UNRESTRAINED! Magazine - Issue 27 OUT NOW!!

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LEE BARRETT - Having a Second Go At It
By Adrian 'The Energizer' Bromley

Second chances don't come too often in the music industry, but when they do happen, it is something to be proud of. An accomplishment of sorts, as well as a sigh of relief knowing that the music you are creating/pushing to the masses has struck a nerve somewhere, and people are anxious to see/hear what you got.

Whether or not Elitist Records label manager Lee Barrett believes in luck or second chances, his newly developed label (an imprint of Earache Records) has a varied roster of acts (Ephel Duath, Rakoth, Without Face and Forest Stream) that are new to many but will no doubt leave an impression on many as they are all superb bands that are in their own way, shape and form, pushing the boundaries of music, exploring realms of music with depth and richness.

Things look good in 2002 for Barrett, the man who introduced the world to Emperor and Opeth via his old label Candlelight Records, as he has once again put all of his attention and genius into Elitist Records and expects results. It is only a matter of time.

UNRESTRAINED!: Tell me what got you into metal music (or music) in general? What bands hooked you into this festive world of musical exploration?

Lee Barrett: I had two older brothers both into rock music when I was growing up in the 70's, so I was subjected to bands like Led Zeppelin, Deep Purple, Status Quo and AC/DC pretty much since birth. At about the age of 10 or 11 I started finding my own way though [musically]. Iron Maiden was getting big and I got into them in a big way, and then after that came Venom and the whole thing just started from there. I was always on the lookout for the next heaviest or fastest band out there. There was a record shop in London called Shades who kind-of championed the whole thrash movement in its embryonic stage. They were the only place you could pick up the obscure albums by Bathory, Sodom and Hellhammer, etc. I'd hang out there when I could save enough money for the train; always pestering the staff to get the latest stuff played over the PA so I could check it out. The early 80's was an exciting time for metal, especially if you were into the heavier stuff.

U!: Why did you start Candlelight Records? Was it a struggle to get it off the ground?

LB: Candlelight was originally just a mail order. I was buying a lot of stuff from Plastic Head distribution that was based near me and then after a couple of months they actually offered me a job, which I took. The label thing happened simply because I wanted to do an underground release, maybe sell/trade a couple of thousand copies and then that would be it. No more than a hobby really. Since I was already working at Plastic Head I could distribute it through their various channels and I hoped I wouldn't lose too much money. The first two bands I picked were Emperor and Enslaved; they did a 12" EP each that were both put together as a Split CD. That CD went and sold around 10,000 in the first year, and by happy accident I was now the head of a record label.

U!: In the early days, did you ever feel like giving up or did you know you'd be successful? What were the pros and cons of making it work, and were there sacrifices?

LB: Well I learned the hard way that I was no businessman. There was a time when the label was so broke after a couple of bad selling releases that it took us 9 months to pay for the first Opeth recordings. I had real difficulty keeping the cash flow together, mainly due to not being an organized person but also because of other reasons, like being told by the manager of our distribution company that I'd sold 1,500 CDs one month, only to find when the sales statement came in that it was less than half of that amount. I lost some good bands like Monumentum simply because I couldn't afford to pay for them.

U!: Tell me about discovering Emperor (and the other early bands on the label), how did that come about? They are one of the most cherished bands within the metal scene so you must be proud to have brought them to the attention of the metal masses? You had some good finds, didn't you?

LB: All I've ever done is sign the bands I truly liked and with Emperor that was no exception. I was familiar with the band's previous incarnation Thou Shalt Suffer since I'd sold their Distorted Harmony (Mexican Label) 7" through my mail order. When I heard the demo I knew that the band were something special and I was glad when they accepted my offer of the EP. They were originally supposed to sign to DSP (Deathlike Silence Productions) after the EP, but they were pleased with the work I'd done for them with that record and they ended up signing for three full albums.

U!: What do you think was the peak of Candlelight when you were involved? What bands and/or releases do you think helped shape the label and make it a strong entity?

LB: It was probably the first full length from Emperor (1994's In The Nightside Eclipse) that was followed by Opeth's debut (1995's Orchid). Both albums seemed to have a significant impact on the scene as a whole. The Emperor effect was immediate, whereas Opeth has taken a few years now to approach the same level. Those were the biggest selling bands on Candlelight and they always will be.

U!: Why did you decide to leave the label and how did that come about? Was it frustrating or did you feel relieved to have worked it as much as possible and just let it go?

LB: I wasn't interested in the label any more and I was becoming difficult to work with. I'd turn up when I felt like it, things weren't getting done and the whole thing was in danger of falling over. I wasn't enjoying the music anymore either, which was the whole point of it to start with. I'd become cynical and lazy. I was offered a buy-out and I took it. It's as simple as that.

U!: What did you do when you rid yourself of Candlelight? Did you think about avoiding music entirely for a period of time?

LB: I spent a while gathering my thoughts and getting my shit together. Leaving the label actually got me more into the music than ever before. I was like a weight was lifted off of my shoulders and to be honest it felt great. I was buying loads of CDs, and I was back in "hunter" mode, where I was actually on the lookout for bands that I liked rather than expecting them to send me a demo like before. I also trained myself for a new career in the computer industry, which I admit I have only a passing interest for. I now work as a self-employed contractor in computing, specializing in software rollout projects and messaging systems for banks and multi-nationals.

U!: What do you think of the metal music scene nowadays? Much different since you began in it or is it all the same?

LB: Commercially it's different. It was easier for me to start a label back in the early 90's simply because there was very little competition. Now everyone and his wife seem to have a label. The scenes got no bigger in terms of the amount of people in it, but the choice of what CD to buy that month or week has increased ten fold. It's tough out there right now from a label's perspective. Musically it seems a lot different on the surface, but dig a little deeper and you'll see that this is more down to people feeling they have to classify each band and pigeonhole everything into genres and sub-genres. Whether it's rap metal, black metal or even fuckin' fat hairy penis metal, the defining word is metal at the end of the day.

U!: What bands (other than those on your label) excite you now? Do you think those particular bands you enjoy so much have the staying power or legendary status that Emperor has?

LB: I have to say that both Finntroll and Ensiferum from Finland have genuine potential to sell a great deal of CDs. Whether they can maintain the momentum and get to "legendary" status remains to be seen. Virgin Black from Australia is a great band too, though to be honest I think they'll remain [at a] "cult" status. There's also a great Austrian band that I won't mention as I'm hoping they'll join Elitist. There are a lot of great bands out there at the moment. I think we're seeing an exciting era where experimentation and cross-genre pollination are being embraced rather than ridiculed. Good news as far as I'm concerned.

U!: Why did you decide to start up Elitist Records? How did the Earache imprint come into effect? What are the benefits of that status?

LB: I wanted back in the industry, but on my own terms. I'd originally had talks with Sanctuary but they lost interest after a while. They're only interested in re-issues or wringing any remaining credibility from has-beens. I mentioned the talks to Digby from Earache when we were out in a club one night, and he said that he'd be interested in offering something similar via Earache. We spent a couple of weeks sorting out the details and then Elitist was born. The benefits for me with a deal like this is that I can keep my day job in computing, which is certainly a lot more lucrative than the music industry, as well as being able to deal with the parts of the labels work I actually enjoyed. With Elitist I find the bands and I remain their first point of contact. Everything else is handled by Earache.

U!: What did you learn with Candlelight that you will try to avoid with this label?

LB: Well the lessons I learned from Candlelight toughened me up a little bit. I was usually very trusting, but one person in particular made me learn that trust is a commodity to be used in whatever way you choose, and in his case it was always used for his own personal gain.

U!: When you sign a band, what do you look for? Is it a gut feeling or can you just tell how the band sounds and/or carries themselves?

LB: It's definitely a gut feeling. I'll know within a minute of hearing a band whether I'd want to sign them or not. The other stuff can come later, but if the music is right then you're 80% there.

U!: You have a small roster now, does that make it easier to be in contact with bands and help them grow? How do you try and help bands -- offer tips, etc?

LB: I'm going to try and keep the roster to eight bands max. The main reason is, like you say, to be able to keep track of things and not to get bogged down with too much to do. Also, I can't release too much stuff as Earache themselves will be bogged down. They prefer to pay attention to a small number of releases at any given time, rather than go with the "throw 100 CDs at the wall and see what sticks" approach that Nuclear Blast or Century Media seem to do. I'll try and help bands in whatever way I can, particularly with advice about artwork and recording. There's only so much I can do really. The band have to help themselves in whatever way possible too, by getting to know the tour promoters and venue owners, being chummy with band management and all the people who can help. I think it's also known as "Kissing Ass"! But hey, if it helps then why not?

U!: Do you ever want Elitist to reach the same status as you had achieved with Candlelight or do you plan to go about success a different way with Elitist?

LB: I just hope that Elitist becomes a stamp of quality. With some labels like Listenable, Code666 or The End you can be pretty sure that you're going to get something above the ordinary when you buy a CD from their roster. If people consider Elitist in the same way I'd be more than happy.

U!: The future plans for Elitist? New signings? Do you see any bands that could be the Emperor or the new millennium?

LB: Well the eight bands maximum is only around the corner, but unfortunately I can't say anything until the deals are signed and delivered. I strongly believe that any one of the bands that I've signed can make it as the next big thing. They all have a unique quality about them that can capture the imagination in one way or another. The trick is to keep the momentum going once a band does look like it's going to "click." Keep 'em on the road; release a video, whatever it takes.