Debacle Fest and MOTOR Records founder Sam Melancon announced over the weekend several personnel changes within those organizations, which have become cornerstones of Seattle’s underground-music scene:
First, he tapped New York-based Nathaniel Young—who runs the excellent Blankstairs imprint, which has Seattle techno artists Josef Gaard and Archivist on its roster—to manage the Debacle and MOTOR labels. Second, Rachel Glasgow will take over from Samantha Fonteyne-Crescioni the event coordination duties for the consistently adventurous MOTOR live parties. Third, Hallie Sloan—who recently departed the False Prophet collective—will assume the role of Director of Debacle Fest for 2016 and perhaps beyond. Fourth, longtime Debacle operative Rachel LeBlanc will remain as events coordinator for all Debacle Records Presents one-off shows (she’s helmed gigs by Pharmakon, Wolf Eyes, and Sissy Spacek), but will reduce her involvement so she can focus on her noise band #tits and other projects.
These changes have been prompted in part by the birth of Melancon and his wife Wendy’s first child and the resultant parental responsibilities. But they also signify an increased ambition to get these brands the broader exposure they deserve. (Melancon will still be involved in all of the Debacle empire’s activities, but he’ll be delegating a lot more tasks from now on.) Debacle Records and its mutant-dance subsidiary MOTOR have been issuing challenging music for nine years, but their manufacturing and distribution capabilities have left something to be desired. That’s where Young’s experience with burgeoning NYC indie labels like RVNG Intl., Styles Upon Styles, and Software Recording Co. can help. His knowledge and connections should lead to greater incursions into music fans’ consciousness for both Debacle and MOTOR.
Debacle Fest for years has been a beacon of live experimental music performance, expertly curated on a small budget by Melancon and LeBlanc. Hallie Sloan steps into the position of Director with heavy expectations. Currently an Associate Music Supervisor at PlayNetwork, she’s fresh off a brief stint with dark-electronic-music crew False Prophet. Previously she’s worked at Bellingham branch of Everyday Music and served as Program Director at KUGS 89.3 FM at Western Washington University, where she co-hosted an all-vinyl post-punk/coldwave show.
I asked Sloan if she will diverge in any way from previous Debacles in terms of the type of acts she books (in conjunction with Melancon). “Debacle will remain consistent with previous bookings in the sense that we want to facilitate an environment of celebration, inclusivity, and community,” Sloan said. “We are looking to showcase Pacific Northwest artists beyond Debacle Records.” When queried if Debacle Fest will have a bigger budget in 2016 than was available for this year, Sloan replied, “This year has a strong emphasis on partnerships and sponsorships. As Debacle continues to grow, we need to match it with our community affiliations. Building relationships and evolving our presence with local businesses can affect our reach and spectrum of our audience.”
It’s too soon to mention any artists slated for next year’s Debacle Fest, but Sloan notes that it “will continue to deliver the transcendent balance between euphoric soundscapes and being riffed to hell. [The 2016] fest is taking a hard look at some of the grandfathers of experimental music with the inclusion of emerging artists and our emphasis on Northwest talent. Stayed tuned for our upcoming lineup.”
As for the festival’s venue, Sloan says that’s still to be determined. “My (personal) ideal venue would reflect the unconventional, raw nature of experimental music,” she says. “If the show were solely for me, I’d prefer to occupy one of those abandoned buildings in South Lake Union where no one would complain about the likes of the Rita. Hosting a show for our community challenges more consideration. Occupying the Columbia City Theater last year gave the festival a very cinematic effect that differed from the DIY venues of the previous years. We had very positive feedback on the venue, with the exception of its [location].”
