- The document analyzes and compares four record labels - independent labels Domino Records and Glassnote, and conglomerate labels Warner Bros. Records and Glassnote. - It determines that the independent label Glassnote would be the best fit for a production, as Glassnote focuses on creative freedom for artists and offers dedicated support to help artists share their work without compromising their vision. - Glassnote values artist expression over mass appeal and allows artists to maintain ownership over their careers, which aligns with the goals of maintaining the raw emotion and unique identity of the indie band that the production is being created for.

1. Record Label Research
MICHELLE GRACE

2. INTRODUCTION
Within this task, I will be researching a number of both independent and
conglomerate record labels. In doing so, my aim is to gain a broader
understanding of how various labels operate, drawing distinctions between them
on the basis of ownership as well as ethos. Through this, I hope to find a
company to whom our own production would be suited, focusing on maintaining
shared values and practicality.

3. DOMINO RECORDS
Domino Records are a British independent record label and, in spite of being based primarily in
London, have international divisions in the United States, Germany and France. The label
represent a large number of artists, with the most well-known being the Arctic Monkeys and Franz
Ferdinand. A vast majority of artists signed by the label are categorised under the indie genre,
hence meaning that Domino Records would be applicable to our production. Furthermore, their
independence allows for increased creative freedom within the production of videos, wherein we
would be less restricted by the need to appeal to a mainstream audience (as is often the case with
conglomerate companies).
References: http://www.dominorecordco.com/artists/
https://en.wikipedia.org/wiki/Domino_Recording_Company

4. ETHOS
The origin of Domino Records resides within a desire for
self-expression and artistic value, as opposed to profit.
Initially relying on a £40 weekly Enterprise Allowance
Grant, the label were (and still are) determined “to
represent and release music by artists who have no choice
but to make music and to draw them to the attention of
the outside world”. The company grew in terms of success
and magnitude upon the release of Franz Ferdinand’s debut
album, achieving multiplatinum success. They claim their
artists to have “individuality, originality and a total
immersion in music's worlds of possibility”.
It is on this basis that I would consider Domino
Records applicable to our own production. Both
the artist for whom we are producing a video, as
well as the style of the product itself, match the
values held by this company. FUR are a band who
make music on the basis of self-expression,
drawing attention to feelings which are not only
applicable to them as individuals, but rather to all
human emotion. If their music aims to fulfil the
‘identification’ aspect of Bulmer and Katz’s uses
and gratifications theory, then it is almost essential
that our video does the same (as is supported by
Goodwin’s argument that a strong audiovisual
relationship is necessary for success). This allows
for ‘total immersion in music’s worlds of
possibility’, allowing production to transcend the
limits of human interaction and speak to
audiences on a more personal level.
References: http://www.dominorecordco.com/policies/about/
Image:
‘Superorganism’,
a band recently
signed by
Domino Records

5. WARNER BROS. RECORDS
Warner Bros. Records are a conglomerate institution, established
under the parent company of Warner Music Group. Though
catering to international audiences and artists, the company
remain based in New York. Since their establishment in 1958,
Warner Bros. Records have worked with artists including Cher,
Green Day and Lily Allen. The scale of a conglomerate company, as
well as their range of involvement means that they represent
performers across a wide selection of genres – including pop, rock
and indie. Furthermore, its reputability as a subsidiary of Warner
Music Group/Time Warner allows the company to attain a
‘collective influence on pop-culture’ which is ‘without precedent’.

6. ETHOS
In spite of the large number of
reputable icons represented by
Warner Bros. Records, the company
remain devoted to the inclusion of
both ‘new and established’ artists,
with focus on those who are ‘up-
and-coming’ – evidenced by their
support for indie artists such as
‘Kimbra’. The institution claim to
focus on ‘discovering and nurturing
musical talent’ producing ‘influential
and innovative’ artists. As a result, it
can be concluded that, in spite of
their need for mass-market appeal
as a conglomerate company, the
company continue to present
images of inclusion and creative
diversity.
Although Warner Bros. Records have a
supposed focus on supporting and
nurturing new, up-and-coming artists
(under which the band for whom we
are producing a video would fall), I do
not think that they would be entirely
suited to our production. Unlike
Domino Records, their ethos omits the
priority of ‘total immersion’ and the
idea that their products must be made
not out of choice, but out of need to
share an experience. Though there is a
supposed desire for ‘innovation’, it can
be argued that, as with any large
conglomerate company, this creative
freedom to be truly innovative grows
increasingly difficult when an artist is
placed under conglomerate control.
References: http://www.warnerbrosrecords.com/our-label
Image: Kimbra, signed by Warner
Bros. Records

7. GLASSNOTE
Glassnote are an independent record labels founded in 2007 by Daniel Glass, working closely
with Universal Music Group to ensure distribution for artists signed to their label. The company
focus on genres of indie, indie rock, alternative rock, alternative hip hop and indie folk, hence
making them distinct in their niche creative ambition. This opposes that of many large
conglomerate companies, whose desire to create pop-culture ‘icons’ leads to a primary focus on
pop and/or hip-hop genres. Glassnote have most notably worked with artists such as ‘Mumford
and Sons’ or ‘Phoenix’, both of whom are recognisable by their ‘indie’ identity. Their success can
be attributed to Anderson’s long tail theory, wherein it is stated that increased technological
convergence has led to a downfall in the dominance of mainstream ‘hits’, and an increase in the
demand for niche submarkets. When applied to Gauntlett’s Web 2.0 theory, it can thus be
inferred that the success of niche labels (such as Glassnote) is associated with increased active
consumerism, wherein audience members are able to easily seek out the specific uses and
gratifications (Bulmer and Katz) that they desire.
References: http://pigeonsandplanes.com/in-depth/2013/02/best-independent-
record-labels/glassnote-records-2

8. ETHOS
Glassnote place strong value and emphasis on
supporting up-and-coming artists without
infringing on their creative freedom. Through
representing only a small number of artists, they
pride themselves on offering the ‘dedicated focus
that our major label competitors cannot’. This
enables their identity as an ‘artist-centric’
company to be enforced, wherein they are able
to cater more specifically to the creative desires
of individual artists, as oppose to conforming to
that which is considered ‘mass-market’ appeal.
This is supported by their promise that artists will
be able to ‘take ownership of their careers’ whilst
working with the label’s ‘understanding of the
evolving industry’ to ensure that audiences are
reached.
The ethos of this company appears almost entirely
suited to the production we hope to create. As an
indie band, FUR are characterised by self-expression
and creative freedom to form a unique identity. It is
therefore necessary that a record label does not
oppress this right – Glassnote, as an ‘artist-centric’
company, would not appear to do so.
References: http://glassnotemusic.com/AboutUs
Image:
Mumford
and Sons, a
band
represented
by Glassnote

9. CONCLUSION
Having reviewed my findings regarding each record label, I am able to conclude that Glassnote
appear most suited to the ethos and values of our production. Not only would it be unlikely and
impractical for us to gain the representation of a conglomerate label (due to a lack of
establishment and credibility within the industry); however the emphasis on artist-centricity
within independent studios is applicable to the raw, honest emotion which the band for whom
we are producing a video aim to represent. Glassnote seem particularly suited to this, providing
their artists with almost complete creative control over their work – hence they act not as a
regulator, but rather an aid to sharing this work with the rest of the world. As a result, I have
found this task beneficial both in terms of finding a label who I would consider to suit our
production, however further in terms of solidifying our own values and hopes in creating our
production.