"History demonstrates that great musicians such as Beethoven, Mozart and Bach are held in the same high esteem as figures like Picasso, Michelangelo and Van Gogh. However, the creative output of today’s artists such as The RZA, Kanye West or Dr. Dre, is not valued equally to that of artists like Andy Warhol, Damien Hirst or Jean-Michel Basquiat.
Is exclusivity versus mass replication really the 50 million dollar difference between a microphone and a paintbrush? Is contemporary art overvalued in an exclusive market, or are musicians undervalued in a profoundly saturated market? By adopting a 400 year old Renaissance-style approach to music, offering it as a commissioned commodity and allowing it to take a similar trajectory from creation to exhibition to sale, as any other contemporary art piece, we hope to inspire and intensify urgent debates about the future of music. We hope to steer those debates toward more radical solutions and provoke questions about the value and perception of music as a work of art in today’s world.
While we fully embrace the advancements in music technology, we feel it has contributed to the devaluation of music as an art form. By taking this step, we hope to re-enforce the weight that music once carried alongside a painting or a sculpture. The album will be put on listening display in renowned galleries, museums, venues and exhibition spaces around the world for only the most dedicated to experience before it disappears into the private collection of a buyer. The public will know that what they will hear will be a once in a life time experience.
A notable few have explored original and creative economic models. Prince, Radiohead and more recently Jay Z and Beyonce have all introduced new financial and distribution models and challenged the industry structure. In 1993, the Wu-Tang Clan introduced the revolutionary ‘Wu-Tang deal’ which allowed the group to sign with one record label as an entity, but sign separate deals with other major labels for solo releases. It was an approach adopted by many groups that followed. Now 21 years later a new approach is introduced, one where the pride and joy of sharing music with the masses is sacrificed for the benefit of reviving music as a valuable art and inspiring debate about its future among musicians, fans and the industry that drives it. Simultaneously, it launches the private music branch as a new luxury business model for those able to commission musicians to create songs or albums for private collections. It is a fascinating melting pot of art, luxury, revolution and inspiration. It’s welcoming people to an old world.”
Hesitation Wounds is the combined sound of different backgrounds and 5 hours of song writing. In May of 2012, the idea was to combine friends (some of whom had never met) from different bands and see what could happen in one afternoon. Jeremy Bolm, vocalist of Hesitation Wounds (and Touché Amoré), commented, “I told Neeraj Kane (The Hope Conspiracy, Suicide File, Holy Fever), Jay Weinberg (ex-Against Me!), and Stephen ‘Scuba’ LaCour (Ex-Trap Them, True Cross), ‘Let’s write as many songs as we can on Sunday and record them on Monday.’ Jay was in town and Scuba agreed to come out from Arizona for the weekend. What we came up with was three songs and an intro. We recorded them Monday afternoon with long time friend and always-available-for-my-stupid-shit, Alex Estrada. Lyrically, the songs are about witnessing the murder of a friend, the life and death of the inspirational underdog folk singer Phil Ochs, and the overall reality of life. Sonically, it’s an abrasive / no strings attached outpouring of fast and heavy hardcore not far off from the bands we’re already responsible for. We’re proud of the outcome and we hope you enjoy.”
“This is SV02. (because I couldn’t live with myself having anyone else put money into such a capricious idea).” - Jeremy Bolm.