Label profile: Dusseldorf’s Level Records

Label profile: Dusseldorf’s Level Records

17 September, 2008 | 2.15AM

• Written by: Lee Smith
• Filed under: Music News: anders ilar, label profile, level

Critics may dismiss modern minimal techno as soulless, empty music that anyone with a copy of Ableton can knock up in half an hour, but scratch beneath the surface and you’ll discover a handful of labels that care more about releasing intelligent, finely crafted music than finding the next stadium-scale mega-hit.

Daniel Fritschi’s Level Records is one such outpost, with a roster that includes such underrated but hugely talented talents as Anders Ilar [pictured], Antonelli, and a clutch of emerging fringe talents.

We caught up with Daniel to find out what makes Level work.

You’ve been putting out records since 2004. What was your concept when you started the label?

When I started the label I was a bit disappointed by the change of several formerly very much appreciated labels, who were aiming more and more for not so special club tracks, and neglecting the musically more advanced old-school minimal approach that I was interested in.

So instead of only complaining about the development, I wanted to set a statement with the label by releasing music which has not the prime objective to have the most prime time dance floor appeal, but is intended to work well in the club, same like at home.

I thought there is little need for another label aiming for the easier, bigger market with DJ-friendly club tracks, and felt the need to preserve alternatives with a very deep approach.

I find this a really important musical segment - even though many DJs seem to have a lack of understanding how much nicer it can be to play warm-up sets which slowly bring you to the more prime time sound with ups and downs, instead of playing at a prime time level during the whole night, which I find completely boring.

Has the concept or style changed over the years?

The label-concept hasn’t changed really, but my musical selection has a bit.

I’m still into clicky, deep listening stuff, and there has been some nice material which I would have liked to release, but I noted that after only one ‘calm’ release, the label often gets regarded as a solely “listening-electronica” label, so now I keep that in respect and try to find a good balance between listening and more clubbier tracks.

So for example the current release by Kaitaro features four decent club tracks, but still they share a more musical approach of other releases on Level.

But even though there might be some more releases that keep an eye on the dance floor on Level, I refuse to aim only for DJ-friendly releases.

You put a lot of time and effort into the artwork for your label. Do you think this is something that is disappearing these days?

Firstly to give them the deserved credits, all photo-artwork is made by the photographers Liza Nguyen and Nicola Roman Walbeck, I only choose the artwork and did the layout in some cases.

A basic point in my label concept was to release on vinyl with a full cover photo-artwork, because it’s logical to me to use all advantages the medium offers.

And I’m much too much of a perfectionist, so I don’t really see it as an alternative to release vinyl in standard-sleeves because of financial reasons.

Also a real cover makes a big difference when you compare the pro and cons of vinyl over digital or CDs.

I always found the size of CD-booklets way to small to really appreciate them, but when I see how many people seem to be OK with a stamp-sized cover artwork in their digital music collection it makes me really wonder.

Probably one reason is that there are rather few labels really caring for their artwork.

And I have to say it, I find it most ridiculous when solely digital releasing labels fake a vinyl label as their artwork, pretending there has been a vinyl release as well.

What have been your own personal favourite releases?

I’m happy to say that I still love every release, they all are more like small albums with their own personality, and each one works perfect in a certain context or mood.

But if I really would have to choose I’d say both releases by Anders Ilar, Organza EP and the Sworn album, as well like the Quarter Past Eleven EP by Slg.

You’re based in Dusseldorf. How is the club scene there?

Apart from the extraordinary influential illegal club (EGO) we had eight years ago where I was involved, we had hardly any clubs where we wanted to go, except for a nice, more bar-like club (Salon des Amateurs).

Sure there have been clubs that play minimal and techno, but the more interesting events always happened in off-locations and most of them have been organized by friends, or us.

Apart from clubs and parties, there has been the Opensource festival for the third time this year, which I find a valuable event.

I hope they’ll go on in future, since they have been not really lucky with the weather.

After some years without a regular base for events, and therefore rather rare events, I’m glad that we found a pretty much perfect place in a very nice cellar of an artist association.

We formed a small collective (www.particleriot.de) and we managed to hold a nice and successful series of events, often featuring artists from the label with Oliver Hacke and me as resident DJs alongside great visual artists, which helps a lot to create a very special atmosphere.

What’s next for level?

We’re about to start production of our next vinyl EP ‘Pioneers EP’ by the Russian based artists ‘Modul’.

It will be available around November/ December, first on vinyl, and a bit later digitally.

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