Inorganic Audio’s Conall speaks to the shadowy bosses of Blind Music, a label that strives to remove the link between artist and music. Their short conversation covers the label origins, plans for the future and their methods when creating a new release.

Hey there and thanks for talking to me and Darkfloor. Blind Music is, in its own words, an experiment. What were your initial expectations upon beginning the project?

I don’t think we had many expectations. We just wanted to see what would happen and what challenges we would face in trying to promote music by not promoting it.  I suppose it still is an experiment, but I’m glad that people have enjoyed some of the music that we’ve released.

Blind Music is a record label experiment. Every release on this label will be released anonymously and will stay that way. We live in a world of information overload. 144,800,000,000 emails are sent a day, 4,000,000,000 things are shared on Facebook a day. Blind Music aims to take it back to the just that, the music.

EP.3 certainly sticks out as one of the more eclectic releases from the label. What’s the process of compiling a new release, do you group the tracks with a specific theme in mind?

The people we ask and the tunes that come in usually seem to slot together. In a few cases some tracks have had to wait a bit for the right release, but generally everything seems to slot together. Some of the releases have a theme because they were produced by the same producer and others have a theme just because they sounded similar. EP.3 is definitely one of my favourite releases on there.

In line with your anonymous policy, you have no SoundCloud or Twitter presence. However there is a Facebook page and you distribute through Bandcamp, is there any reason you’ve opted into certain social networks, whilst not engaging with the others?

We’ve just started a Soundcloud, which will have the new EP on it in the next few days. In the beginning we were into the simplicity of not having all of those things. You kind of need somewhere to speak though so we went for the Facebook option. I don’t think Twitter suits our project very much. We haven’t got that much to say on a daily basis.

Many would say that any producer relies on labels to provide a certain level of promotion for their own name or brand. How does the way that Blind Music operates affect how easy it is to convince new talent that signing with your label is a worthwhile endeavour?

That was something we wondered about before we started, but to be honest it’s been surprisingly easy. Most people don’t seem that deterred by it and a lot of the tunes have been made specifically for the label.

Is it purely a logistical decision to distribute through digital channels. Do you think the method by which you release your music affects the final customer’s perceived value of the music?

There’s people at all different points on the spectrum. Some people think MP3s are shit and it’s all about vinyl and some people don’t care. Either way you’re never going to keep everyone happy. We went for digital in the beginning because it was an experiment. At the time we didn’t have a distribution deal or even a plan to get one.

The next offering from Blind Music strays away from faster tempos in favour of a more laid-back feel, is this something we’ll see more of in future?

We like to try and keep things exciting and I think you will see more of that.

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Many thanks to Blind Music for speaking to us, certainly one to keep an eye on as they continue to develop their experiment. EP.6 is out on August 10, and will be available via their Bandcamp alongside their other anonymous grooves.