SUNSET PARK, BROOKLYN: Don’t hate Matty Amendola because he’s beautiful. It’s a cross that this entrepreneurial multi-instrumentalist must bear on the way to 825 Records, his artist development baby that’s coming straight outta Brooklyn.
A pro drummer starting at the tender age of 13, Amendola has been backing up musicians of every stripe ever since. While he still gets paid to pick up sticks and pop a bass, he’s become just as interested in growing artists’ careers as backing up their singles. A studio, a label and a comprehensive concept, 825 is his vehicle to do just that. Hop in and see where his vision is driving him and the bands he signs.
Q: Which came first for 825 – the studio or the label?
A: The studio started as your typical home studio and was only being used for mixing and recording demos. 825 Records as a label started after I was producing so many artists — and watching their product fail due to lack of promotion and publicity. I figured, “Why not put all these artists on one roster and give them distribution, promotion and publicity services?”
I also love the idea of people being a fan of “825 Records” as a whole. That’s one thing that attracts me to indie labels and even hip hop labels: Even though every artist is different in their own way, there’s a quality in each sound that brings them together. I like making sure if someone is a fan of one 825 artist, they’ll also like another, even if the genre is completely different.
Q: It’s all about cohesion. Tell us about the studio: What’s your facility set up to be able to do?
A: Well the studio was started by my father when he was my age – it was his studio that he used for the artists he wrote for. I started sneaking in and messing everything up at a pretty young age! The older I got, the more gear I bought and learned how to use, and then a few years ago with help from GRAMMY Award-winning engineer Butch Jones (Madonna, Talking Heads) we finally added everything we were missing. It’s an ideal setup for any singer/songwriter, or multi-instrumentalists like myself. We also use various other studios in New York and then bring the tracks back to 825 for overdubs and mixing.
Q: Geek out for a second. What are some choice pieces of gear?
A: Our ears… We have some vintage gear, a ton of instruments, as well as an up-to-date digital setup, but that means nothing if you don’t trust your ears.
Q: Spoken like a sage! Is the studio open for everyone who wants to use it, or just 825 artists?
A: Primarily just for 825 artists, but we also take on plenty of mixing and mastering jobs, as well as FTP track transfers, jingles and music scores. Butch handles most of the technical side of things and his services are always available for hire.
Q: You said that on the label side, your big angle is artist development. How do you approach accomplishing that for your bands?
A: Our motto is “FROM THE STUDIO TO THE MASSES” and we really mean it. We offer a full range of artist development services.
Artists will work one-on-one with a professional songwriter and producer, turning their notes and ideas into a finished product that best exemplifies their talents. Recording time at the 825 in-house studio allows for the smooth production of a professional product, complete with graphic design and digital distribution. Artists also gain access to the behind-the-scenes work necessary for jump-starting a career in today’s music industry. Publicity work includes the creation of an industry standard press kit, including biography, press releases and pitches to target media outlets. Digital marketing management ensures a growth in artist fan base and promotion for album releases and live events. 825’s experienced team is dedicated to the success of every artist on their roster.
Q: What did you personally have to learn about distribution, promotion, publishing and business in general to get the label started? What have been some surprises as you get deeper into it?
A: As an artist myself, I’ve been in these people’s shoes when it comes to trying to “make it” and I learned as I went along. After playing with hundreds of bands, I self-released my first solo work =Ecstasy in 2008, and all I had was a Mac computer and publicist/friend Francesca Basile.
I worked on all my Internet presence and promotion, and Francesca worked on magazine reviews and radio appearances. At the time, I was playing bass in a band called The Classic Futures. We were on tour and did some major television performances, so I was “out there” in the mainstream. The work we did on my first album was all a setup for my second album Life Commercials. It quickly became a well-known and respected album in the industry and the single “Summer” received a very nice amount of national radio play.