To hear a sample track, go to http://www.myspace.com/undecisivegod

Since 1990, Undecisive God has been pushing the limits of the guitar as
an instrument. "Everything's Broken" is the latest step in this strange
journey.

Available from http://ShameFileMusic.com
for AU$10ppd (US$8ppd), or for a trade of your own music.

Clinton
Shame File Music - specialising in Australian experimental
http://ShameFileMusic.com

http://www.kog.co.nz/

this is the full transcript for reference. so excuse the ums & ahhs & spelling / transcription errors and incoherency on my part.. I had a shorter, edited version on Pulse Radio site a few years back but I've lost the copy and the content's changed on their site now.

Kog=Mark
K.=Kath/AliaK

Kog Yes we are just running around – meeting people day and night
– having meetings – looking forward to getting home and having some
sleep

K. Yes it takes a lot out of you a bit doesn't it

Kog Yes it does

K. Pretty draining

K. Have you been having fun and going around to all the festivals and that?

Kog Oh yes we've been having a blast – only thing I'm bummed about
is we missed the 4ZZZ thing up in Brisbane

K. Oh market day! Yes I heard it was really good

Kog. Yes, one of our acts, Shapeshifter, played. I was going to go
up but I had a hiphop conference that same weekend and I had to go to
that so it's all good.

K. I am originally from Brisbane so I chat with a lot of people up
there still. They said 'Shapeshifter' was really great - like they all
loved it.

Kog Oh excellent!

K. It would have been good to go up for it – it is always a good day.
I really want to see 'High Pass Filter' play as well

Kog. I've never seen them play but I've heard a lot of their stuff.
I've really been into it - I was a bit bummed about that but there's not much I could do.

K. Come back next year for it.

Kog. Yes definitely

K. They had a big storm there apparently. Like in other years-
well-about 4 or 5 years ago –4ZZZ- the community radio station – they
do a lot of activist type things – It was pretty major a few years
ago. They had Police in with batons and everything. This year they are
saying they had 'a storm but with no police action'. It was pretty
full on.

Kog. A lot you have to deal with when you go and play rock and roll

K. Just going along to hear the music and to see your friends –
they've got a good name

K. A lot of this you will have covered in the talk at the festival –
I only took quick notes. First up – so you are from New Zealand

Kog. Yes, based at Auckland

K. What is it like - can you give me some background about the
music community in New Zealand

Kog Um - the music community Auckland and NZ as a whole. Well – it
has really come of age and matured in the last 5 years. Prior to the
mid-90's it was like most markets – very dominated by the majors.
Local A & R were very mainstream. Anyone signed to record labels were
really top 40 acts or mirrors of the top 40 acts from overseas. It was
a couple of these key independent labels who started in the mid
90's.They started doing the whole electronic thing and putting out
local artists and about the same time that the Club culture really
took off in NZ. - bit of a late bloomer there - but it took off with a
real vengeance- a lot of these local acts suddenly went from playing
to 50 up to 500 to 600 people in the space of 6 months. It was quite
ridiculous how quickly it took off and as a result there were some
pretty high selling local independent artists who were doing the
electronics scene. Kog was one of the originals there – it sort of
kept going more by complete good luck though and a bit of faith. It
somehow held on and basically to survive itself for the first couple
of years with only a small staff, like 1 or 2 people doing it all day
every day for no money really – just for the love of music. In the
last 2 years another half dozen independent labels started up to do
the same thing. Electronics picked up on what everyone else was
doing. Another key thing in 5 years the major 's turned around and
started distributing these independents and giving them majors
distribution in the stores, which basically made the whole thing,
grow.

K. That's unusual isn't it?

Kog. Yes it is – we didn't realize it at the time but once we started
to go to singles like Midum and things like ... and Australian pop
conferences and telling people about that. When the coin started to
drop that we were in a unique situation in NZ and we are very thankful
that, with the majors, with Universal leading the way and doing it
very well – showed that the independents and majors could work
together and they could sell to mainstream stores Can be a
relationship that is profitable to both parties' and the majors proved
that they knew enough about the market to put music out there on the
shelf. so basically both parties, with the exception of a couple of
deals which went south (but you are always going to get that).
Overall it has been a good relationship between independents and the
majors in NZ in the last 5 years.

K. That's great. It is very encouraging to hear.

Kog. It is very encouraging too. That's one thing I was trying to
explain at the hip-hop conference. Approach the majors – don't be
scared of them – they are businessmen and they are there to make money
– so are, at the end of the day, the independents. It is the music
business and you have to be able to turn a profit to do your next
release. There is only so long you can live with parents before they
tell you to get your own house and start to pay the rent and you are
going to have to shift house.

K People have to think of it as a business. I know they love it
and everything but it is a business as well.

Kog. Yes exactly - there is obviously a line in the sand that you
don't cross. You don't sign up a 15year old girl in a bikini to get it
out there. But, at the same point you have be savvy and to think about
what you are doing. You need a budget and marketing plan and you have
to know your market- that is by far the biggest mistake most
independents make. 'We've got the album ready so we'll put it out' but
really, you've only done half the job. You have to promote it – you
have to 'market it' and you have to 'sell it' and for the acts out
there you have to give them the 'profile'.

K. Did you find this to be the hardest part when you started up
like you guys did years ago or did you ..

Kog. Yes that's the hardest part. So many little tricks to selling
records. So many people you have got to know. You've got to know the
process – its so huge and there is so many different outlets and so
many different ways someone hears about a record, and you think
someone is an unknown artist is really worth $25, or whatever you are
going to pay for their C-D. No, you haven't heard them on commercial
radio but you can see them here or hear them there. Try to convince
people that one independent music recording is still as good, if not
better than the chart stuff as well as the home stuff. Try to get over
the whole cultural cringe. In NZ, such a massive scene but it is still
there. We're definitely still here in Australia. So the whole world.
It may be a house track but with some guys' album - that's where the
scene is. Its just like – wow – we can cut it with anyone – very
universal genre dance music. There is no reason why someone from
Dandenong cannot write a fourth ... – as well as some dude in Bristol.

K. Australia definitely suffers from that. I know people who have
released music and they don't ever sell it through Australia sent
overseas and it gets back imported back here as an import.

Kog. Yes, lack of distribution of local labels in Australia is quite
disturbing. Yes you've got 'Creative Vibes and Universal who are really
doing a good job but they are really swamped. They are only a few
years old. Creative Vibes is a few more years but their bread and
butter is overseas labels coming in to Australia. Local labels take up
more..., plus resources, to distribute a record than the overseas
label does, so it is only fair that Creative Vibes and Universal say
they have only so much room for local content. Unfortunately if both
their books are filled, which is a pity, but you can't really blame
them. They are so overworked. They are very smart but they know they
take on a certain amount then they start neglecting others and so they
have to pick and choose and concentrate on a few key labels they have
got.

K. Yes, that's smart business as well I guess. Part of it all.

Kog It is unfortunate but it is still a part of our culture.

K. I noticed in one of your talks you mentioned a radio – a community
radio station there over in NZ and the heaps and heaps of support they
give and that they're quite open to independent tracks.

Kog. They are very open. Back home, there is a community radio called
'B- Net' – run out of all the Universities stations – basically
student radio and that may conjure up images of being unorganized but
they are very on to it. Very super organized and very committed to
getting NZ music out- All 'B- Net' has a charter which says that in
NZ, 33% has to be from these shores, which is great news for us.
Always had massive support from local radio to get the Kog sound out
there and this has always been great which led to the success of
getting the independent label sound out. No way Kog would be as big
if it didn't have B-net radio supporting it.

K. That's great it is very encouraging as well because the community
radio here is excellent, but everything is so widespread – always a
problem because sometimes people do well in one State and it is
getting the work to other States as well.

Kog. That is basically the same in NZ. All the 'B-Nets' meet once a
year, they have a big conference and their own awards show. 'B'
awards pulled more people than the other big NZ music awards this year
than last year which are fantastic. Whole thing is they talk to each
other – share tracks, play lists and they are always in contact with
each other. If a band like Midum do well in Christchurch they do so in
Auckland as well because all the programme directors are talking to
each other constantly. There is no competition here – they are all on
the same side – they really get behind certain releases and if you are
one of those releases you get good exposure, which is great. Look what
happens in Auckland. PBS outrated ZZZ - equivalent to Triple J and ... Pretty sure same thing happens here in Melbourne that PBS is on
par with Triple J here. Which is fantastic for local music. Just show
how many gigs in Melbourne. How well bands a do it and are playing on
a Thursday night and are getting 500 people, which is great.

K. You are going to be opening an office in Australia - Melbourne.

Kog. Yes, all plans are to set up in Melbourne, in our 'plush' St.
Kilda office. I am sitting in my 'plush' St Kilda office with someone
right now. Plan to set up in Melbourne. It's quite funny because
people often say – 'Why aren't you setting up in Sydney – your
distribution is there and a lot of the media there. But for us I
really like the life in Melbourne – I like it as a city – have lots of
friends here. We have sold most of our CD's here. It is really the
core market here with Sydney coming in 2nd- so it is either Sydney or
Melbourne - a pretty close call, but it is more for personal reasons
really, as we know the city well. We have lots of friends here and all
the support systems.

K. Melbourne is actually - Always get less complaint about the party
scene from Melbourne than you do from Sydney. They say Sydney has
venue problems. In Melbourne the venues are really open to getting
people into having parties and licensing issues.

Kog. Really broad genre too. No really one dominant genre in
Melbourne. Sydney is really 'house' driven and we don't get a tribal
kick here. There is a 4 / 4 drum type club scenario. Melbourne has
healthy 'house drum and bass' scene and healthy hip-hop scene,- so we
are keen to get all our acts over and get them touring here. They get
support from Sydney but they get a lot more support here from
Melbourne. Particularly acts like 'Concorde Dawn" and 'P' Money – that
combination of guys.

K. About your artists? You have a wide range of styles on your label

Kog 'A & R' philosophy is anything we like basically - all types
of music. We started a guitar label call 'Midian records' It hasn't
come over here yet. We signed a couple of metal bands on to and
released them in NZ, basically because we store metal music for KOG.
Anything electronic that we take basically. Only genres we haven't
released are 'Chance' and in house ... stuff. Not really our bag though
– not what we are into basically. We didn't really do Hip hop either
but then we released 2 Hip hop recently and one went 'gold'. We never
say 'no' to anything but it's something we haven't got around to yet.

Kog. We love all genres of music so with electronic music you can't just
focus on one genre. To do what we want to achieve- you know what I
mean-we want to spread the word and become the biggest independent
label in the world, which has always been our goal. I think that is a
lot of the reason for our success. To measure our success ourselves
against the best is our genre – it is our goal – we want to be the
best – not only in NZ but in the world basically.

Kog. Production-wise, music-wise, mixing-wise and quality-wise, so that is
why we set up in Australia and London a couple of years ago – very
ambitious young people

K. That's great - good to see you doing so well

Kog. Yes – it has been a struggle – no one is driving an Audi yet.
All the money we make is being poured back into the company. It is a
tremendous experience. Running an office in London and here in
Australia is very expensive. Lots cheaper in NZ than in Australia and
everything costs a little more in Melbourne and it really does tell
after a while.

K. You mention about Production and a really good studio set up at the
Conference - some of your bands that are your sound engineers. Can you
talk about that? That is really a key part of it – having good sound.

Kog. Something we decided at the first that if we were going to
compete worldwide. We had to sound as good if not better than 99% of
the releases that are coming out. We were very lucky we had a couple
of extremely talented and experienced sound engineers to come on board
at the start and they were artists in their own right as well. Chris
from Bodacell, Everett from Concorde Dawn, as well as another act
called the Dubious Brothers (Chris Mackra) and they have been there
from the start and they do all the mixing down to the mastering of the
albums, so it was good for us.

Kog. We built 3 studios and the first one we built was the mastering suite and then built 2 more studios off
that over the next 5 years. Basically it enables an artist to get
good quality sound production in- house. They don't have to go back to
other studios, then back to labels for the finished product. It gives
them a lot more time to finish tracks because we are not sitting there
saying we are charging - say - $3 / hour. Basically it's free for
stuff released on Kog. They can spend as much time as they like and it
gives the artist a lot more freedom to get their art right. They can
experiment and there is no massive great pressure there. It gives
people much more freedom and be guaranteed to walk out of the studio
with something which, production-wise is as good as anything being
released.

Kog. So, when we mix something down or we master something, we
will get to be what we consider to be leaders of the genre at the
time. If it is Hip-hop or if it doesn't sound as great as the other
stuff, we scrap it and start again. Bad company records or house
stuff records. You're putting up the latest recording or 12-inch. It's
not a fad and we scrap it and start again – real perfectionists with
the production of stuff. ...

K. Sounds like you have been getting some really positive feedback
from it as well.

Kog. Yes, we just received 2 more mastering jobs from 2 Australian
labels last night. Couple of guys said it was considerably cheaper to
go to NZ as well as you guys over here so we've just got to do it.
Helps the bad guy as well. It's a massive advantage having studios for
other labels and its another source of revenue as well. If you have a
label you get paid quarterly from distributors and it can make for
some pretty lean months in between so we take on mastering jobs and
mix – downs for other albums for other artists in NZ.

Kog. In NZ there are only 2 mastering houses now – us and Alfred on York St. We basically do all the mastering jobs in NZ and this includes all the major labels as well. Its worth it, so that's good and so we do a good job. That is what we pride ourselves on.

Kog Australia gets to go to visit NZ for a holiday and to check
it out. It is cheaper to get on a plane to NZ for 2 weeks and stay in
a hotel than do 4 days in Sydney.

K. It's cheaper to go to NZ than Perth from the East Coast.

Kog. Yes it is.

K. It's ridiculous. I think that could work out well for a lot of
Australian artists.

Kog. Yes definitely. It's just that they didn't know it existed.

K. It is just getting the word out there. Will you be looking for some
Australian submissions?

Kog. For local A & R? Yes I have already been looking for 4
months. A couple of acts we had a serious hard look at, but due to
circumstances one of them, we really got close to closing a deal with
was an act I really wanted to sign, went south. First one we had
really got close to closing a deal. I have been a fan of theirs for a
long time, which is basically is just the nature of the business. For
every act you look at you miss out on two. Really wanted to sign but
halfway through negotiations fell through. This act was personally
someone I really wanted to sign. I've been following their work for a
couple of years now but we just basically struck a deal with Stealth
ready with turntable compilations next year, in about August next year
featuring a lot of Australian artists and NZ artists and hopefully
some Japanese artists as well. Using Mark's (Stealth Magazine( hook-ups though as well Stealth , as well as our own.

Kog. That will be our first A & R project of course now and then there is
our own label. "Shapeshifter" has moved to Melbourne permanently. Their
next album is out in September next year. So there are 2 local A & R
for next year. Now looking at a couple of club acts in Melbourne. Just
waiting on them to finish their projects to present them. From what
I've heard we are very keen on what they are doing. The attitude they
have for their music is great. They are very hard working guys – very
keen to tour and get it out spread the word. Worst thing a label can
do is to get a really talented artist have a really good record it and
present it and then say- 'we don't really want to do a tour or do a
promo for it. We're just happy for you guys to do all that which just
makes our job 10 times harder and 99% results in lower sales. Always
looking for people who are talented – really good production nous and
who were really willing to work their releases, play shows and do
interviews and promote the release otherwise there is no point putting
it out.

K. Everyone has to help out.

Kog I have got 45 demos on me now – collected over 4 weeks to
take home with me – Half already listened to and I am interested in a
half of them and I've got another 20 to go through. Already have
contacted some people and say – hey – 'make sure you keep in touch'
for a couple we are semi interested in and 'have you got any more
tracks' or 'send us your demo'. That's why we are interested in half of
them. That's how we find artists or they find us.

K. So, for people who want to send a demo, do they just go to your web site.

Kog. Go to Kog.co.nz and follow links to our contact and mail to
them. Best way to do it.

K. Now just going back to the start again. How did the label actually
start? Was it with a couple of guys you mentioned.

Kog. ' How did the label actually start?' – I wasn't there at
the beginning. The label started with a group of friends who were into
the dance party scene and they were holding some illegal dance parties
in warehouses. A couple of guys started showing up with gear as
opposed to just playing records, - started playing off stuff like 303
and 808 and a couple of synthesizers and drum machines and sequences
and playing it live. They said they were actually writing the stuff -
playing it live and jamming it. A couple of guys from KOG started
getting into that.

Kog. At the time there was a metal band called – 4 ... to
balcony that the Kog guys were involved in, and we decided to build a
studio to record a metal album, and the Kog guys got into that. That
was the first Kog record got involved in. It was the first heavy metal
record recorded but it never got released. And from there KOG sort of
grew and other people wanted to do start a record label and they did.

Kog. There was a second release almost straight away that Universal had a
look and a guy named Graham Cluney of Universal, (now Australia)
actually said – I like what you guys are doing – hey, I like your
attitude. Do you want distribution? And they went wow – we should do
this seriously, so they signed with Universal for production and
distribution and that was basically history. That was album number 2
and we have just released album 31, that's not including the metal
stuff and you know, plus twenty 12 inch on top of that as well.

K. Yes, you definitely you have quite a repertoire haven't you.

Kog Yes, that and a massive Catalogue. Yes and in late
'99 / 2000, we opened the office in London where it was apparent that we
were going to grow and have a worldwide label we had to get into
Europe. That took a good 18 months to get organized. Probably because
the UK market is so full on – so much competition and extremely
difficult market to crack.

Kog. For the first 12 months no one talked to
us. Everyone wanted to see if we would survive and we did and then
over the next 12 months we just took off and started to explode and we
were getting offers from all kinds of people and distributors and as a
result we took off and started to turn a profit in UK which was an
achievement in itself and we were one of the few labels actually
making money.

Kog. Once that was established we had Auckland and NZ going
well and the UK doing well so we had to take on extra staff and
thought – well – its about time we went to Australia. We basically did
the reversal of what every other NZ creative act did in Australia. We
went NZ/ UK then UK/Aust., so this whole year has been about getting
out our catalogue. Some of the older releases like ... compilation 1
and 2 and then basically establishing ourselves and started meeting
everyone. Had a good look at the market and from next year setting up
some full time office, getting into some releases and start to mix it
up.

K. Yes that's good. It is very inspiring for people who want to set up
a label to hear of your success story

Kog Basically setting up a label yeah. If you are thinking of
setting up a label just go for it. I talk to a lot of people – I say –
hey just go for it. If you worry about not having the money or you
worry about long-term releases schedules in the first year – or worry
too much about 5 years down the track. The worry of it all just slows
you up.

Kog. A lot of the reason Kog is a success is today because we're
too arrogant to think that we could fail and that's the difference. We
never really considered what we were doing. It wasn't until the P
Money record went gold that we sat back and said – we are really set -
a real major player. We've only been around 5 years and if anyone in
looking to do it in Australia this is pretty much – go for it and you
can't be too worried about everyone else is doing. Put it out and good
music will always sell.

Kog. Aim to be the best. You concentrate on your
production values, and align yourself to the best people with aims to
be the best genre you are releasing and if you do that and you have a
real love of music you will go far. You can't be in it for the drugs
or fame or women – that's just a myth – you just got to do it and you
feel personally successful and got the right motivation for it. That,
and a really good accountant. Have someone independent to do the books
for you and you will be all right.

K. Over the years I keep doing the little projects until they tell you
to stop and no one has told me to stop so I keep going.

Kog People who are on about the market and say it is so cut
throat. Well it is but no one is going to actively trying to try and
stop you. Everyone is actively concerned about his or her own thing.
Do pursue for your own sake and with luck you will push and persevere
through.

K I haven't found it to be too cut throat , but it's
probably more cut throat if you're up to the level you guys are at the
moment or the majors.

Kog Once you start the whole independent thing 90% don't last
past their first release. If you get to that point start you are
really taking the next step up if you get to major distribution you
are taking another step up the ladder. Once you start doing that and
you start taking on staff, and start thinking about what you are
doing, do one just that little bit better than the one before, you
are on the right track.

Kog. Don't get too far ahead of yourself, take
little baby steps thinking about which direction you can take. If each
release a little more of yourself then before you will find you
should be alright if you keep improving and modifying your steps.

K. Yes excellent! Well thanks a lot for that. Is there anything else
you want to say. Do you want to talk about any of the artists you have
on the label

Kog Yes sure, Concorde Dawn who is a real 60's story. They
are a Drum and bass act in NZ.

Kog. For the last 3 and a half years they've done well in NZ. If you like ... they're only on 12 inch not CD's. Suddenly they made a track called
'Morning light' – lighting up all over Europe and getting this
terrific massive response. The 12-inch pushed up over 10.000 units -
that is a massive amount of records. It was played by the BBC and as a
result of that, sales in UK went through the roof. For that and
in Europe suddenly went through the roof, it was very positive for us
and helped the UK office to see how much good it has been for Kog to
get it – took three and a half years to get that act up.

Kog. You know you do have to have patience and have real belief. We always believe they
had the strongest bass act in the world. Constantly promoted them,
constantly got behind and pushed them in the good times and bad and if
you are going to do a label you have to be prepared to have acts like
Concorde Dawn who will take a long time to break. People are always
going to give you a hassle of what you are doing and you know people
are going to accuse you of selling out and catering to the market or
whatever. Just ignore it and stick to your guns and do it because
beggar what anyone else thinks, at the end of the day, it is your
label and you do what the hell with it.

K. Whatever is good for you – yeah! Yes Concorde Dawn has a good name
here already.

Kog Yes they are touring and they are loving it here already.
You know I signed Concorde Dawn up last year and I had one promoter
who was interested and then he pulled out. This time as I put the word
out that Concorde Dawn were looking to tour Australia and there has
been 11 different promoters across Australia bidding against each
other to get them here for their shows. Which in twelve months is a
massive turnaround to get suddenly guys trying to book them for New
Year and offering really good fees.

Kog. What actually I know these guys
will take is small this time and not charge exorbitant fees first time
– take it easy and have stuff for the scene and we are here for the
long term. For the long time is our strategy is small steps, not to
come in here with a hiss and a roar. No - Hi, we're Kogs. Its Hi - just
come in and take it easy - low key. We are not people with big massive
amounts of media exposure – not our style. We're not a label that
spends a lot of money on promos just to get market share – for us the
market is there – we'll just tap into it and grow– just a fair market
share we'll build a foundation will grow from there.

Kog. Kog is on a 5 year plan for Australia. No massive rush. Keen to work with everybody
– take it slow – meet all other labels – everybody in the market place
first and meet all the radio people. Best thing about New Zealanders
is- people are friends and I deal with them every day and they're good
mates of mine. That's because we took the time to actually get to know
these people first. It is beneficial for both parties – ring up Petey
and say – how are you – how are your kids rah rah !! Hey, - this is
legitimate - we've known each other for years now. Where lots of
labels will come in and flash lots of money around – won't answer
magazines then go hey, and its just like, that's cool if you want to
do it this way, it is not our way- it is totally not our style. We
like to get to know people and their buzzes and hear what they are
about.

K. It just goes to show what kind of people you are – more laid back –
more genuine.

Kog. Yes we're very laid back people. We will work 16 hours a
day – all non-stressed and main thing we really enjoy what we do and
it shows in our releases that we do and I think it shows in the way we
put them out. I love music – its my life and I love it, and indicative
of the 8 guys who work in Auckland office in NZ – we love music.
There is constantly music on the stereo. and people are always writing
tracks. There is 3 studios there and you get pulled out of the office
– 'Hey come and hear this track or their bass line" or 'Hey man, have
you heard my latest track or something.' And its great – I love the
environment. I think it is really reflective of what Kog does that. A
bunch of guys who love music – who will always listen to music and
love particularly, New Zealand music and want to take it to the world.
The work we know it is good if not better than 99% of stuff other
people are putting out.

K. Sounds like you have the perfect job

Kog For me, yes it is the perfect job. Only debate is whether
it is me who will move back to Australia. I have a bit of time to sort
that one out.

K. It wouldn't be a bad thing though. It is pretty good over here.

Kog. No, No! I've always enjoyed it. I used to live here. Went
to university here for a year and have a lot of friends here. You know
it would be no stress at all because of all the stuff to sort out. I
am also involved with another label in Auckland which I helped set up,
so was actually how I got the job with Kog. Set up another label
called Tardis and Kog said - hey you know what you are doing. Come and
work with us, I'll work for you if you distribute Tardis so we got
major label distribution and they got a new worker. It was a great
deal.

K. You may be able to bring Tardis over here.

Kog. Oh well we're very much looking at that as well at the moment.

K. What about P Money? Do you want to tell that story – how he signed
up to your label – that was pretty cool.

Kog. Oh okay – P Money is well known to Hip Bop artists in NZ.
I mean it was known predominately as a scratch DJ. - Won the DMCs. Went to London and came third in world DMC. All the time
he was refining his scratch craft he was producing a couple of radio
shows as well. He has a really good media presence as he hosts a TV
shows every year. Word got out that he had half a record and was
halfway through doing his debut album.

Kog. Basically, he had meetings with
every major in the market – six meetings. We were the only meeting he
went into who asked him for his demo. Everyone else talked about media
share and what kind of stuff do you want to do - are you going to get
female R&B vocalist and artist and we can market you this way. At the
end of he day he went with us because, the first question he got was '
where is you demo tape'. He whipped out a C-D – we listened to it and
said – that was very good and then we started asking – 'what do you
want to do – how do you want to market this – all very secondary. It
is very important to ask the artist this but this is all very
secondary to the fact, which is – 'is the music any good'? He clicked
on to this straight away ie: these guys really care about my music –if
they're big enough and ugly enough to do it - they'll do a really good
job with my release.

Kog. They've got major label distribution – a decent
size staff – they've done some really good records in the past so he
felt we could do his release justice, so we just went for it. As a
result it was Kogs' first gold record. P Money was happy how it went
down and one is now sort of half way through towards 'Platinum'. I got
the sales figures just this morning. You never know but next year we
may be walking around saying we have a Platinum record!

K. What is after Platinum?

Kog. Platinum, Double Platinum and Triple Platinum – yeah!

K Next you will have Double Platinum

Kog I wish! If we do go double Platinum on that one maybe I
will get that Audi.

K. I hope you do.

Kog I love Audi's

K. I love Saab's as well

Kog. That's one thing, we are about the music but don't get
me wrong, I wouldn't mind a mansion at the top of the hill.

K. I don't think there is anything wrong if you have a job
that you love and you're doing it for the right reasons, you shouldn't
have to be a poor student for the rest of your life.

Kog. I went to university for 5 years, and I got think above
living on bread and baked beans. Caviar and champagne – that's the way
to go.

K. Healthier diet.

K. Sounds like you guys have got your heads screwed on right so you
wouldn't be too extravagant.

Kog. Oh I don't know – 5 years is a long time to wait for
that big cheque.

K. Most of the acts you get – are they from Demos, or people that you
know or a bit of each?

Kog. Mainly record labels if the record label is on to it.
It is established 90% of the time we'll find you – see how it will go
in the market place. Not so relevant here in NZ. Not as established
here. We don't really know the scenes that well, that's what we are
learning, and while w get out there and meeting everyone so in NZ, we
hear about someone who is pretty good. We'll see them and check them
out and basically look at them before they even know we are
interested. Then we'll approach them.

Kog. Sometimes people come to us
before we have a chance to come to them. We released a couple of
albums that started from demos. Then come the demos. thing and we'll
say – yes we like it – Keep sending your stuff. So for any artists out
there who are interested – if you get any rejections from a record
label it doesn't necessarily mean 'No'- they know who you are but they
feel you are not quite ready. If you are sending your stuff we've
signed up a half dozen releases where we waited until 3 or 4 demos
have been sent back. And then now we release it.

K. Yes see how they develop

Kog We are an A & R company and we develop artists over
long-term careers. Don't do it for smash records. We are very patient
guys – you know what I mean so and we know it takes artists 2 or 3
times to really hit their guns so-----the artist 5 or 6 demos until
they get to the point where they are making music before they get
release quality. Don't be disenchanted if recording company sends it
back and says – hey go back and do it again. It's the process of
developing an artist is – hey, we like the stuff and we feel for our
label that the production quality has to be the highest. You need to
work on your arrangement skills a bit better.

K. Constructive criticism

Kog. Give you time to develop your own sound – we hear you
have your own feel to it but you are using too much pre-set or you are
trying to sound something you're not. One of the most comments I give
to people on their demos. Is – I can see where you are going but you
aren't there yet – concentrate on the music you want to make not the
music I want to hear. It is really important to each , one thing we're
proud of is that the artists must sound like them. They haven't shaped
themselves, we haven't shaped them or their music. What appeals to the
market – we want to help develop the artists. They are not the
artists the market who are selling at the time – you know what I mean.

Kog. It is very much – you develop your sound and we'll put it out. I've
never ever said to an artist – 'we are not going to put that track on
because I don't like it'. If you deliver the album we'll put it out –
the creative side is yours and I'm not going to set these and change
your record – its got your name on it – its yours – you want it and
you're the one who ha got to crank it. I don't want you to say but
Mark made me change track nine – you know – that's not our style. A
lot of labels do that and that's not what we're about. For us its
about the art. – you take care of the art – we'll take care of the
business. By far the best, safest and fairest way to do it.

K.. That's how it should be too.

Kog. Yes, from our angle it is anyway

K. Do you release some compilations as well?

Kog. Yes, we've released some

K. I'll get those listings from your site as well.

Kog. Good. Compilation 1 and 2, which is all about Reggae in NZ
Which is individual per head of population of soul Bob Marley and
Ben Harper. One of those quirky little things about NZ Reggae and Soul
– quite a weird mix. It is a queer mix that NZ loves. Ben Harper got
its first gold label in NZ. Anything slightly political or laid back
has always done really well in NZ. Dance music has been a part of that
so we put those two compilations out together. NZ has just released
that compilation chapter 3- comes out in Australia in February and
we'll go full tour on the back of that as well, probably have a couple
of DJ's and MC's.

Kog. At this point we have confirmed dates in Adelaide,
Melbourne and Sydney, so that is a really good thing for us. Already
as a record label you think 12 months ahead of yourself. We are
planning compilation chapter 4. Putting out call at the moment for
Australian producers. A couple of guys in Melbourne and who are keen
to add tracks to it, so compilation chapter 3 is being released in NZ
and UK at the same time with the States added on as well. It really
going out worldwide so if you're producing give me your tracks so will
be interested to hear them.

K. Yes that's great. Is there anything else you'd like to mention?

Kog No I think I have rambled on enough.

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thanks to Mark from KOG for his time

http://www.kog.co.nz/