15 QUESTIONS FOR… Gerard Cosloy of 12XU Records

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And… here’s the second 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.


To most folks Gerard Cosloy is known as being one-half of the Matador Records brass; prior to that he was at the legendary Homestead Records. Matador’s been around for over two decades but close to a decade ago, after moving to Austin, Texas, from London, Cosloy started up another label, 12XU. Named after the infamous Wire song, 12XU now has several releases under its belt by both bands that call Austin home as well as many that don’t. You could call it a garage rock label but then again, Tommy Keene, whose Strange Alliance was reissued last year by 12XU, might taken offense to being called garage rock. Cosloy took time out of his busy schedule to answer our 15 questions and we certainly appreciated his honesty (keep readin’…).

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BLURT: When did the label form/ what was your original inspiration?

2001.  I’ve been involved with a number of labels before and had no plans of starting or working with another. But there were a number of longtime associates (Joel RL Phelps, Spoon, Chris Brokaw) who needed assistance getting records out in Europe and these were all people I enjoyed working with.   The label’s UK operations came to a bit of a screeching halt when I relocated to Austin in 2004, and for logistical reasons things are mostly centered on moving records around North America these days.

Who designed your logo? Do you only have one?

An Arizona graphic designer named Paul Howalt.

What was your first release?

Joel RL Phelps & The Downer Trio (pictured below) – Inland Empires EP (12XU 001)


Were there any label(s) that inspired you to want to release records?

As I mentioned before, I’ve had a bit of experience with labels far more established than 12XU, and those experiences (good and otherwise) have been pretty educational.  But if I have to go back much, much further, certainly labels like Touch & Go, Dischord, X-Claim, Propeller, SST, Ruby, Ace Of Hearts, Teenbeat, Crypt, Siltbreeze, etc. have been influential in a number of ways.  In more recent years, there’s other labels I’d probably call more inspirational than influential, just in terms of their ability to do amazing work, set very high musical standards, etc.   I could go on for a few days but some of those that instantly come to mind are Trouble In Mind, Play Pinball, Goner, In The Red (duh), Homeless, SS, Pelican Pow Wow, Jeth Row, Douchemaster, Urinal Cake, Monofonus Press, Superior Viaduct, Dais, Mt. St. Mountain, A Wicked Company, Thread Pull… we could be here for a while

If there is one band, current or past, you could release a record by who would it be?

Y’know, I don’t wanna get into that. I feel insanely lucky and privileged to be doing records with everyone on the label past and present.  It’s always a matter of what this so-called label can do for them that either they can’t do for themselves or don’t have the resources to accomplish, it’s not about collecting scalps or whatever.   The important thing is that the records come out, sound and look right and someone can find them.  It’s not terribly important that those records are on this label—but if that has to be the way  it turns out, so be it.

What has been your best seller to date?

Spoon’s Kill The Moonlight (12XU 014), however the rights have long since reverted.  BOO HOO.

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? [Austin’s Air Traffic Controllers would be Cosloy’s combo. – Ed.]

Yes/no and no.   I am a recording musician, I rarely play outside of this lovely city and no, I have another deeply pretentious, poorly distributed imprint for that stuff.

Does your label use and/or have a presence on any of the social media sites?

Yes.  I mean, you could look it up.  Sorry, Tim, this is kind of a terrible question! [Ed. note: Here, Mr. Cosloy failed (or declined) to pick up the interviewer’s ball and run with it. This is a stock question we ask each label owner in order to give them the opportunity to highlight how they use social media, if at all, to distinguish themselves from other labels—or at least how important it is for them to be constantly tweeting, “liking,” tumblng, burping, farting, etc. For the record, 12XU’s Facebook page is right here, while the label’s Twitter page is here and Tumblr page here. Below: label artist Chris Brokaw, a man who knows a thing or two about social media.]


Is the Austin music community supportive of the label?

Ahhh, sometimes, sometimes not.  It varies from project to project.  But I honestly don’t care very much, those things only matter to me in the sense I hope the Austin-based bands feel it’s working out ok.  I really can’t get too bothered about local media stuff.

The record stores here have been awesome (End Of An Ear, Trailer Space, Waterloo) and I cannot say enough about [how] supportive some of the local club folks have been.

Beerland is probably most closely ID’d with the label given that’s where many of the bands played their earliest shows (and continue to) but I would be remiss in not acknowledging the support we’ve received from Hotel Vegas and the Transmission venues (Red 7, Mohawk), none of whom have been asked for any favors whatsoever.

Still, given that the label represents artists from Canada, Australia, New Zealand, Seattle, Portland, Cleveland, Columbus, Pittsburgh, etc., I do not expect anyone in Austin to embrace 12XU as a local entity. Nor do I expect Austin to be a selling point for the Austin-based bands when they go somewhere else.  I mean, we have terrible bands here, too, just like everywhere.

Have digital sales been significant or nominal?

Depends on the release.  Usually the latter, but sometimes the former. (Below: the presumably digital-friendly Obnox.)



Has there actually been a vinyl resurgence the past few years?

Man, I know you’re a busy guy with a family and stuff but this cannot be a serious question.  Who could you possibly ask this question who’d say “no”? (Below: Tommy Keene, who knows a thing or two about vinyl, pictured on a 45 that the vinyl-friendly label issued.)

Tommy Keene 45

What is your personal favorite format to release music?

Probably 12″ or 7″ vinyl but I’m hearing great things about these little discs you can play in a car stereo that are really cheap.

What new(er) labels these days have captured your attention?

I probably listed a bunch above but the recent Total Punk winning streak has sort of made a mockery of anyone saying “Hey, write about my label”.

Do you accept unsolicited demos?

I prefer not to, but people usually find a way to send them, despite my best attempts to discourage.

Will there be a Casual Victim Pile III? [CVP was a series of Austin underground rock compilations assembled by Cosloy, with Vol. 1 being released on Matador in 2010 and Vol. 2 on 12XU.]

I sincerely hope not. That’s not to say there isn’t a huge crop of newer Austin bands that deserve documentation, far from it.  But I think it’s time for someone else to play favorites/inflict their tastes on the world. Don’t get me wrong, I love those compilations but I don’t feel they did nearly enough to elevate any of the participants.  Vol.1 totally got bogged down in people oohing and ahhing about it being on Matador, and while it’s nice that might’ve opened a door or two, it also created weird expectations for slower thinkers (ie. they weren’t used to listening to music that was so badly recorded).   I think Vol. 2 flowed a lot better as an album, but again, having to explain why it wasn’t on Matador seemed to take up more time than actually talking about any of the songs!

Anyhow, at this point, I think 12XU can do a lot more good by releasing full, stand-alone records by a handful of Austin bands than by trying to take another snapshot of what’s really a moving target.   But if someone else wanted to do a good Austin comp. based on their own take on things, I’d support a good one, sure.  [Below: Cosloy in Austin in 2010, as portrayed by John Anderson of the Austin Chronicle]

Gerard in Chronicle



info@12XU.net [please, no demos, unsolicited MP3s, etc.]



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