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CMU Info
Top Stories
Lots of LimeWire chatter as axe waits to fall
Brighton venue threatened with closure
In The Pop Courts
Isohunt man complains takedown injunction too broad
Google withdraw Blues Destiny lawsuit
Artist Deals
Cowell signs Labirinth
Interpol return to Matador in the Americas
Release News
Mogwai announce live CD/DVD set
Kode9 gives away new DJ-Kicks track
School Of Seven Bells announce new single
Gigs & Tours News
Snoop Dogg announces UK dates
Ólafur Arnalds and Jonny Greenwood announce one-off show
Doom announces first UK tour
Festival News
Festival line-up update
Album review: Various Artists - Strictly Ibiza Mixed By Osunlade (Strictly Rhythm)
The Music Business
KKR want to buy into CAA
Fladgate poach Harbottle litigation man
The Digital Business
German minister says no to three-strikes
The Media Business
Adam & Joe return to 6music for Glastonbury
And finally...
Dappy says: "tell the police nothink"

Formed in 2006, O'Spada are a five-piece from Stockholm. With their varied backgrounds in music, and influences ranging from Prince to the Wu-Tang Clan, the band have created their own unique sound merging soul and funk with hip hop and rock. After gradually gaining a reputation and strong following through their MySpace profile and vivid live performances, the band signed with Despotz Records in 2008. The band released their debut single 'Time' last November, while their debut album 'Pay Off' is out this week. The band play YoYo at the Notting Hill Arts Club in London tonight. Ahead of that, we caught up with frontwoman Julia Spada to ask the Same Six.

Q1 How did you start out making music?
We've all got our own story. Suffering from a serious TLC psychosis, I started writing songs in 1996, dreaming of becoming as good a rapper as Lisa 'Left Eye' Lopes. Samuel is a former punk drummer/choir boy. Karl was drawn to the electric guitar because it looked cool, and formed a Metallica cover band at thirteen. Johan got his chops playing bass in the local Pentecostal church. Chris always had the dream of being a drummer, but was left with the choice of playing either the violin or the piano, and chose the latter. We met five years ago, when we all played jazz, and practiced polyrhythms and scales all day long. When I held my first solo concert, I headhunted my favourite musicians. The concert went well, and the idea to actually form a band was born. We recorded a demo, and the rest is history...

Q2 What inspired your latest album?
The lyrics to our song 'W.I.T.H? (Where Is The Hook?)' pretty much say it all. The songs have been written over a long period of time, and the environment around us has changed from the academic world of a music school far out in the countryside to stressful day jobs and energetic club audiences in Stockholm. But it's always been about deconstructing the theories we've studied and putting the pieces back together into something direct and danceable. It's not about your skills, it's not about what you want to "say" with your music, and it's even less about what you look like or who you know. It's all about the hooks.

Q3 What process do you go through in creating a track?
It's often quite a long process. 'Time' is one of our earliest songs and doesn't sound at all like it first did. When I first showed it to the band, it was a weird little jazz tune, with a fast melody that was almost impossible to sing, partly based on a solo by the saxophone player Cannonball Adderley. Piece by piece, we changed it, and now the only trace of that first melody is the backing vocals in the intro (that used to make up the whole verse). It's always like that. One of us brings an idea to rehearsal, either a melody and some chords, or just a simple beat. Then we try a billion ideas, and in most cases, we end up with a song that has very little resemblance to the original sketch.

Q4 Which artists influence your work?
We all have different inspirations, from Prince to Wu Tang Clan to Daft Punk to Al Jarreau. In the beginning, that was quite frustrating because we couldn't agree on a sound. But now, it feels like a strength because it prevents us from imitating anyone else. Either way, we don't discuss other artists that much when we make our music.

Q5 What would you say to someone experiencing your music for the first time?
"What do you think we sound like?" We're so crappy at describing our music, so we need all the help we can get...

Q6 What are your ambitions for your latest album, and for the future?
Our efforts over the last three and a half years have got to pay off soon, that's what our song 'Pay Off' is about. Basically, we just want O'Spada's music to spread and be heard, on the radio, at the disco, at your mother's place. What we long for the most is to go on tour with it. Ultimately, our music is made for playing live.

MORE>> ospada.se
Ranger3 have an interesting make up. On one side there's Irish folk musician Ronan Burke, on the other neo-classical composer Jim Perkins. The result is a sound that pulls in two very different directions but, rather than causing it all to fall apart, this acts to balance it perfectly, creating something beautifully unique. Burke's often fragile vocals and penchant for unusual instruments are drawn into Perkins' incredibly intricate production style.

A perfect example of this is 'Pendulum', from the duo's debut album 'Old Simplicity'. The track, released as a single next week, clearly started life as a simple folk song but now has been pulled apart and reassembled to create something altogether more interesting, while still retaining a certain heart-stopping simplicity from its earlier version. The track, and new b-side 'Plans', can be streamed and downloaded from SoundCloud now.


We are looking for a bright, independent minded person for this role - someone with passion for music and our artists. We need highly organised, excellent communication skills and for that person to work under the pressure of tight deadlines. The successful candidate would report to the International Dept Head and work within a team of four.

The job requires the international co-ordination of our artist promotional campaigns - supporting the work of our partners around the world. Experience with artist travel and promotion trips inside a record label is required. In addition, a solid understanding about the Domino label, culture and its artists should be reflected in the cover letter. Domino Recording Company is based in London.

Applicants should send an e-mail with their full name in the subject line including, attached, CV and cover letter to: internationalpromotions@dominorecordco.com
Cherry Red Records is looking for a Publishing/Licensing Assistant required for a part time role 2-3 days per week. Main duties to include increasing publishing catalogue by signing established writers/tracks and acquiring available catalogues of work, working both publishing and master catalogue in terms of compilation/sync licensing.

Ideal candidate will have several years experience in the publishing and/or licensing fields at established publisher/record label, an in-depth knowledge of music from the past 30-40 years, and an ability to self-motivate and come up with innovative ideas.

Please contact matt@cherryred.co.uk with a CV and covering letter by 30 Jun.
Oceanic are an artist & producer management company and record label based in West London. Representing both new and established artists and award winning producers, the company are looking for an intern to help with a wide variety of management and label duties, including online marketing and PR, content generation and database maintenance, liaising with domestic and international partners, and day-to-day artist's diary co-ordination.

Applicants must be computer literate, have a very good understanding of social networks, have basic design skills, great spelling and grammar and a good overview of the music industry. Photoshop / audio editing skills would be highly advantageous.

Hours can be negotiated and salary is dependent on experience. Start date is ASAP.

Please send CV and covering letter to: intern@oceanicmusic.com
Outpost Media are looking for an ambitious Account Manager/Senior Account Executive to work across key music, brand and event campaigns at our Shoreditch offices. With a minimum of 2 years PR experience, you will have worked on a broad range of projects including brands, consumer PR and/or possibly other creative disciplines. You will have an excellent knowledge and passion for music, and know your Toddla T from your MGMT. A Bulging black book of press contacts is a must for this role. Experience of managing, producing and promoting events would be a distinct advantage, as is a keen eye for new business.

Candidates must be ambitious and creative, with strong communication skills and be able to demonstrate excellent client and media relations. We are seeking candidates with a proven track record who can demonstrate these skills through successful examples and be able to show an impressive portfolio of coverage for innovative and successful PR campaigns .

Salary £22k - £24k. Please send CV with cover letter to david@outpostmedia.co.uk.
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We have a limited number of desks to rent in our central Soho offices, from £360 per month, all inclusive (excluding phone line). Access to our 100meg/sec broadband (download and upload) network included, along with sharing of our office facilities and services. Media Junction is the UK's leading arts and entertainment marketing agency, and our office contains an in-house green screen and photographic studio, including full online and offline post-production facilities. Minimum term is 3 months. To make an appointment to view our desk space, please contact Sophie on 020 7434 9919, mailbox@mediajunction.co.uk.

Media Junction, 2 Archer St, Soho, London W1D 7AW www.deskspacesoho.com, www.mediajunction.co.uk.
Music Gain is acquiring record labels and catalogue. If you are thinking of selling, or have a large catalogue you want managed on your behalf, then please contact us. Introduction and spotters fees also paid. Please visit us - www.musicgain.com
The team behind CMU's acclaimed seminars programme are now offering their services to music and media companies, educational bodies and membership organisations looking for bespoke professional training courses. CMU's existing courses on music rights, music business models, music PR, media and social media can be run specifically for an organisation's employees, students or members, or bespoke courses can be developed according to an organisation's specific needs. For more information contact Chris Cooke on 020 7099 9050 or chris@unlimitedmedia.co.uk.
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LimeWire wants to turn its file-sharing network into a licensed digital music service, apparently, or at least that's what a spokeswoman for the P2P company has told C-Net.

As previously reported, while lawyers for the record industry work out just how many billions in damages they should ask for as the US courts swing in their favour regards their long running litigation against the file-sharing firm, insiders at the Lime company told Computer World earlier this week that they were "actively engaged" in talks with the labels with the aim of settling past differences amicably and moving forward on some licensed LimeWire music services.

Insiders at the majors, though, say the US record industry's lawyers are ready to land the final blow in their long running legal battle with LimeWire, and sue the file-sharing company and its founder Mark Gorton out of business, and preferably into the gutter.

The Lime Group has been developing side-line licensed music services alongside its contentious file-sharing network for a few years now, and has signed up a handful of indies to said services and recruited some former major label execs to try to bring the big boys on board. But LimeWire seems to now be saying it is ready to make its actual file-sharing network legit too, presumably funded by a combination of subscription fees and advertising.

C-Net quote a spokesman thus: "It [the all new licensed LimeWire file-sharing network] will have unrestricted downloading and streaming. It will be easy-to-use and easy to pay for. It will allow consumers to better discover music through advanced search tools, find more recommendations, and have access to millions of songs on-demand".

Of course, record industry execs will be keen to note that it's only now, as a judge prepares to issue an injunction ordering the LimeWire file-sharing network be closed, that the Lime Group is actively talking about taking its core product legit.

It seems unlikely any licensed version of the LimeWire file-sharing network could work. For starters, if it still operated as a true P2P file-sharing network, none of the major record companies would license it anyway, even if there wasn't ten years of bad blood between the labels and the Lime Group. As it is, some senior execs at the big labels would rather see the Lime Group collapse than do any deal, even if the deal was actually attractive to them.

And it is unlikely any deal the Lime Group could offer would be attractive. First, because the majors would probably want any new agreement to start with a multi-billion dollar settlement for past infringement, which LimeWire couldn't afford. And even if it could, the day-to-day licensing costs of providing the sort of service LimeWire described to C-Net would cost a whole lot more than the $20 million a year it's currently making from ad and subscription revenues. And its ad revenues might even go down, because it's likely any licensed P2P network would have limitations put in place by the labels which would make the service less attractive to a sizable portion of the file-sharing network's users.

So, to conclude, don't hold your breath for a licensed LimeWire becoming a reality. Some reckon not even Gorton and the Lime Group team really believe they can launch a licensed file-sharing service, but they are noisily discussing such a thing to try to convince whichever judge decides what damages they must pay to the record labels that they tried really hard to launch a non-copyright-infringing version of their service, so that said judge might show some leniency when considering the labels' multi-billion dollar claim.

And the music publishers' multi-billion dollar claims, too. Because once a file-sharing service is sinking under the weight of record industry litigation, you can rely on the music publishers to step in and demand their share of the damages. And a consortium of US publishers, including all the majors, Bug Music, MPL Music Publishing, Peermusic and the Richmond Organisation, have done just that, filing their lawsuit earlier this month, once a US court had confirmed the Lime Group was guilty of copyright infringement.

Though LimeWire say they are optimistic they can reach a settlement with the publishers too. The firm's CEO George Searle told CMU: "We definitely want publishers at the table. We have had many promising meetings with labels, publishers, songwriters and artists alike about our new music service and a business model that will compensate the entire industry. Publishers are absolutely a part of that solution, and we're hopeful that this action will serve as a catalyst to help us get to there". I wouldn't hold my breath.

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Brighton venue The Freebutt is faced with closure after being served with a noise abatement notice by the Environmental Health Department of Brighton & Hove Council, ordering the venue to "cease causing a public audio nuisance" earlier this year.

The Freebutt was served with the notice in February this year after the council received just one complaint, from a neighbouring resident, and given until 10 May to remedy the problem. Steps were made to do so, but the complainant refused venue staff and audio consultants access to their property, meaning a full diagnosis could not be carried out.

Nevertheless, the complaints apparently ceased after this work was carried out, but council officials decided to visit the original property suffering from sound leakage from the venue on 29 Apr, at which point it was decided that unwanted noise could still be heard.

The Freebutt was then told that if further sound proofing work was not carried out by 10 May, it would have to cease putting on live music at its current volume, meaning a drop in the maximum level allowed by the venue's volume limiter. The venue's owners argue that this would make it impossible for them to put on live music at all.

Various experiments have since been carried out, but neither the venue, the council or audio consultants brought in on either side have been able to diagnose the problem, largely due to the complainant now refusing access to their property to anyone involved with the case, including council staff. With no resolution forthcoming it now looks as though the venue may be forced to close permanently.

One of The Freebutt's four co-owners, Tom Denney told CMU: "The Freebutt is without a doubt a Brighton institution, having played host to some of the most important local, national and international acts of the past two decades. The Freebutt puts on upwards of 800 local musicians every year, giving them the opportunity to perform for an increasingly growing local community of music lovers, as well as putting on international touring artists and bringing in tourism trade from places as far away as Israel".

Another of the co-owners, Alex Murray, who spoke about the problem at The Great Escape last month, added: "What we want is the opportunity for not only a reasonable period of time in which to carry out any necessary work but also the cooperation of both Environmental Health Department and the complainants in helping establish where exactly the sound bleed problem is originating from. Without some educated analysis of the frequencies bleeding and the structure of both buildings there is absolutely no way that we will ever be able to eradicate this sound issue and will thus force the closure of a historic Brighton music venue and loss of a huge number of music industry jobs".

A petition to save The Freebutt has now been launched online. Sign it at www.gopetition.com/petitions/save-the-freebutt.html

With all this in mind, perhaps Brighton & Hove Council do need to employ some Status Quo fans; they like noise, right?

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More file-sharing for you now, and an update on Isohunt, a Canadian BitTorrent search service and tracker that has similarities with The Pirate Bay.

As previously reported, Isohunt founder Gary Fung has taken an alternative approach to everything in his home country by suing the Canadian Recording Industry Association, in a bid to get a Canadian judge to deem that his service is legal.

He's using the usual defence presented by companies who provide file-sharing services, ie that his servers don't host any infringing content, so he can't be guilty of infringement. While such an argument wouldn't work in the US, UK or Australia, given the whims of Canadian copyright law, it's not a foregone conclusion that Fung won't get the judicial all-clear he desires.

But things are less rosy for Team Isohunt south of the border, where the Motion Picture Association Of America won a summary judgment in their favour late last year that ruled the BitTorrent service infringed copyright. An injunction followed in March ordering Isohunt to remove any content owned and named by MPAA members from its indexes.

According to Wired, Fung is now challenging that injunction, arguing it is too broad in its remit. One of the issues Fung's challenge raises is that MPAA member have sent through lists of films they want blocked, but it includes things like 'Alice In Wonderland' and 'Dracula'. While the MPAA mean recent film versions of these stories, Fung argues that users of Isohunt may be sharing other files that carry these names that are not protected by copyright, or where the copyright owners have granted permission for their content to be shared. Fung says film studios should have to provide specific links to their content.

Isohunt's legal man told Wired: "One person's copyrighted 'Wizard Of Oz' is another person's public domain work. The motion picture studios do not have a monopoly on the names on things. That is where the injunction is violating the First Amendment".

The judge who issued the injunction has said he won't suspend it unless told to do so by an appeals court, though he did say that the works Isohunt must block when presented with a list of titles were only the "film and television works copyrighted by plaintiffs". Though I think that's sort of stating the obvious.

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Google has withdrawn its legal claim against American independent record company Blues Destiny Records. So that's nice.

As previously reported, Google went legal last month to get clarification on a side issue that came out of Blues Destiny's 2009 litigation against German-based file-transfer service RapidShare. Blues Destiny argued RapidShare was guilty of copyright infringement for failing to stop its users from using the file-transfer system to send copyrighted music files without the permission of copyright owner, though the case was settled before it reached court.

In its litigation, Blues Destiny possibly foolishly named Google and Bing as co-defendants, because their search engines sometimes link to RapidShare pages that host infringing content. Google strongly denied it had any liability for copyright infringement by linking to RapidShare web pages, and was disappointed when it didn't have a chance for that fact to be clarified in court.

Google demanded Blues Destiny give a written commitment to never sue Google over it linking to RapidShare sites ever again, but the record label refused. So Google began its own legal action, asking the Californian courts to confirm it couldn't have been liable in Blue Destiny's RapidShare lawsuit, even if the file-transfer service itself was found to be liable.

It is that litigation that Google has confirmed it has called off, seemingly because Blues Destiny agreed to give the search firm the written commitment it desired regarding future legal claims. Google came in for some criticism when it launched its lawsuit because Blues Destiny is a small label. Some bloggers argued the search firm's lawyers wouldn't be so keen to go legal if the label involved had been Sony or Universal.

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Simon Cowell has signed an artist from outside his various TV show ventures for the first time in six years, bringing producer Labirinth, who was behind Tinie Tempah's 'Pass Out' and 'Frisky' singles, into the Syco fold. As well as signing as an artist, Labirinth and his manager Marc Williams will also run their own Syco imprint, Odd Child, to which they will be signing artists themselves.

Labirinth, real name Timothy McKenzie, told RWD: "This is a crucial moment in my career, I've always been an ambitious and driven person and Simon has given me a bigger playing field. I'm gonna show Uncle Sy a whole new world!"

Syco added in a statement: "This marks an exciting time not only for the super-talented superstar-in-waiting, but also for the UK urban scene as a whole".

The producer is due to release his debut solo single, 'Let The Sunshine', later this summer with an album to follow, and is also working on new material for Pixie Lott and JLS. He's also reportedly set to work with Cheryl Cole, Jay-Z, and Rihanna in the near future.

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According to Pitchfork, Interpol have returned to former label Matador for the release of their eponymous fourth album in North and South America. For the rest of the world, they have formed their own label, Soft Limit, which will distributed via an exclusive licence with Universal's Cooperative Music.

Matador released Interpol's first two albums - 'Turn On The Bright Lights' and 'Antics' - in 2002 and 2004. The band moved to EMI/Capitol for the release of third album 'Our Love To Admire' in 2007.

As previously reported, the new album is the last to feature bassist Carlos Dengler. He has now been replaced by Slint guitarist Dave Pajo. Also joining the band for their upcoming tour dates is Secret Machines frontman Brandon Curtis on keyboards and backing vocals.

'Interpol' will be released in the UK on 13 Sep.

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Mogwai have announced they will release a package of live recordings via their own Rock Action label on 23 Aug. The CD/DVD boxset will feature eleven track live album, 'Special Moves', plus concert film 'Burning'. Both were recorded during a three night residency at Brooklyn's Music Hall of Williamsburg in early 2009. The download and vinyl editions of 'Special Moves' will also include six extra tracks.

Here are the tracklists:

'Special Moves'
I'm Jim Morrison, I'm Dead
Friend Of The Night
Hunted By A Freak
Mogwai Fear Satan
You Don't Know Jesus
I Know You Are But What Am I
I Love You, I'm Going to Blow Up Your School
2 Rights Make 1 Wrong
Like Herod
Glasgow Megasnake
Yes! I Am a Long Way From Home (download/vinyl only)
Scotland's Shame (download/vinyl only)
New Paths To Helicon Part 1(download/vinyl only)
Batcat (download/vinyl only)
Thank You Space Expert (download/vinyl only)
The Precipice (download/vinyl only)

The Precipice
I'm Jim Morrison, I'm Dead
Hunted By A Freak
Like Herod
New Paths To Helicon Part 1
Mogwai Fear Satan
Scotland's Shame

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Dubstep producer and head of the Hyperdub label, Kode9, has compiled the latest installment of !K7's highly regarded 'DJ-Kicks' compilation series, which is out next week.

Kode9 says of the compilation: "Very simply, [the mix is] just a snapshot of my DJ sets at the first half of 2010. It's definitely not an exploration of my musical heritage, but it's not all new stuff. It probably signifies something about my relationship to dubstep that the mix only has a few dubstep tunes in it, and is instead a mix of UK funky, broken beat, dubstep, grime and some R&B".

He continues: "I started DJing around nineteen years ago and, I don't know, I just think that every few years I get a musical epiphany from an intense experience in a club or in something I hear that fills me with energy, information and inspiration to produce and DJ. After each one I spend the next few years trying to decipher what happened in that singular moment".

Ahead of the release, !K7 are giving away a new track by the producer, entitled 'You Don't Wash (Dub)'. Download it here: www.kode9-djkicks.com/exclusive/

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School Of Seven Bells release their second album on 12 Jul through Full Time Hobby. A marked progression from the trio's 2008 debut, 'Alpinisms', it sees them open out their sound and allow it to burst forth.

The band release a new single, 'Windstorm', on 19 Jul. You can hear a remix of the track by A Place To Bury Strangers here: soundcloud.com/fulltimehobby/school-of-seven-bells-windstorm-a-place-to-bury-strangers-remix

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Snoop Dogg has announced two more UK shows to follow his appearance at the upcoming Glastonbury and Wireless festivals. The shows will be the rapper's first since his ban on entering the country was lifted in March, and will be relatively low-key. Tickets go on sale tomorrow.

As previously reported, Snoop was arrested in April 2006 following a fracas involving him and various members of his entourage in the first class lounge at Heathrow Airport in which seven policemen were injured. He spent a night in the cells before being released with a warning for using threatening behaviour. When he attempted to enter the country again for a tour a year later, he was blocked, with officials citing previous convictions for drugs and firearms offences as reasons for the indefinite ban.

The rapper successfully had it lifted in 2008, but that decision was later reversed by the Court Of Appeal, where it was decided that the ruling judge may have "misinterpreted the test of exclusion" and it was decided that Snoop still posed "a risk to the public". However, in March the case was taken to the UK Asylum & Immigration Tribunal, who again lifted the ban, granting Snoop the right to come over here and do that rapping thing he seems to enjoy so much.

And that's exactly what he plans to do, on these dates here:

25 Jun: Glastonbury Festival
3 Jul: Wireless Festival
4 Jul: Glasgow, Academy
9 Jul: London, Shepherds Bush Empire

Tickets go on sale tomorrow.

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Icelandic neo-classical composer Ólafur Arnalds has announced that he will perform his new album, '...And They Have Escaped The Weight Of Darkness', in full with the RNCM Symphony Orchestra at Manchester's Bridgewater Hall on 1 Jul. Jonny Greenwood will also perform his classical piece, 'Popcorn Superhet Receiver'.

Arnald's album was released last month by Erased Tapes. You can watch the video for lead track 'Hægt, Kemur Ljósið', directed by Esteban Diácono, here: vimeo.com/11681935

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Mask-wearing US rapper Doom has announced his first ever UK shows outside London, which will take place in October. Doom released his latest acclaimed album, 'Born Like This', last year. Tickets for the shows go on sale on Friday.

Tour dates:

13 Oct: Manchester, The Warehouse Project
14 Oct: London, Brixton Academy
15 Oct: Brighton, Concorde 2
16 Oct: Bristol, Academy

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BLOODSTOCK, Catton Hall, Walton-on-Trent, South Derbyshire, 13-15 Aug: Swedish metallers Opeth have been announced to play as Friday night headliners at this summer's Bloodstock, joining the previously announced Children Of Bodom, Fear Factory and Twisted Sister. www.bloodstock.uk.com

ØYA FESTIVAL, Middelalderparken, Oslo, 10-14 Aug: Yeasayer, The Black Angels, Die Antwoord and Rubik are amongst the final acts confirmed to play at the Norwegian fest this summer, joining a line-up that already includes the likes of Broken Bells, Flaming Lips, Field Music and Pavement. www.oyafestivalen.com

PEACE & LOVE, Sweden, 1-3 Jul: Jay-Z, Lily Allen and Patti Smith are all headlining at Sweden's Peace & Love Festival this summer, with the likes of Vampire Weekend, Julian Casablancas, Them Crooked Vultures, Biffy Clyro and NOFX also set to play. www.peaceandlove.nu/english/

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ALBUM REVIEW: Various Artists - Strictly Ibiza mixed by Osunlade (Strictly Rhythm)
New York-based Osunlade works hard as a producer, and is famed for his Afro-inspired deep house sound and his label, Yoruba Records. Here, though, he's been tapped for his considerable skills as a DJ. Split into two discs, the first in this set is a pre-club mix, while the second is more club-focused. There are some real gems here and the entire compilation gets better with each listen. Taking in old and new and placing a capellas on top of some serious beats, there are some masterful touches on show.

Disc One highlights include Mauritzio's techy remix of the seminal 'Follow Me' by Aly-us, the spaciousness of Ripperton's 'Echo City', and the lush rework of Osunlade's own 'Butterfly' by Ron Trent. Tribal house makes an appearance from Phil Asher's 'TEXTYA' and another cut by Just Felix, while Osunlade ensures a varied selection by taking things a little more mainstream with Quentin Harris' 'Do the Right Thing'.

Disc Two opens with the sweeping lush tech of a remix of Johnny White's 'Desensitize' and moves into Logic's classic 'The Warning', which is now 20 years old but retouched well by Claude Monnet. The vocals of Dennis Ferrer's 'Hey Hey' are supplanted onto the toughened beats of Afefe Ike's 'Mirror Dance', which works fantastically. Osunlade then throws in his own remix of his track 'Pride', with Nadirah Shakoor excelling on vocal duties. There's also a stunning new cut from Kink, 'E79', which takes you deep under like a riptide, with its acid tweaks. It gets blended with the rather lush 'Superschall' by Timewriter.

'Strictly Ibiza' is diverse, intelligent and thoughtful but never forgets its dancefloor sensibilities. PV

Physical release: 28 Jun
Press contact: Defected IH

Buy from iTunes
Buy from Amazon

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KKR, the equity types who own half of BMG Rights Management and who are reportedly trying to buy half of EMI Music Publishing, are said to be in talks to take a stake in LA-based talent agency Creative Artists Agency. According to the Hollywood Reporter, KKR could invest $250 million into CAA, which would give them a minority stake in the company.

CAA is one of the big US talent and booking agencies. Their music division has worked with the likes of AC/DC, Usher, Bruce Springsteen, Sting, T-Pain, Carrie Underwood, Green Day, Bon Jovi, Jonas Brothers, John Mayer, Mariah Carey, Radiohead, Justin Timberlake, Shakira and Stevie Wonder.

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London-based legal firm Fladgate has poached a litigation partner from rivals Harbottle & Lewis. Lawrence Abramson has been with H&L for twelve years, and will now work in the litigation bit of Fladgate's media and entertainment practice, suing the pants off all you copyright infringers and celebrity defamers. So watch out people.

He will report to Fladgate's Simon Ekins, who is quoted in Music Week as follows: "Lawrence's appointment is part of our continuing strategy to develop the firm and we are delighted to welcome him to Fladgate. His practice is an excellent fit with ours and we very much look forward to working with him to develop one of the leading media practices in the country".

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Germany's Federal Minister Of Justice, Sabine Leutheusser-Schnarrenberger, has said that her government will not be introducing a three-strikes system for combating internet piracy.

Ever since the French and UK governments started putting three-strikes on to the statute book, so that internet service providers may be forced to cut off or suspend the net access of persistent file-sharers, the German record industry has been lobbying their politicians for similar measures to be introduced there.

But Leutheusser-Schnarrenberger, while admitting online piracy was a problem and that ISPs should be a "bit more responsible" regards any copyright infringement undertaken by their customers, said three-strikes or "bandwidth throttling" - where the bandwidth of persistent infringers would be restricted - were not under consideration. She proposed ISPs have a system whereby pop-up windows appear if it looks like a user is infringing copyright, alerting them to the law regarding downloading unlicensed works.

The German minister also called on the EU to ensure talks around the global intellectual property agreement, the previously reported ACTA, were more open. The European Union is negotiating that treaty with a stack of other countries on behalf of its member states. There was a lot of secrecy around the treaty, which has been much criticised, though to be fair the EU itself has tried to bring some transparency to the proceedings, resulting in a draft of the treaty being published.

EU reps insist that three-strikes will not be part of the ACTA, and it isn't mentioned in the current draft, but Leutheusser-Schnarrenberger seems to still be concerned such an anti-piracy system might be forced on her country by the global agreement.

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Strand to attention, Black Squadron. Adam & Joe have announced that they will return to BBC 6music for three shows as part of the station's Glastonbury coverage.

Announcing the news, Joe Cornish said: "We're both really excited about being on air together again, and can't wait to serve you with top notch music and piping hot, ill-prepared waffle. In fact, we're already hard at work ill-preparing the waffle mix. And although Adam did spill a lot of it on the carpet, he's managed to scrape most of it up, and we think it's probably still useable".

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And now a little lesson on your rights with regards the criminal justice system, courtesy of planet pop's chief legal expert, Mr Dappy N-Dubz. Well, sort of.

Dappy apparently admits in an upcoming Channel 4 documentary about the urban outfit that he and his bandmates often give false names if stopped and searched by the police. After explaining how the police "used to be a big problem to us back in the day" and "used to chase us anywhere we used to go", the N-Dubz boy confirmed that he still wouldn't give a police officer his real named if stopped.

But, Dappy critics note, and here comes your legal lesson of the day, giving a false name to a police officer in a stop and search scenario is not a criminal offence. A Scotland Yard spokesman told the BBC: "It is not an offence to give false information to police during a stop and search unless one is under arrest. The point of stop and search is not to ascertain your details but to undertake a search".

But Dappy and co might want to note that if they are actually arrested, continuing with the false name could constitute perverting the course of justice. Not that Dappy is going to be arrested for anything, obviously.

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Georgina Stone
Editorial Assistant
Paul Vig
Club Tipper
Robert Green
Head Of US Relations

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