HISTORY & BACKGROUND:
So, was there ‘a moment’, an epiphany when you realized that you absolutely were going to work in music? Along with that, if I went back and talked to your friends in high school or college/university and asked them what kind of work that you would have ended up doing, what they would they say?
I don’t think they would be surprised; I am still friends with some school friends and they are well aware of my chosen path and music obsession!
I was music tragic in primary school and would introduce the class to new releases from back in the day on cassette tape at show & tell time. I won’t claim to have had my ear to the cutting edge indie scene but my thirst for big pop hooks were satisfied with the more New Romantic pop chart stars such as Duran Duran/Thompson Twins/Spandau Ballet/Tears for Fears/ Wham/Culture Club etc. (these bands seem to retrospectively hip now due to their tunes being featured in recent movies and TV series such as Donnie Darko/Riverdale/Stranger Things).
I also recall making my own mock ups of a music magazine (Countdown) and presenting a tape of a pretend radio show for school assignments
Music and sport were my twin passions. I had no interest in actually being a musician (however my poems were set to music by Popboomerang bands on the Sunshine Ponies album) so the music industry itself became my fascination.
After graduating from university and landing a job in State Government, the idea of forming my own label and not chasing employment in the larger wider music scene seemed the right path. 19 years later and having released 100 titles as a one person label owner has been challenging but very rewarding.
Tell us a bit about the time when you decided to start your label/company – walk us through the reason d’etre for doing this crazy kind of calling.
The vision for Popboomerang started in the late 90s to celebrate my passion for the underground Australian indie scene and the first incarnation of the label was a simple blog containing my reviews and oz pop musings and it also included a pop swap shop page.
I crafted Aussie indie pop/rock CD-R’s to introduce overseas pop fans to the local Aussie pop rock acts. I had so much fun doing the swap shop and curating the mixed cd’s that I decided to legitimise everything and start the label proper. The first releases on the label were the Sarah Sarah EP (2002) and the Shake Yer Popboomerang Volume 1 compilation (2003)
I now see the label name itself as a bit daggy but it came about during a brainstorming session at a pub with early label signing Tim Reid. We came up with Popboomerang name as it tied in to the early mission statement of “discover Aussie acts, take them to the world and bring them back again”
The label name has worked well when I take an extended break between releases or threaten to wind things up! People are quick to point out “The Popboomerang will come back.”
What are some of the more difficult areas of working in the music business that most people have no idea about?
Most indie labels and musicians I know still need to work a dreaded day job to fund their creative outlets so this factor creates obvious issues in that there is less time and energy to devote to musical passions.
I personally did not rush establishing the label until I was ready to ensure the business affairs (business name/logo/tax/bookkeeping) were in order and I also spent some being informally mentored by established label owners and industry figures.
Being a one person label with no corporate financial funding has been daunting and challenging but very rewarding. The decisions, wins and mistakes fall on your own shoulders with no one else to blame!
I had big hopes and plans for the label in the early to middle period but I had to soon shift my expectations to a realistic level. Popboomerang is now more than ever a label/labour of love and I am conscious of not biting off more than I can chew financially or taking on too many projects at any one time where I may not be able to commit the time to do them all justice
As label folks doing this for a real time, we often get asked who some of our favorite artists that we have signed and worked with are. Let’s go deep, if you are willing – talk about some of them.
This is obviously the hardest question to ask a label person but fun to answer. I have fond memories of the early years of the label and the more power poppy releases (Sarah Sarah/The Finkers/The Ritchies/The Wellingtons/Adrian Whitehead etc.) and my overseas distribution partnerships with overseas labels such as Notlame (USA) /Jam Records (USA) and Wizard in Vinyl (Japan)
The resurgent Australian Power pop scene was short lived and Popboomerang soon branched out into softer melodic music with a series of critically acclaimed releases from artists like Tim Reid and Tamas Wells (both artists striking a chord in Asian markets.)
A highlight looking back was working with Angie Hart on the Frente/Spendid releases which coincided with songs on high rotation on Aussie radio and national tours and huge lines at the merch desks.
Remake Remodel were only Popboomerang band play the prestigious Big Day Out festival and attending was a thrill.
Releasing 2 albums from the Aerial Maps was also a highlight. The band crafted unique evocative storytelling spoken word styled songs (inspired by bands such as The Triffids) and captured the imagination fans and media alike. I received multiple emails from fans saying the tunes had moved them to tars.
Funny Artist or Business-related Story – Share.
Some of the stories may not be fit to print but one of the memorable moments was opening up Beat Magazine in the mid 2000’s to see a cartoon caricature of myself (chasing one of my bands down the street as they run off with the merchandise money) by legendary Melbourne figure Fred Negro in his musical “Pub” comic strip. They say you have not made it in Melbourne until you have been sketched by Fred.
What have been some of your favorite releases so far in 2019 – both on your label and in general, in any genre?
I am personally embracing streaming sites like Spotify and I make myself annual playlists for commuting to work and the 2019 one is looking epic already.
I did purchase the brilliant Weyes Blood and Hand Habits albums on vinyl this year.
What is on the docket with your plans for the rest of 2019 and going into 2020? What has you particularly excited and geek to bring into the world?
The rest of 2019 will be spent promoting the 37 song Shake Yer Popboomerang Volume 3 with live launches planned in multiple Australian states as well as continuing the work on the Blackbirds F.C. debut album Field Recordings which has just been released on CD and luscious vinyl.
There are a couple of projects in the planning for 2020 but all hush hush for now!
MUSIC FANDOM:
Was there a particular artist(s) that inspired you to work in music as a vocation? What was it about them that flowed into the marrow of your bones that changed your DNA?
R.E.M. is my favourite band of all time and the thought of maybe unearthing an Aussie band of such brilliance and quality was an early dream.
However, I really do think for me it all the amazing Aussie 80/90s indie labels and their brilliant releases that inspired me more than anything. (Summershine/Half A Cow/Waterfront/Red Eye/Phantom/Citadel)
Don’t Think About It – Just Type: 3-5 albums that you can’t imagine not ever being released because they changed your life.
R.E.M: Murmur
The Posies: Frosting On The Beater
The Go Betweens: 16 Lovers Lane
The Hummingbirds: Lovebuzz
Jellyfish: Bellybutton
Live Music: Favorite Concert Ever? First Concert/show attended? Last show you went to?
R.E.M. on the Monster tour supported by Grant Lee Buffalo and Died Pretty is perhaps my fave show of all time.
The first concert I attended was local legends Underground Lovers at University. We lived in the hills well outside Melbourne so I was never able to attend any shows before leaving high school.
The last show I attended was UK band Ride on their current Australian tour!
State of your Music Collection by Percentages of LPs/CDs/7”singles and, if applicable, cassette and 8-track tapes? Feel free to share estimated amounts, if so inclined.
40% CD albums
20% CD singles & EPS
10% 7” singles
30% 12” albums
So, embracing the streaming world – or resisting?
As a label owner, I totally embrace streaming as a piece of the marketing and retail puzzle. Especially to give the opportunity for fans to try before they buy (ideally on Bandcamp) and also for the convenience to the fans of accessing the Popboomerang catalogue anywhere/anytime on any listening device.
However I leave the decision up to each band to make the call on streaming and digital distribution and I generally keep our deals simple now and encourage them to handle their own affairs in that area.
Related to that, as a fellow music-loving geek and prognosticating a bit, what does the experience for a music-loving geek look like as you gaze into your crystal ball?
Despite the failure of Pledge Music which is bound to give fan funding a bad name. I still see bands and labels utilizing this path to engage with the fans and take the upfront financial risks out of upcoming releases.
Popboomerang successfully partnered with “Pozible” and the Popboomerang community to bring “Shake Yer Popboomerang 3” to fruition and we have been in talks with platforms like Bandcamp to introduce a more effective presale/pledge component to their model so bands and labels engage with multiple release partners.
In Australia vinyl is booming again and despite the higher production costs, it seems the bulk of fans “downunder” are most excited if you can offer a vinyl record at merch desks rather than just cds. There is still a loyal bunch of supporters for Popboomerang compact discs so I don’t foresee the death of cds anytime soon.
As it relates to music fandom, is there something you’d like to bemoan, whine or rant against – or feel encouraged or inspired by? Take the floor and write away.
I have been doing the label since the year 2000 and my memories and reflections are overwhelmingly positive. I have made mistakes but they key is not to repeat them. It is hard to replicate the successes and wins also but the key is to trust your ears but also listen to your heart and but also your head when deciding on which projects and bands and artists to work with.
I have scaled back the releases schedule over the years as family life and day job commitments take precedence.
Many exciting bands and artists on the label showed early promise and quickly imploded so I now take fewer risks on releases and only work with mature and motivated and committed musicians as a part of a team effort on a release.
More generally as music fan, for me is safer not to strive to meet my musical heroes however it has been a thrill to work with artists such as Angie Hart (Frente) Stephen Cummings (The Sports) Mick Thomas (Weddings Parties Anything) and Rob Griffiths (The Little Murders) etc. on Popboomerang releases during the life of the label.
