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In September 2020, Kanye West fired off a series of “NEW RECORDING AND PUBLISHING DEAL GUIDELINES” on Twitter, the app now known as X. He called for artist-friendly income splits — 80% to the musician — and contracts that are easy to understand. “The artist owns the copyright in the recordings and songs,” West proposed, “and leases them to the record label / publisher for a limited term.”
His new album Vultures 1, a full-length collaboration with the singer Ty Dolla $ign, arrives with even fewer strings attached — he doesn’t have a label partner, just a distribution company (Label Engine) to help ensure the music’s presence on streaming services. This arrangement outside of the major label system means that West and Ty Dolla $ign are likely taking home even more than the 80% cut the rapper tweeted about in 2020. Although Label Engine advertises that clients get 82.5% of revenue, stars like West almost certainly have the leverage to push that number significantly higher.
Billboard estimates that Vultures 1, which debuted at No. 1 on the Billboard 200, earned a little more than $1 million in its opening week in the United States, mostly from streaming (around $892,000 from close to 169 million on-demand streams) plus a little extra from sales (roughly $145,000). If West and Ty Dolla $ign are giving up 5% for distribution — which might be high — they take home around $986,000. (More when you factor in global streams and publishing.)
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Contrast this with the situation West faced at the start of his career in the major label system: Images of old contracts he tweeted in 2020 indicate that when he made The College Dropout, he earned a 14% royalty on albums sold in the U.S. As is typical in a royalty deal, West’s old contract notes that “no royalties shall be due and payable… until such time as all advances have been recouped.” That recoupment comes out of an artist’s share, meaning that measly 14% rate has to do all the heavy lifting to earn the advances back.
In a theoretical example, if West was in this deal and he had just $1 million in recoupable expenses (such as an advance) associated with an album — which would be low for him, historically speaking — that release would need to generate more than $7 million in total sales income for him to recoup and start earning money from his music going forward. (In this simple hypothetical, an artist is only generating income through sales, not synchs or other ancillary sources, and the royalty rate isn’t increasing when an artist hits certain sales thresholds.)
To generate around $1 million in royalties for its creators, as Vultures 1 did for West and Ty Dolla $ign in just one week, the album stuck in a 14% royalty deal would then have to earn an additional $7 million in total sales revenue. Translated to on-demand streams, that would mean around another 1.3 billion plays.
Since West is no longer affiliated with a major label, the commercial success of Vultures 1 has been lauded on social media as a breakthrough moment for the independent sector. But while calling the rapper independent is technically accurate — he’s not working with a major label — it’s also misleading. Imagine if Lebron James retired and people started describing him as an amateur basketball player because he was no longer on an NBA roster.
The term independent gets thrown around a lot these days. gamma boss Larry Jackson recently called Usher “the first independent artist to ever play the Super Bowl.” (Usher, by the way, has the No. 2 album in the country with Coming Home.)
Both West and Usher built their superstar careers within the major-label system, however. They were thrown lavish budgets to make their albums. And they benefited from the full weight of the record companies’ promotional muscle at a time when those companies had a lot of influence over what the public heard.
In West’s case, images of recording agreements he tweeted in 2020 showed that Universal Music Group forked over an $8 million advance for Yeezus, along with another $4 million for recording and sample clearances. The contract photos also indicated that Universal was prepared to pay a $3 million advance and an additional $3 million for recording and clearances for The Life of Pablo. UMG also poured money into marketing and radio promo over the years. It’s hard to imagine West — who has since arguably become as well known for his troubling history of antisemitic comments, which have lost him numerous business deals, as for his music — reaching the level of cultural ubiquity he achieved without that investment from the majors.
And even if the rapper is enjoying a larger share of profits from his music these days, the real money may be coming to him from outside of the music industry: West recently claimed he made more than $19 million off of clothing sales in a single day.
Livestream shopping platform NTWRK is acquiring streetwear, music and sports-centric media company Complex Networks. The deal will create a new entity that the two companies claim will be “a new destination for ‘superfan’ culture” and bring an e-commerce marketplace into the former media brand’s ecosystem.
The news was announced Wednesday (Feb. 21), with investment from Main Street Advisors, Universal Music Group, Goldman Sachs and Interscope Records founder Jimmy Iovine. UMG will also come on board as a strategic partner and current Interscope chairman/CEO John Janick will join the company’s board.
NTWRK is acquiring Complex from Buzzfeed, which purchased the streetwear-focused media company in 2021 for $300 million. Terms of the deal were not disclosed, though The New York Times reported last October that a deal worth $140 million was close; subsequent reporting in December put the price at slightly more than $100 million. NTWRK co-founder/CEO Aaron Levant — who initially created NTWRK alongside Jamie Iovine and Gaston Dominguez-Letelier, and co-founded ComplexCon with Complex founder Marc Ecko in 2016 — will become CEO of the new company.
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“Complex has been a beacon of culture and innovation for over two decades,” Levant said in a statement. “My journey with Complex began as an admirer of their original magazine in 2002 and it has now come full circle as I step into the leadership role. Alongside this impressive team, we will create the definitive global content, commerce and experiential platform of convergence culture.”
NTWRK has previously worked with several UMG artists, including Billie Eilish, Post Malone and BLACKPINK, the latter of whom worked with Takashi Murakami for Interscope’s 30th anniversary vinyl collection. UMG’s involvement, however, is not an exclusive one, and the new platform will remain open to artists of any label, major or independent.
“This partnership will give our artists access to a dynamic network to deepen connections with superfans through unique collaborations and cultural moments,” said Janick in a statement. “We share a collective vision on how D2C, experiential, brand partnerships and content are mutually reinforcing cornerstones of the fan experience. We will continue to sign and elevate new generations of great talent and we believe that we can best serve these artists through a holistic set of capabilities.”
The focus on the superfan is one that is a priority for UMG this year, with UMG chairman/CEO Lucian Grainge writing in his New Year’s memo to staff that “the next focus of our strategy will be to grow the pie for all artists, by strengthening the artist-fan relationship through superfan experiences and products,” which he called part of “the blueprint for the labels of the future.”
The new company also comes amid a lot of changes in both the music and media spaces. UMG announced a huge label restructuring earlier this year, with Janick taking on oversight of Capitol Music Group and other labels, as the music major approaches looming layoffs. At the same time, Buzzfeed is believed to be selling Complex for much less than half of what it acquired it for just three years ago, amid a wider run of layoffs and closings of media outlets across the industry. Warner Music Group, which last year laid off 600 people, also announced that it would be selling some of its owned media properties, such as HipHopDX and Uproxx.
“Aaron Levant, along with Jamie Iovine and Gaston Dominguez-Letelier, are building an incredible platform and this acquisition will exponentially accelerate its growth,” Jimmy Iovine said in a statement. “Combining the power and reach of Complex with the NTWRK engine serving creators across music, fashion and art will be transformative for the next generation of consumer technology.”
Kobalt is raising $266.5 million through the sale of a security backed by the publishing royalties of a 5,000-song catalog that includes YoungBoy Never Broke Again (a.k.a. NBA YoungBoy), AJR, Busta Rhymes and Jessie J.
The securitization is backed by a catalog valued at $410 million by Virtu Global Advisors, according to a pre-sale report by Kroll Bond Rating Agency (KBRA) released Tuesday (Feb. 20), which gave Kobalt’s asset-backed security an A- preliminary rating.
The bond allows Kobalt to raise capital on the value of the catalog and pay back investors with the publishing royalties the compositions generate. That puts music royalties in the company of common asset categories such as auto loans, mortgages and credit card receivables — all have a contractual obligation to pay — that are frequently used in asset-backed securities.
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The proceeds are expected to be used to fund reserve accounts, pay certain transaction expenses, repay existing debt and for other general corporate purposes, according to KBRA’s report.
Kobalt’s asset-backed security is the latest in a handful of large securitization deals in the music industry in recent years. Since 2021, Concord, Hipgnosis Song Management, KKR Credit Advisors (with a catalog owned and administered by Kobalt) and Northleaf Capital Partners have raised money through music asset-backed securities rated by KBRA.
The catalog backing Kobalt’s bond is diversified but younger than the typical multi-million-dollar music asset transaction. About 40% of the total net publisher share comes from compositions released since 2019 and about 43% comes from compositions first released between 2011 and 2018. Less than 3% of the total net publisher share comes from compositions from 2000 or earlier.
Nearly a third of the catalog — 29% of the last 12 months’ royalties collections — may be terminated prior to the legal final payment date in 2064, but no termination windows will fall within the next 30 years, according to KBRA. The catalogs of two artists, which account for about 1% of the catalog’s value, are subject to contractual reversion or termination prior to the final payment date. One song is currently subject to a copyright infringement claim that would result in legal expenses and reduced cash flows.
Pop music accounts for 52% of the catalog’s value while hip-hop represents 28% and rock accounts for 9%. Revenue from the United States makes up 63% of gross collections compared to 12% for the European Union and 10% for the United Kingdom.
During its first week of release, Vultures 1, the first full-length release from the artist formerly known as Kanye West and singer Ty Dolla $ign, changed distributors, was pulled from Apple Music temporarily and got cut by a song to ward off a possible copyright infringement issue brought up by Donna Summer’s estate. So far, the story of the album may be as interesting as the music itself — and Billboard has reported that some samples remain uncleared, which suggests that this could only be the beginning.
Like many hip-hop artists, Ye makes music that involves both snippets of other recordings (samples) and passages of other songs that are re-recorded (interpolations, which confusingly are often referred to as samples as well). Samples generally require a license from the owner of the recording and the underlying composition, while interpolations only require the latter. West seems to have cleared some of the samples and interpolations he’s used, but not all of them.
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There was a time when that would have been dangerous. When the music business was dominated by physical media, rights holders whose work was used without a license had the legal leverage they needed to take most, or even all, of the rights to a song, as ABKCO famously did with the Verve’s “Bitter Sweet Symphony,” which sampled a version of the ABKCO-controlled Rolling Stones song “The Last Time.” The Verve’s only other choice would have been to destroy all existing copies of the album it was on and stop promoting what became its breakthrough hit.
West won’t face those issues, partly because no single song on Vultures 1 depends as much on one sample or interpolation, and partly because the nature of streaming means that most music — most art, really — isn’t ever really final anymore. When the estate of Donna Summer said that West had used elements of “I Feel Love” without a license for “Good (Don’t Die),” the song was simply pulled offline. Uncleared samples could be re-recorded, if West can get permission from a publisher but not a label, or simply replaced by other musical elements. Albums can evolve for legal reasons as well as artistic ones.
This is an extreme example of what seems like a general trend, as is the Travis Scott album Utopia which Billboard recently reported has its own issues with songwriting credits and royalty splits. In this case, Scott worked with producers and co-writers but didn’t finalize all of the relevant agreements. Scott is far from the only artist to deal with this issue. Here, too, Scott’s collaborators could sue — although this would be a foolish move since many of them depend on his star power to market their work and the nature of streaming blunts potential legal threats.
In both cases, the balance of power in a licensing system that initially gave more leverage to songwriters and other rights holders is now tilting toward recording artists, especially powerful ones. That could be bad for other creators, because the less money they make, the more tempted they are to take any deal they can get to keep money coming in. In most cases, delays in negotiation and payment are just that — arranging all the co-writing deals gets very complicated because there’s only so much credit, and thus royalties, to go around. But the way the leverage shifts toward artists doesn’t exactly inspire their teams to deal with this as fast as possible.
The same kind of pressure doesn’t apply to publishers that control interpolation rights for older songs, but it’s important to remember that this money, too, goes to creators — often on better terms than streaming revenue does. Financial issues aside, creators also have the right to decide if they want to be associated with other creators, just as they have the right to turn down advertisement opportunities. In West’s case, Ozzy Osbourne turned down West’s request to sample a live version of “Iron Man,” which he wrote with his bandmates in Black Sabbath, because of West’s antisemitic comments. So West simply went ahead and sampled his own song, “Hell of a Life,” which uses the same riff. Osbourne should be able to prevent that — his team didn’t comment on West’s use of this other song — and he may decide to try.
The music business needs a code of conduct to deal with this situation before it gets any worse. If it’s overly strict to require artists to sort out all rights before the release of an album, a voluntary code could mandate having rough agreements in place or requiring final ones to be completed within a certain amount of time. The idea would be to give artists the time they need to sort out rights issues, within reasonable deadlines that will keep negotiations relatively equitable. If artists can’t figure out the credits issues that get their collaborators paid, maybe they shouldn’t submit their music for the Grammy Awards — which are voted on by other creators — or even be allowed to. The idea isn’t to penalize anyone, just to create a hard deadline.
None of this would address Osbourne’s issue with West, which I can’t help but take more seriously than the others. Think about it: The No. 1 album in the country this week is by an antisemite who has praised Adolph Hitler and the Nazis and will soon headline a major festival. (In December, West apologized for his comments with a statement in Hebrew but it’s hard to know how seriously to take that, considering that this album has a line about how “I just f—ed a Jewish b—-.”) I think it’s possible to enjoy good art made by bad people, and I assume that most people listening to Vultures 1 don’t agree with the crazy things West has said. At the same time, it feels wrong to write about the copyright issues West faces without acknowledging how hateful he has been. Presumably, West will find ways to license the snippets of music he uses on this album or else replace them. But as he faces pushback from creators and rights holders who are reluctant to be associated with him, as Osbourne is, perhaps he’ll begin a more serious effort to make up for some of the awful things he’s said.
Spotify is launching a music advisory agency for brands, the streamer announced on Wednesday (Feb. 21). For its inaugural campaign, the agency, dubbed AUX, connected Coca-Cola with the DJ-producer Peggy Gou. The two have “built a long-term partnership that will span live concerts and events, social media content, a branded playlist, and on-platform promotional support,” […]
A federal appeals court has rejected a copyright lawsuit that claimed Nickelback ripped off its 2006 hit “Rockstar” from an earlier song called “Rock Star,” ruling that the band can’t be sued simply for using “clichés” and “singing about being a rockstar.”
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Upholding a judge’s decision last year that tossed the case, the U.S. Court of Appeals for the Fifth Circuit ruled Monday that Kirk Johnston had not even come close to proving that Nickelback infringed his earlier song when it released “Rockstar.”
Johnston, the lead singer of a Texas band called Snowblind Revival, had argued that the two songs have such similar lyrics that the lower judge should have ruled that they were “strikingly similar,” but the appeals court sharply disagreed.
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“Johnston’s expert categorizes the lyrics into common themes such as ‘making lots of money,’ ‘connections to famous people,’ and ‘references to sports’,” the three-judge panel wrote. “But these broad categories are mere clichés of being a rockstar that are not unique to the rock genre. Singing about being a rockstar is not limited to Johnston.”
Ditto for other lyrics about sports, the appeals court wrote. Johnston’s song included the line “Might buy the Cowboys and that’s how I’ll spend my Sundays,” while Nickelback’s song featured the line “And a bathroom I can play baseball in.”
“These lyrics reference different sports in different contexts, and do not approach the threshold of striking similarity,” the appellate judges wrote. “No reasonable juror would think that Nickelback could have produced its lyric about baseball only by copying Johnston’s lyric about football.”
Released on Nickelback’s 2005 album, All the Right Reasons, “Rockstar” has not aged well with critics. In 2008, the Guardian said the song “makes literally no sense and is the worst thing of all time.” In 2012, Buzzfeed listed it as the second-worst song ever written, citing it as an example of “why everyone hates Nickelback so much.” But the song was a commercial hit, eventually reaching No. 6 on the Billboard Hot 100 in September 2007 and ultimately spending nearly a year on the chart.
Johnston sued in May 2020, claiming the hit song had stolen “substantial portions” of his own “Rock Star,” including the “tempo, song form, melodic structure, harmonic structures and lyrical themes.” In particular, he cited similar lyrics about rock star lifestyles, making huge amounts of money and having famous friends.
But in March 2023, U.S. District Judge Robert Pitman that Johnston’s case at times “borders on the absurd.” He said any similarities between the two songs were just “outlandish stereotypes and images associated with being a huge, famous, rock star,” and that much of the rest of the songs were different.
“Stated simply, they do not sound alike,” the judge wrote. “Where both songs evoke similar themes, they are rendered dissimilar through the vivid detail of the original expression in Nickelback’s lyrics.”
On Monday, the Fifth Circuit upheld that decision – meaning that, barring an extremely unlikely trip to the U.S. Supreme Court, the case is over for good.
In the ruling, the appeals court also upheld another important finding: That there was zero evidence that frontman Chad Kroeger and the other members of the rock band ever heard Johnston’s earlier song. Such “access” is a key question in any copyright lawsuit; without showing “access”, an accuser like Johnston must prove that two songs are essentially identical.
In appealing that ruling, Johnston argued that his band Snowblind Revival and Nickelback were “moving in relatively the same circles,” or that UMG executives had potentially attended one of his band’s shows at an Austin concert venue. But the appeals court was unmoved, calling it “mere speculation.”
“Inferring access from this evidence would require ‘leaps of logic’ that are not supported by the record,” the appeals court wrote. “A jury would have to infer that the executives Johnston named actually attended Snowblind’s shows or received one of his demo CDs, and that these executives then showed the song to Nickelback. This “chain of hypothetical transmittals is insufficient …especially in the face of testimony from Nickelback members and relevant executives that they had never heard of Johnston’s song.”
Attorneys for both sides did not immediately return requests for comment on Wednesday.
Catch Point Rights Partners, the private-equity backed music rights acquisition firm that has purchased the publishing of such artists/songwriters and/or producers as Brantley Gilbert, Yelawolf and All Time Low, is now offering a program through which it will buy performance rights income streams from songwriters while allowing them to retain ownership and control of all of […]
Sean “Diddy” Combs has filed his first legal response to allegations that he “sex trafficked” and “gang raped” a 17-year-old girl in 2003, telling a federal court that the allegations are “fictional” and violate his constitutional right to due process.
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The lawsuit, filed in December, was one of several abuse cases filed against the hip hop mogul late last year. In it, an unnamed Jane Doe accuser claimed that Combs and former Bad Boy Records president Harve Pierre “plied” her with drugs and alcohol before raping her in a Manhattan recording studio when she was just a high school junior.
But in his first formal response to the lawsuit, attorneys for Combs tell a federal court Tuesday that the events simply did not happen: “He never participated in, witnessed, or was or is presently aware of any misconduct, sexual or otherwise, relating to plaintiff in any circumstance whatsoever.”
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Led by prominent entertainment litigator Shawn Holley, Combs’ attorneys not only argue that the allegations are false, but that they are unconstitutional. They say that the statute cited in the lawsuit — New York City’s Victims of Gender-Motivated Violence Protection Law — is itself unconstitutional “on its face,” and that his accuser’s “decision to wait more than two decades” has cost Combs “the ability to defend himself fully and fairly.”
“For example, some or all evidence that otherwise would have been available if the action had been promptly commenced may be unavailable, lost, or compromised,” Holley writes. “The absence of evidence materially impacts defendant’s ability to defend against essential aspects of plaintiff’s claims. Witness identification, availability, and recollections are likely compromised due to the substantial passage of time since the alleged incident.”
The lawyers for Combs also say the case violates the so-called doctrine of unclean hands – meaning the accuser filed the lawsuit in bad faith. In making that argument, they said the lawsuit “alleges an entirely fictional account that never occurred.” They also argue that photos cited by the accuser in her complaint could be fake, disputing the “context, genuineness, and/or accuracy” of the images.
Combs was hit with a deluge of abuse claims late last year, first in the form of explosive allegations of rape by R&B singer and longtime romantic partner Cassie. That case quickly settled, but Combs was then sued by two other women who say they were sexually assaulted, and then hit with the current case over the alleged 2003 rape of Jane Doe.
Combs has already strongly denied all of the allegations. In a statement in December, he said: “I did not do any of the awful things being alleged. I will fight for my name, my family and for the truth.”
In her complaint, Jane Doe claimed that she met Pierre at a Detroit club in 2003, when she was just a junior in high school. After he “smoked crack cocaine” and “sexually assaulted Ms. Doe by forcing her to give him oral sex,” she says she flew to New York on Combs’ private jet to visit him in his Manhattan recording studio.
While at the studio, the lawsuit claims that Combs, Pierre and an unnamed third man “plied Ms. Doe with drugs and alcohol” until she was so inebriated that she “she could not possibly have consented to having sex with anyone, much less someone twice her age.”
“While at the studio, Ms. Doe was gang raped by Mr. Combs, the Third Assailant and Mr. Pierre, in that order,” Wigdor writes in the lawsuit. The lawsuit claims the unnamed man “raped Ms. Doe as she told him to stop,” and that Pierre “violently forced her to give him oral sex, during which Ms. Doe was choking and struggling to breathe.”
After the attack, the lawsuit says the accuser “could barely stand up” and “had to be helped to walk out of the building and back into a car.” She says she was then flown back to Michigan.
Also on Tuesday, Pierre filed his own formal response to the lawsuit, saying he “never participated in the sexual assault of the Plaintiff nor did he ever witness anyone else sexually assaulting the plaintiff.” Two corporate entities named in the lawsuit — Daddy’s House Recordings, Inc. and Bad Boy Entertainment Holdings, Inc. – also asked to be dismissed from the case, arguing they could not be held liable for any alleged wrongdoing by Pierre and Combs.
In a statement to Billboard on Wednesday, Jane Doe’s lawyers sharply rejected the arguments from Combs’ lawyers: “The deeply troubling allegations against the defendants by multiple women speak for themselves. The ridiculous claim that the photos are somehow fake and the law at issue is unconstitutional are nothing more than desperate attempts to conjure a defense where none exists.”
Read Diddy’s full legal filing here:
Sony Corporation of America’s personal entertainment business division today announced a partnership between global breakout star Peso Pluma and Sony’s audio brand campaign, “For The Music.” The collaboration marks Pluma’s first brand partnership.
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The agreement further strengthens what is sure to be a record year for the 24-year-old Mexican artist, who just announced a 54-date Exodo arena tour and is set to headline Coachella, Baja Beach Festival, Chicago’s Sueños Festival and New York’s Gov Ball festival. Peso said in a statement to Billboard that he was “excited for the opportunity to collaborate with Sony” and sees the “For The Music” campaign as a chance to open “pathways for Latin Music” markets and audiences around the world. Sony established the audio brand campaign “For The Music” for its premier consumer and professional audio products and services including its noise cancelling headphones, premium noise canceling earbuds, wireless speakers and pro audio hardware.
With “For The Music,” Sony is “affirming itself as the premier audio brand connecting music creators and consumers, aiming to create authentic music experiences and transcend emotion for fans through its personal electronic products,” a press release announcing the deal explains.
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“Since the launch of ‘For The Music,’ we have cultivated such amazing collaborations with artists on products and experiences that have brought their creative vision to fans in new and innovative ways,” says Jordy Freed, head of brand, business development, partner marketing & strategy, personal entertainment business in Sony Corporation of America. “We are thrilled to continue this work with Peso Pluma and support him as he takes his music to new levels.”
Less than one year ago, Plumas was selected as Billboard’s March 2023 Latin Artist on the Rise, setting an agenda to globalize the decades-old música mexicana genre. Since then, he’s landed over 20 songs on the Billboard Hot 100, including his blockbuster collab with Eslabon Armado “Ella Baila Sola,” and his album Génesis, which made history when it debuted and peaked at No. 3 on the Billboard 200, the highest ranking for a Mexican music album on the chart.
Most recently, Sony has partnered with Olivia Rodrigo, Miguel, SZA, Khalid, Tate McRae, and other artists. More here.
A&R veteran Tim Glover is named as president of A&R, Pulse Records, Billboard can confirm.
Glover joins the team from Interscope Geffen A&M, where he served as executive VP of A&R since 2022, and held the position as senior vp of A&R before that.
In his new role, announced today (Feb. 21), Glover works specifically on the Pulse Records division of Pulse Music Group, the umbrella company, and reports jointly to Scott Cutler, co-CEO of Pulse Music Group; Josh Abraham, co-CEO of Pulse Music Group; and Ashley Calhoun, president, Pulse Music Group.
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During his time at Interscope, Glover was the point person for the label’s partnerships with Dreamville — which has included such artists as J. Cole, JID and Ari Lennox, among others — and LVRN, including Summer Walker and 6LACK, as well as working with Tierra Whack and more than a dozen other artists at the label.
“Tim’s creative ability has led him to sign and work with some of the world’s top recording artists,” reads a statement issued jointly by Abraham, Cutler, and Calhoun. “We want our artists at Pulse Records to work with the very best in executive talent and Tim will be a key part of the team as we continue to build.”
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The experienced recruit joined Interscope in 2014, was promoted to senior vp in March 2019, and in 2021 was named to Billboard’s 40 Under 40 list of trailblazing young executives in the music business.
At Pulse, Glover will continue to A&R select projects with Interscope, a rep tells Billboard.
Launched in June 2023, Pulse Records is a part of Concord Label Group and is distributed through the company’s longtime relationship with Universal Music Group.
Since then, Pulse Records formed an artist development joint venture with ISO Supremacy, the new record label founded by platinum recording artist and Pulse Music Group publishing client, Brent Faiyaz. Through that arrangement, Pulse and Faiyaz signed Tommy Richman to Pulse Records.
Also, Pulse Records recently signed New Zealand-born, South African artist 9lives, a leader in the Sigilkore scene, a rap subgenre which blends cloudrap, hyperpop, and electronic, working with the likes of Trippie Redd, Rico Nasty, JELEEL!, Kanii and Odetari.
The Pulse team “is synonymous with artist creativity, artist development, building a strong creative community, and they go out of their way to customize their A&R strategies to the unique needs of each and every artist,” comments Glover in a statement announcing his appointment. “I look forward to big things ahead.”