Noise Real Records recently released Noise Pollution Volume 1, a limited run 7" that features two new versions of "The Recluse" by Cursive. The new series will continue this revision theme as we move forward.
Founded in 2021 by two long-time friends from California's Central Valley, the label is focused on quality over quantity: curating a catalog that's focused on artistic development that will leave a lasting impression.
SPB was curious about the new "Noise Pollution" concept, so we asked the label a few more questions about where it is headed in 2026.
Scene Point Blank: Will all Noise Pollution series releases follow this "new versions" theme, or is that to be explored further on? Will you stick to the 7" format?
Justin Martin: Yeah, The Noise Pollution Series will follow this same theme. We really like the idea of bands coming in and mangling their own songs however they see fit, getting another creative bite of the apple with older material. All of the releases in this series will be 7”s because it just felt like the right amount of music for this concept. Once the dust settles on the whole series, we’ve also tossed around the idea of putting together a small box set.
Scene Point Blank: Do you have any kind of schedule or timeline with the series (noting the unpredictability of the vinyl market, of course), or will releases follow any pattern?
Kevin Clark: There’s no hard timeline for the series. Vinyl pressing can be unpredictable, and we want each release to feel right rather than rushed. So while we aim to keep things moving consistently, we let the process guide the schedule instead of sticking to a strict pattern.
Scene Point Blank: How many Noise Pollution releases are planned right now?
Justin Martin: The idea right now is five bands total. We already have two more bands lined up for volumes 2 and 3. We’ve got some big ideas for volume 5. Whether or not that actually works out is another story, but we like to dream beyond our means.
Scene Point Blank: Who would be your dream band, who is not on board yet, to take part in the series?
Kevin Clark: Fugazi. No question. Their commitment to independence and community mirrors everything we’re trying to build. They’ve always set the standard for artistic integrity and independence. Of course that would never happen but the spirit of how they operated definitely informs how we approach everything with all projects connected to the label.
Scene Point Blank: Where did the collaboration with Cursive originate?
Justin Martin: I ran a podcast called Songwriting Malpractice and interviewed Tim Kasher back in 2021. During that conversation, we talked about possibly recording some acoustic songs together. A couple of years later, Cursive added Bakersfield (my home town) to their tour schedule. After a few emails back and forth, we set a date for the full band to come into the studio and take part in the series.
Scene Point Blank: I'm going to make you choose: What is your favorite Cursive song (or album)?
Kevin Clark: Honestly, for me personally. The first time I heard the song "The Proposals," from the album The Storms of Early Summer: Semantics of A Song, I was blown away. It just builds and builds a slow tension throughout the entirety of the track. The bass guitar somehow reminds me of a heartbeat and tricks your brain into a trance, while Tim belts these raspy vocals throughout with so much intensity it just adds to this perfect layer of songwriting. Then I saw them live and that just took it to another level. Their energy and intensity at that show made the songs hit even harder. So much motion.
we like to dream beyond our means.
Scene Point Blank: Tell us about the Cursive recording session. How involved was the label? Did you give them hints as to new directions for "The Recluse"? Did you demand a reggae or techno version, haha?
Justin Martin: When I talk about wearing the engineer hat, I got to record a really well-oiled machine of a band with 30 years of experience, who I’m also a fan of. Their gear was all still on their tour bus, which meant I got to use everything here at my studio, stuff I love, stuff I’m used to, and stuff that I know works well. No surprises.
As far as Kevin’s and my influence as the label goes...there was zero. They came in with the idea to rework “The Recluse” in both versions. They’d been playing the slow version live for over 10 years. The fast version had been kicked around a bit, but they really finished it during this session. As a fan, it was pretty rad to be in the room for that.
I do think a techno version would have been a reasonable request.
Scene Point Blank: How do the two of you know each other?
Kevin Clark: I co-run Noise Real Records with Justin. We actually met in high school, where I was running a small label and ended up putting out his band’s record back then. What started as teenage DIY ambition turned into a long-term creative partnership. We’ve grown up in this together and throughout the years, we’ve built trust, pushing each other creatively, and shaping a shared vision of what an independent label should stand for. Noise Real is really an extension of that history and the values we started forming years ago.
Scene Point Blank: What was the label and record?
Kevin Clark: The record label was called Mind Real Records and I released records from local Bakersfield bands from the mid-nineties. Justin’s band Fragments was one of those bands.
Scene Point Blank: Your label bio mentions a "hands-on, artist-driven" approach. Can you elaborate?
Justin Martin: We like to be involved in every part of the process, from recording to shipping. Most of what we do is mailorder, which means Kevin and I are fulfilling every order ourselves. I guess the “artist-driven” part means we’re willing to take risks and make decisions based on what we like or the bands like, not what the market dictates, whatever that market even is. Big or small, local or national.
Not that we could predict any of that anyway. We just don’t concern ourselves with it. We’ve made peace with the fact that we probably won’t make money doing this or appeal to everyone chasing the next new wave. We have jobs to make money, so this lets us make the records we want to make.
Scene Point Blank: Do you have a preferred media format for Noise Real Records?
Kevin Clark: Vinyl is definitely our preferred format. There’s something intentional about it. The artwork, the sequencing, the act of dropping the needle and listening front to back. It forces you to slow down and experience the record as a complete piece of art. To us, there has always been something unspeakable that is more of a tangible and personal connection when you’re holding a record.
Scene Point Blank: You interviewed Steve Albini on your podcast. Did you learn any lasting tricks about recording during that conversation? How has Albini influenced you?
Justin Martin: In my interview with Steve, I wouldn’t say I learned any specific recording tricks, it was more focused on his band and his relationship with songwriting, which he was an absolute wealth of knowledge about. Although I did try to sneak in some gear questions! For me, and a lot of my peer group, Steve was a recording “true north.” He was a huge influence. I’ve watched just about every video and read every article he ever did, trying to soak up whatever recording knowledge I could.
My band also got to record with him in February of 2024, and I definitely picked up some techniques there that I immediately came home and tried out. I’m sure I failed to emulate what he pulled off.
