An UnLimited Media Bulletin
Tuesday 8 April 2014

TODAY'S TOP STORY: In a lively debate about the ever-evolving streaming music sector, and the royalties artists earn from it, Beggars Group digital chief Simon Wheeler confirmed at the latest MusicTank event last night that the independent music firm was now reviewing the cut of streaming income it passes on to its artists. What cut of digital monies labels pay out to artists has, of course, been a topic of... [READ MORE]
TODAY'S APPROVED: I can't say I usually place a great deal of stead in what Katy Perry may or mayn't deem a "spring jam", but in the case of sans-label-deal Canadian artist Allie X's new track 'Catch', K-Pez might have a point. A poison-tipped disco-pop missile with a 'kiss-off/right on' style lyrical gist, it flies with the dicey winds of synth-driven vengeance behind it. Available to download now in HQ via the Allie X S/C page... [READ MORE]
TOP STORIES Beggars reviewing 50/50 streaming split with artists
LEGAL US movie studios sue MegaUpload
LABELS & PUBLISHERS PRS For Music sees revenues continue to rise year-on-year
Prince launches publishing company
MEDIA Billboard announces new editor
Kerrang! launches new website
THE GREAT ESCAPE DIY programme confirmed for The Great Escape
INDUSTRY PEOPLE Leee Black Childers dies
ARTIST NEWS Saul Williams to play lead in Tupac musical
News of Hole reunion may have caused Hole to split
RELEASES Release Round-Up: Ed Sheeran, Mastodon, Eno/Hyde, Napolian, Bernholz and Coldplay
GIGS & FESTIVALS M+A win Glastonbury Emerging Talent Competition
Popjustice announces 'deluxe' night out
Gigs & Tours Round-Up: Steve Agnello, Cam'ron, Lorelle Meets The Obsolete and Revere
AND FINALLY... preparing to launch a smartwatch
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Your Army Promotions are looking for a dynamic new publicist. The ideal candidate will be knowledgeable about electronic music and be passionate about online media. Social media strategy is a bonus.

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We are looking for an enthusiastic, self-motivated and organised person with twelve months administrative experience and commercial awareness. The successful applicant must be computer literate, work well under pressure, have a good attention to detail and be interested in the issues surrounding music licensing and copyright law. Previous music licensing experience would be an advantage.

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Based in London, we are looking for a highly organised, enthusiastic and multilingual individual to manage technical support enquiries and ensure that our customers' issues are resolved promptly. With exceptional communication skills and an ability to prioritise, you will make a significant contribution to 7digital's user experience.

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End Of The Road Festival wants a Chief Executive to oversee the running of the existing festival and to identify and develop new ventures from a new London office. EOTR is a festival for the real indie music fan. It offers a wide musical and artistic experience while avoiding the excesses of commercial sponsorship.

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Due to expansion, Manners McDade is looking for an experienced Royalty Accountant to work alongside our small team of publishing personnel in Central London. Candidates should be able to demonstrate a working knowledge of both Music Maestro (or similar) and SAGE.

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Reporting to the Senior Director of International Client & Video Services, The Orchard has an immediate opening for a Client Relations Manager based out of our European headquarters in London. The position will act as a relationship, content and campaign manager for key clients across the UK & Europe. Working across both digital and physical for primarily frontline clients, the person will have a deep understanding of music distribution and label services and preferably a good grasp of rock, metal and heritage content.

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The Academy of Contemporary Music (ACM) in conjunction with its strategic Partner Metropolis Studios London is looking to appoint a Music Business Lecturer. Reporting to the Business School Manager, successful candidates will be lecturing on the Music Business Degree.

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Music PR agency Outpost is looking for a sharp online PR account manager who loves the web and takes pride in doing a superstar job. You will require significant music online experience, with a proven track record of working across artist PR, events and social media campaigns.

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We are after a Marketing & PR Co-ordinator who has a love for the opportunities that digital media presents. Primarily, you will be responsible for looking after the day to day population of our social media channels, e-mailouts and websites delivering reach, growth and engagement with our online community. You will also be using your digital knowledge to develop our PR strategy and actioning subsequent initiatives.

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Kobalt Label Services / AWAL is looking for a dynamic Digital Account Manager to oversee day to day relationships with key digital accounts along with sales strategy and co-ordination through our international offices and partners. The right candidate will have broad knowledge of rapidly changing digital markets, and great relationships with key DSP Accounts.

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CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email

Beggars reviewing 50/50 streaming split with artists
In a lively debate about the ever-evolving streaming music sector, and the royalties artists earn from it, Beggars Group digital chief Simon Wheeler confirmed at the latest MusicTank event last night that the independent music firm was now reviewing the cut of streaming income it passes on to its artists.

What cut of digital monies labels pay out to artists has, of course, been a topic of much debate in the last decade, as record industry revenues have shifted from physical to digital. It's a particularly contentious debate for artists whose record contracts pre-date the digital era, and therefore make no mention of download or streaming revenue.

Record contracts have always allowed for different royalty cuts to be paid to artists based on revenue stream, with the artist's cut of record sales income usually less than when recordings generate revenue in other ways. But how are downloads and streams to be classified? As much previously reported, the former question has gone legal many times over in the US.

Meanwhile, after Thom Yorke and Nigel Godrich kickstarted a debate about the size of royalties artists are receiving from Spotify et al last year - the implication being the streaming start-ups simply aren't paying enough - others in the artist community, and most notably Billy Bragg, who led last night's Music Tank proceedings, have argued that the real issue isn't what royalties the streaming services are paying to the labels, but how much of that money the record companies are passing on to artists.

Bragg argues that, with the costs and risks associated with digital content much less than when pressing and distributing physical product, labels should be paying a higher cut of that income to the artist. And for Bragg something more like a 50/50 spilt of this income between label and artist (rather than the much more modest record sale royalty, which will often be around 15%) seems fairer.

But most labels, to date, have been paying a much lower artist royalty on digital income, certainly for downloads, and often for streams too, sometimes opting for the same revenue cut as with physical record sales. Though when it comes to streams the Beggars Group stood out as a record company which opted for the 50/50 split, something confirmed by Wheeler at a previous Music Tank event on the streaming market.

But last night the Beggars man confirmed that that policy was now up for review. "As I said at that MusicTank event two years ago" he told his audience, "as a company we felt that as the streaming music market first emerged it was appropriate to share this new income stream with our artists on a 50/50 basis. But we were always clear that if and when streaming became a significant part of our overall business, that was something we would have to review".

And, it seems, Beggars has reached that point already. Wheeler confirmed that for the Beggars Group the streaming revenue stream has rocketed in the last year, and especially the last six months, so that it now accounts for 40% of the company's overall global digital income. And while physical and download sales both remain strong in the short term, streaming revenue is starting to replace the more traditional income streams. And a 50/50 split just isn't viable as streaming becomes a core revenue stream for the label, Wheeler confirmed.

"The costs of running the company need to be covered by sales income, and the streaming revenue stream now needs to bear its share of those costs. So we will be reviewing our policy on what split of streaming income we pass onto the artist. That rate, once decided, will likely be applied to all existing contracts, and all new contracts moving forward. I can't say what rate we will decide on, though we will seek the best possible rate for artists that also enables us to provide the kind of global resources our artists require".

For those in the artist community pushing for a 50/50 royalty split on streaming, and who have possibly used Beggars' previous policy on the matter as something for other labels to aim for, the news is possibly of blow, even though it's not especially surprising.

Last night's MusicTank debate also threw the spotlight on the often hidden costs associated with digital content, which while perhaps not as high as pressing, storing and distributing CDs, are still significant, not least the investment needed to develop technology that can cope with and process the mountain of data generated by digital services, some of which is relevant to royalty payments, and some of which is needed for marketing and campaign evaluation.

Despite all this, there was a generally optimistic mood on the panel last night - the music industry was facing big challenges in adjusting to a consumption-based future, but these were challenges that artists, labels and digital service providers could rise to. And though the debate was technically initiated by Thom Yorke's Spotify-bashing of last year, the DSPs were generally portrayed as good partners for artists and rights owners. With perhaps one exception - any DSP bashing last night was reserved for YouTube.

The Google-owned platform is an important partner for the music industry everyone agreed, but the music community's relationship with the content giant - skewed by the firm's opt-out rather than opt-in approach to dealing with rights owners - needs to change.

There has been a real swing against YouTube in the music community in the last year, with growing resentment over the particularly low royalties the platform pays out, and the limited control it offers artists and rights owners over their content. There's also a growing fear that the market-leading content service will prevent other more industry-friendly platforms from ever going into profit.

But, said Wheeler, YouTube has big ambitions to move into the audio streaming space, and the industry needs to now use the shortlived power that ambition gives artists, labels and publishers to restructure their working relationship with the Google company.

US movie studios sue MegaUpload
Six of the US's largest movie studios have sued the now defunct MegaUpload and key members of its team, including founder Kim Dotcom. 20th Century Fox, Disney, Warner, Universal, Columbia and Paramount have brought their case with the backing of the Motion Picture Association Of America.

The lawsuit has been long expected, though it was initially assumed that the MPAA might wait until the criminal case against Dotcom in relation to his running of MegaUpload had been completed before making any move. However, with the US government's attempts to extradite Dotcom from New Zealand dragging on ad nauseum, it seems the organisation and the studios it represents have become impatient. Which means the civil case could get to court before the criminal proceedings.

As much previously reported, Dotcom and his team are accused of encouraging and profiting from illegal file-sharing on the MegaUpload platform, prior to its shutdown by US authorities in January 2012.

In a statement yesterday, the MPAA's general counsel Steven Fabrizio said: "When was shut down in 2012 by US law enforcement, it was by all estimates the largest and most active infringing website targeting creative content in the world".

He continued: "MegaUpload was built on an incentive system that rewarded users for uploading the most popular content to the site, which was almost always stolen movies, TV shows and other commercial entertainment content. It paid users based on how many times the content was downloaded by others - and didn't pay at all until that infringing content was downloaded 10,000 times. MegaUpload wasn't a cloud storage service at all, it was an unlawful hub for mass distribution".

Writing on Twitter, Dotcom responded to the lawsuit by saying: "Just like the DOJ criminal case against MegaUpload, the MPAA case is a load of nonsense and won't succeed after scrutiny of the facts. Files above 100MB filesize did not earn rewards on MegaUpload. Hollywood claims that we were paying users to upload pirated movies. Stupid".

He also speculated: "DOJ probably demanded that MPAA sues MegaUpload because they initiated this shitty Hollywood science fiction script of a case. Embarrassing".

As reported earlier this week, many of the servers from which MegaUpload operated are now being stored in a Virginia warehouse, as all the parties involved in this dispute have failed to come to an agreement on how legitimate files stored by users of the service might be returned to them.

PRS For Music sees revenues continue to rise year-on-year
Revenues at the UK music publishing sector's collecting society, PRS For Music, were up 3.7% year-on-year in 2013, to £665.7 million, beating 2012's record-breaking revenues of £641.8 million.

The lift was aided by an 11.7% increase in international revenue. PRS cited global demand for UK TV shows and an increased prevalence of PRS members' music on cable TV networks, particularly Arctic Monkeys, Mumford & Sons and Ellie Goulding, for the lift. North America alone saw a 10% increase, while Australia was up 18%. European revenues were also up 15% year-on-year.

The boost in revenues came despite a stark drop in income generated for songwriters and publishers from the sales of recorded media, which fell 21% in 2013, thanks in part to the streamlining of HMV. In total, recorded media brought in £80.7 million.

As well as the increase in international revenues, this decline was offset by an 18.3% increase in revenues from online services to £61.2 million, the PRS particularly noting Deezer and YouTube, and a 4.8% increase in revenues from TV and radio, to £160.4 million. This latter boost was largely down to new licenses, particularly BT Sport, and licence renewals for companies including Sky.

Commenting on the figures, PRS For Music Chief Exec Robert Ashcroft said: "As one of only three net exporters of music, these financial results underline the strength of our repertoire. By securing a series of new licensing deals at home, online and abroad, we're successfully growing the market for our members. PRS For Music's vital role at the heart of the music industry ensures that the popularity of music translates into earnings for our members - so they can continue to create the music that enriches all our lives. Copyright remains fundamental to our members' success. It's the lifeblood that keeps the wheels of creative production turning and that underpins the global creative economy".

But he would say that, wouldn't he?


Prince launches publishing company
Prince has launched his own publishing company, NPG Music Publishing, to handle his considerable catalogue of songs. According to a statement, the company will focus on the songs Prince sees as "fit 4 eternal publication".

Exact details of the operation are slim, but the company was apparently involved in the placement of new Prince single 'FALLINLOVE2NITE' in an episode of 'New Girl' earlier this year, in which the musician also appeared.

Prince's catalogue was previously managed by Universal Music Publishing, though this deal was brought to a close in 2012.

Billboard announces new editor
Billboard owner Guggenheim Media Entertainment Group has announced Tony Gervino as the new Editor-in-chief for the music business title. Gervino was previously Executive Editor at Hearst Magazines International and takes up his new role officially on 28 Apr.

He will report directly in to Guggenheim Chief Creative Officer Janice Min, who said of the new appointment: "Tony has both the editorial vision and newsroom drive to lead Billboard into its next act. His enthusiasm and knowledge for music and editing, plus a demonstrated track record in the creation of compelling content on both a niche and mass scale make him an excellent choice for Billboard".

Gervino himself added: "Billboard is the platform that the music business speaks from. With millions of fans connecting to the artists, songs, labels, producers and albums they love through the Billboard brand, we're in the truly incredible position of being able to influence music around the world. I can't overstate how exciting an opportunity this is for me, both on a professional and personal level".

As Gervino takes up his new post, current Billboard editor Joe Levy will move into the new role as Editor-at-large.


Kerrang! launches new website
Kerrang! yesterday launched a brand new website, which has the unique selling point of being much better than the old one. Good news for the five million people who apparently visit it each month. The site is overseen by News and Digital Editor John Longbottom, with Contributing Digital Editor Emily Carter.

Discussing the new site, overall K! editor James McMahon said: "Our new website offers fun and informative content that our loyal community can share and enjoy together. We can react to breaking news and share exclusive content quicker than ever before. Throw in the opportunity to stream Kerrang! TV and Radio via the site, and you've got the essential multi-platform hub for all young minded rock fans! Kerrang!'s world just got a hell of a lot bigger".

Publisher David Bostock added: "We're really proud of the new site, it will enable clients to serve advertising messages targeted by device, region and channel as well as delivering clickable skins, high impact billboards, double MPUs and homepage to site-wide takeovers. We're looking forward to working with partners looking on cross-platform commercial solutions and branded native advertising content".

Mmmm, double MPUs. Take a look for yourself here.

DIY programme confirmed for The Great Escape
Details of The Great Escape's convention programme for the grass roots music community and music business execs of the future is revealed today, as standalone tickets for TGE:DIY go on sale.

Once again the CMU:DIY team will lead the proceedings in a day of sessions that will provide a concise guide to the new music business, and explain how new artists can start generating revenues, build a fanbase and connect with the music industry. The programme is supported by Arts Council England and PRS For Music, with the latter on hand at the event to offer advice, and to lead a panel discussing early career revenue options.

CMU Business Editor Chris Cooke will provide some key insights, while offering tips on building and engaging fanbase will be Charm Factory's Olivia Classey, Absolute Marketing & Distribution's Adam Cardew and Joe Porn from Music Glue. Artist Chris T-T, SplitGigs' Lucian Beierling and Brett Pracownik from MAMA & Company will then join the party to discuss how new bands can get and make the most of gigging opportunities.

The day will conclude with the now traditional TGE:DIY label founder interview, with Robert Luis, co-founder of Brighton's own Tru Thoughts who will mark his company's fifteenth anniversary by discussing the ins and outs of founding and running an independent record company. Attendees will hear Luis' advice for aspiring label owners, and find out what's it like working at an independent record company in 2014, and how he keeps finding and signing such great artists.

TGE:DIY takes place on Saturday 10 May at The Basement in Brighton. Full info is online at this link. The day is open to all Great Escape delegates, plus standalone DIY tickets are now available for just £15. Click here to buy yours.

Leee Black Childers dies
Photographer Leee Black Childers, who made his name documenting the rise of the New York punk scene in the 1970s, has died. Last month, a message on his Facebook page informed fans that he had been admitted to intensive care.

Breaking the news, fellow photographer Chalkie Davies said on Facebook yesterday: "Another sad day in rock and roll, Leee Black Childers has passed away. The word 'legendary' is thrown about a lot, but there is no question that Leee truly deserved the title".

He went on: "His photographs documented the 60s and 70s, he was one of the most original of punks, he brought us many fabulous images of Bowie, Iggy, Debbie and Lou, he hung with Andy, managed the Heartbreakers, and he really was one of the sweetest of men".

  Approved: Allie X
I can't say I usually place a great deal of stead in what Katy Perry may or mayn't deem a "spring jam", but in the case of sans-label-deal Canadian artist Allie X's new track 'Catch', K-Pez might have a point. A poison-tipped disco-pop missile with a 'kiss-off/right on' style lyrical gist, it flies with the dicey winds of synth-driven vengeance behind it.

Available to download now in HQ via the Allie X S/C page, 'Catch' follows in the flight-path of Allie's significantly brattier past single 'Prime', which hinges on the line "Forget what I need/Give me what I want/And it should be fine".

Listen to 'Catch' and 'Prime', why don't you?
CLICK HERE to read and share online

Saul Williams to play lead in Tupac musical
Saul Williams will play the lead in the previously reported Broadway musical based on the music of the late rapper Tupac Shakur, 'Holla If Ya Hear Me', according to The New York Times.

As well as being a rapper himself, Williams has also acted in a number of films and TV shows, including taking the lead in 1998 film 'Slam', which followed the story of a rapper caught between rival gangs.

Written by Todd Kreidler and directed by Kenny Leon, the new stage show begins previews at The Palace Theatre on Broadway in New York on 29 May. More information on the show here.


News of Hole reunion may have caused Hole to split
The 'Celebrity Skin' era line-up of Hole are not officially back together. Just FYI. Yes, I know everyone said they were last week, but it seems everyone jumped the gun a little.

The rumour came from a Courtney Love quote published by The Quietus, in which she said: "I started playing with Patty [Schemel] and Melissa [Auf Der Maur] and Eric [Erlandson], just to see how that was. We already played like three or four times in the last week".

Played together they have, planned out their new lives together they have not. Speaking to The Telegraph, Love clarified: "We may have made out but there is no talk of marriage. It's very frail, nothing might happen, and now the band are all flipping out with me [for mentioning it]".

So, there you are. It may or may not happen. And if Courtney Love's already annoyed everyone else before they've really done anything. Well, that sounds like business as usual. Let's take it as a positive sign.

While she was in clarifying mood, Love also discussed the possible Broadway musical based on the life of her late husband Kurt Cobain. As previously reported, she said that the project was "very likely" to go ahead, as long as it meets her standards for such a project.

"It's more a play, conceived by a brilliant team", Love said. "I can't name names, but when you hear who is possibly involved, it takes on a new dimension. Otherwise it's Vegas rubbish, and I will never allow it. There will be no jazz hands on 'Smells Like Teen Spirit'!"

Well, that's one of the suggestions we made last week shot down. She didn't deny that Ben Elton was writing it though.

Release Round-Up: Ed Sheeran, Mastodon, Eno/Hyde, Napolian, Bernholz and Coldplay
Hey, remember when we said that Ed Sheeran was going to share a track from his new album? Well, it was only yesterday, so I'd hope so. You should also remember that we said that the song was going to get its first airing on Zane Lowe's Radio 1 show that very night (ie still yesterday). And it did. And now, because we like the idea of being "da bomb", here it is for you to listen to.

Now, would anyone care to know the title of gods-of-rock Mastodon's forthcoming LP? Okay, fine, it's 'Once More Round The Sun'. The band's vocalist Troy Sanders talked about it a whole lot to Paste magazine earlier this year, saying in a just-published chat with the mag that it's "all over the world as far as themes go", but still has "a few sprinkles of epic goodness". While it's still without a solid coming-out-date, or an introductory track, at this point, you can read up on Sanders' Paste interview and take a wild guess at what on earth it could sound like via this link.

Messrs Brian Eno and Karl Hyde have improved on their confirming earlier this year that they'd made a joint LP titled 'Someday World' by releasing a new preview of it in the shape of 'Daddy's Car'. The song follows the lead of wishy-washy 'Someday World' offshoot 'The Satellites', and is available to listen to now, in advance of its parent long-player's release on 5 May, via the magic of YouTube.

Napolian, who had collaborative spots on Kelela's excellent 'Cut 4 Me' single 'Guns N Synths', and A$AP Ferg's debut LP proper 'Trap Lord', will release a solo LP titled 'Incursio' later this year. In fact, it's arriving on 26 May, via Daniel Lopatin aka Oneohtrix Point Never's Software Recording Co label, an imprint of Mexican Summer. Draw from one of its tracks, 'DARPA', right now.

Sculptural artist-producer Bernholz, who won our approval back in 2012 for his standout track 'Austerity Boy', is soon to add a double A-side single, 'My History/Alive!', to the trail of tracks coming off his debut LP 'How Things Are Made'. It'll be in stock as a cost-nothing download on 28 Apr, though isn't actually online currently so, um, sorry about that. Truly. Still, 'Austerity Boy' is still up, and still worth a play or two.

And oh, another thing. Little-known band Coldplay have a video out, for their new single 'Magic', which will feature on their new LP 'Ghost Stories'. It's directed by that Jonas Åkerlund man, who did 'Moves Like Jagger' and other things too, and stars Chris Martin posing as a "brutish husband", which is quite unfortunate timing, I guess. 'Ghost Stories' is out to spook the world out of its wits on 9 May. But before that, you can catch Chris acting like a bastard, over and over, in the 'Magic' vid.

M+A win Glastonbury Emerging Talent Competition
Slick disco duo M+A have been announced as the winners of this year's Glastonbury Emerging Talent Competition, following last week's live final at the Pilton Working Men's Club, near the festival site.

As previously reported, this year's finalists also included, Gibson Bull, Hero-Fisher, Only Girl, Furs, The Black Tambourines, Pandr Eyez and Izzy Bizu.

All eight acts performed live at the final last week, with M+A emerging the winner. They take away £5000 from the PRS Foundation, plus a slot at the Glastonbury Festival in June. The Black Tambourines and Izzy Bizu were named runners up, each taking cheques for £2500.


Popjustice announces 'deluxe' night out
On 16 Apr, so the Wednesday after this, Popjustice will be pleased to present the first in a series of once-monthly 'Deluxe Edition' nights featuring a wealth live bands and DJs the site deems to be cool. Which likely means they are cool.

Taking place at the Edition basement in Soho, London, the inaugural showcase will host R&Pop trio MO and like-named pop soloists Tanika and Ronika, who'll all play live, whilst Watford-born star Kyla La Grange and rising MKS collaborator Tom Aspaul will do a bit of DJ-ing.

And it's free entry! On one condition, which is this: that you fill in your details via this RSVP form.

This is the title track to Ronika's new EP, 'Rough N Soothe', which is released on 22 Apr, to stream in the meantime.


Gigs & Tours Round-Up: Steve Agnello, Cam'ron, Lorelle Meets The Obsolete and Revere
World famous dance DJ and former Swedish House Mafioso Steve Agnello is coming to town - London town, that is - in May, for a one-off over 18s show at the Brixton Academy. It's on the night of Friday 30, and will last for six hours, from 9pm - 3am. Get tickets here.

A rare occurrence in Dipset MC Cam'ron's artistic life now, as the Harlem rapper commits to his first solo show in the UK since 2004, at The Forum in London on 3 Jun. Promoting his forthcoming 'First Of The Month' mixtape, which is out at the top of May, plus his and producer A-Trak's collaborative 'Federal Reserve' EP, which cashes in its chips later this year. Hear one of its tracks, 'Humphrey', here, and get tickets to the event here.

Mexican psych mystics Lorelle Meets The Obsolete are touring the UK right now, even as I write this. They began last night at Leeds' Wharf Chambers, and will appear again this evening at Gullivers in Manchester. Tomorrow they're in Sheffield, and thereafter in London, Bristol and Liverpool. So you should totally look at info on all the shows, which support the band's just-out third album 'Chambers', since you ask, via this link. And gaze in wonder at the visuals for LMTO's new single 'Sealed Scene' here.

Finally, it's over to the brooding alt-rock motions of Revere, who have in their sights a springtime tour of the UK. Taking place in line with the 5 May release of the band's new LP, 'My Mirror/Your Target', the run begins this Thursday at The Lexington in London, starting in earnest on 8 May at Leeds' Brudenell Social Club. Find the full listings for the UK tour on this page, and download a cover of Scott Walker's 'Boy Child', which is coming out on 28 Apr as the b-side to Revere's new single, 'A Road From A Flood', on SoundCloud now, while you're at it. preparing to launch a smartwatch has designed a new thing. Having failed to get his massive iPhone camera attachment off the ground, the musician is now preparing to launch a smartwatch.

Unlike other such devices,'s does not require a connection to a mobile phone, it containing such a thing within its shiny walls, as he explained to Alan Carr on his 'Chatty Man' show last week: "I don't carry my phone anymore. I just use this [smartwatch] as my phone. There's a lot of these smartwatches that need a phone, mine doesn't need a phone. This is the phone".

It doesn't need a phone, you see? It is a phone. I don't know if that was made clear. It is a phone.

Will added: "I started the company myself. I funded it, I used my own money to develop it. It's a phone, it has all my music in it. If I'm working out I could work out with it without wires, with Bluetooth headphones. It's got Twitter, Instagram, Facebook".

So it's like a smartphone, but with a tiny screen. Just like you wanted. No details have been formally announced yet, but in a tweet to Carr - sent via a Blackberry phone, despite Will's claims not to use such a thing anymore - he stated that it would launch in July.

Here's a video of Alan Carr being far more amazed than anyone should have been about a device that does things several devices he already owns can do. And here's a video of said device failing to work properly during what was definitely not a set up bit of product placement on 'The Voice'.

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.
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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.
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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.
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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.
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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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