She Put A Record On: An Interview With Gudrun Gut

Monika Enterprise

Popshifter: Sometime in the 90s you started your own label called Monika Enterprise, but before that you also started Moabit Musik. What is the difference between these?

Gudrun Gut: Moabit Musik was used to re-release the Malaria! records, and then for releasing Matador. Plus the work with Myra. I already had the distribution set up with Moabit and wanted to do a label with different bands, so I founded Monika Enterprise.

Popshifter: What prompted you to start either of them?

Gudrun Gut: I wanted to have control over the production.

Popshifter: One thing I’ve noticed (or I shall say, one thing which has irked me) about some comments I’ve read about Monika, is that it’s regarded as a “feminist” label. I don’t see how anyone comes to that conclusion, for the obvious reason that you have male artists on your label. I also don’t see any hellbent feminist views echoed throughout any of the music made by you or any females on the label. I feel it’s a hasty judgment, and those who come to that conclusion haven’t even given it a chance. Just because you’re a woman, and you run a label, doesn’t mean it’s a fucking feminist novelty. I see your label as having a humanist approach, and an equal opportunity place for quality music . . . With all that said, how do you deal with gross generalizations like that? Does is aggravate you?

Gudrun Gut: Yeah strange, isn’t it? No other label is named “macho” or “male” just because they release “male” music. And most record labels do this! The percentage of female composers on a normal record label is very low . . . but so is my male composer percentage!

Popshifter: Does it make it harder to market the label appropriately when you have ignorant obstacles like that?

Gudrun Gut: It just makes it more important, I think!

Popshifter: With the music industry being in the toilet for the most part . . . how are you fairing as far as Monika is concerned?

Gudrun Gut: It’s quite difficult at the moment. It costs me money and lots of unpaid work . . . but I do believe in the artists and the music.

Popshifter: In regards to your current work, I read that you work primarily with a laptop, Logic, and Ableton Live? Is that just for live performances, or is that the gear that you used exclusively for creating I Put A Record On? Do you also have a Mac Station for composition, or do you just use the laptop? Did you record the vocals in a separate studio, or with your own set-up? Do you have any gear recommendations as far as vocal recording?

Gudrun Gut: Yes, I have a Mac station for composition, and a laptop for live. Plus, a good microphone and a good vocal compressor (a Focus-Rite Trak Master). For creating, the software I use is Logic (before it was C-lab Creator in the Matador era). Now more and more, Ableton Live as well. That’s what I used for I Put A Record On . . . since I prefer a more intimate sound. I’m happy that I can record my vocals on my own when I feel like it. . . which is mostly at night. I used another studio for mixing some tracks but most of it I “cooked down” (as I call it) and then rendered in my little studio setup. For live performances, I only use Ableton Live, a microphone, and video.

Popshifter: You use a lot of record loops and samples . . . how do you get around copyright issues, or does that fall under “Fair Use” (which I’m not even sure how that works legally; it’s very confusing). Are most of your loops Public Domain or Royalty Free?

Gudrun Gut: Most of my loops are treated and transformed so much and are not recognizable. I see it more like a piece of art . . . doing a collage. I’m not using samples to make a hit song or something. I use them as reference.

Click to read more from Gudrun Gut on. . .

Not the average girl
Mania D, Matador, Malaria!, Miasma
The Ocean Club
Monika Enterprise and Mac
Recent activities
Not so serious

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