Today we’d like to introduce you to Stephen Coler.
Hi Stephen, thanks for joining us today. We’d love for you to start by introducing yourself.
I have involved myself in an unaccredited study of cultural movements and institutions that have produced over time highly potent creative endeavors. This is including but not limited to obsessive deep dives in to Epicurus and his Garden, Jim Henson and Associates, The Lost Generation, Grateful Dead, The Medicis, The Beat Generation, The Library of Alexandria, Peter Gabriel’s Real World, and The Elephant 6 Recording Collective. As I suggest to my own narrative I find it vital to mention these influences up front to explain whatever it is I am trying to do from a holistic perspective. In finding inspiration in musicians, artists, writers, filmmakers, and chefs, I have found it more inspiring to find that great art from great artists are more often found in great movements and communities. And more than being a creator myself I’ve made it my personal odyssey to cultivate a creative network from a variety of mediums in order to better understand how a culture can function.
The result is Lost Beat 6. A production company and record label. Established in 2015, Lost beat 6 was envisioned as a great potluck of creators and like minds to produce unique and eccentric art in the same spirit of these previously mentioned above. In the ten years of development with close knit in-joke Podcasts, Psychedelic Space Beef Recordings, and wandering the earth, we have built our sound and style around epicurean principles of community, individuality, and hospitality.
Sounds heady. So what do I do?
I am a producer, In almost every sense of that very vague word. I plan, organize, create, cultivate, oversee and consult, and collaborate.
I am an audio engineer both live and in the studio. This is my trade to earn a living. Its what I grew up with. I tour with a few national artists primarily with Ottmar Liebert and Luna Negra, and work regionally with my family business Shadowfax Audio.
I’m a musician. Though more often than not I forget that point too many times and must remind myself through my own creative output.
I’m a label owner, which is a manic decision in order to fulfill my subconscious desires to curate and promote those more worthy and have not received their flowers.
And in other lives and personas I’m a writer, filmmaker, artist, and wanderer.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
I think in the two forms of resistance, the external and internal, there have been more challenges in the internal. External and environmental obstacles are constantly shifting but the goal has been the same in that we are trying to break through the gravitational pull of obscurity and getting people to care as much as you do.
So when speaking on internal struggles, that warped little thought that a projected audience will not reciprocate your interests and therefore I am wasting my breath in promoting anything lest I start to sound like a sleazy salesman always armed with an angle or agenda.
My responsibility to our artists and myself requires me to abandon that notion and cast self-awareness to the wind. That what I am doing is worthy, that our artists are worthy of other people’s time and emotional empathy.
The external dangers in this field include the evolution of valuation between the art and how it is absorbed. Large sirens sounding doom from artificial intelligence, which is reasonable for some creatives, and what not. However Humanness currently is and will continue to be at a rising premium. In this case small labels have and will continue to morph into other realms to curate and promote the works of their artists, such as event promotion, showcasing, and “luxury” merchandising.
There has been as souring in attitude from many single disciplinary creators that we now must diversify our creative output to reach our audience. The dreaded “musician as a content creator.” In a previous time, the same principles applied but there was more resources in man power surrounding the same problem of the musician as an actor/filmmaker and concept artist. It is crucial for anyone in the music business to flip the mindset of “have to,” and transform it to “get to.” We are given the opportunity now to “get to” become our own Renaissance person. And through the practice of our original craft this can open those to new crafts we will need and hopefully become broader, better people in the process.
Appreciate you sharing that. What should we know about Lost Beat 6?
Lost Beat 6 is a production company and record label.
For The past 15 years we’ve honed in on a recording style away from on the traditional studio format. From single songs to live performance videos, we can produce, record, mix, and master a creative project of any genre.
With our mobile recording system we call “The Dharma Bum” (named after the Kerouac novel), we have embraced the clubhouse style of recording and can essentially make record anywhere.
I really enjoy the old school live tracking sound and style. I think that’s what differentiates us from other producers in our area. It’s not unique to us but that’s at least my preferred method. I should also mention that I have a great partner in Kentucky Clawson who is a master in pop and rock arrangement and we can fill in each other’s blindspots very well. He is on the label as The Denim Emperor.
The label in itself is a vehicle to support our friends and their musical endeavors. The label is not genre specific. David Sparrow is a remarkably talented songwriter, The Denim Emperor is ranges from alt-rock and post punk with pop sensible arrangements, The Taverna Project is extremely psychedelic with world music influences, and we are releasing the debut record of one of the premier acid jazz groups in Ventura.
We are also looking into moving into producing and promoting more live events as we see that as we find that a necessary to showcase our artists continue to serve our creative community in Ventura.
In terms of your work and the industry, what are some of the changes you are expecting to see over the next five to ten years?
As previously mentioned, the music industry will have to cross pollinate across the other mediums as it has always done. But only more so. What was standard in the “golden age” of pop/rock via 1965-1975 where music was a cultural kingpin (Major rock bands could fund movies, show tickets were $3-$5, and it was almost solely based on record sales) is no longer attainable in that format. If we understand streaming services for what they actually are – a marketing tool with supplemental income – then we can utilize streaming effectively and can move forward with understanding the importance of publishing, sync licensing, and the live event.
The learning curves of Covid and AI suggest that humanity will maintain its value. The live show remains consistent and will only grow in value. It will inevitably have to become more democratic to allow more opportunities for more communities to become involved. In regards to studio work, collaboration is key. The bedroom producer is a wonderful hands on education, but I think is a healthier, more enjoyable experience creating in with others.
As for the music itself the more formulaic and redundant will have issues with artificial intelligence. Uniqueness and humanity are the will be at a premium, and perhaps there might be a youthful interest in mistakes.
Contact Info:
- Website: https://lostbeat6.com
- Instagram: https://www.instagram.com/lostbeat6/
- LinkedIn: https://www.linkedin.com/in/stephen-coler-8969092bb/
- Other: https://lostbeat6.substack.com/
Image Credits
Brendan Davis (most), Joel Roszykiewicz.
