Avar Garden

1. Project 13 has built a distinctive identity through its releases, artists and aesthetic. How would you describe what Project 13 represents today, and where would you like to take the label?

   Avar Garden

   Project 13 has now been part of the electronic music scene for 13 years, which is no small achievement. For me, it represents a symbol of resilience. We have stood the test of time, evolved, and continue to offer an increasingly refined product.
   We have a very clear idea of where we want to go, and we are achieving it. The label is closely connected to my journey as Avar Garden.
   As a label, my priority was to “build a team” with other producers who share the same ambition and desire to learn. I wanted to recruit artists with strong potential so that we could grow as a brand and establish ourselves at festivals such as OFF-Sonar in Barcelona or ADE Amsterdam, as well as take the label beyond Andalusia through showcases in other parts of Spain and beyond.

2. As a Label Manager, you are on the other side of the demo inbox. When a track reaches Project 13, what makes you stop and listen, beyond obvious factors such as production quality or current trends?

   Avar Garden

   I look for tracks that sound good. You can identify that from the very first bar. It usually means that the artist sending the demo is experienced and puts serious work into their studio.
   On the other hand, I also look for tracks that surprise me, that take risks, while still fitting within melodic, afro, house, indie dance or techno.

3. What do you think makes a release feel like a true “Project 13 release”? Is there something specific you look for in the music or in the artist behind it?

   Avar Garden

   We are not going to fool ourselves: an artist with an established background will always be more likely to release on the label.
   However, I always like to leave room in our V.A.s for emerging artists. They do not even need to have released music before.
   I like to think that I was the person who gave that first opportunity to a hidden talent.

4. There are hundreds of labels in electronic music today. From your perspective, what is the biggest challenge for an independent label that wants to build a long-term identity rather than simply release music consistently?

   Avar Garden

   As a label, obviously, what we want is to remain part of the music landscape and continue evolving so that our music reaches people all over the world.
   To achieve that, you need to build a strong sonic identity and, very importantly, maintain a high-quality visual identity. This goes hand in hand with events, and all of it ultimately influences the kind of artists who release on the label.
   For me, the biggest challenge a label faces is getting the attention of the major names in the scene, who can sometimes be inaccessible.
   A major producer/DJ who plays at festivals and supports Project 13’s music — or my own music — can make all the work you have built up suddenly grow exponentially.
   To achieve that, you have to be consistent and constantly push yourself to improve.

5. Once a track has been signed, how important is the relationship with the artist to you? What does Project 13 try to offer an artist beyond simply releasing their music?

   Avar Garden

   For me, the most important thing is to treat an artist’s music as if it were “gold”.
   From minute one, the artist should feel confident that I am going to give everything I can to their tracks:

   • High-quality mastering with our sound engineer — in this case, I am fortunate to have Sdietz on my team.
   • Strong promotion, using platforms that genuinely help get the track in front of other DJs and producers, blogs and premiere platforms.
   • High-quality artwork with enough impact to work across social media, Spotify, Beatport and other platforms.
   • Requesting Featured placements from each platform, either through our distributor or privately.

6. Project 13 has increasingly focused on promotion, artwork, branding and the overall presentation of its releases. To what extent do you think these elements are important for an independent label to communicate its music effectively?

   Avar Garden

   I think branding in general is a very good way of attracting attention, as long as it is accompanied by quality music. Without that, it is useless.
   Another thing that is very helpful is press coverage, both in industry media and in local and national media. It is very important how you communicate your project, not only visually but also through the written word.

7. Looking at the current electronic music landscape, what changes do you think are having the biggest impact on the way independent labels discover, develop and promote artists?

   Avar Garden

   I think one of the biggest changes is that labels no longer discover artists exclusively through demos.
   Social media, streaming platforms, Beatport and even support from other DJs make it possible to quickly see what an artist is doing and how their music is performing.
   I think independent labels still have an important advantage: they can build an identity and a community around a specific sound.
   With so much music being released every week, I believe the real value of a label increasingly lies in knowing how to filter, provide a point of view and build a story around its artists, rather than simply distributing music.

8. Finally, what is the hardest part of running a label — the part nobody sees from the outside and nobody prepares you for?

   Avar Garden

   I think one of the hardest things is learning how to deal with rejection.
   It is a part of running a label that is almost invisible from the outside, and nobody really prepares you for it.
   For example, when you try to organise a showcase at a club. You have an idea, you are convinced it could work, you prepare a proposal, contact venues... and many times the answer is no. Or, quite simply, there is no answer.
   The same thing happens with music.
   You prepare a promo, carefully select who to send it to, send it to DJs, artists or industry people, and then see that many of them do not even listen to it.
   Sometimes you think: “I’m giving you music for free, I’m only asking you to take three minutes to listen to it.”
   But over time, you also understand that this is part of it. Everyone receives countless proposals, you are not always going to get a response, and a no does not necessarily mean that what you are doing is bad.
   The difficult part is learning to absorb that negative side without letting it affect your desire to keep trying.
   Because nobody teaches you how to receive twenty rejections, get up the next day and send proposal number twenty-one.

   That said, and as a final note, if anyone has made it this far: if you are an artist, send me your demo at project13ml@gmail.com.

   If, on the other hand, you are someone interested in my story or in the story of Project 13, the only way to support us is by commenting on or sharing our content. That is what keeps independent artists and labels alive.

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