Searching for Brazilian netlabels to interview we ran into Tranzmitter and exchanged a few emails with its curator Marcos Paulo Tiago. The answers are translated from Portuguese.
First of all, thank you for agreeing to answer a few of our questions. Can you tell us something about the people behind Tranzmitter netlabel and how they got involved with music?
Currently I’m the only person running Tranzmitter. My name is Marcos Paulo Tiago. I have been listening to electronic music since 1987. Even with little resources back then I was always searching for more electronic music.
When and why did you feel the need to create a netlabel? Why a netlabel and not a traditional label?
I first caught wind of netlabels from other countries around 2006. A year later I had some friends who already produced good quality electronic music, and so I decided to get in touch with them to try something out. We received some positive feedback so I immediately created Tranzmitter’s first website to promote it. I think netlabels are the best way for producers to promote their work nowadays, so I never had any interest in creating a more traditional type of label.
Is your label focused only on deep house and techno music?
Our main focus is electronic music, Tranzmitter has releases in genres that range from Deep, House, Techno, Experimental, Downtempo and even Drum’n’Bass and Dubstep.
Some people are claiming that Jamendo, Bandcamp and Soundcloud are bringing even more artist independence from labels. Not just from the majors but also from indies and netlabels. My question for you is: What are the benefits for an artist to release through your netlabel instead of being entirely independent?
The main reason is because by releasing through a netlabel your music won’t end up restricted to only one channel or platform. Aside from the tracks being available through our website, they are also promoted by us in other channels, increasing the promotional network for the artist’s work.
Are you in contact with local venues and event promoters?
I organized a few events here in Brazil, but there are not that many clubs and promoters opening their doors to local underground music.
We noticed on your website that you also have paid releases available for sale. How do you see the music business operating? How should the free and paid music world coexist in 2014?
I see the relation between free and paid as being positive marketing for Tranzmitter. Having paid releases available is also a good stimulus for the producers who been releasing with us for a longer time.
In the free culture and copyleft movements, Brazil is named quite often for its techno-brega movement. It’s usually mentioned as an example of the anti-capitalist and anti-copyright evolution of music culture. Do you, being a Brazilian, share that view?
Tecnobrega is a popular musical genre traditional from the Northeast Brazil. In the South – where i live – it isn’t played all that much, so I can’t really say much about it.
Care to share with us a net release you are particularly proud of from your label and explain to us why you like it?
It’s hard to pick a release in particular. They all have something that makes them special. I feel proud of Tranzmitter itself, how it turned into a giant of the electronic music scene with over 120 thousand downloads among other things. It also enabled me to become friends with a lot of people, not only here from Brazil but also from other countries. So the label itself makes me proud.
Thanks for your time! Any last words?
Thanks for the contact with netlabelism.com and for the good work you been doing promoting netlabels and electronic music.