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Job ads
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Top Stories
JLS and N-Dubz dominate MOBOs
Consumer Focus want copyright reform rather than three-strikes
Dizzee discusses stabbing
Noah And The Whale robbed
Death Set drummer dies
In The Studio
Empire Of The Sun man clarifies 'missing' stories
Shins man and Danger Mouse team up
Hatherley and Squarepusher to collaborate
Release News
Watch Mew's new video
Citibank to release Bob Dylan album
Elbow's debut to get deluxe re-release
Paul McCartney plans live DVD
Gigs N Tours News
Oceansize and Vessels to tour
Killaflaw announce tour dates
Festival News
The Quietus team up with film festival
Talks, Debates N Trade Fairs
UK Festival Conference expands
Album review: Various Artists - Temporary Secretary: Mixed By Dixon (Innervisions)
The Music Business
Mike Allen joins Connected
The Digital Business
MySpace UK appoint PR agency for Music launch
Wolfgang's Vault to launch concert download service
MP3 founders involved in new recommendation system
Daniel Johnston iPhone game
The Media Business
Online publishers increasingly considering subscription models
And finally...
Indie is dead, says Brown
Advertising info
Consulting info
CMU Credits + Contacts

A Sunny Day In Glasgow's second album 'Ashes Grammar', released this week by Mis Ojos Discos, is a shift away from their debut 'Scribble Mural Comic Journal'. Partly because of the move to a more sophisticated recording environment than the one-mic, bedroom set-up used on the first album. And partly because, after a series of events left them a bassist and not one but two vocalists down, songwriter Ben Daniels and drummer Josh Meakim had to find some new bandmates. But with some new blood and that better studio they created a lush and beautiful album of dream-pop, which is slowly creeping into the consciousness of old and new fans. We spoke to Ben to find out more.
Q1 How did you start out making music?
My mom was a musician and music teacher and she plays every instrument there is pretty much. I grew up with piano lessons and violin lessons and trumpet lessons, but when I turned twelve, I think, I quit everything because I always hated it. A couple of years later though, I was really into Led Zepplin and 'Over The Hills And Far Away' came on the radio when I was driving somewhere with my mom. I just started talking about how much I loved the song, and the guitar part in the beginning, and she asked me if I wanted to start playing guitar. I said yes, so she got me a cheap guitar for Christmas and I started from there.

Q2 What inspired your latest album?
Musically, our tour last year in Europe inspired it. For some reason we took trains all over the place, and we were carrying around guitars and cases of pedals and stuff like that, it was horrible. Josh and I wanted to make an album with no guitars on it, so touring wouldn't be so difficult. That didn't exactly happen, but it was in the back of our minds while we were making it. Also, Alvin Lucier's works were a bit of an inspiration. And, conceptually, the works of Erving Goffman (particularly 'The Presentation Of Self In Everyday Life") and Emile Durkheim too.

Q3 What process do you go through in creating a track?
This record was more disciplined that the last one, and everything generally began with the rhythm tracks. Then we spent months putting noises and instruments on top of that, and eventually melodies came out. We recorded vocals at the very end.

Q4 Which artists influence your work?
I think other people are better at answering this question for you. But I was listening to 'Station To Station' by David Bowie a lot at the beginning of the recording sessions, and then, while we were recording, we listened to a lot of The Misfits, The Knife, Michael Jackson, Faun Fables, and Desmond Dekker. By the end, when I was kind of going crazy trying to finish the record, I was listening almost exclusively to Ween's 'The Pod'.

Q5 What would you say to someone experiencing your music for the first time?
It's just songs, you don't have to try to 'get it'. There isn't necessarily anything to 'get'.

Q6 What are your ambitions for your latest album, and for the future?
Well, the latest album is done, so it is out of my hands at this point! Obviously I'd love for as many people as possible to hear it. In the immediate future I'd just like for us to tour as much as possible. But hopefully next year we can get more records done. I really love making records and songs.

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It was the MOBOs last night, happening for the first time in Glasgow at the city's SECC Arena. Presented by Keri Hilson and Radio 1's Reggie Yates, the big winners of a somewhat lacklustre event were JLS and N-Dubz, who picked up two awards each.

The big moment of the night was probably the presentation of a Lifetime Achievement Award to Michael Jackson. His sister La Toya presented a tribute to the late singer featuring video interviews with JLS, Trevor Nelson and Soweto Kinch, a performance of 'I'll Be There' by 'Britain's Got Talent' runner up Shaheen Jafargholi, and 'Britain's Got Talent' winners Diversity dancing to a medley of Jackson's hits, before Jermaine Jackson took to the stage singing, once again, his brother's favourite song 'Smile'.

The big finish of the whole night was The Young Soul Rebels, a group made up of acts including N-Dubz, Frankmusik, VV Brown and Tinchy Stryder, who performed that single, 'I've Got Soul', a reworked version of The Killers' 'All These Things That I've Done' recorded in aid of War Child.

Speaking to the BBC, N-Dubz's Dappy said he was disappointed that rapper Tinchy Stryder had been overlooked for an award. He said: "There's no one like Tinchy, nobody's doing what he's doing, nobody's got his swagger. I'm really upset. He should have won something".

Tinchy himself put it a little more bluntly on Twitter, saying: "So I didn't win a MOBO after having the highest selling urban single of the year and selling over one million singles this year, cool. F the MOBOs".

Whatever, here are all the winners in full:

Best UK Act: N-Dubz
Best International: Beyonce
Best African Act: Nneka
Best Newcomer: JLS
Best DJ: Trevor Nelson

Best Album: N-Dubz - Uncle B
Best Song: JLS - Beat Again
Best Video: Beyonce - Singles Ladies

Best Gospel: Victizzle
Best Hip Hop: Chipmunk
Best Jazz: Yolanda Brown
Best R&B: Keri Hilson
Best Reggae: Sean Paul

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So, we've heard from various quarters of the music community and from the big internet service providers, but what does the consumer rights lobby think about the government's latest proposals for tackling online piracy? There's normally one body or another claiming to represent consumers keen to express an opinion in this domain.

Oh yes, look, here's one know. It's Consumer Focus, who were possibly still called the National Consumer Council the last time they guested here in the CMU Daily. They reckon that the government should be spending less time putting in place laws to force ISPs to restrict or suspend the net access of persistent file-sharers and instead instigate a complete review of the British copyright system, I think with a view to introducing a whole load of new blanket licensing rules to simplify the process for new entrants into the digital market to secure music content.

In a statement released yesterday, as the government's consultation on this issue came to a close, the consumer body said: "Consumer Focus is calling on the government to refocus its position from looking at internet account suspension and other technical measures to reduce file-sharing and update the copyright licensing system so that copyrighted works can be more easily commercially exploited online".

The body's Jill Johnstone added: "We need to be talking about solutions, not about slowing down people's broadband. Most people would happily pay a reasonable price for music they enjoy, but little is being done to take this forward. Consumers still have limited choice when it comes to online content. There is huge potential for our creative industries to take advantage of the online market, but reform of the copyright licensing system is needed to support this".

She has a point. I mean, come on music industry, give consumers a bit of choice will you? I mean, where can people go for digital music other than iTunes? And Amazon. And 7Digital. And Beatport. And And And eMusic. And Napster. And Spotify. And And We7. And MySpace. And Imeem. And YouTube. And MUZU. And Orange's Monkey Music. And Nokia's Comes With Music. And Vodafone's MusicStation. And the BBC iPlayer. Oh, so actually quite a lot of choice then.

To be fair, the people behind these digital music services would probably welcome any change in the copyright system that would enable them to more easily licence music, especially if it meant more multi-territory licences. And there is lots about British copyright law - most of which pre-dates the internet - that could do with a serious overhaul. But I think that the once valid argument used by those who oppose new anti-P2P legislation that the music industry has failed to provide consumers with any compelling legit music services now sounds as silly as when record companies claim that P2P file-sharing has deprived them of billions of dollars in income.

True, it may still be a valid argument when applied to the film and TV industries, and that may be part of what Consumer Focus is getting at. But the music industry - for all its sins - has made significant moves in the provision of decent digital music services in recent years. And while there may still be much more to be done, record companies and music publishers should probably do more to big up the different services in which they are involved, to counter arguments from the net and consumer rights lobbies that the music corporates are still sitting on their asses moaning about file-sharing while doing nothing to adapt to the digital world.

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Dizzee Rascal has been speaking about his near-fatal stabbing in Ayia Napa in 2003. As you may remember, the rapper was stabbed six times in the chest and back after being chased by a group of four men. There were rumours at the time that So Solid Crew were somehow involved but, although rapper Megaman was interviewed by Cyprus police, they were cleared of having any connection.

Speaking to the Daily Star, Dizzee said that he partly blamed himself for what happened. He said: "It was all in slow motion. It was partly my fault. I got off my bike doing the bravery thing when I should have just sped off. But I don't like to walk away. I don't like to be picked on. Growing up where I did you learn to fight".

He continued: "Getting stabbed, it's not glamorous. It was a bad time. I had internal bleeding in my chest so I was coughing up blood all the time, I was on a drip that was getting on my nerves. It changes you into a really dark person. But really, I'm a joker. I'm a clown. It's only just starting to come out in my music. All I really want to do is make people jump around and smile. I didn't want to make a meal of getting stabbed. And 50 Cent had already done it. I didn't want to compete with getting shot nine times".

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Noah And The Whale have had all their instruments stolen from their van, which was parked in a car park near the Club Academy venue in Manchester prior to a gig at the venue on Tuesday night.

In a post on their MySpace blog yesterday, the band said: "We're sad to report that last night Noah And The Whale had all of their instruments and tour equipment stolen from Trinity Way NCP car park in Manchester. At some point between midnight and 11am this morning, the band's trailer was taken containing all [of our] equipment, most of which is of great sentimental value to the band.Many of the instruments were packed in flight cases marked NOAH in 6" high stencil lettering, or gold marker pen lettering NOAH AND THE WHALE or NATW".

Frontman Charlie Fink told the BBC: "There aren't replacements [for] these items. My Fender Jaguar 1963, for example. I've had that for ages and my entire sound is based on that guitar. It's very rare. I've only found one of those guitars. But even if there was a duplicate it wouldn't ever sound the same. It's hard to explain the relationship you have with a guitar. The most frustrating thing is whoever's done this has no understanding of what he's done. He has no idea of what it all means to us. We load up our own stuff, we carry our own gear. We do it with all our own money - it's devastating".

The band urge anyone who was in the area and witnessed anything suspicious, or thinks that someone has tried to sell them any of the equipment, to contact the police. A full list of what was stolen is available here.

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Drummer with the Ninja Tune/Counter Records-signed Death Set, Beau Velasco, died in New York on Sunday, a statement on the band's website has confirmed. Details of the cause of his death have nor yet been announced.

Originally from Australia, Velasco and bandmate Johnny Siera moved to the US in 2005, hoping to find more acceptance of their abrasive mix of hardcore punk and electronics. The group released their debut album last year and had recently begun work on the follow-up.

Writing on the band's website, Siera said: "RIP my dear brother, friend and band mate Beau Velasco. We are all so devastated that I will keep this short. We love you and you will be missed. You affected us all so much in the most positive ways. Our lives would not be as is if not for you. We love you. For all those who wish to pay their respects we will let the details be known soon".

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Okay, so, you all remember that Empire Of The Sun's Luke Steele said last month that his bandmate Nick Littlemore was not performing live with him on tour because he'd gone missing five months ago, right?

And that many people inferred that Littlemore's no-show on the tour was in someway a surprise, even though there'd already been a statement earlier this year that Littlemore would not form part of the duo's live band? And that we, therefore, suggested that Steele might have been joking about his bandmate actually going AWOL? Well, it seems there may have actually been a shred of truth in Steele's claims that he didn't know where Littlemore was.

Littlemore is, as previously reported, currently working on the new album by his other group, Pnau. And it seems that working with Elton John on that album, as well as collaborating with Cirque Du Soleil on another project, has left him a little distracted.

Steele told the NME: "We're making a studio album with Elton John co-writing on some tracks for the next Pnau album. We met Elton in Australia and his manager has now become our manager. I've been working with Cirque du Soleil in Montreal and writing and recording the next Pnau album in London, Atlanta and New York with [Pnau bandmate] Peter Mayes".

So too busy to be keeping up with his Empire Of The Sun co-hort. But, hey, surely he could have sent Steele a text message to let him know he was okay? Apparently not. He added: "I was recording in Atlanta and [went] swimming with my phone in my pocket. I've never managed to replace it".

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Shin frontman James Mercer and Danger Mouse have joined forces for a new project, tentatively called Broken Bells, although they have said that may change. The pair are currently working on their debut album, planned for release next year, and have launched a website, which you can look at here:

Mercer and Danger Mouse previously worked together when the former provided guest vocals on a track called 'Insane Lullaby', for the latter's project with Sparklehorse man Mark Linkous, Joker's Daughter.

The announcement of Broken Bells' existence has sparked speculation that this may mark the end of The Shins. As announcements such as this tend to do.

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Charlotte Hatherley and Squarepusher, aka Tom Jenkinson, have plans to record a new EP together, the former Ash guitarist has revealed.

Speaking to Teletext's Planet Sound, Hatherley said: "Tom remixed my last single, which was brilliant because he prides himself on not really listening to much new music. It's not definite, but working on new songs together is on the horizon. It'd be something in the vein of [experimental noise-rockers] Lightning Bolt, I think".

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Mew are ace. Their new album is ace. They have an ace new single coming out. It is called 'Repeaterbeater. It has an ace video. You should watch it. You'll think it's ace. It was directed by Martin De Thurah, Adam Hashemi and Lasse Martinussen. They are ace. The single is released on 9 Nov. Which is an ace date and also coincides with the band's next UK tour, which will be ace.

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It seems Citibank have tired of the efforts of one of their major debtors, EMI, and are going to weigh in and show them how a record company should really be run. Well, sort of. Well, not at all, actually. But they have signed a new deal with Bob Dylan to give away his first ever Christmas album to the thirteen million customers enrolled in their rewards programme.

I'm not sure I'd class a Bob Dylan Christmas album as a reward, to be honest, but Citibank spokeswoman Nancy Gordon said that it would have "high appeal" to the bank's customers, so maybe I'm missing something. I guess we'll all find out when 'Christmas In The Heart' is released next month. Dylan has said that he'll give all proceeds he gets form the album to charity, too. So that's nice.

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Elbow's debut album, 'Asleep In The Back', is to be re-released with a bonus CD including session and live tracks and the band's self-released debut EP, 'Noisebox', and a DVD of music videos and behind-the-scenes footage, on 26 Oct.

Speaking at the time of the album's original release in 2001, frontman Guy Garvey said: "This LP has been in production since 1998 but each time we have hit a hurdle, the record has changed its shape. We have worked with some brilliant producers and engineers over the past four years but the core of the record has always been the five people in Elbow. We are each other's biggest influences and have never really worked with anyone else. Basically, this is where we have been for all our adult lives".

The tracklist for the bonus CD looks like this:

Powder Blue (from 'The Noisebox EP')
Red (from 'The Noisebox EP')
Theme From Munro Kelly (from 'The Noisebox EP')
Can't Stop (from 'The Noisebox EP')
Bitten By The Tail Fly (Live)
Coming Second (Live)
Don't Mix Your Drinks (Live)
Can't Stop (Live)
Scattered Black And Whites (Live)
George Lassoes The Moon (Live)
Newborn (Steve Lamacq Session)
Don't Mix Your Drinks (Steve Lamacq Session)
Red (Steve Lamacq Session)

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I'm going to go out on a limb and risk being mobbed by angry Macca fans now, but I saw him live once and he was rubbish, particularly when he was doing Beatles songs. If you strongly disagree with that statement, please put down your pitchfork and think about showing me how wrong I am by purchasing McCartney's new live DVD when it comes out next month. You can watch it and mutter to yourself about how I don't know what I'm talking about. It'll be fun!

The performance, recorded over three nights at New York's Citi Field earlier this year, will be released on 23 Nov, and will feature the full performance on DVD and CD. A deluxe edition will also come with a bonus DVD featuring another show at the Ed Sullivan Theatre.

McCartney told the NME: "It was three great nights for the band and for me personally. It was very exciting to be back opening a new stadium on the site of the old Shea Stadium where [The Beatles] had played 44 years previously. [And it was] even more exciting because this time around you could hear us!"

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Imagine if Oceansize and CMU favourites Vessels were to tour together. Oh wait, they are. Brilliant!

Tour dates:

1 Nov: Brainwash Festival
25 Nov: Cardiff, Barfly
26 Nov: Manchester, Academy 3
27 Nov: Nottingham, Seven
29 Nov: Dundee, Fat Sam's
30 Nov: Aberdeen, The Tunnels
1 Dec: Glasgow, King Tut's
2 Dec: Liverpool, Masque
3 Dec: London, Heaven

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Described by CMU cohort Eddy Temple-Morris as "the missing link between Soundgarden and The Prodigy", electronic duo Killaflaw have announce tour dates that will see them up to the end of the year. They release their latest EP, 'Set Me On Fire', on 12 Oct via A Perfect Noise, and are currently working on their debut album, scheduled for release next year.

Tour dates:

3 Oct: Accrington, The Attic
7 Oct: Edinburgh, Whistle Binkies
8 Oct: Glasgow, Classic Grand Glasgow
9 Oct: Birmingham, Flapper
13 Oct: Brighton, Hope
14 Oct: Reading, Oakford Social
15 Oct: London, 93 Feet East
16 Oct: Brighton, University Of Sussex
17 Oct: Liverpool, Korova
19 Oct: Manchester, Walkabout (Filter Magazine USA In The City Showcase)
11 Nov: Liverpool, Mojo
5 Dec: Wigan, Indiependence
17 Dec: Liverpool, Korova

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The Quietus will be heading over to the Branchage International Film Festival for the new four days to lend a musical hand to proceedings. The website's Associate Editor, Luke Turner, will be introducing British Sea Power's performance of their new soundtrack to 1934 documentary 'Man Of Aran' at the Jersey Opera house on Sunday and mentoring young writers from the island as part of the Festival's education programme. Quietus Film Editor David Moats is also on the jury for, and will be presenting, Branchage's emerging talent film prize.

Luke Turner said of the partnership: "Branchage is exactly the sort of event the Quietus is delighted to get involved with. They have a vision outside the strictures of being told what you can and can't do, and what does and doesn't work, by their industry. Both The Quietus and Branchage believe in supporting homegrown talent and focussing on what we have on our own Islands. It's also great to see a film festival succeeding in bringing in a musical element without if feeling tacked on".

Says Branchage's Creative Director Xanthe Hamilton: "As an emerging festival, it's good to support and be supported by an emerging website, especially one that shares a cross-arts approach, and a similar artistic leaning. Branchage is building up a reputation that's giving us confidence that we may have got it right, something I think could equally be applied to The Quietus".

For more info, take a look at

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The team behind the UK Festival Awards will once again stage a UK Festival Conference ahead of their big awards bash this year. After last year's inaugural conference, this one will be quite a bit bigger, staged at the Vue Cinema within the O2 complex just round the dome from the Indigo2 venue where the awards will be staged.

There will be four sessions, one looking at legislation that impacts on festivals (health and safety and all that), the second on ways to crack down on festival crime (both on-site thieving and fake ticket scams), the third on festival branding and the fourth at the future of the festival sector.

More info at

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ALBUM REVIEW: Various Artists - Temporary Secretary: Mixed by Dixon (Innervisions)
Dixon is one of the better house DJs out there at the moment. It's possibly his experimentalism - the ability to take a theme and throw it in the mix to create an interesting smorgasbord of sounds - that really marks him out from the rest. Here he sums up some of his recent sets in compo form, mixing and splicing and overlaying the beats. Though, I'm said to say, with mixed results. It starts well, with the warmly textured 'Ongu' by Icasol and some tribalism from Fever Ray, before heading down the more minimal tribal route with Ame's TubeBeat overlaid on Bocquet's 'Exotique', which is definitely experimental, if a little disjointed. Then to funky flavours with Jazzanova, blended with Daniel Paul to good effect, before Ewan Pearson's take on 'Hazel' by Junior Boys and onwards to Peter Kruder's 'Law of Returns', a little menacing in feel but with synths that definitely drag you in. But then there's some weaker stuff. The Machine's 'Fuse' sadly doesn't spark, Tidwell's 'Watsuii' takes too much time to build, and Ame's 'Setsa' just isn't that good. Nor is the ending track by Tokyo Black Star. All of which means that, despite what I said at the start of this review, Dixon only scores high marks here for diversity and variety. As for the actual music, there's a bit too much navel gazing, and the combinations certainly aren't as palatable as I hoped. PV
Physical release: 26 Oct
Press contact: Tailored Communications [all]

Buy from iTunes
Buy from Amazon

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Management firm Connected have announced that former major label man Mike Allen has joined then in an international marketing role. In a long career in the music business Allen has had various marketing and label management roles around the world, most recently for EMI. More recently he has been providing his expertise on a consultancy basis, and will now bring his globally-focused marketing knowledge to the Connected team, working with the agency's roster of artists as well as clients of Connected's sister company, legal and finance consultancy Sound Advice.

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MySpace is seemingly getting ready to launch its expanded music service - the ground-breakingly named MySpace Music - here in the UK.

You'll remember the service launched in the US last year, though its roll-out around the world was delayed by all the executive changes that have since happened at the Rupert Murdoch-owned social networking company (not to mention the wobbly technology platform on which MySpace's services balance).

We know a British version of MySpace Music is imminent because Music Week have reported that the social networking company's UK division has hired PCPR (who I've never heard of, so it's an interesting appointment) to handle the launch.

Much of the indie sector is still not involved in the stepped up MySpace Music service. Indie label digital rights negotiators Merlin remain angry that the majors were offered a stake in MySpace's digital music business, while the independent sector has not.

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The sometimes controversial US website Wolfgang's Vault has announced it will be making a thousand live recordings, featuring artists like Jimi Hendrix, Aretha Franklin, Miles Davis, Dolly Parton, Hall & Oates and The Grateful Dead, available to download next month. Some concert downloads will be available for free, though most will retail at $8.98 for MP3s and $12.98 for higher quality FLACs. An annual subscription giving users unlimited streaming of the concert catalogue will also be available.

As previously reported, some artists initially raised objections to Wolfgang's Vault distributing recordings of their old concert recordings, questioning the company's ownership of the copyrights in them. But as far as we are aware all previous legal claims against the service have now been settled.

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Bach Technology, a company whose founders were involved in the early development of the MP3, and who work closely with the Fraunhofer Institute, which pioneered the popular digital music codec, are bigging up their latest innovation, which is some sort of music recommendation system called Bach Music DNA.

To be honest, I'm a bit confused about it all, but basically Bach are selling the new technology to download stores, claiming it helps punters navigate digital music catalogues and discover new music and, crucial to Bach's B2B clients, buy more music. There are parallels here with and the iTunes Genius functionality, presumably, though I think they are saying their system is better. Which probably wouldn't be that difficult.

Anyway, here's what the company's CEO, Stefan Kohlmeyer, told Billboard: "Last year, music recommendation was difficult to sell. This year, everyone wants it. But every retailer has the same products, which are millions of tracks, and price points. And because their consumers are using the same old search methods, they are finding it difficult to access music they want". Bach's system, says Kohlmeyer, can help download stores offer better recommendation facilities.

If you're as confused as me, you should probably look out for the Bach presentation at next January's MIDEM, perhaps then it will all become clear.

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If I was compiling a list of musicians most likely to be the subject of an iPhone game, cult singer-songwriter Daniel Johnston would not be on it. So it's lucky I haven't made such a list, because it would just have been proved meaningless.

Hot on the heals of a round of re-issues, not to mention his forthcoming new album, 'Is And Always Was', which will be released by Feraltone on 2 Nov, a new game called 'Hi, How Are You?' has been made available for iPhones, allowing players to take control of one of Johnston's cartoon creations Jeremiah The Innocent while listening to some of his music.

The game's makers, Peter Franco and Steve Broumley of DrFunFun and Smashing Studios, told The New York Times: "We wrapped the game around [Daniel's] whole story of a man going through life trying to find his true love but constantly having to contend with evil and with Satan, which are probably the demons within himself".

Although he apparently played the game during it's development, Johnston remembered little about it when asked. He the NYT: "[It's] just another milestone in Daniel Johnston history, I guess. If they make it into a real video game, it might work out, I guess. I don't even know what an iPhone is".

Download the game from iTunes here.

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A survey by the Association Of Online Publishers, which represented the digital divisions of numerous media companies, including most of the big newspaper groups, has found that an increasing number of publishers are now seriously considering introducing subscriptions for their online content. In fact 70% of those surveyed said they now plan to charge for online content at some point in the near future.

This is an interesting development given that early attempts to launch subscription-based online services, during and just after the original dot com boom, generally failed. Only specific business-focused content services have really successfully developed online subscription services. That said, as previously reported, consumer-facing subscription-based web offers are starting to gain some momentum in the US.

Plans by AOP members to move to more subscription-based systems come despite that report yesterday that more money is now spent on web-advertising than TV-advertising. That said, a lot of the web-advertising money will go to the Googles and Yahoos of this world, whose primary business is the provision of free web services rather than the creation and distribution of original content.

Said advertising spend has provided us all with free email, web storage and blogging facilities, but as more money goes to those sorts of companies, traditional content creators lose out - which is presumably why they are increasingly looking into ways to make us pay for at least some of the online content they offer.

The survey also showed an increased interest in providing content to mobile, an interest that has definitely grown since the arrival of the iPhone, offering, as it does, a whole host a interesting ways to present text, audio and video content, and even a few new ways to monetise such content.

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Former Stone Roses frontman Ian Brown has said that he no longer listens to anything that could be termed 'indie music', despite the a major influence on many bands who would consider themselves such.

Brown told Angry Ape that he'd attempted to avoid using guitars at all on his new album, 'My Way', saying: "We wanted to try to be bold and see if we could make an album that still works without guitars. I don't actually personally get off on guitar music. Since the Pistols, I liked the Roses' first album but I honestly don't listen to any guitar bands, whoever they are. They call me an indie icon and all that, yet I don't listen to what you'd call indie music. I just don't".

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