The record and its place in the catalogue
My current releases on LESIXTYNINE MUSIQUE move through jazz, deep and French house. Brooklyn belongs to that part of the catalogue. The official label listing and Spotify release provide the credits and a place to hear the music directly.
A record gives a release plan its starting point. The artist identity, the collaboration and the music itself come before the campaign. That is the perspective I bring from the studio into the wider decisions around a release.
Connect the music to the work around it
Working as both a producer and a music executive keeps the two sides close. Release planning needs to connect the artist’s creative direction to the people handling the label, distribution and campaign work. A useful plan makes those responsibilities and priorities clear.
I work from my studio in Mar Vista, Los Angeles, alongside artist and label work across Europe and the US. The same practical interest runs through both: understand the record, identify the next decision and keep the work moving.
Keep listening beyond release day
I see a release as part of a longer catalogue. The record remains something people can discover after its first campaign. The choices around it should support that longer view, from the artist relationships to the way the music is presented and made available.
Brooklyn is a concrete example of my current production work. It also reflects why I care about release strategy: the systems and decisions around a record should serve the music and the people who made it.