It seems like no matter how far from Britain this series takes us, we’re only ever a few interviews away from a trip back to these fair isles, such is the wealth of quality imprints that have set up shop in our green and pleasant land. Take this instalment, for example.
Based out of our own hometown of London, Invader Records ticks all the right eclectic boxes in our eyes. From sublime alternative pop to head-nodding hip hop and engaging underground house fare, we were so impressed with the label’s output we thought it appropriate to invite those responsible to offer a few words of wisdom on releasing great records, working with grade-A artists, and where all this is going. Let’s hand it over to one of the bossmen then; Alex Morris…
Describe your imprint’s output.
We’re an electronic music label attempting to be the backlash against homogenous dull music. The anti-magnolia colour paint / chain coffee house / standard burger establishment since 2011, if you will.
What would you say makes it different?
We span from pop to music that’s really quite different. The difference between Mikill Pane I Like U & Ursa Minor Hurt is quite stark. But yet they’re both at home here. Because they’re both authentic original records.
If people were going to hear one release from your camp, what would you prefer it to be?
For the purposes of this question I would have to say: Watching Over Me / What Love Sees, two tracks I wrote with Robert Owens & Rui Da Silva. Classic house records from a couple of legends with a host of remixes from the new school: Naked Swing, Jacksun Fear, Ursa Gray, Jouhl, Clive Henry, Young TEE.
All being well, skip forward five years, where would you like things to be?
In 6 Years time I’d like us to be a well recognised and respected label with credible output. A label that helps change the shape of modern music, and sets trends that’ll be remembered in the 22nd Century.