Between 15 and 20 people will lose their jobs as a result of the full acquisition of Roadrunner Records by Warner Music Group last week. All of them are currently working at Roadrunner headquarters in Naarden in the Netherlands.

The present headcount of the Dutch Roadrunner office amounts to 22 people. Although almost all of them will be let go, Marcus Turner, VP legal and business affairs, tells the office will not be closed down completely.

"Roadrunner founder Cees Wessels will remain CEO and he will continue to operate from the Netherlands, so Roadrunner keeps its presence in that market," he says.

Turner claims only support and back office functions - like IT, administration, handling of royalty statements, the financial department and some international product management - become redundant. "These tasks will be handled by [international offices of] Warner Music in the future," he says. He expects the transition to take five to nine months.

In January 2007 Warner Music took 73.5% of Roadrunner's shares, for a total of $73.5 million. "Since then in 95% of the markets the Roadrunner label has been handled by Warner," Turner explains.

"The Benelux [Belgium, the Netherlands and Luxembourg] is an exception," he adds. "Roadrunner is originally a Dutch company and for the time being Cees Wessels has arranged that in the Benelux CNR Entertainment [a company owned by Wessels], will retain its current Roadrunner license. This means CNR will continue doing all sales, marketing, promotional and distribution activities for Roadrunner."

Turner says on other Roadrunner offices around the world there will be "only small reorganizations compared to the one in the Netherlands."

"Elsewhere it will mainly be business as usual," he continues. "They will continue to operate as independent entities within Warner Music Group. Warner indicated it wants to keep the added value of a true rock label. In order to achieve that, they will [have to] keep the existing operation intact."

Turner assures that Warner's complete acquisition of Roadrunner has no consequences for artists or their contracts, and he sees advantages for the label and repertoire. Turner foresees rock acts shifting from other Warner labels to Roadrunner in certain territories, the way it happened before with Avenged Sevenfold (in parts of Europe) and the Wombats (in the U.S.).