By José Gandue @Gandour
It's a shame, but not enough musical information reaches Latin America from Spain. In some cases, What we hear on this side of the world from what's produced on the other side of the pond contains traditional sounds or classic pop stars. In more seasoned circles, there is knowledge of Basque-origin punk and of what was lucky enough to reach our ears through what was ridiculously labeled a few decades ago as "rock in Spanish," as if that in itself spoke of a unique and limited sound. Contemporary Iberian rock has had little luck in these parts, and we miss out on a lot because of these circumstances., especially if it's material released by self-managed and independent labels. That's why we're delighted by the visit from the representatives of Subterfuge Records, who are visiting Colombia to take advantage of the opportunity to exchange information at the music fair Circular, to be held in Medellín, in the first week of November.
This company, created in 1989, Initially as a fanzine closely linked to underground culture, and shortly afterwards as a record label, has released over 1000 references and over 5000 songs, of artists like Dover, Australian Blonde, Fangoria, Sexy Sadie, and more recently Whale, Joe the Queen and one of the most successful projects of the moment in Spain, Long live Sweden, Among other things, Subterfuge has also produced documentaries, worked on advertising productions, and contributed to film soundtracks. In 2009, they expanded the company's concept by creating Subterfuge Events, where they handle booking, management, and strategic marketing., and they are dedicated to the organization and production of their own events and those for third parties.
We took advantage of his stay in Bogotá to contact Carlos Galán, creator and general director of the label, to talk about the current state of Subterfuge., his opinion on the changes in the music industry and the way he sees what is happening in Latin America:
What does it mean to be independent in today's music market?
To be able to decide each of your steps. To depend on no one but your own intuition. To develop artistic careers without the pressure of results.
Where is the underground scene right now?
It's the most honest proposal because it's the one that remains the same in terms of values, expectations, ways of working... the business has changed a lot, but the spirit remains the same. The mainstream has undergone many more changes; it was a business based exclusively on money, and that has completely diminished.
For people who don't know your label, how would you describe it, now that it's 2017 and all these years have passed since its creation?
A company that started as a fanzine, a hobby alongside my studies, that one day unconsciously became a business. From a young age, I was passionate about music and records, so being able to dedicate myself to this is, among other things, a dream come true.
Has the discourse changed over time?
Of course, it has matured. Ultimately, this type of business runs parallel to the lives of the people who run it. The discourse changes, it evolves. I think what remains, and is even reinforced, is the spirit, the clear commitment to what you do and want to do.
How did you experience the shift to digital? How does your company feel about platforms like Spotify, Deezer, and iTunes? Do you feel this change has worked for or against Subterfuge?
Well, at first I was terrified. Like I said, Subterfuge is a part of my life, and I've always been passionate about the CD format, so having to accept this has been difficult. But it's done now, it's a reality, and if there's light at the end of the tunnel, it's called streaming, whether we like it or not.
What do you look for in a music proposal before signing it?
First, I need to be musically fulfilled, and then there needs to be a clear spirit of collaboration. I like to think that a company adds to what the band or artist is doing. Their own drive is what generates the rhythm and inspiration.
Who has been the most successful artist on your label and why do you think that success occurred?
If there was one clear success, it was Dover, with 700,000 copies sold… Many factors contributed, but it can be summed up as «being in the right place at the right time.» Basically, it was what people wanted and were looking for at that moment. It also coincided with the company's maturation.
Do you feel there were instances of mistakes in your selection of artists?
Of course. Many. Either because they didn't connect with the public, or because their proposal wasn't really good, and also because then, behind the songs, there was absolutely nothing.
Let's talk about Latin America. You've come to Colombia to be at Circulart, what is your particular interest in this trip?
I want to learn firsthand what's happening here. I'd like to develop projects here, but I'd also like to bring proposals to Spain and build a bridge for exchange and communication.
Why do you think the current Spanish music scene isn't as well-known as it should be on this side of the world?
I suppose it's because of the distance, the time difference, and maybe because we think we're more European than we are... But hey, I'm sure this is starting to change!
Finally, what kind of artists and sound are you looking for around here?
We are a very eclectic label, but without a doubt, a minimalist approach, in the sense of few components, makes it easier to bring them to Spain, so electronics is among our objectives.
