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QRD #74
QRD - Thanks for your interest & support
about this issue
Featured Band Interview:
Bass Player Interviews:
Tony Zanella of  +/-
Channing Azure of Alpha Cop
Eric Baldoni of Colt Vista
Jeanne Kennedy Crosby
Rob Kohler
Derek M. Poteat
Guitarist interviews:
Campbell Kneale
Antony Milton of PseudoArcana
Nevada Hill of Bludded Head
Malcolm Brickhouse
Chvad SB
Scott Endres of Make
Label Owner Interviews:
Russian Winter Records
Moving Furniture
Basses Frequences
Saxwand Records
Comic Creator Interviews:
Richard Van Ingram
Tyler Sowles
JB Sapienza
Troy Vevasis
Victor Couwenbergh
Terry Hooper
Travis Hymel
Robert Hendricks
Dirk Manning
QRD - Advertise
Silber Records
Silber Button Factory
Silber Kickstarter

Label Owner Follow-Up Interview with Sietse van Erve of Moving Furniture Records
July 2015
Moving Furniture
Name: Sietse van Erve
Label: Moving Furniture Records
City: Amsterdam, The Netherlands
Artists Roster: Zeno van den Broek, Haarvöl, Orphax, Norn, TVO, Tapage & Espoir, Jos Smolders, DNMF & many more.
Websites: www.movingfurniturerecords.comwww.movingfurniturerecords.bandcamp.com,
Original Label Owner Interview with QRD

QRD – Any major changes to the label or your general outlook on running a label since last time?

Sietse – So many things changed since the previous interview 5 years ago. MFR also had to quit because a broker went bankrupt while having our money without delivering products.  But we survived with a crowdfunding campaign.  Also MFR is now organizing shows for experimental electronic music in Amsterdam. For this there has been a collaboration with STEIM, but now it is done at other places. This might go on a (temporary) stop.

QRD – How do you feel labels are more & less useful to artists now than they were five years ago?

Sietse – Labels are still important for artists, it helps support them better.

QRD – There are a lot less record stores than their used to be.  How has that effected your model for releasing music?

Sietse – It didn’t so far.

QRD – Spotify has become an undeniable force that has reduced download sales while (allegedly) fighting piracy.  In the end what is good or bad about it for you as a label & do you embrace it?

Sietse – Of course the whole model of streaming audio is a bit fucked up, but still I use it even if it is just so people can check the music out.

QRD – Most labels are making a bit less money than they were a few years ago.  What have you done to lower expenses or find new sources of revenue?

Sietse – Honestly I am not sure if I am making more or less money. To lower expenses I have been searching for a good though not expensive CD presser.

QRD – What social networks are you active on & what ones aren’t worth the time & energy to you?

Sietse – Facebook, Twitter, Google+, ELLO, Instagram. I am mostly active on FB trying to communicate with the followers.

QRD – With the rise of social networks & trusted download shops, has your own website become less important than it was a few years ago?

Sietse – Having your own site is still important, but of course it is much easier to reach people with social media & a shop such as Bandcamp.

QRD – Do you think fan funding (e.g. Kickstarter) is the future, a fad, or an awful thing for the music industry?

Sietse – It can help; as I already said, it helped me getting funding for releasing an album after someone else went bankrupt while having my money.

QRD – What’s something you leave up to bands to do rather than handling as a label?

Sietse – I try to do as much as possible together. Design for artwork is up to the musician to start with though.

QRD – Do you see albums, EPs, or singles more relevant than a few years ago or pretty much in the same place?

Sietse – I don’t do singles, but albums & EPs are to me just as relevant. I don’t see them any differently.

QRD – Do you have separate release dates for different formats (CD, vinyl, digital download, streaming)?

Sietse – I don’t think about that at all. I can’t be bothered.

QRD – Anything else?

Sietse – I think it is important for labels, distributors, & webshops involved with the experimental electronic music scene to start getting their head out of their ass & start focusing more on younger talent. They are all too much playing it on the safe side not giving young talent & unknown musicians a chance. While quite often they are much better than already renowned musicians.  With MFR, we try to find a balance in this, with a slight focus to the unknown talent.  But of course a big part is also in the listener. Step into the deep & go check what’s new.