Art&Music Recording

Lore & Background

Art&Music Recording was founded in 2009 by Dr. Shiver and Omar Zenzon. The Art&Music Studio, completed in October 2012, covers 1000 square meters and was developed by a team headed by Josif Vezzoli from JVC Acoustics. Control Room A, at 50 square metres, is the largest in Europe and includes a 48-channel mixer and six recording booths. Both control rooms are dedicated to recording, mixing and mastering; Control Room B also records dubbing for films, TV spots and videos. In 2012, the Russian trio Serebro joined the roster with their hit single "Mama Lover." In 2013, Art&Music released "Catch Me" by Doc M.C. (ft Mimi Blix), which reached the semi-finals of the Eurovision Song Contest in Malmö and was licensed to Sony Music. On 28 September 2015, the label released "You Got The Love" by Dr. Shiver – Candi Staton, the first official remix featuring the original 1986 vocal by Candi Staton; this track was chosen for the soundtrack of the Aftermovie of TomorrowWorld 2015. On 22 May 2017, Art&Music released "Kubera" by David Allen, which featured in the Tomorrowland Belgium 2017 Aftermovie.

Reader's Guide

Art&Music Recording operates as both a record label and a recording studio. The studio is the largest in Italy, with Control Room A being the largest in Europe. The label's roster includes over 80 artists as of 2022, with names like Dr. Shiver, Fatman Scoop, Daddy's Groove, Shapov, Michael Feiner, Solberjum, David Allen, John Christian, Galoski, Merk & Kremont, Polina, Ola, Candi Staton, Doc M.C., Christina Skaar, Luke Morse, SWACQ, Chingy, Dre Melz, Magnus Foss, Corx, Mathias D., Floats, Tindaro & Jimcash, Serebro, Federico Clapis, Jmi Sissoko, Michelle Lily, Simone Cattaneo, Sewit Jacob Villa, Static False, Roberto Mastromauro, Mula Lansky, Mauro Cottini, Luca Monticelli, Kim Covington, Havoc & Lawn, Fred Gun, Edgar Bet, Kristian Vivo, Cat Alex, Bo Valentine, Antony D'Andrea, Pro Bangah, Sammy Juice&Moto, Fine Touch, Tim Gartz, Mimi Blix, Masse Bros, Marco Evans, Luca Dimoon, and Eric Tyrell. The label's partners include Pioneer, Steinberg, Dynaudio, Solid State Logic, Apple, Google, Miloco Studios, YouTube, SoundCloud, and Shazam. Notable releases include Serebro's "Mama Lover" (2012), Doc M.C.'s "Catch Me" (2013, licensed to Sony Music), Dr. Shiver's "You Got The Love" (2015, featured in TomorrowWorld 2015 Aftermovie), and David Allen's "Kubera" (2017, featured in Tomorrowland Belgium 2017 Aftermovie).

Did You Know?

• The first official remix of Candi Staton's 1986 vocal, "You Got The Love" by Dr. Shiver – Candi Staton, was released on 28 September 2015 and chosen for the TomorrowWorld 2015 Aftermovie soundtrack.
• David Allen's track "Kubera," released on 22 May 2017, featured in the Tomorrowland Belgium 2017 Aftermovie.

Scope and Catalog Structure

The reference work dedicated to electronic music record labels presents itself as a curated catalog of notable imprints within that specific genre. The organizational framework divides entries into a numeric section (0–9) followed by alphabetical groupings that span the full letter range: A–C, D–F, G–L, M–O, P–S, and T–Z. This structure signals an intent to be comprehensive, covering labels regardless of whether their names begin with digits or letters. By isolating electronic music as the defining criterion, the list distinguishes itself from broader compilations of recording industry imprints, focusing specifically on the labels that have shaped the production, distribution, and identity of electronic sound. The alphabetical scaffolding allows readers to navigate the field systematically, whether they are tracking a particular label or surveying the breadth of the electronic music publishing landscape.

The Numeric-Name Labels

Among the entries catalogued under the 0–9 heading, three labels stand out for their distinctive naming conventions that blend numerals with words. 12k takes a more abstract, metric-sounding name, evoking precision and technical measurement in a way that resonates with the engineering-oriented culture of electronic music. Together, these three labels illustrate the creative range of naming strategies within the electronic music label world, where numbers can signal tempo, technical specification, or location. Their placement in the numeric section of the catalog underscores how the field embraces non-traditional, alphanumeric branding as a point of differentiation in a crowded marketplace of independent imprints.

Alphabetical Framework and Field Breadth

The structural backbone of this reference list relies on a straightforward alphabetical division that partitions the full spectrum of electronic music labels into manageable letter ranges. After the numeric entries, the catalog proceeds through A–C, D–F, G–L, M–O, P–S, and finally T–Z, creating six alphabetic bands that collectively encompass the entire English alphabet. This partitioning method is practical for a growing field: as new electronic music imprints emerge and established ones evolve, the alphabetical framework allows the list to expand organically without requiring a reorganization of its underlying logic. The breadth of the letter ranges—some spanning three letters, others four—suggests an awareness that certain initial letters may carry more labels than others, a natural consequence of naming conventions in the industry. By committing to this systematic approach, the catalog positions itself as a living document of the electronic music publishing world, one that can accommodate the constant flux of label launches, rebrands, and retirements while maintaining a navigable structure for researchers, collectors, and industry professionals.

Position Within the Broader Label Landscape

The electronic music label catalog does not exist in isolation; its cross-reference section explicitly situates it within a wider ecosystem of recording industry documentation. Two companion lists are identified: a general compilation of record labels across all genres, and a focused survey of independent UK record labels. These cross-references serve a dual purpose. First, they acknowledge that electronic music labels are one subset of a far larger global network of imprints that span rock, classical, hip-hop, and every other musical tradition. Many electronic labels operate on independent, small-scale models, and the UK has been a particularly fertile ground for such operations. By linking to these broader resources, the electronic music catalog invites readers to trace the threads connecting a single electronic imprint to the wider history of independent music publishing and the global record label industry.