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Top Stories
European Parliament pass copyright extension
Musical rich list nonsense
Pirate Party responds to Pirate Bay trial controversy
Spector may be a suicide risk if he gets a long sentence
Eminem's mother wants reconciliation
Eminem on the state of hip hop
In The Pop Courts
Lil Wayne tour bus gun to be reconsidered
J-pop star loses ad contracts after naked arrest
In The Pop Hospital
The Kills girl taken ill during gig
Pop Politics
Oklahoma governor realizes the public's want
Weller's manager father dies
Awards & Contests
SeeMe nominations out
Artist Deals
Big Dada sign Anti-Pop
Release News
Free MJ Hibbett download
Gigs N Tours News
Malcolm Middleton announces tour dates
Album review: Au Revoir Simone - Night, Still Light (Moshi Moshi)
The Music Business
New Name recruit
EMI recruit new UK chief for record labels
FAC make staff appointments
Ryko Distribution folded into ADA
The Media Business
UKRD extend TLRC share offer
And finally...
Beyonce hoaxer owns up
Liam doesn't like Noel either
Trivium discover file-sharing

Brooklyn-based multi-instrumentalist Kotchy's mixture of folk, hip hop and electronica has built him up quite a following with a series of now sold out single releases, which have lead to him being chased by the likes of Tricky, Empire Of The Sun and Fischerspooner for remixes. He's also found time to pull together his debut album, '89', released by Civil Music, which is available via download right now and will be released in physical form on 4 May. And who would have thought, it was all because of a chicken? We caught up with Kotchy to find out more.
Q1 How did you start out making music?
A shadow chicken woke me up one night as a child and cut me a deal. Offered me a sizable bag of weed if I'd be his messenger for the ill tracks he wrote but couldn't produce since he was computer illiterate and too short to play drums. Seriously though, I did see the shadow of a chicken run across my room. My family still gives me a hard time about it. I started out playing drums as a kid. I'd keep myself entertained just playing beats along with records, and I usually would love certain sections from songs that I'd loop and just listen. Most of the time I'd listen and wish the songwriter would have changed it up, or just kept a vibe going and let it ride out instead of forcing a bridge or chorus because it was conventional. So, eventually I thought I'd take a crack at writing/producing music that satisfied those cravings.

Q2 What inspired your latest album?
I guess at the core of it was an expression of musical freedom. '89' is a record where I never thought about things like having a standard number of choruses, or even having a chorus for that matter. I just made what sounded good to me and captured what moods I was in when I was recording. That sounds a bit like I'm describing a free jazz record, but if you listen to my record, it's clear I love pop music, but I don't care for the conventional and predictable structures of it.

Q3 What process do you go through in creating a track?
It's different for almost every track. Sometimes an idea will just pop up in my head, sometimes I experiment until I find something cool. Experimenting until I find something is probably my favourite. I love exploring cities for street art (especially New York), and this musical process gives me the same thrill as finding a cool piece of art somewhere. I also sometimes put a picture of a piece of art I like next to my screen so I can try to make something that sounds like it matches the artwork. I don't have a standard process though. I'm not a routine oriented person.

Q4 Which artists influence your work?
I never think of other artists when I'm making music, but Brian Blade, Stevie Wonder, Nick Drake, Outkast, The Mountain Goats, Prince, Miles Davis, Betty Carter, Tim Adams Jr., Talib Kweli, Nas, Van Morrison, Busta Rhymes etc... the list of music I was super into growing up is insanely long. Nowadays, when I'm not working on my own music, I enjoy silence. I keep getting compared to the same handful of artists, which while flattering, is a bit difficult too. I mean, I'm Kotchy damn it! I'm not talking through someone else's cell phone... shiiiit.

Q5 What would you say to someone experiencing your music for the first time?
Please don't try to categorise and associate. Just listen and let your mind wonder.

Q6 What are your ambitions for your album, and for the future?
I hope this record becomes a staple in people's playlists when they're walking around, on trains, planes, or driving. The best would be if someone told me they invited friends over to listen on vinyl while busting open some of the top shelf shit. The album could have been re-titled the pensive times of a beat junky. The future? Guess I may as well be ambitious here... I want to be a voice of spontaneity, honesty, and humility in music. And inspire kids who are getting into music to put the time, work, and focus into the music instead of the image and hustle of popularity. Oh, and tour the world playing my music... without ever missing breakfast. I love breakfast.

MORE>> and

VIGSY'S CLUB TIP: MN2S at matter
Celebrating their 14th birthday no less, the Milk N 2 Sugars crew are going to party hard at Fabric's natty big sister venue, matter, within that O2 thing. Room one, the massive three levelled main stage room with 1600 capacity and a sky bridge no less, will play host to special guest David Morales who will celebrate MN2S's fourteen years with a massive five hour marathon set, with support from Todd Terry. Another of my faves, the much tipped here Joey Negro, aka Dave Lee, the Z Records head honcho, will also be there, as will Danny Krivit, Alix Alvarez, Danism and The Layabouts. Expect top drawer house all night long. No wonder the MN2S franchise has lasted the distance with nights as good as this...

Friday 24 Apr, matter, The O2 Arena, North Greenwich, 10pm-7am, £20 on door, NUS £12, £15 adv, info at and, press info from Fabric.
Oh, now this sounds good, and look, a special offer for all you CMU types. CMU favourite and Bestival chief Rob da Bank has got a new book coming out next week called 'A-Z Of Festivals' recalling his many travels around the world taking in music festivals large and small. This is relevant today because tonight he will take to the stage at the Ether Festival, currently taking place at the Southbank Centre, to talk about the book and then take part in a debate about how festivals can continue to innovate, and whether the digital revolution will ever erode the appeal of 'being there' at a live event? Broadcaster Miranda Sawyer will do the interview, while Basement Jaxx agent Peter Elliot, Creamfields chief James Barton and Virtual Festivals founder Steve Jenner will take part in the debate. Tickets are a tenner, but CMU Daily readers who call 0871 663 2500 and book in advance, and say the secret code phrase 'future festivals' as they order, can get two tickets for the price of one, so just a fiver each. Hurrah.

Friday 24 Apr, Southbank Centre Purcell Room, London, 8pm, £10, info at (2for1 offer only on telephone bookings - 0871 663 2500)



with a London based charity, unpaid though travel and lunch expenses paid.

This national employment charity is looking for a bright, enthusiastic graduate to intern with them for 3-6 months. You will be responsible for a research assignment for its regional operations. You will spend some time conducting desk research in London and the rest of the the time you will be making site visits to locations which include Glasgow, Newcastle, Liverpool, Plymouth, Bristol, Hastings and Brighton. Travel, lunch and accommodation expenses will be paid for those trips.

You will conduct one-to-one interviews with key senior management and local operations staff and then prepare a first stage feedback paper per operational region to be used as the basis for the development of a business strategy.

You will need plenty of common sense, confidence and the ability to deliver to deadlines. You should be prepared to work autonomously and have lots of get up and go. Reporting to the Marketing Director, you will be expected to have strong writing and research skills.

This is a fabulous opportunity to gain experience at a national level in the charitable sector.

To apply, send your CV and covering letter to [email protected] quoting reference SS64


UnLimited Media is seeking an intern to begin working with us this Spring/Summer. The successful candidate will work primarily on CMU projects, helping process and manage review CDs, update databases, expand the CMU Directory and assist on upcoming marketing programmes. These are unpaid positions, but interns will get an unrivalled introduction to the music and media businesses, editorial, administration and marketing experience, and the opportunity to make great contacts.

To apply send a CV and a short note telling us what you'd like to get out of an internship to [email protected].

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Leyline Promotions - better known as one of the capital’s leading independent promoters (The Remix, Kill All Hippies, Insomniacs Ball, Twisted Licks, Breaking Ground) - have created a new publicity department headed up by Nick Bateson and Adrian Leigh. The pair have worked on major campaigns including a-ha, Glade Festival, Fat Freddy’s Drop, Standon Calling Festival and Hervé amongst others.

In addition to their wealth of experience in the live arena, Leyline Publicity now specialise in bespoke PR services including online and offline music and lifestyle press, radio plugging, brand development, digital marketing and blogging. For further information please contact: [email protected] or [email protected] t: 020 7575 3285


ADVERTISE WITH CMU - classifieds £120 per week, job ads £100 per week, banner ads £150 per week, leader box £200 per week - call 020 7099 9050 or email [email protected] for information or to book.

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So, the European Parliament yesterday voted in favour of extending the copyright term for sound recordings from the current 50 year term up to 70 years, not quite what the music industry has been pushing for, though better than nothing I guess.

Not that this means records released back in 1958 are suddenly back in copyright, there are still hurdles to be crossed at the European level, not to mention the legislative ramblings that will be required in the UK to actually apply any European decision to British copyright law (plus I'm not sure the extension will be retrospective so to cover recordings already out of copyright). And it's worth noting that getting European Parliament approval was never going to be the biggest hurdle to cross.

As much previously reported, years of lobbying by the record industry to try to persuade political types to extend the copyright on sound recordings from 50 years to something nearing the US copyright term of 95 years has resulted in proposals for term extension being put forward at a European level.

While there is much support for the extension, including, as of this year, from the UK government, there are two debates ongoing. First, how long should the extended term be. And second, once the original fifty years are up should artists involved in a recording, that is most likely owned by a record company and therefore not paying much out to said artists under existing copyright rules, get a bigger cut of the pie, oblivious of the existing contractual arrangement between artist and label?

With regards the former debate, opinions differ between the current 50 years and the industry preferred 95 years. With regards the latter, the proposals on the table do include some provisions to ensure artists benefit more in the extended copyright period; but, some argue, not enough.

Anyway, the whole thing went before the European Parliament yesterday, which is where all those MEPs you've never heard of get to vote on things. They rejected the proposal of a 95 year term, but backed an extension to 70 years.

They also rejected a Green Party motion that proposed that in the extended copyright period ownership should automatically revert to the artist (a motion supported, as previously reported, by Billy Bragg and the Featured Artist Coalition), but supported the aforementioned provisions that ensue artists and musicians do get a higher automatic royalty from fifty year plus revenues, and added rules to ensure labels can't use past contracts to invalidate those provisions.

They also passed a 'use it or lose it' provision, whereby artists whose 50 year old recordings are owned by a label who are not currently making them legitimately available for sale can make a claim to gain ownership of said tracks. Basically artists can request that a record contract more than 50 years old be terminated as a result of a label's failure to make their recordings available. The label then has a year to put the recordings on sale, otherwise the contract will be terminated. Given that these days making music available has very little cost attached to it - find the master recordings, ingest to MP3, supply to download stores - presumably any operational record company would get an artists' tracks onto iTunes rather than allow a contract be terminated.

So, what does all this mean? Well, nothing really until the other much bigger European hurdle can be crossed - the European Council. This is the committee made up of relevant ministers from each European Union country. As previously reported, there have already been problems getting term extension proposals past the Council. A preliminary meeting that considered the proposals before they even reached the main Council failed to pass them, partly because the UK expressed concerns that the provisions that benefit artists over labels didn't go far enough, and partly because a number of other countries said they were opposed to the extension full stop.

Those who back the extension in Council think that Parliament's support for a 70 year term, rather than for 95 years, may provide an acceptable compromise for those countries who have so far opposed any extension. Though whether that is true, and whether the UK can persuade other Council members to address its concerns about musician rights, all remains to seen. Certainly this story is by no means over yet.

But that's no reason not to let those UK trade bodies who support the extension proposals as they currently stand to make some sort of statement about them being passed, albeit amended, by the European Parliament.

The bosses of record label trade bodies the BPI and AIM, the Musician's Union and recording rights collecting society PPL, all said, at exactly the same time: "Today's supporting vote in the European Parliament recognises fairness and the benefit copyright term extension will bring to artists, producers, performers and music companies. We welcome the vote and urge the EU member states in the Council to follow Parliament's lead and support the proposal".

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Ah, what a shame, the UK music business' richest people are slightly less rich than they were a year ago. See, there is an advantage to owning nothing, you've nothing to lose when everything falls in value.

The Sunday Times, who have compiled their annual Rich List, reckon that the country's musical millionaires have lost about 10% of their wealth in the last year, mainly as a result of the wider economic situation (those whose wealth is mainly tied up in property and shares were hardest hit). Still, even those at the bottom of the musical rich list top ten are worth an estimated £140 million, so I don't think that matters much.

At the top of the heap still is Clive Calder, still living off the profits from one of the music industry's most questionable acquisitions ever, BMG's $3 billion purchase of Calder's Zomba Music in 2002. Remember Sony subsequently bought the whole of BMG, including all of Zomba's record label operations, for a reported $1.2 billion. OK, Zomba's publishing catalogues had been sold off as part of another deal, but still, with hindsight the BMG/Zomba deal was only really good news for Calder who, as I say, is still topping the musical rich list as a result.

The full musical rich list top ten looks like this:

1. Clive Calder (£1.3bn)
2. Andrew Lloyd-Webber (£750m)
3. Paul McCartney (£440m)
4. Cameron Mackintosh (£350m)
5. Simon Fuller (£300m)
6. Mick Jagger (£190m)
7. Sting (£180m)
8= Elton John (£175m)
8= Keith Richards (£175m)
10= Olivia and Dhani Harrison (£140m)
10= Tim Rice (£140m)

Other music types who appear in The Times' wealth survey, not so much for the size of their bank balance (when compared to the lot listed above) but their youth include Cheryl Cole who, when clubbed together with ball kicking hubby Ashley, is worth £13 million, and that Duffy chick who, The Times reckons, is now worth £4 million.

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Following yesterday's revelation that the judge in the Pirate Bay trial is a member of two pro-copyright organisations in Sweden, the previously reported Swedish Pirate Party has issued a response.

As previously reported, although not officially affiliated with the rogue BitTorrent tracker, the political organisation has been a big supporter of the people behind it, and is lobbying for a change in Swedish copyright laws so to allow non-commercial file-sharing. As reported yesterday, it claims its membership has doubled in size since last week's verdict that saw the Pirate Bay's founders hit with jail sentences and massive fines.

It was revealed by Swedish media yesterday that the judge who ruled in the case - Tomas Norström - is a member of the Swedish Copyright Association and Swedish Association For The Protection Of Industrial Property, both of which support stricter copyright laws, and at least one of which counts three lawyers working for the prosecution in The Pirate Bay case as members.

In a statement, the Pirate Party's leader, Rick Falkvinge said: "This is corruption and decay on a completely inexcusable level. The judge in the most high-profile legal case of the whole year turns out to be a member of a highly partial interest group for one party in the proceedings, who also spends time privately with the prosecuting lawyers. The whole trial must be declared a mistrial and redone from scratch. That the judge considered himself un-biased demonstrates an unacceptable bad judgement. If this can occur in the Swedish judicial system without serious and immediate response, then we have a very widespread and systematic corruption in the system".

Falkvinge also says that one of the police investigators involved in the trial now works for Warner Music. "An investigating police is bribed with a top job by the plaintiff", he continues. "The judge is a member of a partial interest group and socialize privately with the plaintiffs' lawyers. The copyright lobby has really managed to bring corruption to Sweden, and this industry is rewarded by our politicians with private police powers in the form of the IPRED law. The politicians need to be replaced, immediately".

As previously reported, when responding to the revelations about the judge yesterday, the legal rep of one of The Pirate Bay four, Peter Sunde, told Swedish news website DN: "The judge should really have considered his role in all of this. All of this was completely unknown to me. At the appeal, I will be demanding that the court's decision be nullified as a result of his [Norström's] conflict of interest".

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Phil Spector's biographer has said that the legendary producer could commit suicide rather than face the 15 year to life prison sentence he may now receive having been convicted of the murder of actress Lana Clarkson. Spector will be sentenced next month.

Commenting on how the producer would cope with the prospect of a long prison sentence, which may conceivably amount to the rest of the 69 year old producer's life, even if he's not actually imprisoned for life, writer Scott Raab told reporters: "He's an old man. It's hard to see a guy like that, at his age, surrendering to an 18-year minimum sentence. He would kill himself first. He is full of fear, and always was, and he lives with a sense of extreme vulnerability".

Spector, of course, plans to appeal, and one would assume that might give the producer, however unstable he may or may not be mentally, something to continue to fight for.

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Eminem's mother Debbie Mathers is reportedly seriously ill, and has asked her son to make amends before she dies. Slim Shady's acrimonious relationship with his mother is well know, not least because he has frequently rapped about it.

Mathers Senior is apparently seriously ill after receiving heart surgery not long after recovering from breast cancer. Her mother, Eminem's grandmother, has told reporters: "Debbie is very sick, she no longer has the will to live. Her dying wish is to reconcile with her son and see her granddaughter. It's do or die and Marshall needs to see her before it's too late".

Expanding on Debbie's condition, her mother added: "She needs heart bypass surgery and she should weigh about 120 pounds, but she's some 50 pounds below that. Her breast cancer is in remission, but I'm really scared for her".

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With comeback album 'Relapse' now just a month away from release, Slim Shady is back on the media rounds, and though not talking about his mother's condition, he is talking about lots of other things.

Talking to Shade 45, he got onto the state of hip hop, and seemed optimistic about his genre, though partly because of his own new album. He said: "For a while it seemed that hip hop was not really in a good place. For a good three to four years it just seemed that all anybody really cared about was having a dope beat [and] a good hook. There was no substance. It seems to be coming back with artists like Lil Wayne and TI. I like Kanye a lot, too. And especially because I'm back".

Talking about Lil Wayne, he seemed quite positive towards the big hip hop star of last year, despite Wayne's beef with Slim Shady's mate and protégé 50 Cent. Commenting on Wayne's recent comments that Eminem should return by doing a collaboration with him, Mathers remarked: "I would. There hasn't necessarily been a time for me to really get out there and do collaborations lately because I've been so locked down in the studio. I'm open for whatever. There are a lot of artists in the game that I respect, especially right now".

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And talking of Lil Wayne, back to the pop courts where a judge yesterday reopened a hearing relating to an illegal weapons case against the hip hop star, specifically regarding whether or not a handgun found on the rapper's tour bus could be used as evidence.

Wayne's lawyers argued not because they say the handgun was found by a police officer who, they claim, illegally boarded the hip hopper's tour bus. The police officer said she boarded the bus because she had reason to believe marijuana was being consumed on it. She admitted she never saw anyone smoking the drug, but said she could smell it and did see smoke.

In a February hearing Justice Charles Solomon ruled the gun could be used in the case, but yesterday said he will reconsider that ruling because new evidence has come to light in the form of a previously undisclosed police report that details the conversation that took place between the police officer and Wayne on the bus that day. The matter will, therefore, now be reconsidered on 20 May.

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Japanese pop star Tsuyoshi Kusanagi, best known as a member of J-pop boy band SMAP, has been arrested for public indecency after being found drunk and naked in a park in Tokyo in the middle of the night. It's not clear how the 34 year old pop star came to be naked in the park, though the drunkenness possibly resulted in the nakedness. He was apparently found "shrieking at the top of his voice" and shouted at police "what's wrong with being naked?"

The indecency charge could cost Kusanagi dearly. Toyota have already axed adverts for its cars that are fronted by the pop star, while Japanese ministers have criticised the celebrity, mainly because he's currently fronting their campaign to promote the switchover to digital television. A spokesman for the actor singer apologised "for the trouble and worry caused to everyone" and said they would be making a further statement about their client's future career.

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The Kills singer Alison Mosshart was rushed to hospital on Wednesday night after having to cut short a gig in Boulder, Colorado. Her publicist says Mosshart was taken ill after a combination of a cold and altitude sickness left her short of breath. However, she was released from hospital after a brief observation, and plans to continue with the rest of the The Kills current US tour as planned.

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The governor of Oklahoma says he plans to overrule a decision made in the state's House Of Representatives, who voted against proposals that the Flaming Lips track 'Do You Realize??' should be adopted as the state's official rock song.

As previously reported, the classic track by the Oklahoma band won the title of the state's official rock song in a public poll. The Oklahoma Senate subsequently approved that poll, but technically speaking the matter needed to be approved by the state's House Of Reps too. This week they voted against the proposal (well, not enough reps voted for it to satisfy the quorum). It seems some reps disliked the band's reputation for "using obscene language" and wearing "offensive" t-shirts.

Responding to the vote, the band wrote on their MySpace: "As many people around the world know, the Flaming Lips are proud to be from Oklahoma. We want everyone to understand that only a minority of the representatives voted against this law. The facts are that 'Do You Realize??' won over 50% of the popular vote in the original poll, passed unanimously in the Senate, and won over a majority of the Representatives in the House (48 were for the law passing, 39 against - 14 were absent from the vote - you need 51 to pass the law). Regardless of what the minority in the House of Representatives wish, the Flaming Lips remain proud ambassadors of the state. We are honoured that the majority of the people who voted, hoped to have 'Do You Realize??' be the Oklahoma state rock song. Perhaps there is still a way it can be".

As it turns out there is. The governor of the state, Brad Henry, yesterday said: "For more than 20 years ago, Oklahoma's own Flaming Lips have produced creative, fun and provocative rock music. The music of the Flaming Lips has earned Grammys, glowing critical acclaim and fans all over the world. A truly iconic rock 'n' roll band, they are proud ambassadors of their home state. They were clearly the people's choice, and I intend to honour that vote".

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Paul Weller's father, John Weller, has died aged 77. He had been ill for some time and, according to a source quoted by Music Week, took a turn for the worst last week.

Weller senior was active in the music business himself, because he oversaw his son's music career for over three decades. He managed The Jam from the band's earliest days, finding the trio their first gigs in local working men's clubs. He subsequently managed his son's career right through to 2006, overseeing the business side of The Jam, Style Council and Weller's subsequent solo career.

Weller cut short a US tour last week in order to be with his father as his conditioned worsened.

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So these are interesting. The SeeMe Awards, now in their second year, aim to reward the best dance music talent in South East Europe, which means that you might not recognise many of the names here, but they provide a useful starting point for delving into the increasingly interesting music scene in this region, both in terms of the hottest artists, and the music media and labels worth checking out (and the international artist nominations make interesting reading too). If you're already up on this scene, then why not vote for your favourites and influence the winners? Nominations for the second SeeMe Awards were announced yesterday, public voting will run at until 1 Jun, with the awards due to take place in Sofia, Bulgaria on 5 Jun.

Nominations as follows:

Best SEE Track: Balthazar & JackRock - Olga (Bulgaria), Alex Coollook - Define Real (Greece), Akcent - That's My Name (Romania), Livio & Roby - Diverse (Romania), Killswitch & Reset - Get it on (Hungary), Sinisa Tamamovic - Swoom (Bosnia and Herzegowina).

Best SEE Remix: Cooh - B Takt (Bulgaria), Gravity Co - Faded (DJ Steven Stripped Out Remix) (Bulgaria), Carlo Lio - No Booth Better (Livio & Roby Remix) (Romania), Alex Coollook - Define Real (Deep Oblivion Remix) (Greece), Inna -Hot (Play & WIN Remix) (Romania), Antrax - 8 Bitstyle (Kobaya RMX)(Serbia).

Best SEE Upcoming Artist: Victor Stancov (Romania), DJ Antrax (Serbia), Stephan Panev (Bulgaria), Dana Nicula (Romania), Zon (Bulgaria), Ahmet Sendil.

Best SEE Live Act Band: Upsurt (Bulgaria), Audionova (Serbia), OK Corral (Romania), Darkwood Dub (Serbia), Kobaya (Former Yugoslavia), Gravity Co (Bulgaria).

Best SEE Female DJ: Miss Lidiya (Bulgaria), DJ Laylla Dane (Bulgaria), Dana Nicula (Romania), DJ Witchy (Former Yugoslavia), Ivee (Former Yugoslavia), ErrorBeauty (Bulgaria).

Best SEE House DJ: LIUBO URSINY (Bulgaria), Doncho (Bulgaria), Steven (Bulgaria), Alex Coollook (Greece), Adrian Eftime (Romania), Dusan Kacarevic (Serbia).

Best SEE Techno DJ: Valentino Kanzyani (Slovenia), Maro Nastic (Serbia), UMEK (Slovenia), Roman Svirski (Greece), DJ Smurf (Bulgaria).

Best SEE Trance DJ: DJ ROW (Greece), Veselin Tasev (Bulgaria), Vierro (Greece), Kliment (Bulgaria), Bushava Azbuka (Macedonia), George Vemag (Greece).

Best Drum & Bass DJ: Cooh (Bulgaria), TRG (Romania), Codex (Serbia), Konspirator (Bulgaria), Dropdread (Romania), Cell-D (Serbia).

Best SEE Producer: Adrian Eftimie (Romania), Dejan Milicevic (Serbia), Cooh (Bulgaria), Stephan Panev (Bulgaria), DJ Row (Greece), Play & WIN (Romania).

Best International DJ: Richie Hawtin, Danny Tenaglia, John Digweed, Armin Van Buuren, Tiesto, David Guetta.

Best International Live Act Band: The Prodigy, Booka Shade, Justice, Chemical Brothers, Massive Attack, Daft Punk.

Best SEE Event: BLAME - Elevate Entertainment (Bulgaria), Metropolis XII Birthday with Carl Cox (Bulgaria), Reworks Festival (Greece), Fun Factory by DNA Events (Belgrade, Serbia), EXIT Festival (Serbia), The Mission - The Chemical Brothers (Romania).

Best SEE Club: Yalta (Bulgaria), Cavo Paradiso (Greece), Studio Martin (Romania), Club Venue (Greece), Papaya (Croatia), Kristal Glam Club (Romania).

Best SEE Dance Radio: Vibesradio (Bulgaria), Alpha Radio (Bulgaria), Danceradio (Greece), Studio 88 (Bosnia I Herzegovina), One FM (Romania), Radio FG Future Generation (Turkey).

Best SEE TV covering Dance Music: Mad TV (Greece, Bulgaria), Antenna TV (Macedonia), City TV (Bulgaria), MTV Adria (Slovenia), The VOICE TV (Bulgaria), MTV (Romania).

Best SEE Magazine covering Dance Music: Go Guide (Bulgaria), DJ Mag (Bulgaria), Urban BUG (Serbia), Freeze (Greece), Mushroom Magazine (International Edition), Sunete (Romania).

Best SEE Website covering Dance Music: Beatfactor (Romania), DJ Vibes (Bulgaria), Tilllate (Bulgaria), DJ Sets (Greece), Klubskascena (Croatia), Clubbersguide (Macedonia).

Best SEE Promoter: Elevate Entertainment (Bulgaria), Renesanz (Bulgaria), DNA Events (Serbia), NON (Greece), The Mission (Romania), Sunrise (Romania).

Best SEE Label: Recon Warriors (Serbia), Ngoht (Hungary), Render Obedience Records (Bulgaria), Night Light Records (Bosnia and Herzegowina), Back2Back (Bulgaria), Balkan Connection (Serbia).

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Avant-rap group, if there can be such a thing, Anti-Pop Consortium have signed a two album deal with Big Dada, which will see the Ninja Tune imprint release the outfit's first album in seven years. 'Fluorescent Black' will be unleashed in September.

Confirming their new singings, Big Dada founder Will Ashon told CMU: "Anti-Pop were one of the groups who were inspiring me when we started the label in the 90s. To have them directly involved is a dream".

The group added: "Big Dada is known for the exceptional and unique artists that populate their label and we are proud to be a part of a musical roster that dares to push the envelope".

If you're unfamiliar with the Consortium, well, you can catch them play ATP on 8 May or at one of the following gigs:

9 May: Cargo, London
13 May: Stereo, Glasgow
14 May: Futuresonic, Manchester
15 May: Roison Dubh, Galway
16 May: Whelan, Dublin

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So, we told you yesterday that you can buy copies of MJ Hibbett & The Validators' new album, 'Regardez, Ecoutez Et Repetez', from the band's website (right here, actually) ahead of its official release on 11 May. But there's more. From Monday you will be able to download a track from it, 'Being Happy Doesn't Make You Stupid', for absolutely nothing.

To get your virtual hands on it, go to or here

You can catch MJ Hibbett & The Validators live at the album's launch party at The Fly in London on 9 May.

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Former Arab Strap man Malcolm Middleton has announced a string of tour dates at venues and festivals around the UK and Ireland over the coming to months to promote his fifth solo album, 'Waxing Gibbous', which will be released by Full Time Hobby on 1 Jun. The album will be preceded by a single, 'Red Travelling Socks', on 18 May.

Speaking about the album, Malcolm told CMU: "How do I feel about 'Waxing Gibbous'? I don't know, but I like it more now than I did two weeks ago. Maybe it's my age, or cynicism. Maybe I'm sick of the sound of my own voice and realise that I've been stretching what little it is that I have to say over the course of too many years. Or maybe I'm just pissed off that I don't fit in anywhere. The leftfield doesn't want me because I'm too normal and I use choruses. The mainstream didn't want me and still resents me for trying to ruin Christmas [with his bid for the Christmas number one, 'We're All Going To Die']. Could I maybe try to sound more like James Blunt or James Morrison? Actually no, I doubt I could even try. Could I pass myself off more seriously, like Will Oldham or Nick Cave? No, I don't have enough character".

Continuing in hard salesman mode, he added: "So here I am. I write a song about socks. I rap and I play some slap bass. I convince King Creosote and The Pictish Trail to do backing vocals to cover up the fact that I can't really sing that well. Barry from Mogwai plays piano again because I can't really do that either, and [The Reindeer Section's] Jenny [Reeve] sings a bit more because my voice becomes too grey after a while on it's own".

Tour dates:

24 Apr: Glasgow, Oran Mor
26 Jun: Stirling, Tolbooth Theatre
27 Jun: Outsider Festival
28 Jun: Glasgow, King Tuts Wah Wah Hut
29 Jun: Manchester, Night & Day
30 Jun: London, ICA
1 Jul: Birmingham, Glee Club
2 Jul: Bristol, Thekla
3 Jul: Nottingham, Bodega
4 Jul: Newcastle, The Cluny
1 Aug: Field Day Festival
7 Aug: Kilkenny Arts Festival
22 Aug: Sounds In The Grounds

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ALBUM REVIEW: Au Revoir Simone - Night, Still Light (Moshi Moshi)
Ah, Brooklyn. For a good few years now it seems that your shores have spawned uncountable bands with a synth under their arm and an extreme desire to experiment. Magazines are reaching straining point with the mention of the place; with all this boom, are we not heading towards a bust? If Au Revoir Simone are anything to go by, not quite yet. They've stayed strong in the underground spotlight focussed on Brooklyn since their inception in 2003, and with album number three, it looks like they could break from their "Brooklyn Band" connotations. That's not to say that this album is a compromise of their ideals: The synths are muted, the melodies are subtle and the singing is as beautifully fragile as ever. A perfect example of this is the faded, canonic vocals which permeate 'All Or Nothing'. Further excitement comes in the singalong chorus of 'Knight Of Wand', which brands legato synth melodies to your mind. There's also their moments of respite, such as 'We Are Here' and 'Take Me As I Am', which relax better than any Brooklyn experimentation has previously managed. It seems the world is now ready for Au Revoir Simone - primed by the successes of epic synthsters School Of Seven Bells, and the dirtier electronics of Telepathe, female-fronted electronics is the new new black. For those who always require some mania, this won't suit. But for us who like to swing the feet up with a good read, Au Revoir Simone make the perfect backdrop. GB
Release Date: 18 May
Press Contact: Anorak London [All]

Buy from iTunes
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Music business PR firm Name Music has confirmed another new recruit, Gareth Main, known to some in the industry as the founder of independent music magazine Bearded. He'll be leading PR activity for some of Names clients, which include Merlin, AIM, [PIAS] Group and the Association Of Independent Festivals.

Confirming the appointment, Name founder Sam Shemtob told CMU: "For a young guy Gareth's already achieved a lot in the business. He has worked hard and made a great deal of personal sacrifice to forge his relationships in the industry, and has the contacts book to prove it. I'm very proud to welcome a man of his calibre to our team, all of whom bring a unique skillset to our work".

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EMI have recruited a new President for the UK and Ireland. That's to say, they've appointed a new operational chief for their UK and Irish operations. Not that they undertaken some kind of bloodless coup and replaced Gordon Brown with a former commercial radio marketer. Though sometimes I wish someone would.

Anyway, EMI have recruited Andria Vidler, currently Chief Marketing Officer for Bauer Media, and previously MD of Bauer's Magic London radio station, to head up the UK operations of the EMI record labels. She will report to EMI Music European president David Kassler.

And if you think I'm making all this up, I present you will Mr Kassler himself, who wants all CMU readers to know: "Andria has managed and transformed some of the UK's most influential media brands. With her excellent management and consumer marketing skills, I believe she will be a great asset to EMI and to our artists".

And look, here's Vidler herself, and she wants to say: "This is an incredibly exciting time to be joining EMI which represents such a broad and talented roster of artists and which is leading the industry in driving change. I am looking forward to being part of the great UK team that is shaping that future".


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The Featured Artists Coalition has announced its first two staff appointments, who will oversee the operations of the newish artists' trade body on a day to day basis. First up Jeremy Silver, formerly VP Of New Media at EMI, back in the days when we called these things 'new media', who will be acting CEO, while Matthew Brown, previously of Peter Jenner's management company Sincere Management, will be Membership And Development Director.

The FAC will also kick off a new membership drive at the Camden Crawl this weekend in a bid to sign up as many artists, from big names to new talent, as possible.

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Warner Music have announced they are merging their two independent distribution divisions, Ryko Distribution and the Alternative Distribution Alliance. It's basically a takeover of the former by the latter, and staffers at Ryko will be made redundant, though they will be able to reapply for a handful of new jobs created at ADA by the merger. Indie labels currently distributed by Ryko will be distributed by ADA moving forward.

Warner acquired the Ryko music company in 2006. The Ryko record label is unaffected by the rejig, though they'll be distributed by ADA moving forward, rather than their sister distribution outfit.

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Independent radio firm UKRD has extended its offer to buy shares in The Local Radio Company.

As previously reported, UKRD already owns 13.5% of its competitor, but made an offer to buy the rest of the company paying 2p a share. Another shareholder though, Hallwood, owned by TLRC chairman Anthony Gumbiner, has made a rival offer of 2.5p a share, in a bid to stop the UKRD takeover.

UKRD has, nevertheless, secured a commitment from other shareholders to sell them a further 23.27% of the company, which would make them a bigger shareholder than Hallwood. However, they want more of the company, presumably enough to make Hallwood seriously reconsider its role in the radio firm, and have extended its original deadline for other shareholders to take them up on their offer.

The currently loss making TLRC owns 21 local radio stations around the UK, while UKRD owns 13.

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So, it turns out Beyonce can sing. Or at least that previously reported clip played by Howard Stern on his radio show earlier this week isn't actually an example of her singing badly. The man who made the clip, art student Matthew Zeghibe, has revealed that he created it as a joke using sound manipulation software.

Speaking to Rolling Stone, Zeghibe said: "It was just for a good laugh. It was a goof, just for fun. I do a lot of parodies on my YouTube channel, and it just so happens this one got a little out of hand".

However, he added that there was a serious issue behind his decision to make it. "I was just trying to make a point. I wanted to show people how easy it is to manipulate someone's voice. If I can do it with a clip I pulled off of TV, imagine what they are doing on records and during live performances. The entire industry has been so manipulated, because there's such an emphasis on perfection, so when something like this happens, it causes such a stir".

Beyonce responded by saying the she was grateful to Zeghibe because the clip helped to publicise two upcoming TV performances she is preparing for. Two performances where large numbers of people will presumably assume she is miming.

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Earlier this week, Noel Gallagher told Q that his relationship with his brother is so strained that he hasn't even let Liam meet his 19 month old nephew, Liam has confirmed that things aren't very friendly between them.

Liam told Music Japan: "[Things are] not good. Not good. He likes Oasis and I like Oasis, so I'm not leaving and he's not leaving, so we gotta do it, but we don't get on, so I can't be arsed, man. He's different and I'm different. We've done well, 15 years at it - 15 years of having problems together, we've done pretty well".

However, he added that he thinks the tension between him and Noel is the key to Oasis' success. He continued: "I think the minute we start getting happy and holding hands and being like other bands then I think it'll be over. This is the tension, it's like he wants to outdo me and I want to outdo him".

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Proving that they're always one step ahead of the game, Trivium have hit upon the idea of sharing music over the internet and via CD-Rs. I can't see it catching on, to be honest.

The band's bassist Paolo Gregoletto started the idea via his Twitter feed, telling fans: "Make a mix of the 10 best Trivium songs, burn as many as you want and give them out to people that don't know us - anyone".

Frontman Matt Heafy then added: "Everyone! Killer idea... let's recreate the tape trade virally and all that shit. [Put together your] perfect 10 tracks [and then] pass it to people. Maybe work and school friends first, then maybe locally? I think this could spread the gospel better. So with that idea, put it on your Twitters, your MySpaces, Facebooks, message boards, everything. Spread the word to spread the Triv... write on each CD-R to copy, rip, burn, repeat. Pay it forward. Encourage that shit. I think it could be amazing".

Trivium aren't the only rockers pioneering new approaches to the business of music. Former Guns N Roses bassist Duff McKagan has blogged about this brand new and never before thought of idea: that if more people hear your music, more people might buy merchandise and come to live shows. Why has no one thought of this before?! Here's what the musical philosopher had to say: "Bands can get more exposure from MySpace, YouTube, and other Internet means of social networking. More visibility in the ether can mean more people at your show buying your T-shirts and maybe even your CD".

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