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CMU Info
Top Stories
Summary judgements in MP3tunes case
Amy Winehouse toxicology results show no illegal drugs
In The Pop Courts
RIAA appeals Jammie Thomas ruling
Awards & Contests
Björk and Laurence Bell to receive AIM Awards
In The Studio
Madness to record tenth album
Release News
New Florence And The Machine
Tom Waits announces album
Summer Camp announce debut album
Films & Shows News
Mods and rockers unite to celebrate Quadrophenia reissue
Gigs & Tours News
Michael Jackson fans call for cancellation of tribute concert
Noel Gallagher's High Flying Birds add extra tour dates
Festival News
BBC Music Video Festival to kick off next month
Festival line-up update
The Music Business
AEG launches tickets website
And finally...
Noel Gallagher brands Liam's lawsuit "very silly"

LA punks the Icarus Line formed in 1998, putting out their first EP 'Highly-puncturing-noise-testing-your-ability-to-hate' on Epitaph imprint Hellcat Records later that year. Debut album 'Mono', released in 2001, was succeeded in 2004 by acclaimed LP 'Penance Soiree'.

Amongst a spate of line-up adjustments in the wake of the latter release, co-founding guitarist Aaron North quit the band to join Nine Inch Nails, leaving frontman Joe Cardamone to forge on with 2007 album 'Black Lives At The Golden Coast'. Cardamone and his present bandmates recorded their latest full-length, 'Wildlife', in a fortnight, with production input from Ariel Pink and Giant Drag's Annie Hardy, at Hollywood's infamous Sunset Sound studios.

With 'Wildlife' due out via Cobraside/Roar Scratch on 29 Aug, the self-professed "motivated fuck ups who had no other choice" will be making their next live appearance, the first in a string of UK tour dates, at Cardiff's Clwb Ifor Bach on 10 Oct. Ahead of all that, Joe did our SSQ.

Q1 How did you start out making music?
I probably started out making music by listening to all the records my parents played around the house as a child. My dad had a decent record collection and as far back as I can remember there were Beatles records playing in the house. And, according to them, I had a 45 of the 'Star Wars' theme score and listened to that relentlessly. I am told that I would hum it loudly on car trips until I fell asleep.

Q2 What inspired your latest album?
'Wildlife' was inspired by living life. The record is a document of the things that were happening to myself and the people around me from the time directly after touring 'Black Lives' until the recording of the album. Although the themes aren't completely different from any other record I have made, I feel like I am always trying to refine the way of saying them. I have always tried to write about a sect of society that isn't well documented in mainstream media or just current "rock music". Rather than ironically doing a parody of rock n roll, I try to have an honest more romantic approach to the genre. The record is more of a Los Angeles record than any of my previous efforts, completely written and recorded in the city.

Q3 What process do you go through in creating a track?
Only since I have become a producer for other artists have I noticed how my own process is kinda fucked up. My process is a very unconventional approach at a conventional method. It is almost a synthetic organic process. The whole thing is an oxymoron.

I bring a rough idea into the jam room with the band. They are very in tune with what I want to do, letting me conduct arrangement and dynamics as we go. I will usually be playing guitar with them during the writing process to show key and feel. Even though we are jamming as a band, it isn't a free for all. The band is out of control intuitive, with very little verbal communication they follow closely. As we play, the song develops because I have the best inspiration in the room in my band.

Arrangement lengths, and everyone's individual parts, will occur to me spontaneously. Halfway through the jam I will hear the right bass part, either from my head or something Alvin does, and stop, lock it in, and then keep going. It happens like this over and over until the song takes shape. I wouldn't do it any other way. This method has worked for me for years, and it helps to ensure a sound that is spontaneous and not too wrought over. It also allows for a little wiggle room, creatively, because in the early stages every one has a chance to impress my taste. If something great is going on, I will encourage it immediately.

It's a fucked up way to write, but this is how a lot of my music comes together. I love to be in a room jamming to write complete tunes. I can do it all alone too, but it just isn't as much fun. There is an excitement, of instant gratification, orchestrating on the fly. And that's why I chose music in the first place, I can make something great take shape in a hour. What other art forms allow you to do that?

Q4 Which artists influence your work?
Lately it has been people like Captain Beefheart, Mingus, Dead Boys, The Move and any other great rock n roll from the past.

Q5 What would you say to someone experiencing your music for the first time?
Turn it up loud and listen to it again, then once more, and now again.

Q6 What are your ambitions for your latest album, and for the future?
My ambitions for 'Wildlife' were to make a better record than I had before. Something that gets to the heart of my message more closely. With every tune I am working on distilling the music to a pointier edge. I think that is the only way to remain excited about what I am doing here. I will do it again next time and hopefully succeed. It would also be a great thing to bring these songs to the stage and really do renditions that leave lasting impressions on people for years. That has always been the goal with The Icarus Line.

MORE>> www.theicarusline.org
Lady Gaga has been getting a lot of unexpected people to remix tracks from her second album, 'Born This Way'. It's possibly an attempt to salvage something good from the largely horrible-sounding originals. Well, OK, maybe she (or whoever is commissioning these remixes) doesn't quite see it that way. But it's working, so well done anyway.

Analogue electro quartet Mirrors turned in their own take on 'Judas' back in May, and now another British indie outfit has created a remix of one of the Gaga's tracks. In its original form, the slightly generic, umlaut-mocking country ballad 'Yoü And I' is one of the more palatable songs on the album, but Wild Beasts nonetheless take it and strip almost everything out of it but for a few lines of vocals. They then twist it into a shimmering ambient track and slip in a new piano hook.

As you'd expect from Wild Beasts, the results are beautifully composed, and suggest that they should offer themselves up as remixers more often.

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A federal court in the US yesterday issued a summary judgement on the long running EMI v MP3tunes case, finding in favour of both sides but on different elements of the dispute.

As previously reported, MP3tunes, founded by original MP3.com creator Michael Robertson, was one of the early music-specific digital locker services. EMI claimed that Robertson's service required a licence from the record labels and music publishers to operate, and without such a licence MP3tunes infringed their copyrights. Robertson, however, claimed MP3tunes needed no such deals with the music companies.

It was originally thought any ruling in the MP3tunes case might add some clarity to the copyright situation with regards all digital lockers, a topic which has become more relevant this year as major players like Google and Amazon entered the music-specific locker market place.

While in most territories a very basic online storage service can safely operate without a licence from any music companies, because such a service is covered by a user's private back-up copy right (though no such right currently exists in the UK, of course), some rights owners argue that the minute a user is given a friendly web-based player through which they can stream their music collections to any net-connected device, a licence is needed. Google, Amazon, Robertson and MP3tunes do not concur.

However, in the end the MP3tunes case did not centre on the licensing requirements of such a service, because many of EMI's objections related to other elements of Robertson's platform, in particular the facility that allows users to organise and store links to music streams they have found online, whether or not said streams are legal. The summary judgements mainly focus on that links management facility.

The judge partly found in EMI's favour over MP3tunes' failure to operate an efficient takedown system with regards its link management service, so that links made by users to unlicensed streams stayed even after the major label had alerted the digital company of their presence. The judge also ruled against Robertson himself for personally posting links to illegal sources of content via his own website.

But there was some good news for MP3tunes, too. The court backed the digital firm's claims that its links management service was protected by the Digital Millennium Copyright Act's safe harbour clause, so it could not be liable for any users who used the service to link to illegal music providing the company operated a decent takedown system to remove said links when rights owners spotted them.

So, the safe harbour principle applies to link management services providing they operate an efficient takedown system, that much we know from this ruling. But as for the wider debate as to when digital locker services do or do not need licenses from music companies, that will continue.

EMI welcomed the bits of the ruling that went in its favour, telling reporters: "We are pleased that MP3tunes and Michael Robertson have been held liable for infringing hundreds of sound recordings and musical compositions through their websites. The court's decision confirms that businesses cannot simply pay lip service to the law while undermining the rights of the musicians, artists and writers that create popular music. The decision also proves that company executives that personally contribute to and commit copyright infringement will be held accountable for their actions".

However, the music major added: "At the same time, we're disappointed that the court found that MP3tunes was entitled to a safe harbour for some of its conduct under the DMCA. EMI believes that companies like MP3tunes, which knowingly build a business based on stolen music, should not be entitled to any DMCA safe harbour defence, and we're evaluating our options to seek review of those portions of the decision. We will continue to fight - in this case and in the future - for the rights of our artists and writers, and to ensure that they are always properly compensated every time their music is used in a commercial setting".

In a long statement, Robertson said the summary judgements were a "victory for cloud music" adding that "few companies have been able to stand up to the record labels attacks and get rulings from the court on key issues relevant to the future of internet music. In this case EMI alleged a long list of ways that MP3tunes infringed and nearly all of the arguments were rejected".

He concluded: "Overall this is an enormous victory for MP3tunes and digital music compatriots like Amazon, Google and Grooveshark. It wasn't a complete victory and it's not a final ruling, because there are outstanding issues and both sides can appeal, but we're prepared to continue battling".

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Toxicology results show that Amy Winehouse had taken "no illegal substances" at the time of her death, according to a statement issued by her family yesterday. Alcohol was present, though it is not clear if this played any role in her death. The final outcome of the singer's inquest will now be announced on 26 Oct.

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Some people might say that once you've realised you've engaged in one of the worst PR exercises your industry has ever seen, and have found other less self-harming ways to pursue your agenda, that it would probably be best to put anything to do with the disastrous exercise behind you. But hey, those people don't work for the Recording Industry Association Of America.

Yes, even though it means spending even more money on a case that will never see any return, and only serves to make the general public think that record companies are evil, the RIAA is appealing the latest ruling in the long-running Jammie Thomas case.

OK, a quick (by which I mean slightly lengthy) recap: Back in 2005, Jammie Thomas was sent a letter offering her the chance to settle out of court, after it was found that she had shared 24 songs illegally using Kazaa. She refused and was sued by the Recording Industry Association Of America.

At first hearing, Thomas was ordered to pay $222,000 to the record industry in damages, but then the judge overseeing the case decided that hearing hadn't been done right, and ordered a second trial. At that, the jury hearing the case, for reasons best known to themselves, ordered Jammie, a single mother of limited means, to pay $1.92 million in damages. A judge subsequently ruled the jury had got it wrong, and slashed the damages figure to $54,000.

The RIAA, to be fair, was willing to accept that figure, but Jammie, perhaps sensing things were going in her favour, refused to pay even the lower sum. So the RIAA appealed the judge's amendment of the original jury decision, sending the case back into court for a third time, where the jury awarded the record industry $1.5 million in damages.

Then last month, the judge hearing the case ruled that the damages agreed by the jury in the latest trial were "outrageously high" and "appalling", and cut the figure back down to $54,000.

In new documents issued to the appeal court this week, and seen by CNET, the RIAA is asking for that latest ruling to be reconsidered, on the grounds that the judge may have incorrectly applied two sections of the US Copyright Act. And so the case, and the story, and the big fat headache that was the RIAA's sue-the-fans strategy last decade, rumbles on.

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AIM has announced two winners for the inaugural Independent Music Awards, which are due to take place later this year. Björk will take home the Outstanding Contribution trophy, while Domino Records founder Laurence Bell will receive the Pioneer Award.

Björk has, of course, built up a hugely successful career, and has remained signed to independent label One Little Indian throughout. She joined the company as a member of The Sugarcubes in 1987. Meanwhile, Bell launched the Domino label by taking advantage of a £40 a week enterprise allowance scheme in 1993, and has gone on to launch the careers of bands such as Franz Ferdinand and the Arctic Monkeys.

They will collect their awards at a ceremony hosted by Steve Lamacq and Huw Stephens at Floridita in Soho on 10 Nov. As well as that, several independent artists will perform live, and another twelve awards will be handed out to independent musicians, labels, entrepreneurs, and festivals.

More information from www.musicindie.com/awards.

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Madness frontman Suggs has announced that the band will release their tenth studio album next year.

Suggs told Digital Spy: "It'll definitely come out next year - hopefully we'll finish it this year. We were hoping to get it done but then we decided to postpone the whole thing because we weren't completely satisfied with what we've done so far. We're working on it and I think it's that thing... when you're young you have all the time in the world. We don't spend 24 hours a day working on music like we used to when we were younger, so you have to do it in batches - sporadic, intense".

The album will be the follow-up to 2009's acclaimed 'The Liberty Of Norton Folgate'.

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Florence And The Machine have premiered the first track from their second album. Entitled 'What The Water Gave Me', a video featuring studio footage and outdoor arm waving appeared on VEVO yesterday afternoon.

The track is a little more restrained than those on her debut album, though some of that shoutyness does creep in. Watch the video below, if you like. The track is also now available from iTunes.


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Remember our report on Tom Waits' cryptic announcement about "setting the record straight" following rumours he was about to release a new record? Well. Rather than actually setting the record straight (as we'd hoped he might do, in this mixed-up world), Tom is releasing one. A record, that is. Christened 'Bad As Me', the gruff singer's latest album is set for release on 25 Oct.

Stream a whimsical short based on Tom's 'Private Listening Party' here: www.youtube.com/watch?v=7hzW3gdPNCI


Raised Right Men
Talking At The Same Time
Get Lost
Face To The Highway
Pay Me
Back In The Crowd
Bad As Me
Kiss Me
Last Leaf
Hell Broke Luce
New Year's Eve
She Stole The Blush
Tell Me
After You Die

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In partnership with Moshi Moshi and PledgeMusic, swoonsome indie-pop pairing Summer Camp are to self-release their debut album 'Welcome To Condale' on 31 Oct via the band's own Apricot Recording Company.

London-based duo Elizabeth Sankey and Jeremy Warmsley are also offering lots of personalised perks and exclusives (not least homemade brownies, signed merchandise, production sessions, and chances to book the band for your house parties) in exchange for further pledges. More details here: www.pledgemusic.com/projects/summercamp


Better Off Without You
Brian Krakow
I Want You
Losing My Mind
Summer Camp
Nobody Knows You
Welcome To Condale
Done Forever
Last American Virgin
Ghost Train

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Here's something to keep all you disenfranchised Mods and Rockers from looming Bank Holiday boredom over the coming weekend.

50 members of The Bar Italia Scooter Club are set to recreate scenes from 1979 film 'Quadrophenia' with a commemorative run from London to Brighton, thus heralding the reissue of The Who's album of the same name. 'Quadrophenia - The Director's Cut' is due out via Universal Music Catalogue on 14 Nov.

Setting off from the Club's central HQ this coming Saturday, the fleet of scooters will brave the A23 to Brighton, where the ride will culminate with a screening of the 'Quadrophenia' movie at the Brighton Racecourse on Sunday 28.

Tickets to the screening, priced at £10 each, can be purchased at www.whereisthenomad.com. Perhaps Sting will turn up in a PVC trench-coat, you never know.

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A coalition of 35 online Michael Jackson fan communities have called for the planned 'Michael Forever' tribute concert in October to be scrapped. The group published an open letter to the company organising the tribute show, Global Live Events, on Saturday.

As previously reported, the show is due to take place in Wales on 8 Oct, featuring artists such as Craig David. Earlier this month, there was outrage from fans when it was announced that Kiss had been booked to play. Concerns were raised over an interview Gene Simmons gave last year, in which he said he was certain that Jackson was guilty of child abuse. The band were subsequently dropped from the show. This week it was announced that Beyonce would perform via satellite link-up.

Although the show is endorsed by Jackson's mother and some of his siblings, other members of the Jackson clan have said that holding the concert at a point when Jackson's accused killer, Dr Conrad Murray, will likely still be on trial, is misjudged. Something the fans seem to agree with.

In the letter, they say: "From the timing of this tribute, to the ticketing prices, to the obscurity over what charities will be receiving the donation, to the no-guarantee policy of performers, the addition of Gene Simmons and dishonouring, thus tarnishing Michael Jackson's legacy, was simply the last straw. Please understand that this concert is doomed to fail now. Do the right thing for Michael Jackson and cancel this tribute. There has been one catastrophic mistake after another. We don't feel like it's the tribute he deserves".

You can read the full letter here.

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Never mind those libel allegations, Noel Gallagher has a serious solo music career to pursue. He and his High Flying Birds have tacked a trio of additional dates onto their debut UK tour, the initial shows in Dublin, London and Edinburgh having sold out. Noel and band's previously reported album, 'Noel Gallagher's High Flying Birds', is slated for release on 17 Nov.

And now, those extra tour dates:

26 Oct: Manchester, Apollo
30 Oct: London, The Forum
31 Oct: London, Roundhouse

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Organisers of the BBC Music Video Festival have announced that this year's event will be pumped out via screens in twenty cities around the UK from 19 Sep to 1 Oct, though with its hub at The Forum in Norwich, which apparently houses Europe's largest permanent digital screen. This celebration of the music video will not only see all sorts of pop promos being screened, but also talks involving the likes of video director Jamie Thraves, Ashley Dean of Broken Pixel and SBTV founder Jamal Edwards.

For more information check bbcmusicvideofestival.tumblr.com.

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I LOVE TECHNO, Flanders Expo, Ghent, Belgium, 12 Nov: This year's edition of Europe's premiere indoor dance fest is so far set to host the likes of Nero, Digitalism, Fake Blood, Skream vs Benga, Brodinski, Flux Pavilion and Crookers, with more names set to be announced very soon. www.ilovetechno.be

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AEG Live's moves into ticketing will gain ground this weekend when it launches its own ticket sales website for two of its US venues.

Called AXS ("access" see), the new service is a product of AEG's previously reported tie up with ticketing technology company Outbox Enterprises, which is led by a former Ticketmaster boss, Fredric D Rosen. AEG Live first started looking for an alternative to Ticketmaster for selling its tickets after the ticketing giant merged with its main competitor, Live Nation. The strategy of Outbox is to enable promoters to take more control of their own ticketing, rather than outsourcing it to agencies.

According to reports, AXS will immediately address some of the complaints consumers often make about Ticketmaster, for example showing ticket prices in the main part of the site that include any additional fees, and not charging any extra fee for people who print out their own tickets, rather than having them mailed to their home (that home-printed tickets also carried an additional booking fee has always been a grievance of Ticketmaster customers).

Although AXS.com will only sell tickets for two of AEG Live's venues at launch, it is clearly a pilot for a much more substantial roll out across the AEG group, which will presumably include, eventually, a launch in the UK, where the live music firm's venue bases include The O2 complex.

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Noel Gallagher has said that he thinks his brother Liam's recently launched libel lawsuit is "very silly". As previously reported, Liam is suing Noel over comments he made at a press conference earlier this year, particularly a claim that the band's 2009 headline set at the Chelmsford leg of V Festival was due to Liam having a hangover.

In a webchat with fans earlier this week, Noel said: "For the record, it is a fact that Liam was diagnosed with laryngitis and it is fact he had a doctor's note to prove it. But I'd just like to say that if he gets offended by opinions on such things then I apologise. It's all getting very silly and a bit out of hand and it's not very cool".

Check out Noel, looking supremely unperturbed by his and Liam's latest fraternal fallout here: www.youtube.com/watch?v=GYaSJSPqtHw

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Aly Barchi
Editorial Assistant
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Club Tipper

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