Hi Mac and Laura! How did you two meet?
Laura Ballance: I am pretty sure we met at Pepper's Pizza (R.I.P.) in Chapel Hill, NC, in 1987 or somewhere around there. Mac was working there, and I started working there too.
Mac McCaughan: We probably met at a show in Chapel Hill or Raleigh in 198…6 or 7? We had a lot of mutual friends and were probably at a lot of the same shows. Then we ended up working at Pepper’s Pizza at the same time (in Chapel Hill).
How would you describe yourselves in just one word? How would you describe each other in just one word?
LB: I would describe myself as stubborn. I might describe Mac that way too. Perhaps I should use the word “determined” for the both of us.
MM: Me right now? Stressed. In general…active. Laura in one word…this is too hard! No one should have to be described in one word.
How old were you when you started the label? What kind of sacrifices did you make in order to keep a business running at such a young age?
LB: I was 21 when we started the label. We worked hard to keep the business running. It took a lot of time and energy on top of touring with Superchunk, which we were doing a lot of at the time. We also kept other jobs for the first few years… I think Merge had been in business for about ten years before we were able to start paying ourselves.
MM: I was 21 turning 22 the summer we started Merge. Nothing felt like a sacrifice at that time because it was all for fun; it was what we wanted to do. We sold records and tapes but it didn’t feel like “now we are starting our business that will be our job for 25 years.” Laura sacrificed some space in her house where the boxes of records were.
Can you tell us about a funny/weird/memorable moment from the early days?
LB: For a long time the “Merge office” was in my house. We had a lot of great times having 7-inch stuffing parties, where people would come over and we would drink beer, watch movies, and assemble 7-inches. One time I was also rushing to get some packages made to send out right before I needed to head to Kinko’s where I worked, and the tape gun fell off the shelf. Without thinking, I reached out to catch it, and the serrated blade fell right on my thumb and gashed it pretty bad. I probably should have gone to get stitches, but I did not have time before I went to work. I still have a scar that looks like a cartoon shark’s mouth on my thumb.
MM: Putting the records together was memorable, bands coming over and stuffing records into sleeves and sleeves into plastic bags. Very satisfying.
When Merge Records began, did you have any idea it would turn out to be so prolific? What were your initial goals?
LB: When we started Merge, I had no idea it would last even a year. I really didn’t even think about it. It just seemed like a fun thing to do at the time. That said, some of our idols were Dischord and Sub Pop, and obviously they were in it for the long haul. Our goals at the time were to document the local music scene and also to put out our own records.
MM: Our initial goals were just to put out this music by ourselves and by our friends’ bands. It was to have a cool label like the cool labels we liked growing up: Dischord, 4AD, Factory, K, Sub Pop, Cherry Red, Rough Trade, Teen Beat.
Were there advantages/disadvantages to running a music label in North Carolina? Not exactly the hub of the music industry!
LB: I feel like there were plenty of advantages to running Merge out of North Carolina. The rent was cheap, not too much competition in terms of getting attention, and we had and have a strong vibrant local music scene complete with lots of bands, great college radio, awesome clubs and promoters, and excellent record stores. People used to ask us all the time when we were going to move to New York City or Los Angeles. I think we would not have lasted five years if we had done that. But maybe we would have gotten to work with Pussy Galore…
MM: People would often ask when we were moving to NYC or LA, which seemed like a backwards idea to us; one reason we could exist was because we lived in North Carolina, paying NC rents and having plenty of space to practice with the band and stack boxes.
What were the advantages/disadvantages of being artists yourselves and running Merge from a musician’s perspective?
LB: The main disadvantage of being artists and running the label was trying to pay attention to the label while being a band that toured a lot. Now that is all easier because Superchunk does not tour as much, and I don’t tour at all anymore because of hearing damage from too much loudness. The advantages of running a record label as an artist are myriad! I feel like we are more in tune with our artists and what they might be going through as artists since we too are artists. We have gotten to experience all aspects of the record business from the side of the artist as well as the side of the record label. It’s good for perspective. As touring artists, we also got to see and meet a lot of bands while we were on the road and make connections that we would not have made otherwise. I don’t think Merge would have grown the way it did if we had not also been in the band.
MM: I think the obvious advantage is that you can see things from both sides; this is good for us, and it’s something the bands we want to work with can recognize as well. The downside is when you have to put on the “business” hat and negotiate with bands, or their managers—that’s my least favorite part of doing this.
You’ve taken a lot of chances on unknown bands—is supporting entrepreneurs and emerging artists important to you?
LB: Supporting developing bands is really important to us. It’s the best thing we can do as a record label. Working with known bands is great and all, but helping to lift a new or unknown band out of obscurity is most rewarding for all involved.
MM: Yeah, I think one of the most satisfying things about having a label is working with a band from before anyone knows about them, and watching as people discover their music and come to love them like we do. It’s also great to get to work with bands that we’ve been fans of for a long time—e.g., getting to put out records by The Buzzcocks or The Clean (David Kilgour’s new solo album is out in August!)—which we never could have imagined when we started. But yeah, working with emerging artists is an important part of having a vital label for us.
Arcade Fire was unknown when you signed them, and turned out to be one of your biggest success stories. What was it about them that struck a chord with you?
LB: Arcade Fire write amazing songs, and that first demo we got from them was just full of great songs that were full of this incredible exciting raw emotion. What we look for in every artist we put out is the ability to write great songs, and they certainly have that in spades. Plus, they are a great live band.
MM: Well, as any fan of Funeral will tell you, it’s an incredibly immediate album, both emotionally and musically. Musically it reminded me of some bands that were very formative for me—New Order, Echo and the Bunnymen—but then with these epic pop songs that were clearly coming from their own universe. Seeing them live was another level altogether.
If you could go back and do it all over again, what would you do differently, if anything?
LB: There are some small things, but across the board, in the big picture, I am happy with how we have run Merge.
MM: I’m sure mistakes have been made over the years, but in general it’s hard to imagine how things could have gone better. Of course there are albums or artists that we think have been overlooked and deserve more attention, but you can’t spend too much time regretting the things that didn’t go as planned. There’s too much work to do in the present.
What advice would you give to the young entrepreneurs out there today?
LB: Don’t expect anything to be handed to you on a platter. If you want to do something, you are going to have to go out there and work hard to make it happen. Social networking alone does not success make.
MM: Keep your day job! Seriously. We did, for quite awhile.