By Caleb Oldham
I had the extreme pleasure of playing legos and chit-chatting with the founder/owner/"Head Ice Man" of Mama Coco's Funky Kitchen, the Brooklyn-based recording studio/label/collective.
Watch the video above or read the transcript below!
C: Hello, my name is Caleb. I am here with Oliver Ignatius, the founder and not guru of Mama Coco’s Funky Kitchen.
OI: Head Ice Man!
C: Head Ice Man of Mama Coco’s Funky Kitchen. So if you want to start off by…
OI: I want to start off by introducing you to the moose monster, who I created. He’s actually kind of a cute guy as you can see, he’s got a nice face, strong chin, sturdy cheekbones, but he was created unsymmetrical, and so it made him angry, he turned at a certain point, and he became a monster.
C: I exclusively make pyramids, and that’s all we are going to say about that.
OI: Whoa that’s a pretty elaborate pyramid. I would also like to say that though. I think I probably have something more to say about this pyramid, if you’ll allow it
C: I’m gonna keep going.
Anon: Caleb introduce yourself.
OI:Its cool ya know
C: Me? My name’s Caleb
OI: Hi Caleb.
C: Hey. Alright so we are here to talk about Legos, and Mama Coco’s Funky Kitchen, which I would start describing but I think this guy could do a better job.
OI: Oh it’s so much easier when someone else describes it for me.
C: Mama Coco’s Funky Kitchen is a record label slash collective, it is a movement, it is a cult.
OI: We are not a cult alright, all you lawyers out there put those pens away, its not us man- we’re not into that.
C: It’s also a bird. Its named after a bird right?
OI: Mama Coco is a cockatoo, she is a friend to all in the community, a fine parent, appreciator of the arts, she’s a good dancer actually, terrible singer but good dancer.
C: We were just talking about Mama Coco’s sound. Because Mama Coco’s is not genre specific.
OI: Well what I wanted to say is that I think that the people who really get into Mama Coco’s and put their heads in the pot are all approaching pop from their own idiom. Like they’re going sort of like to the outer reaches of their own private idiom and are trying to ricochet back into pop from there. Ya know so it’s very interesting. I think there’s a lot of sort of deconstructionism to Mama Coco’s and I've always been a big fan, a proponent of musical impressionism, so we try to get some of that going.
C: These are all great terms, I’m loving this.
IO: Classic. Classic terms. Let someone else define them for you.
IO: There’s definitely a lot of hanging, a lot of swapping ideas, jamming, shows and what not.
C: You’ve got this really musician friendly space, what do other labels think of you?
IO: What do they think of us? I hope they like us.
Well if you think about it, being a record lab now is such a wider scope, we are a record label in the loosest possible sense, we’ve never funded and marketed a physical release of music. What we have done is promoted all these records that have been done. We've done digital campaigns and stuff, we sort of work with the bands and develop it. We have probably done some degree of A&R that a record label does, or did historically, only god knows what a record label even does anymore. That’s the thing, if we could put these records out god knows we would. But who has the cash?
C: Any last remarks?
IO: Last remarks? Like before I die?
IO: No, I mean it would really be in my nature to not have any last remarks, I think.
C: Just float away?
IO: Just annoy everybody.
C: Burn out or fade away?
IO: I think just sorta like sit there, just not do either.
IO: That’s a good pyramid.