[4] While Minus N set the model of distribution of Japan's netlabel community in that every release was issued for free online, it garnered the most attraction from Western territories due to acts from all across the world on the label.
[4][5] In the words of journalist Patrick St. Michel, the label gained attention due to "a combination of reoccurring musicians and one-off releases.
"[7] Starting in the early 2010s, Maltine has used methods to spread their music around to those who don't have computer internet access; this included making and releasing the compilation album MP3 Killed The CD Star?
"[7][4] A track by Maltine regular contributor Gassyoh is a house song featuring samples from the role-playing video game EarthBound (1994).
[5] Bump Foot has the most releases out of all the Japanese netlabels (More than 400 as of December 2014), and also features the highest number of non-Japanese artists.
has released what St. Michel described to range "from remixes of popular J-pop songs, to anthemic floor fillers, to fidgety built-for-headphones numbers.
"[5] He cited it as an "essential" to the Japan netlabel community for its heavy focus on live nightclub events known as Another Weekender, which are also streamed to the internet via Ustream.
[4] Formed in November 2011 by producers Azusa Suga and Yoshiki Iwasawa,[11][5] Canata Records is a Tokyo-based label for bedroom musicians from around the world.
[11] Canata's music has touched on styles such as shoegaze, indie pop, Vocaloid rock and, in the words of St. Michel, "nostalgic, sample-heavy" chillwave and vaporwave works by founder Azusa Suga.
[11] Ogasawara formed Ano(t)raks out of desire to release music with the groups The Paellas and Post Modern Team that he first met via Bandcamp.
[11][12] The album received attention from music blogs across the world, and led to some of the bands featured on the record gaining gig opportunities according to Ogasawara.
[5] Tanukineiri Records is a Japanese netlabel that St. Michel highlighted for its lack of stylistic "identity" uncommon in the scene.
[4] An attribute to the success of Japanese netlabels is the popularity of social networking services like Facebook and Twitter that the imprints use to promote new artists and releases.
[4] Hikada marks this social network element of the scene to also come into play into live performances that are a part of the community.
[4] As St. Michel explained, "Hikada says party goers spend a lot of time tweeting at these nights, using hashtags to keep up with everyone else there and using the social-media site to toast one another.
[4] Netlabel musicians that transitioned in working for mainstream labels include Avec Avec, Yoshino Yoshikawa, tofubeats and Fazerock; tofubeats became a solo act for Warner Bros. Japan, collaborating with American singer Liz and providing a mix for the radio series Diplo and Friends.
[4] In December 2012, the Tokyo nightclub Womb held "an all-netlabel party" featuring acts from netlabels such as Maltine, Bunkai-Kei, No Disco and On Sunday Recordings.