Talkbox Recordings (TLKBX RCRDS) is a forward-thinking, multi-genre label inspired by pioneers like Ninja Tune, XL Recordings, Tru-Thougts, and R&S. Our mission is to build a mostly physical imprint, with high-end digital releases, championing the artistic spirit. Our artist are really focused on quality, thinking in 360 media setting, meaning: the whole concept from the song, to the video clip. Many of us have a background in fashion, design, styling. The creativeminds are sharp in this shed and we have the network to make it work. Guidance and financial Trust is the only thing between us and what we wish to present. For the future we wish to open up T&T Records (Tangible Therapy) to be our vinyl-only imprint, catering to club-ready material, from experimental breakbeat cuts to timeless, elegant house music.
Rebrand & Values: In June 2024, we will undergo a rebrand to integrate our audio services and publishing divisions while working with a more diverse artist roster. We prioritize working with brands and companies that align with our values of fairness, ethical work environments, and a shared vision for the future of our planet.
Label instagram: http://instagram.com/tlkbx_rcrds/
Label Bandcamp: https://tlkbxrcrds.bandcamp.com/music (full catalog)
With Support from people like Robert Luis, Laurent Garnier and many more other amazing industry houses we are looking back at our journey with a smile and some moments of reflection in anticipation about what is to come next.
Hi TLBX RCRDS, good to meet you! Who is behind the label?
Hi, yeah, my name is Morrison J. Bramervaer. I am the founder of the label “TLKBX RCRDS” (TALKBOX RECORDINGS, formerly known as Two Five Six Records) and I mostly run it. I do have two amazing friends who help with everything: Christoph Mühl and Raymond van Dijken. Christoph is in charge of digital distribution; he works at Imusician. Raymond and I curate artists and build a large local/international network in Amsterdam.
Sometime in early 2023, we decided to switch it up and become more professional. My main task would be production and taking care of the artists and their work, as well as broadening our sonic reach by adding jazz, trip-hop, and more pop-related genres while keeping it classy and high-quality. With artists like Norah Jane, Razeen, and Zoozilla, we are showing the industry that we are more than just a house label, as we once were. Our releases are being played on Radio France, BBC, Radio Eins, and many others. This is also thanks to our PR partner “Unveil PR” from the UK—absolute legend, this guy is.
Christoph mainly focuses on our publishing and is responsible for 90% of the mastering of the label’s releases. Raymond has a major role too; he’s building a high-end left-field catalog, carefully curated for 2025. He is also building an event named “Subs & Dubs,” which is starting as a live radio show at Radio Hintergarten, what we believe is the next musical hotspot of Amsterdam. His radio shows “Final Fantasy” on Voices Radio and “Safety First” on Komrad have been attracting big players like Carista and Brutuzz lately, and we are looking forward to the future.
When did the idea to create the label first arise?
2013 or ‘14? It mainly started as a self-release system using Distrokid back then (shame). The idea was purely for myself and a few others at my studio facility. We were mostly doing ghost productions or writing for bigger artists in Amsterdam. I just wanted a little something to push my own tunes—not to get famous or anything, but more to just have an easy way to give people a link.
In 2015, it became more of a label idea, with the first release being from my homie Du Chatinier, a previous resident of Studio80 in Amsterdam. It was a hip-hop album, followed up by a deep house-type EP from myself, and slowly it kept building. Getting Guys like Etur Usheo, MOOD on board and later Henrik Villard, DJ NDCYSV from 2020 on. It became more serious in 2017/18 when I was living in Berlin and working with Christoph. We started doing small label events, being more proactive in finding proper artists, and from that moment on, we have worked with some really talented people.
Now, in 2023, ’24, and 2025, we are fully focused on making this label an economically viable company. We hope to collaborate with a bigger indie label to learn and grow.
Do you have any statistics since the label was created—how many releases, how many vinyl records, and how many units have been sold?
Good question. As you can see, we have been playing around a lot, but now we’re getting more serious, even in terms of administration and stats. I believe we have several million streams in total. We have released 43 projects, including EPs, singles, and albums. Several of our projects have been featured in hard-copy and online magazines, and so far, 10 projects have been featured on national and international FM radio stations. And it’s only getting better! Up next, we have a V.A. curated by Kray.Atief (Raymond van Dijken), the second EP by Groove God Jaïr Darnoud, an EP by Nathan & Moos, an EP by Horsemen, and of course, we can’t forget the debut album from Razeen.
From which country do most of your buyers come?
The UK, France, Germany, the States and Brazil. We try not to really care about streams, although it is important. We care about our fans and those who support us, but we also realize the “consumer” market is no longer something I can promise to artists as “this will make your income.” Instead, our focus is on cataloging and licensing, working directly with agencies and brands and placing the records signed to the label with them for exploitation—always with the consent of the artists. This will continue to be our focus for the coming years.
Which release are you most proud of?
I find this incredibly hard to answer, as many releases hold more value to me than just being a release. I think, currently, I’m really proud of the album I produced for Norah, „Godspeed“—a 2x 12-inch vinyl which is getting air-play around Europe. But yeah, many releases are dear to me. I’ve made friends and built lovely international relationships with people because of the releases, and I’m happy to give the artists a bit of summer pocket money every year from their streams if spotify does not steal it all. It’s not a rich man’s game yet, but we keep pushing.
Can you describe what a typical office life means for you?
I’m not quite sure what you mean by this, but I assume you mean administrative work? Office work as in outside of the studio? I mean, it’s the same for everyone, right? You work on your computer, creating documents, sending emails, and pitching ideas. There’s a lot to do, but most of us don’t work in an office.
Do you produce yourself, or are you a DJ?
I’m a lead producer, as they say these days. I oversee album production and independent production projects, from studio sessions to release planning, being the creative in the studio but also heavily involved in A&R. My own focus is on house, breaks/jungle, and film music in terms of production. Christoph is an audio engineer and a fantastic music producer (house, breaks), and Raymond is a DJ/curator, whom I will soon support in his production journey. I’m very excited to work on that. Like I said, there’s a lot of development happening right now.
Which distribution channels do you use?
For vinyl, we can work with JUNO.LTD depending on the scale of sales of the artist. For digital, we’re with Imusician, a small boutique distribution company from Switzerland, also located in Berlin. We’re in open talks with other parties for vinyl, but for now, we handle a lot ourselves. Our vinyl is pressed locally by Record Industry, to support our local economy. We try to stick with our people, who work hard for this part of the industry.
Where do you find young, hungry, and ambitious artists?
Everywhere, bro, everywhere. The internet, local parties—we approach them, but very often they approach us. We are very active in the music scene, not in one genre but on a wide spectrum, this helps a lot. As we are artist ourselves we can easily relate to the other artists who distrust labels. They know, even if we make a mistake here and there, that we are there with them and for them. We are still learning but I have admit we are blessed with our relationships and social positions.
What impact does Spotify streaming have on the economic situation of an indie label?
NOTHING. Ok, I lied—“promotion” and some essential geo-stats—but to be fair, other platforms provide those as well. I’ve lost all faith in Spotify. I see it as a poster campaign, and I cannot wait for the industry to drop this scamming platform. Spotify isn’t useful for economics—it made the field more accessible, but more artists are more broke than ever. It mostly steals from you, to be honest. We are working on building a network with physical products and placements to build a stronger, locally secure platform for instance we have a close working relationship with Black Gold Records Amsterdam, a label and Vinyl store in Amsterdam and let’s not forget our go to for “electronic music” of course “KILLACUTZ”. And yes, of course, digital work is still important, but 1 million streams isn’t even one month of general income. So, you never have to worry about Spotify in terms of influence on your label. It’s far more important that local vinyl shops, music organizations and media companies are interested in your work. – Another thing I would advise any label to do is to build a catalog, get familiar with licensing and sync rights, and work closely with your artists to create what is needed for that. For instance, a sync for a Mercedes commercial will get you €15,000 plus TV/radio royalties. On top of that, you can publish it on regular channels, and that commercial helps drive traffic to your full song. This is what we are building more and more, and it’s really the way to go i.m.h.o.
(PS: I’m not saying it’s easy to break into this part of the industry, but nothing is easy, so it’s best to focus on the hard stuff that will actually give you a return on your investments, both in time and money.)
If you’re looking for new music, what are the key elements and factors you look for, apart from the fact that it’s obviously a great track?
SKILL // TALENT // COMMITMENT // CONSISTENCY // FREQUENCY OF PRODUCTION. And last: being able to tell a story, not just once, but a story that can be carried over several production eras. As an artist, you develop, but you also carry your past. Humans want to relate to this, these days it is more about you in relation to your music then “just” your music.
How would you describe the label’s style and vision?
“No genre, just quality curation.” Talkbox Recordings (TLKBX RCRDS) is a forward-thinking, multi-genre label inspired by pioneers like Ninja Tune, XL Recordings, Tru Thoughts, and R&S. Our mission is to build a mostly physical imprint, with high-end digital releases, championing the artistic spirit. Our artists are really focused on quality, thinking in a 360-degree media setting, meaning the whole concept, from the song to the video clip. Many of us have backgrounds in fashion, design, and styling. The creative minds are sharp here, and we have the network to make it work. Guidance and financial trust are the only things standing between us and what we to presentfor the future, we plan to open up T&T Records (Tangible Therapy), which will be our vinyl-only imprint, catering to club-ready material ranging from experimental breakbeat cuts to timeless, elegant house music. This sub-label will be curated by two amazing people: Christoph Mühl, aka ICTV, and Raymond van Dijken, aka Kray.Atief. They are two extraordinary DJs and artists with impeccable taste and insight, both of whom I trust completely.
For producers who send their demos via email, what tips would you give them?
This is not perse, for our label but I think this is wise in general:
– Know the label. Be ready for feedback, and be ready for a „no.“ When it’s a „yes,“ understand that promoting your own music is just as important as the label promoting it. Why? If we promote you but you can’t even post about your own music once a week, why would we waste our resources on it, everything costs money unfortunately. Get over your shame, get over your ideas about being „cool.“ Like Tyler, the Creator said, „Spam the world with your work.“ You’re proud of it, right? One story isn’t enough—might as well not do it at all. – I am to cool for what… huh”
No matter the medium, whether it’s playing on the streets or posting a selfie with your music, it’s all the same: speak up about your work. If you don’t, I wouldn’t understand why any label would invest in you if you’re not even doing it for yourself. It would be like being in a relationship where you can only love yourself because someone else loves you. Well, that doesn’t work. If you don’t understand that, spare yourself the headache and wait before releasing anything, there is no shame in this.
OR find a way to be yourself without doing everything I just mentioned. If that’s your vibe, tell me, and I’ll consider you based on your talent and studio skills. I’ve done that with several artists before. Not everyone is able to be a public figure but can have the most outstanding music skills. There are exceptions to every rule.
ARTIST TO FEATURE IN THIS PIECE:
Norah Jane X Mor.lov “GODSPEED” Album.
