Believe Launches First US Record Label AZTEC With Az Cohen

French music giant Believe has partnered with former 300 executive Az Cohen to launch AZTEC, the company’s first U.S.-based record label. Based in New York, the joint venture aims to shift the industry focus from short-term social media virality toward sustainable, long-term artist career development.

The music industry is currently trapped in a cycle of “micro-hits.” In an era dominated by 15-second clips and algorithmic lottery wins, the traditional concept of an “artist’s career” has been replaced by the “viral moment.” For many creators, a million streams on a trending track doesn’t translate to a sustainable living; it translates to a temporary spike in visibility followed by a steep decline.

AZTEC is a direct challenge to this volatility.

By establishing a frontline presence in the United States, Believe is not just expanding its footprint—it is attempting to institutionalize patience. This move comes after two decades of Believe building a global empire across more than 50 territories. Now, they are entering the world’s largest music market with a strategy that prioritizes “empire building” over “quick wins.”

The Pedigree of a Power Move

The appointment of Az Cohen as president and founder of AZTEC is a strategic masterstroke. Cohen is not a newcomer to the high-stakes world of indie labels. He spent 13 years at 300, the label co-founded by his father, industry titan Lyor Cohen, alongside Kevin Liles, Todd Moscowitz, and Roger Gold. During his tenure, Cohen helped shepherd the careers of global powerhouses like Megan Thee Stallion, Migos, Young Thug, and Fetty Wap.

The financial viability of the 300 model was proven in 2021, when the Warner Music Group acquired the company for $400 million. This acquisition signaled a massive shift in how major labels view independent ventures: they aren’t just competitors; they are the primary incubators of modern culture.

Cohen’s experience extends beyond A&R. He launched Sparta, 300’s independent distribution wing, which has amassed more than 8 billion streams. This specific expertise in the plumbing of the music business—how a song actually moves from a studio to a listener’s ear—is exactly what Believe needs to integrate AZTEC into its broader ecosystem.

“In an industry that’s become increasingly about quick wins and short-term virality, we are artists, engineers, planners and warriors with a singular focus: building empires with our artists and partners,” Cohen stated.

This “warrior” mentality is necessary because the legal and financial landscape for new artists is more treacherous than ever. As labels shift toward joint ventures and complex distribution deals, artists are finding that their contracts are often incomprehensible. Navigating these agreements requires more than just talent; it requires elite legal protection. Many emerging acts are now prioritizing the recruitment of seasoned [Entertainment Lawyers] to ensure they aren’t signing away their masters for a short-term advance.

Building the ‘Full Stack’ in America

AZTEC does not exist in a vacuum. It is the final piece of a larger puzzle Believe has been assembling in the U.S. Market. To understand the scale of this ambition, one must look at the three-pronged approach the company is employing:

• Frontline Talent: AZTEC, led by Cohen, focuses on signing and developing new artists.
• Infrastructure: A new label and artist solutions division, headed by Thomas Maxwell, oversees distribution and services.
• DIY Access: TuneCore, the DIY distributor Believe acquired in 2015, provides a gateway for independent artists to enter the system.

Together, these entities create a “full stack” of services. An artist can start as a DIY creator on TuneCore, be spotted by the AZTEC A&R team, and then be scaled globally through Believe’s international network. This vertical integration reduces the friction between discovery and monetization.

The operational hub for this venture will be New York City. By anchoring AZTEC in New York, Believe is positioning itself at the intersection of global finance and creative output. However, establishing a new corporate entity in the city’s competitive landscape involves significant regulatory hurdles. Many new ventures are currently leaning on [Business Incorporation Services] to streamline their entry into the Manhattan market and ensure compliance with local labor and tax laws.

The Macro-Economic Gamble: Patience vs. The Algorithm

The central tension of the AZTEC launch is the conflict between “patience” and “the algorithm.” Current industry data suggests that the lifespan of a hit song has shrunk drastically. When a track goes viral on social media, the pressure on the label to capitalize immediately is immense. This often leads to “churn and burn” artist management, where the focus is on the next single rather than the artist’s overall brand identity.

Romain Vivien, Believe’s global head of music, emphasizes that the joint venture is about “supporting entrepreneurs who deeply understand the creative and cultural landscape.” This suggests that Believe is betting on human intuition over data-driven A&R.

This shift toward long-term development is a risky but necessary evolution. For artists, the danger is no longer just “not getting signed”—it is getting signed to a deal that treats them as a disposable asset. To counter this, there is a rising trend of artists seeking [Intellectual Property Attorneys] to help them retain ownership of their creative works while still utilizing the distribution power of giants like Believe.

The success of AZTEC will likely be measured not by the first viral hit they produce, but by whether their first cohort of signings is still relevant five years from now. Cohen’s focus on “hyper-local stories” indicates a strategy of finding authentic, regional movements and using Believe’s “boots on the ground” in 50+ territories to export those stories globally.

As the industry continues to oscillate between the chaos of social media and the stability of traditional label structures, the arrival of AZTEC marks a pivotal moment. It is a bet that the “empire” model—characterized by commitment, planning, and patience—can still survive in a world of instant gratification. For the next generation of artists, the question is no longer how to get noticed, but who has the patience to help them stay noticed. Finding the right professional partners to protect that longevity is now the most critical move an artist can make, and the World Today News Directory remains the primary resource for connecting creators with the verified legal and business experts capable of safeguarding those empires.