Heroes Series 4: Archiving and Assembling with Death is Not the End’s Luke Owen

Written By: 
Derek Piotr
Tags: 
Share:
  •  

Derek Piotr speaks to Death is Not the End label boss Luke Owen.

For the fourth edition of our Heroes Series, I sat down with my current partner-in-crime and Death is Not the End label boss Luke Owen. He describes the label as focusing on “gospel, blues, folk, soundsystems, pirate radio + various wormholes.” Luke also runs an NTS radio show of the same name. Luke and I are kindred spirits with an affinity for the dustier corners of archival work, and putting this edition together was a pleasure.

Derek Piotr: Before I'd even approached you to collaborate, I sensed we both shared a similar vision -- your proclivity for curating folk expression from all corners -- everything from Cajun music to Appalachian to pirate radio, and always with a heady friction of voice/noise floor. A lot of other imprints might scrub away some of that artifact and grain, but you celebrate it. Can you talk a little bit about your curation/editing process when you work on a record for release?

Luke Owen: I don’t do much, in all honesty – just bringing the dial up to a consistent level, then beyond that just letting the recordings do their thing, warts and all. Often when editing the pirate radio stuff in particular, I will add more white noise to mimic interference / twisting the dial to aid the transitions between tracks.

Voices are a predominant feature on Death is Not the End, all shapes and shades. Can you talk about your relationship to the human voice? 

I guess from a folk music perspective the voice is at the center of everything. It tells the story and the history along with it, and the candid nature of the recordings mean that there is often a full blown conversation being had within a recording. The art of spoken word recordings and its intersection with folk music fascinates me and informs a lot of what I do.




I think many listeners would find that interesting that you'll actually alter the source material to include more noise floor/interference. Is part of your curatorial approach informed by the fetishization of fragment -- in other words, do you find the obscured material to be more of a draw than music without fracture?

That’s only on the pirate radio stuff, where I want to create mixtape-style transitions between tracks that are often just spoken-word – whilst mimicking the white noise/static of adjusting the dial. On everything else, I do as little as possible, really, beyond one or two aesthetic tweaks here and there. Do I find myself more attracted to “flawed” recordings than music without fracture? Absolutely.

Can you talk more about spoken word in a folk context? This is something I adore as well -- plenty of the Lamkin variants feature lengthy segments of spoken word, and a few examples (Nathan Hatt and Bertha Eldred) are actually predominantly conversations between informant and folklorist; with only a fragment of the actual ballad featured. I am of the opinion that folk music should not be pinned in abstraction, but be presented in its organic context as nearly as possible. What approach do you take when confining material to temporality? In other words, where do you cut?

It’s less about the words than the way it reflects the impromptu nature of the recordings, really. It’s literally a conversation. Also, all music, let alone folk music, is inherently of historical and social importance, so it makes complete sense to me that a recording’s age is reflected in its “quality” (or lack of…) and also that it captures a moment in time with a good dose of off-the-cuff verbal discussion/examination of the song and it’s history. Where do you cut? I don’t know, wherever you feel is right, when there’s been enough chatter to put a recording in context without getting too bored? With some of the pirate radio mixtape stuff, I like to present that as the sound of someone cutting between stations on the dial moving with their attention-span.





Derek Piotr is a folklorist, researcher and performer whose work focuses primarily on the human voice. His work covers practices including fieldwork, vocal performance, preservation and autoethnography; and is primarily concerned with tenderness, fragility, beauty and brutality. He has collaborated with artists including Scott Solter, Bobby McMillon and Thomas Brinkmann across various disciplines. His work has been supported by the North Carolina Folklife Institute, The Traditional Song Forum and The Danbury Cultural Commission, and has featured on Death Is Not The End and BBC. He recently launched the Fieldwork Archive.

Luke Owen started Death Is Not In The End in 2014. His NTS radio show of the same name airs on NTS radio.

Related Articles

Sort By
12th Isle
2020
33rpm
45rpm
4AD
5 Selects
7"
99 Records
A&M
Abbey Lincoln
Aboriginal
Abstract
Ace Tone
Acid
Acid Archives
Acid Folk
Acid House
Acid Punk
Acoustic
Adrian Sherwood
Africa
African
Afro
Afro-Cuban
Afrobeat
Alan Ginsberg
Alan Greenberg
Alan Thicke
Albert Ayler
Alice Coltrane
All Genre
Altec
Amazon Music
Ambient
Amoeba Music
Amplifier
Analog
Anatolian Rock
Andy Warhol
Animation
AOR
Aquarium Drunkard
Archie Shepp
Archival
Art
Art & Design
Art Dudley
Art Film
Art Pop
Art Rock
Artform Radio
Arthur Russell
Article
Ash Ra Temple
Audiogon
Audiophile
Audiovisual
avant
Avant-Garde
Avant-pop
Avant-Rock
Avent-Garde
Balearic
Bali
Ballad
Bargain Bin
Baroque
Baroque Pop
Basquiat
Bass
Bauhaus
Bayou Funk
BBC
BBC Radiophonic
Beats
Beats in Space
Bebop
Belgium
Bennie Maupin
Berlin-school
Best of 2020
Beverly Glenn​-​Copeland
Bhutan Stamps
Big Band
Bill Laswell
Black Ark Studios
Black Jazz
Blaxsploitation
Blue Note
Blues
Blues Rock
Bob Marley
Bola Sete
Bollywood
Boogie
books
Boredoms
Bossa
Bossa Nova
Brazil
Brazilian Folk
Breakbeat
Breezy
Brian Eno
Bruce Weber
Bruton Music
Buddhism
Budget Audiophiler
Cabaret
Calypso
CAN
Canterbury
Cape Verde
Caribbean
Cartridges
Casio
Cassette
Cats
CD
Chamber Music
Channel One Studios
Chanson
Charles Lloyd
Charles Mingus
Chee Shimizu
Chet Baker
Chicago
Chillout
Choral
Christmas
City Pop
Classic Album Sundays
Classical
Classics
Clothing
Coctueau Twins
Coffee
Commercial
Community
Compass Point
Compilation
Concept Album
Condesa Electronics
Conny Plank
Contemporary Jazz
Cornelius
Cosmic
Cosmic Disco
Cosmic Folk
Country
Country-Rock
Covers
Cult Classic
Cumbia
Daft Punk
Dance
Dancehall
Dark
Dark Entries
David Bowie
David Byrne
Davida
Deep Dive
Deep House
Deep Listening
Delia Derbyshire
Demo
Dennis Bovell
Denon
Detroit
Devotional
Diasporic Disco
Dick Verdult
Diggin in the Mags
Disco
Discogs
DIY
DIY / Amateur
DJ
Documentary
Don Buchla
Don Cherry
Donald Byrd
Doom Metal
Downtempo
Dowtempo
Dr. John
Dream House
Dream Pop
Dreamy
Drone
Drum Break
Drum Machine
Drum n Bass
Drums
Dual
Dub
Dub Poetry
dublab
Dubwise
Durutti Column
Düsseldorf School
Eames
Earl King
Early Electronic
East African
Easy Listening
EBM
ECM
ecoustic
ecoustics
Electric Lady
Electro
Electronic
Electronica
Elegant Pop
Emahoy Tsegué-Maryam
Enossified
Environmental Music
EOY
Eric Dolphy
ESG
Esoteric
ESP Institute
Essential Listen
Essential Listening
Essential Listenning
Ethereal
Ethiopian Jazz
Ethnic
Event
Events
Exotica
Experimental
Factory Records
Fela Kuti
Festival
Field recording
Films
Fingertracks
Fingetracks
Fishing with John
Fleetwood Sound Company
Floating
Floating Points
Folk
Folk-Rock
Fonts
Fourth World
France
Free Improvisation
Free Jazz
Friends of ISC
Frippertronics
Fundraiser
Funk
Fusion
G.S. Schray
Gal Costa
Gamelan
Garage Rock
Garrard
Gems from the Dollar Bin
George Martin
Gifts
Gilberto Gil
Glam Rock
Gogo
Gospel
Grado
Graphic Novel
Grateful Dead
Group Sounds
Guide
Guitar
Hard Bop
Harold Budd
Harp
Harry Nilsson
Haruomi Hosono
Heavy Metal
Henry Lewy
Herbie Hancock
hi-fi
hi-NRG
Hidden Gem
Highlife
Hip Hop
Hiroshi Yoshimura
history
Holger Czukay
Holiday
Hollywood
Holy Grail
Home Listening
House
Hypnotic
Iasos
Ibiza
IDM
Illustration
Improvisation
Impulse!
In Conversation
India
Indian
Indian Classical
Indie
Indie Rock
Industrial
Ingmar Bergman
Installation
Instrumental
International
Interview
ISC Classic
ISC Collection
isc guide
ISC Record Store
ISC Selects
Island Records
Isolation
Italo Disco
Italy
Jackie McLean
Jamaica
James Baldwin
Japan
Japananese
Japanese
Jazz
jazz kissa
Jazz-funk
Jazz-rock
JBL
John Fahey
John Martyn
Jon Hassell
Joni Mitchell
Judee Sill
Jungle
K. Leimer
Kankyo Ongaku
Keith Haring
Keith Jarrett
Kid-Friendly
Kitty Records
Klaus Schulze
Klipsch
Kompakt
Kosmiche
Kosmische
KPM
Kraftwerk
Krautrock
L.Shankar
La Monte Young
Labels We Love
Lafawndah
Lagniappe Sessions
Laraaji
Larry Levan
Last Resort
Laswell
Latin
Latin Jazz
Laurel Canyon
Laurie Spiegel
Leaving Records
Lebanese
Lee Scratch Perry
Left-field
Leftfield
Lena Horne
Les Baxter
Lester Bowie
Library
Library Music
Liquid Liquid
Listening bar
Live Performance
Live Recording
Los Angeles
Lost & Sound
lost and sound
Louisiana Blues
Lounge
Lounge Lizards
Love Songs
Lovefingers
Lovely Music Ltd.
Lovers Rock
Luaka Bop
Mad Professor
Marantz
Marcel Duchamp
Marcos Valle
mbaqanga
McIntosh
Meditation
Meditative
Melancholic
Mellow
Melody As Truth
Meredith Monk
Metal
Michael Franks
Mid-Century
Miles Davis
Milford Graves
Mills College
Minako Yoshida
Minimal
Minneapolis Sound
Mixes
Mixtape
Mizell Brothers
Mobile Fidelity Sound Labs
Modal
Modern Classical
Modern Soul
Modular Synthesis
Moki Cherry
Mono
Mort Garson
Motown
MPB
MTV
Munich
Music Blog
Music from Memory
Music Interior
Music Therapy
Music Video
Mwandishi
Narrative
Neptunes
New Age
New Music
New Wave
New York
News
Nico
Nina Simone
No Wave
Noise
Non-Profit
Northern Soul
Now Sound
NTS
Nubian Pop
Nubian Soul
Numero Group
NYC
OBI
Obscure
Obscure Sound
On Screen
On-U Sound
online radio
Opera
Organic
Organic Music
Ornette Coleman
Ortofon
Oswalds Mill Audio
Outsider Pop
Overtone Singing
Painting
Painting with John
Pandit Pran Nath
Paradise Garage
Pastoral
Patrick Cowley
Paul Horn
Paul McCartney
Pauline Oliveros
PBS
Penguin Cafe Orchestra
Pensive
Percussion
Pharoah Sanders
Phillip Glass
Piano
Pioneer
Plantasia
Plants
playlist
Playlists
Plinth
Podcast
Political
Pop
Pop not Slop
Pop Rock
Popul Vuh
Post Bop
Post Rock
Post-Punk
Post-Rock
Power Pop
Premiere
Prince
Private Press
Producer
Productions
Professor Longhair
Prog Rock
Progressive
Progressive Rock
Prophet-5
Proto-techno
Psychedelic
Psychedelic Rock
Psyhedelic
Punk
Qobuz
Quadraphonic
QUARK
Quiet Storm
R&B
Radio
Raga
Rare Groove
rca victor
Receivers
Record Fair
Record Label
Record Stores
Record Stories
Reggae
Reggaeton
Reissue
Reissues
Releases
Religious
Remix
Retrospective
Rock
Rocksteady
Roland
Roland Kirk
Roller Skate
Room Recordings
Room Treatment
Roots Reggae
Rotary Mixers
Rough Trade
Rudy Van Gelder
Ryuichi Sakamoto
Ryuichi Sakmoto
Sacred
Sade
Sam Gendel
Samba
Samples
Sci-fi
Séance Centre
Seefeel
Sensual
Shamisen
share
Shibuya-kei
Shoegaze
Singer-Songwriter
Sisters with Transistors
Sly & Robbie
Smooth Jazz
Soft Rock
Solid State
Songwriting
Sonny Sharrock
Soul
Soul-jazz
Sound Collage
Sound Installation
Soundsystems
Soundtrack
South Africa
South African
South America
Space Rock
Speaker
speakers
Spiritual
Spiritual Jazz
Spoken Word
Staff Picks
Steely Dan
Stereolab
Stereophile
Steven Halpern
Stevie Wonder
Stoner Rock
stores we love
Stories
Streaming
Street Soul
Studio One
Sun Ra
Sunn O)))
Surround Sound
Susumu Yokota
Suzanne Cianni
Suzanne Kraft
Swamp Rock
SYNG
Synth
Synth Pop
Synth-pop
Synthesizer
Synthwave
Taarab
Takoma Records
Tangerine Dream
Tape
Tapes
TD-160
Techno
Techno Pop
Television
Terry Callier
Terry Riley
The Beatles
The Broad
The Loft
The Meters
The Mizell Brothers
The Music Center
The World Stage
Theater
Thelonious Monk
Third Side Music
Third Stream
This Mortal Coil
Thorens
Tim Sweeney
Too Pure Records
Total Luxury Spa
Traditional
Tribal
Trip-hop
Tropical
Tropicalia
Tuareg
Tube
Turntable
TV
UK
Underrated
Val Wilmer
Vandersteen
Vanity Fair
Velvet Underground
Vice
Video
Vince Guaraldi
Vintage
Vintage Gear
vinyl
Virginia Astley
Visible Cloaks
Visual Art
Vocal
Vocoder
Walearic
Wally Badarou
Water
Website
Werner Herzog
West Africa
West African
Windham Hill
World
Wrecking Crew
Yacht Rock
Yamaha
Yasuaki Shimizu
Yellow Magic Orchestra
Yma Sumac
YouTube
Zamrock
Zither
ISCHiFi ((ROOM RECORDING))
0:00 / 0:00
0:00
0:00