An UnLimited Media Bulletin
Thursday 26 Jun 2014

TODAY'S TOP STORY: The boss of the Entertainment Retailers Association hit out at music licensing processes yesterday, arguing that music rights owners were still trying to apply licensing frameworks from the CD era to the digital domain, which was putting an unnecessary strain on the emerging digital market, and doing a disservice to the artists and songwriters which the copyright system is ultimately... [READ MORE]
TODAY'S APPROVED: Instrumental rock quartet This Will Destroy You have just announced that they will release their fourth album, 'Another Language', though Suicide Squeeze on 15 Sep. Ahead of the release, they'll be in the UK to headline the ArcTanGent festival on 29 Aug, before heading out on a brief UK tour, which includes stops in Glasgow, Manchester, Brighton and, on 3 Sep, a show at The Scala in London... [READ MORE]
TOP STORIES ERA chief hits out at failing music licensing framework
Weatherley publishes Follow The Money piracy report
LEGAL Sony faces copyright claim over Pitbull and Ke$ha hit
DEALS Wild Sound allies with Proper on distribution
LABELS & PUBLISHERS Kobalt hires new neighbouring rights expert to help expand global collections network
New Creative Director at production music agency Altitude
LIVE BUSINESS Big Day Out cancelled for 2015 as C3 Presents takes complete ownership
T In The Park move confirmed
MEDIA Tony Blackburn now working for six radio stations
ARTIST NEWS Amnesty apologises for unauthorised Iggy Pop photo in anti-torture campaign
RELEASES Karen O details flirty solo LP
The Weeknd releases nw singl
GIGS & FESTIVALS Terje and Hemsworth to play XOYO second birthday shows
Future announces future tour
AND FINALLY... Darius happy with outcome of his lovely life
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ERA chief hits out at failing music licensing framework
The boss of the Entertainment Retailers Association hit out at music licensing processes yesterday, arguing that music rights owners were still trying to apply licensing frameworks from the CD era to the digital domain, which was putting an unnecessary strain on the emerging digital market, and doing a disservice to the artists and songwriters which the copyright system is ultimately designed to benefit.

Speaking at the Music 4.5 IP & Licensing event in London, ERA chief Kim Bayley admitted that in the past her organisation had never been especially vocal on copyright licensing matters, because in the CD era it wasn't something that concerned retailers. But with ERA now also representing the majority of the digital music services in the UK, including most of the streaming platforms, licensing is an issue for the group's membership.

Fragmentation of rights between labels and publishers, and on the publishing side between 'mechanical' and 'performance' rights, the limitations of territory-specific collecting societies in the publishing domain, problems in identifying copyright ownership, the time it takes big rights owners to consider and embrace new business models, and the advance-and-equity demands made on start-ups were all cited as issues for the digital sector. A sector without which, Bayley argued, the music rights industry at large would not be seeing its slow return to growth.

While stressing that her members were passionate supporters of intellectual property - as owners of their own copyrights, trademarks and patents, not to mention operators of services which rely on copyright material, and which need piracy to be constrained as much as the labels and publishers - Bayley said that ERA could not agree with the view often expressed by the music rights owners that the copyright system is working in the digital age.

In her speech, published in full on the ERA site, Bayley presented her top ten frustrations:

1. Does it really make sense that while in the physical world publishing rights are accounted for in the cost of a CD, in a digital world services need to secure three separate licences?

2. Does it really make sense that in a supposed Single European Market digital services are obliged to deal with over 30 different licensing bodies to secure publishing rights alone?

3. Why is it that songwriters have to fund the costs of all these different collection societies - can it really make sense that five collecting societies alone cost half a billion dollars to run?

4. Does it make sense that while almost all digital services account monthly, it can take literally years for the money to reach the artist?

5. Why is there an apparently arbitrary allocation of the publishing rights between performance and mechanicals in different territories?

6. Is it right that a digital store in one territory is prevented from selling to consumers in another territory?

7. Can it be right that licensing bodies are unable or unwilling to provide details of precisely which rights they control and therefore services are obliged to provide all their data to every licensor?

8. Or that licensing bodies cannot guarantee that the right artists are being paid once the services hand over payment?

9. It surely is not helpful that copyright owners have no obligation to respond to licensing requests at all, or can string out negotiations to literally years, by which time the market has moved on.

10. And it definitely does not help that the need to have a comprehensive set of licences gives a perverse incentive to licensors to be the last to strike a deal.

Of course bosses at labels and publishers have, for several years now, internally conceded that the music licensing system needs an overhaul, particularly at the lower end of the market, and the limitations of collective licensing - traditionally single territory-based - in a world where all digital services aspire to be global has been regularly discussed too. But Bayley argues that too little is being done to actually tackle these issues, to the detriment of all.

She told the Music 4.5 audience: "Let me be clear once again, this is not an attack on copyright. It is an attack on inefficiencies which work to the detriment of the creators it is meant to protect and the consumers who wish to pay for their music. Copyright law must change and adapt. And coupled with changing copyright law, licensing needs to be simplified and inefficiencies removed".

She concluded: "We are friends of the music industry. We want the music industry to prosper. But ERA's members believe that too often the industry holds on to practices, to ways of working, to organisations which are no longer appropriate for the digital age. We believe change is need for the benefit of consumers, of the digital services doing so much to invest in the future of music - and ultimately for the artists and songwriters who create the music we all love".


Weatherley publishes Follow The Money piracy report
Mike Weatherley MP, in his guise as IP Adviser to David Cameron, has published his 'Follow The Money' report, which puts the focus in the battle against online piracy on cutting off the revenue streams of websites that primarily exist to enable others to infringe copyright. Weatherley has been stressing the importance of this approach for some time.

Launching his report yesterday, Weatherley told CMU: "Following the money is the key to shutting down the vast majority of websites that host illegal material. This report explores a number of issues surrounding the piracy debate and I hope that it will spur further discussion both in the UK and, given the international nature of this problem, in other countries across the world".

He went on: "As the Intellectual Property Adviser to the Prime Minister, I feel that it is my role to highlight just how damaging piracy is to the UK economy. It is paramount that we curb advertising revenue that is going to pirates who are, in turn, seriously damaging our creative industries".

In his report, Weatherley proposes that work be done to investigate if an advertising monitoring system could be created to help brands (whose online advertising is often handled by ad networks once, twice or thrice removed from the actual advertiser) and rights owners to better monitor what ads are appearing on piracy websites.

Some advertisers don't realise their banners are appearing on such sites, and such a monitoring system would help them act to ensure their ads are removed. For those advertisers which don't care (often online operators themselves), the Intellectual Property Office and City Of London Police IP Crime Unit should consider if new laws are needed, Weatherley added.

The IP Crime Unit, which Weatherly again says should have its future funding assured in the new report, welcomed the MP's findings. Steve Head, Head Of Economic Crime at City Of London Police, said: "Disrupting revenue to pirate websites is vital to combating online intellectual property piracy and I therefore welcome the recommendations in Mike Weatherley's report. We must take the profit out of this type of criminality and where legitimate companies, such as payment providers, are facilitating that profit they must be held to account if they fail to act".

Meanwhile David Cameron, taking time off from apologising for appointing criminals to his own inner sanctum, also welcomed the new paper, and said the government would consider its recommendations closely. He told reporters: "Mike Weatherley's 'Follow The Money' discussion paper is an interesting addition to this important area of work and the government will look at it closely".

He went on: "It is encouraging that creative industries are building a stronger relationship with our enforcement bodies, such as the new national Police Intellectual Property Crime Unit that the government has established. Intellectual Property is an important property right that contributes enormously to our economy".

Sony faces copyright claim over Pitbull and Ke$ha hit
Sony Music is in hot 'copyright dispute' water over bad taste pop playboy Pitbull and Ke$ha's chart hit 'Timber'.

Songwriting trio Lee Oskar, Keri Oskar and Greg Errico claim the track features harmonica bars that are "identical" to those in 'San Francisco Bay', their song circa 1978, and are seeking $3m (approx £1.78m) in damages.

Whilst neither Pitbull nor Ke$ha are listed as defendants, the suit notes "copious use" of the 'San Franciso Bay' riff in 'Timber', alleging that Paul Harrington, who plays harmonica on Pitbull's track, was told to copy Oskar's notes "so that the harmonica lines in 'Timber' would have an identical texture and sound".

It concedes that Pitbull's label Sony might have obtained a license from another party to emulate the track, but if so Oskar, Oskar and Errico weren't asked to authorise it, nor have they been paid anything in light of the 'Timber' release.

Wild Sound allies with Proper on distribution
Acoustic folk label Wild Sound, established in 2012 by Polly Paulusma to release her own material after parting company with One Little Indian, but now also releasing music from the likes of Maz O'Connor, Stylusboy, Harry Harris and From The Woods, has announced a distribution deal with Proper.

Wild Sound works with its artists on crowdfunding campaigns, offering favourable label/artist splits on the profits, and moving forward Proper will provide both digital and physical distribution of its artists' music.

Confirming the deal, Paulusma told CMU: "I agonised over distribution and which choice to make. It took me about a year - and many helpful conversations including with other distributors and my wonderful trade body AIM - to realise that, as with many things you over think, the answer is obvious: Wild Sound simply has to work with Proper. Just look at their roster, Richard Thompson, David Gray, Band of Horses, Eddi Reader... the list goes on. It's our spiritual home".

She added: "I was busy developing my own relationships with record shops and shipping bits and pieces of stock - and I hope those conversations will continue - but with the signing of folk artist Maz O'Connor we really need to bring on the help of a heavyweight and ramp it up. We believe Proper can help us to grow so that we will be able to invest in more amazing upcoming acoustic folk and roots artists".

Kobalt hires new neighbouring rights expert to help expand global collections network
Kobalt Neighbouring Rights has appointed Hanna Grzeszczyk, previously with Rights Agency Ltd, to the role of Senior Director Of Administration.

Heading up the firm's administration team, her initial focus will be on putting in place systems for collecting the company's artist and label clients 'neighbouring right' (so public performance) royalties in territories where collections have not been prolific in the past.

Confirming the appointment, KNR MD Ann Tausis told CMU: "We're very happy to have Hanna join KNR. Her extensive knowledge of the neighbouring rights sector will be a great asset as we expand our activities into new territories, as well as in our existing relationships with collection societies. Her appointment will ensure that we continue to be very strong on the administration side".

Grzeszczyk herself added: "I am very excited to be part of KNR, and welcome the opportunity to work closely with Ann, Hans [van Berkel, Exec Chairman] and the rest of the team. Ann's considerable experience and knowledge of the music business has helped KNR to grow rapidly in the past year, whilst Hans has always been seen by the neighbouring rights world as one of the key people who have helped to shape the sector".


New Creative Director at production music agency Altitude
Production music agency Altitude Music, which provides original composition, sound design and music supervision services as well as library music to media and brands, has appointed a new Creative Director in Matt Kaleda. Formerly Creative Director at Ninja Tune's publishing arm Just Isn't Music, Kaleda has fifteen years experience in sync, music supervision and publishing.

Confirming the appointment, a spokesperson for Altitude told CMU: "The music and media landscape is changing, convenience, speed and quality are what it is all about. What Matt will bring to the table is his solid experience and skills as well as a strong vision for what clients need in 2014 and beyond. We are really excited to welcome him aboard".

Meanwhile Kaleda himself added: "Altitude Music is a great fit for me as they work across the board - studio services, music supervision, bespoke composition, sound design, not forgetting their solid production music library. The full service music agency model that Altitude is building is definitely the way forward, we share a vision of how to take the business to the next level and it was a no brainer for me to get onboard".

Big Day Out cancelled for 2015 as C3 Presents takes complete ownership
Big Day Out, the Australasian touring festival, and probably one of the highest profile Southern Hemisphere festivals over the years, will not return in 2015, and its long-term future seems far from assured.

The news follows a deal that seemingly makes US-based Lollapalooza-maker C3 Presents the sole owner of Big Day Out, it having bought out co-owner AJ Maddah (and having already acquired half the event from Vivian Lees back in 2011). Following much speculation about the future of the festival, it put out a statement yesterday saying: "While we intend to bring back the festival in future years, we can confirm there will not be a Big Day Out in 2015".

After rumours of the 2014 editions of the festival having made multi-million dollar losses due to poor ticket sales, promoters had already confirmed that there would be no Perth date in 2015. Then the operators of the event's other sites started to confirm to local media that no dates had been confirmed for next year there either. It also seems that most of the staffers who have worked on the festival in recent years have now departed the Big Day Out company.

Quite what the future might hold beyond 2015 isn't clear, though it seems unlikely any statement on that will be made anytime soon.


T In The Park move confirmed
DF Concerts has confirmed that its T In The Park festival will move to a new site following this year's event.

As previously reported, an article in The Scotsman this week broke the news of the impending move, which it said came after "substantial concern" was raised over a major oil pipeline below the site in Balado, Kinross, where the festival has been held since 1997.

T In The Park yesterday confirmed its new site for 2015 as Strathallan Castle in Perthshire, saying in a statement: "We've decided to relocate because there were lots of restrictions at Balado with regard to what parts of the site we can use and this made it difficult for us to plan ahead. Strathallan Castle will provide us with many more options for the layout of the site".

Speaking to the BBC, T CEO Geoff Ellis said: "We've had eighteen tremendous years at Balado, but now we're moving on to pastures new - this time with a castle overlooking the site. We already loved Strathallan Castle and had been hoping to host an event there for many years. When it became clear we'd need to leave Balado to safeguard the future of the festival, we became very excited about the prospect of Strathallan becoming the new home for T In The Park. We thought it would be perfect, and it is".

The festival's website also notes that, while it expects to maintain the same 85,000 capacity in 2015, there will be room for possible expansion at the new site at a later date.

The final T In The Park at the Balado site will take place from 11-13 Jul.

Tony Blackburn now working for six radio stations
Tony Blackburn has announced two new radio shows that he'll be presenting which, according to Radio Today, who have been busy doing the maths, means he now presents seven weekly shows for six different radio stations.

The veteran radio DJ, celebrating 50 years in the game, has just taken on an additional slot at BBC Radio Berkshire and has announced a new weekly show for BBC 3CR. The two new shows will actually air at the same time on Sunday morning, despite the former being an oldies show and the latter a new soul music programme.

Blackburn already has a Friday morning show on BBC Berkshire, plus presents weekly spots on Radio 2, BBC London, KMFM and Magic AM.

  Approved: This Will Destroy You
Instrumental rock quartet This Will Destroy You have just announced that they will release their fourth album, 'Another Language', though Suicide Squeeze on 15 Sep.

Ahead of the release, they'll be in the UK to headline the ArcTanGent festival on 29 Aug, before heading out on a brief UK tour, which includes stops in Glasgow, Manchester, Brighton and, on 3 Sep, a show at The Scala in London.

New track 'Dustism' is a beautiful juxtaposition of sounds, with laidback guitars kicked forwards by an aggressive cymbal to start, before switching into an Elliott-esque mid-section and on to the wall of sound crescendo. Take a listen here.
CLICK HERE to read and share online

Amnesty apologises for unauthorised Iggy Pop photo in anti-torture campaign
The Belgian branch of Amnesty International has apologised to Iggy Pop after it used an unauthorised picture of him in a recent campaign.

The photograph of the singer's face was photoshopped to make it appear that he had been severely beaten. Underneath was a supposed quote from the singer, "L'avenir du rock n roll, c'est Justin Bieber" - or, "Justin Bieber is the future of rock n roll".

The charity said in a statement: "To generate awareness about our campaign against torture, Amnesty International Belgium's French speaking section used an image of Iggy Pop without his authorisation. Even though we acted in good faith, we would like to apologise to Iggy Pop for having done so".

It added that the message of the campaign, which aimed to illustrate that "a man who is tortured will say anything in order to escape this awfulness", had been missed by some people. As a result, it concluded: "We would therefore also like to make it clear that the statement attributed to Iggy Pop that he believes Justin Bieber is the future of rock and roll does not represent Iggy Pop's personal opinion but was part of the creative process for this campaign and was intended to be ironic".

The statement also apologised for the use of a photograph of the Dalai Lama on another poster.

Karen O details flirty solo LP
Ms Karen O has confirmed the title of her fancying-boys-inspired first solo LP 'Crush Songs'. She's going to release it on 8 Sep via a new label deal with Julian Casablancas' Cult Records, the same Cult Records that allied with Kobalt Label Services this very week. As illustrated here, it'll be available pre its general release via a limited signed vinyl pressing in a "sunburst" shade, replete with hand written lyrics and scribbles by O.

Kaz says of the "intimate" and "lo fi"-billed album, which actually dates back to 2006: "When I was 27 I crushed a lot. I wasn't sure I'd ever fall in love again. These songs were written and recorded in private around this time. They are the soundtrack to what was an ever continuing love crusade. I hope they keep you company on yours".

Cult founder Casablancas adds with pride: "So excited, lucky and proud to be involved with such a classic album - I just wanna listen to it all day. Karen is an all-time great".


The Weeknd releases nw singl
R&B creeper Abel 'The Weeknd XO' Tesfaye has released a new track, his first of this year.

Titled 'Often', it represents Tesfaye's first real Weeknd emergence since his 2013 LP 'Kissland', excepting remixes of Ty Diolla $ign's 'Or Nah' and Beyonce's 'Drunk In Love'.

Anyway, it's available free via t'internet, which is nice. Get it here.

Terje and Hemsworth to play XOYO second birthday shows
London-based place-to-go-and-watch-shows XOYO, which celebrates two years of life this summer, is throwing its own two-night birthday party soon in order, say its owners, to "showcase the DJs and artists we hold dear".

Todd Terje leads a bill on 15 Aug, featuring Isaac Tichauer, Maquis Hawkes and Kiwi; whilst Oneman DJs on 22 Aug are joined by Cashmere Cat, Ryan Hemsworth and Kutmah. Cool, right?

Get tickets this Friday at


Future announces future tour
Rapper and babydaddy-of-Ciara Future is cruising over to the UK (on a plane) this winter to play some shows in support of his dope AND at the same time moving latest LP, 'Honest'.

Look upon the new clip for Future's 'Honest' bonus track 'Side Effects' here, and the listings for the shows (tickets on sale this Friday) as follows:

2 Nov: Birmingham Institute
3 Nov: Manchester, Ritz
5 Nov: London, IndigO2

Darius happy with outcome of his lovely life
Darius Campbell (née Danesh) has said that he does regret turning down a record contract with Simon Cowell, after appearing on the 'Popstars' and 'Pop Idol' telly talent shows.

Having recently starred in West End musical 'From Here To Eternity', Campbell (who changed his name from Danesh in 2010) is now working on a new album, his first since 2004's 'Live Twice'.

Speaking to Hello about his thinking when he apparently turned down Cowell's offer all those years ago, he said: "All I cared about was getting a record deal and releasing songs I'd written. When Simon Cowell offered me a contract and I turned it down, it seemed like the obvious thing to do".

He continued: "I understand why people thought I was mad to do it, but if I hadn't, I wouldn't have [had] a number one with 'Colourblind'. I would just have been doing covers and then nobody would have heard of me ever again. I'm so lucky to be able to do what I love without having to beat to the drum of having someone else telling you what to wear and how to act".

Speaking about his current studio work, he explained: "I'm working on my third album right now, between London and Los Angeles. The music is inspired by an older era, somewhere between Bruno Mars and Lana Del Rey".

Ah, do you remember the old Bruno Mars and Lana Del Rey era? They were happier times, really.

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 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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