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Darlington likens the Chinese explosion to what North America felt like when Monstercat began. Consumers are “hungry, interested and appreciative for new sounds.” And they really like it when labels show recognition of local talent. He can’t release the names yet, but three Chinese acts have recently inked deals with Monstercat. The name announcements will be coming later this year, likely waiting for the label’s 70,000-plus Chinese subscriber base to blossom.

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Monstercat has always pursued an aggressive release schedule, dropping four new tracks per week across its brands. To date, the company has worked on releases with over 100 globally-located acts ranging from veteran Israeli dance duo Infected Mushroom and Marshmello to Kelowna’s Conro. The track-by-track release arrangement the firm follows is decidedly different than a traditional music label, but Monstercat is a creature of the digital age.

“They say that we are in the golden age of streaming now and we have certainly benefited from that in North America, but a lot of our efforts being felt here in the Vancouver offices come from continuing to enter new global markets,” said Daniel Turcotte, a commercial director involved in pursuing opportunities in burgeoning Asian markets.

“While we continue to push hard in Europe, in the past six months we did our first shows in Taiwan, Vietnam, Japan, Hyderabad, Thailand and Croatia. We are looking at something over 12 million fans globally.”

Obviously, those fans come to Monstercat from music on its sites. But the company has always been involved in all aspects of digital entertainment. The 13 internal company divisions cover a wide-range of traditional and “new model” music label business with a keen eye on the merging of sounds and gaming. Among the major titles that Monstercat has done all the music for is Rocket League as well as building music for Netherlands-based video game firm Soedesco’s Xenon Racer. Taking things offline, a Monstercat board game was tested out at this year’s Compound. Analogue that, gamer.

“Last year, we did about 300 placements of music across video games, advertising and films,” said Turcotte. “This year, it’s up more and, increasingly, we are seeing the ecosystem growing up around this whole global user system with its demands on the easing of copyright and territorial rights. Even when people thought that was a crazy thing to do, we always did all of our licensing for a global market model.”