Aug 3121 min read

觉醒 - 意大利Rude Awakening Records厂牌专访

今天采访到的是一支来自意大利的Rude Awakening Records厂牌，2015年由Gabriele创办，主要以重新发行Thrash, Black, Death, Heavy, US Power Metal等风格为主，厂牌的名字由来是受到了美国Prong乐队的1996年的专辑“Rude Awakening”启发，故事的开始与很多创办厂牌的人一样，作为一名狂热的金属唱片收藏者，随着对唱片的深入了解，发现很多经典专辑已经绝版或者价格非常昂贵，所以Gabriele决定自己创办一家厂牌为一些经典专辑重新发行，在成立之初厂牌为意大利的Disphere乐队重新发行了他们的第一张专辑“Abscience”，随即2016年发行了Furious Barking和Desmodus两支乐队合作的Spilt专辑"Italian Thrash Relics Vol. I"，2017年为意大利的Black Metal乐队Maldoror重新发行了“In Saturn Mystique”专辑，2020 - 2024年是厂牌发展的重要期，重新发行了大量的意大利老乐队的专辑，2024年还为Aydera乐队重新发行了他们早期的所有作品并且为乐队发行了最新的现场专辑“Hyperlogical Sin Live 2001/2013”，这张现场专辑从名字上就可以看出来，包含了乐队从2001 - 2013年期间所有的现场演出的歌曲，2024年厂牌还为乐队发行了一张名为“Rare Tracks”的Compilation专辑，其中所有歌曲都是乐队基本没有发表过的作品，2024年还为Aydera乐队发行了他们的最新专辑“Leave to Nowhere”，前不久厂牌的主理人Gabriele与我取得联系进行了一次采访！

（V: 代表笔者 G: 代表Gabriele）

Today's interview is with Rude Awakening Records, an Italian label founded by Gabriele in 2015, which focuses on reissues of Thrash, Black, Death, Heavy, US Power Metal and other styles, and was inspired by the 1996 album “Rude Awakening” by American band Prong. The name of the label was inspired by Prong's 1996 album “Rude Awakening”, and the story began the same way as many label founders, as an avid metal record collector, Gabriele decided to start his own label to reissue some of the classic albums that were out of print or very expensive as he got to know them better. Reissuing some classic albums, the label reissued Italy's Disphere's first album “Abscience”, followed by Furious Barking and Desmodus' collaborative Spilt album in 2016. “Italian Thrash Relics Vol. I”, the re-release of ‘In Saturn Mystique’ for Italian Black Metal band Maldoror in 2017, and the 2020 - 2024 period is an important period for the label, with a lot of re-releases of old Italian bands. The years 2020 - 2024 were an important period of development for the label, with the reissue of a large number of albums by old Italian bands, and in 2024 the reissue of all the early works of Aydera and the release of their latest live album “Hyperlogical Sin Live 2001/2013”, which, as the title indicates, covers the band's career from 2001 - 2013, with the band's first album “In Saturn Mystique”. This live album, as the name suggests, contains all the songs from the band's live performances from 2001-2013, and in 2024 the label also released a compilation album for the band called “Rare Tracks”, which contains all the songs from the band's largely unreleased work, as well as a new live album for Aydera in 2024. In 2024 Aydera released their latest album “Leave to Nowhere”, and not long ago label manager Gabriele contacted me for an interview!

(V: for the author G: for Gabriele)

采访对象：Gabriele（Rude Awakening Records主理人）

采访时间：2024.08.31

V: 你好Gabriele很高兴见到你，非常感谢你接受我的采访。我想这是你的唱片公司第一次接受中国杂志的采访。首先向中国歌迷问好，Rude Awakening Records 成立于2015年，至今已有九年历史，当初是怎么想到成立这个厂牌的？

Hello Gabriele nice to meet you and thank you very much for participating in this interview, I

think this is the first time your label has been interviewed by a Chinese magazine, first of all, hello to Chinese fans, Rude Awakening Records was founded in 2015, and has been going on for nine years now, how did you come up with the idea of establishing this label in the first place?

G: 向所有来自中国的金属党和读者问好，很荣幸地说这是接受正式采访。正如你所说Rude Awakening Records 的创立始于九年前。当时我只是一个狂热的金属唱片收藏者，随着我对地下乐队的深入了解，我发现购买这些专辑越来越困难，因为它们大多已经绝版或者如果你幸运的话有些专辑还能买到，但价格高得吓人。我发行的第一张专辑是Disphere的“Abscience”于是我问自己：为什么一定要这样？我能做些什么来赋予这些乐队新的生命并让它们传播？那一刻，我醍醐灌顶：我不再只是一个乐迷，而是要为其他金属乐迷带来一些好东西。这个名字本身来源于一系列因素，其中之一是有史以来最酷的专辑之一的名字，也是对现代金属乐极具启发性的名字：Prong的“Rude Awakening”。

Hello and greetings to all metalheads and readers from China. Honoured to say this is the first time for an official interview coming not only from your country, but from entire Asia. As you said, the beginning of Rude Awakening Records was nine years ago. At the time I was “just” an avid collector of Metal releases and as I was going deeper into underground bands I found that it was more and more difficult buying those albums, since most of them were out of print. Or, if you were lucky, some of them were available but for crazy prices. Or (not joking) some of them never actually existed as physical format (this is the case of my first release, “Abscience” by Disphere So I asked myself: why it must be like this? Can I do something to give these bands new life and spread the word? That moment was like an enlightment: becoming more than a fan to bring something good to other metalheads. The name itself comes from a series of factors, one of these being the title of one of the coolest albums ever and also extremely infulential for modern Metal: “Rude Awakening” by Prong.

V: 你的唱片公司目前是由你一个人经营，还是有其他合作伙伴？

Is your label currently run by yourself or do you have other partners with you?

G: 你所看到的Rude Awakening Records只是一个人的作品。当然我合作，但这不是我的标准方式。关键在于有时你会收到令人兴奋的建议，迫不及待地想出版某些专辑，有时你就会放手让它们去做，我相信未来还会有更多的合作。但我决定出版的东西必须符合唱片公司的愿景，例如，我不确定我会发行Dungeon Synth风格的专辑，因为这种类型与我的品味相去甚远，个人品味对决定有很大的影响，同时还必须考虑到另一个问题：我能把这张专辑卖出去吗？

All you see about Rude Awakening Records is a work of one person only. Sure, I had external

collaborations with other labels as well, but it’s not the standard method for me. It’s all about the people you meet along the way: sometimes you get exciting proposals and can’t wait to publish certain albums, sometimes you just let them go. I’m sure there will be more collaborations in the future, but what I decide to publish must fit in the label’s vision. For example I’m not sure I’d publish a Dungeon Synth style album, because it’s a genre that would be too far from my tastes. Personal tastes have a strong influence on decisions and must be balanced by another question: will I be able to sell this?

V: 你们的厂牌专注于重新发行Thrash、Black、Death、Heavy和Us Power Metal的唱片，目前发行的大多数唱片都是意大利乐队的作品。当然你也为澳大利亚和新加坡的乐队发行过专辑。你是如何与这些乐队联系合作的？

Your label focuses on reissues of Thrash, Black, Death, Heavy, US Power Metal and most of your current releases are by Italian bands, but of course you've released albums for bands from Australia and Singapore, how do you get in touch with these bands to collaborate?

G: 公司总部设在意大利，因此很自然地与意大利乐队建立了联系。最常见的方式是（有时仍然是）直接联系乐队，询问他们是否对再版感兴趣。强调重新发行很重要，因为在早期，我决定Rude Awakening Records将只做再版发行，但随着时间的推移，一些乐队让我改变了想法，我也开始尝试发行全新专辑。例如，在了解了Disphere的风格演变后，我决定接触他们：他们最初是一支Tech Death/Grindcore乐队，后来成为一支Alternative/Post Metal乐队。他们后期的表现也非常出色，但我对他们早期的风格更感兴趣。他们的第二张全长专辑“Shinra Tensei”很容易就能通过流媒体下载到，而且当时他们仍处于极端金属阶段。但他们的首张专辑“Abscience”却没有任何踪迹，无论你怎么找都找不到。因此我直接问他们能否买一份，他们非常友好地直接把文件发给我下载。他们的音乐非常疯狂，深受Cephalic Carnage、 Sikth和Meshuggah 的影响。厂牌与瑞典、德国或其他国家相比，我们的音乐圈要小得多，但这样的唱片是要在其他地方发行的。事情会随着时间的推移而改变，随着圈子的扩大，会有更多的人了解你的作品：例如当我出版新加坡的Eibon时，他们的公关公司与我取得了联系，他们的公关公司受雇为他们的首张专辑再版寻找唱片公司。对我来说重新发行和令人惊叹的专辑是完美的组合。因此在我为“The Garden of Theophrastus”的再版工作发出几封邮件后Theophrastus这张专辑仍然让我非常自豪，因为它是亚洲Black Metal的瑰宝，他们也是非常容易合作的人，所以合作过程非常顺利。

The label is based in Italy, so it was natural getting in touch with Italian bands. The most common way was (and sometimes still is) contacting the band directly to ask if they were interested in a reissue. Stressing reissue is important because in the early days I decided that Rude Awakening Records would have been only about re-releases, but with time some bands made me change my mind and I opened up a little to brand new albums as well. For example, I decided to get in touch with Disphere after reading about their stylistic evolution:

they started as a Tech Death/Grindcore band, becoming an Alternative/Post Metal band later in theircareer. They were really good also in their latter days, but I was more interested in their early style. The second full length “Shinra Tensei” was easily available for streaming and they were still in their extreme Metal phase, but there was no trace of their debut “Abscience”, no matter how hard you looked for it. So I asked them directly if I could buy a copy and they were so kind to send me directly the files to download. The material was crazy, with lots of influences by Cephalic Carnage, Sikth and Meshuggah embodied in them, so I decided that would have been the first release by my label. Our scene is much smaller than countries like Sweden, Germany or others, but a record like that was meant to be published elsewhere. Things change with time and as the circle becomes larger, more people get to know your work: for example when I published Eibon from Singapore I was contacted by their PR agency, which was hired to find a label for reissuing their debut album. Reissue and amazing album makes the perfect combination for me: so a few emails after I was working on the reissue of “The Garden of Theophrastus”, which still makes me very proud as it is a gem for Asian Black Metal and they are very easy people to work with, so the process was really smooth.

V: 你刚刚为Aydra乐队发行了一张新专辑，这是目前正在发行的为数不多的新专辑之一。除了他们的新专辑，你还发行了哪些其他乐队的新专辑？

You've just released a new album for Aydra, which is one of the few new album releases currently in the pipeline, so what other bands have you released in addition to their new albums?

G: 我要说的是，2024 年基本上完全致力于 Aydra。我有不同的计划，并在他们之前联系了几个乐队，但最终没有得到肯定的答复。由于不同的原因，一些专辑注定会被埋没。正如我在开始时所说，经营 DIY 唱片公司只是冰山一角，因为我强烈支持你必须是内部人士才能做到这一点。你必须热爱你所做的事情并每天专注于它；你不能只是让一个普通的音乐迷，甚至更糟的是，一个不爱音乐的人来经营唱片公司。结果不会一样，甚至相差甚远。我在真正与他们交谈之前几年就知道了 Aydra 的音乐，当时我正在搜索地下技术死亡金属乐队：我找到了一张“Hyperlogical Non-Sense” CD 版本，并被音乐震撼了。然后我更深入地研究了他们的音乐，发现其他许多乐队也有同样的情况：我们可以说，除了 Aydra 之外，我们国家最具代表性的乐队是 Sadist、Infernal Poetry、Gory Blister（如果我们谈论的是技术/前卫死亡金属）。当然，还有很多其他乐队。与他们合作非常棒，因为他们在传播新旧音乐方面付出了巨大的努力，我们几乎每天都在讨论最好的传播方式。这是你对金属乐队的态度，他们渴望音乐，就像他们带着刚发行的首张专辑第一次登上舞台一样。在 Aydra 之前，上一次再版是 Furious Barking 的双选集，来自意大利的激流/死亡金属。2016 年已经与 Deathstorm Records 合作发行了一张专辑，但那只是他们唱片目录的一小部分（与另一支短命的意大利激流金属乐队 Desmodus 分开）。所以几年后我们又联系上了：创始人想要重新发行专辑来庆祝他的乐队生涯，其中还包括 90 年代早期未发行的曲目。而我也这么做了，我喜欢听一些其他地方找不到的东西。是的，互联网很棒，你可以随处播放，因为我并不反对技术，但为粉丝拥有一张专辑的感觉完全不同。另一个令人惊叹的合作是与 Maldoror 合作，他们在专辑“In Saturn Mystique”中演奏了前卫/交响黑金属。他们的故事可以追溯到很久以前，有如此多的不同化身经历了各种黑金属的色调。发行那张专辑后，他们向前迈出了一大步，成为了一个名为 TMK（Thee Maldoror Kollective）的实验金属项目，追随了策划者的无限灵感。它并不适合所有人，但如果你知道他们过去的故事，你也会欣赏他们作为 TMK。当我联系到创始人时，他非常高兴重新发行了“In Saturn Mystique”，并处理了许多方面以使其完美。由于这是一个特殊的场合，墨西哥工匠 Viasiniestra 制作了带有他们标志的金属别针，作为送给他们铁杆粉丝的礼物。正如我之前提到的其他人，剩下的是来自澳大利亚的 Striborg。他一张专辑一张专辑地建立了自己的声誉，随着时间的推移成为 Depressive Black Metal 的主要参考之一，但也逐渐转向不同的流派并探索其他音乐领域。如今，Striborg 就像一条变色龙，他的唱片数量巨大，但来自世界各地的许多粉丝仍然对他的 DSBM 根源念念不忘。当时的选择是最初于 2007 年发行的“Ghostwoodlands”。这张专辑标志着他工作方法的一个里程碑，因为这是第一张用数字设备录制的专辑（后来的所有其他专辑也是如此）。再次，这张专辑在 Black Dwell Records (乌克兰) 进行了完全重新制作，并附有新的专辑封面。这是由 Satanath Records 提议的联合发行，该公司由另一位忠实的 Metal 粉丝 Aleksey Korolyov 经营。最后一个要谈论的，但需要单独采访的是 Heruka。与他们一起发生的事情有趣的部分是，我从他们的制作人开始……最终和他们一起演奏！我们在 2020 年开始讨论他们的专辑“No Sun Dared Pass Our Windows”，然后在 2021 年底，我开始与他们排练，我们成为了一个稳定的 5 人阵容。我已经离开现场音乐界几年了，所以我觉得是时候加入一支新乐队，既进行现场表演，也进行录音室表演。这个项目正式成立于 2000 年，他的策划者 Adranor 暂停了一段时间，然后才找到所有成员使其成为一支活跃的乐队。最新发行的《Memorie》是关于反复出现的“死亡警示”主题，因此所有元素（曲目和封面）都与死亡主题相关。但最原创的选择是歌词：这张专辑让 Heruka 重新使用意大利语歌词，就像早期的 demo 一样，而且歌词是用诗意的风格写的。

Let me say, 2024 basically has been fully dedicated to Aydra. I had different plans and got in touch with a few bands before them, but there was no positive answer in the end. Some albums for different reasons are destined to stay buried. As I said in the beginning running a DIY label is just the tip of the iceberg, because I’m a strong supporter of the fact that you must be an insider to do this. You must love what you do and focus on it every day; you can’t just put an average music fan, or even worse a person who doesn’t love music to run a label. The result won’t be the same, not even close. I knew about Aydra’s music years before actually talking to them, while searching for underground Technical Death Metal bands: I found a copy of “Hyperlogical Non-Sense” CD version and was blown away by the music. Then I went deeper into their music and the same happened with many other bands: we could say that oher than Aydra, the most representative bands from our country are Sadist, Infernal Poetry, Gory Blister if we’re talking about Technical/Progressive Death Metal. And lots more could be named, of course. Working with them has been fantastic, because there’s a powerful effort to spread both their old and new music and we talk almost daily about the best way to do it. This is the attitude you expect from a Metal band, hungry like they were going on stage for the first time with their debut album just released. Before Aydra, the previous reissue was a double anthology by Furious Barking, Thrash/Death metal from Italy. There was already a release in 2016, in collaboration with Deathstorm Records, but it was just a little part of their discography (a split with another short-lived Italian Thrash Metal band, Desmodus). So we got in touch again some years later: the founder had in mind the ultimate reissue to celebrate his band’s career, featuring unreleased material from the early ‘90s as well. And again that’s what I did, I love the thought of listening to something that’s nowhere else to be found. Yes, internet is great and you can stream it everywhere since I’m not against technology, but owning a copy for a fan is a totally different feeling. Another amazing collaboration was with Maldoror, who played Avantgarde/Symphonic Black Metal in their album “In Saturn Mystique”. Their story dates long back in time, with so many different incarnations going through various shades of Black Metal. After releasing that album they took a giant step forward, becoming an experimental Metal project called TMK (Thee Maldoror Kollective), following the mastermind’s infinite inspiration. It’s not for everybody, but if you know their past story you’ll also appreciate them as TMK. When I got in touch with the founder, he was extremely happy to reissue “In Saturn Mystique” and took care of many aspects to make it perfect. As it was a special occasion, metal pins with their logo were crafted in Mexico as a gift to their die-hard fans, by the artisan Viasiniestra. As I’ve mentioned the others before, the one left is Striborg from Australia. He built his reputation album by album, becoming one of the main references for Depressive Black Metal with time, but also gradually switched to different genres and explored other musical territories. Striborg is like a chameleon creature nowadays and his discography is immense, but many fans from all over the world remain attached to his DSBM roots. The choice at the time was for “Ghostwoodlands”, originally released in 2007. That album marked a milestone in his work method, since it’s the first that was recorded with digital equipment (and so, all the others later). Once again, the album was totally remastered at Black Dwell Records (Ukraine) for this re-release and features a new album artwork as well. This was a co-release proposed by Satanath Records which is run by Aleksey Korolyov, another devoted fan of the Metal world.

The very last one to talk about, but would need an interview apart, is Heruka. The fun part of what happened with them is that I’ve started as their producer… and ended up playing with them! We began discussing about their album “No Sun Dared Pass Our Windows” in 2020, then in late 2021 I started rehearsing with them and we became a stable 5 piece line-up. I had been out of the live music scene for some years, so I felt it was time to join a new band both for live shows and studio. This project was officially founded in 2000 and his mastermind Adranor kept it paused for a while before finding all the members to make it an active band. The latest release “Memorie” is about the recurring “memento mori” theme, so all the elements (tracks and artwork) are linked by death themes. But the most original choice is about lyrics: this album sees Heruka back to the use of Italian language lyrics as it was in early demos, plus they’re written in poetic style. So translating them literally it’

V: 你发布的专辑大多都重新设计了封面，没有使用原来的封面。为什么你选择重新设计艺术品而不是选择原始艺术品？

Most of the albums you've released have redesigned artwork and not used the original artwork, why did you choose to redesign the artwork instead of choosing the original artwork?

G: 嗯，我想到的主要原因是，当你提供重新发行时，你必须给出给粉丝们带来一些新的东西。你首先要考虑的是歌单，但封面已经有了同样重要。有时是因为原始艺术品没有很好地老化，因为它们反映了当时特定的图形风格，现在看起来不像 10-20-30 年前那么好。或者它们可能只是低分辨率的图像，所以您不能将它们用于今天的标准或者它们根本不再可用……所以这是你时不时要做的一个选择，这没有规则。大多数球迷接受这一点，看到不同的封面没有问题。

Well, the main reason that comes to my mind is that when you offer a reissue you must give

something new to the fans. The first elements you work on is the tracklist, but the cover has the same importance. Sometimes it’s because the original artworks didn’t age well, because they reflected a specific graphic style of the time which now doesn’t look as good as 10-20-30 years ago.Or maybe they just were only available as low resolution images so you can’t use them for today’s standards, or they aren’t available at all anymore… so it’s a choice you make from time to time, there’s no rule for this. Most fans accept this and have no problem in seeing a different cover.

V: 贵公司的Logo是我见过的最具创新性的设计之一，这个Logo是谁为你设计的？

Your label's logo is one of the most innovative designs I've ever seen, who designed this logo for your？

G: 首先，谢谢。这个Logo是意大利平面艺术家Savageartworks的作品，她将自己的从商品到杂志，还有很多其他与音乐有关的东西。当时我要求一种看起来锋利，同时又不过于复杂且易读的字体。像大多数艺术家一样，难以理解的标志不适合我所代表的东西，所以我从来没有想过或者至少，如果我这样做的话，它应该保持原来的精神。但Logo代表了Rude Awakening Records的开端，可能是我最先考虑的因素之一当我专注于这个概念时。

Thanks, first of all. The logo is a work by Savageartworks, graphic artist from Italy who extends her work from merch to zines, and lots of other music related stuff as well. At the time, I asked for something that looked sharp but at the same time not over-complicated and also readable. An incomprehensible logo like most artists do wouldn’t fit what I represent, so I’ve never thought about revamping that or at least if I ever do that, it should keep the original spirit. But the logo represents the beginning of Rude Awakening Records, probably one of the first elements I’ve thought about while I was focusing on the concept.

V: 你的厂牌下一步有什么新发行计划吗？你能向我透露其中一些吗？

Are there any new releases planned for your label next? Can you reveal some of them to

everyone?

G: 当然啦！我来谈谈下一个，自从那以后你们是世界上第一个读到这本书的人。还没有透露...下一个乐队将来自英国，我的标签从来没有做过。经典金属乐迷们会喜欢它；和许多金属乐迷一样，我也开始了我与Traditional Metal乐队和Rude Awakening Records的旅程从来不是只为极端乐队... 这种情况导致在其存在期间发行了更多的极端金属乐队，但未来也会有不同的东西。作为一个普通人，我通常会一个接一个地计划我的释放独立的标签没有时间和资源投入一次发布4/5个版本，所以2025年这仍然是一个有待写的故事。

Of course! Let me say about the next one, and you are the first ones in the world reading this since it hasn’t been revealed yet… next band will be from United Kingdom and will represent something never done before by my label. Classic Metal fans will love it; as many metalheads I’ve started my journey with traditional Metal bands and Rude Awakening Records was never meant only for extreme bands… the circumstances led to publishing more extreme Metal during its existence, but there will be also different stuff in the future. I generally plan my releases one by one, being an indipendent label there’s no time and resources to dedicate to put out 4/5 releases at once, so 2025 it’s still a story to be written.

V: 你的发行量很小，通常保持在300张甚至有情况下你发行50张DVD，那你为什么不选择发行更多的拷贝呢？

Your releases are very small, usually kept to 300 CDs, and there are even cases where you release 50 DVDs, so why don't you choose to release more copies?

G: 你的问题和我刚才说的很相符。音乐市场在过去的几年里发生了巨大的变化。年份和你放入其中的所有元素必须平衡，以便发挥作用。一个地下的乐队不会仅仅通过压制5000份他们的专辑而在他们的事业上取得重大进步。例如全新的专辑，你需要设定一个现实的目标并选择一个实现目标的策略；由于我的市场主要针对所谓的Cult乐队的收藏者，那么如果这是一个Cult

名字本身就说明不是每个人都知道它是什么。你可以用周围的其他标签来交换它们，全世界达成一份分销协议，将它传播到更多的地区，但始终牢记如何你可以取得很多成就。有些厂牌的作用与压制成千上万的拷贝相反:为了保存乐队甚至更处于Cult领域地位，他们可以印10或20份拷贝...所以甚至更少，Heruka庆祝发行DVD/蓝光版！别忘了数字世界:它是双面的可以把你的音乐带到任何地方，但同时年轻的听众并不那么喜欢转化为物理媒体并可以免费流媒体播放您的音乐，而不是购买副本。这只是一个例子，我们可以永远谈论这个，但仍然沉浸在事件的流转中，而没有任何其他现实的解决方案。

Your question goes well with what I said earlier. The music market has drastically changed over the years and all the elements you put inside it must be balanced in order to work. An underground band won’t have significant improvements in their career just by pressing 5000 copies of their brand new album, for example. You need to set a realistic goal and choose a strategy to achieve it; since my market is mainly targeted to the collectors of the so-called “cult” bands, then if it’s a cult the name itself says not everybody knows what it is. You can trade them with other labels around the world, get a distribution deal to spread it in more territories, but always keeping in mind how much you can achieve. Some labels do the opposite of pressing thousands of copies: to keep the bands even more in the cult sphere status, they could press 10 or 20 copies… so even less than the Heruka celebrative release in DVD/Blu-Ray! And don’t forget the digital world: it’s a two-sided coin that may bring your music anywhere, but at the same time younger listeners are not that much into physical media and could just stream your music for free instead of buying a copy. And that’s just an example, we could talk about this forever and still be in the flow of the events without any realistic solution.

V: 你的品厂牌目前的销售情况如何？

What are the current sales of your label?

G: 我只能说我不是百万富翁，因为印刷和传播这些作品主要是由比经济回报更热情。但在世界各地，你经常遇到同样的人心态，所以交易系统也会让你在从未想象过的国家释放到达！这也是没有办法发布很多版本的事实的一部分，因为这将意味着更多的投资，这不是我能做的。少发布，但总是高质量的无论如何，你必须始终关注销售并考虑这方面的改进，因为更多的销售自然会导致更多的发布。很快也会有这方面的消息。

I can just say I’m not a millionaire, because printing and spreading these releases is mainly moved by passion than economic return. But around the world you often meet people with the same mindset, so also the trading system gets your releases in countries you would never imagine them to arrive! That’s also part of the fact there’s no way to get many releases out, because it would mean a much bigger investment and that’s not what I can do. Fewer releases, but always with high quality in mind. Anyway, you must always keep an eye on sales and think about improvements on this side, because more sales naturally lead to more releases. There will be soon news also about this.

V: Rude Awakening Records是一个伟大的厂牌，我会继续关注它，支持它，我将在中国推广它，我希望这次采访能帮助更多的中国粉丝认识你的厂牌，最后有什么话想对你的中国粉丝说吗？

Rude Awakening Records is a great label, I'm going to keep an eye on it, I'm going to support it, I'm going to promote it in China, and I hope that this interview will help more Chinese fans to get to know you, is there anything you'd like to say to your Chinese fans in the end?

G: 再次感谢所有支持我的厂牌和旗下乐队的朋友们，希望中国的乐迷们会喜欢阅读这些“幕后”轶事并对厂牌和我仍然记得我从你们国家发现的第一个乐队是Zuriaake，听到这个消息，我非常兴奋！没有失望，质量很好。也希望更多的中国乐队能走向世界。再次感谢并继续做好《火山杂志》的工作！

Thanks again for all the support to my label and the bands from my roster. Hope fans from China will enjoy reading these “behind the scenes” anecdotes and get curious about the label and the artists involved. I still remember the first band ever I’ve discovered from your country was Zuriaake and was very excited to hear it! Didn’t disappoint, the quality was great. Also hope that more Chinese bands will come out to the worldwide panorama. Thanks again and keep up with the great work on Volcano Magazine!