GHOST BOX RECORDS
Often referred to as a modernday Factory Records, Jim Jupp and Julian House’s retro-referencing, forward-looking Sussex-based label, celebrates its 10th anniversary – and they’ve given us a rare interview
Words: Carl Griffin
One of the most satisfyingly realised, visually interesting and admirably self-contained British independent labels since Factory, Ghost Box Records is celebrating its 10th anniversary this autumn. And they’re marking the occasion in typically restrained manner, with the low-key release of a ‘Best Of’ compilation, ‘In A Moment… Ghost Box’, and the latest in their ‘Other Voices’ series of collaborative seven-inch singles.
This idiosyncratically British imprint, co-founded by old school friends Jim Jupp and Julian House, is not so much a record label as an utterly immersive world-within-an-imaginary-world. Escape down their rabbit hole and enter a surreal, mystic, electro-psychedelic retro-future populated by wonderfully inventive acts that may or may not be singing songs that may or may not have been sung before. It’s fascinating, thrilling and bamboozling all at the same time.
We find the loquacious and easy-going Jim Jupp in deepest Sussex, sitting a room piled with cardboard boxes full of records at one end and a recording studio at the other.
“My desk in the middle of it all,” he laughs. “I’m literally balanced between the two worlds… and that’s how I like it.”
Reaching the 10-year milestone is not an insignificant achievement. So much has changed so quickly from a technological perspective in that time – and not all for the better if you’re a musician trying to make an honest living away from the corporate mainstream.
“Given the long run-up we had to getting the label started, it’s actually been longer than 10 years,” notes Jupp. “Both myself and Julian have been involved in music for a long time. I’d been in loads of bands, but it was always at the back of my mind that I should get my own thing going. But yes, 10 years ago was before easy access to internet distribution and too much file sharing, so it was a good time to start.”
Read the full feature in the November Issue of Electronic Sound
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