Underground Communiqué is a local record label that was formed in 2004 and to date has issued over 50 releases. UCR, as it’s commonly referred to, was started by Justin Schwier, an avid independent music enthusiast. His motivations for founding a label stem from a simple desire to give something back, in addition to the fact that he had little desire to ever book shows or learn how to play an instrument. Throughout the past six or so years, UCR has gradually developed into one of the city’s most prominent labels. Most importantly, it has done so while keeping integrity and passion at the top of its priority list.

An early yet significant influence on UCR was Harmless Records, a notable ‘90s Chicago punk rock label. Founded by Scott Thomson, Harmless was instrumental in launching the careers of bands like Winepress, The Mushuganas, Walker and more. The label also placed an emphasis on vinyl releases, as well as music of varying genres. “Harmless Records was a definite inspiration. Scott’s friendship in general was a big help,” Schwier said. “Just like the bigger labels of when I was kind of learning what was going on, like Dischord, SST, the quintessential labels that everyone cites. Probably for me, on a local level, it was Harmless and Johann’s Face, just because those were the most accessible. Scott was at shows, Marc Ruvolo, (Johann’s Face founder) was at shows, and you’d actually interact with them and they would offer advice on things. They were just very welcoming.”

Just as Harmless and Johann’s Face served as record labels that were highly encouraging for UCR, several Chicago bands in particular were also helpful in getting the label off the ground. “I basically started the label because of Mexican Cheerleader. They had a record and no one to put it out, and they basically asked if I was interested in doing it,” Schwier said. “There was that, but there was also the Shot Baker connection with Tony and Chris. They definitely became the rally team for the label. When Shot Baker initially asked me to do a record I declined because I thought they were way better than my little label. They didn’t care and they were adamant about doing the album with me. They worked really hard to promote both their band and the label with flyers and everything else. It probably would’ve never started without Mexican Cheerleader, but also Shot Baker for really wanting to make something out of it.”

When asked which release he felt first legitimized his label, Schwier referenced J Church without hesitation. The record was noteworthy in that it marked one of the first times UCR worked with a band from out of state, not to mention a band with an established national following. “I think there have definitely been a few landmark releases that have pushed things further, but probably the easiest one would be the J Church seven-inch,” he said. “Even though when we did the first J Church split their popularity was on the decline, I think that the name recognition alone definitely widened our audience. It sold decently, but it was only one pressing of 500 copies and I think I still have probably 100 in the other room. In the bigger scheme of things, that was the one that kind of put things on the map.” In terms of a single, favorite UCR release overall, Schwier offered an understandably diplomatic response. “People have asked me this before and it’s like choosing between children. They’re all my babies. They are. It sounds completely corny to say that, but I spend so much time thinking about every record, packing orders, going to record stores and stuff like that. Each one of them I have a story I could write about all my experiences with and in most cases my friendship with the band. I don’t really have a favorite. I’m still really excited about all the new records I’m doing, so I could say the newest record is my favorite because I’m listening to it over and over again. Even records that have failed miserably and sold maybe 20 copies, which there have been a few of, I still love those records and talk endlessly about how great they are,” he said.

One theme that continuously surfaces in discussions regarding UCR is Schwier’s straightforward love of music. Underground Communiqué is clearly not a label that’s profit-driven, rather it’s about supporting genuine music that you believe in. Such gusto can’t help but be heard in nearly all of the bands on UCR’s roster. “I enjoy being at a show, just being in the crowd and watching people around me get excited when the band’s playing,” he said. “Watching people sing along in your peripheral vision or whatever, that to me is the reward of all the work. I get really excited about the fact that people are enjoying the bands. Maybe I’m idealistic, but the idea that someone committed time to learn the words to a song is important to me.” However, running a small, independent record company is by no means an easy task in this day and age. Numerous struggles and challenges exist, and are unfortunately encountered routinely. “There have definitely been a couple of instances where the band is breaking up while their record is at the pressing plant,” Schwier said. “The big part of it for me is producing the music, getting it out there and getting people to check it out. It’s a business that I’m trying to run and I’m trying to have it kind of pay for itself, which it doesn’t. There have definitely been points where bands weren’t considerate of the work that I put into it, but as much as I might get to a breaking point, I still kind of go back to talking with Scott about Harmless Records and remembering his advice of toughing through it. Every label probably has the same horror stories too.”

Perhaps one of the highest compliments that could be said of UCR is that it’s representative of Chicago’s eclectic and authentic underground music scene. While constantly maintaining a strong bond with windy city artists, the label has also ventured out in recent years and worked with bands from around the country. “When I first started it was predominately Chicago bands, because it was my friends’ bands,” Schwier said. “I try to be a host to the Chicago bands that I like and who want to do a record, but I’ve made friends with people from other cities and I’ve worked with a few bands now from other places. I never set out to be regionally-based, but I think anyone running a label should have some sort of foothold on their local music scene. That’s who you deal with on a regular basis and if nothing else you should help coax that along. At this point the lineup has become a little more diverse, so it’s not as centrally-based.” When it comes to describing the typical sound of a band on UCR, one would likely be hard-pressed to provide a succinct description. According to Schwier, his bands don’t necessarily sound alike, though they could all probably fall under the same expansive umbrella. “I guess it could be argued that Underground Communiqué has a certain sound, but I have a crazy, bizarre taste in music. I don’t consciously ask bands to do records that are different or weird, but I definitely don’t strictly do records for one genre in particular. I like the idea that it’s sort of unpredictable. I think in a broad sense it’s a hardcore/punk rock label, but it’s more about a majority of the bands having a similar mentality and ethos. Even though their styles don’t mix for the most part, it makes sense in the bigger picture,” he said.

This year promises to be quite an eventful one for Underground Communiqué. It’s already released Mexican Cheerleader’s latest LP, Genghis Puss, and is on the cusp of issuing a re-mastered version of The Methadones’ classic record, Not Economically Viable, on vinyl. Also planned are new full-lengths from Vacation Bible School, Tension Generation and Capital, the latter of which was mixed and mastered by Chris Hannah of Propagandhi. Lastly, a new seven-inch from Olehole can be expected, along with the completion of volume one for the Ska Is Dead seven-inch series. In the end, Schwier’s ultimate goal is simply that UCR be remembered in a positive light. “I want it to be a label that people look back at fondly, because eventually I’ll stop doing it at some point,” he said. “I want people to think that I had good taste in music and that I did a good job and didn’t piss people off. I think I have a pretty good reputation and I’d like to think that I put out a lot of really good releases. Hopefully that’s what people look back at it as. I want to have the brand loyalty that some labels have where people can trust what you’re putting out is at a certain level in terms of quality. I want to leave a good legacy behind.”