People often tell me that in order to keep Projekt alive, I have to get with the times: I have to run a label based on the modern way the record industry works.
That seems odd. I've always thought of Projekt is being one of the most visible examples of how a label can be old school (i.e., nurturing a specific image and advocating for the artists) while also pushing the boundaries of modern technology and distribution platforms. Projekt, at various points in time, for example, has made albums available on Spotify, releases digitally on Bandcamp and iTunes, and, of course, sells CDs via good ole' fashioned mail order. I'm not sure I understand what Sam's critics are advising him to do.