I was able to go to the pressing plant and pick them up. When we finally got those in, I was in Los Angeles because we had a record release event for Day of the Dead and George A. Out of our own releases, Day of the Dead. What are some records or vinyl that you have had this feeling of an all encompassing package about?
We want to make sure that it is just cleanly and ridiculously nice. The music is a huge part of it, but with vinyl it is about the packaging. It is a very sexy item to have, in my opinion. We want to make sure that it is a definitive package. You know anybody can put out a record that has a really thin jacket or on light-weight vinyl. The business that Waxwork is in, and the other record labels that are doing something similar, is about the entire presentation. They don’t care if it’s just like the most basic package and like black vinyl, and they try to tell themselves these things to help them sleep better at night, but it is not all about the music. A lot of people make this argument that it is all about the music. They all seem to have a strong focus on the design and packaging. This love for vinyl definitely translates over into your records. It has always been insane to me, ever since I was like a little boy. It is insane that all of these steps go to making this product that you can have this nice intimate experience of this record. Just the whole process of making vinyl and of actually manufacturing, is incredible. I could literally live in a recording studio. Whether it be just a few songs or an entire album. All of the bands that I have ever been in always cut a record. It is a hard lifestyle and I’m just not interested in it right now, I have a lot of experience with releasing vinyl. All of that is very rewarding, but at the same time it is just difficult. Instead of being the guy who is on stage and making the music. When my last band split up, I just wanted to see what it was like working behind the scenes as a record label. I played in hardcore punk bands for 15 years and we were on different record labels and stuff like that. What kind of experience have you had with the music industry prior to Waxwork? It was watching Halloween when I was a teenager that I realized film music is as equally important as what is being presented to you visually. It makes me feel like you actually get the essence of Halloween, like you can feel it. Anywhere you go and you hear that, you know exactly where it is from. It is like the most iconic soundtrack in my opinion. Ever since I was a little boy that has been something that I’ve been attached to.
WAXWORKS RECORDS MOVIE
What was the first movie you watched that drew your attention to the soundtrack? I feel like with film, there is a first time for everyone when you notice the soundtrack that is playing behind the movie.
So we talked shop with Bergeron about his cultural duty to the film industry, friendly competition with other labels, and not being pigeon-holed into being “Just a horror movie reissue label.” With high profile releases like the surreal, jazz-infused soundtrack to Roman Polanski’s classic Rosemary’s Baby, to lesser known titles like 1986’s Chopping Mall, where killer robots decapitate young couples in a Los Angeles shopping mall, we, along with many others have taken a real interest in Waxwork and their impressive output. There is a huge interest in the stuff that we are putting out.”Īfter two site crashes, seven major releases and a year and half later, Waxwork stands as one of the premier horror movie soundtrack labels.
“Hence why we are having these crazy website crashes and things like that. “We really grew faster than we could have anticipated,” he says on the phone. Until this most recent release, where Bergeron says, “We were literally fucking slammed.” Despite the numerous complaints, and a website left in ruins for 24 hours, Bergeron is still in high spirits. After which the site was beefed up to anticipate and prevent any other incidences like it. The same problem happened with their release of the Friday the 13th soundtrack in August-a website destroyed by traffic. While this may have been an inconvenience for many of the label’s fans, Kevin Bergeron of Waxwork is used to this kind of chaos. These technical difficulties were not due to any fault from the label themselves, but merely from the unforeseen and unforgiving wave of customers that were flooding their web traffic in an attempt to get their hands on a copy of the labels latest release, the Trick or Treat soundtrack. There were timeouts, issues with shopping carts, and checkout times that took well over an hour. Two weeks ago, the website for Waxwork Records crashed.
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