The National's Aaron Dessner is establishing a new record label, Long Pond Music, through a collaboration with Interscope Records. Based in New York's Hudson Valley, the venture focuses on nurturing artists within his dedicated studio space.
From the indie roots of Brassland to the Hudson Valley
Aaron Dessner’s foray into label ownership is not a new endeavor, but rather an evolution of past experiments in independent music distribution. Around the turn of the 21st century, Dessner co-founded the indie label Brassland alongside Alec Bemis to release early works from The National. This move came after the band's initial music was passed over by Matador Records.
As reported by Billboard, Dessner has previously navigated the financial risks of artist-led collectives. In 2016,he participated in the 37d03d (or PEOPLE) project alongside Justin Vernon of Bon Iver and the Secretly Group. While that Berlin-based residency aimed to support music that lacked traditional commercial viability, the report notes that the project ultimately lost significant money and was forced to close.
Why Hudson Ingram is the first signee for this slow-burn model
The new Long Pond Music label is designed to function as an extension of Dessner’s existing studio in upstate New York. The label's first official signee is Hudson Ingram, a frequent collaborator who has already spent extensive time working within the Hudson Valley setting. Dessner intends for this environment to become the standard for all future signees, allowing them to develop their craft without immediate commercial pressure.
According to the report, Dessner views the Long Pond studio as an "instrument in itself" that provides a unique sense of magic for creators. By partnering with Interscope Records and its leadership, including John Janick, Dessner aims to provide a direct outlet for artists who find their voices in the studio but may lack the structural support to release their work effectively.
Countering the "360-degree personality" demanded by social media
Dessner’s new venture arrievs at a time when the music industry is increasingly dominated by the demands of digital presence. He observed that the modern path to success is less accessible than the days when The National could play shows for only a bartender and a door person. Today, the industry often requires artists to maintain a "360-degree personality" to satisfy social media algorithms.
The label seeks to find success through musical merit rather than purely through algorithmic luck. Dessner pointed to the unexpected success of Noah Kahan's track "Orbiter"—a slow, pastoral song that was not even part of a main record—as evidence that fans still embrace music that breaks the standard mold. The goal of Long Pond Music is to provide a home for such artists who might otherwise be held back by poor management or premature industry deals.
Will Interscope's scale prevent a repeat of the PEOPLE collective's losses?
While the creative mission of Long Pond Music is clear, several operational questions remain regarding its long-term sustainability. Most notably, it is unclear how the label will balance its mission of slow, unhurried dveelopment with the commercial expectations of a major partner like Interscope Records.
Furthermore, the report does not specify how the label will navigate the "problematic" economics of streaming platforms that Dessner mentioned. It remains to be seen whether the partnership with Interscope will provide the financial stability that the previous PEOPLE collective lacked, or if the label will face similar struggles in attempting to support music that does not fit a traditional commercial profile.
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