"Because I am not on this label or that label, which seems to be all anybody gives a sh*t about, I can't really seem to get any songs on soundtracks because of the politics involved. A record label wants to release their own artists on their soundtracks as opposed to an artist that they've never heard of and they don't really care about which I understand that from their perspective so that makes it harder for me. I'm not worried about it. I'm not making my art to earn the favor of another record label and have them put me on their soundtrack. It would be great if they want to do it but I'm not crying over it for sure if it doesn't happen."
Klayton
If someone gave me a million dollars to run a music label, I would focus on creating a specific artistic point of view, and creating some channel to build a fanbase. Warp Records was a great example of a label that had a particular style, and many people would buy records just because the artists were associated with the label.
Andrew Sega
"...I land a major record deal, complete with a huge advance of $ that helped pay off tens of thousands of dollars in debt I put myself into just for the shot at making music my full time gig. The 9/11 catastrophe hits, our economy tanks and the label pulls the plug on their whole deal. They dissolve the label but were kind enough to let me know that I needed to pay them back all the $ they had advanced."
Klayton
The "Theatre of the Absurd" has become a catch-phrase, much used and much abused. What does it stand for? And how can such a label be justified? Perhaps it will be best to attempt to answer the second question first. There is no organised movement, no school of artists, who claim the label for themselves. A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.
Yet critical concepts of this kind are useful when new modes of expression, new conventions of art arise.Martin Esslin
"...the label I was signed to at the time went into bankruptcy and there were all kinds of legal battles between the label and all of the artists, including me. That basically tied me up for a year and a half where I couldn’t release a new album or anything, and I couldn’t really continue forward as Circle of Dust. It was around then that Criss Angel had approached me to work with him on some music. At that point I decided I was going to end Circle of Dust, work with Criss and we had our own project together, Angeldust, for the next six years. From there Celldweller was the most obvious next step for me because I had changed musically over time and I wanted something completely fresh."
Klayton
"We have faith in the people who support us. If they really like us, they're going to want to be cool enough to buy our music, and realize that if they don't, the record label gets our first-born child."
Ben Moody
Klayton
Klee, Paul
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