HAUSU Records: “Something Local and Independent”

Collectivisation and co-operation is the name of the game in a Cork music scene ever more affected by precarity and gentrification. Amid all the uncertainty, some of Cork’s young musicians and music professionals are sticking together, with a collective, label and creative working arrangement known simply as HAUSU. Mike McGrath-Bryan speaks with some of the people involved.

The narrative in the city right now is of one generation coming of age creatively, post-recession: bands and musicians that have gutted out the “bad times” are perpetually set for bigger and better things. Having reorganised, focused and garnered resolve from formative periods spent garnering resources and connections without much in the way of formal help, they rightly stand centre-stage and place Cork firmly at the centre of the national music picture. But the seismic impact of DIY music on the city’s culture has left its fingerprint on a wave of younger musicians and facilitators that have witnessed change for themselves, and subsequent grown up with wider skillsets and changed expectations out of necessity. Against this background comes Hausu (pronounced ‘how-soo’), a collective of musicians, designers and press professionals based in Cork, emerging from various backgrounds but sharing a commonality of coming up through local music schools and programmes like the YMCA Groundfloor studio and student media.

Bands comprised of collective members, like Repeater and Ghostking is Dead, as well as solo projects, like spoken-word outlet Mothra (aka Hassan Baker, pictured) and electronic pop prospect Automatic Blue, provide a verdant creative offering musically for the group’s label aspect, while a team of young designers and student music journos-turned-DIY press relations people furnish the project with a unique visual identity. Repeater man Hassan Baker details how the collective initially rallied around. “We’d always talked about this while working on (first EP) ‘Who Sold It To Ya?’. We talked to other talented buds of ours, and planned on a more planned launch of it all. But then things fell into place when Ghostking is Dead wanted to release ‘Sweet Boy’ under our banner. This lit a fire under our collective asses, that just became a very Hausu way of doing things. Basically when something is going down, it’s all hands on deck, to chip in and to spread the word.” Intervening to help the artists organise were a number of volunteers, among them journalist and former college radio host Colm Cahalane, whose ‘Tapes’ radio shows had garnered something of a cult following locally. “It landed when we realised we had a lot of individual bodies of work coming up; debuts, follow-ups, singles, remixes etc – and we’d benefit from sharing support and resources every step from recording to releasing. At the start, I kind of pushed this attempt at a professional image of Hausu Records as a label; but lately I’ve been more honest about calling it what it is; a collective, a group of friends, something local and independent.”

In just over a year, the label has come to represent cohesion between younger artists in the city, something that, as mentioned, has become necessary in the absence of structure. They’re not the only ones, of course, and the lads are more than cognisant of the place of their efforts in the city’s wider musical landscape. For Cahalane, it’s arguably a Venn diagram of time, place and necessity. “I have a lot of time and respect for the shift towards collectives in Ireland as a whole. We’ve seen what people like Cuttin’ Heads and Outsiders are doing for Cork hip-hop, Anomaly taking that momentum to Waterford, what SESH FM are bringing to dance music in a national and even global sense, how Soft Boy Records are carving a niche for themselves in Dublin. We want to become a part of that scene for real and collaborate with them. I grew up on some of this stuff, going to Feel Good Lost gigs as a teen and through college to see acts like Talos and Young Wonder find their feet.” Lofty ambitions aside, it adds to the practicality of running musical projects that may be adjacent to each other regardless, to which Baker can attest. “It’s very important. We all have our own skills and experience. I spent some time in student journalism, so it helps knowing the process of journalists and bloggers. Then, for example, (collective members) Tadhg (McNealy), Emer (Kiely) and Neil (O’Sullivan-Greene) know the design world. They see trends, and formulate them into things us philistines can then understand. This helps us form our own system for traversing the Irish music scene.”

Matt Corrigan, operating under the nom-de-guerre of Ghostking is Dead, has been haunting the city in a few forms from a very young age, a preternaturally gifted musician with a tremendous flair for drama and/or sarcasm, as the mood takes him. The label this year released his most recent series of singles, and overseen a transition to full-band gigging, effectively providing him with everything necessary to expand on his vision. “Hausu has been a dramatic accelerant to my work. The force at which such ambitious and talented company drives one forward is like being pulled behind a car on a skateboard. I have come dangerously close to burning out a number of times, but the near-familial support and relationships keep me locked in. My drive is perpetually reinforced by how taken I am with the tremendous work of my friends and peers. Hausu makes me want to be better. It makes me excited to be a musician.”

Corrigan’s cousin Jack, creating music on the label as Actualacid, is drawn to the collective by the mutual supports shown among members, and how it’s benefited himself and others. “I think seeing Matt’s progress is like watching a superhero movie where they gradually begin to realize the extent of their powers. Everything he’s turned his hand to thus far, he’s been good at. He’s an inherently talented guy, same with Drew. Watching my two young cousins develop and getting to collaborate with them on the way has been the highlight of all of this so far. Hausu is a collective, a DIY label, a dangerous, dysfunctional co-dependency, but it’s family business for me. I’m just happy to be making things with the best people I know.”

Drew Linehan has been releasing steadily on the label under the Automatic Blue pseudonym, an initial aside to his role in Repeater, foreshadowing an electronic-informed indie/pop strain that draws on the likes of FlyLo and the Internet. The creative process behind the singles we’ve heard so far is a look at the ambition and greater reach to accessibility within the group’s electronic parish. “I recorded most of (debut) “Baby” in the background to everything I was doing in Repeater, and the formation of Hausu, which was more for fun without any thoughts about releasing the songs. I think I was embarrassed a bit by how poppy some tracks were. I’ve always loved melody and a good hook, and with Automatic Blue melody comes first, which is a relief now because melodies have always been the most rewarding aspect to write for me. Once I have the song though, I’m in the studio, trying to imagine what could be happening behind that melody and with the chords. I’m working on a new EP called “Junk” which has kept me in nearly complete solitude this summer. It’s gotten a bit obsessive but hopefully that’s lead to some more developed and creative songs.”


Baker himself has recently begun spoken-word work under the name Mothra, including a performance at Electric Picnic this month. Within the Hausu arrangement laid the freedom to pursue performance poetry, and transition from more boisterous punk-rock rhetoric into hip-hop. “I’ve been been writing poetry since I was young, as a writing exercise. I did open mics at (weekly night) Ó Bhéal, as a way to workshop lyrics or other ideas, and even did the odd closed mic gig. The focus was always on the music. The poems fed into the music pretty easily. It’s a lot easier to shout poetry in a punk song than to actually sing. Moving away from shouting and screaming myself hoarse, and into rap sounded like it was more suitable for my skill set.”

With a sense of community now firmly entrenched among its members and artists, the idea is to proceed with collaborative efforts. Whether it’s the fundamentals of DIY music infrastructure being extended to new venues and artists, or capitalising on the advance of the cloud and collaborative working tools, the group has an eye firmly fixed on the future, as Cahalane outlines. “Our number-one focus, even more than our next slate of releases, is getting events happening in Cork. Nights we’re playing and curating, using to support local talent, and collaborate with others outside our own reach; especially with other collectives, as I’ve said before. Hopefully we’ll do a listening party for our upcoming stuff, get proper live debuts for Automatic Blue, Mothra, Actualacid and Repeater, and showcase some other local bands while we’re on it. In the coming weeks and months, we’ll be extending the lessons we’ve learned with Hausu to a national framework; running off a new Discord server or something of the sort. My own background is in software, so we’re going to try and build a community where we hold weekly demo critique and review sessions, share advice, resources and contacts, and give new artists everywhere the things that aren’t easy or obvious to find. Groups like First Music Contact have been vital for us, but we want to create a peer-to-peer environment for that too.”

Hausu releases, as well more artist and collective info, are available at hausurecords.com. Individual singles and releases are available for streaming on Spotify, and other streaming services.

Irish Indie Label Day: “Just Getting Off Your Arse and Doing Anything is Worthy of Support”

This coming Saturday, October 14th has officially been declared Irish Indie Label Day in Ireland by a coalition of independent and DIY record labels dotted around the country. An initiative kicked off by Cork’s Penske Recordings and Sligo-based Art for Blind label, it entails a day-long record fair in Whelan’s in Dublin, featuring over a dozen indie imprints’ stalls, zines, and a special gig later in the evening to mark the occasion. For Art for Blind man Dany Guest, it’s the realisation of a long-held concept. “The idea has been floating around my head for a while, and is something me and Edel (Doherty, AFB label partner) have discussed at length over the last few years, having seen the success of things like the Indie Label Market in London. We decided to ask Penske to be involved because we know Albert so well and know he is totally on our wavelength and has been a big supporter of what we do since before we even landed in Ireland. To me the big thing that differentiates it from similar initiatives is that to us the community, integration and social aspects of the event are of equal importance to us as the commercial goal of flogging records and merch.”

Contrary to the idea of the death of the traditional record label model, a very wide spread of labels exists around the country in a number of genres, each facilitating and creating the bottom line for the development of their genre/community. Among the other labels listed alone for this event include: Little Gem (Dublin), Touch Sensitive (Belfast), Deserted Village (Galway), Lunar Disko (Dublin), Distro-y (Sligo), Box Emissions (Cork), Fort Evil Fruit (Cork), Sofia (Leitrim), Bluestack (Sligo), Rusted Rail (Galway), and Rudimentary (Belfast). Albert Twomey, founder of Penske Recordings and former hassler at Plugd Records, speaks on the process of outreach. “We contacted labels that we liked to start with & fleshed out the field as we figured everything out. There were some labels that were not interested/ available to attend & we may have missed out on others but this is all part of a learning curve I guess. Other labels/creatives have been in touch once they heard there was an opportunity to represent. There is still an opportunity for folks to get involved by contacting artforblind@gmail.com.”

Whelan’s is obviously an epicentre of music in Ireland and one that famously deals with a lot of bigger names coming through the doors – Twomey is quick to divulge if they have any hand in what went into the event at all, and what their involvement means to the enterprise. “Whelan’s were very open to getting involved from the start. It is great that we have access to the upstairs area from mid afternoon to the early hours. Not many venues would be able to facilitate a market & event for various reasons. Darren & Dave from Whelan’s have been incredibly helpful. It became evident that Dublin would be the best place to host the market/event but we do hope to replicate it in other Irish cities if everything runs smoothly & venues/labels are interested.”

As mentioned, the festival exists to shine a light on independent labels in the country in 2017, as well as highlight the challenges they face. As mentioned, Twomey runs Penske Recordings, home to The Jimmy Cake, Percolator, and Dan Walsh’s Fixity, and one imagines even with the weight of distributors Cargo behind him, that it’s still a tough game without a big PR presence. What challenges does an indie label like Penske face on the daily? “It can be a struggle, even with the support of an international distro like Cargo. They also take care of the Penske digital catalogue, and my sales rep there has been incredibly helpful. Plugd did lots of business with them, and I reckon they have the best reach and labels on their books: Constellation, Rocket Recordings, Hyperdub, etc. I guess the increasing cost of getting a record recorded, pressed & promoted are the principal challenges for Penske. Building up relationships with record store folks and distros is the easy part, even if I have the reputation of being a cranky-pants.”

As well as labels on the ground, there’ll also be zinemakers and booksellers, occupying an important space in-between slabs of wax at the fair. Rusted Rail Records man Keith “Keef” Wallace speaks of his delight at this area of DIY culture being considered specifically. “As someone who used to sweat over a hot photocopier making ‘zines at the turn of the century, I’m delighted to see the resurgence of ‘zine culture, a physical expression of something which could have been lost in the digital drowning pool. It’s all part of DIY culture, an alternative form of transmission, and that can only be a good thing to add to the conversation around underground musical culture.”

The challenges for record sales extend out to retail, also, a situation Twomey is only too familiar with via his stint with Plugd, an erstwhile hangout of musicians and creatives in Cork slated to reopen in the coming days in the city’s Roundy gig venue. The realities of peddling vinyl from this standpoint are no easier than getting records on the shelves to begin with. “Selling music can be a very challenging endeavour overall. In fact, Belfast is losing a really great store in Sick Records over the next few days. The cost of rent and rates in major cities has always been really prohibitive for small businesses. There is also lots of competition for the small pool of disposable income available to your target audience. Plugd is lucky to have a solid customer base & a very supportive arts/gig-going community. I am looking forward to getting my hands dirty at the market, to be honest, as I’ve missed the buzz of selling records & engaging face-to-face with customers.”

The post-match gig happens in the venue at 8pm, and boasts a suitably strong line-up. Guest gives us the runthrough on who’s who and their relation to the day’s endeavours. “Well, firstly, Alien She are a three-piece experimental post-punk band from Dublin. Their debut LP, ‘Feeler’ will be out on Art For Blind in November. Gross Net is the weirdo noise solo outlet of Phil Quinn (Girls Names). It’s great to have Gross Net as Art For Blind released a Gross Net cassette a few years back, and his debut LP was released by Touch Sensitive who will be joining us at the market from Belfast. Finally Girlfriend is a fledgling Dublin based garage punk/emo band who we are really looking forward to catching live.”