THE STORY

All About Anapest

Founded in 1955 by Albert Jothauer in the east end of Deptford, Anapest embarked on a remarkable journey that has spanned six vibrant decades, witnessing the evolution of pop music as a respected art and the emergence of iconic acts. Born amidst the fervor of rock and roll, it became a hub for creativity and innovation, attracting a diverse array of talents.

After eight-odd years of unsuccessful acts and legal disputes with manufacturing and distribution, the studio struck generational gold with The Plutos, a rock-and-roll band that epitomized the rebellious spirit of the 1950s…in 1962. Despite initially pedestrian sales, their raw energy and infectious melodies found a home in Anapest Records, contributing to the band's overnight rise to stardom in 1964. Surviving all of the rigors of fame, the hurt of dry inspiration, and the shadow of controversy, The Plutos' success marked a significant milestone for the studio, solidifying its reputation as a place where groundbreaking music was born. Plutos manager John Moon demonstrated savvy enough to rise through the ranks and become co-owner with Albert's son Dirk Jothauer in 1968.

As the 1960s soldiered on, Anapest Records continued to thrive, becoming a key player in the cultural revolution that characterized the era. Acts like Antipittsburgh, known for their experimental approach to music and socially conscious lyrics, found a creative haven within the studio's walls. Dirk Jothauer's commitment to fostering diverse musical expressions (and thus appeal to varied consumer bases) allowed Antipittsburgh to push boundaries and challenge conventions of the time. Indeed, many forget that before The Plutos matured their lyrical style, Antipittsburgh had already done so. Their sonic explorations resonated with a growing counterculture, and Anapest Records became a melting pot of artistic experimentation.

The Beatwater Tims, a folk-rock group, also made their mark in Anapest Records, paradoxically signing amidst the boom of sonic-experimentation in 1967. Their harmonious blend of acoustic and electric elements captivated audiences, and the studio played a crucial role in capturing the essence of their sound.

The late-1960s proved to be a golden era for Anapest Records, as it became associated with groundbreaking acts that defined the decade. The Low Commotions, a psychedelic rock band known for their mind-bending soundscapes and experimental stage presence, further enriched the studio's legacy. Dirk Jothauer's visionary leadership allowed The Commotions to push the boundaries of conventional rock, incorporating elements of psychedelia and forging a unique sonic identity.

Despite Anapest Records' undeniable success during this period, the 1970s brought about formidable challenges. In addition to the industry and population exodus from Deptford at the turn of the decade, the music industry underwent significant transformations, with shifting tastes and technological advancements posing hurdles for traditional recording studios. The Plutos, the poster children of Anapest Records' success, were  on the path to dissolving at the time of their tragic demise. The loss of artists to better-equipped studios hand-in-hand with the deaths of four of the greatest rock stars of the 1960s put Anapest in dire straits.

Antipittsburgh, always on the fringes of mainstream appeal despite massive critical success, found it increasingly difficult to sustain their experimental approach in the face of these upheavals.

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The Beatwater Tims, rooted in the folk-rock movement, struggled to adapt to the burgeoning dominance of more electrified and progressive sounds.

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The Commotions, despite admirably shouldering most of weight left in the popular music sphere by the Plutos’ deaths, were perhaps too innovative and artistic for their own good, splintering off into three separate groups in late 1972 after five years of turbulence among its members. The most successful of these was The Bards, spearheaded by Commotions guitarist Jeff Winstanley.

Dirk Jothauer, the visionary owner, found himself grappling with the financial pressures and shifting tides of the music business. Anapest Records, once a haven for musical experimentation, began to experience a decline in bookings and revenue. The changing landscape of the industry demanded adaptation and reinvention, but the studio struggled to keep pace, closing all but one studio before 1975.

With mounting fiscal troubles, Dirk Jothauer faced the difficult decision of declaring bankruptcy in February of 1975. The announcement marked the end of an era for Anapest Records that had been a crucible for creativity and a witness to the evolution of musical genres. Grants received by the studio kept it afloat enough to become an enterprise again by the end of the 1970s, and Anapest was sustained further thanks to acts such as the electronica trio Hazard (1985-2001), ambient pioneer Beeboy (1990-), and soft-rock group Lithiumania (1997-).

The legacy of Anapest Records, however, lives on in the recordings and memories of the groundbreaking artists who once called it home. The studio has played an instrumental role in shaping the trajectory of rock and experimental music during a pivotal period in history.  In the annals of music history, Dirk Jothauer's legacy is one of creative fervor and resilience, reminding us that, even in the face of financial adversity, the impact of a music studio extends far beyond its balance sheets. In totality, his body of work remains one of the most esteemed in British pop music history.