By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
In spite of the mainstreaming of the music, though, the original heart of punk rock remains intact, thanks in large part to the efforts of die-hard fans such as Denver's Brian Circle. Circle's own Black Plastic Records has been instrumental in shaping what has become a thriving Denver/Boulder punk scene--and he's been able to keep his label afloat without selling out in the process.
"I do this because I think it's fun," he insists from his studio apartment, which also serves as Black Plastic headquarters. Clad in a Midas baseball cap, a faded black T-shirt and a pair of battered, duct-taped Vans, the 21-year-old Circle looks more like a stoic soul-surfer than a budding record exec. "It's not just a money-making thing. I feel sorry for anybody who thinks that's why I'm doing it, because I'm actually losing tons of money."
Laughing, he adds, "It's a stupid way to be an entrepreneur."
If so, plenty of others are making the same errors as Circle. Hundreds of upstart labels like Black Plastic are currently recording, producing and distributing music on a grassroots level, and more are springing up every week. The San Francisco-based punk 'zine Maximum Rock and Roll has even created a reference guide, Book Your Own Fucking Life, for these fledgling operations; it lists names and addresses of bands, record labels and independent promoters, all of whom share an interest in keeping music out of the hands of corporate music executives. Of the thousands of organizations listed, several can be traced to the Denver/Boulder region, including Warped Records, GSL and Black Plastic.
Circle isn't a Johnny-Rotten-come-lately on the punk scene: The Denver native has been producing, packaging and marketing music under the Black Plastic name for close to five years now. He released his first recording, a compilation tape called Powerless, while attending classes at Denver Public Schools' Career Education Center. "I put an ad in the personals in some fanzine," he remembers. "I think it was Flipside. I asked people to send me their stuff so that I could put it out. At the time, I thought, `What the hell. At least I'll have tapes to record over if nothing else.'"
Looking back, Circle admits that most of the material was "pretty shitty." Still, he was pleased enough with the results to release a Powerless sequel--Powerless II: No More Flowers, No More Ribbons--a year later. Advertised as a benefit album for the War Resistors' League, the full-length compilation featured tracks by several national and international acts, including TVTVS and Moss Icon. It also included a fifty-page booklet, which proved to be a logistical nightmare for the still-inexperienced Circle. As he explains it, "I made every mistake in the book with that record. [I had problems with] the pressing, the artwork, you name it. I definitely didn't make any money on that one. But I still ended up giving about $300 to the War Resistors' League. I didn't want to advertise it as a benefit album and then not give them a single cent."
Having cut his teeth on acts from outside Colorado, Circle next decided to take a stab at making records with bands a little closer to home. His imprint's first local offering, a single by the now-defunct foursome Cavity, hit the racks in April 1994, and the Black Plastic bull pen has been growing steadily ever since. Thus far, the label has sponsored platters by the ska punks in Random Victim and Denver hardcore sensation Pinhead Circus. Last year, Circle also released Rocky Mountain Arsenal, Black Plastic's first all-locals compilation. Among the groups spotlighted on the disc: Dead Silence, Cavity, Bunny Genghis and Angel Hair.
Circle enjoys the creative freedom he's allowed when working with local punk musicians. "It's a lot easier when you know the people involved," he elaborates. "I would much rather walk up to a band after a show and say, `Hey, let's do a record' than write to some band that lives three states away and wait for a reply. It's a lot more personal this way.
"Besides," he continues, "I like the control of going into the studio with them and making sure they get a good sound. I always try to work closely with the engineer. That way, we get the kind of sound I want."
Thus far, this strategy has served Circle well. Although Black Plastic's offerings haven't exactly burned up the Billboard charts, they have sold fairly well on the home front. For example, the Arsenal compilation has already moved several hundred copies, while Pinhead Circus's seven-inch has become a favorite among record buyers within and beyond the city limits. Since the record was released last June, the band has received letters from devotees living as far away as Japan. "It's been crazy," confirms Circus guitarist/vocalist Jimmy Pinhead. "Brian will go into Wax Trax and stock, like, fifteen copies of our single, and within a couple of days they'll be gone."