20 MAR 2013

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Last week, Ben Watt announced that he was winding down his record label Buzzin Fly. Launched by the Everything But The Girl musician a decade ago, initially to release solo track 'Lone Cat', the label has since released music by innovative electronic artists like Flowers & Sea Creatures, Jimster and Adam Ho. With the news out, CMU's Andy Malt spoke to Watt to find out more about his decision to scale back Buzzin Fly, and what the future might now hold more>>
'Dreamfolk' quartet Mt Wolf released their debut EP, 'Life Size Ghosts', last year. The follow-up, another four track release called 'Hypolight', is due to follow on 8 Apr. The new record's title track was previewed online last month, and yesterday the video for another track, 'Shapeshift', emerged. Led by Kate Sproule's strong, soulful voice, the band weave guitar, beats and percussion into delicate R&B beneath her more>>

- Wadsworth optimistic that record industry recovery is real
- Stone says security was minimal at her home prior to murder plot
- Bauhaus' Peter Murphy arrested for hit-and-run
- SXSW presents inaugural Grulke prizes
- Parliamentary Jazz Awards noms announced
- The Horrors releasing new LP in September
- Incubus "taking a break", Brandon Boyd making "oddball pop" solo LP
Vampire Weekend premiere new tracks
- LP to feature Miley Cyrus, Waka Flocka, Baby Kaely
- The Cribs, Doom, Ghostface and Gallows all playing free Converse shows
- Paramore playing 'intimate' date at London Garage
- Xiu Xiu add April dates
- Festival line-up update: Truck Festival, Liverpool Sound City, Off Festival and more
- EU research says piracy not especially damaging
- Is Amazon now planning streaming service too?
- Rihanna's 777 film made into TV special, airing in May
- Greg Cochrane named new editor
- Robbie defends his Rudebox, threatens a second instalment
We’re looking for a bright, enthusiastic part qualified accountant with a love of music to join our finance team. Working across all the companies in the group the main duties will include: Cash book and bank reconciliation, purchase and sales ledger processing, HMRC returns – VAT, Intrastat, writing cheques/setting up online payments, intercompany postings and reconciliations, dealing with customer and supplier queries.

For more information including a full job description and how to apply click here.
Ultra DJ Management is an independent company that is part of the Mission Control Group of companies including Mission Control Artists Agency and ASM Damage Ltd. We represent some of the world’s leading recording artists and producers and our roster includes multi-platinum album selling and award winning touring artists. We are recruiting for a booking agent with a good knowledge of dance music, the club and festival scene who possesses excellent negotiation skills and a high degree of professionalism.

For more information including a full job description and how to apply click here.
Building on our success of being voted Live UK’s National Promoter of the Year, DHP are looking for a Concerts Assistant to assist in the promotion team with our growing number of concerts.

For more information including a full job description and how to apply click here.
This post heads the Ticketing operation for the DHP venues and Concert Promotions. DHP has its own Box Office system – alt-tickets and marketing (which this role is involved with) is carried out in-house. This role involves close working with DHP promoters on marketing events and generating sales.

For more information including a full job description and how to apply click here.
ReverbXL are seeking a full time Intern to work in our London office based in Chiswick. This is an ideal entry level position for a graduate looking to gain employment in the music industry. The position will give the chosen candidate a diverse range of experience in how a music publisher, record label and management company operates.

For more information including a full job description and how to apply click here.
Involved Management is one of the world’s leading electronic music management companies, with an artist roster that includes Above & Beyond, Mat Zo and Dusky. Involved also shares an affiliation with Anjunabeats, one of the biggest independent dance labels in the UK and currently number one in the iTunes US dance album chart.

For more information including a full job description and how to apply click here.
Sydney based company representative for Australia, New Zealand and Asia. This position supports the activities of the company globally under the supervision of the London based Director, Label and Project Management. The role will cover supporting activities surrounding master rights owners as well as retail accounts. It will also have a business development aspect to the role.

For more information including a full job description and how to apply click here.
Berlin based company representative for Europe. This position supports the activities of the company globally under the supervision of the London based Director, Label and Project Management. The role will cover both supporting activities surrounding master rights owners as well as retail accounts. It will also have a business development aspect to the role.

For more information including a full job description and how to apply click here.
Merlin, the global rights licensing agency representing independent labels, is looking for a talented individual to join our London team through its work experience scheme. The two month placement would involve assisting staff in the central London Merlin office for two days a week, in particular in the areas of administration, royalty reporting and general operations. The role would suit a music business student or recent graduate looking to learn more about the digital music industry, as well as new and emerging services and markets.

For more information including a full job description and how to apply click here.
Killing Moon is a London-based record label, artist management company, club night promoter and (nearly) award-winning new music blog. Due to recent expansion and gradually-increasing output through our record label, we are now seeking several spritely and talented individuals to learn about and assist on all of our operations.

For more information including a full job description and how to apply click here.
With a split role of business development and ongoing client relationship management, the candidate will be the UK based point person for INresidence artist projects, as well as being the liaison for projects with a physical component.

For more information including a full job description and how to apply click here.
The senior person in the international office for all Sales & Marketing activities. This position will work closely with label representatives and product managers to ensure maximum visibility for key projects. He/she will also manage relationships with various teams for the external clients as well as internally at INgrooves Fontana and support business development activities.

For more information including a full job description and how to apply click here.
Eight week evening course with music journalist Lulu Le Vay (Guardian, Independent, Observer, i-D, Sleaze Nation, The Face, DJ magazine). Learn how to source hot music stories, network with industry insiders, interview artists, write reviews and features, and deliver copy under pressure. You will also get to pitch your interview and feature ideas to editors at our partner publications: Clash Magazine, Dummy, Resident Advisor and DJ Mag. Guest tutor: Matt Bennett, Deputy Editor, Clash Magazine. 

For more information including a full course description and how to book click here.

BPI Chairman and former EMI UK chief Tony Wadsworth has told the Radiodays Europe conference in Berlin that he is very optimistic indeed about the future of the music business.

Predicting that the UK recorded music industry will pass the 50/50 point in terms of digital versus physical revenues this year, he pointed to the growth of the mobile and in-car internet as providing even bigger digital opportunities for music services, and their music right owning partners. Together that means, he reckoned, that the turn in fortune for the global record industry last year, with revenues from recorded music increasing, slightly, for the first time in over a decade, is the start of a new sustainable period of growth.

On the new digital opportunities, he told the radio industry event: "In the UK, the roll out of 4G networks is predicted to grow rapidly. That will make the smartphone an even more crucial device for music consumption. The industry sees this as an opportunity and is engaging with telecoms companies to make that a reality. Networked home audio and video devices are another source of potentially huge increased music consumption that make it simple to integrate all your music listening. And, of course, the car - where many of us listen to most of our music - will be seeing major changes [too]".

Which means, he continued: "The ten-year market decline that we have experienced will reverse with the industry continuing to embrace new ways of doing business and new technologies, and we will start to enjoy the commercial rewards that come from giving consumers what they want".

The BPI Chair also outlined and justified the multi-revenue stream arrangements some labels, as the primary investors in new artists and new material, are now striking up, noting that the high profile deal he helped negotiate between EMI and Robbie Williams in 2002 was based on this model. "It was a deal that worked for Robbie Williams and worked for EMI, and became the pattern for many variations on new recording agreements".

He continued: "There is no longer a one-size-fits-all approach, and while some labels insist on elements of the 360 degree deal in their agreements, other labels will trade that for a lower investment commitment. Some labels have incorporated management, merchandising and live expertise into their companies, which makes it easier to attract this sort of deal if you can be seen to be adding value. Others simply see a slice of live income as being part of the fair return for being the primary investor into an artist's career".

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Oh, so Joss Stone has testified in the trial of Kevin Liverpool and Junior Bradshaw, the two men accused of plotting to kill the singer back in 2011.

As previously reported, Liverpool and Bradshaw were stopped by police in June 2011 and found to be carrying various weapons and notes sketching out a plan to murder and decapitate singer Stone at her Devon home. The two men deny charges of conspiracy to murder, rob and cause grievous bodily harm.

According to the Independent, Stone told Exeter Crown Court that security at her home was pretty minimal prior to Liverpool and Bradshaw's arrest, and that while her property did have a burglar alarm she rarely used it, so low was the chance of crime in the area of Devon where she resided.

She said she liked having an "open house" where family and friends were always welcome, adding: "I've lived in Devon for a long time and nobody really shuts their door. I had an alarm but I did not really turn it on very much. I didn't really have a lock on my door... But I do now".

Stone was at home on the day Liverpool and Bradshaw allegedly planned to attack the singer, but the two men couldn't find her house, and were picked up by police following up reports from concerned local residents.

The singer recalled in court yesterday the police showing up to tell her about the two men's arrest, saying: "Apart from someone coming around to say someone is trying kill me, it was a really nice day".

As previously reported, it's thought Stone was targeted by the two men because of her albeit nominal associations with the royal family. Asked about her royal connections in court, Stone said: "I have sung for them a couple of times - once for the Princess Diana concert. After that there was another charity event for Harry. I guess they just invited me because they thought it was nice to invite me".

The case continues.

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Former Bauhaus frontman Peter Murphy was arrested in LA on a number of charges, including fleeing the scene of a traffic accident, on Saturday. As well as the hit-and-run charge, Murphy was accused of driving under the influence of drugs or alcohol and possession of methamphetamine.

According to local paper the Glendale News-Press, Murphy crashed into the back of a Mercedes in Glendale California on Saturday morning, injuring the other driver. He then fled to LA, but his car's number plate was reported to police and another eyewitness apparently managed to chase and block him for driving any further until police arrived.

Police said that Murphy, who now lives in Turkey, seemed "very confused" when they caught up with him, but that he claimed that was because he was tired and jet-legged from a recent flight. Police then discovered a bag of methamphetamine in his car, which he apparently denied was his.

The Bauhaus man was initially detained by police who demanded bail of $500,000 - set so high because he was considered a flight risk. However, at a court hearing yesterday, to which Murphy did not attend though he entered a not guilty plea via his lawyer, the judge dismissed these fears and released the singer on the understanding that he will be locked up again until his trial date if caught trying to flee. He was also banned from driving without prior court permission.

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Organisers of South By Southwest have announced the winners of the inaugural Grulke Prize, three new awards to be presented each year at the Austin showcase festival and uber-convention in honour of Brent Grulke, the event's longtime Creative Director who died last August.

Two of the new prizes go to Developing Acts, new artists, one American and one non-US, who "are breaking new ground with their creativity and show the most promise in achieving their career goals". And the first winners of those prizes are Haim and Chvrches.

A third prize, called the Career Act award, goes to "an established artist who appeared at SXSW 2013 to reinvent themselves or launch an important new project". And the first of those goes to The Flaming Lips, for their various activities at this year's festival.

More info here.

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The nominations are out for the annual Parliamentary Jazz Awards, organised by the All Party Parliamentary Jazz Appreciation Group with support from PPL, and this year hosted by a certain Moira Stuart. The awards will be presented at a bash in Parliament on 8 May.

And the nominees are:

Jazz Musician Of The Year: Christine Tobin, Guy Barker, John Etheridge

Jazz Album Of The Year: Christine Tobin - Sailing to Byzantium, John Surman - Saltash Bells, Phronesis - Walking Dark

Jazz Ensemble Of The Year: Beats & Pieces Big Band, Impossible Gentlemen, Troyka

Live Jazz Award Of The Year: Café Oto, Dalston, London; Herts Jazz; Manchester Jazz Festival; The Vortex, London

Jazz Journalist Of The Year: John Fordham, Mike Hobart, Rob Adams

Jazz Broadcaster Of The Year: Gilles Peterson, Helen Mayhew, Mike Chadwick

Jazz Publication Of The Year: Catherine Tackley - Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert, Jazzwise, LondonJazzNews.

Jazz Education Award: Brian Moore, Jonathan Eno, Nick Smart, Tommy Smith

Services To Jazz Award: Evan Parker, Keith Loxam, Norma Winstone, Stan Tracey

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The Horrors intend to release a new LP, the sequel (numerically, at least) to 2011's 'Skying', this September.

Speaking to NME, keyboardist Tom Cowan said the band were "most of the way there in terms of getting the songs together", and had "a month or so of writing" still to do. A TBA Horrors tour, meanwhile, appears to be looming.

Asked to characterise the new LP so far, he added: "It's different. But I don't really want to say anything because people will get the wrong idea. But it is different and it's possibly our best album yet. But that's always a matter of opinion I guess".

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So, Incubus are - despite what their manager has said in the past - taking something that looks a lot like a hiatus. Or so says frontman Brandon Boyd, who's been providing tantalizing hints about his TBA new non-Incubus LP in the presence of Rolling Stone.

"Incubus is taking a break. It's going to look like a hiatus by the end of it", he says, adding this of his in-development solo set: "It's done, it's mastered. It'll probably come out sometime this summer. It's ready to come out now, but logistics and stuff like that".

And: "It's different from Incubus in the sense that there was a committee of two as opposed to a committee of five, so it's a lot more piano and rhythm, melodic weird pop. It's like oddball pop".

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Vampire Weekend have shared the third and fourth tracks featuring on their new LP, 'Modern Vampires Of The City'.

Titled 'Step' and 'Diane Young', the "wildly different" singles (the former based on a sample of rap troupe Souls Of Mischief's 'Step To My Girl', the latter some upbeat 80s-style world-pop) will be buyable as a special seven-inch, screen-printed by hand at the London base of the band's label XL Recordings.

Alternatively, 'Diane Young' is instantly available in digital form to all parties pre-paying for 'Modern Vampires...', which is released on 6 May.

Diane Young


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Duracel-fuelled pop automaton's Twitter-trendable new LP, '#willpower', has been given a release date: 22 Apr. Yes, that's right.

Miley Cyrus, Waka Flocka Flame, Lil Wayne, Nichole Scherzinger, kid-rapper Baby Kaely (who's seven, by the way) and Chris Brown (who hasn't been seven for a while) feature on its veritable filofax of collaborators. As do Britney Spears, 2NE1 and Justin Bieber, but you probably know that.

Erm, what else. Oh, yeah, Will's Bieber-starring new track '#thatPOWER' is now officially taking up space on YouTube, so point your #face at it now.

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Converse has invited a ton of artists (well, three) to headline a new set of 'Get Dirty' shows it's hosting at London's 100 Club. The Cribs headline on 17 Apr, whilst latter nights will star Ghostface Killah and DOOM (18 Apr) and Gallows (19 Apr).

You have till 21 Mar to apply to win free tickets via this here link.

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Bigtime pop-rock trio Paramore are playing a quite 'intimate' show at London's Garage on 5 Apr. By chance, the band's self-named new LP (in that its name is 'Paramore') is released three days after that, on 8 Apr.

Whilst most tickets have been given to competition winners, an extra allocation will be released on 22 Mar via this link.

This is 'Paramore' track 'Still Into You'

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Maker of avant-garde pop Xiu Xiu, aka Jamie Stewart, has arranged to do several solo shows in April. It's partly because he's here anyway to play Swans' Michael Gira-curated Mouth To Mouth fest, and party because... well, I guess he wants to.

Here are the dates:

1 Apr: Birmingham, HMV Institute
2 Apr: Brighton, Concorde 2
5 Apr: Leeds, Stylus
6 Apr: Bristol, The Fleece

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Oh dear, so Sonar festival has had to cancel its Sao Paulo-based edition, citing Brazil's climate of financial "instability". Tickets to the event, as was meant to take place between 24-25 May and feature sets by Pet Shop Boys, The Roots, Nicholas Jaar and Jamie Lidell, hadn't yet gone on sale.

A press release by its organisers, Dream Factory and Advanced Music, fails to go into any real detail as to what's gone on, reading: "The non-fulfilment of the Sao Paulo edition of the festival directly relates to the latest difficulties and instability in the Brazilian entertainment market".

Sonar's parallel 20th anniversary fests in Barcelona, Tokyo, Osaka and Reykjavik will all seemingly still go ahead.

And with that, it's on to happier fest-missives via Liverpool Sound City, Truck and Poland's OFF:

FARMFESTIVAL, Bruton, Somerset, 26-27 Jul: Black Strobe, The Lovely Eggs, Gramme, Thumpers, Chicken Lips, Luke Unabomber, Oh! Gunquit, Ivan Campo, The Idol Rich, Moscow Youth Cult, Africa Entsha, IThisYes., Go Go Cult, Moriaty, The Ukes Of Hazzard, Tula & The Blackgang.

LIVERPOOL SOUND CITY, various venues, Liverpool, 2-4 May: Bastille, On An On, Temples, The Tea Street Band, Duologue, The Loved Ones, By The Sea, All We Are, Broken Men, Bird, Nadine Carina, Ady Suleiman, Concrete Knives, Sun Glitters, Mutiny On The Bounty, Afternaut, Silent Sleep, Neck Deep.

OFF FESTIVAL, Katowice, Poland, 2-4 Aug: Godspeed You! Black Emperor, Skalpel, Goat, Girls Against Boys, Mykki Blanco, The Haxan Cloak.

TRUCK FESTIVAL, Hill Farm, Steventon, Oxfordshire, 19-20 Jul: Spiritualized, The Joy Formidable, We Are The Ocean, Frankie And The Heartstrings, Treetop Flyers, Bo Ningen, The History Of Apple Pie, Kimberly Anne, Pylo, Harbour.

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The rules of Buddhism dictate that for every bit of research saying that piracy platforms have hindered the legitimate content industries, another bit must state that unlicensed file-sharing actually has no impact on the sale of music or movies, or even better that the try-before-you-buy potential of illegal content sharing means piracy can actually aid sales.

So recently we had that bit of research that said that the shutdown of MegaUpload had had a tangible impact, for the better, on the sale of digital movies, so no surprises that a new paper has now landed concluding that "digital music piracy does not displace legal music purchases in digital format". And this one comes from the European Commission's Joint Research Centre. Good times.

The survey involved over 16,000 participants in five EU countries, and concluded that much of the music accessed illegally online - while infringing on the intellectual property rights of creators and rights owners - didn't actually result in tangible damage, because the people accessing the unlicensed content wouldn't have bought it had it not been available through illegal routes. Therefore the content owner isn't actually losing any income, and the creator has their work exposed to a bigger audience.

The survey also concluded that the existence of unlicensed content platforms created a greater desire to find content online, which increased the traffic of legit as well as illegal sites. "Clicks on legal purchase websites would have been 2% lower in the absence of illegal downloading websites", the report reckons.

Of course there is a plethora of research on the impact of piracy on record sales, and a plethora of different conclusions. Clearly every track downloaded illegally from a P2P network or MegaUpload style platform isn't a lost sale in real terms, digital music fans just have vastly bigger record collections, a large portion of which just wouldn't be there if legit purchase was the only option (much of which is probably never listened to anyway).

Though with most file-sharers, there is surely a minority of content that would have been paid for if there hadn't been a piracy option (and indeed some other research reports have reached that conclusion), which is lost revenue to the record label and artist. Of course the file-sharer might argue that money went instead on tickets or band t-shirts, though with the traditional structure of the music business, that's no help to the initial investor in the artist, aka the little old label.

The new Joint Research Centre report doesn't make any recommendations regards policy, though the findings may well be used by those who oppose more draconian anti-piracy measures being considered by governments in some European countries.

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With both Apple and Google busy developing streaming music services behind their big closed doors, why not start speculating that Amazon is also building a "Spotify killer"? Oh look, people are. Yes, rumours are now circulating that Amazon is also considering launching a streaming platform to sit alongside its MP3 store and digital locker service.

And the etailer possibly has some advantages, not least a business model that often involves taking a hit on some services to build market share. Unlike download stores where digital operators generally only pay rights owners when tracks are sold, with streaming services the digital firm usually operates at a loss at the start (and in many cases for quite a few years after that), and generally neither Apple nor Google like taking too much financial risk when it comes to content services.

Amazon, though, routinely makes a loss on certain content products to drive up traffic and customer numbers. The etail giant could also integrate any streaming music service - at launch or down the line - with its existing video-on-demand platforms, so LoveFilm in Europe and Amazon Instant in the US, and there is an argument that ultimately stand-alone streaming music services are not sustainable, and said services will need to ally with online TV and film set ups.

So, Amazon-ify, it could happen.

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So, it transpires that the in-air '777' pop hop Rihanna shared with 200 crazed press reps - the one that saw her play shows at seven cities in seven days - has been 'immortalised' in a new TV special. 'Rihanna 777' will premiere in the US via Fox on 6 May, after which it may even be shown in Britain.

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NME Editor Mike Williams yesterday announced the hiring of Greg Cochrane as the new editor of

Currently a reporter for BBC Newsbeat, Cochrane previously worked at NME as the magazine's Assistant Review Editor from 2006 to 2008, and in returning replaces Luke Lewis, who recently joined Buzzfeed's new UK operation.

Williams tweeted the news yesterday, thus: "Amazing newsflash! I have hired a brilliant new editor for Ladies and gents, please be upstanding for Greg Cochrane".

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Robbie Williams loved his album 'Rudebox' whatever you or your mate or your mother or your music critic of choice might had thought of the occasional Take Thater's divisive and less-successful-than-normal 2006 long player. Well, except for track six. And track ten. And track thirteen. And track sixteen. But all of the rest still gets the Robbie seal of approval. And if I remember rightly, there were 408 tracks on that record, so that's pretty good going.

Writing in a recent blog post (in ALL UPPERCASE, so I wouldn't bother going to read the actual blog myself), Williams said: "I love 'Rudebox', by the way, and plans are afoot to make another one. It'll be ages yet, but I think it's time to do the second instalment. In many ways, 'Rudebox' is my favourite album of mine. But also it's the album I would take the most tracks off too. 'Louise' wasn't a very good cover, 'Kiss Me' can go too. That version of 'Summertime' wasn't the best and 'Keep On' can be dropped. The rest I stand by with a big middle finger going, 'No, fuck you'".

He continued: "I know I've said in concert about some of my songs not being the best. It's panto. For the record I fucking love 'Bodies' and I love [title track] 'Rudebox'. If it wasn't for the perception, it would be first on my setlist. It's so much fun for me to perform. So would 'The 90s' and 'The 80s'. After this [year's] stadium tour I'm going to move back to arenas. I loved The O2 last year, and I think I could fanny about my with my choice of tunes [more] in arenas".

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CMU Editor Andy Malt and CMU Business Editor Chris Cooke are both available to comment on music and music business stories. Together they have provided comment and contributions to BBC News, BBC World, BBC Radios 4, 5, 6music and Scotland, Sky News, CNN, Wired and the Associated Press. Email or

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