Fed up with the music industry as a whole in early 2001, Prophecy Records was formed in March of that year on the premise that all art is not created equal.
Ashamed of the state of affairs that the music industry had thrust itself into, the label has prided itself on putting the artist and material first and profit a distant second, allowing for some very interesting paths on the way to success, as well as a lot of pissed-off record execs that feel that nothing should be changed with the industry.
Prophecy has built itself a strong core contingent of partners that has allowed for it to be virtually self-sustaining, keeping costs down by keeping the projects majoritavely in-house while not cutting production value. Specializing in mostly live sound applications early on, the label has recently begun to venture into the recording and production end of the business more and more as our contacts, knowledge, and funding have grown.
Prophecy Records' overall goal has been, and always will be, to give artists, performers, and composers what most labels and industry insiders won't: a chance at success.
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Music is blind.
It doesn't recognize or consider your creed, ethnicity, orientation, or preferences.
It is the glue that binds us all together, regardless of language barriers.
We are artists, representing artists for the sake of the art and the music.
To create an environment within the music and entertainment industries that benefits the artists, composers, and talent first, and ourselves a distant second.
To treat every member of our talent roster and every person in our staff as family. And not the multi-dysfunctional, self-destructive type of family that is the norm today. The kind who will drive three hours to give someone the attention they deserve, or spend hours on the phone to help relieve the inherent stress that comes with daily life.
To prove to the rest of the entertainment industry that we have a responsibility to the society within and the populace that invests in music to produce only the best and most original work.
To show that "different" and "new" and "stylish" are often used as criteria rather than descriptions, and the judgment of art is for the people who perceive it, not the insider who sells it.
To give anyone who deserves it what no one else will: a chance at success.