Dragon’s Eye Recordings majordomo Yann Novak is moving
to L.A. this month. His label has garnered a worldwide reputation for
releases that center on artful drones, rigorous field recordings, and
emotive microsound, with an interest in how sound and visuals interact.
DER’s roster includes Son of Rose/Kamran Sadeghi, Tyler
Potts, Wyndel Hunt, Marc Manning, and Novak himself,
often in collaboration with others.
Novak’s southern sojourn is happening for two reasons: to live with
his partner, Robert Crouch (codirector of Volume, which
organizes events and exhibitions that combine music and visual art),
and to benefit Novak’s artistic career. “As an artist working in such
fringe mediums as microsound and sound art, developing a closer
connection to the international art community is imperative to
furthering my career,” Novak says. “I feel I will have greater
opportunities in Los Angeles. As far as the label is concerned, I think
relocating it to an internationally connected city will only help the
artists. Someone once told me that the best way to support your
community is to succeed in your endeavors, because that success will in
some way be attributed to where you were before. I hope that the
label’s continued success in Los Angeles would connect back to its
roots in Seattle.”
While Novak claims that DER is doing well, he foresees changes.
“From watching the responses to our releases, I have developed a keener
sense of the role DER needs to play within the communities it
supports,” he says. “Because of this, I would like to get back to one
of my original motives for starting the label: to work with new artists
and to give them a platform to present their work and to be heard. I
will be producing fewer releases by our existing artists to make room
for newer artists. This will also apply to my own releases, and I will
be focusing on diversifying where my own work is published.”
While in Seattle, DER has risen to prominence—as much as an
experimental electronic-music label can—but Novak has
mixed feelings about our city, despite the support he’s experienced
here.
“Because we have a smaller community and fewer opportunities, some
institutions and organizations in Seattle [tend] to take advantage of
local artists by not paying for their performances or frequently asking
artists to donate their time or work,” Novak laments. “These instances
are in the minority, but I do feel they happen more often than they
should. But the resilience and determination of both the artists and
the fans is… truly magnificent, and against the odds they have made
one of the most interesting and relevant communities [in which] I have
had the pleasure of participating.”
Future DER activity includes a winter release of Nest of
Iterations by San Francisco’s Lissom and new works by
Edmonton’s Clinker, Tokyo/London’s Ian Hawgood, and
Bellingham’s Corey Fuller. Novak plans to avidly seek new
artists for DER throughout 2009. 
That is a big stinger in the eye about Seattle is that they do not pay us for the work we do….
I dunno if they’ll pay down in L.A. but I wish him luck regardless.
what he says is certainly true, but equally true for other artists (especially visual artists) and equally true in other cities.
artists get shit on. just as we all do. the main thing about larger cities is (1) the chance to connect with a larger local audience, making live performance more feasible and marketing dollars more focused, and (2) the ability to monetize non-arts competencies, i.e., the ability to make money doing production and post production work for other professionals, such as ad agencies, video companies and the like.
best of luck in LA
Hey fuckface. You’ve been writing this column for, what, like a month or two now? And like your two douchebag predecessors, you neglect to mention any electronic music beyond minimal techno and house. There’s a thriving DnB scene I’m sure would benefit from ANY coverage whatsoever from you, but I guess it just doesn’t fit with the asinine elitism you have chosen to represent.
You and your predecessors are the reason I seldom know what is goin on in the Emerald City to the North as far as music I enjoy goes. I had hopes for you, Segal, hopes you wouldn’t be as much of a fucking assbag shitface. Oh well.
as someone who has booked electronic music in L.A. and O.C., while being connected to international artists might certainly be easier, finding the proper venues might be a lot tougher. It’s major ebb and flow when it comes to venues in L.A. It’s either a flood or an endless drought. Hopefully it will be the former.
Also promoting in L.A. requires about 20 times more energy per expected audience than in Seattle.
However, if the stars align correctly on the night of, you have a virtually endless audience willing to drive many miles to the event.
So, yeah, you will need a LOT of luck, and I hope you get the best.
Oly boy-
If the d&b scene is “thriving,” why does it need my coverage?
Dragon’s Eye Recordings doesn’t release minimal techno or house.
What is elitist about the music I cover?
Also: update your insults. They’re hopelessly juvenile and passé.
Its in the interest of fairness. Why do you refuse to cover it? Why is it never even referenced?
Hey Oly, if it’s really in the interest of fairness, you should tone it down, and maybe apologize. You’re not doing much for your cause. D&B was covered non-stop for about 10 years running. And, yes, if it’s pulling in tons of people, why would it need more exposure than something that hasn’t really gotten the attention it deserves? (ie experimental listening music like Dragon’s Eye)