Pur Zynth Rekords is a long-standing Mexican label dedicated to synth-focused genres, with a mission of showcasing both local and global artists through digital releases and themed compilations. Since 2001, they’ve built a reputation for curating high-quality, futuristic synth music, bridging nostalgia and innovation for fans of retro and modern electronic soundscapes.
We caught up with, Oscar Murguia, the CEO of Pur Zynth Rekords, to learn more about the past, the present and some of the artists they represent on their label.
What inspired the founding of Pur Zynth Rekords?
It was at the time of the revival for Synthpop/EBM in the early 2000´s when we saw the opportunity of creating a brand to share our passion for this music that the idea of a creating label came out from three good friends: Oscar Murguia, Richard Iñiguez and Helder Camberos. After pulling out a name based on pure-synth with a german touch, PürZynth was established as the definitive one presented over a blurry blue light, powering from 2001-to 2004 DJ nights and live performances in Mexico by acts like Red Flag, B!Machine, Clan of Xymox and Melotron. Plus editing some of our first releases on CD as record label.
How do you discover new talent in these relatively underground scenes?
By curating playlists on Youtube from 2010´s and Spotify from 2020´s (There´s much hidden talent the algorithms push out!). Also, by interacting on Instagram profiles and specific Facebook groups. Sometimes artists contact us to submit their music.
How many artists are signed to your label? Would you like to name a few, or all?
Well, while our roster is about 30+ artists, our revenue reports payroll is for more than 110 artists considering compilations and collaborations. Main artists from our roster are: Dug Masters, Code 89, Neon Vice 83, Red Industrie, Alisster, Glitchbay, Spaceman 1981, James Peden, Blind Cobra, Thermal Noise, Midnight Fighters, Ferrari Kid.
What kind of deals do you typically offer your artists—are they 360, distribution, licensing, etc.?
Our licensing is for music distribution per release. As everyone is free to work with other record labels, most of them stay with us (this is our roster, and they get more support and promotion benefits). Some of them have one or more releases with us and much more renown and emerging artists have appeared in our compilations: Travelers, Messages, Horizons, Wonderlands, Chrysalix and the Futurenow series 1, 2, 3, 4.
How important is visual identity (e.g., retro visuals, album art, music videos) to you when evaluating new artists?
It is important to understand how each artist has built their Identity so far, in order to help make it solid on the release(s) to come through us. If they have not much of it defined, we help on that.
How do you reach audiences—are platforms like Bandcamp, YouTube channels (e.g., NewRetroWave), or curated playlists most effective?
Running ads on socials to get traffic, plays and followers to our Spotify playlists is the most effective way to reach new people interested in this music and to bring exposure to our artists. After the pandemic, it seems people prefer to stream music rather than buy it on Bandcamp. And YouTube is effective if you constantly publish videos which is not our case. We have our audience for each channel and they respond accordingly to user behaviour for it. Say X-Twitter, Facebook, Soundcloud, Mixcloud, etc. We try to maintain presence in many social media/music platforms.
Do you prioritize physical releases (vinyl, cassettes) or are you mostly digital-first?
Most of our releases are digital-first. A few of them on vinyl, cassette and CD. This responds to the demand we saw in previous 5 years of releasing music and running vinyl pre-ordering campaigns. We launch physical short-runs for specific titles.
What’s your take on the current state of the music industry, especially with streaming?
I think it´s getting complicated. As most of artists still want to gain relevance on Spotify, this platform has changed the game repeated times for paying revenues to artist, Soundcloud seems to be a game changer again to get plays and exposure. YouTube is a must platform that can bring plenty of plays and revenues collecting from all channels involved in publishing copyrighted music.
Do you think synthwave is still growing as a genre, or has it reached a plateau?
I can assure you that quality-produced Synthwave will always achieve a retro or futuristic effect when it's listened to, and will remain alive no matter the decade in which it's heard (it's like watching a good classic '80s movie that never loses its magic). It all depends on how it's produced. Although hundreds of new names have emerged creating this music, the highest quality production will always stand out by the ones that manage to convey something more than just sound like generic Synthwave. What I do believe is that it shouldn't be presented as a purist genre by a label or the artist.
It should always be accompanied by other musical styles to avoid saturation or boredom for audiences.
How do you think AI-generated music or visuals are going to affect this aesthetic-driven genre?
It is already happening. Positively for creating cover artwork and hyper realistic content. Literally, to create anything the human mind can think of. But for music it´s negative as anyone now can create music and vocals to compete with real production. But as said before…quality will thrive.
Do you think synthwave needs more live performance infrastructure, or is it best suited for online and headphone experiences?
There are different styles of Synthwave. For those projects implementing organic elements such as vocals, guitars, drums, visuals, real synths etc it´s good to book gigs.
For projects more based in streams and algorithms they may be not interested at all in live performances.
How do you see the future of independent labels in the next 5 years?
It all depends on their business model, vision, channels and efforts. The more you do, the more you´d get. And the more pop style, the more audience interested. There are full time labels and part time labels. Niche or big audiences. I think those with a good business model and quality above all aspects will prevail.
What’s the biggest challenge of running a label today, and how has it had to adapt since you started in 2001?
Well, it´s been a long way through. It was all hard organic work and based in physical editions and promotion during the 2000´s. Live events, Cds, printed publicity and emailing at much. With Social Media and music platforms evolution since 2010´s, the gap for putting music in front of big audiences and getting digital media coverage was tremendously reduced. After 2020 new tools and AI have made possible to shorten and improve processes.
The biggest challenge is to manage enough time as it demands to maintain a mix of quality in music releasing, frequency, label branding and admin activities such as reports and revenues.
What are some milestones you're most proud of?
I'm very satisfied with the work so far in building a name among record labels focused on synth music genres. Actually, the only one based in Mexico for Synthwave.
The positive feedback and recognition from fans we see in comments and DMs, the closeness achieved with producers from around the world, good enough to put together 9 Compilations up to date, especially to have worked with communities of producers from Mexico and Latin America to bring more exposure for them.
Can you tell us about a project or release that taught you a lot?
I think our first international Compilation ´Travelers - A Time and Space Compilation´ was a good first challenge for working with talents from many countries on different styles. We had a livestream with some live acts and all producers were very happy to collaborate in this one. Good friends made all the way.
Do you create music yourself under a different alias?
Oh my God no, ha ha! I can barely do what is needed to publish and promote good synth music twice a month and manage my real business (Marketing Agency). I did have the intention to learn to play the keyboard. I got weekly sessions for a while, but didn´t have time to practice so I dropped it. I´d love to have more time for playing, as I know I have good sense for music as DJ, but producing music is another story.
I´m close to reactivating our Soundwaves podcast doing interviews (in Spanish) to producers from LATAM on the list, but that´s the more I´ll do.
What advice would you give to someone starting their own label?
You should know it will demand the most of your time and passion you got for doing things happily right. To find your own way. It is different for everyone. Also, pick a niche. You will learn so much on how to do and not to do things.
Without that in mind, it may burn you out.
What next for PurZynth Rekords?
I´d like to finally activate a 24/7 streams for our entire catalog. Some livestreams to promote it and so. Maybe organize more live performing and some local real events.
Thanks, Oscar, for taking part in this Q&A, much appreciated!
Thanks to you Andy, for all the support all the way through the years!
This is a great opportunity to share with the audiences more about our label, artists and the process we´ve been through.
