An UnLimited Media Bulletin
Tuesday 3 December 2013

TODAY'S TOP STORY: Spotify has more often been in the news this year for the wrong reasons, with the streaming music company, as the highest profile platform of its type in Europe, coming in for a kicking from those artists who have problems with the subscription service business model, mainly on the basis the royalties paid out are tiny. Of course in many ways, for Spotify's owners, it doesn't matter if Thom Yorke... [READ MORE]
TODAY'S APPROVED: Blue Daisy, aka producer Kwesi Darko, has been fairly prolific this year (certainly more so that in previous years), releasing his own 'The Emperor's Tale' EP, plus the 'Used To Give A Fuck' EP with Unknown Shoes and 'Fuck A Rap Song' by his project with rapper Hey!zeus, Dahlia Black. Continuing to create tracks as dark as ever, he's now preparing to release another solo EP, 'Psychotic Love'... [READ MORE]
TOP STORIES Spotify launches new resource for artists, hopes to shut up Thom Yorke
LEGAL French web-block injunction targets search engines
DEALS Queen renew alliance with Universal
MARKETING & PR Mel Ruben appointed MD of Outpost Media
MEDIA BBC needs to tread carefully when celebrating big commercial record releases, says commercial radio sector
ARTIST NEWS 'It was wrong', say London Grammar on Radio 1's 'fit Hannah' gaffe
RELEASES RZA dedicates track to Paul Walker
Tinariwen detail sixth LP, Emmaar
New Burial EP incoming
GIGS & FESTIVALS Gigs & Tours round-up: Little Mix, The 1975, PINS and Clean Bandit
Festival line-up update: Sonisphere UK, Field Day, Primavera Sound and more
AWARDS Music+Sound Awards extends entry deadline
Festival Awards presented, Fiona Stewart gets outstanding contribution prize
ARIA Awards presented
AND FINALLY... Rita Ora cast in 50 Shades
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Spotify launches new resource for artists, hopes to shut up Thom Yorke
Spotify has more often been in the news this year for the wrong reasons, with the streaming music company, as the highest profile platform of its type in Europe, coming in for a kicking from those artists who have problems with the subscription service business model, mainly on the basis the royalties paid out are tiny.

Of course in many ways, for Spotify's owners, it doesn't matter if Thom Yorke, David Byrne et al are dissing their service, given that the labels, in the main, are very pro the business (partly because many of them have equity in the firm, partly because across a wider catalogue the revenues are pretty good). A few angry artists, therefore, have had next to no impact on Spotify's access to content.

Though, when a key part of your business plan is convincing Wall Street that you're "the future of music" (an IPO or big sale presumably now on the agenda), it's embarrassing having big name artists telling everyone how evil you are. I mean, what if the crucial analysts advising idiot investors when a Spotify IPO occurs are all Radiohead and Talking Heads fans? And you know what, not that it will please Yorke or Byrne much, but lots of them probably are.

So Spotify has been busy behind the scenes trying to placate the artist community. Of course, as Spotify, like most players in the streaming music space, is loss making, and already handing over the majority of its revenue to the rights owners, it can't increase the royalty pay outs. And it can't do anything about the record contracts that are partly behind the miniscule royalty cheques some artists are receiving from Spotify et al.

But the company could be more transparent. And it could give artists some of that new fuel that is powering the industry: data. And it could look to help acts up-sell products beyond recorded music. And look, Spotify's doing all three with the launch today of Spotify Artists, a new website aimed at the artistic community.

The Spotify Artists site provides guidelines for artists and managers on how the streaming service works, what royalties are paid, and how featured artists can get more out of the platform, even if their content is being provided to the digital firm via a label. Perhaps more importantly, the new service also includes an artist dashboard created in partnership with Next Big Sound to help artists capture all sorts of real time data about how their music is performing on the streaming set up (in addition to the Musicmetric-powered data service already available to labels).

And on top of all that, Spotify says it has grand plans to turn its streaming player into an up-sell platform to help artists sell more of the things that make them money beyond records, ie mainly merchandise and tickets. An existing partnership with Songkick is fuelling the latter, while a new alliance with Topspin will enable the former. And Spotify isn't planning on taking a cut from any of that sell-through.

Although the data provision and up-sell facilities are in reality more important, the insights into how Spotify's royalty payments work will probably generate the most initial interest amongst those who didn't previously have access to this information. The per-play payout is between $0.006 and $0.0084 says the streaming service, though Spotify is keen to steer artists away from talking about per-play payments to instead think about how much an album could generate on a monthly basis.

According to the new site, in July this year a "niche indie album" was generating $3,300 in monthly income from Spotify, while the pay out for a "global hit album" was $425,000. And if Spotify ever reached 40 million paying subscribers, the firm's Director Of Artist Services Mark Williamson has told the Guardian, those figures would jump up to $17,000 a month for the niche indie title and $2 million a month for the global superstar. We (ie artists too) all benefit if we can make Spotify listening the norm, is the implication.

On the motivation behind Spotify Artists, Williamson adds: "The position we take is, look, we know Spotify is not perfect for all artists yet, but this is the theory behind it, this is where we are, and this is where we're going. With any format change in music - CD and iTunes included - there's a lot of confusion around how these different models work, and quite often some serious scepticism. We understand that's out there, so we want to be as clear and transparent as we possibly can explaining how Spotify fits in".

Whether any of this placates Yorke, Byrne et al remains to be seen. For featured artists, it should address some of the concerns, and could well reposition the debate. Though much of this summer's Spotify bashing was kicked off by Nigel Godrich, first and foremost a producer, and those record producers and songwriters who do not have a consumer-facing brand may not be so easily placated.

Unfortunately for the streaming companies though, that's an issue that can only really be resolved by a battle between the labels and the publishers about the slightly skewed way in which the digital royalties split (between recording and song rights owners) has been engineered to the benefit of the former. And that's a battle Spotify et al can't fight.

French web-block injunction targets search engines
Web block injunctions are becoming common place in Europe, with the music and movie industries in various countries going to court to get orders forcing internet service providers to block access to copyright infringing websites where jurisdiction issues prevent the authorities from actually stopping piracy set ups from operating.

But a new injunction in France goes one step further by also forcing search engines Google, Bing and Yahoo! to remove the offending websites from their databases. This is a step towards tackling the ongoing issue with the web-block approach to combating online piracy, ie that post any block, proxy sites soon appear which are easily found via search engines, and which provide easy access to blocked file-sharing sites.

The search engines, of course, will remove specific links to infringing content if made aware of them under the takedown system set out in American copyright law, but so far Google et al have resisted calls by the music and film industries, who routinely argue "why can't you just automatically block any link that begins with the domain of a known copyright infringing site like"

A new web block injunction passed by the High Court in Paris, which names search engines as well as ISPs, seems to force the search firms to take that kind of action, with sixteen unlicensed video-streaming sites targeted. Though, of course, the injunction won't specifically mention the proxy URLs that will now spring up for the targeted sites, which is another weakness; though a recent Belgian injunction against The Pirate Bay allowed for proxies to be added to the block list without renewed court action, and the UK web-block rulings have some flexibility in this regard to.

But reps for the web firms in the French case nevertheless argued that the web-block injunctions were unworkable because of the constant stream of new proxies that are likely to be created every time one route to unlicensed content is cut off. Following the ruling, Google said it was disappointed with the court's verdict, and that rights owners should be utilising its rights management tools rather then pursuing web block injunctions of this kind.

But the UK's Motion Picture Association welcomed the decision, telling reporters: "Search engines are incredibly skilful, yet they are still leading consumers to illegal money-making sites even when the searcher is seeking legal content online. The present situation is confusing for consumers, damaging the legal download market and legitimising copyright theft. The decision in France is clearly a step in [the right] direction".

In related news, the Irish record industry has just secured a web-block injunction against Kickass Torrents, having won a similar order against The Pirate Bay back in June.

Queen renew alliance with Universal
Queen have signed a new deal with Universal Music that will result in "exciting projects" which is, you know, exciting. Well, it's a thing.

Universal's Island Records signed up Queen three years ago after the rockers ended their career-long alliance with EMI. Under the new deal, announced yesterday at the launch of a major new Queen exhibition in Montreux where Brian May and Roger Taylor were on hand to shout "go", the major will continue to work with the duo on various Queen-related ventures everywhere outside North America.

Confirming the renewed alliance, Universal Music Group International top man Max Hole told CMU: "We have loved working with Queen over the last three years. Queen remains one of the biggest, boldest and most influential bands in the world. The band and Universal Music have lots of ambitious plans for the future".

Meanwhile May and Taylor, in unison, while the former pulled some riffs and the latter tapped a bongo, added: "We have also enjoyed working with Universal. In spite of being the biggest music company in the world they succeed in retaining a very hands-on personal relationship with their artists, something we much appreciate''.

Mel Ruben appointed MD of Outpost Media
Music PR company Outpost Media has announced that Mel Ruben, who currently holds the title Music PR Consultant at the company, has been promoted to the role of Managing Director. With the appointment officially in effect from the beginning of 2014, Ruben will take over from founder David Silverman, who will then focus on the newly formed Outpost Group, which also includes music publishing and distribution branches.

Ruben told CMU: "I am looking forward to bringing my array of music industry experience to this dynamic new role at Outpost. With a number of exciting projects in the pipeline, I look forward to continuing Outpost's reputation as one of the forerunners in breaking the very best new music".

Silverman added: "Mel's tenacity, contacts and considerable PR experience mark her as one of the sharpest operators in the industry and we are delighted that she has agreed to lead our PR agency. Combined with our growing publishing and distribution companies, we look forward to this new and exciting period in our growth".

BBC needs to tread carefully when celebrating big commercial record releases, says commercial radio sector
So, pop quiz, what do Coldplay, U2 and Gary Barlow all have in common? Other than tediousness of course? Well, the BBC's (over) promotion of all three act's respective album launches has pissed off the commercial radio sector, that's what.

Yes, having come in for criticism in the past for going over board in its celebration of there being new records coming out from Coldplay and U2 (to the point that the Beeb was accused of basically giving the two band's labels loads of free advertising at the licence fee payer's expense), the BBC is now being criticised for have just a little bit too much Gary Barlow on its channels around the recent release of the Take That dullard's new long playing cassette 'Since I Saw You Last'.

To be fair, Barlow's presence on the Beeb while doing the promo junket for his new record hasn't quite been on the level of the air time given over to U2's 'No Line On The Horizon' in 2009, which the Corporation itself later admitted breached its own editorial guidelines. Though he has had bookings on Radio 2's Ken Bruce, Steve Wright, Chris Evans and Simon Mayo shows, as well as appearances on 'Children In Need', 'The One Show', 'Breakfast', a recording of a gig at the BBC Radio Theatre and an 'Ask Gary' sesh on BBC online.

Although not getting involved in direct criticism of the Barlow, Matt Payton of the commercial radio sector's RadioCentre told The Times this week that the Corporation needs to be careful about the level of support it gives big commercial acts with records to sell, saying: "The BBC overstepped the mark previously, with its promotion of acts like Coldplay and U2. We hope that the BBC Trust will be watching closely to ensure that this sort of undue prominence doesn't occur again".

  Approved: Blue Daisy
Blue Daisy, aka producer Kwesi Darko, has been fairly prolific this year (certainly more so that in previous years), releasing his own 'The Emperor's Tale' EP, plus the 'Used To Give A Fuck' EP with Unknown Shoes and 'Fuck A Rap Song' by his project with rapper Hey!zeus, Dahlia Black.

Continuing to create tracks as dark as ever, he's now preparing to release another solo EP, 'Psychotic Love'. The title track describes itself pretty well with its own lyrics, with its protagonist "sitting outside at night, looking through your window from a distance". As a listener you're left feeling in a similar position, feeling like you're observing the music unfold from afar, wrapped in darkness.
CLICK HERE to read and share online

'It was wrong', say London Grammar on Radio 1's 'fit Hannah' gaffe
London Grammar have touched on Radio 1's "fit Hannah" 'bants' misfire earlier this year, which saw the BBC station survey its Twitter followers on whether the band's singer Hannah Reid was "fit". The tweet was later deleted and Radio 1 - though its Breakfast Shown team at first defended the Twitter post as "ironic" - did make an apology, saying at the time: "We really regret the tweet this morning. Out of respect to Hannah, we have removed from our timeline".

Talking about it all with the Guardian this weekend, Hannah said: "I think it's the first thing that's happened where I felt out of control. I think they could have said much worse and more sexist things, but putting my looks up for debate was wrong. And it's just how casual it was. It does say something about casual sexism".

Moving on to sexism in the music business at large, something Lauren Mayberry of Chvrches spoke out about last month, Reid adds: "There are some things about the music industry people don't realise. Being a girl does make a difference. We ended up with a wonderful team, but I remember when we were first going for meetings with A&Rs, they would always look at Daniel when they'd ask about the songwriting".

"In general, the music industry is so unreflective of society: it's all men in the high positions - and a certain breed of man. And then there's things that are tiring on a level you wouldn't expect. When we were on 'Sunday Brunch' the other day my, hands were shaking onscreen because I was so nervous. Somebody tweeted at me afterwards to tell me I was a 'cunt'".

Terming the 'fit' tweet incident "a really weird thing", and making sure not to piss of one of the UK's biggest radio stations whilst he's at it, London Grammar's guitarist Dan Rothman adds: "I don't want people to get the wrong idea. Radio 1 has been very supportive".

Nice. Glad that's all straightened out. Now look at London Grammar's new 'Nightcall' video, which ties in with a track off their forthcoming first LP, 'If You Wait'.

RZA dedicates track to Paul Walker
RZA has written a track dedicated to Paul Walker, in the wake of the late 'Fast & Furious' actor's death in a car crash on Saturday. The Wu-Tang producer made 'Destiny Bends', which features the voice of Will Wells, on the same night of the accident. He had met Walker whilst filming the forthcoming movie 'Brick Mansions'.

Posting a note on SoundCloud, RZA writes: "We saw in each other a kindred spirit of men coming from unlikely circumstances, and rising to be the light and beacon of our family and loved ones. Men who learned the joy and pains of love in life, and success, while coming to realise that nothing is more important than family, friendship, and the brotherhood of humanity".

He continues: "As all physical things will decay and wither away, film, art, and music remain longer than the vessel that delivered them. In this vein, the one thing we can't take away or give back is time. So, thus, time is the most precious gift. I dedicated my time to compose this song with my two sons and new friend Will Wells, who was kind enough to sing and perform it for me. We dedicate it to Paul Walker. A good man. We had plans to continue working with each other in the future. It seemed destined, but 'destiny bends'".

Listen here

Going back to Wu-Tang, RZA has said on the matter of the collective's new LP in-the-making, which if released this year would coincide the 20th anniversary of group's debut LP, 'Enter The Wu-Tang (36 Chambers)', that it's almost done, but for contributions from Raekwon, who's apparently gone AWOL.

"Everybody did their verses except Raekwon", says RZA. "He hasn't turned in his verses yet. I don't know if he's still trying to find the vibe of the music. We have to talk about it before it becomes too late. But he hasn't come to the table yet".

Asked if he'd consider putting the album out without Raekwon's parts, he says: "Well, you know what, that's something that I would take a vote on with the rest of the crew. I'm not a dictator about that. Raekwon is a valuable energy to the Wu-Tang, his voice, his lyrics, his approach. Rae is a master lyricist".

So, that's nice and inconclusive. Hurrah.


Tinariwen detail sixth LP, Emmaar
Saharan folk troupe Tinariwen have announced they're to issue a new album, their sixth, on 10 Feb. The band's first to be made outside their homeland - because of the difficult political climate in Mali - 'Emmaar' was instead recorded in California's Joshua Tree desert.

Bassist Eyadou Ag Leche says of that: "We would like to live in peace in the North of Mali, but this is very difficult, there is no administration, no banks, no food, no gas. Joshua Tree is in the high desert of California, we all love the desert, these are places where we feel good to live and to create".

He adds: "The new songs of this album talk about what we feel today. The Tuareg issues, the need of being recognised by the administration of our country. But also some poetic ways of describing our feelings. The Tamasheq language is using a lot of metaphors, and it comes from the old traditional Tuareg poetry that tells about the Tuareg tribes, their adventures in the desert, the wars, but also the beauty of the desert, the sky, the lands, and the Assouf, our blues, and nostalgia of an old time".

This is the 'Emmar' tracklisting, which I've just found quite hard to pronounce:

Toumast Tincha
Arhegh Danagh
Timadrit In Sahara
Imidiwan Ahi Sigdim
Sendad Eghlalan
Imidiwanin ahi Tifhamam
Koud Edhaz Emin
Aghregh Medin

And this, ahead of the release of the whole LP on 10 Feb 2014, is its first song, 'Toumast Tincha'.


New Burial EP incoming
Bass undertaker Burial is to dig up a so far untitled triple-track EP on 16 Dec, via Hyperdub. With a running time of 20 minutes, it follows Burial's last such 'suite', 2012's 'Truant'.

And because none of that is especially substantial, have a go on this also untitled Burial track, as was played by Four Tet as part of his eight hour show on Rinse FM last month, and which probably isn't on the EP.

Gigs & tours round-up: Little Mix, The 1975, PINS and Clean Bandit
Pop sweeties Little Mix have whacked a large combo of shows all over May and June 2014. The dates, which are designed to aid sales of the girl band's latest LP 'Salute', range from 16 May at Birmingham's LG Arena to 6 Jun at the Brighton Centre. There are fourteen in all, so find full listings here if you like.

Now it's over to rock-pop sensations The 1975, who'll hit an all-time life high on the day they play a just-announced show at London's Royal Albert Hall, mostly to promote their eponymous first and only LP. It'll take place on 6 Apr, in so doing following the group's sold out UK tour. Here's that information in poster form.

CMU approved noir-pop tacks PINS will ply their smart LP 'Girls Like Us' on a series of live sets beginning this Thursday at The Pavilion in Cork, and finishing up supporting Dum Dum Girls at London's Hoxton Bar & Kitchen on 14 Dec. They've also curated an Xmas compilation featuring Shinies, September Gi and Brown Brogues which is now available via the band's Haus Of PINS label, with all monies made from sales going to SWAP, an organisation assisting refugees and asylum seekers. Preview 'Kiss Me Quick (It's Christmas)' here.

Finally in the day's gig listings, London hip hop-tronica (because that's a thing, right?) quartet Clean Bandit and pushers of 'butt-shaking bass' Gorgon City are first on the bill at the 20 Dec edition of Sub-Sonic Live, a rolling night hosted by the mod's clothing brand of choice, Fred Perry.

Tickets to the show, which goes down at The Garage in London, cost £5 and are purchasable at this page.


Festival line-up update: Sonisphere UK, Field Day, Primavera Sound and more
So, the resurgent UK edition of Sonisphere - which as previously reported will return in 2014 post a two year hiatus - has named Iron Maiden and Metallica as its first pair of headliners. Metallica, who'll play one of their fan-voted 'by request' sets, played the first ever Sonisphere UK back in 2009, so that's a nice symmetrical fact.

In other festival news, over at London's now-weekend-long Field Day, it's now public information that Metronomy will headline the event's first day festivities. They and closing day dons Pixies lead a bill also featuring Sky Ferreira, Warpaint, Jon Hopkins, Jessy Lanza and The Temper Trap. Cool.

And speaking of Pixies, they've just been booked to 'do' Primavera Sound, as you'll note as you scan down this list of the latest acts added to the following fests...

FIELD DAY, Victoria Park, London, 7-8 Jun 2014: Metronomy, Daniel Avery, Danny Brown, Dusky, George Fitzgerald, Dixon b2b Ame, James Holden, Jessy Lanza, John Wizards, Jon Hopkins, Money, Omar Souleyman, Oneohtrix Point Never, Sean Kuti & Fela's Egypt 80, Sky Ferreira, The Temper Trap, Warpaint.

PRIMAVERA SOUND, Parc Del Forum, Barcelona, Spain, 29-31 May 2014: Pixies.

RADSTOCK, Liverpool Academy, 29 Mar 2014Bl/Newcastle Academy, 30 Mar 2014: Bleed From Within, Canterbury, Hacktivist, Brutality.

ROCK WERCHTER, Leaven, Rotselaar, Belgium, 3-6 Jul: Metallica.

ROSKILDE, Denmark, 29 Jun - 6 Jul 2014: Deerhunter, Haim, MØ.

SONISPHERE UK, Knebworth House, Hertfordshire, 4-6 ul 2014: Metallica, Iron Maiden.

STOCKTON CALLING, various venues, Stockton-on-Tees, 19 Apr 2014: Public Service Broadcasting.

Music+Sound Awards extends entry deadline
The UK Music+Sound Awards has announced that it is extending its deadline for entries until 14 Dec. The ceremony, which celebrates music that has enhanced film, television, advertising or gaming through well-placed syncs, will take place on at The Troxy in London on 27 Feb.

The awards' co-founder Nick Payne told CMU: "We're just so pleased to have our belief in the awards substantiated by another tremendous response to our call for entries. We're seeing an exceptional level of talent reflected in this year's entries and are delighted once again to be bringing to the music and sound communities the recognition and endorsement that the Music+Sound Awards provide".

Form more information click here.


Festival Awards presented, Fiona Stewart gets outstanding contribution prize
I know what you're thinking, who won big at the UK Festival Awards in London last night? Well, no one festival really dominated, but I'm going with Strumpets With Crumpets getting Concession Of The Year as the highlight of the night. Oh, and we probably ought mention Green Man festival chief and former Big Chill manager Fiona Stewart being presented with a very well deserved Outstanding Contribution prize.

In fact we've just flow in UK Festival Awards boss James Drury to deliver this quote about Stewart's award: "Fiona's dedication to not only her own events, but the industry as a whole, is inspirational. She is generous with her expertise - and that spirit of willingness to share knowledge is something we can all learn from. I have always admired Fiona's extremely high standards and determination when many lesser people would give up - it's the attitude which has made the Green Man festival and all events she is involved with so successful. It is with great delight that the Festival Awards recognises Fiona's extraordinary feats and generosity to the festival industry".

Stewart herself told CMU: "I was surprised and thrilled to hear that I was going to be given the Outstanding Contribution To Festivals award and I am very grateful to UKFA for this honour. I became involved in festivals when they were counter cultural events sometimes even illegal. They are now a major driver of British culture and international image. I am very proud of the UK festival industry and my future hope is that this hard won heritage is protected and their future diversity is guaranteed from threats of homogenisation".

And well said Fiona. Now a list...

Public Voted Awards
Best Major Festival: Download
Best Medium-Sized Festival: Kendal Calling
Best Small Festival: Bearded Theory
Best New Festival: We Are FSTVL
Best Dance Event: Creamfields
Best Metropolitan Festival: Dot To Dot
Best Family Festival: Camp Bestival
Best Grassroots Event: 2000trees Festival
Best Overseas Festival: Snowbombing (Austria)
Best Toilets: Arctangent
Headline Performance Of The Year: Arctic Monkeys - Glastonbury
Anthem Of The Summer: Daft Punk - Get Lucky
Breakthrough Act Of The Year: Rudimental

Jury Voted Awards
Best Line-Up: Latitude
Concession Of The Year: Strumpets With Crumpets
The Greener Festival Award: Shambala Festival
Best Brand Activation: Virgin Media
The Extra-Festival Activity Award: Wilderness
Promoter Of The Year: Paddy Glasgow (Glasgowbury)
Best Use Of New Technology: Barclaycard Presents British Summer Time
The Outstanding Achievement Award: Fiona Stewart, Green Man Festival


ARIA Awards presented
We're busy people here at CMU, but never too busy to bring you yet another list of award winners. Actually, we were too busy to provide you with a list of American Music Award winners last week. But fuck it, they're voted for by the American public, and they're all idiots (apart from all you American CMU Daily readers out there, you're not idiots, but we made you honorary Swedes for the purpose of that last sentence).

Anyway, here's a link to the recent AMA winners list, meanwhile below you will find the list of winners from this weekend just gone's ARIA Awards in Australia, which are sort of the Aussie BRITS, a really big deal down under that scored nearly as many viewers as a repeat of 'Big Bang Theory' for its telecast on Sunday night (according to Good times.

Best Male Artist: Flume
Best Female Artist: Jessica Mauboy
Breakthrough Artist: Flume
Best Group: Tame Impala
Best International Artist: One Direction - Take Me Home
Best Australian Live Act: Guy Sebastian

Album Of The Year: Tame Impala - Lonerism
Best Independent Release: Nick Cave & The Bad Seeds - Push The Sky Away
Best Adult Contemporary Album: Nick Cave & The Bad Seeds - Push The Sky Away
Best Blues and Roots Album: Russell Morris - Sharkmouth
Best Country Album: Kasey Chambers and Shane Nicholson - Wreck And Ruin
Best Dance Release: Flume - Flume
Best Pop Release: Guy Sebastian - Armageddon
Best Rock Album: Tame Impala - Lonerism
Best Hard Rock/Heavy Metal Album: Karnivool - Asymmetry
Best Urban Album: Illy - Bring it Back
Best Jazz Album: The Idea Of North - Smile
Best World Music Album: Joseph Tawadros - Chameleons Of The White Shadow
Best Classical Album: Sally Whitwell - All Imperfect Things: Solo Piano Music Of Michael Nyman
Best Original Soundtrack/Cast/Show Album: Conversations With Ghosts
Best Children's Album: Justine Clarke - A Little Day Out With Justine
Best Comedy Release: Tom & Alex - The Bits We're Least Ashamed Of

Song Of The Year: Matt Corby - Resolution
Best Video: Samantha Jade - Firestarter (Christopher Frey)

ARIAs Best Cover Art: Dave Homer & Aaron Hayward of Debaser for Empire Of TheSun - Ice On The Dune
Engineer Of The Year: Virginia Read for All Imperfect Things: Solo Piano Music Of Michael Nyman
Producer Of The Year: Harley Streten for Flume

Rita Ora cast in 50 Shades
'RIP' pop hit factory Rita Ora is to star in the film adaptation of '50 Shades Of Grey', playing Mia - adoptive sibling to the movie's kinky protagonist Christian Grey.

Confirming the big-time casting call via Twitter, Rita said: "It's official! I've been cast in '50 Shades Of Grey' as Christian's sister Mia".

Ora is quite the seasoned dramatist already, having appeared as 'Racer (uncredited)' in 'Fast & Furious 6' earlier this year.

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email (except press releases, see below)
CHRIS COOKE | Co-Publisher, Business Editor & Insights Director
Chris provides music business coverage, writing key business news and analysis. Chris also leads the CMU Insights training and consultancy business, and is MD of CMU publisher UnLimited Media.
Email (except press releases, see below)
ALY BARCHI | Staff Writer
Aly reports on artist news, coordinates the festival, gig and release round up columns, and contributes to the CMU Approved column. She also writes for CMU's sister title ThisWeek London.
Email (except press releases, see below)
SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
Email or call 020 7099 9060
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of UnLimited Media she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
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For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

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