Welcome to the lucky thirteenth edition of our series of short interviews affectionately titled Talking Shop. The majority of media and fan attention gets showered on the artists who create the music we love to listen to/DJ with/dance to, and for good reasons. But without the hard work, keen ears and business savvy of label staff, we’d be stuck only streaming tracks on Myspace. This time we examine the Canadian-born Wagon Repair, which started as the home of pals Mathew Jonson, Konrad Black, Graham Boothby and Loose Change and has blossomed into one the most versatile and sought after labels in techno and house. Favoring quality sounds over particular aesthetics, WR boasts releases from The Mole, Tobias Freund, Seth Troxler, Deadbeat, Minilogue, Hrdvision and more. Mr. Jonson kindly answered our questions between gigs, shedding light on his favorite Wagon Repair release, the odd origins of the label name and the reason people love vinyl.

Please tell me about the beginning of Wagon Repair. Why and how did you start out? How did you decide on the name Wagon Repair?

Mathew Jonson: Wagon Repair was born out of an idea to release good music no matter what the sound or idea behind it. The name came from an expression “that will fix your wagon” after one of the founding members, Graham Boothby, heard “Marionette” for the first time.

How did you select the artists for Wagon Repair’s roster?

Most of the artists are people we have known for a while personally. I think we are really lucky to have such talented friends that supply us with good music.

Do you get many demos? What are some qualities you look for when sorting through them?

[We get] lots of demos. But very few from people who have there own sound. It’s pretty uncommon for us to come across demos that hit the press. Certainly a happy surprise though when we find them!

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What is one of your favorite releases on your own label? Why?

Modern Deep Left Quartet’s “Babyfoot” is the best for me. It makes me so proud to be able to release music like this. Funny that the worst selling record we have released is the best one. But that’s kind of the point of why we are doing this label.

According to many doomsayers, running a record label isn’t one of the “smartest” fiscal things to do. Is it difficult keep Wagon Repair running with sales “as they are”?

Seems like a pretty smart idea to me. Release good music and promote good artists. Then set them up so they are basically on permanent vacation. The music business kicks ass!

Wagon Repair family reunion.

Is it at all difficult to be located in Canada as opposed to Europe, where so much of dance culture resides?

We have offices in Vancouver and Berlin now so it works.

Do you think blogs like mine hurt the music industry? Do you think blogs have a role in the future of dance music promotion?

Blogs are good for the industry as long as they do not give the music away for free.

There is no shortage of labels in dance music. What does Wagon Repair do to stand out from the crowd?

If we do stand out then it is because of the artists and musicians involved. We are all very diverse and I think that makes for an interesting label.

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As technology advances further, vinyl is moving closer to becoming obsolete to many DJs. What are your feelings on this? Do you think the end of vinyl is in sight?

People will always love records. They make girls want to fuck. [Guys too! -ed]

What are a few other labels you respect/revere most?

Warp, Can’t Fight the Feeling, Minus, !k7, Metalheadz, No U Turn, Perlon, Ruthless Records, Blue Note, Motown. I could go on and on.

What can we expect from Wagon Repair in the next year or so?

Lots more records. Thanks for your support! Peace!