A record label can represent many things – a unique aesthetic, a specific scene / sound, or even the taste of a single person – but rarely blends the three together with a consistent stamp of the same quality as a sacral bone. Founded in 2008 by Caleb Bratten as a tube for publishing records by his friends, it was primarily known for its work in the DIY, indie, post-punk and goth world but since then it reissues books, niche genres, movie scores and really offbeat.
Recent releases of Brooklyn clothing include the Louisiana Sludge Metal Act. YouOf 2018 LP Magas, The The soundtrack of the Oscar winner Parasites, An album by the director David Lynch, And Death GarsonOf Mother Earth’s Plantaceae, A mug-synth record made in the M0s that is specifically for listening to plants and distributed at Los Angeles nurseries. Yet no matter how much each release changes from the next, one thing remains the same – the level of artistic excellence.
In the beginning
Breton, surprisingly, grew up as a music lover, surrounded by a Denver store record owned by Twist & Shout, a friend’s family. His early years were spent begging the store staff to borrow cassettes so he could dub the copies for himself, requests that eventually became unnecessary when he was hired to work there. “The people there will turn us into crazy things,” Bratten recalls. “We were among the metal heads, really Metallica, Guns N Roses, And many other things that are much more lame. I remember one day they suggested Self-titled nude city record. It completely blew my mind –What is it? Thrash-jazz? It opened me up to all sorts of things at a young age.
The final move in New York City resulted in a job for the honorees Academy Records In Williamsburg, Brooklyn, whose basement was home to the two of them Norton Records, Which is dedicated to garage and rockabilly releases and the British small march company Horror-Film Market. There, Britain came up with an idea for a label as a way to reproduce the vein of a highly influential person. Death by death A series of punk and hardcore obscurity. But, in 2007, when his friends in the post-punk band The victim They were looking for a home for their “1000 Nights” 7, he wanted to change his plans. “I thought to myself, I bet I know enough people to sell this record. I also got a website! It took about five years to sell them, “said Bracken.
Bones by Caleb Braaten, photo courtesy
Although Hunt eventually went through all 500 units of vinyl singles at their merchandise tables and consignment stores around New York City, the second release of Sacred Bonus, Empty dog‘2007 EP Diana (The Herald), It was the first taste of success. “It sold three presses, but it was only one EP. That year, [frontman and Captured Tracks founder] Mike Sniper pulls out two EPs and three 7 ”shots, just lots of things, so it didn’t really feel like a sacred bone thing. It really was Jola Jesus Which took everything to the next level. ”
After stumbling upon her dark electronic songs on Breton MySpace and orbiting Sacred Bones, Jola Jesus-then-college-student Nika Rosa Danilova’s stage name এক a pair of 2009 LPs waves made waves with the compilation album New Amsterdam And The Spoils. Thanks for that record and the extensive attention to its 2010 EP Stridulum, Sacred Bones had plenty of press attention, worldwide distribution, and, ultimately, employee recruitment. Like successful work The people, Amen Dunes, Mental illness, TR / ST, Marisa Nadler, Moon Duo, Lust for youth, Pharmacon, And Blank mass It soon blossomed in its shadow, gaining critical acclaim and a humorous audience record.
In a short time, Sacred Bones moved from a business based on friendship to an indie powerhouse, where the 2010 release was comparable to the one on Yarrach Records in the late 80’s and Raukus The You were familiar with the artist in the 90’s, You knew it would be worth checking out. It further helped that many of its early revelations had a signature look that fans could recognize. Braaten and designer David Correll, who still play a key role in the company, decided to use a scattered layout that uses the same font for all its artists, and the Sacred Bones triangle logo appears mainly in the upper left corner.
“We wanted the label to have a voice – if you see a record on that label, you’ll know it right away,” Bretten recalled. “The aesthetics came from Factory Records, on which we were huge. [Their art director] Peter Saville is our number one hero that we have a deep love for him – but it also comes from library records: blue notes, Deutsche gramophones and other dollar-bin classical records. It’s the kind of uniformity we like. ”
Although Sacred Bone focused his efforts on the development of young people, it also managed to hold on to some of the major names, such as horror pioneers. John Carpenter And honored Twin Picks Author David Lynch. “I have prepared a package to send [Lynch]. It was basically SB that there was a copy of every version of each record, a pretty big box, ”Bretten recalls. “A friend of mine was working for David and I personally felt comfortable enough to give it up. [We met] And I introduced the idea of reissue Eraserhead Soundtrack. Lynch Sacred has released two more albums through 201’s Blues Big dream And a 2014 reprint of his “Sound Collage” The air is burning.
Carpenter’s involvement with Sacred Bone, meanwhile, came as a result of his friendship with Lynch. The attorneys who shared the directors asked Breton if he had any idea for this Halloween Mastermind, who famously came up with an influential keyboard theme song from a movie, was on an upcoming project, so Breton asked Carpenter if he had an archive of unused music from his previous sessions. “He didn’t say but suggested he was singing while playing video games with his son,” Bretten said. “I was curious, so he sent me a CD of a bunch of music, which was done. [2015’s] Lost theme. Making bootleg after so long [horror] Tees and patches in the early days, it’s a kind of felt full circle.
Photo by Moon Duo, Jasmine Pasquil
Jumps to the front
Braaten is not doing it alone. In 2013, Brad Sanders joined Secretly Bonus as his label manager after working towards distribution to Secretly Group. During his tenure, Sanders has helped expand the book section with Carrie Schaff, project manager and head of publications, publishing more than a dozen titles, including works by respected metallic photographer Peter Beste and artists Sam Riser and Alexander Herre. He has also turned into an A&R role, helping to expand the genre of the Sacred genre and reach audiences with heavy rock band signatures. You And Uniform.
“The first metal-adjacent band was in uniform, and it was a group decision based on their live show and previous recordings. That said, ‘How can we push it? What can we do about heavy music?'” Sanders said. “Your signature comes from my relationship with the band and their love for the label. Both, as well Body, See themselves as coming from a different scene as far as forward thinking heavy music. It’s something we really want to do a part of what we do. There is some simplification among their listeners and fans that simp can be considered as ‘our music’.
Brad Sanders, photo courtesy Bone
And when fresh signatures like the Belarusian post-punk band Molchat Doma And the extra rare material from artists like electronic pioneer Mort Garson is a big part of Sacred Bone’s growth, it’s the ability to nurture the label’s talent that is critical to its sustainable success. Just look at the active roster, filled with artists who have been stuck with Breton and the team since the initial signing: The people, Falaxoid, Gary fights, Moon Duo, And Pharmacon Everyone has released early career albums with Sacred Bones and released a new LP with it last year.
Braaten has qualities that continue to be loyal to the environment and in Sacred Bones he has built up honest business principles. “I want to think we’re fair and people know we’re not going to tear them down,” he says. “We work hard and do our best to create a family environment.” Sanders agrees: “[Sacred Bones was] In the early days Brooklyn was very much associated with DIY, but I think now we see it as a cross-view / genre / medium curator that didn’t spoil that DIY policy. Being able to do it both ways is something that means a lot to us. ”