Disonance Recordings

Birth of a label

After working in a St. Louis, Missouri record store in the mid-late 1990s, Adam Evans (Solemn The Orchestra, Eeva', D.E.A.) became disillusioned with the state of the US music industry. Evans saw a slippery slope for the industry's future; citing rising CD prices, lack of creativity from major label releases, a recent upturn in media sharing sites on the internet, and an increase of music listeners no longer willing to subject themselves to terrestrial radio (due to narrow setlists played well beyond a listeners' point of exhaustion). Evans saw an ever-increasing rift forming between major labels, their artists, and the fans. The music-listening public felt less like fans and more like open pocketbooks being drained. They were paying more and more for less and less substantial content, for both albums and live shows.

Evans felt that it was the duty and responsibility of the music industry, and record labels, to allow artists to push the boundaries of music, and present new music styles and ideas to the public. To continually strive to expand the public's knowledge and concept of music, while maintaining a quality that had long been vacant from the industry. Instead, he felt that music and bands were being forced into rigid genres and compartmentalized; for sake of volume and profit. That bands were being signed because of their similar sounds, not because of their talent or originality.

At the same time, more and more artists with very successful record sales were coming out to the media about their bankruptcies. Not because of excess or opulence, but from horrible record deals and bad book keeping at the hands of the labels. Further research found that the standard record deal only favored the industry's major labels. Most bands needed at least three highly successful albums to break even from their financial deficits to their label. Through revolving credit (advances), major labels were ensuring their own profits. Studios, producers and labels were deeply involved in deals, enforced by a label's album advance requirements, that made it easy for as much as 10%+ of an artist's album advance to be lost in red tape and returns. Somehow, that 10% always made its way back to the labels via fine print and loopholes. If these three could not be trusted, then artists were fighting an uphill battle and had little chance to succeed. Many an artist have been swallowed up and spit out in this industry and have become all that more jaded because of it. An artist's best bet for a financial future was to get dropped by their label, allowing for a write-off of any monies not recuperated by the label. Hopefully, artists could then start fresh with another label and have some bargaining power based on existing exposure and fan base. Evans saw this as no way to further creativity.

Evans, being involved in his own musical endeavors with friend and long-time collaborator David Downs (Solemn The Orchestra, Compliant, She Grew Feathers, New Oceans), could not imagine dealing with the hassle of creating music in this kind of environment. Evans took all that he knew from his years of record store sales and his music industry research to craft a basis for an artist-friendly label. Where revenues are dispersed evenly. To allow artists' creativity to flourish and not be stifled by the worry of album or singles sales. Where radio stations were never pushed to play a song into oblivion for the sake of sales. Where fans again felt connected, like a valuable and vital member of the music community they so loved. This became the core basics of Disonance Recordings.

First decade

Disonance Recordings made its official start in 2001, initially offering Promotional Services to artists and bands. But its original mission statement as a label was to sign acts and carry a roster of artists that have been overlooked by mainstream labels for years, based only on marketability instead of their talent. The first band signed to the label was Evans' own project, Eeva', in 2002. Evans expanded Disonance's depth in the years to come, with Staging Assistance and Merchandise Sales assistance for shows.

In 2003, Evans put his graphic design skills to use for Disonance Recordings. He created Resonance Images to offer album artwork, event photography, and merchandise design (this effectively created DR, or Disonance/Resonance). In response to the needs of this emerging regime of artists taking back control of the recording industry and regaining control of their own creative futures, Evans knew they would require the same access to the quality of imagery and services that the major labels had if they were ever to have a chance to compete. Disonance Recordings took this a step further and initiated the Guerilla Recordings project in 2009 to assist aspiring artists to D.Y.I. and do it right, without having to rely on corrupt labels. These recording, performing, networking and video/imaging tips, tricks, how-to guides, tutorials and words of advice can be accessed via Disonance Recording's Twitter Feed https://www.twitter.com/DisonanceRecord or thru their YouTUBE page https://www.youtube.com/disonance.

As the music industry changed during Disonance Recordings' first decade, so too has its mission statement. With the release of Compliant's debut EP, One Of You in 2010, Disonance Recordings has shifted much of its energies from procuring and funding a roster of artists into distribution services. Here, Disonance Recordings feels it has found itself to be the most fiscally responsible and creatively supportive to the artists it represents.

In 2006, Disonance/Resonance relocated itself from St. Louis, Missouri to Portland, Oregon and in 2008 relocated again to Phoenix, Arizona. In 2011, Disonance/Resonance has returned to St. Louis, Missouri.

Second decade/future

Disonance Recordings has plans to soon offer recording, mixing and mastering services. From these, Eeva's debut album, ghostHYMNAL, is expected to be the first project completed. Disonance Recordings plans to soon open a Chicago, Illinois branch.

List of services

Artists signed

Artists distributed