“When Guardian folded there was the possibility we would leapfrog to Virgin or Capital,” explains guitarist/vocalist Nerissa Nields. “We basically begged EMI (Guardian’s parent label) to cut us loose and let us go back to being independent. It’s the best decision the band has ever made.”

But why? Why would a band signed to a major label want to return to simpler times and sacrifice label security? According to Nields, there was only one reason. “Everyone in the band felt we were losing control,” she says. “We had thirty new songs that we wanted to record and the record company said we couldn’t begin work on a new record. They were only interested in trying to make us stars and we just wanted to play music. We all got sick of the major label game.”

So The Nields, who will be playing at The Wire on June 18, returned to Massachusetts and began recording at bassist Dave Chalfont’s studio. The sessions bore two new releases, both produced by the band, that will please longtime fans and hopefully win many new ones. The “official” record, tentatively titled Tomorrowland, is scheduled for a September release on a still-to-be-named small label, while a second release, ‘Mousse, available on the band’s own label, contains new songs as well as older material and live tracks.

“For Tomorrowland, we felt there were songs with similar themes and we wanted to keep those songs as one body of work,” says Nields. “The second record is more of a gift to our fans. We put on a lot of songs that we have been playing for a long time.”

For The Nields, the past ten years have been a rollercoaster ride that can serve as a blueprint for aspiring bands. In the late 80’s, Nerissa and her sister, Katryna, met David Jones and started playing their original folk numbers at open mics around Washington, D.C. (Later Jones married Nerissa and took HER last name.) The trio moved to Connecticut and convinced Chalfant, a longtime friend, to join the band and produce their third self-released recording, Bob on the Ceiling. Drummer Dave Hower played on several tracks, and was soon asked to join the band. “We suddenly went from an acoustic trio to a full band with the release of Bob on the Ceiling,” says Nields. “We learned to be a band on the road.”

In the next four years, The Nields toured incessantly, greatly expanding their fanbase (their newsletter reaches 20,000 people) and toying with the possibility of signing with a major label. Their sound also changed as The Nields became more of an electric band. Their 1996 Razor and Tie Records release, Gotta Get Over Greta, offered even more impressive songwriting and their still-mesmerizing harmonies. It wasn’t long until the major labels began courting The Nields. Guardian Records signed them and re-released Gotta Get Over Greta with three additional songs. And, once again, the band headed back out for another year of folk festival, coffeehouses and nightclubs. “It has been an educational four years,” explains Nields. “It was grueling, but it was healthy to go through all of this. I think it was good for the band’s soul.”

Now an independent again, The Nields have had to contend with many issues that a record company would usually deal with; but they are living up to the challenge. When the band’s van, Moby, died recently, The Nields decided to hold Jam for the Van, a fundraiser concert on June 13 in Hatfield, Massachusetts. (Ticket information is available at 413-247-0350.) “The response has been incredible,” explains Nields.

But perhaps even more incredible was unexpected help from Ken Barry, EMI International president. After Guardian’s collapse, EMI still held the rights to the band’s catalog and would return the masters for $150,000. Nerissa Nields sent a letter to Barry explaining it was unfair that EMI retained the rights to the records. Barry agreed and gave the master to the band as long as they agreed to only sell the releases via the band’s own label.