25 Years Of Spunk Records: ‘Incredible, Life-Changing, Lucky, A Roller-Coaster, Eventful’

Imagine starting a record label in 1999, just as the music world was changing – and not for the better. But somehow, Aussie indie Spunk has managed to survive 25 years.

“So much beauty shared with the world,” is the assessment of veteran music journalist Noel Mengel.

As Spunk celebrates its quarter-century, founder Aaron Curnow sits down with The Music to look back at nearly 700 albums, beers with Philip Seymour Hoffman and Lou Reed, and the time he nearly drowned Bill Callahan.

A little bit of history: I believe that Spunk started as a fanzine and you then worked at Shock and Festival before starting the label?

Yeah, I guess you could nearly say that Spunk is 30 years old. Kieran Dyson and I started the fanzine in 1994 and we ran it as a part-time project as I worked at Festival Mushroom and Shock. We got heaps of connections while running the fanzine and touring international artists, so when I left Shock in ’98 the stage was set. Spunk was a word Kieran came up with. Obviously, the version of the word we were thinking was slang for good looking!

Twenty-five years running a record label is an incredible achievement. Have there been many times where you’ve thought about packing it in?

Thanks, yeah, not many independent Australian labels make it to 25 years. Within a few months of the record label starting in ’99, it very much became a full-time project. The first 20 years were so busy, I didn’t have a chance to contemplate packing it in. The last five years have been a little up and down.

Could you put the last 25 years into a few words?

Incredible, life-changing, lucky, a roller-coaster, eventful. 

What do you remember about the early days of Spunk? Looking back, it seems like a crazy time to start a label – just as the music world was going to change forever.

I remember it all happened pretty fast. We got on a good run right away. We had “indie” hit records with Smog, Belle and Sebastian, Mogwai, Spoon, Bright Eyes and Sleater-Kinney, all within the first year. Weirdly, it was a perfect time to start. Au Go Go, Waterfront, Fellaheen had all sadly given it away, so we nearly had the market to ourselves. Also, CDs were cheap to make and dominated the market. Vinyl was only a tiny part of the market and illegal downloading wasn’t a thing. Spunk definitely owes its success to the CD.

What was your vision when you started Spunk?

We always wanted to support independent music and independent artists and steer clear of mainstream music. While we have had gold records over that time, I didn’t sign those artists to make money. When I started releasing Sufjan Stevens records, for example, he was a really small artist. Same with Mac DeMarco. The only act that I realised was going to be huge when I signed them was Arcade Fire. That’s because in the time it took me to sign them for Funeral, word was spreading fast. I started working with the band and within three months Bjork/Paul McCartney’s manager [Scott Rodger] came on board.

Have you had any favourite Spunk-related sayings or mantras over the years?

The bigger the venue, the worse the band [laughs]. I think all of my favourite shows over the years have been seeing artists in smaller venues. I love the intimacy of a smaller venue. Discovering a new artist in a small venue before anyone knew about them was always a huge highlight for me. 

Maybe don’t meet your idols. But, in saying that, for every very difficult artist I have met, I’ve met 10 delightful ones.

Bonnie “Prince” Billy’s I See A Darkness was Spunk’s first release. Is it a record you still play? And what sort of feelings do you have when you put it on?

While I rarely see Will Oldham these days, we’ve always had a great connection. I sometimes even get a little teary when I think about it. Will is an incredible human being: really generous and loveable. I remember the first time I toured him, Kieran, my partner at Spunk, was sick with muscular dystrophy and Will drove an hour to go see Kieran and spend time with him. He was one of the hottest songwriters in the world at the time. It was just the type of person he was. So, yeah, for I See A Darkness to be the first release and it being just an iconic record, I couldn’t be more proud. I still play it to this day and can’t believe Will and Johnny Cash got to sing it together on record before Johnny passed away. It was on the American III album if you haven’t heard it. Will told me once that singing with Johnny Cash on that track was one of life’s truly great moments.

You had a pretty mammoth celebration for Spunk’s 20th anniversary, with shows at the Opera House. What are the plans to celebrate the 25th?

Yeah, that was one of the greatest days of my life; it was very special to me. I guess it was like my special moment. I’d put so much effort into the label and I guess everyone can feel a bit unnoticed in their everyday work but leading up to the shows and on show day it felt amazing. It made me feel proud of my achievements. Nothing so far for the 25th. I guess it is pretty hard to match the 10 and 20-year parties. 

What’s the best advice you’ve ever been given?

It was from music industry veteran Roger Grierson. It was when Spunk was doing well and he said: “Make sure you look after yourself and your family and find the best deal you possibly can for your label.” I ended up signing with EMI and I am still with the Universal family to this day. It gave me some financial security in an industry that doesn’t tend to be financially secure.

The worst advice?

Maybe don’t go for your dreams. That might be a little harsh, but while my parents have been supportive of me in every way – and I thank them for that and love them dearly – I kinda feel they didn’t think the record industry was the best place for me to end up. Maybe it was the late nights, the heavy drinking/drugs element, the way people are spat out quickly … [laughs]. While they were probably just trying to look after me, I’m glad I pushed myself in that direction on my own and have ended up working in the industry. If you are music-obsessed there are still great opportunities out there.

Has there been a Spunk-related moment over the past 25 years where you’ve thought, “Wow, I love this job – there’s no other job I’d prefer in the world than running this label!?”

I try not to namedrop – yeah sure, Aaron – but working with so many incredible artists over the years and being backstage with these artists you tend to meet lots of famous artists and famous actors. Backstage at an Anohni show I shared a couple of drinks with Philip Seymour Hoffman and Lou Reed. He was my favourite actor at the time, and without Lou Reed there would be no alternative music. He is literally a god. The Velvet Underground are everything to me. And don’t believe all the hype … Lou was lovely!

Who’s the best surfer out of all the artists you’ve taken surfing?

None, really! I’ve taken so many artists over the years and I’ve nearly drowned a few. I remember Bill Callahan being sucked out to sea in Scotts Head and having to go rescue him; Band of Horses screaming for their life at Coalcliff – on a small day, too! It’s great that so many artists want to learn and have asked me to help. It is an incredible sport and obvious obsession of mine.

I know it’s a little like nominating your favourite children, but can you list your three favourite Spunk releases?

Yeah, tough one for sure. It probably changes each day. Internationally:

1. Arcade Fire – Funeral

It felt like a generational album at the time. Everywhere I went for a year, people were playing the album.

2. Big Thief – Masterpiece

One of the best bands of the past decade for mine. A pleasure to work on their first two records.

3. Mac DeMarco – Salad Days

I feel this record gives me the most kudos of any records I’ve put out. It seems so popular with teenagers this past decade.

Locally:

1. Aldous Harding – Aldous Harding

Probably the first artist that I helped really break internationally. Never a dull moment working with Hannah (Aldous) either.

2. The Middle East – The Recordings of the Middle East

Still really proud of this record all these years later. I feel Blood has turned into an Australian classic.

3. Jack Ladder – Hurtsville

Another record lots of people ask me about. Cold Feet is one of the best singles I was lucky enough to release.

What about your three favourite Spunk gigs?

Magic Dirt at Wanda Surf Club, Cronulla at the peak of Life Was Better: 80 cap, 400 people inside. 

Big Thief with Darren Hanlon at Wombarra Bowling Club, Wombarra: 80 cap.

Spunk’s 10-year anniversary, Bangalow – Andrew Bird, Joanna Newsom, Jack Ladder, Holly Throsby, Spoon and Jens Lekman.

What’s been Spunk’s biggest seller?

The Suburbs by Arcade Fire. My one and only platinum-selling record. After winning the Grammy for Best Album, the sales doubled, which was a real shock.

What’s the record you’ve released that should have been a much bigger hit?

All of them! No, seriously, you want the best for your artists. I used to really take it too hard when, say, Triple J didn’t pick up a track I really thought they should have been playing. Let’s say Floodlights’ From A View. Community radio played them a little bit; Triple J missed the boat on them. There’s not a bad track on that record. Kids around Australia really love that band.

Out of all the Spunk releases, what’s been your favourite album cover?

Beauty Point by The Ocean Party ’cause it is a picture of my hometown. Makes me feel that I am lucky to live in a wonderful place when I see that cover.

The Sydney Morning Herald said, “Aaron Curnow has a knack for picking alternative artists that may not always sell millions but always manage to move music lovers.” What is your criteria for signing an artist?

They said that? That’s cool. I am obsessed by music that moves you. Songs in a minor key. Quiet songs with singers with fragile voices. I guess artists that have an innocence to them have always struck me/stood out. Artists from unusual places as well.  

Is there the one that got away – the artist that you really wanted to sign but missed out on?

So many on an international and local level. I think competition is great, though, and nice seeing other people do well at other labels in Australia. Justin [Cosby] from Inertia was someone I always admired, and he signed some epic artists in his time at Inertia. He and I were tussling for artists for a good decade or so there. 

You did a show on 2SER back in the ’90s. How important has community radio been for Spunk?

Everything. Absolutely everything. Particularly in the past 10 years when print has fallen away and Triple J has gone mainstream. Without community radio, Spunk wouldn’t have lasted five years. Anyone who works in public radio or runs a show, they don’t know how much they have helped artists/labels like mine. 

If you had your time again, what would you do differently?

Nothing at all. I’ve got to work for myself for most of my life in a field that I have totally loved. I’ve worked with or met pretty much all of my favourite artists in the past 25 years. It has been a dream! 

What advice would 2024 Aaron give 1999 Aaron?

Maybe to have breathed a bit more. For the first 15 years it was full on – travelling the world, putting out hundreds upon hundreds of records, going to 200+ gigs every year. Complete dedication to the label and its artists. So, yeah, maybe to have looked after myself a bit more: read, take time out, etc.

Also, maybe don’t give yourself a hard time. I guess finding the next great artist to keep the label afloat has put myself under a bit of pressure over the label’s existence. I have been known to give myself a hard time, so maybe just take a chill pill; it will work out in the end. And maybe try to go to more dinner parties as well. By dedicating my life to live music, I can’t remember the last time I was invited to a dinner party.

Aside from Spunk, have you got a favourite Aussie indie label?

I guess the labels I was listening to in my teenage years were the ones that made the biggest impact on me: Au Go Go, Waterfront, Fellaheen, etc. They are certainly the reason that Spunk is around. All the years getting the train into the Waterfront store made a huge impact on me. These days there aren’t a huge amount of them around. Not full-time record labels, anyway. I am always excited to hear new records on Anti Fade, Music in Exile, Cheatin’ Hearts, Mistletone. And it’s great watching labels like I Oh You take on the world as well. Milk and Flightless are two labels that have released some great records in recent years. The Slingers are such an epic band if you don’t know them (on Flightless). Also, locally in Wollongong there’s some labels/people doing great things: Farmer & The Owl, Third Eye Stimuli, Stranded, Urge, Brierfield Flood Press.

Who is the latest Spunk signing?

Charm of Finches, two sisters from Melbourne. They have been playing shows and releasing music for 6-8 years and are still in their early 20s. Their new album is sensational. Out in April.

What Spunk new releases are planned for this year?

Just Charm of Finches and Shining Bird so far. Trying to find some time to release a few more.

Any reissue plans to celebrate the 25 years?

Nothing so far, but I might talk to the people at Impressed Recordings. They are doing some great things in the vinyl field. They have just re-released Babitha’s new album. I am sure there are still a few things that were never released on vinyl.

What have you got planned for the next 25 years?

Surf and more surfing! Try and get better at golf. Read more. I am desperate to go to Sri Lanka. I keep hearing incredible reports, so travel more. And retire to the far south coast. With some new releases thrown in there as well!