From post-punk to the Blank Dogs' water-damaged synth-pop, from fog-shrouded acts like Factums and Children's Hospital to Zola Jesus's haunting dirges, the label still manages to have its aesthetic infuse it all: "The real common thread is that it's real dark music," says Braaten. These releases suggest the same open field of post-punk synonymous with old labels like Ralph Records and Rough Trade: inscrutable, yet oddly enamoring. Another curious attribute is how, in a world dominated by GarageBand, Ableton, and Pro-Tools, most SB recordings sound, well . . . shitty and lo-fi. "Everyone says that it sounds like that because that's the way they want it to sound," Braaten chuckles, then clarifies: "But I have a love for things that sound no-fi. Not knowing how to record music, but having good songs: It's a winning combination."

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