In 2003, people weren't optimistic about the future of the music industry. Napster had introduced file-sharing to the masses, and even after that service was shut down, the genie was out of the bottle, and similar platforms like Kazaa and LimeWire quickly sprung up in its place. Profits were decimated, and the business has arguably never fully recovered.
Into the inhospitable marketplace emerged Last Gang Records. Initially founded by music lawyer Chris Taylor and concert promoter Donald K. Tarlton as a way to release Metric's 2003 album Old World Underground, Where Are You Now?, the label bucked expectations and thrived, cementing its place in the Canadian indie music canon with releases from Death from Above 1979, Mother Mother, Crystal Castles, Purity Ring, Chromeo, the New Pornographers and more.
As the label celebrates its 20th anniversary by launching a series of releases and reissues (starting with a cover of Metric's "Love Is a Place" by Maia Friedman of Dirty Projectors, which dropped earlier this week), Exclaim! caught up with co-founder Taylor to discuss being at the centre of the indie sleaze explosion and the label's releases that deserve more attention.
Why did you start Last Gang, and what stands out in your memory about those early years?
I started the label for Metric. We had difficulty getting a record label to support the band, so we did it ourselves. I distinctly remember, in 2003, as we set up the label, many people said, "Why would you set up a record label now?" In the beginning days of the "Napster Winter" many people were shutting down their record companies, laying off staff and going out of business.
You were founded in Canada, but now are based in L.A. How did that move happen, and how has it affected the label?
In 2016, I sold my law practice to my partners and the label to Entertainment One. I moved to L.A. to run the music division of eOne and be part of the executive team there. eOne was a global media company working in film, TV and the family brands areas — L.A. put me in the middle of the film and TV space, expanding the opportunity for the artists we were working with. My remit expanded with this move, and the day-to-day management of the label moved to Torontonians Chris Moncada and Dan Hawie. Today, some of the A&R emanates from L.A., but there is a lot of Toronto blood still in the mix.
What's the strangest or most uncharacteristic release in your catalogue?
Lindi Ortega's recordings were different from most you'd find in Last Gang. We tried to invent an imprint for her records, but that was too much work! [Ortega's 2012 album] Cigarettes & Truckstops is one of the great undiscovered gems in the catalogue.
What's the most memorable moment in Last Gang history?
There were so many memories. The vibe in New York in 2005–2009 and the rise of indie sleaze found our bands in the middle of all of it. Metric, Death from Above, MSTRKRFT and Crystal Castles all had incredible, exciting shows through that period. It was gratifying to watch these scrappy, fucked up bands grace the cover of NME and play festivals all over the world. Mother Mother's launch off TikTok's back was like a gift from heaven — such a genuine, talented group.
What's a Last Gang album that you wish had gotten more attention?
We released an album from a group called Slan which featured Sook-Yin Lee on lead vocals. The record still holds up 20 years later. I will go to my grave telling people about the beauty of Huoratron. He's the "Electronic Mozart." Go listen now!
What are your personal favourite albums in the Last Gang catalogue?
It's impossible to name a handful. Metric's Old World Underground has a special place in my heart because it was the music that launched it all, but I love the new Low Hum, Loving and Keys N Krates music we've put out recently.
What's next up for the label?
The team has put together an amazing 20-year anniversary campaign that will last through the year. We have great re-records, remixes, new songs, and other surprises to come. Us Against the World®