaker 2: nearly sixty percent of her records are unopened unopened. Yeah, wow,

648
00:32:57,560 --> 00:33:02,320
Speaker 2: that's mad. Yeah, but that shows you how connected even

649
00:33:02,360 --> 00:33:05,120
Speaker 2: the feeling of buying vinyl can make you feel. I

650
00:33:05,120 --> 00:33:08,400
Speaker 2: think it's really important that we cater for an audio

651
00:33:08,400 --> 00:33:11,920
Speaker 2: file audience. We cater for probably somebody who's more on

652
00:33:11,960 --> 00:33:14,280
Speaker 2: the fence, but it would be open to the experience

653
00:33:14,320 --> 00:33:17,360
Speaker 2: such as you, and also for that younger audience, and

654
00:33:17,800 --> 00:33:21,280
Speaker 2: that if we combine all that audience together and then

655
00:33:21,320 --> 00:33:24,400
Speaker 2: we can say, hey, you might like this. We provide

656
00:33:24,400 --> 00:33:26,520
Speaker 2: them with a curated experience. Think of it like a

657
00:33:26,560 --> 00:33:30,040
Speaker 2: wine club. Then every month, and we've done this already,

658
00:33:30,120 --> 00:33:31,960
Speaker 2: every month we have a club and we send them

659
00:33:31,960 --> 00:33:34,479
Speaker 2: a record. They won't know what that record is, but

660
00:33:34,520 --> 00:33:38,200
Speaker 2: the feedback that we get invariably is, oh, wow, thanks

661
00:33:38,200 --> 00:33:41,440
Speaker 2: for this. I literally I didn't know what it was.

662
00:33:41,720 --> 00:33:43,800
Speaker 2: I put it on, I sat down and had a

663
00:33:43,800 --> 00:33:46,520
Speaker 2: whiskey or a peppermint tea or whatever, and I listened

664
00:33:46,560 --> 00:33:47,960
Speaker 2: to the music and I loved it.

665
00:33:48,840 --> 00:33:53,760
Speaker 3: So you're really curating on behalf of your let's call

666
00:33:53,800 --> 00:33:56,280
Speaker 3: it your EMA audience, your customer base.

667
00:33:56,440 --> 00:33:58,600
Speaker 1: Yes, curating.

668
00:34:00,040 --> 00:34:02,239
Speaker 3: Experience, because the experience usually is always the same, but

669
00:34:02,480 --> 00:34:05,320
Speaker 3: you're creating qating for them something that you think they

670
00:34:05,360 --> 00:34:07,840
Speaker 3: may want to listen, and you look for their feedback

671
00:34:07,840 --> 00:34:09,000
Speaker 3: to so there's a feedback loop.

672
00:34:09,200 --> 00:34:12,280
Speaker 2: Yeah. I mean that in a world of endless choice,

673
00:34:12,880 --> 00:34:14,960
Speaker 2: all you want is somebody to say, hey, you really

674
00:34:15,000 --> 00:34:18,600
Speaker 2: should listen to this. That's that's often what people want.

675
00:34:18,960 --> 00:34:20,480
Speaker 3: It's like on a restaurant in the owner and you've

676
00:34:20,520 --> 00:34:22,719
Speaker 3: got a restaurant as a menu that thick and then

677
00:34:23,040 --> 00:34:25,160
Speaker 3: you think, oh my god, and then the chef comes

678
00:34:25,160 --> 00:34:29,800
Speaker 3: out of the kitchen, says listen today, I've got lamb chops,

679
00:34:30,600 --> 00:34:31,520
Speaker 3: potatoes and peas.

680
00:34:31,960 --> 00:34:32,560
Speaker 1: You should try it.

681
00:34:32,719 --> 00:34:34,520
Speaker 3: Yeah, And that's exactly and it comes from by the

682
00:34:34,560 --> 00:34:36,399
Speaker 3: way the lamb stops come from. And then he goes

683
00:34:36,400 --> 00:34:38,920
Speaker 3: on a big, long story about big long as story

684
00:34:38,960 --> 00:34:43,759
Speaker 3: about you know, grass fed lambs sort of you know,

685
00:34:43,880 --> 00:34:46,960
Speaker 3: like like floating around in the atmosphere with fog and

686
00:34:47,000 --> 00:34:48,840
Speaker 3: shit like that, and you think, wow, I'm going to

687
00:34:48,840 --> 00:34:51,719
Speaker 3: have it. Thanks for making the decision for me. And

688
00:34:51,719 --> 00:34:55,319
Speaker 3: when you eat it, and you actually immediately think that

689
00:34:55,360 --> 00:34:57,520
Speaker 3: it's good no matter what, because the story was great.

690
00:34:58,160 --> 00:34:59,480
Speaker 1: I mean, that's quite a key of business.

691
00:34:59,480 --> 00:35:01,960
Speaker 2: And you'll tell you friends, Yeah, And that's that's the goal.

692
00:35:02,000 --> 00:35:02,799
Speaker 2: That's what we try to do.

693
00:35:02,800 --> 00:35:04,080
Speaker 3: You and I went there today and that's what I

694
00:35:04,160 --> 00:35:06,960
Speaker 3: had or I experienced from impressed records. This record you

695
00:35:06,960 --> 00:35:08,560
Speaker 3: should you should go and get you should get it.

696
00:35:08,680 --> 00:35:09,080
Speaker 2: That's it.

697
00:35:09,280 --> 00:35:09,600
Speaker 1: Yeah, And.

698
00:35:11,160 --> 00:35:13,720
Speaker 3: So sort of like that's your sort of business model,

699
00:35:13,760 --> 00:35:15,840
Speaker 3: so to speak. But you seem to like it seems

700
00:35:15,880 --> 00:35:21,000
Speaker 3: like you're trading on you know, some some parts of nostalgia,

701
00:35:21,239 --> 00:35:29,080
Speaker 3: some parts of I don't know, someone having a better

702
00:35:29,120 --> 00:35:33,239
Speaker 3: curative ability than them. In other words, I'm talking to

703
00:35:33,400 --> 00:35:35,640
Speaker 3: you who's exposed to all these people. You're the dude

704
00:35:35,640 --> 00:35:38,320
Speaker 3: finding out all these people. So I'm actually I'm happy

705
00:35:38,320 --> 00:35:39,920
Speaker 3: about that because I don't have time to do that,

706
00:35:39,960 --> 00:35:45,719
Speaker 3: but I'm getting it from Impressed Records, some memento, some

707
00:35:46,239 --> 00:35:49,120
Speaker 3: fan base, like really full fan base, you know, you

708
00:35:49,200 --> 00:35:50,800
Speaker 3: know how fans operate.

709
00:35:52,040 --> 00:35:53,080
Speaker 1: Did I miss out on anything?

710
00:35:53,160 --> 00:35:53,239
Speaker 3: Like?

711
00:35:53,320 --> 00:35:54,439
Speaker 1: Is there something else in that?

712
00:35:55,040 --> 00:35:59,680
Speaker 2: They're pretty much there four quadrants yeah, and and tactile

713
00:36:00,120 --> 00:36:01,080
Speaker 2: really important.

714
00:36:00,680 --> 00:36:04,719
Speaker 3: Because we don't we don't touch newspapers. I still do,

715
00:36:04,800 --> 00:36:06,560
Speaker 3: but we don't touch newspapers. We don't touch books.

716
00:36:06,560 --> 00:36:10,040
Speaker 1: I still love a book, physical book, me too. I

717
00:36:10,080 --> 00:36:11,200
Speaker 1: still love a magazine.

718
00:36:11,239 --> 00:36:14,720
Speaker 3: A glossy magazine you know, might come on the winds

719
00:36:14,920 --> 00:36:16,880
Speaker 3: as usually crap in it, but I just like the

720
00:36:16,920 --> 00:36:18,799
Speaker 3: sense of it. It's actually quite a delight for me

721
00:36:20,200 --> 00:36:22,680
Speaker 3: and records I now i'm thinking about it. I also

722
00:36:22,680 --> 00:36:24,719
Speaker 3: still like music coming out of record, Like it's the

723
00:36:24,760 --> 00:36:25,239
Speaker 3: crazy thing.

724
00:36:25,239 --> 00:36:27,799
Speaker 1: But when you think about it, fucking music's coming out

725
00:36:27,800 --> 00:36:29,000
Speaker 1: of that that round thing.

726
00:36:29,440 --> 00:36:32,560
Speaker 3: When you just it's bonkers, fucking think about that, like

727
00:36:33,000 --> 00:36:35,319
Speaker 3: there's music coming to that black thing there, like that

728
00:36:35,480 --> 00:36:36,200
Speaker 3: is playing.

729
00:36:35,880 --> 00:36:38,560
Speaker 2: Me music like and it sounds great.

730
00:36:38,760 --> 00:36:39,719
Speaker 1: It's pretty insane though.

731
00:36:39,880 --> 00:36:42,360
Speaker 2: Yeah, it's it's a it's a it's a yah. I

732
00:36:42,400 --> 00:36:46,160
Speaker 2: agree with you. It's moderately ridiculous. You look at it.

733
00:36:46,160 --> 00:36:47,759
Speaker 2: It's like spellbounding, isn't that whoa.

734
00:36:48,080 --> 00:36:51,359
Speaker 3: Well's still ridiculous too, because it's actually like today, music

735
00:36:51,360 --> 00:36:55,120
Speaker 3: comes out of my phone or whatever. I don't feel

736
00:36:55,120 --> 00:36:57,640
Speaker 3: it like that's so ridiculous, but I see a black

737
00:36:57,680 --> 00:37:00,600
Speaker 3: circle spinning around, I think music coming. It seems more

738
00:37:00,680 --> 00:37:03,440
Speaker 3: ridiculous in a technological sense, yeah, than the phone itself.

739
00:37:03,640 --> 00:37:06,080
Speaker 2: Yeah, I agree. Look, I one hundred percent agree. But

740
00:37:06,080 --> 00:37:09,960
Speaker 2: there's the thing that we've we're talking about, and it's

741
00:37:10,000 --> 00:37:12,360
Speaker 2: why I'm in It is magic. It's magic. There's a

742
00:37:12,360 --> 00:37:14,960
Speaker 2: part of it that is magic. We can't really explain

743
00:37:15,120 --> 00:37:19,479
Speaker 2: why it's happening, but it's there. It's like a magical trick.

744
00:37:20,120 --> 00:37:24,120
Speaker 2: And again, we are able to build a business if

745
00:37:24,120 --> 00:37:27,680
Speaker 2: we can tell a story about this and make people

746
00:37:28,080 --> 00:37:30,879
Speaker 2: feel really special. One of the things that we've tried

747
00:37:30,920 --> 00:37:32,080
Speaker 2: to do, and we try to do with a lot

748
00:37:32,120 --> 00:37:35,480
Speaker 2: of our records, is that we provide an essay now

749
00:37:35,560 --> 00:37:36,719
Speaker 2: and that's.

750
00:37:36,480 --> 00:37:37,560
Speaker 1: Not on the record.

751
00:37:37,719 --> 00:37:40,959
Speaker 2: Yeah, So we will ask a local writer or could

752
00:37:40,960 --> 00:37:43,560
Speaker 2: be someone oversees to you know, can you write five

753
00:37:43,640 --> 00:37:46,800
Speaker 2: hundred words about this? And again it's almost like listening notes.

754
00:37:47,360 --> 00:37:48,759
Speaker 2: So again it's the same as if you open a

755
00:37:48,760 --> 00:37:50,879
Speaker 2: bottle of wine and taste tasting notes the same kind

756
00:37:50,920 --> 00:37:53,319
Speaker 2: of thing. Can I sit back? Can I read all

757
00:37:53,360 --> 00:37:55,680
Speaker 2: about this? Is there a further story that's going to

758
00:37:55,719 --> 00:37:59,160
Speaker 2: intrigue me? Those things are really important. And again, one

759
00:37:59,200 --> 00:38:01,879
Speaker 2: of the things, I'm sure that that doesn't cost a lot.

760
00:38:01,920 --> 00:38:06,719
Speaker 2: It doesn't take a lot when we open, well, we

761
00:38:06,760 --> 00:38:08,640
Speaker 2: get a lot of everybody gets a lot of e

762
00:38:08,640 --> 00:38:11,399
Speaker 2: commerce these days, right, you get like several packages even

763
00:38:11,480 --> 00:38:14,759
Speaker 2: sometimes a day. And that's the same with records. If

764
00:38:14,760 --> 00:38:17,600
Speaker 2: you're a record buyer, you can buy so many records online.

765
00:38:17,640 --> 00:38:21,000
Speaker 2: It's not hard. And they all arrive package and we

766
00:38:21,080 --> 00:38:23,960
Speaker 2: rapers in a bit of tissue paper and try to

767
00:38:23,960 --> 00:38:28,080
Speaker 2: put a personal note in it. And it's not hard.

768
00:38:29,040 --> 00:38:31,480
Speaker 2: But it differentiates and it says that it has value,

769
00:38:31,520 --> 00:38:33,759
Speaker 2: and it says that we care, because we do care,

770
00:38:34,880 --> 00:38:38,279
Speaker 2: and I think that those things matter. That's a great

771
00:38:38,320 --> 00:38:40,799
Speaker 2: lesson that I learned to Apple, being able to go

772
00:38:40,880 --> 00:38:44,040
Speaker 2: the extra mile in the packaging, being able to you know,

773
00:38:44,320 --> 00:38:49,600
Speaker 2: understand what can differentiate from your your competitors is really

774
00:38:49,600 --> 00:38:52,560
Speaker 2: really important. But again, it all adds up to this

775
00:38:52,680 --> 00:38:56,280
Speaker 2: feeling of value. You know, you might think, oh, seventy

776
00:38:56,320 --> 00:38:59,440
Speaker 2: bucks for something that I can get for free is

777
00:38:59,480 --> 00:39:02,480
Speaker 2: almost you know, these days with cost of living is insane.

778
00:39:02,880 --> 00:39:04,360
Speaker 2: But what we have to be able to do is

779
00:39:04,400 --> 00:39:07,120
Speaker 2: to provide value, and we have to also be able

780
00:39:07,120 --> 00:39:11,080
Speaker 2: to talk about the scarcity of the product. So nearly

781
00:39:11,120 --> 00:39:13,960
Speaker 2: all of our products are numbered and limited and limited,

782
00:39:14,200 --> 00:39:16,879
Speaker 2: and we are like, there are only two hundred of these. Ever,

783
00:39:17,520 --> 00:39:20,200
Speaker 2: that is it, and that is also really important to

784
00:39:20,719 --> 00:39:24,239
Speaker 2: record collectors, but hopefully again though just to fans. So

785
00:39:24,320 --> 00:39:27,640
Speaker 2: whether you're a you know, an old school record collector

786
00:39:28,080 --> 00:39:30,080
Speaker 2: or whether you know you know you're it's like someone

787
00:39:30,120 --> 00:39:32,680
Speaker 2: who's a little bit more passive like yourself, you'd be like, well,

788
00:39:32,719 --> 00:39:35,160
Speaker 2: there's only two hundred of these, and this makes me

789
00:39:35,200 --> 00:39:35,560
Speaker 2: feel good.

790
00:39:35,680 --> 00:39:36,240
Speaker 1: Well, it's funny.

791
00:39:36,719 --> 00:39:39,120
Speaker 3: Just down the road is a mob called Radio Cairo Ye.

792
00:39:40,040 --> 00:39:42,680
Speaker 3: They sell records down there, and it's a been like

793
00:39:42,880 --> 00:39:49,040
Speaker 3: Mario's Hell Amone. When you're telling me that story, it's interesting.

794
00:39:50,560 --> 00:39:52,080
Speaker 3: The best part of the experience for me is when

795
00:39:52,080 --> 00:39:55,000
Speaker 3: I go into the shop and I get a little

796
00:39:55,040 --> 00:39:56,240
Speaker 3: bit deflated when the record.

797
00:39:56,080 --> 00:39:57,319
Speaker 1: Arrives, it's not as good.

798
00:39:57,440 --> 00:40:01,040
Speaker 3: Yeah, it sounds ridiculous, but me there to tomorrow, I

799
00:40:01,040 --> 00:40:02,480
Speaker 3: can go down the one down the road here and

800
00:40:02,480 --> 00:40:03,719
Speaker 3: write a car and I can be saying, look, I

801
00:40:03,800 --> 00:40:06,120
Speaker 3: want to get I know, whatever it is, I want

802
00:40:06,120 --> 00:40:06,919
Speaker 3: to get it on a record.

803
00:40:07,000 --> 00:40:08,200
Speaker 1: Can you order it or do you have it?

804
00:40:08,280 --> 00:40:10,279
Speaker 3: They might have an old one they've reconditioned, or they

805
00:40:10,360 --> 00:40:13,120
Speaker 3: might have have to order a new one, and I

806
00:40:13,120 --> 00:40:15,040
Speaker 3: actually prefer the old ones, but it doesn't matter that

807
00:40:15,080 --> 00:40:16,920
Speaker 3: you don't wways get that in good condition. That is

808
00:40:18,120 --> 00:40:23,080
Speaker 3: and the whole discussion, That experience of just thumbing through

809
00:40:23,120 --> 00:40:28,760
Speaker 3: things and it's sort of to me outweighs the experience

810
00:40:28,800 --> 00:40:30,239
Speaker 3: of when I actually get it, when I go home

811
00:40:30,239 --> 00:40:31,440
Speaker 3: and I sort of sit and listen to it, Well,

812
00:40:31,480 --> 00:40:34,520
Speaker 3: that's okay, but it's not as good as actually that

813
00:40:34,560 --> 00:40:39,640
Speaker 3: total experience. So if somehow it was sent to me

814
00:40:40,160 --> 00:40:42,239
Speaker 3: and it was me like having a conversation, or the

815
00:40:42,600 --> 00:40:46,120
Speaker 3: person who sent me the record was having a conversation

816
00:40:46,200 --> 00:40:49,439
Speaker 3: with you, like by virtue an essay, that would be cool,

817
00:40:49,520 --> 00:40:51,719
Speaker 3: especially if as a new artist, that would be cool

818
00:40:51,760 --> 00:40:53,759
Speaker 3: because that tells me someone's taking the time to do

819
00:40:53,800 --> 00:40:56,440
Speaker 3: this and explain to me, like the tasting notes.

820
00:40:57,560 --> 00:40:59,880
Speaker 2: That's what we try to do. So we obviously release

821
00:41:00,280 --> 00:41:05,839
Speaker 2: you know, individual albums and seven inches and tracks. We

822
00:41:05,880 --> 00:41:09,200
Speaker 2: also have a vinyl club where again that's what happens

823
00:41:09,200 --> 00:41:09,600
Speaker 2: every month.

824
00:41:09,640 --> 00:41:11,040
Speaker 1: How do I sign up? And so how's the work?

825
00:41:11,080 --> 00:41:14,280
Speaker 2: So go to our website Impressed Recordings dot com and.

826
00:41:14,480 --> 00:41:17,359
Speaker 3: Press Recordings dot com dot or dot com dot com

827
00:41:17,840 --> 00:41:20,239
Speaker 3: and I sign up and then what happens.

828
00:41:19,920 --> 00:41:22,280
Speaker 2: And then we will send you whatever is that month's record.

829
00:41:22,440 --> 00:41:25,680
Speaker 2: Right this month, it's a a guy called Citizen K.

830
00:41:27,080 --> 00:41:30,719
Speaker 2: It's an incredible, beautiful Marvin Gaye type R and B

831
00:41:30,880 --> 00:41:33,560
Speaker 2: record by Genesis A Woozu. You may have heard of him.

832
00:41:33,640 --> 00:41:35,520
Speaker 2: He won a lot of arias last year. It's his brother,

833
00:41:37,000 --> 00:41:38,960
Speaker 2: and we will send you that record, and then next

834
00:41:39,000 --> 00:41:40,560
Speaker 2: month will send you a great one, and then next

835
00:41:40,600 --> 00:41:41,239
Speaker 2: we'll keep going.

836
00:41:41,280 --> 00:41:42,720
Speaker 3: So I don't even have to go to the store.

837
00:41:42,840 --> 00:41:44,920
Speaker 3: You're going to do that hard work for me, to

838
00:41:45,000 --> 00:41:47,479
Speaker 3: do the selection for me. And how do you guys

839
00:41:47,520 --> 00:41:48,440
Speaker 3: find your artists?

840
00:41:49,360 --> 00:41:53,600
Speaker 2: So again we keep our connections close. We talk to

841
00:41:53,640 --> 00:41:57,640
Speaker 2: a lot of different peoples. Come to you, yeah, labels

842
00:41:57,680 --> 00:42:00,759
Speaker 2: come to us. So we're working with the likes of Universal,

843
00:42:01,120 --> 00:42:04,280
Speaker 2: We're working with the likes of Future Classic. We're working

844
00:42:04,320 --> 00:42:06,640
Speaker 2: you know, all these people who are friends in the industry.

845
00:42:07,160 --> 00:42:08,799
Speaker 2: Some come to us and say, hey, can you put

846
00:42:08,800 --> 00:42:10,680
Speaker 2: this out? Can you do this? Can we work together?

847
00:42:10,719 --> 00:42:11,760
Speaker 1: Do you actually press the records?

848
00:42:12,239 --> 00:42:14,080
Speaker 3: Do? I mean not yourself? But do you organize that?

849
00:42:14,280 --> 00:42:16,680
Speaker 2: Yeah? We organize all of that. Yeah, and where does

850
00:42:16,680 --> 00:42:19,720
Speaker 2: that all happen? Yeah? So as a business with Impressed,

851
00:42:19,719 --> 00:42:22,960
Speaker 2: when we started it, we invested in a record pressing

852
00:42:22,960 --> 00:42:26,560
Speaker 2: plant called Suitcase Records in Brisbane. Oh wow, in order

853
00:42:26,640 --> 00:42:29,439
Speaker 2: to to you know, to really kind of cement that relationship.

854
00:42:30,280 --> 00:42:32,279
Speaker 2: So yeah, most of our records are currently pressed a

855
00:42:32,360 --> 00:42:34,960
Speaker 2: Suitcase in Brisbane. We also work with a company called

856
00:42:34,960 --> 00:42:37,800
Speaker 2: Holiday in New Zealand. But there's lots of other places

857
00:42:37,840 --> 00:42:39,959
Speaker 2: that we can get our records pressed around the world.

858
00:42:39,960 --> 00:42:41,640
Speaker 2: And there's a couple more in Australia as well.

859
00:42:42,440 --> 00:42:44,239
Speaker 3: And do you get like and does the artists come

860
00:42:44,239 --> 00:42:49,160
Speaker 3: and do the do or recording in a studio that

861
00:42:49,560 --> 00:42:50,359
Speaker 3: you guys.

862
00:42:50,120 --> 00:42:53,040
Speaker 2: Have and we don't have a studio yet, is that

863
00:42:53,239 --> 00:42:56,920
Speaker 2: like on the cards? Maybe? I think what's more important

864
00:42:56,960 --> 00:43:00,600
Speaker 2: for us from a business is to firstly to continue

865
00:43:00,640 --> 00:43:03,360
Speaker 2: to scale. So that's the first thing from an e

866
00:43:03,520 --> 00:43:08,440
Speaker 2: comm perspective, and to continue to get more releases that

867
00:43:08,719 --> 00:43:12,919
Speaker 2: people will want to buy, to be able to put

868
00:43:12,960 --> 00:43:17,080
Speaker 2: some of our records that are not the Impressed version

869
00:43:17,120 --> 00:43:20,600
Speaker 2: but the same record in other stores. So for example,

870
00:43:21,960 --> 00:43:25,560
Speaker 2: Briggs is a really fantastic hip hop artist who we're

871
00:43:25,560 --> 00:43:28,560
Speaker 2: working with. We've got an Impressed version of his ten

872
00:43:28,600 --> 00:43:32,040
Speaker 2: year Anniversary, but we've also pressed a different version which

873
00:43:32,040 --> 00:43:35,959
Speaker 2: will be exclusive to JB Hi Fi. Right, So that's

874
00:43:35,960 --> 00:43:38,520
Speaker 2: obviously our way of being able to get scale. And

875
00:43:38,560 --> 00:43:40,600
Speaker 2: then the final part from our perspective is that we're

876
00:43:40,600 --> 00:43:44,520
Speaker 2: in discussions with well a few different people at the moment,

877
00:43:45,440 --> 00:43:49,000
Speaker 2: both for international distribution of all of our physical products

878
00:43:49,000 --> 00:43:51,520
Speaker 2: of being able to go from Australia to the world.

879
00:43:51,560 --> 00:43:54,320
Speaker 3: And how the artists feel about that, because obviously the

880
00:43:54,400 --> 00:43:56,480
Speaker 3: artists have been talking complaining for a long time that

881
00:43:57,239 --> 00:44:01,200
Speaker 3: you know they're getting well, I don't know they would

882
00:44:01,280 --> 00:44:04,280
Speaker 3: they would. I guess they're comparing themselves to older artists

883
00:44:04,280 --> 00:44:06,960
Speaker 3: who used to get a royalty very record that got

884
00:44:06,960 --> 00:44:11,399
Speaker 3: sold or tape or CD whatever, and they're probably saying, well,

885
00:44:11,640 --> 00:44:15,279
Speaker 3: relative to those individuals what they would put out, we

886
00:44:15,320 --> 00:44:18,000
Speaker 3: don't get paid as much at least that's the argument

887
00:44:18,040 --> 00:44:18,399
Speaker 3: I've heard.

888
00:44:19,840 --> 00:44:23,480
Speaker 1: Is part of this is part of this.

889
00:44:25,800 --> 00:44:28,120
Speaker 3: Business model that you have is to reward artists as

890
00:44:28,160 --> 00:44:29,479
Speaker 3: well for artists actually to make.

891
00:44:29,400 --> 00:44:30,839
Speaker 1: Money, yeah, more money.

892
00:44:31,680 --> 00:44:35,680
Speaker 2: So it is very hard for artists in Australia, even

893
00:44:35,719 --> 00:44:38,400
Speaker 2: if you're assigned to what is called a major label

894
00:44:38,520 --> 00:44:43,200
Speaker 2: Universal Sonia Warner, it's very hard for artists in Australia

895
00:44:43,239 --> 00:44:46,480
Speaker 2: to be able to make money from recorded music because

896
00:44:46,760 --> 00:44:52,200
Speaker 2: simply this, their music is most popular on globalized platforms

897
00:44:52,200 --> 00:44:57,440
Speaker 2: that provide scale, and it's very hard for Australian artists

898
00:44:57,440 --> 00:45:01,440
Speaker 2: to break out of Australia, so they kind of get

899
00:45:01,440 --> 00:45:04,480
Speaker 2: scar yeah. And the also, if you add to that

900
00:45:04,560 --> 00:45:08,560
Speaker 2: the fact that most Australians are listening to these globalized platforms,

901
00:45:09,000 --> 00:45:12,720
Speaker 2: the amount of Australian music that therefore people in Australia

902
00:45:12,800 --> 00:45:17,920
Speaker 2: are listening to is collapsing, is doluded. Yes, So it's that.

903
00:45:18,360 --> 00:45:21,799
Speaker 2: So that's a particularly Australian problem. It's also the same

904
00:45:21,840 --> 00:45:24,200
Speaker 2: in the UK. They would say exactly the same that

905
00:45:24,280 --> 00:45:26,920
Speaker 2: the amount of people listening to music that's from the

906
00:45:27,000 --> 00:45:30,439
Speaker 2: UK is actually significantly diminishing because of the two main

907
00:45:30,480 --> 00:45:34,719
Speaker 2: tech platforms and so therefore what is important is then

908
00:45:34,800 --> 00:45:39,360
Speaker 2: going back to that feeling, going back to you know, okay,

909
00:45:39,600 --> 00:45:42,440
Speaker 2: let's think that these artists in Australia have got to

910
00:45:42,520 --> 00:45:44,839
Speaker 2: have super fans or people who are willing to put

911
00:45:44,840 --> 00:45:47,640
Speaker 2: the money in the pocket. Therefore, we're able to be

912
00:45:47,640 --> 00:45:51,040
Speaker 2: able to create something that firstly their fans will love,

913
00:45:51,239 --> 00:45:53,160
Speaker 2: and that also though that it's going to hopefully put

914
00:45:53,160 --> 00:45:54,879
Speaker 2: a little bit of money in their pocket and cover

915
00:45:54,920 --> 00:45:57,719
Speaker 2: and cover their costs, right because again, to be able

916
00:45:57,719 --> 00:46:00,520
Speaker 2: to press final a run of two hundred, it's probably

917
00:46:00,520 --> 00:46:02,640
Speaker 2: going to cost them around three or four thousand dollars.

918
00:46:02,920 --> 00:46:06,000
Speaker 2: So what Impress does is that we front that so

919
00:46:06,040 --> 00:46:08,759
Speaker 2: that they can actually make a physical copy. Now, sometimes

920
00:46:09,200 --> 00:46:10,880
Speaker 2: we're going to make bad decisions and they're not all

921
00:46:10,920 --> 00:46:14,080
Speaker 2: going to sell, but most of the time, by working

922
00:46:14,120 --> 00:46:17,080
Speaker 2: together with the artist and or their label, we're able

923
00:46:17,120 --> 00:46:19,520
Speaker 2: to successfully sell the runout and to be able to

924
00:46:19,560 --> 00:46:21,319
Speaker 2: put a little bit of money in their pocket and

925
00:46:21,400 --> 00:46:24,239
Speaker 2: make sure that you know, they feel like they've got

926
00:46:24,280 --> 00:46:28,319
Speaker 2: something incredible that they can again show their grandchildren that's

927
00:46:28,360 --> 00:46:30,920
Speaker 2: not just a bunch of pixels on a phone, and

928
00:46:31,000 --> 00:46:32,840
Speaker 2: that it hasn't really cost them any money.

929
00:46:33,440 --> 00:46:38,719
Speaker 3: That's interesting sort of like, and I don't want to categorize,

930
00:46:38,719 --> 00:46:40,479
Speaker 3: but that's sort of how I think.

931
00:46:40,640 --> 00:46:43,400
Speaker 1: This is how I think it's most process of thinking.

932
00:46:43,760 --> 00:46:47,319
Speaker 3: It's sort of like you've created a marketplace where you're

933
00:46:47,480 --> 00:46:51,520
Speaker 3: nearly a tech business in that as much as you're

934
00:46:51,840 --> 00:46:54,440
Speaker 3: selling vinyl, you're a sort of a tech business in

935
00:46:54,880 --> 00:46:57,200
Speaker 3: that you're a tech marketplace using technology to build a

936
00:46:57,200 --> 00:47:01,560
Speaker 3: marketplace where you match artists with audiences.

937
00:47:01,840 --> 00:47:03,839
Speaker 1: Yes, and in the middle there is this.

938
00:47:04,719 --> 00:47:08,920
Speaker 3: You know, your your your go to is the record

939
00:47:08,960 --> 00:47:12,279
Speaker 3: itself and stories and it's wrapped and all that.

940
00:47:12,320 --> 00:47:12,799
Speaker 1: Sort of stuff.

941
00:47:12,840 --> 00:47:15,239
Speaker 3: But really the thing that underlies all this is a

942
00:47:15,400 --> 00:47:17,520
Speaker 3: is A is some sort of a platform.

943
00:47:17,760 --> 00:47:17,880
Speaker 2: Now.

944
00:47:17,920 --> 00:47:19,840
Speaker 3: I don't know if you do it through emails or

945
00:47:19,880 --> 00:47:22,400
Speaker 3: how you how you communicate with everybody. I don't know

946
00:47:22,400 --> 00:47:25,880
Speaker 3: what the process is, but it doesn't really matter. I

947
00:47:25,880 --> 00:47:27,239
Speaker 3: guess I can get, as you say, out and go

948
00:47:27,280 --> 00:47:28,520
Speaker 3: and do a website anyone and registered.

949
00:47:28,640 --> 00:47:31,680
Speaker 2: But it's so email obviously and yeah and e comm

950
00:47:31,719 --> 00:47:33,799
Speaker 2: But also one of the things that we decided to

951
00:47:33,800 --> 00:47:35,600
Speaker 2: do when we set up our office is that we

952
00:47:35,640 --> 00:47:37,000
Speaker 2: put a record store underneath it.

953
00:47:37,640 --> 00:47:40,080
Speaker 1: Physical yeah, actual physical record store. So you've got a

954
00:47:40,080 --> 00:47:42,160
Speaker 1: record store wall than a look oh okay down.

955
00:47:42,280 --> 00:47:44,920
Speaker 2: Yeah, come yeah, we definitely so you got.

956
00:47:45,320 --> 00:47:46,279
Speaker 1: Actually got a records do it?

957
00:47:46,440 --> 00:47:48,839
Speaker 2: Yeah, But so it's name record store, it's the same,

958
00:47:48,880 --> 00:47:51,080
Speaker 2: it's just Impressed Recording. Yeah. We're just at ninety three

959
00:47:51,120 --> 00:47:54,480
Speaker 2: Burke Street. And what we do is we also put

960
00:47:54,480 --> 00:47:58,719
Speaker 2: on gigs there. So again, like with for the artists

961
00:47:58,800 --> 00:48:01,560
Speaker 2: who are on Impress, will say okay, great, come down

962
00:48:01,640 --> 00:48:03,680
Speaker 2: on the Friday of your release, let's just do a

963
00:48:03,719 --> 00:48:06,439
Speaker 2: quick show. We'll make it for free. They can sign

964
00:48:06,480 --> 00:48:09,680
Speaker 2: the records. Just again, being able to bring people together

965
00:48:09,840 --> 00:48:12,839
Speaker 2: is really really incredible. And again, even if there's only

966
00:48:12,880 --> 00:48:16,319
Speaker 2: fifteen people in the shop, it's it's it's you know,

967
00:48:16,440 --> 00:48:19,560
Speaker 2: it feels full anyway. And again those people are going

968
00:48:19,600 --> 00:48:22,319
Speaker 2: to tell other people about what they did and la

969
00:48:22,640 --> 00:48:24,360
Speaker 2: and now we have people phone us up on Thursdays

970
00:48:24,360 --> 00:48:26,160
Speaker 2: and Fridays going what's going on tonight and we're like,

971
00:48:27,520 --> 00:48:30,480
Speaker 2: nothing tonight, but we're going to try to. So most

972
00:48:30,520 --> 00:48:32,799
Speaker 2: Thursdays and Fridays, like around six o'clock.

973
00:48:34,000 --> 00:48:36,600
Speaker 3: On your website, do you sort of put put up

974
00:48:36,600 --> 00:48:38,240
Speaker 3: on what gig's on.

975
00:48:38,400 --> 00:48:40,680
Speaker 2: So we just did Ziggy Ramo last week, which was

976
00:48:40,719 --> 00:48:44,120
Speaker 2: wonderful to launch his album. Ziggy's an amazing orator and

977
00:48:44,320 --> 00:48:46,880
Speaker 2: you know, almost a philosopher for his for his record.

978
00:48:46,920 --> 00:48:48,440
Speaker 2: It was just an honor to have him. He signed

979
00:48:48,440 --> 00:48:51,880
Speaker 2: his records. We've got another one coming up with the Stamps.

980
00:48:51,920 --> 00:48:55,000
Speaker 2: Who are these three amazing ladies from w A And yeah,

981
00:48:55,160 --> 00:48:57,480
Speaker 2: just then there's just there's one one.

982
00:48:57,320 --> 00:48:59,360
Speaker 1: Thing every week in sound like you going to join yourself.

983
00:49:00,080 --> 00:49:02,640
Speaker 2: It's a dream. I mean, it's so tiring, right being

984
00:49:02,680 --> 00:49:05,120
Speaker 2: a founder and you know, like I listened to these

985
00:49:05,120 --> 00:49:07,400
Speaker 2: podcasts and you know, so thank you, so honored to

986
00:49:07,400 --> 00:49:09,239
Speaker 2: be here because again you have all these founders on

987
00:49:09,280 --> 00:49:12,920
Speaker 2: and I listened to the Founder's Journey and yeah, I've

988
00:49:12,920 --> 00:49:15,560
Speaker 2: got a one year old as well and an eleven

989
00:49:15,600 --> 00:49:18,560
Speaker 2: year old, and you know, it's a lot and it's

990
00:49:18,560 --> 00:49:22,759
Speaker 2: a lot of time, but this is it's you know,

991
00:49:23,080 --> 00:49:25,200
Speaker 2: at Apple they used to say, you do your best

992
00:49:25,239 --> 00:49:28,640
Speaker 2: life's work here. Now unfortunately for Apple, this this is

993
00:49:28,680 --> 00:49:30,799
Speaker 2: my best life's work. This is what I was here

994
00:49:30,840 --> 00:49:33,560
Speaker 2: to do, This is why I wanted to do this.

995
00:49:34,040 --> 00:49:36,200
Speaker 2: I sat down at the age of forty five and said,

996
00:49:36,239 --> 00:49:38,320
Speaker 2: what am I going to do for the next fifteen years.

997
00:49:38,160 --> 00:49:40,680
Speaker 1: Of my life? And how am I going to accomplish it,

998
00:49:40,760 --> 00:49:41,760
Speaker 1: and would you tell yourself?

999
00:49:42,280 --> 00:49:44,239
Speaker 2: I said, I want to have a really bloody good

1000
00:49:44,280 --> 00:49:47,920
Speaker 2: shot at having a record label that is unlike any

1001
00:49:47,960 --> 00:49:50,160
Speaker 2: other record label on the planet. And that's what we're

1002
00:49:50,160 --> 00:49:51,040
Speaker 2: going to try to do here.

1003
00:49:51,320 --> 00:49:52,600
Speaker 1: How long you been doing this now?

1004
00:49:53,040 --> 00:49:56,440
Speaker 2: We founded the company this time last year and we

1005
00:49:56,480 --> 00:49:58,280
Speaker 2: really eached in November, only.

1006
00:49:58,040 --> 00:49:58,719
Speaker 1: This one last year.

1007
00:49:58,800 --> 00:50:02,279
Speaker 3: Yeah, oh my god. Yeah, well done. That's pretty cool.

1008
00:50:02,640 --> 00:50:03,440
Speaker 1: Thanks. Yeah.

1009
00:50:03,719 --> 00:50:07,760
Speaker 3: And how many people would you have in your environment then?

1010
00:50:08,120 --> 00:50:10,759
Speaker 2: Well, on the team? Yeah, in the total team, we

1011
00:50:10,880 --> 00:50:13,520
Speaker 2: have six of us and one of them is currently

1012
00:50:13,520 --> 00:50:15,600
Speaker 2: on parental leave, so it's even extra stressful.

1013
00:50:15,840 --> 00:50:16,040
Speaker 3: Wow.

1014
00:50:16,440 --> 00:50:19,120
Speaker 2: But the team are amazing. And again we have like

1015
00:50:19,160 --> 00:50:21,759
Speaker 2: a well known Sydney producer, he Man's the shop on

1016
00:50:21,840 --> 00:50:25,040
Speaker 2: Thursdays the Saturdays, and you know, we've had a couple

1017
00:50:25,040 --> 00:50:27,080
Speaker 2: of people who had literally, you know, in kind of

1018
00:50:27,080 --> 00:50:29,200
Speaker 2: classic almost rock and roll style, like they just came

1019
00:50:29,239 --> 00:50:32,000
Speaker 2: in as customers and now they don't leave. They're just

1020
00:50:32,400 --> 00:50:34,799
Speaker 2: they're just like our friends. They just help out and

1021
00:50:35,200 --> 00:50:35,520
Speaker 2: hang out.

1022
00:50:35,680 --> 00:50:37,160
Speaker 3: Let's just set up a coffee shop or a bar

1023
00:50:37,280 --> 00:50:37,640
Speaker 3: or something.

1024
00:50:38,080 --> 00:50:40,920
Speaker 2: Now, that's that's the that's the next thing. But what

1025
00:50:40,960 --> 00:50:42,879
Speaker 2: we want to do is to get the key thing

1026
00:50:42,920 --> 00:50:45,719
Speaker 2: is to get international distribution, get the scale, and then

1027
00:50:45,760 --> 00:50:49,040
Speaker 2: also like again we want to do more and more

1028
00:50:49,320 --> 00:50:52,120
Speaker 2: great records. We've got some great Australian stuff coming out.

1029
00:50:52,120 --> 00:50:55,239
Speaker 2: We've got some great stuff from the UK and from

1030
00:50:55,280 --> 00:50:58,120
Speaker 2: the US there. You know, that's interesting where people are

1031
00:50:58,160 --> 00:51:00,880
Speaker 2: coming to us from overseas and going hey, can you

1032
00:51:00,880 --> 00:51:03,040
Speaker 2: help us out in Australia And we're like yeah, sure, yeah,

1033
00:51:03,040 --> 00:51:04,120
Speaker 2: no worries, Like that's all good.

1034
00:51:04,280 --> 00:51:07,360
Speaker 3: Is there anyone overseas doing this? Like is there someone

1035
00:51:07,400 --> 00:51:09,200
Speaker 3: there's a model? Is there a model that you've seen?

1036
00:51:09,320 --> 00:51:12,600
Speaker 2: So there's a kind of model the in terms of

1037
00:51:12,680 --> 00:51:18,480
Speaker 2: the kind of club element of it. And there's a

1038
00:51:18,560 --> 00:51:23,200
Speaker 2: there's an American label called Vinyl Me Please. They do

1039
00:51:23,320 --> 00:51:27,719
Speaker 2: incredible reissues of you know, Bruce Springsteen's Nebraska and like

1040
00:51:27,760 --> 00:51:30,040
Speaker 2: all these they are amazing, right, they're all like top

1041
00:51:30,200 --> 00:51:31,040
Speaker 2: level stuff.

1042
00:51:32,880 --> 00:51:35,200
Speaker 1: But it's based level in terms of quality.

1043
00:51:35,360 --> 00:51:37,359
Speaker 2: Yeah yeah, but it's all based in America. To get

1044
00:51:37,360 --> 00:51:41,799
Speaker 2: it shipped here costs a lot to the consumer. It's hard,

1045
00:51:41,920 --> 00:51:43,680
Speaker 2: like all of that stuff is hard, right. And then

1046
00:51:43,840 --> 00:51:46,120
Speaker 2: you've got a label called Blood Records, which I really

1047
00:51:46,160 --> 00:51:49,080
Speaker 2: like in the UK where they do what we call

1048
00:51:49,200 --> 00:51:52,439
Speaker 2: this is kind of a term, but they do sub

1049
00:51:52,480 --> 00:51:57,200
Speaker 2: license issues of what in the business would call Frontline.

1050
00:51:57,280 --> 00:52:01,560
Speaker 2: So new Dua Lipa album. Blood Records do a very

1051
00:52:01,560 --> 00:52:05,560
Speaker 2: special edition of only ten thousand, and they mostly sell

1052
00:52:05,600 --> 00:52:07,759
Speaker 2: it to people in the UK and Europe. Now to

1053
00:52:08,040 --> 00:52:11,000
Speaker 2: buy that here is hard and obviously costs a lot

1054
00:52:11,040 --> 00:52:16,839
Speaker 2: more again for shipping. So for our from as far

1055
00:52:16,840 --> 00:52:18,600
Speaker 2: as we're concerned, being able to kind of create that

1056
00:52:18,680 --> 00:52:21,799
Speaker 2: model from Australia going out is that's what.

1057
00:52:21,760 --> 00:52:24,399
Speaker 3: We're which you get currency advantages, etc.

1058
00:52:25,000 --> 00:52:27,440
Speaker 2: We do get currency advantages, but it costs a lot

1059
00:52:27,480 --> 00:52:30,399
Speaker 2: more to press. And also, you know, the key thing

1060
00:52:30,400 --> 00:52:32,520
Speaker 2: with manufacturing is is that of course the cost per

1061
00:52:32,600 --> 00:52:34,600
Speaker 2: unit goes down the more you make, whereas of course

1062
00:52:34,640 --> 00:52:37,120
Speaker 2: we're making you know, very small boutique runs, so that

1063
00:52:37,200 --> 00:52:39,480
Speaker 2: our cost per unit is still way higher than anything

1064
00:52:39,520 --> 00:52:40,120
Speaker 2: in Europe.

1065
00:52:40,600 --> 00:52:43,319
Speaker 3: Well, I mean, you're you're you're going to be going

1066
00:52:43,320 --> 00:52:46,799
Speaker 3: through some teething issues and when everybody does, that's but

1067
00:52:46,840 --> 00:52:48,880
Speaker 3: that's all part of the game, that's all part of

1068
00:52:48,880 --> 00:52:50,480
Speaker 3: the plan. And the fact is you love doing what

1069
00:52:50,480 --> 00:52:53,279
Speaker 3: you're doing, and you know, music is one of the

1070
00:52:53,280 --> 00:52:55,520
Speaker 3: greatest languages that exists, as far as i'm con turn

1071
00:52:55,600 --> 00:52:59,040
Speaker 3: and anything they can bring back from my point of

1072
00:52:59,080 --> 00:53:01,640
Speaker 3: view anyway, and it's only a survey one, but can

1073
00:53:01,680 --> 00:53:04,480
Speaker 3: bring back the experience of what music used to be

1074
00:53:04,800 --> 00:53:08,520
Speaker 3: and what music more improbably what music can be. It's

1075
00:53:09,080 --> 00:53:12,120
Speaker 3: that would be in my view worth it. So Luke

1076
00:53:12,160 --> 00:53:15,400
Speaker 3: Bevan's from Impressed Recordings, so good to talk to you,

1077
00:53:15,440 --> 00:53:17,839
Speaker 3: and it's so cool to find someone else who knows

1078
00:53:17,880 --> 00:53:19,600
Speaker 3: Mario from PLA mooned.

1079
00:53:20,320 --> 00:53:20,640
Speaker 2: Thank you.

1080
00:53:21,239 --> 00:53:23,680
Speaker 1: I thought he's just an odd bod, but he's but

1081
00:53:23,760 --> 00:53:24,279
Speaker 1: he's a dude.

1082
00:53:24,280 --> 00:53:26,200
Speaker 2: He is a legend. Shout out to Mario good On.

1083
00:53:26,680 --> 00:53:27,920
Speaker 2: Thanks very much, appreciate it.