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CMU Info
Top Stories
Submissions made to Ofcom's three-strikes review
Pop Politics
Lady Gaga shuns Arizona boycott, but still protests
Artist Deals
Brian Eno signs to Warp
Release News
Tracey Thorn announces remix EP
Roni Size remixes Lauren Pritchard
Shrag announce new album
Books News
Harper Collins to publish Bieber autobiography
Gigs & Tours News
Libertines preparing for first rehearsal
Yann Tiersen announces album and UK tour
Festival News
Festival line-up update
Album review: Best Coast - Crazy For You (Wichita)
Brands & Stuff
Jedward sign Rowntree's Randoms deal, plus launch fashion label
The Music Business
RIAA defend legal expenditure
UK labels' secondary revenues continue to grow
Lee appointed A&M MD
Alex Fordham joins Authority Communications
The Digital Business
Carphone Warehouse launch music anywhere service
X-Factor to sell weekly downloads
Chart Of The Day
Total Rock World Album Chart
And finally...
Alicia Keys and Swizz Beatz wed
People who think Gary Numan is pretentious can fuck off

Darker My Love are an indie psychedelic rock band based in California. The band released their first EP, 'Darker My Love', in 2004, followed by the release of their eponymous debut album in 2006 and their second LP '2' in 2008, all released via Dangerbird Records. Although taking their inspiration from bands like The Beach Boys and The Pretty Things, their own sound is often compared to the likes of Can and My Bloody Valentine. With their latest album 'Alive As You Are' released last week on Dangerbird Records, we caught up with Will Canzoneri to ask the Same Six.

Q1 How did you start out making music?
My mom picked me up from kindergarten one day and, without telling me where she was taking me, drove me straight to my first piano lesson. Captive, this continued until I got my driver's license, at which point I started liking it. I bought a drum set in eighth grade from a Mormon kid in the drum line who was moving back to Utah. My dad had a Tascam tape deck with two channels, which I commandeered at some point and started recording songs by ping-ponging tracks back and forth from channel to channel. They were absolutely horrible, but I didn't realise that at the time, and got to thinking I was onto something. If I'd had an iPhone or my own computer and didn't have to wait for my sister to get off the phone so I could use the dial-up modem, it's possible none of this would have ever happened. This century sucks.

Q2 What inspired your latest album?
The acceptance that we ultimately have total sovereignty over what we create. Our time is fleeting, and everything has to count. Everything we do has to mean something, and has to bring fulfilment and joy at the end of the day. Running from the grand ennui. Existential shit like that.

Q3 What process do you go through in creating a track?
Tim or Rob will have a song idea - it could be 90% developed, or could just be a rough melody and some chords - and then we'll twist it and turn it until it's a DML song. Y'know, lots of practice. We get really good at playing it, then we record it. On this record, we got to record it all to two-inch tape. The whole record. So on a song, we'd track live as a band, overdub a few instruments, and then put the vocals on top, and most of the time that would fill up all 24 tracks. Not having an unlimited number of available tracks to record on makes you focus on the most important parts of a song and prevents you from getting carried away with heaping extraneous bullshit on top. It kept me from putting sleigh bells on every song, because otherwise I don't have the discipline not to.

Q4 Which artists influence your work?
Oh, you know, mainstream classic rock. The Beach Boys, Moby Grape, The Dead, The Pretty Things, etc. That and the local competition.

Q5 What would you say to someone experiencing your music for the first time?
I wouldn't want to interrupt their listening experience. So, nothing.

Q6 What are your ambitions for your latest album, and for the future?
For it to catch on enough to justify continued world travel.

MORE>> www.myspace.com/darkermylove
London-based sextet Special Benny released their debut EP, 'Rumblestrip', in 2006 and looked to have a promising career before life got in the way and called the whole project to a halt. But two years later, they got together again and decided to make another go of it. With Rob Smoughton (aka solo artist Grosvenor and Hot Chip's live drummer) replacing original drummer Steve Galloway, work on their debut album, 'Toys', got under way.

The band's sound spans a wide range of styles, with touches of indie-rock, jazz, prog, punk and more. They themselves list Tortoise, Jim O'Rourke, Sufjan Stevens, Battles, Frank Zappa and Steve Reich as shared influences. As a result, the album is an interesting, multi-layered pop record, with plenty held within to keep you coming back. 'Toys' is not due for release until 6 Sep but can been streamed in full on the band's Bandcamp page right now.


Demon Music Group, one of the UK's largest independent record companies, is looking to recruit a Digital Administrator. Demon controls a vast catalogue of digital rights and key artists include Al Green, Ian Dury, T.Rex, Steve Miller Band and Average White Band. Key catalogues controlled include Philadelphia International, Ace of Mississippi and Trax Records.

This entry-level role involves managing and co-ordinating the delivery and digital distribution of a high volume of new releases to digital stores and third party distributors, including overseeing meta-data, artwork and audio and video encoding and upload, as well as liaising with product, legal, production and royalty teams. The Digital Administrator will also be involved in monitoring illegal distribution of Demon content; driving traffic to Demon's websites, online stores and social media sites; overseeing the creation of artist YouTube channels, Facebook and MySpace pages; regularly maintaining and updating the main DMG website; assisting the digital sales team with sales newsletters and presenters; raising purchase orders and managing budgets related to this activity.

The successful candidate will be of graduate calibre with previous experience in a digital music environment, and have superb organisational, time management, administrative, writing and communication skills and a high attention to detail. They will have a good level of expertise in Word, Excel and PowerPoint, an understanding of web-based applications, social media platforms, managing mailing lists and basic HTML, and a wide musical knowledge. An interest and awareness of digital music and new music technology is preferable.

If you are interested in this exciting opportunity, please send your detailed up to date CV and covering letter explaining why you feel you are right for this position to 2erecruitment@2entertain.co.uk. The closing date for applications is Sunday, 8 Aug 2010.
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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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The deadline for making submissions to OfCom regarding the copyright section of the Digital Economy Act was Friday, and all interested stakeholders did so, though most saying exactly what you'd expect them to say.

As previously reported, OfCom is looking in to how the 'graduated response' system for combating file-sharing - forcing ISPs to send warning letters and ultimately suspend persistent infringers - will work. A draft code was published earlier this year, though the really tricky issues - how people will be suspended, how accused file-sharers can appeal and who should pay for it all - were not addressed in it. The latest consultation was based on that draft code.

In its submission, the UK record industry urged OfCom to ensure the system put in place doesn't put the anti-piracy process introduced by the DEA out of the reach of smaller rights holders, basically by making it too expensive a system for independents to utilise.

Meanwhile the ISP sector has asked for there to be a "soft launch" of three-strikes, through which the anti-piracy system can be tested. Ideally they'd like any test run to then be scrutinised by parliament again before suspending file-sharers became the norm. It's not entirely clear what the ISPs mean by 'soft launch', but presumably a small scale warning letter campaign that would target a small number of the most persistent infringers.

Finally, the anti-copyright Pirate Party ironically also expressed concern that the code may only be open to the major content owners and not smaller independents. Though that wasn't their only concern, they reckon the code leaves far too many issues unaddressed (which, to be fair, it does), and particularly note the issue of third parties using wi-fi networks to file-share via others' net connections, and the implied new obligation to protect your wi-fi network that will come about as a result of three-strikes.

OfCom will now prepare another draft code based on the submissions, expected to be released in the autumn. The original aim was for the first warning letters to go out in early 2011, though it's not clear if that is still the plan.

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Like Elton John last week, Lady Gaga has also refused to join the Sound Strike boycott of Arizona, which, as previously reported, many artists have joined in protest against the US state's controversial new immigration laws. Similarly to John, who labelled those other artists "fuckwits", Gaga referred to them (and herself) as "dumb fucking pop stars", but unlike John, did use her performance to speak out against the new legislation, known as SB 1070.

Gaga said that, despite considerable pressure, she had decided to go ahead with the show in Phoenix, telling her audience: "I got a call from some big rappers and big rockers. They said, 'We'd like you to boycott Arizona because of SB 1070'. I told them, 'Do you really think that pop stars are going to shut down the state? You really think us dumb fucking pop stars are gonna collapse the economy in Arizona? I'll tell you what we have to do about SB 1070. We have to be active. We have to actively protest'".

She continued: "I will not cancel my show. I will hold you, and we will hold each other, and we will protest this state. Do not be afraid. Because if it wasn't for all of you immigrants, this country wouldn't have shit. And I mean it. I mean it so deeply in my soul".

Rage Against The Machine have been particularly proactive in setting up the Sound Strike, but a diverse range of "dumb fucking pop stars" and "fuckwits" have vowed to not perform in the state in protest at SB 1070, including Cypress Hill, Conor Oberst, Kanye West, Maroon 5, Gogol Bordello, My Morning Jacket, Ben Harper, Pitbull, Steve Earle, Billy Bragg and Throwing Muses.

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It looks like Brian Eno has signed a new deal with Warp Records. Either that or the holding page currently up on the label and Eno's own websites are incredibly misleading.

The website announces: "BRIAN ENO COMING SOON ON WARP RECORDS". Which does sound like something by Brian Eno will be coming out via Warp Records soon, doesn't it?

Have a look for yourself at warp.net and brian-eno.net

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Following on from the success of her new solo album, 'Love And Its Opposite', Tracey Thorn has announced a new EP of remixed versions of tracks from the album. Entitled 'Opposite', the EP will be released digitally through Strange Feeling Records on 23 Aug.

Thorn says of the EP: "If the remixes for the last single, 'Why Does The Wind?', were aimed at the dance floor, these are perhaps aimed more at the head. People often only remember the dance remixes I have been involved with, and forget the great futuristic re-works of my voice over the years by people like Photek, Omni Trio and Howie B. If my versions of my songs are often plain and direct, these mixes add question marks and blind alleys, and I like that. It adds a different colour and makes them closer to my work with Massive Attack perhaps".

You can download the Walls remix of 'Kentish Town' in exchange for your email address now: www.strangefeelingrecords.com/kentish-town-walls-remix.html

The full tracklist of the new EP looks like this:

Swimming (Visionquest Remix)
Swimming (Album Mix)
Kentish Town (WALLS Remix)
Kentish Town (Album Mix)
Late In The Afternoon (Blue Daisy Remix)
Late In The Afternoon (Album Mix)

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UK drum n bass hero Roni Size has completed his first remix for over three years for up-and-coming singer-songwriter Lauren Pritchard, featuring guest vocals from Taleb Kweli. The track in question, 'Painkillers', is the title track from Pritchard's new EP, which will be released by Island on Monday.

For a limited time, you can get the track as a free download by handing over your email address at www.laurenpritchard.com, or you can have a sneaky listen on YouTube at youtu.be/ILJ0gw2es4I

Pritchard's debut album, 'Wasted In Jackson', is due for release in October.

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Brighton indie quintet Shrag have announced that they will release their second album, 'Life! Death! Prizes!', the follow-up to their eponymous 2009 debut, through Where It's At Is Where You Are on 4 Oct.

You can download a free track from the new album, called 'Tights In August', from the label's website, here: www.wiaiwya.com/index.php?id=45

And while we're at it, why not have a listen to 'Hopelessly Wasted', the closing track from their debut, on Spotify, because it's great: open.spotify.com/track/7aGb26EYvXTNSMJ8cwnCTi

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Harper Collins has announced that it will publish an autobiography by pop star Justin Bieber in October. That's an autobiography by Justin Bieber, who is sixteen years old. An autobiography. Like a memoir. Of things he has done in his life. Justin Bieber. Who is sixteen. Bieber. An autobiography.

Clearly aware that, with the book already written, Bieber will presumably have done enough to fill another book with the same amount of information by this time next year, the publishing house has given the upcoming tome a title that suggests sequels: 'Justin Bieber: First Step 2 Forever: My Story'. To fill out the pages, it promises a whole load of never-before-seen photos.

Announcing the book, Bieber said: "Every day I wake up and count my blessings. My fans have played such a large part in all of this and they help me live my dreams every day. I'm excited to share just a little bit more of my world with them through this book. Between the behind-the-scenes pictures and the story I think this is going to be something they can all enjoy. This is just another way for me to say thank you to my fans".

President of Harper Collins's children's books division (because even they aren't going to treat it as a proper book) added: "Justin's adoring and devoted fan base that started on YouTube now follows him to packed concert halls around the world. He is a force in the music industry and we are incredibly excited to be publishing this photographic memoir of his amazing journey".

Here's a quick recap of Justin's "amazing journey": youtu.be/SAAg6ePGZUE

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The Libertines are getting ready for the Reading and Leeds festivals, where they will play their first performances since reforming earlier this year. Although, not by actually playing together. They haven't done that yet. But there are so many other things to think of, aren't there? Apparently they're working on a new image, which is the sort of thing you want to really think about without distractions like making sure you can still remember all your songs.

Drummer Gary Powell told The Daily Star: "We start rehearsing on 9 Aug. It will be weird to go back, but if we try to replicate how things used to be it won't work. We've got to bring a new dynamic for the kids who haven't seen us before. I never got why we were fashionable in the first place. It never made sense to me why Libs was so big, but it's all about the characters - Pete and Carl are unique".

Carl Barat told BBC Newsbeat: "We've got a bit of time blocked out. It's a bit last minute - it always is. Of course we'll be able to do it, and we'll be able to do it with aplomb. Obviously, it's always nerve-wracking. But again that's all part of what it is to be in that band. Overall I'm excited, and that's starting to come through a lot more now. It started off as pure nerves. Now I'm starting to look forward to it".

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Freshly signed to Mute, the brilliant Yann Tiersen has announced that he will release his new album, 'Dust Lanes', on 4 Oct.

Tiersen is best known for his plinky-ponky French music, a la the 'Amelie' soundtrack, though his last tour in 2006 (and the resulting album, 'On Tour') saw him descend into the depths of prog and post-rock. 'Dust Lanes', Tiersen explains, is "a journey on the dusty lane that leads us to death. Not a sad thing, but like a colourful, sometimes painful, but mostly joyful experience: life!"

Here are the tour dates:

27 Oct: Edinburgh, Picture House
28 Oct: Leeds, Cockpit
29 Oct: Manchester, Cathedral
31 Oct: Bristol, Academy
1 Nov: Portsmouth, Wedgewood Rooms
2 Nov: Oxford, Zodiac
3 Nov: London, Koko
5 Nov: Brighton, Concorde 2
6 Nov: Norwich, Waterfront
7 Nov: Notingham, Rescue rooms
8 Nov: Newcastle, Northumbia Uni
9 Nov: Birmingham, Glee Club
10 Nov: Exeter, Phoenix
11 Nov: Cambridge, The Junction

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THE BIG CHILL, Eastnor Castle, Herefordshire, 5-8 Aug: The Jolly Boys feat Albert Minott have been added to this week's Big Chill line-up, along with Monarchy, Phil Vassar, Malachai, Asian Dub Foundation Sound System and Midimidis. www.bigchill.net

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ALBUM REVIEW: Best Coast - Crazy For You (Wichita)
Dropping out of college never proved so lucrative. In the summer of 2009, Best Coast vocalist Bethany Cosentino moved back from New York (where she left college) to Los Angeles and began sending songs to her now musical partner, Bobb Bruno. After some initial bedroom recordings the duo released a number of seven-inch singles on a few small American labels, receiving an incredible amount of praise from fans and blogs alike. With debut album 'Crazy For You', Cosentino wanted to record entirely new tracks (though some were penned even before the start of Best Coast), meaning, of course, that it leaves off previous 'hits', such as 'When I'm With You' and 'Each And Every Day'.

The result is a dreamy affair, fleshed out by Cosentino's sun-drenched vocals which, though treated with heavy amounts of reverb, still allow her vibrant personality to soak through. Coupled with this is the now standard reverb rich guitar tone that throws it all into a distant haze, perfect then for creating a nostalgia driven album that not only harks back to the days of The Beach Boys surf-pop but also to her childhood and the shoegaze/grunge-era of the early nineties.

The songwriting on display is remarkable and for those of us who have been following the duo from their early days, it's not a surprise to see the album work so effectively. The songs aren't challenging and there are few, if any, real tempo or rhythm changes, yet somehow the quality of the songwriting wrestles the listener (or rather languidly taps the listener's shoulder) to take full stock of them and listen attentively.

While this is overall a nostalgic surf-pop summer album, it will be interesting to see where Best Coast go next, as songs like 'Honey' and 'I Want You' express something much darker and much more Nirvana-esque. SJS

Release date: 2 Aug
Press contact: Pam Ribbeck [NP], Brilliantly Different [O]

Buy from iTunes
Buy from Amazon

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Presumably they (or at least their manager Louis Walsh) are very aware of the short life span their 'act' is likely to have. So, it's good news for Jedward that they are reportedly on the verge of signing a six-figure deal to be the new faces of Rowntree's Randoms sweets.

Adding no insight into anything whatsoever, a source told Metro: "They ate ten packets when I met them this morning".

In other Jedward brand news, the twins are apparently planning to launch their own fashion label, too. Although in the same way most of their songs are covers, instead of actually thinking up any ideas for their fashion venture, they seemingly plan to sell outfits worn by more famous stars in the past.

Of the clothing range, called Pop Icons, Edward Grimes told The Sun: "Fashion is our big passion and our collection will look hot on the catwalk. We love the jackets worn by Michael Jackson and Freddie Mercury and think everybody will love to wear stuff like that. Our clothes will have lots of bold colours and cool patterns".

Edward added that he and his brother will model the clothes because (oh yeah, there's another deal to tell you about) they are on the books of modelling agency, Next Models. He said: "We have experience. We know how to pose and walk, plus we've worked with some big-name photographers".

Here's Edward demonstrating how to pose and walk: youtu.be/FAhId3IAoJw

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The Recording Industry Association Of America would like it to be known they're not as shit as we all think. Well, not quite as shit. You'll remember the recent reports about how the US major label trade body spent millions on legal fees relating to their self-harming sue-the-fans litigation campaign in 2008, while also paying their boss $2 million. The same reports pointed out how little money came in via damages payments from those lawsuits. As much previously reported, the sue-the-fans lawsuit campaign achieved nothing except to make the record industry look like a bunch of out of touch bastards.

Responding to those reports, which were based on the trade body's 2008 account filings with US tax authorities, the trade body said last week that the multi-million legal fees reported on were not just spent on suing fans, but also covered other litigation activity, including actions against the makers of file-sharing services like Kazaa and LimeWire. Some legal advice also fed into lobbying activity regarding US copyright laws.

While arguably those other legal battles haven't achieved much in combating online piracy either, the Kazaa case did provide a better return on investment in terms of the damages settlement the US record industry eventually negotiated.

In a statement, the RIAA also argued that the aim of its file-sharing litigation was never about winning uber-damages, but about fostering "respect for the rights of creators" and "creating a level playing field for legal services". They concluded: "On that count, we think our efforts have made a real difference".

Of course, it is easy to bash the RIAA, and we did say at the time that the recent set of bashing clearly involved at least a little anti-spin being put on the trade body's legal spending. But then it's easy to bash the RIAA because the over paid buffoons who run it were among the slowest to adapt to the changing world created by the web, and were the last to recognise the digital age brought as many opportunities as threats.

The recent interpretations of the RIAA's expenditure were almost certainly unfairly skewed to show the trade body in a bad light. But I still believe the US record industry will recover in the next decade despite rather than because of the work of the RIAA.

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UK record companies again grew their so called 'secondary revenues' in 2009, which is no surprise really, but has been confirmed by record label trade body the BPI.

Secondary revenues are anything other than money generated through CD sales and digital music services, and include long established periphery income like broadcast royalties and newer revenue streams created by labels diversifying into other areas of the wider music business, such as merchandising.

Said revenues were up 6.6% across the UK record industry in 2009, bringing in £193.5 million in total.

BPI boss Geoff Taylor: "UK record companies have responded to tough market conditions by innovating in the digital world and developing new revenue streams from recorded music, beyond their traditional base of CD sales and the encouraging growth in digital a la carte, subscription and streaming services. Music companies continue to face an enormous challenge from illegal downloading, but are responding positively by transforming themselves for the future, identifying new opportunities to generate returns from the massive investments they make - hundreds of millions of pounds per year - in UK talent".

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Universal Music have just announced that Orla Lee has been promoted to the role of MD at it's A&M division. The appointment will see Lee, most recently GM for the major's Polydor division, take over from Simon Gavin at A&M, he moving internally to a new role at Decca.

Confirming the appointment, Universal UK big man David Joseph told CMU: "There are very few executives who combine Orla's passion for artists, immense creativity and razor-sharp business instincts. It is extraordinary what she has already achieved at Polydor and I am very excited about her vision to grow and shape A&M".

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Alex Fordham, who was until last week Head Of Online Media at Anorak London, yesterday took up a new role as Head Of Digital PR at Authority Communications. The move sees him launch a brand new PR arm at the digital agency, which currently manages digital platforms for Florence & The Machine, Paul Weller, Mika, Paolo Nutini, Elbow, Duffy, Ibiza Rocks, The Courteeners, Ellie Goulding and more.

As well as working for Anorak London for over two and a half years (joining while it was still known as Scruffy Bird), Alex was previously Digital Manager at V2 Records, and has created online campaigns for the likes of Franz Ferdinand, The Libertines, Stereophonics, Morrissey, Elbow, Paul Weller and won the Best Online PR award at the 2008 Record Of The Day Awards. In his new role, he brings with him Tom Jones, Feeder and fan-funding service Pledge Music.

Authority Managing Director David Collyer told CMU: "With the addition of Alex, one of the best digital PR men in the business, we can now offer a complete 360 degree service to our clients, managing every aspect of their digital presence with precision and inspiration".

Find out more about Authority Communications at www.authoritycommunications.com

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Carphone Warehouse is launching a "cloud-based" music service, which I have agreed to refer to as a "cloud-based" music service on account of it being a bit cleverer than your average streaming music service or device-locked download platform. It's basically what would happen if you had a helping of Spotify in a bowl, and you accidentally spilt a packet of digital locker service into it. If you follow.

Powered by US digital company Catch Media and called Music Anywhere, basically you subscribe (thirty quid a year), download an app to your main computer, and it creates a log of all the music stored on your PC.

Then if you access the Music Anywhere platform from any other digital device it will make that catalogue of tunes available, only you won't actually be accessing the MP3 file stored on your computer, but the version of that song stored on the Catch Media server. If there are any tracks in your MP3 collection not in Catch's 6 million strong song catalogue, the app uploads a copy of those tracks so it can play them to you (only you, mind) remotely as well.

I'm not 100% certain I'd ever want to use it, but it is a rather clever system. Although initially only available in the UK, users who sign up here will be able to access their music anywhere in the world, with Catch having the relevant licenses with non-UK collecting societies in place to offer such a thing.

The new service, which will work on selected mobiles too, will be flogged relentlessly at Carphone Warehouse shops, and at the new UK stores of parent company Best Buy, who also own the 'looks a bit rubbish in comparison' Napster subscription service.

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According to reports, 'X-Factor' will this year mimic 'American Idol' and 'Glee' by selling weekly downloads of the finalists' performances. Because that's just what everyone wants, isn't it?

A source told the Daily Express: "The 'X-Factor' could potentially have the number one spot every week for over three months".

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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. Ozzy Osbourne - Scream (Sony)
2. AC/DC - Iron Man 2 (Sony)
3. Korn - Korn III - Remember Who You Are (Warner/Roadrunner)
4. Train - Save Me, San Francisco (Sony/Columbia)
5. Muse - The Resistance (Warner Bros)
6. Tom Petty & The Heartbreakers - Mojo (Warner Bros)
7. Hellyeah - Stampede (Spinefarm)*
8. Nickelback - Dark Horse (Warner/Roadrunner)
9. Slash - Slash (Warner/Roadrunner)
10. Godsmack - The Oracle (Universal/Republic)
11. Rolling Stones - Exile On Main Street (Universal)
12. Bullet For My Valentine - Fever (Sony)
13. Guns N Roses - Greatest Hits (Universal/Geffen)
14. Paramore - Brand New Eyes (Warner/Atlantic)
15. Foo Fighters - Greatest Hits (Roswell)
16. Kiss - Sonic Boom (Warner/Roadrunner)
17. Bon Jovi - The Circle (Universal/Mercury)*
18. Queen - Absolute Greatest (EMI)
19. Journey - Greatest Hits (Sony)
20. Soilwork - The Panic Broadcast (Nuclear Blast)*

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Alicia Keys and producer Swizz Beatz got married at a private ceremony somewhere in the Mediterranean at the weekend, reports Us Weekly. I say "in the Mediterranean", I'm pretty sure it was actually on land.

Keys is currently pregnant with the couple's first child. So far there has been no confirmation of whether she will continue to use her maiden name or become known as Alicia Beatz.

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Gary Numan has said that people who think he's pretentious should "fuck off". He adds that the proof of his down-to-Earthedness is in his inability to write songs properly.

Numan told the NME: "'Are 'Friends' Electric?'... it's actually two songs stuck together, because I lacked the ability to finish either of them. I had a good verse, I couldn't think of a chorus for it. One day I'm playing this one, started playing that one... I'll put them together. You end up with a song five-and-a-half minutes long and it goes to number one".

He added: "I became successful because I couldn't write songs very well. And I can't play very well. My success is based on not being able to finish songs properly and playing badly. That's going to keep you down to earth, isn't it? People say I'm pretentious? Fuck off!"

It's true, Gary Numan is a big ball of loveliness. Earlier this year he put together a Powers Of Ten playlist for us. Why don't we all put down this edition of CMU Daily and go and listen to that instead? www.theCMUwebsite.com/playlists/garynuman.html

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Georgina Stone
Editorial Assistant
Paul Vig
Club Tipper
Tom Jones
Number Two

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