Ben Cook is rarely the only musician to have multiple bands running together, but in his case, he’s not just multitasking – he’s living in multiple parallel universes at the same time. In the late nineties, when he was a teenager, he emerged as the lead screaming There is no warning, Who earned Godhead status on the East Coast hardcore circuit before breaking up in 2005 and reformed almost a decade later. In the meantime, he joins fellow Toronto crews Fucked up As a third guitarist to accelerate the transition from their rival punk to rock-opera conceptualists. And throughout, he has followed all kinds of emotion projects – Great darlings, Beaters, Yacht Club, And, currently, Young Guv-For showcasing his indomitable talent as a power-pop artist.
In his two-decade career, Cook has ranged from the smallest micro-indies to hip-hop-like capture tracks for Warner Bros. (whose Linkin Park-Extended assistant, machine shop, does not take any precautions for a short period). Cook’s experience at all levels of the music-biz ladder inspired him to launch his short-term label operation, Bad Actors, to cherish Canadian contemporary activities. American girls And Homeshake. But for his latest Young Gove release – last August GUV I And its October sequel, GUV II– He landed with Boston’s Run for Cover Records, where he felt at home on an eclectic roster that was an indie-pop favorite. Turnover And post hardcore events Anger. From his current home in Brooklyn, Cook offers his perspective on the ideal arrangement between artist and label.
Spotify for Artists: In 2004, your band No Warning was signed with Warner Bros. and since then, you have been working with all kinds of small labels for your various projects. How was that experience for you?
Ben Cook: I think joining Fucked Up has opened my eyes a lot. I had a real appreciation for that band and how their music was handled খুব very independently and very easily. It really changed the way I looked at things, and clearly reminded me that there is still a DIY culture and still a lot of people are willing to do these labels for fun. At the time, I really wanted to do as much as possible because it felt good to be able to publish these records on my own – you know, create art and no one has questions about it. Getting a label-to-inch package was a really good feeling এটি it’s like, “Here’s this physical item that’s probably going to be lost one day without a dollar.” It was a cool feeling to me. It’s still there.
You had your own label, Bad Actor, for a few years. But with Young Gove, you decided to work with other labels instead of publishing the music yourself – why?
With a single project, sometimes it’s hard to get up and want to be super-2 // be with it, because you don’t have a band member. If I was in a band, and there were four more members around me who could basically work as a label, I wouldn’t be searching for a label. But Young Gove is just me, I wanted to work with a label that was very handy and who wanted to be creative about how to get rid of shit আপনি you know, the idea would work almost like any other band member and would actually come to me. Also, if a label comes up a little in advance it works even though my best friends can do a lot for me and on the contrary, I pay everyone I work with.
Why is Run for Cover the ideal label for you now?
I made a 20-song album, and after moving to Brooklyn I was only on the label Run for Cover. I liked that they had mixed bags of such low-key artists, but they had turnover and Citizens, So they know what they are doing. I said, “This is my 20-song album, I want you to bring it out.” And they were like, “Hmmm … I’m not sure that releasing 20 songs at once is the best move.” So they came up with the idea of splitting it into two albums. It wasn’t my idea, but it’s not like a fucked up album where there’s a conceptual story and splitting it up would ruin it.
So I didn’t oppose it at all, and I was shocked that they took enough care to make a plan and it became a really great way to express things. So instead of releasing an album and serving a streaming DSP with three units, I was able to split the album and go to Spotify with six units spread across two records. I’ve been releasing music since May, and it’s almost November, and I’m still in this campaign. So [the two-album strategy] It’s definitely a way to breastfeed and post more content and do more on social media. But then again, I’m not really going in that direction – I’m glad I was able to make more shit.
– Stuart Berman