And… here’s the fifth installment in the BLURT series in which we profile cool independent record labels. What are the criteria for inclusion in the “cool” category? Hey, ’cos we say they are cool, that’s what! We’re making the rules around here, kids. Keep your eyes peeled for the next installment, coming soon, and meanwhile, go HERE for entry #1 (Slumberland Records), HERE for #2 (12XU), HERE for #3 (Saint Marie), HERE for #4 (Trouble In Mind), HERE for #5 (Fort Lowell), and HERE for #6 (Chunklet). (Below: 2008 photo of the staff; go HERE to read the Detour magazine article it originally appeared in.)
BY TIM HINELY
When did the label form/ what was your original inspiration?
August, 1993 when I received a DAT tape master from Grifters. “Holmes” b/w “Junkie Blood” with cover art by Grifter, Trip Lamkins. I absolutely loved this band. Still do. I asked to do a 7″ single because they were unique and strong enough to stand apart. The single was released October, 1993. I’d intended to do my own label since 1985 (age 22) when a friend who worked at Virgin said, “Y’know what you should do? You love music so much. You should work in the music business.” A light bulb literally went on at that moment. Like duh. Of course. Before that it may have occurred to me abstractly but it was her suggestion that literally set me in motion. I just wanted to learn as many aspects of the business as I could first. So, I was the Energizer Bunny on the path then. KUSF, I-Beam, BMG, RCA, Geffen then Darla. I have always had my head immersed music and surfing. When I was 13 I’d skateboard around Laguna Beach garage sales on Saturday morning, buy records for .10 cent to .25 cents, then skate with an armload downtown to The Record Shed and trade in or sell (what I didn’t want to keep) for $1.00 or more. I started building my collection then and learning. On day the owner, Sam, asked me if I knew how to make change and left me with the cash register drawer open because we didn’t have time to learn me how to work it and split for lunch for more than a half hour. I worked for Sam at The Record Shed on weekends that Summer. What I do now is a natural extension of that first start. I should have been a professional surfer though!
Who designed your logo? Do you only have one?
I did it myself – freehand with pen and ink. Appropriation was big in the early 90s y’know. The primary Darla logo has elements of two classic American labels from the golden age of stereo, lovingly appropriated. The spiky frame is from the Jubilee Records logo. The D is from the Dot Records logo. There’s a secondary logo, which we haven’t used as much in the past 10 years – the Darla girl in the little black dress dancing on a record. She’s appropriated from the Hula Records logo where she has on a grass skirt, lei and hibiscus. I just changed her clothes. I love classic record label logos.
What was your first release?
Grifters – “Holmes” b/w “Junkie Blood” 7″ (Darla: DRL001).
Were there any label(s) that inspired you to want to release records?
Oh yes. So, many. Capitol, RCA, Editions EG, Rough Trade, Beggars Banquet, 4AD, Factory, Creation, KLF Communications, Touch & Go, Sub Pop, Merge, Matador, TeenBeat, Simple Machines, Kranky, SST, Dangerhouse, Posh Boy, Frontier, Slash, Alternative Tentacles, GNP Crescendo. Endless list y’know.
If there is one band, current or present, you could release a record by who
would it be?
Neil Young. I’d love to work for soul daddy. The Beatles and Neil Young are my top two all-time favorites. Fela Kuti if he were still with us.
What has been your best seller to date?
My Morning Jacket – At Dawn (Darla: DRL111) by miles, however, Darla does have a strong, active catalog of over 300 titles now.
Are you a recording/touring musician yourself, and if so, do you use your
label as an outlet for getting your stuff out to the public?
No, however, I do have a concept album in mind to make one day…
Does your label use and/or have a presence on any of the social media sites?
Oh yes. Every day. Required now y’know.
Is the Southern California/San Diego music community supportive of the
Yes. Amoeba is good about stocking titles! Our #1 distribution partner AEC is in Irvine and they seriously are the best ever. Whenever I meet local music people they share stories about their favorite releases on the label & etc., however, we’ve always looked globally more than locally. We didn’t emerge with a roster of local talent exclusively. We are supported locally but California-wide as we began in San Francisco and still have strong ties there (Sweet Trip and MCM And The Monster), then moved to Sacramento where we have a ton of good friends we don’t see enough (Holiday Flyer, The California Oranges, The Sinking Ships, Avaleya and the Glitterhawks). And in LA: Lowlights, San Diego: Maquiladora, Tijuana: Static Discos, Fax. So, that’s the big picture locally speaking…
Have digital sales been significant or nominal?
Very, very significant. More significant since digital overtook physical by a hair in Spring, 2015. Digital sales have grown steadily since while physical sales continue to shrink, for everybody.
Has there actually been a vinyl resurgence the past few years?
Yes, however, we still see more CD sales by far. Mucho mas.
What is your personal favorite format to release music?
CD. Reasonable profit margin. Practical.
What new(er) labels these days have captured your attention?
Serein, Carpe Sonum, American Laundromat, Saint Marie, Elefant, Les Disques du Crepuscule, Orange Twin, Factory Benelux, Deep Space Recordings, Essence Music, Seksound, 12k, Aloha Got Soul… Always someone new.
Do you accept unsolicited demos?
Yes. Every day.
What releases are upcoming?
Corky Carroll – Blue Mango CD/DD. Corky is my hero. The California sound with a core crew of stars in their own right who’ve been his band for decades. So stoked on this project.
MCM And The Monster 2xCD/DD. San Francisco’s ultimate party band (80s/90s) retrospective including the demos and an unreleased third album.
Peyton Pinkerton – Rapid Cycler CD/DD. Guitarist/songwriter from New Radiant Storm King, Pernice Brothers.
Momus – Scobberlotchers CD/DD. It’s actually on his own American Patchwork label manufactured and distributed by Darla. Nick Currie’s perspective/world view/filter is my absolute favorite of all artists today.
The label is me and Chandra Tobey, my wife and partner of 26 years. I couldn’t do all that we do alone and it is A LOT. In addition to the label we provide physical and digital distribution service to over 150 labels. We manage a digital catalog of over 15,000 songs. We provide publishing administration for a small handful of Darla artists. Chandra does all the bookkeeping, accounting, receivables/payables. I do the creative and marketing. As physical distribution declines for all, I look forward to focusing more on the label as I enjoy that part most of all.