We spoke to Jordanne Chant and Cody Munroe Moore about the highs and lows of captaining the Dinosaur City Records ship.
Anyone who has seen shows and movies like 24-Hour Party People and Vinyl will have seen the (mostly) glamorous and exciting sides of running a record label: The wild partying, the huge deals, the eccentric artists and of course, the amazing music. However, managing an indie label in the real world and the current musical climate is nothing like that, except for the music that is.
You may not have heard of Dinosaur City Records, but you’ve probably heard of some of the acts the label works with including Phanosland, Sunscreen, Big White, Spike Vincent and No Local. They have been flying the flag for alternative artists since their humble inception a few years back, and have built a reputation as the outfit with their finger on the pulse of Sydney’s strengthening music scene.
While there is no singular musical style or genre to the artists on DCR, there is undoubtedly traits that Cody and Jordanne are attracted to. Shades of post punk, synth pop and new wave are sprinkled throughout their roster, though it remains broad enough that you could imagine Rowland S. Howard, David Byrne and Bruce Springsteen bumping into each other in the hallway of their office (if they had one).
Taking on all tasks that larger labels assign singularly to full time workers, it’s a job that requires not only dedication but passion. Doing the fun stuff like going to gigs and festivals is easy, but there’s a certain level of devotion you need to have to spend your free time doing the boring laborious press releases, gig scheduling and so on.
Organising DCR’s upcoming mixtape whilst arranging their schedule at the world’s biggest industry showcase – South By Southwest in Texas – has meant there’s been a little extra chaos at DCR of late. Though, despite times where you are swamped with a range of delicate chores and the constant responsibility of having musician’s careers in your hands, travelling across the globe to support their favourite artists and discover new talents is a perk that many of us would envy.
Don’t just take our word for it, check out our interview with Cody and Jordanne below, and keep an eye out for DCR’s third mixtape which is due out in May, and will feature tunes from E4444E, Solo Career (Body Type), Monika Sottile (Sweater Curse), Mezko, Nasho, Hugh H Hominid, Sunscreen, Real Love and more.
So tell us about how Dinosaur City began?
C: I suppose it began when (my band) Big White went over to the States a few years back. We met a lot of people that were doing really great things in the music industry, but it was different to here in Australia. They hadn’t interned, been to conferences etc, at least initially. They’d just worked together with friends, creating something they enjoyed, which in turn led to bigger things.
Is it just you two at the label?
J: Cody started the label with a couple of others, but in the past year it’s been just the two of us running everything. I do consider the artists we work with just as much a part of the label, though…
C: It is, but in saying that, we have a lot of great supportive friends who are always there to have a chat about different states of affairs.
What was the driving reason behind starting that label?
C: It is to promote and acknowledge the artists we work with, and ensure they’re content. Artists including myself often feel that their works once ‘released’ they’re lost into the abyss of the digital dark age, as the internet can resemble an echo chamber. The aim is to bring these artists that we see, hear and live around, to one place, have fun, and build a group where we can enjoy each other’s company and criticism.
What’s the story behind the name?
C: The name came from a Big White song, which made it onto our first album Teenage Dreams.
Running a label seems like it would be a huge job, do you find it to manage with work/social commitments at the time?
J: Right now we’re probably busier than ever, with both of us going to the States in a week, Cody to play SXSW and me, for a holiday… before we leave, we’ve gotta finalise our next release (DCR Mixtape #3) which means chasing up artists for tracks, getting all tracks mastered, organising artwork, press stuff, booking a launch party… and we have two shows this weekend on top of that. Regarding time management, we get to see friends at shows, and a lot of the music we’ve released has been made by those we call friends, so it’s fine!
C: If you ever find yourself playing in bands or going to regular shows, you’ll agree that becomes your social life. I suppose this is the same. I’m glad that it’s not all we do. I don’t mind a round of tennis.
How are the different jobs within the label allocated?
J: Until late 2016, I was only really designing posters for the label. Phanosland’s debut EP For the Lovers was the first release I helped set up. Now I do everything from A&R to setting up releases, writing/editing press releases, PR, booking events and so on. Cody and I share most roles pretty equally, though Cody does all the radio servicing, and I still do all the design stuff.
C: Sometimes it seems like that game where all the snake’s heads come out of the ground and you hit them with a hammer. Lately we share the hammer, so whoever’s there at the time gets the shot.
J: Cody’s job is also talking in metaphors.
Has owning a label affected the way you watch bands at gigs? Do you find yourselves looking at bands through the gaze of punters? Or of label owners? Or both?
J: I can’t say anything’s changed!
C: No I don’t think so, we put our own time and effort into each release and that decision doesn’t happen from just watching an artist you enjoy once or twice. It comes from talking things out over a long period of time. I wouldn’t try and rush that by changing anything too soon.
What’s the most difficult part of running the label? Do you have to reject people? Is it hard to manage artists expectations?
J: This is the most difficult question to answer…. We can’t release every artist that approaches us, otherwise there’d be no point in us running a label I guess. You need to have a niche. As for artist management, it’s easy most of the time…
C: It is difficult, but everyone is human and mostly the problems we have to overcome are just that: Human; we all have fears and worries, hopes and dreams.
Has running the label ever affected your relationships with each other/friends in bands/artists on the label?
J: I became great friends with Phanos of Phanosland, following the release of his debut, which is cool! We were only acquainted through friends prior.
C: Of course, we wouldn’t be here today if it hadn’t. I think that’s one of the more interesting parts of it. It is the least public part but also the most pragmatic. Every friend is different, just like every artist.
The Dinosaur City roster certainly has its own flavour, with Sydney artists like Spike Vincent, Jacky & The Wunderz and Sunscreen that (generally speaking) are influenced largely by post punk, garage and 80s new wave. Is there a certain style you guys look for when you are scouting bands? Are you naturally drawn to this style?
J: Personally, I don’t look for a certain style, though we do seem to gravitate towards artists of the genres you mentioned – or maybe they gravitate towards us. Mostly, I just want to release music that’s good, whether it’s rock, pop, new wave or whatever.
C: I am completely open about the music we want to release, it is usually the media that put their spin on where they think it came from. I’ll just keep putting out music we like and let them do it.
What do you think of the Sydney live music scene at the moment? Has it changed since you started Dinosaur City?
C: Sydney is constantly fighting against itself, mostly from the top down. I’m glad this city sometimes doesn’t like us. It’s changed for me, as friends who didn’t play music are now writing amazing songs, just by being here around other people who help and talk the process through.
J: Yeah, I agree. I’ve also seen a rise in the number of bands with female and LGBTIQ+ members making and recording music since I first moved to Sydney seven or so years ago. I think, similarly to Cody’s response, even more will in the near future for the very same reason.
What is the process when you sign an artist? From seeing them perform to them putting music out on Dinosaur City? What do you do for them?
J: It’s different every time, and I guess Cody and I both have our own ways of approaching artists. A lot of the artist’s whose music we’ve released so far have been friends, or friends of friends… so they’re easy to approach. If an artist likes the idea of us releasing their music, we create a timeline, and from that, work on getting all the assets together. Once everything’s ready, we work on getting press around the release, getting a premiere, organising interviews etc, plus we pitch to digital streaming services like Apple and Spotify, organise physical distribution, service to radio, help book shows around the release and so on.
How do you mostly release music on the label? Tape/record/vinyl/digital? How do you monetise these avenues?
J: Everything we release, we put out on tape. Everything is also available digitally on Spotify, iTunes etc. We’ve released a couple of things on vinyl – namely Cody’s self-funded debut and a 7” of Phanosland’s – I’d love to release more on vinyl, but it’s not cheap…
Your Christmas mixtape attracted some cool artists and great tunes, what was your motivation behind doing a Christmas tape?
C: Looking back on it, I had some grand idea of what it meant to me, but Christmas is over now. I’ve lost the cheer. You’ll have to wait until next year and you can ask me again.
What things have you accomplished at Dinosaur City that you are most proud of?
J: We recently signed a distribution deal with Inertia. Inertia work with some of my favourite labels including Chapter Music, Rice is Nice, 4AD, Rough Trade and Sub Pop… it’s a pretty cool thing to be a part of.
C: I think the thing I’m most proud of is seeing people happy that there is a world of care out there. Even if a song doesn’t make it to Number #1, someone out there is going to like it. To make artists that produce and people that receive both be happy, is a nice thing.
J: Yeah, if the artists, and our friends and family are proud, then I’m proud.
What motivates you to keep going with the label?
J: We’re surrounded by so many talented, creative musicians. The fact that they trust us to release their music, and value what we do for them, is enough to keep me going I think…
Is the label successful? How do you measure the success of the label?
J: Aside from DCR Mixtape #1, it’s only been a year since our first official release, Phanosland’s For the Lovers EP. I am proud of what we’ve achieved so far considering. We’ve learned so much in the last twelve months, and with each release, we do better. I think as long as we continue to progress, that’s success.
C: I’m still not sure how to measure it. The measure is something you work on over time. There are polls and charts, playlists and festivals, punters and industry all out to gauge success, but I think success is about enjoying what your doing and doing it as right as you can.
J: Yeah, I agree…
A worthy first “official release” from renaissance man Phanosland.
What are you excited about in 2018?
J: Our friend Charles of Greenwave Beth (and Flowertruck) just agreed to us releasing his debut EP. Greenwave Beth is one of my favourite live acts, and the recordings are incredible. So incredible! I also look forward to sharing our next mixtape, which is due out in April.
If the label was your full time job, what sort of things would you aspire to achieve with the extra time you could spend on it?
J: I work full-time, so currently I use my lunch breaks/evenings/weekends to work on the label/releases. If the label was my full-time job, I’d keep doing what I’m doing, but do even more of it, I guess, which would probably lead to more regular releases, ‘coz there’d be more capacity… Would probably attend and book more shows locally and interstate too…
C: It is my full-time job. Hahaha.
