Jeremy DeVine: American Guru
When you think about the words "independent record label," what comes to mind? Touch and Go? Matador? Drag City? While these are each in themselves incredible entities, they've become much larger than their original sphere of influence dictated, and they sit more comfortably alongside major labels than their smaller brethren. When I think of really good, smaller indie labels, the one that always comes to mind is the Temporary Residence, Ltd. And when I think of Temporary Res, I think of its owner and operator, the always friendly Jeremy DeVine. TRL has released some of the best records this year, including Fridge, Explosions in the Sky, and Lumen, and are quickly making a name for themselves. When I got a chance to interview Jeremy over email, I jumped at the chance. Here is what followed:
- fakejazz How did the label get started, and what kind of goal did you have in mind when starting it up?
jeremy: It started in late 1995, when I moved from my hometown of Louisville, KY to Baltimore, MD. My friend Ben and I started a band called The Concord Anthology Process, and we wanted to release a split 7" with my friend's band from Louisville called Nero. That became the first release on the label. We made all the sleeves by hand using a typewriter and found objects. It was laborious but weirdly meditative, which is how I still see the label today: incredibly laborious but strangely meditative.
- fakejazz What is the biggest challenge you've come across in running Temporary Residence?
jeremy: Convincing people that The Loved really are one of the most amazing rock bands ever. To this day I still think that's one of the most killer albums I've ever released.
- fakejazz I've noticed that your releases are always very aesthetically pleasing. Do you put a lot of emphasis on making a record look as good as it sounds (ok, that's kind of a hokey way of asking the question... sorry)?
jeremy: Definitely. The bands often have most of the say in how their record looks, but I always try to facilitate their ideas being carried out to perfection. Plus I'm a bit obsessive compulsive when it comes to details, I think.
- fakejazz How do you choose what to release and what not to?
jeremy: If I love it and I like the people in the band, I'll work with them. If I don't like it, then I don't release it.
- fakejazz Where did the name "Temporary Residence, Ltd." come from?
jeremy: "Temporary Residence" because I moved around so much when I first started it. "Limited" because most of my early releases were very limited.
- fakejazz How did Travels In Constants start up?
jeremy: I liked doing a series of records, but I was sick of compilations. So I thought up a way of making a limited edition series that gathered bands together, but gave each artist their own individual releases. I wanted them to be more substantial than singles because I kind of think paying $70 a year for 7" singles is a bit of a rip-off. I wanted people to get their money's worth.
- fakejazz What can we expect to see from TRL in the upcoming future?
jeremy: Well, we just signed Cex and Parlour, which we're super happy about. So we'll have albums by both of those bands, as well as new albums by Kilowatthours, Cerberus Shoal, Howard Hello, Rumah Sakit, a reissue of Fridge's Eph album, and a Tarentel singles collection called Ephemera. Plus a bunch of new Sonna stuff in the Summer and Fall.
- fakejazz How do you balance time between Sonna, producing and TRL?
jeremy: Beats me. I really don't organize my time very efficiently, as anyone that knows me will tell you. Basically, I don't drink, I don't do drugs, I don't watch TV, and I sleep an average of 4-5 hours a night. The rest of the time I am working in some way or another. But it never seems like work to me because I absolutely love what I do.
- fakejazz Any advice you'd give to someone looking to start a record label?
jeremy: You need more integrity than money. Support smaller bands that you truly believe in because those are the people that will appreciate what you are trying to do for them. Going after bigger bands that already have tons of hype around them is a quick-fix and really does nothing for you in the long run. Feeding and nurturing the inspirations and ideas of people you truly believe in will help your label and your bands grow together. People with creativity and integrity are far richer than people with deep pockets. How's that for hippie logic?
- fakejazz What have been your top five favorite records of 2001? Of all time?
jeremy: There's far too many to narrow it down to five, but some of last year's favorites include: 1. Tool Lateralus (Tool Dissectional), 2. Four Tet Pause (Domino), 3. Fridge Happiness (Text), 4. Jim O'Rourke Insignificance (Drag City), 5. Bonnie 'Prince' Billy Ease Down the Road (Palace). Of all time? The notion gives me a headache, but here are a few, in no particular order: 1. Nirvana Nevermind (DGC), 2. Led Zeppelin I, II, III, and Physical Graffiti (Atlantic), 3. Metallica And Justice For All (Elektra), 4. The Flaming Lips Soft Bulletin (Warner Bros.), 5. Television Marquee Moon (Elektra)
- fakejazz Any final comments?
jeremy: I appreciate that people give a shit about this, and even more I appreciate that there are so many amazing folks out there that continue to inspire and astound me every day. Please don't send us bad demos. Thanks.
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