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CMU Info
Top Stories
Save 6: How was it done, and what does it mean?
Save 6: People saying stuff
In The Pop Courts
Kookaburra publisher gets 5% of Down Under
In The Pop Hospital
Cheryl Cole has malaria
Artist Deals
Losers sign to Gung-Ho!
In The Studio
Strokes piss about in the studio, delay album
Reznor working on Facebook movie soundtrack
Release News
Starsmith announces debut single
Venetian Snares announce new album
Gigs & Tours News
Korn announce UK shows
Festival News
Band deadline approaching for City Showcase down under
Festival line-up update
Album review: The New Pornographers - Together (Matador)
The Music Business
Live sector prepares to fight any rise in PRS rates
What will HMV do with Waterstones?
The Digital Business
Might The Pirate Bay be hosted in Swedish parliament?
The Media Business
Rick Astley joins Magic
Chart Of The Day
Total Rock World Album Chart
And finally...
Lostprophets and Foals in beef smackdown
"The internet is over", says Prince

Hailing from Brooklyn, Fang Island describe their sound as "everyone high-fiving everyone" and claim their main aim is to "make music for people who like music". What either of those things mean is up for debate, but the band's sound mixes the slightly unlikely combination of Jay Reatard, Marnie Stern, Andrew WK and Thin Lizzy. They release their eponymous debut album (one of our favourites so far this year) in the UK via the Sargeant House label on 5 Jul. Ahead of that, we spoke to guitarists Jason Bartell and Chris Georges to ask the Same Six Questions.

Q1 How did you start out making music?
Chris: We started making music while we were studying art in college. It started out as something we did in our spare time, but soon homework and class got in the way of writing songs and playing together. To remedy our dilemma, we created our own rock band class and began Fang Island.

Jason: And on that very day Quetzalcoatl came from the heavens and gave us our guitarras.

Q2 What inspired your latest album?
Jason: The motion of the "devil sticks".

Chris: The atmosphere of the recording sessions was really fun. The engineers at [Rhode Island recording studio] Machines With Magnets were really laid back and we had a lot of friends popping in during the sessions. It was a beautiful Providence, RI summer. The inspiration for our album was fun.

Q3 What process do you go through in creating a track?
Jason: First we hit 'new track' in ProTools, then we click auto-tune, then we search the jazz funk fusion samples on websites. Then we take a break.

Q4 Which artists influence your work?
Chris: TV Carnage, Goya, Gary Panter, Joe Buzzell, Robert Longo, Shigeru Miyamoto...

Jason: ...Francis Bacon, Caravaggio, and Super Mario.

Q5 What would you say to someone experiencing your music for the first time?
Chris: "Sit in this comfy chair, here's your Super Nintendo controller, here's your beverage, hit this, here are your headphones. I'll be back in a half hour and we'll grab some pizza".

Q6 What are your ambitions for your latest album, and for the future?
Chris: We want to tour the world for our newest album and the universe for our upcoming album.

Jason: And create a Fang Island commentary for the 'Back To The Future' trilogy.

MORE>> fangisland.com
Formed by ex-Secret Machines guitarist Benjamin Curtis and identical twin sisters Alejandra and Claudia Deheza, formerly of On! Air! Library!, School Of Seven Bells released their debut album, 'Alpinisms', in 2008. Although it arrived with little fanfare, the record quickly found a devoted set of fans, making them the band of choice amongst the recent surge of shoegaze-influenced acts.

Next week SVIIB return with album number two, 'Disconnect From Desire'. Less claustrophobic than its predecessor, the new songs rise and swell, allowing the Dehezas' vocals to fully come forth. The album is now streaming in full on the band's website. For those in a hurry, check out the opening track and forthcoming single, 'Windstorm', and the dreamy 'I L U'.


CMU's sister media ThreeWeeks, the biggest reviewer at the Edinburgh Festival, is looking for three people to join its team at this year's festival. These are paid roles, and provide an opportunity to be part of the flagship media at the world's biggest festival, and to support an acclaimed student media-skills initiative and cultural outreach programme. Although not paying massive fees, ThreeWeeks is an exciting project at the heart of the world's most vibrant cultural extravaganza, providing unique support for aspiring journalists and new cultural talent. A good time is had by all. All roles run from 1-29 Aug.

This is a role for someone with at least two years professional sub-editing experience. You will be supporting ThreeWeeks' chief sub-editor, and subbing and reworking both reviews and features. As the work you will be subbing will be written by participants on the ThreeWeeks student media-skills initiative you will also need to give feedback to the writers whose work you alter. This person can be based in Edinburgh or work remotely from any other location. It is a flexible part-time role, requiring four hours work daily from 1-29 Aug. Fee: £1000

This is a role for an organised person with experience of managing other people. You will manage the ThreeWeeks office in Edinburgh between 10am and 6pm daily (midday-5pm at weekends), looking after basic admin tasks, keep the space ship shape, and overseeing a team of student sub-editors and admin assistants. This is an Edinburgh based role, though accommodation may be provided if required. Fee: £800

This is a role for an organised person with lots of initiative, able to solve problems as and when they arise. You will be based partly in the ThreeWeeks office in Edinburgh, and partly on the ground overseeing the distribution and other logistics of ThreeWeeks' various media. You will run a street team, ensure people and products are in the right place at the right time, and fix technical or logistical problems as and when they arise. Some IT experience helpful but not essential. This is an Edinburgh based role, though accommodation may be provided if required. Fee: £800

To apply for any of these roles send a CV and covering note to recruitment@unlimitedmedia.co.uk.
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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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Everybody in the world, that's right, every single person, lined up yesterday to welcome the decision by the BBC Trust to block the proposal to shut down 6music.

As previously reported, the Trust, which had to approve cutback plans announced by BBC management earlier this year, said yesterday "the case has not been made for the closure of 6music". The BBC regulator then told Corporation top dogs to conduct a complete review of their digital radio output, but not with any specific brief to shut down 6. In fact, it advised BBC bosses to look into ways to increase the digital station's audience instead.

While some fear that, by ordering a wider digital output review, the Trust is allowing BBC management to keep 6 alive for now, only to quietly wind down its operations at a later date, once people have stopped looking, many others are optimistic that yesterday's announcement really does mean 6music has been saved.

Working out quite how that was achieved would make a good academic study. Is it proof of the power of social media in uniting a modest group of disparately located aggrieved people, and in providing those campaigners with a visible platform and a forum to help maintain the momentum of their campaigning?

Or was it because 6music was just lucky to have a lot of high profile fans, including journalists, comedians and musicians? Or was it because some influential but opportunistic Tories saw the pre-Election benefits of speaking up for the cooler of the BBC's radio stations, given the Corporation's strategic review was seemingly written with the soon-to-be-elected Tory government in mind?

Did 6music benefit from the Tory's dislike of the BBC Trust, creating an environment where the regulator - fighting for survival - was looking for a high profile opportunity to show it can stand up to BBC management when it wants to? Or were the Trust and BBC top guard in cahoots all along, orchestrating an elaborate bit of misdirection; distract license fee payers at large over here by threatening to shut down a relatively cheap, innovative service with lots of celebrity fans, so no one notices you shutting down a whole load of other cool stuff over there?

Or perhaps the proposal to shut down 6music - one of BBC radio's least commercial services - and divert its £9 million a year budget to other stations that more directly compete with commercial radio, as part of a strategic review designed to placate concerns in the commercial sector about the Corporation abusing its safe funding streams to get unfair competitive advantage, was just such a dumb, dumb, dumb idea, even the management-loving BBC Trust had to knock it back.

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Whatever the reason for 6music being saved, music people were happy yesterday. Though some shared the aforementioned opinion that there was still a risk the axe could reappear above 6 in the future, and warned the Beeb they'd be ready to continue the fight should that happen.

Geoff Taylor, top man at record label trade body the BPI, said: "We are delighted that the BBC Trust agreed that the case for closing 6music was unconvincing. The Trust's initial findings support our case that 6music makes a unique contribution to the UK's cultural. We'll be watching carefully to ensure the Executive's review of the BBC's digital radio strategy is not used as cover for a further attempt to close the station".

Over at UK Music, your main man Feargal Sharkey said: "UK Music is delighted by today's announcement by the BBC Trust that the case has not been made for the closure of BBC 6music. However, it does not represent a total reprieve - the Sword of Damocles has only been put on ice. We would still urge Mark Thompson and the BBC Executive to acknowledge the Trust's conclusions, to recognise 6music's unique role in supporting this country's musical talent and to commit to the station's long term future. We were also surprised by, but welcome, the Trust's commitment to conducting a broad ranging and far reaching review of digital radio, and look forward to inputting into that process in the coming months".

Speaking for the indie community, Simon Raymonde of Bella Union and a board member of the Association Of Independent Music said: "To all those thousands of people who wrote letters, signed petitions and joined protests, to the members of the Trust, we must say that today is a victory for common sense, or as Cat Stevens more eloquently once said, 'I am confident that, in the end, common sense and justice will prevail. I'm an optimist, brought up on the belief that if you wait to the end of the story, you get to see the good people live happily ever after".

Stephen Navin of the Music Publishers Association said: "The decision to save 6music will be particularly welcomed by those young up and coming bands and songwriters to whom the station has been so important. 6music has provided an invaluable platform for new and independent music. The Trust is absolutely right to highlight in its interim conclusions the vital importance of maintaining the type of distinctive content which is currently available uniquely on 6music. The Trust makes specific mention of the fantastic show of public support for 6music that we have seen since the plans were announced. Each and every music fan who replied to the consultation, or tuned their digital radio to 6music, should rejoice in the knowledge that their voice has been heard".

Steve Levine of the Music Producers Guild added: "The reprieve of 6music is fantastic news. By championing talent and originality, 6music provides the perfect antidote to the bland outpourings of so much of today's media. We need stations like this and are delighted that the BBC Trust has rejected plans to close it".

Georgina Rodgers, one of the people behind the Save 6 protests, told reporters: "The fans of BBC 6music welcome the BBC Trust's announcement. But we have only won the battle, and not the war, and we will be continuing our dialogue with the BBC Executive and the BBC Trust. It is clear that the BBC Trust recognises that 6music is a distinctive and culturally valuable station that fulfils the BBC's remit of high quality programming, and we want to build on that, in the context of the wider review of the future digital radio".

And finally, the Trust's response to the Beeb's strategic review was also welcomed by RadioCentre, the trade body for much of the commercial radio sector. Their top man Andrew Harrison said: "We welcome the interim report from the BBC Trust, and in particular its emphasis on distinctiveness and value for money, as the next step in the process to review the future size and shape of the BBC".

He continued: "In our response to the BBC Strategy Review, we highlighted the importance of delivering more public value on BBC Radio's popular music services and the critical need for a much clearer commitment to radio's digital future from the BBC. We are pleased, therefore, that the BBC Trust has mandated BBC management to deliver greater distinctiveness on Radio 1 and Radio 2, and welcome its call to draw up an overarching strategy for digital radio with the commercial sector".

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A judge in Australia has ordered Men At Work and their publishers EMI to hand over 5% of the royalties from their eighties hit 'Down Under' to the owners of the song 'Kookaburra Sits In The Old Gum Tree', Larrikin Music.

As previously reported, back in February an Aussie court ruled that Men At Work's most famous track used a segment of the famous Aussie children's folk song without permission, and that the owners of that song were therefore due a cut of the pop hit's royalties. Independent music publisher Larrikin had previously convinced the Australian courts it was the legitimate owner of 'Kookaburra', which was written by the late Marion Sinclair in 1934.

Although EMI are appealing the original ruling - partly by claiming the use of a little bit of the 'Kookaburra' melody in 'Down Under' was at most a "tribute" to the folk song, and partly by again disputing Larrikin's ownership of the song - today's decision regarding royalty share really went in Men At Work's favour.

Larrikin had been pushing for up to 60% of the royalties generated by 'Down Under'. It was an ambitious claim which the publisher probably never expected to achieve, but it is unlikely they expected the judge to decide on a figure so much smaller than what they requested. According to the Associated Press, the judge hearing the case said he "considered the figures put forward by Larrikin to be excessive, overreaching and unrealistic".

Under the ruling, EMI and 'Down Under' writers Colin Hay and Ron Strykert will have to give Larrikin 5% of all money generated by the song since 2002, and 5% of all future royalties. Royalties received prior to 2002 stay with EMI and the songwriters because Larrikin's claim is constrained by the so called statute of limitations.

It remains to be seen if EMI continue to appeal the original 'Down Under' ruling given the relatively modest royalty share awarded to Larrikin. Whether they do may depend on whether Larrikin appeal today's royalty share judgment.

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According to reports, Cheryl Cole did not collapse at a photo shoot this weekend simply because of exhaustion, but, rather, because she is suffering from malaria.

A source has told the Daily Mail that Cole's condition worsened after the photo shoot incident on Saturday and the Girl Aloud and 'X-Factor' judge was admitted to hospital. There tests have, said sources claim, showed the singer was suffering from malaria, which it is thought she must have contracted while holidaying in Tanzania recently.

The Mail quote their source as follows: "Cheryl hadn't been feeling herself for about a week [after returning from Tanzania]. She was feeling tired and listless. In the end, this must have been the beginnings of the virus. During Sunday afternoon, Cheryl went downhill quickly. She was sweating and shaking and in a bad way".

The official statement on Cole's health from her PR rep yesterday simply said: "Following doctor's advice Cheryl Cole will be cancelling all work commitments for the next week. No further comment".

Cole is expected to stay in hospital to recover for several days, and may need several weeks to fully recover. This may mean the singer will have to pull out of many of the audition shows for the next series of 'X-Factor'; producers of the programme have already been told to make other arrangements for the next block of filming.

One assumes Simon Cowell is feeling rather bad at the moment, given that at an 'X-Factor' recording last week he put Cole's fragility down to a hangover, and warned the audience she might be extra "sulky" because she'd been partying the previous day.

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Losers, aka DJ, producer and radio presenter Eddy Temple-Morris and former Cooper Temple Clause man Tom Bellamy, have become the latest signing to Gung-Ho! Recordings, also home to The Japanese Popstars and Burn The Negative, amongst others. The duo will release their debut album through the label later this year.

Speaking about the signing, Temple-Morris told CMU: "Matt from Gung-Ho! doesn't so much sign bands as enter into an extended love affair with them. To be signed to a label like that is, for me, the dream come true, and to be stablemates with The Japanese Popstars and Burn The Negative is just the icing on the best chocolate cake ever".

Losers' co-manager, Steve Sethlewaite of Hope Management added: "Co-managing the act with Sean Holbrook for the HDM Group, we've been keen to find the appropriate partners for Eddy and Tom's album. The passion Gung-Ho! has shown for the music rather than the guys' related histories was hugely refreshing. Culturally Losers sit well on Gung-Ho! And it's maximised by the fact that everyone involved is ultra keen and excited to be working together".

Losers have various live dates coming up, including appearances at the Latitude and Lovebox festivals. Their first single for the label will be 'Sirenna (Today We See Colour)' on 6 Sep, followed by the album on 13 Sep.

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I reckon I could have an entire Strokes album written and recorded in about two hours, but the band themselves seem to be struggling. Having finally got themselves into a studio earlier this year to work on the follow-up to 2006's 'First Impressions Of Earth', they've seemingly not been happy with results so far.

The new album was originally expected to be released later this year, then in May frontman Julian Casablancas told Clash he was "pretty sure it should be out in January 2011". Now he says the album is only "halfway done" and won't be on sale until at least March.

Speaking to 6music, Casablancas said: "We've wanted to do it [record the album] for months, or maybe a year now, and we keep thinking, 'OK, we'll do it for these three weeks and then we'll be done'. And then we do it and we decide that we're not done, or something comes in the way".

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Trent Reznor has revealed that he's working on the soundtrack for an upcoming movie based on the life of Facebook CEO Mark Zuckerberg during the website's rise to internet prominence. Entitled 'The Social Network', the film is directed by David Fincher and, according to Reznor, is rather "dark".

Writing on the official Nine Inch Nails website (though it's not entirely clear if the soundtrack will be released under the NIN name), Reznor said: "David Fincher started enquiring about my interest in scoring his upcoming film, 'The Social Network'. Yeah, the movie about the founding of Facebook. I've always loved David's work but quite honestly I wondered what would draw him to tell that story. When I actually read the script and realised what he was up to, I said goodbye to that free time I had planned. [Long-term collaborator] Atticus Ross and I have been on a creative roll so I asked him if he wanted to work on this with me and we signed on".

He continued: "Months later, I'm happy to tell you we're nearing the completion of this and I couldn't be happier with how it's turned out. ... As Atticus and I near the end of the scoring process, we're looking forward to the next phase - distilling the large amount of music we've written for this down to a satisfying record (or two)".

The film is due to open in the US on 1 Oct, with Reznor and Ross' soundtrack scheduled to be released as an album in mid-September.

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Fin Dow-Smith, aka Starsmith, has been so busy producing Ellie Goulding, Kylie Minogue and Cheryl Cole, as well as remixing the likes of Timbaland, Lady Gaga, Katy Perry and Marina & The Diamonds, that he's only just getting around to releasing his debut single. How forgetful of him.

The double A-side single, 'Give Me A Break/Knuckleduster', will be released on 29 Aug via Neon Gold, also the label which launched Ellie Goulding. The producer's debut album is due for release early next year.

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Experimental electronic type Venetian Snares, aka producer Aaron Funk, has announced that he will release a new album, entitled 'My So-Called Life', on 9 Aug. The album will be the first released on Funk's own label Timesig, a subsidiary of Planet Mu.

Says Funk of the album: "The majority of these tracks were made quite quickly, in a day or two each. These are the ones I feel closest to, I can listen to one of these ten tracks and remember that day exactly, all that I was feeling, just where my head was at, whether it was a good memory, a laugh, something that was bugging me or something bumming me out. Listening brings me back to that day, whereas hearing some of my other albums brings me back to some period in my life in general".

Here's the tracklist:

Posers And Camera Phones
Who Wants Cake?
Welfare Wednesday
Ultraviolent Junglist
Sound Burglar
My So-Called Life

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Korn have announced that they will play three gigs in the UK (well, England) in October in support of their new album, 'Korn III - Remember Who You Are', which is due for release on Monday. The band will also play Ozzfest at the O2 Arena on 18 Sep.

Explaining the album's title, bassist Field said: "We called this record 'Korn III - Remember Who You Are' because it really feels like a return to that attitude we had on the first two records".

Tour dates:

8 Oct: Southampton, Guildhall
9 Oct: Wolverhampton, Civic Hall
10 Oct: Manchester, Apollo

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The deadline is approaching for bands wanting to play the very first City Showcase New Zealand, the previously reported new music festival being staged in the Kiwi city of Napier by the team behind the long established City Showcase event in London.

Like City Showcase UK, the Napier event will see bands perform in various city centre locations, including gig venues, shops and on open air stages. The aim of the event is to provide a visible platform for new musical talent.

Bands wanting to put themselves forward for the event, which takes place from 25-28 Nov, have a week to do so. Information on how this can be done is available on the City Showcase website at www.cityshowcase.co.uk/application.

Organisers of the event have also confirmed that Jägermeister, who support the London City Showcase, will also be a sponsor of the New Zealand festival. Producer Nanette Rigg told CMU: "This sponsorship deal confirms Jägermeister as a truly global brand, with the company already a much appreciated sponsor of City Showcase London".

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BEAUTIFUL DAYS, Escot Park, nr Fairmile, Devon, 20-22 Aug: Dreadzone are amongst the final acts confirmed to play at Beautiful Days this summer, along with Arthur Brown, Kathryn Williams, Bobbin' B, Kassidy, The Fabulous Good Time Party Boys and The Last Republic. www.beautifuldays.org

BESTIVAL, Robin Hill Country Park, Isle Of Wight, 9-11 Sep: The King Blues, Level 42, Villagers and Thecocknbullkid have all been confirmed to play at this summer's Bestival. Other acts added to the line-up include Professor Green, High Contrast, White Rabbits, Nneka, Joe Worricker and Kid Adrift. www.bestival.net

OFF THE TRACKS, 3-5 Sep: Misty In Roots, The Bad Shepherds and The Quireboys are amongst the first set of acts confirmed to play at Off The Tracks this summer, along with Kissmet, The Misers, No Right Turn and Mishaped Pearls. www.offthetracks.co.uk

ONE LOVE FESTIVAL, Hainault Forest Country Park, London, 6-8 Aug: Julian Marley has been confirmed to perform at this year's One Love Festival in London, which celebrates his father's 1978 One Love Concert. Julian joins the previously announced Luciano, Mikey General, Adrian Sherwood and David Rodigan. www.onelovefestival.co.uk

V FESTIVAL, Hylands Park, Chelmsford, Essex, Weston Park, Staffordshire, 21-22 Aug: Tricky and Air head up the latest bunch of acts announced to play at this year's V Festival, with Frightened Rabbit, Mark Lanegan, Detroit Social Club, Lissie, Rox and Kirsty Almeida also confirmed. www.vfestival.com

WIZARD, New Deer Show Ground, nr Peterhead and Fraserburgh, NE Scotland, 27-28 Aug: Cagedbaby and Silicone Soul have been added to this year's Wizard line-up along with A La Fu, Harvey McKay and Mr Green. www.wizardfestival.com

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ALBUM REVIEW: The New Pornographers - Together (Matador)
Sometimes it's best to leave a good thing alone. If it ain't broke, don't fix it - that's what they say, isn't it? Canada's The New Pornographers' latest offering 'Together' is by no means an example of a band changing direction, but it is, nevertheless, pretty special. And warm. It also feels a bit like an apology for the somewhat disappointing fourth album 'Challengers'. Certainly for fans of the band it is reliably good.

'Silver Jenny Dollar' feels like a call back to the good old days of 'Mass Romantic', 'Sweet Talk, Sweet Talk' is scrumptiously twee in its delivery, and 'Valkyrie In The Roller Disco' is a beautiful track for more pensive moments. But the most pleasantly surprising thing about this album is the odd guest appearances, from Beirut, St Vincent and Okkervil River, amongst others. It makes for a collective of the contemporary North American indie cool, if you will, and the guests fit in well with The New Pornographers' lush, euphoric sounds.

'Together' is a catchy, loud, infectious record that, while carefully produced, isn't at all safe, and is a return to form from the kings and queens of joyful indie. TW

Physical release: 4AD IH
Press contact: 3 May

Buy from iTunes
Buy from Amazon

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The live community is getting ready to fight back against PRS's mooted plans to increase the royalties paid by British live music promoters.

As previously reported, collecting society PRS recently announced it would review the royalties paid by the live sector to the publishers and songwriters who songs are performed at gigs and festivals. Part of the review will consider whether there should be a sliding scale of royalty rates depending on the size of the event and the promoter.

But, with the opening blurb for the review noting that live music royalty fees in the UK are lower than in most other European countries - currently PRS gets 3% of ticket revenues - many promoters feel the real aim of the review is to increase the royalty rate, possibly because of the widespread perception the live side of the industry is making all the money at the moment.

But, key players in the live industry argue that, because the PRS royalty is a percentage of revenue rather than a fixed fee, the songwriting community is already benefiting from the recent boom in the live industry. A boom, promoters would probably argue, that was in part made possible by their hard work and risky investments.

The BBC quote Festival Republic chief Melvin Benn, who says: "The quantum leap in what the PRS are being paid by live music promoters is very, very substantial compared to what it was ten years ago. Live music is so much stronger than it was, and therefore the receipts the PRS are getting are substantially more than they were. Instead of being pleased with that and wanting to work with us, they want to punish us and just take more. The reality is that will only result in additional costs to the ticket-buyer and that's killing the goose that laid the golden egg".

Benn adds that any increase in 2011 would be extra damaging, because the live sector will already have to contend with a 2.5% increase in VAT, which will increase ticket prices across the board. An additional increase in PRS fees could push ticket prices over a threshold where some music fans would be no longer willing to pay.

Approached by the Beeb, the PRS insisted it is too soon to say what their review of live royalties will conclude. The society's Debbie Mulloy explained: "It's been over 20 years since we last reviewed this tariff and it's part of a general review of all our tariffs. This is one sector where there have been massive amounts of change and we felt a good review was required to make sure everything was still fair and reasonable. The rate will not necessarily increase. There's no foregone conclusion here. It's not as simple as saying we want the rate to be higher. There are a number of things we have to assess".

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The Daily Mail says HMV might consider selling off its flagging Waterstones business, though that does seem to be based on the entertainment retailer's top man Simon Fox admitting to the paper that "if anyone came along with a large bag of money for any part of the business, we would take that very seriously". But he did then add that no one had, so far.

As previously reported, the HMV Group is doing rather well at the moment, though that is partly because of the firm's recent diversification into other areas of the entertainment industry, rather than as a result of the performance of its traditional retail chains. The company's books chain Waterstones, in particular, has seen revenues and profits slump.

But, while Fox would seemingly sell Waterstones if a good offer landed on his desk, such an offer seems unlikely for such a tricky part of the retail sector. Fox instead is putting his trust in a new management team who, he hopes, can turn things round for the last of Britain's big book chains.

What actually seems more likely as a possible future solution to Waterstones' woes is the merger of HMV and Waterstones stores around the UK, which could deliver considerable cost savings. While the two brands would probably be maintained, as sales of digital music and books continue to grow, even on the high street, both chains will need less floor space, and sharing premises will become more logical.

Fox has already admitted to the Mail that joint site operations are very much on his to do list, after a trial of a combined HMV and Waterstones set up in Newcastle worked well.

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In the latest comedic twist in the long running Pirate Bay story, the Swedish branch of The Pirate Party have said they might look to host the controversial file-sharing website on servers housed in the Swedish parliament building.

As previously reported, although not officially affiliated to The Pirate Bay, the anti-copyright political group announced earlier this year it would host the controversial BitTorrent service. TPB has had various server hosts over the years, but wherever they go the film or music companies will ultimately sue the server company for copyright infringement, forcing them to stop hosting the site.

It is thought that The Pirate Party's servers are currently stored in an old Cold War bunker under Stockholm though, if the organisation was to win some seats in the country's upcoming elections (which is arguably a big if), it would have the right to host some of its online operations from servers stored in the country's parliament building. Websites stored there enjoy some parliamentary privilege which protects them from certain kinds of lawsuits.

Whether such privilege would really mean copyright owners couldn't sue The Pirate Party in relation to it hosting the copyright infringing Pirate Bay I'm not sure, probably not. But, once again, it would be an interesting turn of events, and another gesture by the Bay and its associates to show its resolve to fight (or, at least, piss off) the traditional copyright industries, and the lawyers and judges who generally support them.

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Rick Astley is to join Magic in London as a presenter. He will take over from Ronan Keating on the cheesy listening radio station's Sunday afternoon show for six weeks this summer. And I mean, say what you like about Rick, but that's got to be an improvement.

Astley says: "I am delighted to be joining Magic 105.4 over the summer. This will be my first time in the hot seat as a radio DJ and I'll be playing my top tracks from today, my favourite hits from the 80s and the songs that have influenced my music when I was growing up. This is a really exciting opportunity and I can't wait to play my summer soundtrack on Magic 105.4".

Magic London PD Pete Simmons added: "We are absolutely delighted to welcome Rick Astley to the presenter line up on Magic 105.4. We've always played his legendary 80s songs, and are now supporting his great new material on air. He knows the music world inside out so his new show, 'Rick Astley's Summer Soundtrack', will most definitely be entertaining as well as playing the best music for London".

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It's this week's Total Rock World Album Chart, as counted down on Total Rock last weekend - www.totalrock.com. New entries and re-entries marked with a *.

1. AC/DC - Iron Man 2 (Sony)
2. Rolling Stones - Exile On Main Street (Universal)
3. Train - Save Me, San Francisco (Sony/Columbia)
4. Muse - The Resistance (Warner Bros)
5. Slash - Slash (Warner/Roadrunner)
6. Godsmack - The Oracle (Universal/Republic)
7. Nickelback - Dark Horse (Warner/Roadrunner)
8. Stone Temple Pilots - Stone Temple Pilots (Warner/Atlantic)
9. Journey - Greatest Hits (Sony)
10. Bullet For My Valentine - Fever (Sony)
11. Against Me - White Crosses (Warner Bros)
12. Shinedown - The Sound Of Madness (Warner/Atlantic)
13. Foo Fighters - Greatest Hits (Roswell)
14. Ozzy Osbourne - Scream (Sony)*
15. Kiss - Sonic Boom (Warner/Roadrunner)
16. The Who - Greatest Hits & More (Universal/Polydor)*
17. Guns n Roses - Greatest Hits (Universal/Geffen)
18. Steve Miller Band - Bingo! (Warner/Roadrunner)*
19. Whitechapel - New Era Of Corruption (Metal Blade)*
20. Free/Bad Company - The Very Best Of (Warner/Rhino)

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A war of words has ignited on Twitter between Lostprophets lead guitarist Lee Gaze and Foals frontman Yannis Philippakis. It's like that whole east coast/west coast thing all over again. Er, because Lostprophets are from Wales and Foals are from Oxford. That works, doesn't it? Yeah, come on! Fight!

It all began when Lostprophets rhythm guitarist Mike Lewis suggested via his Twitter feed that an article on the NME website with the headline "Foals frontman Yannis Philippakis dives into the crowd at iTunes Festival" wasn't actually news. Bandmate Gaze responded to Lewis' tweet by saying: "I've got some news. Foals are fucking shit".

Is this harmless banter between bandmates, or the beginning of something bigger? We wouldn't like to speculate, but it does seem likely that both bands will be meeting up in the carpark with a variety of weapons at some point in the next week. Why? Because yesterday Philippakis blew the roof off this motherfucker when he tweeted: "Lostprophets. LOL! Being insulted by the Lostprophets is a bit like watching a yapping, boney old chihuahua piss on its own leg".

Oh yeah, this is fucking ON!

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Right, well there you have it, folks. The last ever edition of CMU Daily. We were going to carry on, but then Prince revealed that the internet is "completely over", which makes publishing online pretty pointless, I think you'll agree. It's also the reason why Prince will never allow his music to be sold online.

Speaking to The Mirror, who are, of course, giving away his new album away for free with this Saturday's edition of the paper, Prince said: "The internet's completely over. I don't see why I should give my new music to iTunes or anyone else. They won't pay me an advance for it and then they get angry when they can't get it. The internet's like MTV. At one time MTV was hip and suddenly it became outdated. Anyway, all these computers and digital gadgets are no good. They just fill your head with numbers and that can't be good for you".

With the internet now over, we were thinking of taking CMU back into print. But then we keep reading that print media is dead too. So, as a result, we're now developing a new incarnation of CMU where members of our team will come to your office and tell you all the latest news. To sign up for the new service, send your request via carrier pigeon to the usual address.

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Georgina Stone
Editorial Assistant
Paul Vig
Club Tipper
Mark Thompson
Head Of Silly Ideas

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