How Important are Grime Labels for the Future of the Genre?

Running a small, independent grime label isn’t easy by any stretch of the imagination. I started Coyote Records in April 2012, primarily because I was sat on a lot of music from producers that didn’t really have an outlet for the type of stuff they were making at the time.

I run it out of my bedroom - which now resembles a bomb site of test presses, spare records, mailers, bubble wrap and marker pens. All my free time is taken up with last-minute trips to the post office, listening to new demos, late night Facebook chat advice sessions and the general administrative side, which I wouldn’t wish on anyone. Is it worth it? Well, if you’re in it for a quick buck and some kudos, probably not. It’s bloody hard work - but equally rewarding.

I didn’t really feel like the label had a firm sense of identity until we released the heavy bass rhythms of Walter Ego’s debut record “Wavey / Military Mind” back in March last year. New music like that was starting to bubble up everywhere, but nobody knew how to classify it or what to do with it. In fact, before 2012, I’d go as far to say that the majority of labels making in-roads with grime releases now didn’t even exist. Most of us are new, and independent, and it all feeds into the DIY attitudes first perpetuated by established grime brands like Butterz and more recently Boxed - when there wasn’t a space for what they wanted to do, they made one.

The grime night Boxed serves as an excellent reference point in this case, because it’s felt like that from the start. I went to the very first one in Peckham along with about 30 other blokes clutching cans of Red Stripe, not really sure what we were letting ourselves in for, but the atmosphere that night set the tone for Boxed’s vital role in the scene. It has become the focal point of a worldwide producer/DJ network, shedding light on some incredible new talents over the last 18 months like Rabit, Bloom, Strict Face, DJ Milktray, Dark0 and MssingNo, as well as some criminally overlooked DJs too (Grandmixxer in particular). It’s safe to say that without it, we labels would be much worse off.

From an instrumental perspective, producers, DJs and labels alike have been given free license to take the music wherever they want. From the raucous, eight-bar club fare of producers like Trends, Dullah Beatz and Spooky which nods to a more traditional grime format, to the recently coined “Weightless” sub-genre championed by Mumdance (pictured below) and Logos’ Different Circles label, everything seems to be fitting into place right now.

Finding new artists for Coyote amongst all that isn’t particularly difficult - the internet has opened up the world to grime and grime to the world - but finding the right artists has been purely instinctive to me. Take Jon Deville (exclusive listen below) on “Coyote Kings” for example - I’ve not actually heard from him since so if you’re out there Jon, please holla - he sent me three tracks from somewhere in Australia, all of them absolutely mind-bendingly weird and intricate and I just thought, “fucking hell I can’t let these go to waste.” Chemist was the same, he sent me a few tunes at the back end of last year and since then I’ve wanted to sign everything. OH91 sent "Stealth" on the recommendation of Royal-T and I think I’d signed the track within 20 seconds. In fact, the only artist I’ve reached out to for a release specifically was TS7 and to be honest, I didn’t even think I’d get a reply, let alone sign a record. Five of the seven releases I've done have been debuts, but you wouldn’t know that - whether you’re releasing a veteran or a newcomer, there’s room for everyone to make their mark and be appreciated.

Before I make this whole thing sound like roses, sunshine and vinyl plants, it’s worth pointing out that the whole process of actually putting out records on an independent scale isn’t a walk in the park. I lose money on the majority of records I release and I reckon a large chunk of the other labels involved at a similar level probably do too, but releasing physically remains a priceless and necessary pursuit. For the scene, physical records are the gateway to wider exposure, the value of which can now be seen in the attention grime is getting at both underground and mainstream levels. When enough music is being released in the right way, people start to take notice. It was Elijah, label head at Butterz, who first taught me the value of releasing in that sense - when I started, it was only really Butterz who were consistently releasing grime on wax - and they made the whole process feel exciting, they energised the music. They made me want to put grime records out in the same way that Hessle Audio would put out a Pearson Sound record or the way that Hyperdub would put out a 12”.

Now, there’s so many exciting labels pushing the music in their own unique ways. Mr Mitch’s Gobstopper imprint was the first to really harness a future genius back in 2012 with Bloom, but plenty have since followed suit.

Glacial Sound only released two records in their first eighteen months, but Rabit’s “Double Dragon” and Murlo’s “Last Dance” were strong contenders for records of the year in 2013.

Then you have Tumble Audio who, prolific in their output, have carved out their own niche in the grime-bassline-funky world.

Liminal Sounds have looked global for inspiration, with Australian pair Arctic & Air Max ’97 and Berlin-based producer She’s Drunk all stepping forward with debut records from right out of left field.

While Oil Gang have kept things London and welcomed veteran Slew Dem producer JT The Goon back into the fold, teaming him up with Murlo and Dullah Beatz to produce some of 2014’s most sought after tracks.

Local Action have had a hell of a year too, putting out a debut grime album from Slackk and further EPs from newcomers Inkke, Finn and Shirekin’, as well as a forthcoming masterpiece from the mysterious Yamaneko.

And Bristol’s Sector 7 fought off competition from PMR to sign Impey’s debut record.

Labels are releasing records that just two years ago would never have been considered - and they’re all contributing to making grime difficult to ignore.

Moving forward, the music is continuing to evolve all the time. From the new-school club trax of producers like Sudanim and Neana to the de-constructed, atmospheric genius of Rabit and Logos and the revival of MC sensibilities through The Square, there seems to be an endless supply of inspiration. As long as we continue to do our bit, hopefully labels can play an important role in maintaining a strong and supportive worldwide network of like-minded artists. After all, it’s important to have a scene that everyone can be a part of.

You can follow Tomas and everything Coyote Records related on Twitter: @YesTomas

Check out all of our #GrimeWeek content here.