Since the label started in 2001, Redfield Records stands, not only on the German market but far beyond the borders, for innovative approaches and ideas when it comes to the marketing of artists, the recognition and support of talents as well as yearlong economic growth in an industry in which consistency, persistence and pure enthusiasm for the music itself are rarely in the centre of attention.
Founded in Haan, near Düsseldorf, and by now lead by owner Alexander Schröder from the Lower Saxon city Melle, Redfield Records was originally brought into life, when the emocore band THAT VERY TIME I SAW… out of lacking alternatives started its own label that quickly became the centre of the entire national scene. The label grew with its tasks and into the role while building a worldwide network.
Already in 2006, with the debut of FIRE IN THE ATTIC, Redfield Records released the first important milestone in the still young history of the company. Later on, in cooperation with the music magazine VISIONS, they released a free album by FIRE IN THE ATTIC with an edition of 87,000 copies, in campaign that no one hadn’t attempted to try before.
The commercial breakthrough for the label finally came, when it once again dedicated itself to an up and coming scene and signed bands like ESKIMO CALLBOY, WE BUTTER THE BREAD WITH BUTTER and HIS STATUE FALLS. With these and other artists Redfield Records established Metalcore and Electrocore sustainably in the musical landscape and since then is reckoned as a precursor of an entire genre.
With the second ESKIMO CALLBOY album ‘We Are the Mess’ Redfield Records got in the centre of attention and entered the official German album charts on position eight. In the following the label was able to celebrate a number of successes for example when it helped to push the metal band ANY GIVEN DAY into the German album charts even twice (#28 in 2014, #14 in 2016).
But Redfield Records was successful abroad as well and therefore more and more active – especially in the Netherlands. The label charted there with FACE TOMORROW (#40, 2011) or JOHN COFFEY (#42, 2012) and lately worked with the metal newcomers FOR I AM KING and the iconic hardcore band ALL FOR NOTHING. Additionally, there were releases for acts like WE CAME AS ROMANS, TEXAS IN JULY, LOWER THAN ATLANTIS or GAMEFACE.
In 2019, just in time for the 18th birthday, Redfield Records, next to an extensive relaunch and the introduction of a new look, took once more the adventure in new territories that it had come in touch with just randomly in the past: With albums of MARATHONMANN and ALEX MOFA GANG there were even two release of German-speaking band on the agenda that had already been successful beyond their scenes. The entry of MARATHONMANN’s album ‘Die Angst sitzt neben Dir’ on position 41 in the official German album charts was just one of the highlights that should be mentioned.
But the focus on the entire rock, metal, punk and hardcore sector alone isn’t just enough for Redfield Records. The label, that also has been active in the publishing business since 2006 under the name Redfield Publishing as well as Edition Redfield Records / ROBA, recently signed the trap artist PHIILOSOPHER and next to the sub-label Redfield Digital, that is even more concentrated on the support of newcomers, it launched another branch called Kursaal. Kursaal not only puts out music whose influences reach from indie and folk over to polka, in 2019 the label released the short film debut by video artist Mirko Witzki, that got numerous nominations and front positions on famous European film festivals.
(Photo: Paul Fiebig)