So after revisiting Fatima I gave the other Elgo Records musicians a listen while browsing artwork by the visual artists signed to the label. Let me show you what I found.
I've since spent the last 6 and some years calling it my home and using it as my main platform for releasing my original music, and as a result, I have been lucky enough to find fans here in the UK as well as around the world.
Did you know that 92% of the UK music industry is white? Does that matter? Who cares? Does it matter when you consider that it's totally unrepresentative of the music scene's artist's, promoter's, record label's worker's and fan's? It does matter.
Last month I wrote a piece entitled 'Leopards And Spots - Why The Labels Never Change'. It was about record companies and the relationship that they have with performers. I compared my own personal experience of record companies and publishers back in the 1970s with the contracts that I now see being offered to MU members on a weekly basis.
Take a look in HMV and tell me what you see. For while the conveyor belt of the craven book publishing world rolls on, the art world preens and lumbers in search of the next concept, and our once glorious world of music has had its guts ripped out by the internet. Yet the musician persists in his efforts to have the cloth-eared hear his songs.
Imagine that you take out a 20-year mortgage, pay back five times what you borrowed and the bank still owns your house at the end of it. Banks don't do that simply because it would not be allowed.
Last week, at an event at 10 Downing Street, the Prime Minister pledged to provide further backing for small businesses because of the valuable contribution they make to the economy. It got me thinking about one sector in particular: the music industry, and the small record labels who are composing a fresh beat with the much-needed sound of the future.
AIM Independent Music Awards Winners: Alt-J, Adele, Wiley, First Aid Kit, Enter Shikari and The Prodigy
The second AIM Independent Music Awards took place last night in London, the culmination of a year's worth of work for myself and the AIM Awards team.
So, why is it that, unlike my fellow comrades assembled around me in this café, I still desire, nay, demand, a record contract? After all, I can still create my music and release it on a plethora of digitally-based platforms. I don't need the permission of one of the music industry's behemoth labels to be a musician, do I?
I find it frustrating when my record is off and flying in some territories while in others I can't seem to get arrested. Fans from the countries where I'm struggling to get heard often write me incredulous messages asking why the song/album is not available in their region or why the radio stations are not playing it and I can offer no decent explanation for them.