"We want to be big, but..." The strange case of Shifty Disco Records - independent in Oxford (by Jon Horne 2001) © Touch Nottingham (internet magazine and What's On guide) Independent record labels have a curious place in the grand scheme of musical things. On the one hand, their output acts as an alternative to that produced by the ever-more-mechanical methods of the major labels. On the other hand, now that it's possible to make a record with nothing more than a second-hand sampler, a pirated copy of Pro-Tools and a stolen CD-burner, an independent label acts as a mediator between artiste and audience, selling us the music in a way that makes it palatable, and hopefully filtering out the dross. Towards the end of 1996, the demise of Ride and the success of Radiohead had left a gaping hole in Oxford's live music scene. That hole was being filled by an ever-increasing number of groups, of every type, and of wildly differing ability. Recognising the emerging scene's desperate need for a commercial (or at least artistic) outlet, the magazine Nightshift and the record shop Rotator Discs joined forces to form Shifty Disco Records, and began issuing singles by local groups - one a month, in runs of 1000, with 500 of each reserved for subscribers to what became known as the Monthly Singles Club. Over the following months, the decision was made to put out records by anyone who was good enough, regardless of whether or not they were from Oxford, or even from these islands. Three-and-a-bit years (or 49 months) later, Shifty Disco is celebrating its 50th singles-club release: 'Rockandroll', by Morbius, a Stooges-with-synthesisers duo from Kings Lynn; January's single (Monkey Steals The Drum's blatant-but-entertaining Pavement copy, 'Injured Birds') is probably being played on night-time Radio One at this very moment; and the label is about to put out its sixth album, by Elf Power, a folk-punk group from the Elephant-6 collective in Athens, Georgia (unfortunately endorsed by Michael Stipe, but we won't hold that against them). "So," I asked Tina Flannery, one of Shifty Disco's backroom girls, "what happens when Sony offer you a couple of million to take over?" "I don't think that's going to happen," she replied, breezily. "Hmm..." I muttered, still trying to cause trouble. "Honestly, we're very anti-corporate. The monthly singles are a one-off thing. We pick something we like from the pile of demos, and we sign the group - whoever they are - for that record. If it goes well, we might do another single with them, or an album, but they're free to do their own thing outside of that - and a lot of these people have done. We want to be big, but as ourselves, and on our own terms." For those of us who remember the post-punk heyday of independent labels, Shifty Disco are closest to the ideals of Rough Trade, making records on individual merit, rather than following a house-style (like that of Postcard, for example). These days, when music is stratified according to b.p.m., honed precisely to match the drug du jour, and marketed to exact demographics of age, sex, class and race, I can't help but admire the boast in Shifty Disco's own publicity, that "everyone at the label hates at least a couple of the label's releases." To appreciate the eclecticism of Shifty Disco, the best place for a newcomer to start is probably with one of the annual collections of the A-sides from the monthly singles club: "It's a Shifty Disco Thing". Currently on Volume 4, the first two volumes have now sold out (and have naturally become collectors' items), so that leaves us two to pick from. "We're like a little community," Tina Flannery continues. "Everyone does their own little bit. There's someone here who runs a studio, and we have people who produce - but that's not all they do. We work together. It's a case of mucking in." And so it was when recently, Monkey Steals The Drum had all of their equipment (not just their drum) stolen, along with the van that was carrying it. A little community spirit, in the form of borrowed gear, enabled to group to keep playing - and spreading the word via live shows and Peel sessions. Following a flurry of recent activity to celebrate the 50th single, it is a quiet time for live gigs at the moment: the label's own list runs as follows: Nought - at The Point, Oxford - 7th April Manatee - at the Hope and Anchor, Islington, London - 12th April Monkey Steals The Drum - at the Brewery Arts Centre, Kendal - 26th April Also, Elf Power will be starting a short tour of the UK on the 23rd April. Check their web site for details. Anyone who thinks that two of their songs would make a great Singles Club single should send their demos to Angela Sammon, at 65, George St., Oxford - or e-mail her at angelasammon@shiftydisco.co.uk For the consumers amongst us, Shifty Disco records are thin on the ground in the record shops - but if you can read this, then you can buy them on-line - through oxfordmusic.net

read more rants and raves