Foetal Orange was founded by Jack Hunter, bassist in Welsh Anarcho-Prog/Kraut ensemble Strap the Button, in 2007. Initially known as My Formica Table, Hunter was forced into a name change as his tiny imprint was found to cause “detriment to the distinctiveness and reputation of the Formica trademark”

While this is a completely true story, it should not blight the history, or the future, of this label. More of a collective of free-thinking individuals who share ideas and artistic endeavors with one another (and anyone else for that matter) the helter-skelter story of Foetal Orange is inspiring.

Hunter talks to [sic] Mag about his label, which has grown via non-profit promotion despite its minuscule size and the ludicrous obstacles it’s been forced to navigate. Their roster of (free) releases features some truly exhilarating recordings, from deliciously eclectic outfits including Prog power trio Port Elizabeth, Crippled Black Phoenix member Team Brick and special documents of Hunter’s own projects.

[sic] Mag: What influenced you to start your own label and how have your values differed from your original aim?

Jack Hunter: (pictured below)The official mission plan reads as follows:

“FOETAL ORANGE is an independent platform established for the promotion of progressively minded music, art and thought, in whatever forms they find themselves manifested.”

But basically I wanted to be able to share music with other people. If one person who might not have ever heard a certain piece of music hears it, and enjoys the experience, then the intention is achieved. It’s a mode of sharing ideas that might not have had the means to be shared previously.

I don’t think the values have really changed over the past couple of years. Perhaps there is a little (only a little) more focus on physical releases, but that was always a part of the idea. I don’t want to be restricted by any specifics. I was hearing so much good independent music that didn’t have any real platform for exposure and thought that I’d help, in some small way, to set one up.

How does your label differ from others? Are there any distinguishing characteristics that give your label its own identity?

JH:There are quite a few free net-labels about now. I’m not sure that it differs that much from others, except perhaps in the sort of music you’ll find on Foetal Orange. The scope is quite expansive, and chances are you won’t have heard of many of the artists/bands in other places.

How difficult was it to get your label established and what does it take to survive and prosper?

JH: It wasn’t difficult to get the label established in the first place. I was already in touch with a lot of great bands who were interested in the collective music making experience – there was already a good community of like minded musicians in contact with each other [Strap The Button (see above), Omatic, EL Heath, The Good Anna, The Exploits of Elaine, What the Moon is Like, Kronikel – all from the Mid-Wales/Shropshire/Midlands sort of area, except Kronikel from Devon], so there was a definite audience of some sort already in place. Things got moving a lot quicker than I had expected and soon people from all over the place were sending music to me, which was great. It was nice to see the sort of music people were making in their homes, with friends, etc. – really communal, creative stuff.

There was a little bit of a blow to the label’s initial growth spurt when it had to change its name late last year. Such a petty issue. But things will recover, and we’re doing a lot in Bristol to spread the Foetal Orange name with gigs and releases. We’ve also started linking up with established musicians down here too; like a root system. I think that all it really takes for a label to prosper is a good stream of creative music. As long as the music keeps coming a label’s job is pretty much done.

What do you consider to be your label’s proudest achievement and why?

JH: Probably when we made a load of lovely compilations (My Formica Table Compilation #1) to give away at a gig in Shrewsbury. They were really nice; each one with a different bit of artwork and actual lovely printed discs. I also liked the very limited edition “Like a Tired Dog” Cd-r’s for Patrick Farmer (pictured above) – they had lovely felt puppy faces on them. The new Sweet Potato CD is pretty cool as well, “very professional” and all carbon neutral.

When signing new acts, are there any particular attributes or factors that you look for?

JH: I like music that isn’t afraid of going where it pleases – Music that is what it is because it couldn’t be anything else. Sometimes I’ll hear a good musician/band and ask them if they’d be interested in putting together a free release, and on other occasions people will just send me stuff. I listen to everything that gets released, so it has to have my “seal of approval” before I put it up. If it’s really bad (whatever that means) I won’t put it up. I don’t think that I’ve ever been sent anything truly awful before – the music is generally thoughtful and creative, which is great. It’s a privilege to be able to hear real people’s music unfiltered by the media. It is possible to listen to real fresh music everyday without giving any money to big labels who are charging far too much for the music they purvey.

If money was no object, which artist or band would you most like to work with and why?

JH: Money isn’t an object for us. I am working with the artists and bands that I feel are doing the right thing.

With so many formats now available, from digital through to various physical products, which one do you see thriving in the future?

JH: I think a synthesis of all of the different media forms is the way we are heading. Instead of thinking one is better than the other it’s probably more productive to embrace them all as viable options for expression. Each has its own special quality which can be used creatively to achieve a desired effect. It’s like choosing to paint on lead with a layer of gold leaf, or on wood, or canvas.

Illegal file-sharing is obviously the burning issue in the music industry. Should labels embrace or distance themselves from it?

JH: I can’t see any reason in distancing yourself from it. The great thing about file-sharing is that it allows an almost instant spread of ideas, knowledge, inspiration etc. People are able to share creativity and information in ways that have never been possible before. The internet is like a big psychic network linking minds together, if anything it is a positive thing (but it should be remembered that it’s not the only thing). It’s when people start trying to close that sort of information sharing down that the real problem starts, I think.

What advice would you give to budding label owners?

JH: Well, just do it. A label isn’t really that big of a deal (is it even necessary?). It’s just an umbrella over like minded music – particularly with the internet. Artists can basically release their music completely independently now, which is a great thing. The benefit of a label, though, is that it makes community-building much easier; like minded people can share like minded music with ease, and they can also get access to music they might not normally get the opportunity to hear. If you’re keen to promote that sort of thing then you will succeed.

Finally, in five years time, where do you see your label?

JH: That’s hard to say. I’d like to think that we will still be doing the same sort of thing, only better – more music, art, films, writing. We’re already planning to build an art extension on the website; for visual treats.

Maybe growing into other forms of internet based multimedia exposure. There is already a foetus of an internet based TV station called BODY SCANNER, which needs nourishment for it to develop. Maybe even some sort of Radio station.

I think that expanding the communal aspect would be a good move forwards, more inter-label and inter-band/musician activities. We’ve already started branching out to do split releases with other labels – the new Sweet Potato album (pictured left), “MASH”, is set to be released by both Foetal Orange and Records on Ribs together. So if in five years there is more collaboration and more interactivity I will be happy.

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