Ben Vendetta

Ben Vendetta is founder of Elephant Stone Records, a savvy record label taking up the vanguard by releasing international and national bands, plus a few locals that are stirring the scene, like New Planet Trampoline. Ben is also a skilled freelance writer and creator of the seminal music review Vendetta Magazine, with a stellar interview roster which includes The Church, Charlatans U.K., Marc Almond, The Dandy Warhols and The Psychedelic Furs. Get a listen to Ben's DJing skills this Tues 10/19 and every Tuesday at Capsule, starting at10PM; he'll be spinning the best from '60s Psych and Mod, to '90s Shoegaze/Britpop and current Indie favorites. Tisha Nemeth met up with him and received an arsenal of music industry insight.

What does Elelphant Stone Records represent musically? My philosophy is influenced by genre-specific labels such as Sub Pop, putting out bands that have their own identities but share a similar style. One of my favorite all-time labels is Factory Records - they put out bands like New Order and Joy Division. To find bands with a commonality makes sense. Elephant Stone’s theme is psychedelic, guitar-based '60s garage rock, but with modern interests; my tastes in music range from all the great '60s psychedelic bands to more modern acts such as The Stone Roses, Radiohead, Echo and the Bunnymen, and Soundtrack of Our Lives, a Swedish band.

What experience led you to start an independent record label?
I started off writing for a magazine and then burned out, I also worked for a record label [Orange Sky] in LA and wanted to try it out myself. Since I worked first hand in it, it gave me the idea to start one on my own and find bands. With my music writing connections, I began networking and kick started my label. Since then, bands have been sending me demos that I really like.

Which bands are sending you demos that really stand out?
I've only signed two bands based on hearing great demos and not seeing live beforehand. Daydream Nation, who are from Ottawa, sent me an amazing demo a year and a half ago and now I've ended up doing two records with them. I also got a great demo from The Situation, but I knew them through mutual friends so it wasn't like an out of the blue situation the way Daydream Nation was.

How do you go about your selection process to determine which music ESR will release?
I put out 60% new bands, and the other 40% are re-issues of bands that I feel were not fully recognized. One example is Delta, who broke up in 2002, they did pretty well and were rated 9 out of 10 in [England’s music review] New Music Express. I also re-issued Land of Nod, they’re a band out of the U.K. Next year, I’m doing a compilation of Reverb, an overlooked band from the '90s; their sound is similar to the Chills from New Zealand. I like doing re-issues because there’s a buzz when you re-introduce bands that were underappreciated.

What kind of influence does Cleveland bring to your label?
The label has more bands of a certain genre. I put out 2 of 9 releases from Cleveland, but Elephant Stone’s bands are not limited by location and not related to location; I don’t want a regional focus. I've put out bands from all over, from the U.K. to Portland, Oregon.

What’s one of your more memorable moments you’ve experience with Elephant Stone?
When I put out the first record by The Volta Sound and had their CD release party in Los Angeles, it went really well and had a great turnout. Also, at the Beachland last April we had an event with Elephant Stone’s two bands The Volta Sound and New Planet Trampoline, who played along with the Philly band, The Situation. It was really well attended, and one of the best events I’ve been involved with; everyone there was really into it.

What emergent trends have you noticed in the music industry?
Guitars are coming back more, and bands are focusing on that sound, like The Hives, so it's becoming more mainstream. There’s definitely more rock and roll in the scene, which helps.

Why did you relocate to Cleveland? Where are you from originally?
I just came here from Hollywood, but grew up in Ann Arbor, Michigan, and I lived in Boston because my family lived there. I spent time in Ireland until I figured out what I wanted to do, which was music. I decided I had to learn more and got into the [music] industry, and on the side began writing about music during the mid '90s. I was involved with record labels since 2001, and started Elephant Stone Records in 2002.

What are the advantages of running a record label in Cleveland, compared to LA?
To be honest, costs are so much easier here, but then Cleveland gets ignored when it comes to touring, and not as many bands are coming to Cleveland like they used to...

One of my friends in the industry, who toured with Pigface and worked in the studio with Ministry at Wax Trax in Chicago, said that bands always made a point of hitting Cleveland when they’re on tour...I don't know if I really believed that...
It used to be, for sure, but not recently, I’ve seen people here driving to Detroit to see shows that did not make a stop in Cleveland. I think the Beachland and the Grog Shop are excellent and bring some of the best music here, so the potential to attract more bands is there. During the '70s, major record labels had offices in Cleveland, and Cleveland was the first stop on the national tours for Bowie, it was a way to get their feet wet in the beginning of the tour.

Which local bands/labels are making an impression here? Are you collaborating with any of them?
The guys who have the label Exit Stencil, they put out the New Lou Reeds and This Moment in Black History: cool bands putting out original stuff. For collaboration, I'm still the publicist for The Volta Sound, who are signed to Orange Sky. I put out one of their early records on Elephant Stone, and their new one is coming out on Orange Sky. I'm still very involved with their career even though they're on a different label now. And there’s another great record label I’m thinking of, Van Gogh Round, that was started by Eric Schultz, who also manages the Dreadful Yawns; Eric also has a radio show on WCSB. I would like to do a joint show or an event, though. People are very supportive of each other here, and there’s a feeling that indie labels are in it together, so it’s not competitive like the corporate labels. But I’d prefer to put out music myself or license stuff overseas, that’s what I’m into right now.

What’s the creative climate like in Cleveland?
It’s a healthy scene. Bands can do more exploration here. I’m impressed with Cleveland’s ability to forge its own identity in the music scene; people here have originality and guts to do what’s right musically. In LA it’s the opposite, bands try harder to fit into certain forms as a way to sell records.

You participate in diverse creative outlets that involve music: writing and reviewing it, releasing it, as well as DJing. Do these activities connect and influence one another?
I write for Skyscraper in New York City, and I think honing my writing skills is good, it keeps me sharp. I also DJ at Capsule on Tuesdays and it all feeds off each other, it all goes together. I’m inspired to find as many outlets as I can with creativity and music.

Fronting a label, I would automatically think you’d have to be a musician. But you’re not, that must be an anomaly.
It's kind of like Tony Wilson [founder of Factory Records]; for him it wasn’t about making music, he was not a musician either. He had a day job working at the BBC and was inspired by punk music. He interviewed bands he liked on his TV show, and he also aired their performances on TV. Usually it’s the musicians or journalists who form record labels, because they must know how to promote themselves very well; people who are writers know what to do to get an audience to notice a band.

Which sources have had the most influence on how you've fashioned your label?
Creation Records [Oasis, Jesus and Mary Chain, Primal Scream, My Bloody Valentine, Ride] released great stuff in the early '80s and '90s. Musically and attitude-wise they have influenced me.

Who do you really appreciate locally in the music scene?
I have a big list: New Planet Trampoline and The Dreadful Yawns, who just got signed to Bomp Records in LA. And the music writers here: Jason Bracelin at Scene and Rob Cherry [freelance writer for PD and Alternative Press], who I met four years ago; I knew Rob from writing circles way back. The guys behind My Minds Eye Records and Bent Crayon [independent record store] on Detroit are great. I hate corporate record stores, and Cleveland does much better at supporting the indie record stores. It’s becoming harder to do that anymore. And I just met the couple from the new place, Music Saves [record store near the Beachland], it’s a great store and I’m psyched for them; all the ingredients for alternative music’s success are in place here.

Is Cleveland’s past and present music scene relevant?
Cleveland is usually overlooked musically; people forget that Peru Ubu, the Dead Boys and Rocket from the Tombs are from here...

The RFTT show at the Beachland last year was sick...
Yeah, and I also think newer bands are poised to take off here, like the Twilight. They’re new but doing well, getting more and more good bills; the clubs are noticing them.

How is Cleveland connecting to the music scene nationally?
One Cleveland connection is with Orange Sky record label in Los Angeles, when I worked there, Rob [Cherry] had introduced the Volta Sound to me. Orange Sky had put out their records, and then I did, too when I started Elephant Stone. Also, the record label Bomp in LA is putting out the next Dreadful Yawns record, so there’s a definite LA/Cleveland connection happening.

You’re recognizing Cleveland’s strengths, but you’re not a native of this city. From your perspective, why do Clevelanders have so much damage against our city? Why not focus on what’s great about living here?
It’s a case of familiarity breeds contempt. I think those who live here and complain should move to NYC, live there, and learn how much harder it is to survive and be creative. I can say that with Cleveland, I really like it here, and it’s a good place to be for bands, record labels, or artists.

What’s coming up next for you, any new projects you’d like to plug?
I just put out a record from the band Dora Flood, they’re located in San Francisco and doing a Midwest/East coast tour in the spring of 2005, and I’m psyched about that. I also have a new CD that just came out by Daydream Nation, which is really great. And I’d like to have another night like the one we had with New Planet Trampoline and Volta Sound at the Beachland; get my out-of-town bands to come here and play.

What can you tell me about the quality of life in Cleveland versus LA?
There’s definitely not the neon and bright lights...

It’s sensory overload to the point where it’s offensive, depending on your point of view...
I have to totally agree with you. And really, I’ve found more meaningful relationships in Cleveland during the few months I’ve lived here, compared to the entire time I lived in L.A.

In LA, there’s an inability to achieve a true connection...
My wife lived there ten years, and she prefers the art scene in Cleveland, she likes it better here. It’s not cutthroat and the people are more sincere.

What insight can you provide to others who are thinking about starting a record label?
You have to really be into it, because it can get frustrating. People think that bands just get noticed pretty easily, and it’s not always like that, you have to get into it because you love music, not to make lots of money; other jobs are better suited for that. I’m just so into it, and I can’t imagine doing anything else.
http://www.ElephantStoneRecords.com

Interview by Cool Cleveland senior editor Tisha Nemeth

Band photo by Bella Vendetta

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