Den Tapes Is a Label by and for Seattle's Music Scene

The indie tape label is one to watch...because they are awesome!!

K Redden, Willy Walker, and Dan Spaulding of Den Tapes. Photo by SUMP Music Photography

One night last week I was lying in bed in Brooklyn, flipping through Instagram stories, when I tuned into the livestream gig being put on by Seattle’s Den Tapes in celebration of the indie tape label’s 5th anniversary. It featured artists from their roster playing back-to-back 20 minute sets in backyards and bedrooms all over the city (and the world, since Gabriel Delicious beamed in his performance from Melbourne, Australia.)

Den Tapes hit my radar in 2016, when the label’s Willy Walker sent me an e-mail to inquire about coverage for one of their bands. I’ve stayed in touch ever since, not only because their releases are super rad (last year’s Off My Mind from indie pop group Tourist Activities made Bandcamp’s Best of 2019), but because the label is so locally focused that what they put out provides a window into what the music kids of Seattle are doing—which, historically speaking, is always worth keeping an eye on. Den Tapes’ livestream gig proved why that’s still true a hundred times over.

I joined in time to catch the last few songs from Wade Phillips and Jessica Kim of indie rock band Coach Phillips, who were playing an acoustic set in their front yard as the sun began to set and the light around them turned milky and golden in that way particular to the Pacific Northwest. It was beautiful. Though it was already getting late in Brooklyn, I ended up being glued to the livestream for hours, my phone growing hot in my hands as I watched set after set of amazing performances from Den Tapes artists.

Notable moments included Roger Hutchins and Aniela Sobel of Happy Times Sad Times (RIP) doing an acoustic cover of their old pop-punk band’s best-loved song while the comments went wild, some genuine Burrito Brothers vibes from Prairie Fire, Nicole Swims of Black Ends soulfully shredding out in what looked like her kitchen, and the insanely talented Mike Sampson being heckled by his friends in-between playing some truly stunning indie folk songs. Additionally, though the livestream itself was free to join, Den Tapes had set up a donation link to local social justice organization King County Equity Now in their profile, with some bands offering to match any donations made during their set.

Throughout the gig, fans and bands who had just played or were about to play tuned in to send words each other of encouragement, reminisce about past shows, and look forward to the day when they could once again gather in the same shitty DIY venues. The sense of community resonated so strongly that even the fact that it was all happening on Instagram couldn’t obscure it. While other music writers may be moaning about the emptiness of the virtual concert, Den Tapes’ livestream ended up being one of best gigs I’ve “attended” in ages and an incredible showcase for the vibrancy of Seattle’s music scene—the opposite of empty. I couldn’t hit the “heart” button enough times to express the joy in my real heart at being able to, in whatever socially distanced way, take part in it.

The livestream gig was such an wonderful display of the great work being done by Den Tapes that afterwards I reached out to the label’s K Redden to see if she’d want to talk about the label for this newsletter and she said yes! So, that’s what this issue of Weird Girls post is all about. We start with an interview with K, who answers a few questions about the Den Tapes’ history, goals, and ethics, and offers some thoughts on what makes Seattle’s music scene special. After that, a list of cool Den Tapes releases from over the years with commentary by K. Don’t forget that today is Bandcamp Friday, so if you’re moved to purchase anything, all proceeds go to the artist.

What this interview with K shows, and what I love about Den Tapes in general, is how clearly the label is powered by both a love of music and an allegiance to the community who supports it: a combination that runs very deep in the musical DNA of the Pacific Northwest. Den Tapes is a label by and for the Seattle music scene and, as anyone who’s ever been a part of a local music scene knows, there’s something very pure about that. For people who live and breathe music, the opportunity to participate in the perpetuation and elevation of the art in your own community—from playing in a band to running a label to writing about music to booking shows to just being a fan who buys every record and goes to every show—imparts a sense of belonging to something greater than yourself that is rarely replicated in any other part of life. Let that be a source of inspiration to us all, even if we have to experience it via Instagram for now.

With that, I give you K Redden of Seattle’s amazing, inspirational, radical Den Tapes.

MT
Brooklyn, New York

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K Redden of Den Tapes

When did you start the label and what were your goals for it at the time versus now? Were there any labels/people that were an inspiration to you when you were starting it?

I started the label in 2015, shortly after my mom had passed away, which in itself was a strange inspiration because a lot was changing in my life so rapidly and something finally clicked like, “You know, life’s too short. Do whatever you want.” A year in, I met Willy Walker and Dan Spaulding at a Wimps/Pony Time show and talked to them about doing a release for their band, Porn Bloopers. Once they helped me make that release, I asked them if they wanted to help me forever.

As obvious as it may be, K Records has always been a very big influence in my life and if my love of cassettes wasn’t directly contributed to my dad, I’d blame it on Calvin Johnson. I would also like to blame the guys at Woodsist for aiding my cassette obsession in my teen years.

The goal for the label in its early days was just to put out my friends' music on a tangible format, the lovable and compact cassette tape. I hadn’t really found a place where I fit in with the music scene until I met some of the early Den Tapes artists (Porn Bloopers, Happy Times Sad Times, Retrospecter, Antonioni, Choke the Pope) and I really wanted to do everything I could to help make everyone feel at home and supported in the scene. I still feel this way, my goals are the same with maybe a bit more emphasis on wanting everyone to feel comfortable and supported and I hope I’m still accomplishing that (and if I’m not, I have a great team of folks I trust to call me out.)

Why did you call it Den Tapes?

First, K RedDEN. Second, even in my old apartment we were making the tapes in the den and we’ve continued the tradition into our home.

How do you find bands to release on Den Tapes? Are they all pretty much locals or do you get submissions from people all over?

In the beginning, it was mostly going to shows to see a friend’s band and then seeing other bands on the bill that would blow us away. We’ve also all gone to shows separately and come back totally gunning for a band, thus forcing all of us to take an outing to their next show, which is always a good time (I miss shows.) We’ve also had many word-of-mouth situations where a band will approach us and say they’re friends with so-and-so on the label so we’ll go see them live and see what we think about bringing them on. We try to keep it local. We do get submissions from all over but for now we’re trying to focus on the Pacific Northwest. Willy did just move to Boston though, so who knows what’s gonna happen. Maybe we’ll have some surprise east coast releases someday. 

How long have you been involved in the Seattle music scene and in what capacity?

I’ve been a fan of the Seattle music scene since before I even moved here from Texas over 8 years ago. I moved here solely because of music, but I had a really rough time finding my place in the scene itself once I moved here because I didn’t play music at the time and I didn’t know many people who played out very often, but that didn’t stop me from going to shows regularly. Since then, I started working at a record store (Sonic Boom Records), became a resident vinyl DJ at a few bars, played in a short lived punk band (Last Picks), started my own solo bedroom project (Bog Star), worked as a door gal at a venue (The Sunset), booked some sweet anniversary shows, oh and I guess I started a pretty cool label that makes me want to work harder than I ever have at anything in my life. 

How is the Seattle music scene holding up in COVID times? Now that people can’t really play shows, what are people doing to stay engaged with each other and get their music heard.

There have been very many livestreams. Notably in my mind BIG BLDG has been doing a fantastic series of live performances called “Grounded” when they would usually be putting on their summertime festival. Peep Antonioni’s and Beverly Crusher’s performances. Check out the rest, too, because there’s just some stellar Seattle acts on there.

What do you think makes Seattle’s music scene special?

I think a real special part of the scene as a whole is how much time we have to spend inside for a while per year and I feel like that helps everyone hone in on their craft or find more ways to stay creative. (I say this in a pre-COVID styling because now we’re home all the time and it’s OK if you’re not feeling creative about it.) Something special for me, personally, is the feeling I get after seeing a spectacular line up and walking out of the venue to go home and just completely radiating with happiness and awe that this is what I get to be part of. That feeling keeps me going. (Did I mention I miss shows?)

What are the values/ethics you want to bring to Den Tapes in terms of how you operate and function as an indie tape label in the year 2020? The Pacific Northwest has a long history of indie labels that are quite political in the way they choose to operate, is that something you see yourself as being a part of?

Transparency is key. We’re still learning how to do this whole label thing even 5 years in, after all. I mentioned earlier having a team of folks, artists included, who are down to call me out if I’m not upholding the goals of the label, and I think the same goes for the values/ethics of our label. I want to do right by these talented folks who make this whole thing work in the first place. A big thing for me is inclusivity and making sure every single person feels safe in the scene and at Den Tapes related shows. I want to be a person someone can talk to if they don’t. I’ve dragged idiots out of gigs and I’ll do it again if you’re not feeling safe around them. 

Your 5th anniversary live stream gig was so amazing and so inspiring. I definitely felt big community vibes from all of it, even though I was literally watching from my bed in Brooklyn. How did you figure out the logistics of it? Were there any particular moments that stood out as really notable for you? Were you happy with the response?

I’m so happy you tuned into our livestream, what a treat to see your comments! We used the same logistics that our pals at Restless Prints (a local Seattle screenprinter that has done all of our merch) did for their live stream: give everyone your Instagram password and let them go wild. We did have two pre-recorded sets, I can tell you this secret now that the event has passed. Artem/s and Fluung were both recorded by the wonderful Jak McKool at his Whalehouse Studio in Seattle. Artem/s’ set stood out for me, Jak did such a wonderful job filming it and bringing the absolute vibes to the live stream. I also loved how many friends were commenting on the stream and crushing the donations to King County Equity Now. Plus the Q & A with Willy, Dan and I at the end was also fun.

K’s Picks From the Den Tapes Discography

Some time last year, Mike Sampson of Dusty fame dubbed me Duchess of the Ruckus and for good reason. I present to you bands I have started the pit for at shows:

Happy Times Sad Times

Photo by Andy Perkovich/Ballard Vox

There’s a video floating around out there somewhere of me stage diving at the final Happy Times Sad Times show.

Porn Bloopers

Dan and Willy are in this band and I have absolutely lost my cool at many of their shows and pogo’d the night away with beer spilling everywhere.

Choke the Pope

It’s straight up impossible to stand still seeing these pop-punk darlings.

Rat Queen

These shows always feature a good ol’ fashioned pop punk sing along.

Beverly Crusher

Photo by Andy Perkovich/Ballard Vox

Another gig you will find it absolutely impossible to stand still at.

Some other real gems over the years:

Retrospecter, Creeper

This is one of the first tapes we ever put out. Willy, Dan and I went to see them at a house venue that doesn’t even exist anymore (ain’t that the way?) and they blew me away. Some of them are working on different projects now so be on the look out for that.

Dusty, Dusty
Michael Andre Sampson, Cover A Week

Mike Sampson is an incredible songwriter and his voice is pure magic. Seeing Dusty live was always such a treat. Mike’s a close pal and I have the label to thank for that. I strongly suggest checking out his solo stuff as well. He’s been doing a cover a week this year. They’re definitely worth a listen and maybe you’ll see some Den names you recognize too.

Wild Powwers, Skin

Photo by Andy Perkovich/Ballard Vox

This was an absolute blast to make. Nadine Records down in Portland were gracious enough to let us put out the tape version of this after the initial record run. They’re such a killer band with new stuff coming soon!

Fluung, Satellite Weather

This ended up on my top list at the record store for 2019 (sure, maybe a little biased) but this record absolutely rips. I really miss seeing Fluung rip it up with Dead Soft when they’d pop down from Vancouver

Coach Phillips, Never Is Enough

An absolutely beautiful release from a band of absolutely wonderful folks. They’re also working on some new material!

Don Piano, Don Piano

There’s just nothing like this catching my attention right now. I’m nonstop impressed with Sam’s work.

Tourist Activities, Off My Mind

Oh you know, just Bandcamp’s Album of the Year #98 in 2019. No big deal.

Antonioni, The Odds Were All Beating Me

Photo by Andy Perkovich/Ballard Vox

So, so, so much love for Antonioni and the two releases they made with us. They recently signed to Lauren Records and I am very, very excited to see what happens next for them.

I apologize to everyone I left out of this list but it’s getting very long!