When and why did the label start?

We’re also a shop based in Temple Bar in Dublin, so All City is a multi pronged beast. Obviously one of the things we do is to release one off vinyl things – also available on download please note – and we’ve been doing that sporadically since January 2003 but we’ve only really gained a momentum in the last two years. No grand “whys” really – we sell records, we knew distributors and we were in love with the format – 12 inch records with decent artwork. We were pretty sure we could do it and break even.

Who or what was your biggest influence?

I suppose it was the classic store/label things – like Fat Beats or Fat City. Not necessarily for the music – we didnt really nor do we have any structured music policy – but just if you had a shop it wasn?t that difficult to put a record out. As recently as 5 years ago most records were bought by walking in off the street into an actual shop which stocked records, taking it off the rack, listening to it and if you liked it handing over some money for it. It meant we had somewhere to sell them and distributors were more likely to stock them as you already did business with them. Bassbin and D1 were a big inspiration as they are respected outside the country and we were never really that arsed whether people in Ireland , outside of those who shop with us, were interested.

Best career move?

Unusual question – probably not relevant to us as I would consider the label way more ‘mom and pop’-type thing rather than anything quite as well thought out as a career. We are a very small label. That’s not to say we are some crazy free spirited cats - more so that we consider ourselves more Didier Deschamps water carriers than flashy Cantona-esque limelight hoggers. The main thing we have done right is stick at it, longevity is the key really. Quality of sound and propah artwork has been hella important since day one and we will maintain on some Duracell bunny-ish.

Biggest hit?

The Heralds of Change ‘Puzzles’ and ‘Secrets’ EPs from Summer 07 were the records that made us take it a little more seriously. When you are handed records of that quality you don’t want to fuck it up. Not that we didn’t take the stuff we had done before seriously but those two records still sound so fresh! Still though, people still sleep on the ‘Bopgun’ track – why? Make sure you listen to that shit!

Biggest miss?

Jeff Astle – England v Brasil 1970, would have changed the course of history.

If you could sign one artist, who would it be?

Mmm… in a kind of fantasy fitba style, it would be nice to release a Madlib record at some stage I guess, but it would definitely be nice to release more Irish artists. In general it would be good if Dublin could pull its weight a little better – we’re so far behind similar sized cities like Glasgow and Manchester it’s embarrassing.

Does vinyl still matter?

There’s not long left for the format, maybe another few years. As someone who has spent a good chunk of my life in record shops and hunting down records it’s very sad to see it go - but it certainly feels like the young ‘uns are not arsed. Dubstep - from the pressing plant right through to the distributors and to the ground level with the stores - gave the vinyl industry a much needed shot in the arm. It was refreshing to see a scene where you are expected (shock horror) to actually purchase the music you are going to play and where decent sound quality is valued - but what might not be obvious to the remaining record punters (of whatever genre) is that it is the distributors which control whether vinyl can still remain a viable business. And if you are in the distribution game – shit is most definitely real right now! As they go out of business they won’t be replaced. And as for record shops…the people have spoken and they don’t want to pay for music, they’re not too bothered about sound quality, they want it now so release schedules are meaningless.

They want immense quantities of it so more importantly for me is not so much vinyl - even though I would consider myself a collector - but it’s just to maintain the link between paying cash for the music that you like. It is not just so the artists can get paid, it is also to ensure quality and high standards as no one can expect future artists to spend time/effort on music if there is no financial incentive. Music has always – more than any other artform I think – operated in a commercial environment. There would be no hip hop – no Dre, no NWA, no Biggie, no Cold Chillin, no Ultras to just pull a couple of very obvious names – if there was no money to be made. Artistic intentions are all well and good but as the man said, “Rebel, renegade, must stay paid”.

American music of the last 50 years has always existed within a fairly structured business environment – even the indies, or really, especially the indies. It is that structure which allowed incredible independents/subsidiaries to flourish like anything from CTI, Impulse to Def Jam and Tommy Boy – that’s gone now so it will be interesting to see what replaces it over the next few years.

Top tip?

There’s some incredible shit coming from LA at the minute – people like Ras G, Dam Funk have this kind of otherworldly spacey theme going through their stuff. Dope dope dope – watch out for Kutmah, Take, Nosaj Thing, PUDGE, Diabia$e, Exile’s new LP is sick. I am really looking forward to some more Mike Slott shit! Hudson and Rustie, plus some 80s soul from Onra and definitely keep an eye out for the Ruckazoid. Bullion, Paul White, OliverDaySoul. Knowledge, Elzhi, Ta’raach, Morpheground, Mono/Poly, 2Tall, Dimlite, Morgan Zarate, Jnerio Janel, 00Genesis, Teebs, Jackhigh, old school StilleatinDonuts, Madlib, Medaphoar, J Rocc, plus Samiyam, Flylo, Kankick. Tonnes more – check the Benji B and Jay Scarlett radio shows and they will see you right.

What is next for the label?

Sluggish start to ’09 sadly – second half should be better. Available very soon, a new 45 from Dimlite plus we are doing a very small run of CDs of the 7x7 Beat Series we did. Post-summer Onra, Mike Slott, Martyn, 2Tall, Knowledge, Ruckazoid and the L.A Project which is a series of 10 inches from LA based producers with artwork from Irishman in LA, B+.