Aren’t we suckers for nostalgia and keeping the good vibes alive! How many times have we heard an older soul talk about their favorite cassette or CD and remember buying those at your favorite Sam Goody or from Spec’s Music? Those were the good times! Think about this though, back then you were able to find cassettes produced by big record labels from, you know it, bigger recording artists, but how about this: an independent record label that specializes in tapes! Their name is Citrus City and it’s commanded by Manny Lemus. The tape label was founded in Richmond, Virginia, in 2014 and it is currently based in New York. As the independent music scene seems to be at halt much to the impact of Covid-19, there’s no time like the present to get to know the history behind this Latinx-owned label, their catalogue and upcoming releases, and how it all started. Manny shot the thing with us and talked a little about moving here, his thoughts on current events in indie music, what moves him to share music with others, and giving priority to QTBIPOC artists.
How has the move from Richmond to New York impacted Citrus City?
Citrus City’s Manny: The transition from Richmond to New York was definitely hectic and took me a while to adjust to my new surroundings and the overall pace of the city. So at first I really wasn’t thinking of how the opportunities the city has to offer could positively impact the label. I would say by Spring of 2019, I felt more comfortable and one of the impacts I have finally gotten a chance to appreciate is being in proximity and getting to know other creative individuals and groups. Like, I share a space called General Waste, where I store the majority of label stuff, with Abe and Mikey of Aint Wet — very community oriented and they’ve create amazing pieces of clothing and provide screen printing/merch fulfillment for artists like MIKE, Show Me The Body and Crumb to name a few. Pre-Covid I was working at Baby’s All Right and have met people who are a bit more knee deep in the “industry” side of things, so it’s been interesting being able to soak in different perspectives attached to that world which is a wee bit different in Richmond.
Amidst Covid-19, and its effects in independent music, how is Citrus City adapting to the changes in the industry and maintaining the label? Are you only working with artists on your roster now or welcoming submissions and demos from newer acts?
Been adapting to a lot of delays in production and hectic-ness surrounding the USPS so just having to keep an eye on those things more than usual and building the patience to deal with those inconveniences. Had to adjust some releases we had scheduled to a later time due to shortage of cassette materials at the beginning of the pandemic. With shows not being feasible at the moment and that route of potential income being gone, I want to still help with creating physical mediums where they can still have that option of financial support, so still looking ahead in working with new artists. All in all trying to still keep things going and have been getting demos and reaching out to potential artists in collaborating in something.
It is important to bring to attention that the label is Latinx owned and run. When you approach artists that are included in Citrus City’s compilations or for later releases — is there a priority to amplify Latinx, Black, QPOC voices?
I saw a tweet sometime ago that said “It is important for black + brown kids to see themselves reflected in the artists they listen to, but it is also important that those black + brown artists see themselves reflected in the people that represent them behind the scenes: label execs, managers, A&R’s. Agents, etc” and that really resonated with me to further wanting to prioritize creating physical mediums specifically for QTBIPOC artists. I have a lot of friends who come from these backgrounds that are currently on or have worked with a white run label and deal with microaggressions, tokenism and lack of understanding of cultural or specific subject matters tied to the artists being and narratives. I just want to cultivate an environment where QTBIPOC can feel comfortable and importantly feel like they are being prioritized and heard.
It is important for black + brown kids to see themselves reflected in the artists they listen to, but it is also important that those black + brown artists see themselves reflected in the people that represent them behind the scenes: label execs, managers, A&R’s, agents, etc.
— steph (@StephhhGuerra) November 20, 2018
How does the internet shape you and allow you to get to know and connect with artists and musicians from around the world?
I’m very thankful the internet has made things a bit more accessible in how we connect with new music and the people creating it. It’s allowed me to forge friendships and wholesome acquaintances over shared passions of the cassette format or certain genres. It’s refreshing bonding with someone from Japan or even finding an artist I didn’t know about based in Denton, TX. Thankful the internet can provide that.
I have read that the label had its conception while being in college and with the help of a co-founder who is no longer in the label. Has that changed the way the label operates now? Will it continue approaching music the way it has before?
Yeh, I had started it with my best friend René Franco. Things with the label were just transpiring in a way that we both didn’t anticipate and it just seemed a bit easier if we split since I naturally was taking on tasks and sustaining the label. I’ve been lucky enough where I’ve had friends help me out with things from packing and shipping orders to the art side of things. But I still wanna run it solo, just easier and I like my autonomy. I think it’ll still continue releasing music the same way, maybe a few things tweaked but I think I’ll figure that out whenever that time comes.
What was the first and defining moment that made you want to release music? I do not know if you remember a specific song, show or band, that clicked beyond the curiosity of getting to know bands and sparked a “we should put this out!” moment…
Not sure if there was a specific moment. It mostly came down to hearing a lot of music when I was a staff writer for this site called Indie Current and I became internet friends with a good chunk of the people who would send me music and they all were doing their own thing and musically just clicked for me in wanting to make a compilation centering those artists at that time in my life.
I like the dichotomy of genres that Citrus City releases. From cumbia-fusions to R&B, rock — sort of still creates a curated niche space for bands that are particularly representative of a space, town, or moment in music. At what capacity is this attached to being in full control of the label?
I’m glad you like that, ha it sometimes throws people off and I’ve gotten comments that it’s bit confusing and that the label doesn’t have an “identity” not sure what that really means lol but since Citrus City isn’t really a “traditional” label I want it to reflect my personal interests in what I like and listen to which is an array of genres and sounds. I just find it hard to believe when there’s labels that go through their whole inception mostly releasing *emo rock*. I just wouldn’t want to think that’s all someone would listen to. Plus, I like encouraging people to listen to something new so if someone who is a fan of a band like Crumb keeps digging through the label’s discography they won’t find bands that only sound like Crumb and can discover a band like Combo Chimbita or an artist like Happypills.
What does it mean to you to be working with bands hand-in-hand?
A lot of information pertaining to the music industry side of things is still heavily gate-keeped by some so I do my best to help with anything so trying to learn together and sharing any knowledge I’ve gained from over the years. I try to help with any of the behind the scenes stuff like booking and management. Being an open recourse for any questions an artist might have with streaming or touring.
Did you own cassettes growing up? If so, what was your favorite tape? For full disclosure I had a Gloria Trevi tape as a kid that was treated like a common pair of jeans. It was amazing.
I would collect CDs when I was a kid it wasn’t until junior year of high school where I started collecting cassettes, I bought a Master P mixtape with some of his greatest hits and would always listen through it to hear the song “Bout It Bout It” and on the #indierock side of things there is this Montreal based label called Eggpaper Factory and I would always buy things from them.
What moments can be highlighted from Citrus City’s existence so far?
Getting able to meet genuine people and make friends from all over. Running the label has allowed me to do things I never imagined like booking shows and tour managing so from those avenues it’s allowed me to meet who really support the label so those in person connections have been something I’ll never take for granted.
What upcoming releases are lined up for the label?
Currently planning some represses of now sold out releases such as a second pressing of Shormey’s ‘Boogie Tape Vol. 1’ and reissuing some already self released music on cassette for Ty Sorrell, Shindigs and Triathalon. New releases from Atlanta synth pop band True Blossom, pleasure working with them since I helped put out their debut album & working with a new artist called Flung, collab release with Topshelf Records. Then there’s a lot of secrets and things coming up which I’m excited to unveil publicly soon >:)
The structure of Citrus City seems pretty laid back. What other people are collaborators in the day-by-day operations of the label?
I’m grateful to have a circle of talented friends who share a bit of their input into the label. While it’s only me pulling the strings down the line I would really like to incorporate more people in permanent positions. Jasmine Jaghab helps me with some crunching down numbers and logistical side of things. Have a group of amazing friends who happen to be talented graphic designers and artists like Brian Dove, Fred Brown, Katie Xie, Alex Futtersak, Bucky Illingworth, Julia Straley and Sam Leidig Doing who contribute on the visual side of things. Feels very community oriented at times.
In the recent wake of allegations against more than a dozen indie-rock bands attached to the now defunct Burger Records, including Sub Pop, Lollipop Records, and others — what do you think independent labels can do to prioritize a safe environment in their communities?
It’s going to take a lot of learning and unpacking from individuals within each independent label. I think it also depends on how heavily invested the label is within their respective community. With a label like Burger Records, they would host shows and had a record store and within the spaces they created they took advantage of their own influence. A lot of the survivors that have come forward talk about how the label condoned this culture of abuse.
I still see people turning a blind eye to issues pertaining to abuse of any kind. I hope moving forward the people behind labels prioritize investing in working to educate themselves on these issues and help sustain open communication and transparency with the victims and survivors and hold space for them when allegations of abuse are first brought up if it’s a band the label works with.
I apologize if my answer isn’t what you are looking for or lacks celerity. I’m not sure if I can answer more in depth since I myself am still learning and trying to find the right solutions to the harm and culture of abuse that unfortunately is rampant in independent music spaces.
What are you currently listening to?
Right now it is a mix of things like the most recent song by 645AR featuring FKA Twigs called “Sum Bout U”, it’s so catchy lol listening to a lot of Babyxsosa, a rapper from Richmond, VA she’s great and I highly recommend people checking her out. Then I find myself listening to a lot of marimba from Guatemala, ABBA are the real keepers of my heart and I always revisit their music. Oh! Also this amazing album from Colombian group Agrupación Changó. Trying to keep things fwesh.
How has the Bandcamp platform helped grow Citrus City Records?
Big fan of Bandcamp’s accessibility and how they host artists from all over the world and so many different genres. Artist friendly and a great platform for independent labels and artists to grow and have a centralized place for music and merch which has helped a cassette oriented label like Citrus City flourish.
Find Citrus City releases on Bandcamp. Follow Citrus City on Facebook, SoundCloud and Twitter.
