How a Random CD Got Me Into the Record (Label) Business
In the fall of 2005, my friend Van came back from Popkomm, a German music industry festival, with a CD by a Danish band called Figurines. He handed it to me, saying simply, “I think you’ll like this.”
At the time, I lived in Seattle where I co-owned Sonic Boom Records, played drums in The Long Winters, and had been running my small label, The Control Group, for about three years. Up to that point, all my releases had been by Seattle artists—not by design, but because that was my community. The label was doing well, and I wanted to sign someone from outside that bubble, someone whose music could travel beyond my immediate circle.
The next morning, I found the Figurines CD on my passenger seat. The artwork was simple—black with white swirling circles—offering no clue about the sound. I popped it in on my seven-minute drive to work. The opening song, “Race You,” was a piano ballad, which caught me off guard in the best possible way. Then “The Wonder” kicked in with its wiry guitars and scrappy drums. By track three, I was hooked. I remember the exact thoughts that raced through my mind as I looked up Figurines on MySpace: Even if nobody buys this, I have to be involved. And: I have to get in touch with this band before Sub Pop or Matador does.
Long story short: I did. We quickly struck a deal to release Skeleton in North America in 2006. The Danish government’s Music Export Denmark program helped, and I hired my first New York PR and radio team. The band’s first U.S. show at the Crocodile Cafe in Seattle blew me away—they sounded even better live.
Skeleton got an 8.3 from Pitchfork, which, at the time, was game-changing. My inbox lit up with emails from booking agents, promoters, and other out of reach industry people who’d never replied to me before. I remember taking a friend from Sub Pop to lunch and asking, “So, what do I do now?” His advice was simple: get them on tour, make sure records are in stores, and hope for good luck and good timing.
Figurines toured the U.S. twice that year. The record didn’t explode the way we’d all hoped, but it was a huge step for me and my label. We landed a song in Gossip Girl, got radio play, and earned a stack of great press. Most importantly, it opened doors. Soon after, a friend sent me the debut album by Swedish artist El Perro del Mar, and I released it. That led to Lykke Li’s debut EP, which included the underground hit “Little Bit,” and then the avant garde vocal and drums duo Wildbirds & Peacedrums—still one of my favorite records I’ve ever released. I’m pretty sure Cate Le Bon wouldn’t have replied to my MySpace message if I hadn’t already worked with those artists—which, in turn, led to me releasing her first two incredible records.
Looking back, so much can be traced to that moment of hearing Skeleton for the first time and knowing I had to be involved. It ultimately led me to my job at 4AD and has kept me releasing music to this day.
To celebrate Skeleton’s 20th anniversary, I’m importing a box of the deluxe edition vinyl from Denmark. Hopefully, some people will want a copy—but even if they don’t, it feels the same as it did in 2005: I just need one for myself. If others do too, even better.
Speaking of old records—my uncle, Alan Braufman, whose albums I’ve been releasing on The control Group offshoot Valley of Search since 2018—recently unearthed a remarkable live recording from 1977 featuring the great drummer and composer William Hooker, the revered (and now late) tenor saxophonist David S. Ware, and Alan on alto sax. It’s a raw, fiery document of NYC’s free jazz scene in the ‘70s. When William rediscovered the original flyer he designed for the show, we knew we had to release it. That happened yesterday. The album is out now on LP and all streaming platforms. To celebrate, William and Alan will play two shows—June 25 in Brooklyn and June 26 in Kingston, NY—joined by the incredible James Brandon Lewis on tenor sax.
Some of you have asked for Roy Ayers album recommendations. While I’m no expert, my go-to favorites are Ubiquity (1970) and Everybody Loves the Sunshine (1976), but I learned a ton from Gilles Peterson’s recent 3-hour tribute to Roy on BBC. It’s packed with great music and was especially emotional for me—I was at Gilles’ home in London the day Roy passed. To go alongside Gilles’ tribute, BBC rebroadcast Emily Webb’s interview with me from 2022.
All 20 episodes of my podcast, Identified Season 1 are live now. Episode one is with Karen Ayers, a living descendant of the man who enslaved my paternal ancestors. After that, it’s a rapidly growing list of musicians, comedians, authors, chefs and friends talking about family. Identified is available on all major podcast platforms, 100% free and ad free. You can watch short video clips on YouTube and Instagram. Watch for Season 2 in 2025.
Listen: Apple Spotify Amazon Bandcamp Website
My memoir is called My Life in the Sunshine. You can order it here, or listen to the audiobook on Spotify.
I hope to see you somewhere soon. Upcoming events are always listed here, and now include Mississippi and Connecticut (with Henry Rollins!) in April 2025.
Nabil Ayers / Brooklyn
Nabil Ayers love your words and thanks for sharing the story and giving me some props. So thankful to you for helping me and the family find a place in Seattle when you endorsed me with the fine people at Barsuk. Much love and respect my friend.