When 9128.live launched two years ago, I envisioned a simple outcome - a place for me (selfishly) to tune in to music that I knew I would love, at any moment, be it at my computer, car or kitchen. If anyone else enjoyed it, that would be a brilliant bonus, but I had no idea it would end up where it is today; a little corner of the internet for some like-minded friends to collectively listen together, and present music (during a tough two years which undoubtedly helped us come together). And now a fledgling record label.
“The 9128 label aims to document significant live performances by artists that previously debuted on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for a greater audience across various formats that best suit each release.”
This weekend we launched our very first release by the brilliant Jo Johnson & Hilary Robinson, with a live recording originally aired for the Calma takeover in April 2021. It’s a spectacular piece of music that progresses through simple, expressive movements revolving around Jo’s synthesizer manipulation and Hilary’s piano. The album is now available on (the new 9128.live) Bandcamp.
Photo by Emile Facey
It was organic in evolution, seeing artists prepare spectacular live sets specifically for airing on the platform. And so it was inevitable I would find my nature wanting to present some of this music to the world once more, be it on ASIP or otherwise. So, taking inspiration from concepts like the legendary John Peel Sessions, or the WXAXRXP collection, I decided to create something similar, where otherwise lost or archived live recordings are once more presented to the world as part of a greater curatorial, and the physical (or digital) formats they deserve.
In contrast to the (now big sister!) A Strangely Isolated Place label, I wanted something which didn’t obsess over the extended storytelling around the release too much. There’s no right or wrong way to present the music you personally believe in, but for 9128.live it really is about the moment, and re-presenting/documenting it. To me, it’s less about portraying a greater concept or narrative, especially as artists often don’t turn up to play live with a title or concept in mind. some are just jamming out! Therefore, the artwork for the 9128.label will remain generic with a simple and minimal approach similar to the main 9128 site. It remains to be seen what may deviate or develop over time, but I will likely keep vinyl as black and other things simple in presentation. We will not be strict in format approach and will choose a format that best suits each release, be it digital, vinyl, tape or CD. (This is also, as much for respect to the current vinyl situation too, which is clogging up the world and the ASIP label pipeline).
Musically, we already have some amazing releases lined up that look back across two years of takeovers. Not to give too much away right now, but the very first live performance on the platform will make up release #2 (and is off at press), and some unexpected deviations in style from familiar artists will be presented. This is an element I am particularly excited about; being an outlet for artists to present one-off works that they might not feel comfortable adding as part of their regular output or having the freedom to be more experimental (because it was a one-off live recording and not a new alias or something that needs overthinking).
As a result of this approach, the label will not adhere to any specific musical genres - just performances that have appeared on 9128.live before (of course, the curation for the takeovers is often contained, so naturally, there will be a focus). And due to the often extended nature of the live recordings, many will likely not be found on streaming services that cannot accommodate such.
Also not forgetting that we have a simple subscription as part of 9128.live which has enabled us to pay fees to artists to re-upload their sets for an exclusive period. For now, I see this as being pivotal to how 9128.live will continue to evolve, as we are able to present more extensive recordings to subscribers that may also include DJ sets and recordings with previously released/exclusive material. Going forward 9128 subscribers will get a discount on the label, should you wish to join and help support us and the artists this way. The label will focus on all-new material for a greater audience.
On hindsight, the 9128.live label evolution was a similar intention to how ASIP originally began; a simple intention to capture music I enjoyed, a place to revisit time and time again to document my listening adventures. And where both started out as small (maybe self-serving!) ideas, both seem to have grown to appeal to a greater audience, which I am extremely thankful for. Especially to the artists who believe in these new ventures enough to trust me with their music and present it to the world.
A big thanks to Jo Johnson, Hilary Robinson, Rafael Anton Irisarri and Molly Smith who have helped get the 9128 label off and running.
