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CMU Info
Top Stories
Ministry's sue-the-fans litigation gets court set back
In The Pop Courts
Grinderman deny plagiarism
In The Studio
Elbow hire mystery actor
Release News
Mount Kimbie announce new EP
The Good The Bad announce debut album
Porcelain Raft announces debut single
Films & Shows News
Radiohead members record Ed Norton film soundtrack
Mamma Mia-style Beach Boys musical planned
Gigs & Tours News
Dr Martens announce free mini festival
No Age announce UK tour
Young & Lost Club fifth birthday this Saturday
Festival News
U2 hint at second Glastonbury attempt
Album review: Ernesto Ferreyra - La Paraiso De Las Tortugas (Cadenza)
Talks, Debates & Conventions
6music to broadcast from In The City
The Music Business
Power Amp investment was Madness but not mad
Musician launches campaign to pay off Steve Albini's mortgage
Arcade brothers fire at the majors (sort of)
And finally...
Dave Grohl sues Jake Shears' balls
Safe sex, JLS style

Glasser, aka Cameron Mesirow, released her debut EP, 'Apply', last year through Young Turks, its title track a sparse concoction of syncopated percussion, sloping synths and echoing vocals, almost tribal in sound. A perfect way to announce her arrival. Her debut single, 'Tremel', released in March, took a different approach, using the same elements but filling out the gaps with a more dense electronic sound; a marked development in the Glasser sound. Entitled 'Ring', Glasser's debut album was released on 27 Sep via the Matador-owned True Panther Sounds. We caught up with her to find out more.

Q1 How did you start out making music?
I started singing when I was a kid with my family because they are all musical. I always loved singing and hoped that I could someday sing in a band, but never considered that my voice could be a tool for writing until I got frustrated trying to write on the piano and guitar. I found that my voice yielded more interesting results.

Q2 What inspired your latest album?
What inspired my album is a long list of art and music, and a sudden willingness on my part to experiment with sounds and feelings and risk looking silly. It was the privilege of freedom that I granted myself.

Q3 What process do you go through in creating a track?
When I make a track, I usually start out with a melody that I decide should either be represented by my voice or by an instrument. I will also sometimes begin by creating a beat, usually by trying out very simple things and then messing them up or layering them in a way that sounds spastic or fidgety. I come up with all of the melodic parts with my voice and try to record them as best I can with instruments or by singing and, by the end, I usually have too many parts and have to take some away. Sometimes I get so many vocal parts that I can't decide which should be the lead vocal line and I get stuck and have to leave it behind for a while.

Q4 Which artists influence your work?
The artists that influence my work are many. I have spoken a lot about Joni Mitchell and Kate Bush in interviews because they were the artists that inspired me to use my voice for instrumentation, but my influences go far beyond their variety. I love R&B music, and some hip hop; I enjoy watching pop music change but I don't always feel connected to it. I get a lot of inspiration from visual art. I love Gerhard Richter, and just received a monograph of his for my birthday. I also love Yoko Ono and some other Fluxus members. My closest friend is a visual artist and we have a collaboration called Auerglass, which combines conceptual art with music making. This project has had a huge impact on how I develop Glasser.

Q5 What would you say to someone experiencing your music for the first time?
What I would say to someone experiencing my music for the first time, is that I hope they have the opportunity to listen closely. Sadly, a lot of people are not listening very closely when they hear new things lately, so they don't allow themselves to know how the music really sounds. Since I started receiving press about this project, I have become acutely aware of our human need to generalise and define. It makes sense and is a forgivable offense as we're all guilty of it, but I have tried to become more mindful when making my own sweeping statements.

Q6 What are your ambitions for your latest album, and for the future?
My ambitions for this album are to reach people who would be interested in this kind of music, and not just people who are of my same age group and community. I would like to create a new type of live show that touches on all of the non-musical influences of this piece of work.

MORE>> www.glassermusic.com
Still in her teens, Sarah McIntosh created her first EP under the name The Good Natured last year, composed after rescuing her grandmother's old 1980s Yamaha keyboard from a life of collecting dust. The four track, self-released 'Warriors' EP pricked up all manner of ears across radio and the press, as well as at tastemaker label Kitsuné, which released the follow-up, 'Your Body Is A Machine', earlier this year.

For her third release, McIntosh has moved to another reliably on it label, KIDS Records, through which she will release new single 'Be My Animal' on 1 Nov. It's just under three minutes of upbeat, mildly twisted pop, nodding back to the 80s without jumping headlong into the warm comfort of simple pastiche. Check out The Good Natured Facebook page to listen to the single, watch the video and download B-side 'Prisoner' for free.


Aside from having to deal with the combined IT and PR challenge of having its website forced offline by one of those very fashionable Distributed Denial Of Service attacks and then having their Facebook page - where its faltering website was redirecting the punters - covered in "you bastard" style comments from file-sharing fans, Ministry Of Sound also suffered a legal setback yesterday at stage one of its sue-the-fans litigation.

As previously reported, the legal firm representing the superclub's record label, Gallant Macmillan, went to the High Court in London yesterday to ask a judge to force various internet service providers to reveal the identities of hundreds of web users suspected of illegally file-sharing Ministry's content. The label's web trackers will know what IP addresses have been illegally sharing their content, but need the ISPs to reveal the names and contacts of the people using those IP addresses so they can sue them.

It was unfortunate timing, coming just a week after ACS:Law, another legal firm that specialises in file-sharing litigation, accidentally published a load of confidential information it had obtained about suspected file-sharers having won court orders to force ISPs to reveal that information.

With that in mind, yesterday BT told the High Court that it planned to fight any future court orders seeking personal information about their customers for the purposes of file-sharing litigation, demanding that any content owner making accusations of online copyright infringement better demonstrate the "basis" of their legal claims.

Responding to that, the judge dealing with Gallant Macmillan's court order request adjourned the case, giving BT the opportunity to present in more detail its concerns about the file-sharing litigation approach currently being pursued by Gallant Macmillan and ACS:Law, presumably with a view to making it harder to for content owners to gain access to suspected file-sharers' personal details.

A BT spokesman told The Guardian: "The incident involving the ACS:Law data leak has further damaged people's confidence in the current process. We're pleased that the court has agreed to an adjournment so that our concerns can be examined by the court, this will then act as a precedent/test case for the future".

He added: "We want to ensure broadband subscribers are adequately protected so that rights holders can pursue their claims for copyright infringement without causing unnecessary worry to innocent people. We have not simply consented to these orders in the past, we have asked for stricter terms as public concern has risen. The data leak with ACS:Law prompted us to take further action today. We are also seeking a moratorium on outstanding applications and orders".

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Nick Cave responded to claims by an unknown Dundee-based musician that he plagiarised a song on the new Grinderman album at the band's Hammersmith Apollo gig last Friday.

The accusation was made by Frankie Duffy, who says that 'Palaces Of Montezuma' from the 'Grinderman 2' LP is actually 'Grey Man', a song he wrote for his former band Rising Signs in around 2005.

Duffy told Scottish newspaper The Courier in an interview published last Friday morning: "I couldn't believe it when I heard that track. It stood out a mile, it's exactly the same chords and the same hook as the intro to 'Grey Man'. I was never really a Nick Cave fan, but I really like Grinderman, that's a different kettle of fish. But when you hear that track you can totally spot the similarities".

He continued: "I sat down with my guitar and played along with it and it's exactly the same A, E and B chords, which to be fair anybody could use to write a song at any time. But it's the chord progression and when the vocal hook comes in with some ooohs, it's exactly the same, you can just hear it's the same thing".

As for how Cave came to hear and steal the song, Duffy postulated: "It's been up on our MySpace even after Rising Signs split, and I don't know, I can't help thinking that Nick Cave was sitting in his house one night and decided to surf some unsigned bands and saw our site, saw we were split up and thought, 'I'll have that track, nobody will ever know'".

He conceded that it could actually be "a really huge, amazing coincidence", though added: "It's really obvious they sound the same and on the Grinderman album you can hear the band talking and you can hear the words 'grey man' being said, so maybe it's not as much of a coincidence after all".

Duffy went on to say that he was going to get in touch with Cave's management "to see what they've got to say", adding that he wasn't quite sure how to proceed after that, but thought he "might have to sue [Cave] in court".

Certainly by Friday evening Cave had got the impression things were heading down the legal route. On stage at the Hammersmith Apollo, the singer introduced 'Palaces Of Montezuma' by saying: "You may have read that some seventeen year old kid in Dundee is trying to sue me and is claiming to have written this song. That's funny, because I wrote it for my wife".

In fact, Duffy is 29, but I'm not sure you can sue someone for accusing you of being a teenager. Whether the plagiarism case will go any further remains to be seen. With the utmost respect for both musicians, that guitar riff has been used at least twice by 78% of all bands that have ever written more than three songs. And as for where Grinderman can be heard whispering "grey man" on their track, I have no idea.

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A "very loved" English actor makes a guest appearance on a song on the new Elbow album, frontman Guy Garvey has revealed, though he's staying quiet about who it is.

Garvey told Xfm: "We've got a pretty special guest on the next record. Let's just say it is a very loved old English actor who's gonna appear on the record with us. Because it is a nostalgic song I wanted it to be from the point of view of an old man and we thought the easiest way to do that is to get an old man to sing the first couple of verses, so that's what we've done".

Who could it be? I have compiled a list of possible candidates:

Richard Briers
David Jason
Zammo from 'Grange Hill'
Peter Sallis
Ian McKellen
Christopher Lee
Patrick Stewart
Danny Dyer

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Hot on the heels of their debut album, 'Crooks & Lovers', which was released earlier this year, post-dub-hip-step-ghost-future-hop (or whatever stupid genre title we're applying to them this week) duo Mount Kimbie have announce that they will release a new EP next month.

The twelve-inch vinyl release will feature the album versions of 'Blind Night Errand' and 'Before I Move Off', plus the duo's own remix of 'William' and a live recording of them playing 'Maybes'. It's due out on 29 Nov via Hot Flush Recordings.

Mount Kimbie also head out on tour this week.

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Instrumental surf punks The Good The Bad have announced that they will release their debut album, 'From 001-017', in the UK on 25 Oct via Stray Cat Records. The album features seventeen tracks, numbered 001 to 017. But you could probably have worked that out yourself.

Explaining the band's decision to shun vocals, guitarist The Adam told CMU: "We don't need a vocalist. The music speaks for itself. We use the music so we don't have to say 'I love you'. There's too many bullshit words in this world".

The album was released in the trio's home country of Denmark last year, since when they've been working on more music, as their other new release proves. Last week the band made a new track, '030', available to download for free. To get that and to watch the highly NSFW video, go to www.agirlcalled030.com.

The band will also be playing three shows in London in the run up to the album release. If you've not yet had the pleasure of seeing the band live, I suggest you do so at one of these shows:

21 Oct: London, Peter Parker's Rock N Roll club
22 Oct: London, Tram & Social (John Kennedy's The Remedy)
23 Oct: London, Dublin Castle

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The brilliant Porcelain Raft, aka Mauro Remiddi, has announced that he will release his debut single, 'Tip Of Your Tongue', via Acéphale on 8 Nov. Released on clear vinyl and limited to 500 copies, it will come backed with another track, 'Despite Everything'.

You can catch Porcelain Raft live at In The City on the Now Wave stage on 15 Oct.

Meanwhile, check out what we had to say about Porcelain Raft when he was featured in the CMU Approved column earlier this year, here: news.thecmuwebsite.com/post/Approved-Porcelain-Raft.aspx

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Radiohead's Thom Yorke and Jonny Greenwood have recorded music for Ed Norton's forthcoming film 'Stone'. Directed by John Curran, Norton co-stars in the prison drama with Robert De Niro.

The actor explained that Yorke and Greenwood took little convincing to contribute to the project, telling a Variety-hosted Q&A last week: "I'm friends with the guys in Radiohead, and Johnny Greenwood met me in London a while back. So, given the spiritual ties in this film, I started talking to him about this idea: 'What would you use to record this divine-like tuning sound?' And he and Thom had been playing a lot of weird ambient stuff at the time and so, amazingly, they just unloaded tons and tons of files to us of these sound experiments that they had been doing".

The music was then cut up and synced with the film by composer John O'Brien. Norton said: "[Curran and I] just listened to them in awe until John eventually got John O'Brien to come in and see what he could make of it".

The film is due for release in the US this week.

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Hey, how about this for an awful idea: Plans are afoot for a new movie musical based on the 'Mamma Mia' formula and using the music of The Beach Boys.

According to Variety, the idea has been pitched by screenwriter Susannah Grant (best known for 'Erin Brockovich') and will be produced by Craig Zadan, Neil Meron (who produced 'Hairspray and executive produced 'Chicago') and John Stamos, who previously collaborated with Zadan and Meron on a 2000 dramatisation of The Beach Boys' history - 'The Beach Boys: An American Family' - though it's thought this new project would not tell the band's story (it being made to the 'Mamma Mia' formula).

Twentieth Century Fox is reportedly bidding for the rights to use the band's songs on the big screen in order to begin work on this project properly.

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Dr Martens and promoters Bangers & Mash have teamed up to put on a mini-festival in Spitalfields Market this Friday. I think by 'mini-festival' they mean gig, but it's free so let's not quibble. The line-up features Darwin Deez, Daisy Dares You and The Milk, plus DJ sets from cocknbullkid, James Theaker and Emily Rawson.

Tickets will be given away free at Dr Marten's Spitalfields store and the event itself will take place between 6pm and 8pm, with an afterparty at All Star Lanes on Brick Lane, with DJ sets from Darwin Deez and cocknbullkid.

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Noisy types No Age are on the British Isles as we speak doing some of those gig things to promote their recently released album 'Everything In Between'. They started in Brighton last night, so you've missed that one, but there are loads more, look:

5 Oct: Bristol, Start The Bus
6 Oct: Norwich, Arts Centre
7 Oct: Newcastle, The Cluny
8 Oct: Sheffield, SkateCentral
9 Oct: Glasgow, Stereo
10 Oct: Dubline, Whelans
12 Oct: Leeds, Brudenell Social Club
13 Oct: Manchester, In The City
14 Oct: London, XOYO

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London indie label Young & Lost Club will celebrate its fifth birthday this Saturday with a special gig at XOYO in London, headlined by the company's most successful artist to date, Noah & The Whale.

Starting out as a fanzine, then a club night, Young & Lost Club has gone on to release early material by artists including Bombay Bicycle Club, Everything Everything, Ou Est Le Swimming Pool, and Good Shoes. Bolstered by their continued relationship with Noah & The Whale, the label continues to go from strength to strength.

Also playing live at the night will be ExLovers, Planet Earth and Othello Woolf, and there will be DJ sets from a range of the label's friends and family, including White Lies, Egyptian Hip Hop, Golden Silvers and Joe Lean.

More info from youngandlostclub.com

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I'm not really sure that U2 have actually hinted that they're going to be playing Glastonbury next year, but "U2 management confirms that the band will be doing something in 2011" is a less exciting headline, isn't it? The band, of course, pulled out of this year's event after Bono suffered a serious back injury.

Anyway, U2's official website noted last week that "there is a gap in the band's schedule ahead of the East Lansing show on 26 Jun which would make [playing] the Friday night [at Glastonbury] a possibility".

Having discovered this, the site's webmaster (or whatever s/he calls himself) quickly got on the phone to the band's manager Paul McGuinness to get the scoop. Playing his cards close to his chest, McGuinness said: "We're certainly excited about our plans for next year. Watch this space!"

So, there you have it, U2 definitely have plans for next year. That is now an undeniable fact.

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ALBUM REVIEW: Ernesto Ferreyra - La Paraiso De Las Tortugas (Cadenza)
Hailing from Argentina, but having called Mexico, Canada, Germany and Ibiza home in the last ten years alone, this is the debut artist album from Ernesto Ferrerya. Called 'La Paraiso De Las Tortugas', or 'The Paradise Of The Turtles' if you prefer, it's being unleashed on the world by Cadenza, the label owned by Luciano, whose DJ sets have been supported by Ferrerya quite a bit of late.

It's an eclectic affair, if a little mixed quality wise. The title track and 'Back Pain' are both a bit noodley, while 'Coin Saint Cath' is a touch over-boiled, if you know what I mean. But there is plenty of good stuff too. 'Lost' is a highlight, with its minimal beatsy tech, while 'Acequia' goes off on a bit of Tangerine Dream tangent, and final track 'El Comienzo De Todo Lo Demas' lowers the tempo but without going the standard chill out route, being
full of mechanistic influences.

So, not all winners here, but some nice food for thought and a good debut effort, leaving a number of future paths open genre-wise. PV

Physical release: 29 Nov
Press contact: Maouris PR

Buy from iTunes
Buy from Amazon

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Organisers of In The City have announced that the dudes from BBC 6music will be broadcasting live from this year's convention, which takes place in Manchester next week.

That Steve Lamacq fella will present his drive time show from In The City on Thursday, 14 Oct, with his record review roundtable feature being broadcast in front of a live audience. Marc Riley, who already broadcasts from Manchester, will also have an In The City theme on his evening show on Wednesday and Thursday.

Confirming BBC 6's involvement, ITC Director Yvette Livesey told CMU: "We are delighted that 6 Music have chosen to come to In The City. Steve Lamacq, who has long been a friend of In The City, will be broadcasting his excellent show live in front of our delegates during the event".

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Music investment firm Power Amp has announced that its first artist investment deal - into Madness album 'The Liberty Of Norton Folgate' - has resulting in a 46.9% return for investors (annualised at 29.6% including tax reliefs, I should add, for the seventeen people who know what that means).

In return for stumping up the cash to fund the Madness album release and accompanying live and promotional activity, Power Amp's investors got a cut of all the recording, publishing, live, sponsorship and merchandising action. Madness, meanwhile, were able to reboost their public profile while keeping hold of the copyrights in the new content.

Power Amp founder Tom Bywater told CMU yesterday: "We're delighted to have completed the deal profitably with Madness. It was our first artist deal and has proved that our transparent, straightforward, 'artist-centric' model works and is set to become the blueprint for investing in established artists. It also demonstrates we can turn deals over quickly, keeping investors capital working, as funds are rolled into the forthcoming album releases from our latest projects Charlotte Church and Carl Barât, both of whom have written their finest work to date".

Speaking for the band, Garry Blackburn of their co-managers Anglo, added: "Our agreement with Power Amp Music has been a big success. Their investment allowed Madness the freedom to make and release their finest album for many years and gave us the ability to choose and manage the best routes to market. We have fully recouped the deal in less than two years and all of the band's rights have now fully reverted back to them, which is something that wouldn't have happened with any other investment company".

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Former Silkworm guitarist Tim Midgett has launched a campaign to raise $230,000 in order to pay off the mortgage on Steve Albini's Electrical Audio studio, meaning the legendary musician and sound engineer can finally own outright the building in which the studio has been based since 1997.

Midgett explained: "So many great records made at this studio, for so little money ... Let's see how close we can get to paying off the remaining balance of the studio's mortgage. I know this campaign will be an embarrassment to owner Steve Albini, but it will be an embarrassment to the rest of us if it fails. Sort of. I don't know, I just want to see if it will work. 2000 people, $115 each, and it's done".

But a rep for the studio has stressed that, while appreciative of Midgett's efforts, the fundraising campaign has not been set up by Albini's team themselves, nor is Midgett reacting any acute financial problems at the studio complex. Technician Greg Norman wrote on the campaign's web page: "I want to make this clear to anyone thinking of pledging money to this campaign. We are doing fine financially. There is no threat of us missing payments, or any other money calamity".

He continued: "We would feel awful if someone pledged money for charitable reasons. Tim started this, it appears as a collective gift, and that is an awfully generous gesture. None of us at Electrical Audio knew about this until the campaign launched, and have nothing to do with this. I just want to make sure everyone's clear on what they are pledging to".

Since launching less than a week ago, the campaign has already raised just under $40,000 towards its total: www.thepoint.com/campaigns/campaign-0-472

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Noting that the New Yorker had recently remarked how their success on an indie label proved that bands no longer needed major label deals for global success, Pitchfork recently asked Arcade Fire's Butler brothers, Will and Win, about the role of the majors in the modern music industry. I've merged their answers into one for easy reading.

So, here's what Will/n said: "Major labels just lost their way. It's like the housing bubble. They lost a sense of the fundamentals. They were just flailing about and throwing money around. They weren't thinking about putting out good music or embracing new things. When we were getting courted in the early days of 'Funeral', we would get taken to these dinners, and it was just like, 'We'll take the dinner, but who's paying for this?' I guess Led Zeppelin is. But, at the end of the day, we were just like, 'Would we be paying for other peoples' dinners?" It's such a weird thing".

The bros continued: "They'd probably be doing fine without the internet. The way they handled the internet was just boneheaded. I know it was terrifying, but I just read Greg Kot's book about downloading, 'Ripped', and they were not smart.

But it's certainly not a black-or-white thing. The Flaming Lips have been on Warner Bros forever, and certainly everything I heard growing up was on a major label in some way, from the Cure to Radiohead to Björk. It seems like the internet really threw them for a loop".

You can read the full interview here: pitchfork.com/features/interviews/7860-arcade-fire/

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Dave Grohl has announced that he is suing Jake Shears of the Scissor Sisters after catching sight of his testicles at one of the band's recent concerts.

'Court documents' published on the Scissor Sisters website state that the "violation of New York State indecent exposure laws" caused Grohl to "suffer acute psychological distress, emotional pain and suffering and mental anguish into the future" and that he would "incur mental health expenses in the past and into the future".

Watch an exclusive interview with Grohl on SSTV News here: www.scissorsisters.com/news/newsflash-dave-grohl-sues-scissor-sisters

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If you happen to be having sex with Ortise Williams from JLS any time soon, prepare for him to do something quite unnerving. The singer revealed that he exclusively uses boxes of condoms with his own face printed on them.

As previously reported, the boyband recently teamed up with Durex to produce a range of JLS condoms, with four varieties to choose from, each bearing the picture of a different band member on the box. This is somehow supposed to promote safe sex, in Williams' case by freaking out his partners and making them run away.

Williams told MTV: "I ran out. I had to go to Boots to buy some more. We were all given packets of each other's. It's not like their faces are on the actual condoms but I still prefer to use my own. I'm happy to keep doing my bit and paying my way for them. I never get embarrassed about using condoms or buying them, no way. It's part of the movement. I'm not going to get caught out. I'm an avid believer of no glove, no love".

I imagine that prior to whipping out the condoms, he also attempts to seduce the ladies by playing them JLS songs.

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