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Top Stories
A lot more three-strikes nonsense
French Assembly pass three-strikes for a second time
In The Pop Courts
The Fray sue management
Coldplay and Satriani settle
Pop Politics
Artists ruin song in name of climate change
Awards & Contests
Pop to get Classic Rock's Living Legend prize
Reunions & Splits
Ex-Korn guitarist wants back in
Release News
Courtney Love announces New Year release. Again
Vampire Weekend album stuff
Gigs N Tours News
Remix All-nighter this Friday
Cool To Be Kind announce Oxjam Matter gig line-up
Edwyn Collins to complete 2005 tour
Festival News
Electric Proms returns
Talks, Debates N Trade Fairs
First FAC panel event talks DIY
Album review: Kid Harpoon - Once (Beggars/XL)
Brands N Stuff
Tommy Sparks to feature on iPod ad
The Digital Business
Microsoft launch Zune Touch
Datz is no more
YouTube for radio to launch
The Media Business
Mayo confirmed for Radio 2 drivetime
Iain Lee gets daily show on Absolute
Culture Secretary to speak in support of licence fee top slicing
C4 boss could go this week
Original Aberdeen sold
And finally...
Marr loves his Crib-mates
Advertising info
Consulting info
CMU Credits + Contacts

Originally a bedroom project for musician Sam Simkoff, Le Loup has slowly grown in sizesince he first began writing songs for the project in 2006. First to join was school friend Christian Ervin, who lent production skills, followed by drummer Robert Sahm. Since then, the band has gone through a number of other musicians before settling as a five-piece. The band's second album, 'Family', is released by Talitres on 21 Sep, and features eleven beautiful songs that are drawing comparisons to the likes of Yeasayer, The Books and Arcade Fire amongst press and fans alike. We managed to drag ourselves away from listening to it long enough to speak to Simkoff and ask our Same Six Questions.
Q1 How did you start out making music?
Well, I've been playing music since I was six, when I started taking piano lessons. I didn't really start making music until early in high school, though, when I realised the piano didn't have to be used for just regurgitating classical pieces. I learned the blues scales, and went through a pretty lengthy period of making really crappy blues-scaley songs. Which isn't to say all bluesy songs are crappy, just my young versions of them. Christian and I started recording our own stuff with another best friend of ours later in high school kind of on a whim, but we liked it so much we kept coming back every summer to record whatever we had.

Q2 What inspired your latest album?
At some point during our first round of touring, I became kind of obsessed with the idea of the fundamentals of songcraft - ie what makes a song a song. It struck me that at the heart of every song lies melody and rhythm (even if that rhythm is just the meter or the general cadence). I wanted to make a group of songs that drew out those fundamental attributes - strong, singable, simple melodies and driving, guttural rhythmic patterns. I think originally I wanted to do this because we were having a hard time paring down the old songs for acoustic, informal settings. I always get really jealous when a band - or just a couple people with instruments - can sit down for a crowd and make something really engaging and energetic with minimal input. I wanted us to be able to do that with our songs - really chop them down if we had to, so we could play them in a much more informal setting. Ironically, the songs from this album ended up being maybe more complex and convoluted than those on album #1. So much for simplifying. I guess that's just not what we do.

Q3 What process do you go through in creating a track?
It really depends on the track. Generally speaking, we start with just the bare bones of the song - the melody, the general chord structure (which more often than not with these songs was incredibly simple) and the tempo. Pretty much each one of these ingredients would change over the course of recording, though. So we tried to stay really relaxed about how all of the elements would eventually play out. Once we'd messed around with it in a live setting, we'd start recording takes. We tried not to put off recording for too long, since there's a certain energy that just comes from playing something new - that's hard to recapture later on in the process, if you've played the hell out of a song or a line. So sometimes the lines weren't technically perfect, but if they conveyed that energy, we kept them. Other than that, we'd just record a hell of a lot of tracks, and then Christian and I would spend weeks digging through them and chopping them up and repositioning them until they made something we thought was interesting. The devil of it was knowing when to quit, just leave something well enough alone before it started to sound overproduced. Hopefully we stayed on the good side of that line...

Q4 Which artists influence your work?
With five people in the band all making significant contributions, that list could go on for a while. I know we were listening to a lot of Beach Boys early on, a lot of lo-fi stuff later on (No Age, Black Lips), and then there were some constants. Robby got us onto a west African polyrhythm kick - a lot of Fela Kuti and King Sunny Ade. We listened to The Band, The Grateful Dead, Fleet Foxes, Simon And Garfunkel... just a lot of music that made us happy. I'm not sure how much of that actually came through in our album - I kind of hope not much of it, since any attempt to approximate any of those guys would just end in cut-rate versions of better bands. We'd much rather try and make something somewhat unique, as difficult as that is.

Q5 What would you say to someone experiencing your music for the first time?
Give the album time and space to grow. I don't think 'Family' is particularly an album that throws all of its assets on the table on first listen. It'll take some patience and active listening to start hearing all the different parts. There's so much going on in every song that it can just sound like waves of noise and harmonics until you've taken the time to parse out the different elements. Even I re-discover stuff in every song with every listen. Listen to the album through every sound system you can, because different stuff rears up when played through different speakers in different spaces. I guess that could be said of pretty much any album, though...? But really, there're so many instrumental/vocal lines taking up so many parts of the sonic spectrum in these songs that they won't be revealed until you listen to them through really tinny computer speakers, or big boomy expensive things, or from the other room.

Q6 What are your ambitions for your latest album, and for the future?
We try to avoid calling out any big ambitions for the album - if you're overly ambitious, it's easy to get really down about things that shouldn't take such a toll on you. I mean, a little ambition is good, but I wouldn't say we want to go platinum, or take up all the blog space for the year, or open for The Rolling Stones, or something. I guess on a simple scale, we wanted to make something we could be proud of, and hopefully something that would inspire a few other people to do their own thing, no matter what medium they use. We are proud of the album, so I guess that ambition can be checked off the list. If we get to visit a lot of new and interesting places and play live music for another year, that would be great. For the future, I hope I can make music for a living for as long as possible. It's really a blessing when you get to do exactly what you're passionate about.

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'Years Not Long', Male Bonding's split 7' single with fellow Londoners (and former CMU tip) Pens, is probably the choicest cut of the tracks they have on offer on MySpace, a frenetic and lo-fi piece of punk rock that is very obviously catchy and un-technical with its coarse vocals and sullied guitars. The proper rite of passage for such a sound has led them to thus sign to Sub Pop, a label full of similarly-minded folk. Check them out at MySpace and if you like what you hear try and pick up a copy of the tribute album to excrement obsessed punk legend GG Allin (linked to on their site), which they appear on with a couple of other excellent UK punk/garage bands.

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So, this is all hotting up, isn't it? More artists have laid into the debate on if and how the government should try to stop the kids from illegally file-sharing, and these guys don't back the Featured Artist Coalition's stance on the issue.

As previously reported, the FAC (and the Music Producer's Guild, Music Managers Forum and British Academy Of Songwriters) have said they do not back any measures to combat file-sharing that could result in music fans losing their internet access. They mean, of course, the controversial three-strike proposal which is now seemingly on the government's agenda.

But Lily Allen and Patrick Wolf aren't so convinced on the FAC's stance. Allen, in particular, says that it's all well and good for FAC supporters like Radiohead's Ed O'Brien and Pink Floyd's Nick Mason to oppose tougher measures against net users who steal music because they've already made their money.

She wrote on her MySpace blog: "Mason, O'Brien and the Featured Artists Coalition say that file-sharing's 'like a sampler, like taping your mate's music', but mix tapes and recording from the radio are actually very different to the file sharing that happens today ... in digital land pirated tracks are as good quality as bought tracks, so there's not a need to buy for better quality. The Featured Artist Coalition also says file-sharing's fine because it 'means a new generation of fans for us'. This is great if you're a big artist at the back end of your career with loads of albums to flog to a new audience, but emerging artists don't have this luxury. Basically the FAC is saying 'we're alright, we've made it, so file-sharing's fine', which is just so unfair to new acts trying to make it in the industry".

Although she added: "If this sounds like I'm siding with the record [cpmpany] bosses, I'm not. They've been naive and complacent about new technology - and they've spent all the money they've earned on their own fat salaries not industry development ... [and] I don't think what's out there [ie legitimate digital services] is perfect. It's stupid that kids can't buy anything on the internet without credit, forcing them to steal Mum's credit card or download illegally. It's this kind of thing that the record company bosses, artists, broadband providers and government should be sitting down and discussing. [But] file-sharing's not okay for British music. We need to find new ways to help consumers access and buy music legally, but saying file-sharing's fine is not helping anyone - and definitely not helping British music. I want to get people working together to use new digital opportunities to encourage new artists".

To be fair to the FAC, I don't think they've ever said there should be a file-sharing free for all, rather that they don't believe draconian net suspension programmes will have a huge impact on how many people file-share (keen file-sharers already have ways to hide their file-sharing from the labels and authorities), and that such measures will just piss off music fans and make them even more prone to steal off artists and labels. Though that's not to say Ms Allen doesn't make some valid points either. Damn, look at us, sitting on the fence on this issue. Oh for the days when the major record labels were completely deluded on all this and we could just slag them off.

Anyway, back to Lily and Patrick Wolf backing her up. Wolf, who recently released an album funded by fan-to-band investment company Bandstocks, lent his support to Allen yesterday, saying via his own MySpace blog: "I don't have a Liberace helicopters and limousine lifestyle. I'm currently deciding whether I spend the last of my earnings this year from touring on recording the string and choir section of my new album or on the rent until December - just an example of how a lot of other musicians have it".

He continued: "I dreamt as a teenager I would be able to buy a house one day, somewhere peaceful so that I could focus on writing and composing and perhaps set up a gorgeous studio with all the instruments I have collected to record and produce other bands. In the early 2000's it seemed likely, but file-sharing means that most musicians will probably just make ends meet their whole life now and most musicians dreams will have to be put aside for need for part time work and doing the odd gig and free download-only single made on Garageband".

Of course all this disagreement within the music industry as to how to tackle the file-sharing issue is really testing UK Music, the trade body set up just under a year ago to represent the wider music business, and not just one of its constituent groups. That's tricky when some of the trade bodies affiliated with UK Music have issued conflicting statements as to whether or not net suspension should be on the government's agenda.

The UK Music team seem basically in favour of tougher measures against P2P, though two of their affiliates - the Music Managers Forum and British Academy - have aired their concern regarding government plans. But the cross-sector body issued a new statement yesterday trying to demonstrate some unity on the issue. Though said statement was suitably vague in order to gain approval of all eight of the UK Music affiliates, as well as non-affiliated trade bodies the Music Producer's Guild and Entertainment Retailer's Association.

Following an official statement that read, "In context of an evolving licensed digital music market, we believe that government intervention is extremely welcome and that, subject to assessment, [media regulator] OfCom should be granted appropriate and proportionate powers as directed by the Secretary of State", UK Music chief Feargal Sharkey said: "Like all of society, like all creative businesses, the UK's commercial music industry reflects a wide spectrum of viewpoints and opinions. Discussions over recent weeks have drawn us much closer together and helped us to realise with greater certainty our shared vision of the future. We continue to welcome the government's support and intervention, both of which will be vital to ensure that those who create and invest in music have the opportunity to deliver their full potential and reap the benefits, rewards and promises of an ever-evolving digital marketplace".

Yeah, so, that doesn't really say anything, does it? I propose a big wrestling match between those who support three-strikes and those who don't. Get us some file-sharers and depending on who wins the wrestling, they're either given a box of chocolates and a 300GB hard drive to take home, or they have all their fingers broken. Yeah try file-sharing with broken fingers.

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No such debate required in France, where the government is hell bent on making three-strikes law whatever it takes, though in a market where selling four and half units gets you to number one (more or less) probably most of the industry would welcome any measure that might make recordings make some money again.

As much previously reported, the government in France had already got its proposals for a three-strike system, whereby persistent file-sharers who ignore warnings lose their net access, through the country's parliament. But those proposals fell at the final hurdle - the French Constitutional Council - who expressed concern that a government agency rather than a court of law would be depriving file-sharers of their internet access.

To deprive a citizen of such an important right, the Council argued, should only be possible if their case has been considered by the judiciary. The French government's solution? Appoint a judge to rubber stamp the disconnections. And so revised proposals are now working their way back through the French parliamentary process.

And yesterday the National Assembly, the lower house of the French parliament, passed the new proposals. The upper house, the Senate, had already done so back in July, and first time round it was the Assembly who caused problems for the French government, so their approval is significant.

The revised proposals will still need approval from the Constitutional Council, and those who oppose three-strikes will speak out against the system once more, arguing this time that the new proposals do not provide a suitable process for those accused of persistent online copyright infringement to defend themselves.

Government officials seem confident this time three-strikes will become law, though they were pretty confident before the Council hearing on the issue first time round, so it'll be interesting to see how this pans out.

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Joseph King and Isaac Slade, songwriters in chart-topping US rock band The Fray, are suing their manager, Gregg Latterman, claiming that he fraudulently obtained a percentage of their publishing rights when he helped them sign a publishing deal back in 2005.

King and Slade say that Latterman told them that his company, Gregg Alan Corp, would receive a finders fee for his role in the deal but instead took a significant cut of their royalties, which has netted the company around $2.1 million directly from the deal, and a further $700,000 from other income relating to it. They also say that the band's other two members, David Welsh and Benjamin Wysocki, are entitled to some of the money but were not given a cut in the deal.

In legal papers filed on Monday, they said: "[The band] would not have been deprived of valuable assets and income that should rightly be theirs but for defendants' fraud".

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Coldplay have settled their legal dispute with Joe Satriani.

As you'll remember, Satriani accused Chris Martin et al of nicking some of his track 'If I Could Fly' for their song 'Viva La Vida'. Satriani said he'd received hundreds of emails from fans pointing out the striking similarities between the two tracks as soon as the Coldplay song was released, but the Coldplayers denied any wrongdoing saying, "If there are any similarities between our two pieces of music, they are entirely coincidental, and just as surprising to us as to him".

Details of the legal settlement between Coldplay and Satriani are unknown, though it's thought the former may have paid the latter a sum of money, though without admitting any wrongdoing. Either way, Billboard reports that Satriani's lawsuit has been dismissed.

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The Midnight Oil track 'Beds Are Burning' is being re-recorded by a cast of 55 music stars as part of a musical campaign on climate change ahead of that big UN meeting on the issue in Copenhagen in December, when those mega-polluting Yanks will probably scupper any efforts to save the world, as usual.

The Midnight Oil track has presumably been chosen because if we don't act now temperatures will continue to rise and all our beds will burst into flames. I think this is due to happen next August, which is fine by me, because that's the Edinburgh Festival and I rarely get to see my bed during that month.

To be honest, while I like the sentiment, having heard a snippet of the all-star version of 'Beds Are Buring' I kind of wish they'd just re-released the original, but presumably that wouldn't have got as much world attention. You can check the snippet here...

By the way, while we're talking about climate change, watch this short lecture on the ice caps. The time lapse photography of the shrinking glaciers is exciting and terrifying in equal measure. It's got nothing to do with music, though it was Adam Freeland who drew my attention to it, so that makes it CMU relevant, yes?

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Iggy Pop will be presented with the Living Legend gong at this year's Classic Rock Roll Of Honour awards, assuming he's still living by 2 Nov. He's well insured, I'm sure he will be.

Past winners of the music mag's Living Legend prize include Ozzy Osbourne, Jimmy Page and Alice Cooper. Noting that fact, Pop told reporters: "The other people who have received this award are absolutely awesome, and I feel very lucky to be included".

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Korn guitarist James 'Munky' Schaffer has claimed that his former bandmate, fellow guitarist Brian 'Head' Welch, recently asked to rejoin the band. Which is kind of strange, because when he found God and quit back in 2005 he seemed pretty adamant that their sinful ways were no good for anyone.

Speaking to Altitude TV, Shaffer said: "It's kind of a strange thing. Brian actually contacted us recently and wanted to come back to the band. And it was not the right time... for us. We're doing well, and it's kind if you divorced your wife and she went on and she stayed successful and her career flourished, and you go back and [say], 'My gosh, she's still hot'. 'Baby, can we get back together?' 'Wait a minute... All the stuff's been divided', and it's like... I don't see it happening right now. It's not gonna happen right now".

Staying on the subject of former band members, Schaffer was more concerned at the news that Korn's former drummer, David Silveria, who left the band in 2006 in search of a quieter life, has subsequently sold all of his drumming equipment (which would make things quieter, I guess). He said: "As far as David goes, I heard he sold every single drum he owns... or he gave it away. He doesn't even own a drum stick. I mean, it blows me away. Wow, one of the best drummers I've ever played with and I think a lot of people have ever heard. Just to go the opposite direction. The music business can be dirty and some people can endure it and some people just don't want anything to do with it once something bad has happened to them".

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Hmm, this all seems very familiar. Courtney Love has announced that 'Nobody's Daughter', the album she didn't release on 1 Jan this year, will now be released on 1 Jan next year.

Fans were disappointed when the album didn't materialise at the start of this year. Love took a while to give an explanation, and when she did she said that she'd failed to finished recording it on account of the studio she was using being haunted. Since then various things have happened, the most major being that Love decided that it's no longer a solo album and will be released under the name of her former band Hole instead. This despite the fact that she's the only original member of Hole involved.

Announcing the release date, Love said on Twitter yesterday: "New Year's Day, what are you guys doing? Buying my record? That's what I thought. If you don't, expect angry @replies all year long".

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Vampire Weekend are releasing a new album. I don't really care, but a lot of people seem to like them. It'll be called 'Contra', it's got ten songs on it (the names of which are needlessly taking up space below) and it will be released by XL on 11 Jan.


White Sky
California English
Taxi Cab
Giving Up The Gun
Diplomat's Son
I Think Ur A Contra

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The next Remix All-nighter takes place at Matter in London this Friday, and will be extra special because it kicks off the club's first birthday celebrations. What's more, Remix chief Eddy Temple-Morris will be broadcasting the whole thing live on Xfm.

The line-up looks like this: The Whip, Pendulum (DJ set), Zombie Nation, Mixhell, Stereo:Type, Firas, Crystal Fighters, Hervé, Streetlife DJs, High Rankin, Ali B, and Rawkus Noise. Which looks like a lot of fun.

Get yourself in the mood with this download of one of the DJs on the bill, High Rankin, remixing 'No Man Is An Island' by Losers - EddyTM's band with ex-Cooper Temple Clause man Tom Bellamy, here.

Tickets for the Remix All-nighter are available here.

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More from the Dome, and not-for-profit live music promoters Cool To Be Kind have announced details of an impressive-sounding gig at Matter in London next month in aid of Oxfam, as part of this year's Oxjam festival.

Performing live will be Dan Le Sac Vs Scroobius Pip, Mylo, Kissy Sell Out, Dan Black, Mpho, Addictive TV and Robotwon, with artist Shantell Martin providing live sketched visuals. Attendees will also be able to sample the Oxfam Pop Up Shop, which will feature its own bar, DJ booth and dancefloor.

Tickets are on sale now from They'll cost £15 plus booking fee, with all profits (and 50% of the booking fee) going to Oxfam.

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Edwyn Collins has announced a tour of the Scottish highlands and islands next month, as well as some dates that you might actually be able to get to. The tour was originally planned for 2005, but was cancelled after he suffered two brain haemorrhages in February of that year. He is also working on a new solo album, due for release next year.

Tour dates:

14 Oct: Kirkwall (Orkney), Fusion
15 Oct: Thurso, Skinandies
16 Oct: Helmsdale, Community Centre
18 Oct: Aberdeen, Lemon Tree
19 Oct: Inverness, Ironworks
21 Oct: Portree (Skye), Aros
22 Oct: Fort William, Fired Art
23 Oct: Stornoway (Lewis), An Lanntair
25 Oct: Glasgow, ABC
27 Oct: Manchester, Deaf Institute
7 Nov: London, Bloomsbury Ballroom

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Smokey Robinson, Doves and Dizzee Rascal will all appear at this year's BBC Electric Proms, which will take place in London from 20-24 Oct. Look, here's Smokey saying something about it: "It's an honour and a privilege to return to the UK and perform at the BBC Electric Proms. The show is definitely going to be something I will be proud to present to all of my beautiful fans who have supported me throughout my career".

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Radiohead's Ed O'Brien, Pink Floyd's Nick Mason, Marillion's Mark Kelly and Master Shortie will all be sharing their "experiences and observations" at the Featured Artists Coalition's first educational event in London next week.

Called 'Survival In The 21st Century', panellists will be discussing new income streams for artists, and the DIY and direct-to-fan approaches of releasing music and generating revenues. It takes place on 24 Sep at the PRS For Music HQ.

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ALBUM REVIEW: Kid Harpoon - Once (Beggars/XL)
When your press release starts off with the sentence: "Yeah, Chatham-born Tom Hull, Kid Harpoon, started on the London live music scene in early 2006" - like I'm supposed to know that or something - I'm going to be a little, well, let's just say dubious, from the get-go. So he's been on the scene for a whopping four years, he's worked with Metallica and Bob Dylan (okay, that is pretty damn impressive), but has the Kid actually released something that's worth being so smug about? Well... not really. When I sat down and listened to 'Once', really listened to it, I tried to pull apart the good parts from the bad - and that was the problem. I couldn't. It's a little hit and miss - some of the melodies are beautiful, catchy, and laden with the sharpest instrumentation ('Hold On' has a great introduction - really great), but they get slogged down by hooks that are just too bland, and a voice that, I'm sorry to say, reminds me a little bit too much of - shudder - that poor bloke from The Feeling. Sadly, this is the kind of music that could be found on the soundtrack of a melodramatic American high school TV series, and what irks me about it is the fact that it has the potential to be so much more than that. 'Once' isn't bad - it just isn't particularly interesting. TW
Physical release: 28 Sep
Press contact: XL IH [All]

Buy from iTunes
Buy from Amazon

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Do I need to write the usual, iPod adds are the new Levi's ads and help artists sell records intro required by these announcements? No? Good. Let's just get on with it then.

Tommy Sparks' single, 'She's Got Me Dancing' will feature on an advert to promote the new range of iPod Touch MP3 players. It'll give the track, and Sparks' album, a much-needed boost. Despite being one of CMU's favourite pop tracks of this year, 'She's Got Me Dancing' seems to have got lost in a pop haze up until now.

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Poor Microsoft, Apple add a camera and FM radio to an iPod and we give it 779 words in the Top Stories section. The Windows firm launches a slimmer, touch screen Zune digital media player, an obvious bid to compete with the iPod Touch, and it gets 69 words in Digital news. There is no justice. Of course if they launched Zune in the UK we might write more. Maybe. Why not give it a go, Billy.

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Remember Datz, the unlimited downloads digital music service that revolved around some sort of dongle you plugged into your PC? No? Anyone? Well, doesn't matter, they've just gone into liquidation.

Datz launched last October with EMI, Warner and various indies on board. Despite promises, they never sent us a version to test, so I never really got my head around how it worked. Anyway, the firm's MD Michael Richardson has admitted the company is closing, unable to pay various debts, mainly to the labels.

He says the proposition needed bigger start up funds to get off the ground, adding that sister company Comment lost out when Woolies went bankrupt (they provided the retailer with mobile phones), and that as a result they'd not been able to back the company as much as they had hoped.

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An interesting London-based web service called Mixcloud formally launches next week. A sort of YouTube for audio, the new service invites anyone to upload their own radio shows, which anyone can then log on to listen to. Mixcloud host the shows on their servers and, they tell us, own the licences to cover the music that gets played.

They will presumably sell advertising around the programmes uploaded to make it all pay. Organisations already planning on making radio shows available via Mixcloud are fashion brand Diesel, music blog Curb Crawler and former Radio 1 DJ Chris Coco. You never know, we might even do a CMU show. Leave that one with us.

Go check it out at

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As expected, the BBC has confirmed that Simon Mayo will take over Radio 2's drivetime slot when Chris Evans moves to breakfast next year, meaning Radio 2's daytime schedule will now feature three former Radio 1 breakfast show presenters. Hey Radio 2 listeners of the future, looking forward to the day Chris Moyles and Sara Cox arrive? Well, at least Kevin Greening won't be bothering you.

Confirming his new role Mayo told reporters: "It's a fantastic thrill to be given one of the iconic Radio 2 shows like drivetime, succeeding greats like John Dunn, Johnnie Walker and Chris Evans". Mayo will continue to present a film guide for his current employer 5Live, basically turning the bit on his current show where Mark Kermode does the film reviews into a stand-alone programme.

In related news, new Radio 2 breakfast host (as of next year) Chris Evans has been writing about the last time he presented a breakfast programme for the BBC. The Mail On Sunday are serialising the DJ's autobiography, and last weekend featured a bit where he recalled his time on Radio 1's primetime show, and his stormy relationship with former friend and Radio 1 chief Matthew Bannister, a relationship which started to freeze as Evans made more and more demands of his then employer, while frequently arriving late for work.

He recalls: "There was no doubt about it, I was beginning to display the first signs of pottiness. As a result of my 'resignation' I had caused absolute carnage, lost much of the respect I had worked so hard to build up over the years, as well as a whacking great pay cheque in the process. And the worst thing of all? I had acted like a spoilt child. I was dying because I knew that for the first time in my career I had really messed up. I should have known better".

Perhaps remembering that period in Evans' career, some 195 people have complained to the BBC about their choice of replacement for Terry Wogan in the Radio 2 breakfast show slot. But the Beeb has defended the appointment, writing on their complaints site: "There's always going to be a period of adjustment when someone has ruled the airwaves as long as Terry has. But loyal listeners will be able to enjoy the Togmeister's new weekend show and it seems only fair to wait and hear Chris Evans' breakfast show before drawing any conclusions. After all, even Terry had to start somewhere when - at the age of 34 - he first began presenting the Radio 2 Breakfast show".

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More radio appointments, this time in the commercial domain, and Absolute Radio have announced that former bloke-off-the-telly Iain Lee will take over a daily show on the station. Currently presenting a Sunday night show, he will move to a late night slot from Monday through Thursday as of 12 Oct.

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Culture Secretary Ben Bradshaw is expected to speak in favour of some of the TV licence fee being used to fund regional news output on ITV when he delivers a speech at a Royal Television Society conference this week.

As previously reported, ITV have said they will not be able to fund regional news programming past 2012 from commercial revenues, and one proposal is that licence fee money currently being set aside to fund digital switchover activity could be diverted to the commercial broadcaster to enable them to continue to provide regional news. BBC bosses, though, want that money to revert to them, they being the real experts when it comes to pissing licence fee payers money up the wall. Presumably they'll point out that ITV's entire news output is rubbish and the world would be a better place without it anyway.

Either way, government officials seem to be increasingly in favour of the licence fee top slicing idea, and have prepared some research that will show the majority of the public (65%) think it's a good idea too. That research is expected to feature in Bradshaw's speech on the issue this week.

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Channel 4 boss Andy Duncan could be leaving the struggling broadcaster this week. Duncan's imminent departure has been expected for a while now, even though he denied it at last month's TV Festival in Edinburgh. But gossipers say the final touches are being put to his departure agreement, and that his appearance at the aforementioned Royal Television Society shindig could be his last as a Channel 4 representative.

PS: As we were clicking send Channel 4 News announced Duncan was standing down. So there you go.

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A three-way consortium have bought Aberdeen based radio station Original 106, one of the three 'Original' stations set up by Canadian company CanWest before they withdrew from the UK radio market. CanWest sold their Aberdeen outpost to the station's management, and they have now, in turn, sold it on to a JV owned by Adam Findlay, formerly top man at Edinburgh station Radio Forth, John Quinn, shareholder in Stirling radio station Central FM, and Murray Strachan, a local businessman.

The station's old owners - the management who bought it off CanWest, last year - said in a statement: "We are delighted to have been a part of Original 106 from its very inception through to this stage. We are pleased for both the staff and the client base that the station has been acquired by well known existing radio operators. This did form part of our deliberations when we considered the various offers for the station".

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Johnny Marr has been saying some very complimentary things about his current bandmates. As you all surely know, the former Smiths man and one time Modest Mouse member is now an official member of The Cribs.

Despite having almost two decades on his new bandmates, Marr says: "There's nothing I could teach them. They're not kids. That's good for me, because I couldn't be in a band where there was a big gulf in experience. It wouldn't be good for anyone. It wouldn't be appropriate. I think people expect there to be cultural differences when there aren't any".

On the age difference, Marr said there are no problems because "we're from the same part of the world". So that's all lovely.

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