For labels

Access to their music.
Never ownership of it.

A label needs to hear an artist's unreleased work, keep track of which version is current, and answer everyone who sent something. What it does not need is to be holding somebody's masters, and what an artist will not agree to is a tool where the label might be.

So the line is drawn in the database rather than in a contract. You get access. They keep everything. Both sides can stop worrying about it and get on with the record.

Where we draw the line

You get access.
Never ownership.

An artist's music belongs to the artist here, including on your roster and including when you are paying for their account.

You see what they choose to show you. They can withdraw it without asking you and without telling us why. Ending the arrangement removes your access and deletes nothing of theirs.

That is enforced in the database rather than only written in the terms, which matters to both sides of the conversation. It is the reason an artist says yes to being on a label's roster in a shared tool, and it is the reason a label can offer one without arguing about it first.

You can cover a signed artist's plan for six euro a month. They keep the account, the catalogue and the right to walk away with all of it.

Intake

The audio arrives
and stays arrived

Demos land on a page that belongs to you, with the real file attached rather than a link to somewhere else.

Forest Records 3 submissions
  • Vela Slow Weather Shortlisted 2 days ago
  • Ninth House Carrion Rated 4 9 days ago
  • Marisa Quint Paper Harbour Declined on day 21 4 January
What your A&R opens. The January submission still plays, because the file is here rather than on a service the artist stopped paying for.
Nothing expires
The audio is stored here when it is submitted, so the file you open in March is the file that was sent in January. There is no third party hosting it and no countdown attached to it.
You decide what you need
Ask for a bio, socials, a release plan, or nothing at all. Set a genre list, a track limit and a window. A submission that does not meet the rules never reaches your queue.
One place, not an inbox
Play, rate, leave a private note and move on. Your A&R sees the queue; your finance seat does not. Five roles, and people only see the part of the label they work in.
Answering

A fast no is worth
more than silence

Artists talk to each other. The label that never replies is the one they warn each other about, and it costs you the demo you wanted next year.

Set a window and mean it
Anything you have not answered within the number of days you choose is declined automatically, with the words you wrote. Nobody is left waiting on a reply that was never coming, and you are not the one typing it.
It comes from you
Declines and invitations arrive under your name, with your logo, and replies go to your inbox. We carry the message; the artist is answering the label they wrote to.
The record

Dates neither of you
has to take on trust

Every file's fingerprint is folded into one number published each night. Either side can prove what existed on a given day, without asking us.

"We sent that in January" against "we never received it" cannot be settled by a timestamp, because every timestamp in the argument belongs to somebody with a stake in the answer. Ours least of all: we are the other side's supplier.

So the dates are not ours to assert. The fingerprints recorded on a given day are combined into a single value that is published and never rewritten. An artist with the original file, or a label with the copy it was sent, can recompute that value and compare it against what was published. We are not part of the comparison and cannot alter it after the fact.

What it proves is narrow and worth stating plainly. It shows a file with that exact fingerprint was in our records on that date. It does not prove who made it, and no timestamp anywhere can. How it works, and how to check it yourself.

Sending out

Know who actually
listened

Promos go out as a link per person, so the answer is a name rather than a number.

Per person, not per campaign
Each recipient gets their own address. You see who opened it, how many times, and how far into the track they got before they stopped. Not "42 plays".
Revoke one, not all
Turn off a single recipient without breaking anybody else's link. Pull the whole thing and every copy dies at once.
Masters leave a record
Every time somebody takes the original file, it is written down with their name and the time. If a pre-release turns up somewhere it should not, that record is the first place to look.
When to use something else

This is not for
every label

If you need distribution, this is not it. Nothing here delivers to Spotify or collects royalties, and it is not going to. Keep the distributor you have.

If you get five demos a month, you do not have this problem. An inbox and a folder are working fine, and a subscription would be solving something you have not got.

If you want to own the recordings outright inside the tool, look elsewhere. The rule above is not negotiable and not configurable, and a label that needs it to be will be happier somewhere that agrees.

We would rather say this now than have you find it out in month three.

What it costs

Two plans, and
no per-artist fee

Label · €49 a month
3 TB pooled across the label, five staff seats, demo pages, deals and per-recipient promos. Extra seats are six euro each.
Label Pro · €99 a month
7 TB and twenty seats, for a catalogue that is already large or a team that is already several people.

Storage is pooled, so one artist with a deep archive does not push another over a limit. Roster size is not a billing question: you pay for space and seats, not for how many artists you work with. Covering a signed artist's own plan is six euro a month on top, and optional.

Have a look before
you move anything

Set up a demo page in a few minutes and point one artist at it. Nothing needs migrating to find out whether this fits how you already work.

Set up a label Ask a question first

If you are moving from something else, say so when you get in touch. We would rather tell you it is a bad fit early than take a month of your subscription to reach the same answer.