Hailing from Louisville, Kentucky, VHS or Beta has returned with a new release set to spark a dance-craze across the nation. Unlike previous releases like breakout record Night on Fire and the anthemic Bring on the Comet, the latest release Feel it When You Know is a self-released digital single bundle. It’s the band’s first time acting as producers on their own record, and the trio plans to release a string of follow-up remixes from the likes of LA Riots, LuckyDate and Mark Verbos. Here Mark Pagley talks to URB about record labels, being an artist, and what’s up for early 2010. Plus, we hooked-up a free download of “Feel it When You Know (Sex Rehab Remix).”

URB: When did you part ways with Astralwerks? What is Chromosome Records? Do you even see a point in bands signing proper record deals these days? If not, what would you suggest is the best method to release a record today. I know you did your single as an exclusive via Beatport, is that what you plan on doing with your full length? Is there a full length? How do you feel about bands just releasing singles–is the album still an important format, particularly in the dancey world?
Mark Pagley: We parted ways with Astralwerks after the “Comets” campaign and started Chromosome Records as a way to put out our music sooner and in a completely different manner than traditional labels. I don’t really see much of a point to bands signing to labels these days other than their marketing muscle. Although we adore the art of making records–we just see it as a dying art form. And instead of dwelling on the past, we just decided to make the most of a changing industry. And, honestly, releasing singles in a slow and steady manner is really fun and exciting. If we’re feeling a certain vibe, we can get it out there in a matter of weeks, if we really wanted to. Making a record takes so much more time and money and is judged so quickly. Artists can be deamed irrelevant in a matter of days. It’s unfair–but this is the new world we live in. So we’re trying to make the best of it. Funny thing about making a full-length is most people will simply cherry pick the tunes they want from iTunes or whatever. So after six months, maybe our fans can make their own VHS record with the new songs in any order they want!

URB: On your Myspace, rather than listing actual influences, you list a bunch of the bands you’ve played with. Do you think you’re more influenced by your peers than anyone from the annals of dance/rock history? A lot of bands get flack these days for switching sonic gears entirely–I’m thinking the Horrors, Editors, Julian Casablancas, Arctic Monkeys–do you think that’s fair?
MP: We just hate describing our music so we put bands we played with instead of something like “new wave, 70s/80s/dance blah blah…” As far as our peers, I can only speak for myself and say that I’m not at all influenced by much current music. Anyone that knows me knows [that] I prefer older stuff. I’m not “in the know” especially with current bands. With dance music, it’s important to stay current, but with rock? I can’t say too much has really inspired me in the last few years. And do I think it’s fair to get flack for switching gears? No. But do I feel sorry for Julian Casablancas?? [Laughs]

URB: You, like many artists, relocated to New York City, or at least, are trying to permanently. Back when you were first kicking off as a band, NYC definitely had a vibe to it, and I could see where you fit in, sonically, socially, etc. Do you feel the same way about New York now? I’d say there’s been a shift–big time–and not necessarily in a positive sense in the scene here… how do you feel about music both in New York and in America in general vs the rest of the world these days? Do you think the fracturing of the NY scene has had a residual effect on music in general?
MP: I think it’s funny how much crap NYC is getting these days. I have to put things in perspective: what most people consider a BAD night in New York is still, in my opinion, pretty great. I’m from a small town that got very little music on a monthly basis. NYC gets the top notch artists every single night of the week. I think the state of music in general is pretty slow right now. Is NYC the same bastion of all things weird and edgy as it was in the ’80s? No. But I see NYC as a place where artists work and get things done professionally. I adore my hometown, but it’s not the best place for working artists to live. I have always felt a feeling of “getting to the party too late” in almost every aspect of my adult life, so this is nothing new [laughs]. I think that people have been saying NYC has lost its edge for years, and I remember hearing that people were moving to Berlin or wherever. A friend of mine moved to Berlin to live the “edgy, real artist’s lifestyle” as a DJ. He came back to New York frustrated with how lame Germans were in nightclubs. I think it’s all perspective. NYC will have many more days in the sun.

URB: Were you impressed with any particular artists in 2009? Any tips regarding newcomers?
MP: No

URB: What are your plans for 2010?
MP: First off, Craig [Pfunder] and I are going to Bogota, Colombia in January to do a DJ residency and write some music down there. Hopefully we will get to DJ in Buenos Aires and maybe Brazil. Needless to say, we’re pretty stoked. 2010 will bring many more new singles and remixes. We are currently working on a Tegan and Sara remix. We are trying to start a monthly party in Williamsburg to promote the Chromosome label by bringing in top-notch DJs and performers. I’d like to say by springtime the band will be back playing live shows again.

By URB Staff     [Permalink]