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Les Disques Victo
ByWe average five to six CDs a year... People who are living off their labels have to do 20-25 a year. I work full time on the fest and part-time on the label.
Michel Levasseur
Levasseur isn't one to trumpet anniversaries, but nevertheless this year marks the 25th Festival Internationale de Musique Actuelle de Victoriaville and the 22nd of the Victo label. Taken together, they make a strong argument against classification: jazz, rock, noise and electronic music all come together under the banner musique actuelleliterally "music of the now."


Although still strongly identified with the festival, Victo the label is no longer a part of Productions Platforme, the nonprofit organization that runs the festival. Hoping to secure a part of his work that could take him into retirement, Levasseur broke the label off from the parent organization.
"I was running the label, making all the decisions about content and promotion," he said. "It was more my responsibility, and the festival is the work of a lot of people. I found out that when I left the festival I would have nothing."
Running a record label, however, isn't the retirement plan it once was. Sales are down from an average of 1,300 per title five years ago to 1,100 now, and the number of new titles per year isn't enough to constitute a second career, or a pension.
"We average five to six CDs a year," Levasseur said. "People who are living off their labels have to do 20-25 a year. I work full time on the fest and part-time on the label. It's kind of a hobby, really."
Declining sales aren't the only challenge facing the label. Until 2004, the Canadian Broadcasting Corporation was taping 10 to 15 concerts at the festival each year for radio broadcast, and those tapes were made available to the label for possible release. Now the label must shoulder the costs of making releasable recordings. While all concerts are recorded from the soundboard, only four to eight are taped for CD release. The up side is that the concerts which are recorded for release are now multi-tracked, as opposed to the two-channel recordings made by the CBC.

And while the festival can attract some of the bigger names in the varying stripes of avant-garde music, those shows aren't always available to the label. "You can't have the John Zorns and the Mike Pattons because they all have their own labels, so the label does not have all the big names," Levasseur said. "I would like the label to be as wide as the festival, but it makes it very difficult with distribution. I have to target different markets all the time. But the mixing of the rock and jazz and improv scenes has rejuvenated the scene. It doesn't bring more people to the festival or the label, but it brings new energy."

"Braxton at the moment is really, really strong creatively, so it was important to bring him back to the festival," Levasseur said. "I wanted to record the trio, but I didn't really want to do the 12tet because he just had the box set [9 Compositions (Iridium) on Firehouse 12], but he convinced me to do it and I convinced him to stop after 60-70 minutes and not have a double CD. I'm very glad we did it because not everyone can buy the box set and listen to it for two months."

"For me it's very important to have the human feeling of doing the music," he said. "If there is no format, you don't need a producer, the musician can just put it up on their website. When you do a concert you have memories of the concert. When you do a CD, you have something, a work of art."
"I like making bread," he added. "I don't want to eat y bread out of pills. I want to eat real bread. If I make a CD, I want it to be real, not just in the air."
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