​Fair labeling


We are a subsidized label supported by the Wallonia-Brussels Federation and the Walloon Region (APE). For nearly 10 years, we have been working towards a new, fair, and sustainable music economy that provides a healthy alternative to the current stagnant market, which only benefits a minority of artists. We believe that this is the most solid alternative to pool resources and empower artists. Recording, mixing, mastering, and post-production are complemented by the most advanced support and development policies, which have a short-term impact on artists, with a sharp, demanding, and recognizable sonic signature.

Key Moment

(...) homerecords.be has been my partner/label since the very beginning of the project in 2012. (...) They were the first to believe in the project. (...) As a singer-songwriter, I wanted to remain my own producer and not sell the master tapes of my songs or sign a licensing agreement. Additionally, I wanted to press my albums at factory prices and have them released under their label. Despite my unconventional demands at the time, the label showed extraordinary creativity. Under the supervision of lawyer J-C Lardinois, we created a "Label and Album Distribution Agreement". (...) This type of contract did not exist anywhere at the time. (...) It can truly be said that homerecords.be was a pioneer in this regard. It was the first step towards a new music economy! (...)

Amaury Massion (LYLAC) •  Label artist (B)

100% of the revenue goes to the artists, and they retain full ownership of their work!

We advocate for artists to retain 100% of their copyright and remain owners of their works. Moreover, it is our duty to transfer production rights to them.

In this way, the rights holders have all the tools to negotiate their future effectively with other professionals (booking agents, managers, publishers, etc.) or for their own benefit.

A mutual commitment.

For this economy to be possible - and fair - there is one condition: the active participation of artists with a very small share in the overall production budget, in order to involve them in the control and defense of their project.

When an artist brings their own production and wishes to be released on the label, the rights holders retain full ownership of their copyright and production rights, but they contribute to the label's expenses. If they decide on duplication, they bear the costs at factory prices and own the duplicated copies.

A delegated public service mission.

We believe that the Public Service is a guarantor of these emerging talents and a serious lever for offering alternatives to the current market.

Some players in the conventional music industry have realized that independence is more beneficial for them. For example, Stromae, Ibrahim Maalouf, and Amaury Massion (LYLAC) are their own publishers and producers. The economy is undergoing fundamental change: the future lies in autonomy and pooling resources.

We believe that a subsidized structure should contribute to public policy and should not deduct from the artists' revenues (copyright, production rights, and digital sales).

However, royalty revenues are not very high. But they are virtually unlimited in duration (70 years). Moreover, rights management organizations are negotiating with major platform players to substantially increase distribution. This increase is well underway, especially as the control of broadcasted works (monitoring) intensifies. Additionally, performance rights, being more favorable, bring in more income in proportion to live performances.

Through our voluntary and exploratory policy, we assume the role of a public service laboratory that we believe contributes to a more desirable world.

Freedom, autonomy.

We allow the artist to come and go freely (no exclusivity or artist contracts, only project-based contracts).


See our privileged links

For almost a quarter of a century, homerecords.be   produces and releases high-quality records. However, this label does not tirelessly follow the same path. Its new releases are always surprising (...). In these tremendously difficult times for record labels, how can one not admire this eternal curiosity and the unwavering trust placed in musicians?

François Mauger •  Editor-in-chief of 4'33 

At our label, there are no niche genres. On the contrary, we work to break down musical barriers and defy formats. Our artists represent a vibrant, thriving, creative, and original scene that goes beyond the expected frameworks of commercial products (though we certainly do not shun success). We prioritize the uniqueness of the artistic expression of our songwriters and composers, giving priority to original creations. In our productions, with few exceptions, there are rarely standards or cover songs.

In almost 40 years of my career, I have had the opportunity to work in many recording studios (…). Recording the album "PATAPHONIA" in HR Studios allowed me to experience a superior dimension: high-quality sound recording (with a rare understanding of acoustics and microphone selection), genuine artistic support and dialogue with the entire team throughout the process, and extreme care given to mixing and mastering. All of this was done in a cheerful atmosphere, without any concerns about exceeding sometimes necessary time limits. The result: a highly successful album, praised by critics. Just one month after its release, contacts from abroad started multiplying.

Max Vandervorst •  Label Artist (B)