interview by Richard Johnson
Intro:
Having run one of my own modest, small labels since 1983, I steadfastly remain behind my position that what I attempt to achieve is way less important than the artists or music I wish to promote via them. I see them as a stepping stone for those artists I like to simply clamber on to in an often vain hope something better might arise for them once there, or I arrogantly see them as serving a little weight and clarity to those artists I equally admire who do not actually need them. Either way, I have to like the music and/or the artist and know, wholeheartedly, I could spend precious time with them without becoming as bored as I would with, well, most people in the so-called industry quicker than it’d take a few beers to kick in.
In this respect and possibly some others I am not at liberty to divulge here, Poland’s Bocian label operates perhaps from a somewhat slightly different perspective, although it would be fair to say that the genuine passion for music furnishes a similarity and that, in turn, all the concomitant frustrations perhaps even outweigh this. All, however, is rendered irrespective by the fact that, without doubt, Bocian’s founder, Grzegorz Tyszkiewicz, has proved his label to be one of the more interesting such labels to have emanated from Poland in recent years. Largely dedicated to an internationally flavoured mix of electronics, electroacoustic and improvisation artists, Bocian has fallen into that unenviable space whereby artistic merit and critical acclaim are not actually met by a demanding audience demanding even more. And, like many such labels, it therefore survives due to Grzegorz having to slog hard at a day job. Another recommendation, as far as I am concerned, as it is indicative of the genuine passion at work here.
Bocian, which literally means the bird “stork” in English, is a name suggesting exactly what it does. It delivers sonic babies to (hopefully) new homes in a very physical sense. Bocian, akin to my own labels and several others equally attired, remains dedicated to what currently appears to be the dying world of the physical format. A world where, say, Wolfram, Anna Zaradny, John Tilbury and Kevin Drumm can find their music captured in the equivalent of a real and tangible photo that caters to several senses rather than just, at best, one or two. It is a world I personally actively endorse and relate to, hence my utmost respect for Bocian.
interview:
Grzegorz Tyszkiewicz
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Richard Johnson:
Firstly, the obvious: you have been operating Bocian for several years now. What motivated you to start the label?
Grzegorz Tyszkiewicz:
It annoys and still bothers me when going to concerts of my favourite music where musicians must play loud so you cannot hear the nuances due to the talking of the audience. Additionally, there is this mass of information that you have stored in the mind from all those years of listening to these artists which is hard to capture in a single evening. On the other hand, I noticed that a lot of music that I liked was not published on vinyl, which is my favourite format. So, these two factors made me start a label in 2009.
What difficulties have you encountered over the years with Bocian?
The problems were and are still the same. Virtually zero interest from distributors and the fact that in order to lead this type of activity in Poland I need to have a staff of people, such as accountants and people for shipping promotional copies. There is an awful lot of red tape. Keeping a record label, in terms of the law, is no different from the big publishing houses. Polish law does not differentiate small business activity from a large one here. What’s more, as a small label you have to pay tax, even if your sales and revenue are at a minimum and do not cover the costs of running this type of business.
How receptive has the Polish market been to your releases?
In Poland, even labels larger than Bocian have problems. I think that this happens when it comes to media attention and, although there are many fans of Bocian, this not translate into sales. Because of its nature, it is difficult to assume that improvised music can gain great popularity. It is much easier with artists such as Kevin Drumm, who can come here to Poland and already have the world’s attention, as their fans and media coverage are quite large.
Many artists here have complained that they are not supported enough or treated the same way as those from the West. Do you feel that the Polish artists you’ve dealt with need the support of the West in order to survive properly? Has it sometimes seemed like a compromise to have them rubbing shoulders with artists from Western Europe and the US in order to promote them?
It is always very difficult. On the one hand, I run a Polish label, but still have to bear the costs of production that are not “Polish”, so basically I am running a European label, and it must be treated as such. On the other hand, I know all the guys here who are doing great things, but I am not a god who is able to help them all. I try to act in a way thatthrough working with a well-known artist who can make a profit I‘m also able to help something that seems less well-known,for example a Polish artist, but I very rarely manage to earn enough to a comfortably put out records by completely unknown artists. I think that one little label really does not change anything. It can sometimes deliver something or invite others, but promotion requires more money beyond the reach and capabilities of companies such as Bocian.
Having been involved in music myself for many years, I’m often disillusioned by everything, and yet simultaneously find this very same dissatisfaction empowering and motivating. I find the idea of simply giving up too easy. Do you not feel the same way?
I agree with you. I started so late. I was already older than 40 and saw how it all works, with people who burn out and feel disappointed, and basically I was ready for it. However, you have to clench your teeth tightly and just follow your path, as corny as it sounds. It’s also not anything that will end up with a happy ending. You have to count, rather, the failures, at least in a financial sense, because in an artistic one music is a great adventure and much fun.
Your label has been primarily dedicated to vinyl and CDs. What are the reasons for this? Do you like downloads?
I hate downloads, and they will not be having a part in Bocian. I refuse to be part of this circus and pretend that downloads are okay. They are not! Profit sharing is so outrageously prejudiced towards the artists that, basically, the only winners are iTunes, Amazon or other such companies. Record labels are not something on your computer. Besides, I work on a daily basis in a multinational corporation and have enough of viewing reports, tables and listening to what is cool to maximise profits. That’s a lie. I do not want to work for other corporations after hours just because music consumers will click on the computer rather than buy an LP.
I feel Poland generally has a lot of untapped energy, passion and enthusiasm in it within these music circles we are immersed in. I live in Krakow partly due to all of this enthusiasm here, with people organising shows or festivals, running labels, doing installations or starting groups, etc. It reminds me of my own background with post-punk and industrial music, etc., and the entire “DIY” mentality. It is very strong and vibrant, plus appears to be growing, don’t you agree?
A good point! The first being the music active since 1987, I can never remember such a good year for music like this. There are plenty of festivals and events, a huge energy of grassroots musicians and perhaps this is the best time for labels. Monotype, Bolt and Lado ABC, and I believe that Mathka has returned recently in a big way along with MikMusik. They are as great as the Sangoplasmo cassette label and Biedota. The media have also focused a lot of attention on all of this. Besides this, there is what I consider to be a very serious magazine, Glissando, which also focuses on all the action and is beginning to make a serious critique and evaluation of what’s happening now. It’s no longer just “fansites” which concerns underground situations. Will this be something more? Either way, I don’t think this year and maybe the next will go down in history as a great success for music.
What’s in store for Bocian during 2014?
Taking into account the financial performance of Bocian, it should cease to exist. However, I have a whole bunch of great outstanding records that probably will last for the next few years. For sure it will work closely with Sangoplasmo. I think it’s quite phenomenal. Lubomir from Sangoplasmo, despite his young age, has a strong belief in what he does, is very critical, and has a good sense of what is and what will be. Besides, I’m going to perhaps act as a kind of detonator for a music club that wants to expand the label. I hope that this game will not end in any drama and will fire the beginning of something new.
