No Love For The Middle Child, the songwriter and producer who wrote and produced mgk’s Lost Americana, has signed writer-producer Maxwell Urasky to a worldwide publishing deal through All Time Publishing, his joint venture with music executive David Surnow, in partnership with Position Music.
The deal is the latest move for All Time, which pairs No Love’s writing-room standing with Surnow’s rights-side experience. Surnow is president of Solid Music Company and a co-founder of Acumen Music.
The principals
No Love For The Middle Child, born Andrew Migliore, has become one of the more heavily booked writer-producers in rock and alternative. He wrote and produced the entirety of mgk’s Lost Americana, which debuted at number four on the Billboard 200 in August 2025, including the lead single “Cliché.”
He also contributed to Jelly Roll’s Beautifully Broken, which won Best Contemporary Country Album at the 2026 Grammys. His wider catalogue includes work with WILLOW, Tom Morello, Travis Barker, Sueco, Steve Aoki, Meek Mill, Juice WRLD, Megan Thee Stallion and Maggie Lindemann.
Who Maxwell Urasky is
Urasky is a writer, producer, mixer and engineer who first drew attention as a founding member of Mob Rich. His credits run through grandson, Bishop Briggs, Broods, Matt Maeson, Tom Morello, Jerry Cantrell of Alice in Chains, siiickbrain, Maggie Lindemann and Weathers.
He is also an artist in his own right in the ambient space, where the company puts his catalogue past 200 million streams. He and No Love wrote together on grandson’s INERTIA, released in September 2025, an album cut largely in a home studio with a small circle of collaborators.
That is the tell. This is not a talent scout finding a stranger. It is a writer signing someone he has already been in the room with.
Why writer-led ventures keep appearing
All Time is not a one-off. Position Music has now put its name behind a run of joint ventures fronted by working writers and producers rather than by career publishing executives.
- A publishing JV with Big Noise that brought in rock songwriter and producer John “Feldy” Feldmann.
- A global JV with Ollie Marland and Petey Martin of The Hit Bakery.
- A Culture Camp venture that signed producer RobOnBass.
The company is run by founder and CEO Tyler Bacon, with Mark Chipello as president. The structural logic is straightforward: a hit writer’s most valuable asset is not a back catalogue, it is access to the rooms where the next records get made. A publisher can buy catalogue on the open market. It cannot buy a peer relationship.
So the publisher supplies capital, administration and global collection, and the writer-principal supplies signings that would never take a cold pitch. It is the publishing equivalent of the producer-led imprint that labels have run for forty years, and it is spreading through the independent publishing sector while the majors concentrate on catalogue acquisition.
What a JV actually means if you are the writer being signed
“Joint venture” is doing real work in that sentence, and it is worth knowing what it changes. Three questions separate a JV signing from an ordinary co-publishing deal:
Who owns the copyright share
In a co-pub deal you typically assign a share of the publisher’s half. In a JV, the venture itself holds the position, and the writer-principal has equity in that venture. Your counterparty is a small company, not a catalogue balance sheet.
Who administers and collects
The JV rarely does its own collection. Here that sits with Position Music, which is why “in partnership with” appears in the announcement. Ask which entity registers the works and which one actually pays you, because they are frequently not the same.
What happens at the end of the term
Reversion terms in smaller ventures vary far more than at a major. Get the retention period in writing before the advance clears.
None of that argues against the model. A writer-run venture will usually give a developing songwriter more attention than a major would. But the trade is fewer people, a smaller balance sheet and a structure worth reading closely, points that apply just as much to the new publishing divisions and independent publishing partnerships now launching across the sector.
