In early April, the U.S. administration under Donald Trump reignited a familiar fire: economic protectionism cloaked in nationalism. Among the first tremors was a sharp turn in tariff policy—targeting imported goods, manufacturing components, and in some cases, even finished records. For major conglomerates, it’s just another chessboard shift. For independent record labels—already clawing at survival after years of inflation, supply chain implosions, and vinyl backlogs—it’s existential.
We asked six labels, from different corners of the industry, how these sudden trade measures affect their day-to-day.
Imported Vinyl, Exported Costs
While Trump’s trade war rhetoric is aimed at foreign power plays and global economic leverage, its sharpest splinters are embedding themselves in a much smaller world—the DIY record label circuit. These are people who don’t move shipping containers full of oil or cars, but crates of 7-inches, hand-packed and bubble-wrapped by someone who probably also answered your email. And yet they find themselves on the frontlines of a geopolitical shift they didn’t vote for, can’t control, and absolutely can’t afford.
Andrew Kline of War Records lays it out in plain terms: “Most of my vinyl is manufactured in the Czech Republic. My shipping supplies are manufactured overseas. Most of my merch items are manufactured overseas as well.” It’s a quiet admission, but behind it sits a reality many indie labels share: global dependency wasn’t a choice—it was the only way to survive in a margin-thin business.
Skin Graft Records, run by Mark Fischer, mirrors the same pattern, with a tinge of resignation: “Skin Graft uses a number of different manufacturers around the world.”
At Born Losers Records, Chris speaks from within the U.S. but still relies heavily on European partners: “We print about half of our vinyl in the EU.” For a label that exists in the same country as the political architects of the tariffs, even they aren’t insulated from their impact. Being ‘domestic’ means very little when your supply chain is built around what was once an open, cost-efficient international framework.
Pre-order ‘Ill at ease’ out 5/9https://t.co/2j5mcSekUv pic.twitter.com/I7IGdzkUb5
— Born Losers Records (@bornlosersrecs) March 19, 2025
Over at Iodine Recordings, the picture widens further. “Almost all of the vinyl we produce at Iodine comes from overseas,” says label head Casey. “Even if we produce the vinyl itself domestically, we generally source packaging and other elements from vendors all over the world.” Even a U.S.-pressed record isn’t fully U.S.-made. Plastics, inks, sleeves, shrink-wrap—all ride the same global currents.
North of the border, Thousand Islands Records in Canada moves material through U.S. soil every week. “Mostly mail orders from our US-based customers and stock for our USA retail distributor,” says owner Bruno Beaulieu. “We also import occasionally, mostly releases from US-based labels.” For him, the U.S. isn’t just a trading partner—it’s his customer base.
The only exception in the group, Three One G, recently shifted in the opposite direction—back to domestic production. “We were using EU vinyl manufacturing but we recently shifted to press our vinyl here domestically, via Smashed Plastic,” says founder Justin Pearson.
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But this isn’t a nationalistic gesture—it’s an act of logistical self-defense. For some, moving production stateside isn’t about ideology, it’s about salvaging any remaining control over timing and cost. Whether that shift holds up under the weight of reciprocal tariffs from other nations is another question entirely.
The thread running through all these voices is clear: physical music—so often romanticized as a symbol of permanence and independence—is deeply, almost ironically, dependent on the very systems it tries to subvert. These labels didn’t ask to play the game of global commerce. But they’ve been forced into it. Now, they may have to start learning the rules of trade diplomacy, fast.
Shifting Ground: Rising Prices, Murky Timelines
In the world of independent labels, where cash flow is measured in single units and release schedules hang by a thread, even a whisper of a change in cost structure can rattle the entire system. Now that tariffs are in motion, the whispers are starting to turn into murmurs. The panic hasn’t fully arrived yet, but the stress fractures are showing.
Andrew Kline of War Records remains cautiously observant. “I have not seen any unusual change in costs yet,” he admits, but adds with certainty, “I am sure this will result in increased costs across the board.” That kind of hedged anticipation is typical among indie operators—they’ve seen this film before, and they already know how it ends.
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For others, the pain is no longer theoretical. Justin Pearson of Three One G doesn’t bother with subtlety: “Shipping has been pretty brutal regardless of the tariffs.” Invoices, postage labels, and the daily grind of trying to get a slab of wax from Point A to Point B without going broke in the process.
At Born Losers Records, Chris doesn’t need to guess what might happen—he’s already seen it play out in real time. “The first time I noticed a change was last month when I went to ship a box of 100 CDs to the UK,” he explains. “The UPS employee stopped me first and said, ‘This might be on the list of items the UK is no longer being allowed to import.’ He quoted me $500 for shipping.” The cost obliterated any hope of a profit. “It made the transaction a complete loss.”
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Meanwhile, Skin Graft’s Mark Fischer zooms out and sketches the wider collapse already in motion. “The cost per piece when manufacturing smaller quantities is significantly greater,” he says. “The retail spaces and shops that will carry the music are a fraction of what they once were. The charge to ship the records direct to the customer is increasing constantly.”
Then he drops the conclusion like a quiet hammer: “If even more fees are piled on top of what we’ve already experienced, it will lead more and more labels to question the viability of producing physical releases at all.”
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Bruno Beaulieu at Thousand Islands Records is, for the moment, still inside a legal loophole. “Since the April 2nd announcement,” he explains, “we are still covered by the ‘De Minimis’ clause which allows for goods valued at or under US$800 to be imported into the USA duty free and with minimal paperwork.”
“If we stop being covered… it will be disastrous for us.” And for a label that ships 70% of its orders across that southern border, there’s no Plan B yet.
Price Tags on Fans
Whatever changes may be happening behind the scenes—whether in spreadsheets, shipping invoices, or supplier lists—sooner or later, they arrive at the fan. Every label we spoke with acknowledged that the consequences of rising tariffs and international uncertainty won’t stay behind the curtain for long.
Andrew Kline of War Records is concise: “It could absolutely affect pricing. Not sure about delays.”
Mark Fischer of Skin Graft offers a deeper cut: “It’s becoming harder and harder for those who want to support the label and the bands to do so. There’s only so much money to go around.”
For labels working with niche audiences already navigating rising rent, food, and energy costs, asking for even five extra dollars per LP might be enough to push a potential buyer out.
At Iodine Recordings, Casey is already doing the math: “We know that fans often have limited income, and a price change could mean selling fewer records across the board, which then will affect the artists we work with.”
In a business where selling 500 units can define success, small shifts can echo loud.
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The impact isn’t just financial. Chris from Born Losers Records sees geography reshaping viability: “I think it will greatly impact where we can ship goods to customers. It will simply cost too much to ship.”
For Thousand Islands Records, the stakes are even more immediate. “70% of our mail orders come from the US,” says Bruno Beaulieu. “Adding a 10-20-25% tariff fee at checkout… would result in our US-based customers paying more for their orders, eventually losing sales and customers.”
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And then there’s Justin Pearson of Three One G, who turns the lens outward, past postal rates and customs declarations:
“What I am expecting is backlash towards Americans, both companies and individuals, and also economic uncertainty… The tariffs are naively being implemented and will not be felt by billionaires, who are running the US government and seemingly lack intellect, empathy, or a concern for the planet in general.”
“However capitalism as it is, has very little concern for humanity, the environment, or workers. I’m well aware there is ethical capitalism, but when it comes to Amerika, the current administration, and its tariffs, there are no ethics in place.”
His frustration runs deeper than balance sheets, pointing instead to the emotional and social toll of being tethered to decisions made by a leadership class detached from the cultural and economic realities of those at the fringes.
Still, not every reaction is fatalistic. While most agree that fans will feel some degree of burden—whether through increased prices, limited availability, or reduced shipping options—the tone isn’t always defeatist. There’s a quiet resilience running through the statements. A willingness to wait, observe, and adapt.
Adapt or Wither
For independent labels, adaptation is a habit. Most of them were built on workarounds: late-night packing sessions, favors from friends at pressing plants, last-minute distro fixes. But this moment, shaped by new tariffs and uncertain borders, is asking for a different kind of flexibility—one that tests both infrastructure and patience.
Andrew Kline of War Records identifies the most immediate move: shifting vinyl production domestically. “There are pressing plants in the U.S. I could make that switch,” he says, adding that many labels are likely thinking the same. “This could result in longer wait times for vinyl and possibly slightly higher prices.”
At Born Losers, Chris is already sketching out contingencies. “We might have to start splitting up where we manufacture by territory for our vinyl/CDs/tapes to avoid increased shipping and tariff costs.”
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Casey from Iodine Recordings speaks from experience: they’ve already endured multiple waves of cost hikes and supply issues. “We have had to increase prices several times over the years to match the increase in production and shipping costs,” he says. “We may have to adapt if things change again.”
Bruno Beaulieu from Thousand Islands Records is thinking bigger, even if it’s just thinking aloud: “Best solution would be to have offices and warehouses in each country I guess, or setup distro partnerships with US-based labels?”
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Then there’s Justin Pearson of Three One G, who brings the conversation down to a more existential level: “To be honest, I wish I never started a record label 31 years ago… I just expect the worst and well, it usually isn’t that terrible.”
But we read it is not as cynicism, but rather as endurance. A kind of low-level faith in chaos. Because in this business, anyone still standing has already mastered the art of bracing for impact.
What’s the Takeaway?
Running an independent label has never been about glamour. It’s not about the record release party or the shelf of limited-edition variants—it’s about emails at 2 a.m., supplier invoices in currencies you don’t speak, and spreadsheets that try to predict what a punk record will cost six months from now.
When trade policy shifts, like it just did under the Trump administration’s new tariff measures, small labels are exposed. Often times there’s no cushion, no legal team, no diversified portfolio to soften the blow.
Andrew Kline of War Records admits it’s very frustrating, but “unfortunately out of our control.’
“Unfortunately many businesses and also consumers will suffer due to these increased costs.”
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Casey from Iodine Recordings breaks it down to fundamentals: “Running an independent label is an extremely difficult venture… Albums are expensive to make and properly promote, and the profit margins are razor thin. Any changes to the economy can have a serious impact on a label’s ability to thrive.”
Justin Pearson, never one for surface-level commentary, offers a more personal view: “I may be talking out of my ass here, but as a label owner who is essentially a long-time unpaid intern for the business, I see aspects of how this can and will screw the business over.”
And yet, from Thousand Islands Records, Bruno Beaulieu offers something closer to realism than optimism: “The next couple of years will be rough economically, no doubt about it. Luckily, the punk rock community is all about solidarity and mutual aid so I am confident we will go through this together.”
Every label quoted here has already lived through industry collapses, shifting formats, and cultural downturns.
Tariffs may be the latest test—but they’re not the first. And they won’t be the last.
