THURSDAY 19 MARCH 2015
TODAY'S TOP STORY: While physical products still generated pretty much the same revenues for UK record labels as all the digital services combined last year, and downloads brought in nearly double the monies paid into the music community by the streaming services, in the US the shift from physical to digital, and download to stream, is now happening much more rapidly, with 2014 figures showing revenues... [READ MORE]
 
TODAY'S APPROVED: Previously approved in 2013, producer Kazuto Okawa - aka LLLL - releases his second album, 'Faithful', through Tokyo label Progressive Form this week. The album sees Okawa work with a variety of English and Japanese-speaking vocalists, rather than just one collaborator, as he has in the past. The two singles from the album, 'Only To Silence' and Blue', show how... [READ MORE]
TOP STORIES Streaming now nearly a third of the US recorded music market
JUMP | ONLINE
LEGAL Gayes push to make Universal and TI co-infringers in Blurred Lines case
Open letter from Family Gaye
JUMP | ONLINE
LABELS & PUBLISHERS Universal Music not for sale, Vivendi chief insists
JUMP | ONLINE
MARKETING & PR Jon Bills launches new music PR firm
JUMP | ONLINE
ARTIST NEWS Amy Winehouse documentary to hit cinemas in July
Jake Bugg launches charity football tournament
JUMP | ONLINE
GIGS & FESTIVALS ATP to revive holiday camp festival this November
JUMP | ONLINE
ONE LINERS Adele has sold a lot of albums, Years & Years have announced their album, and Frank Carter is probably making an album, plus, you know, other stuff
JUMP | ONLINE
AND FINALLY... Kills and Moon apologise
JUMP | ONLINE
 
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MINISTRY OF SOUND - MARKETING ASSISTANT (LONDON)
Ministry Of Sound Recordings is seeking an experienced Marketing Assistant. The Marketing Assistant will be a key support role to the Marketing team with day-to-day departmental administration and co-ordination of promotional and marketing activities. The position is with a view to developing the Marketing Assistant into a Junior Product Manager over time.

For more information including a full job description and how to apply click here.
   
THE COLUMBO GROUP - PROMOTIONS MANAGER (LONDON)
The Columbo Group is seeking an enthusiastic individual to join the Marketing & Promotions team to assist with the opening of their new venue. The role will involve an extensive working week which will require exceptional time management.

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YOUR ARMY - SENIOR PRESS OFFICER (LONDON)
Your Army is seeking a dynamic Senior Press Officer to join its busy Press Department and Promotions Team. The successful candidate will have a minimum of 2-3 years experience working across both print and online media alongside an adept understanding of both new and established artist campaigns. Knowledge of dance music is preferable and a good understanding of social media a bonus.

For more information including a full job description and how to apply click here.
   
BELIEVE DIGITAL - UK SALES MANAGER (LONDON)
Believe Digital is looking for a sales manager to join its label management team in the UK. A deep knowledge of the independent music industry and key labels, as well as the experience and knowledge to sign content is essential as Believe continues to drive its label acquisition strategy in the UK and internationally.

For more information including a full job description and how to apply click here.
   
DOMINO - DIGITAL CO-ORDINATOR (LONDON)
Domino Recording Co. is looking for an enthusiastic, tech-conscious individual to join the digital department of the label. This full-time position will be based in the London office and will assist the day-to-day work of the department, supporting the content, marketing, sales and operations functions.

For more information including a full job description and how to apply click here.
   
THE ROUNDHOUSE - HEAD OF MUSIC (LONDON)
The main purpose of this role is to create and lead the Roundhouse's internationally renowned music programme. The Head of Music leads on nurturing and maintaining our relationships with promoters and leading players in the music industry and developing the Roundhouse's own music programme, including opportunities for 11-25 year olds. As a member of the Senior Management Team, the successful candidate joins a strong and proactive team that ensures the organisation and all its activities flourish.

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MGR TOURING - ASSISTANT (LONDON)
Bright, well organised, numerate assistant required to support our small team of experts in steering international touring artistes through the maze of withholding taxes in UK, Europe and beyond. Based in NW London within offices of MGR Weston Kay chartered accountants the role initially involves admin, planning and research with some basic bookkeeping, but with training and guidance from the rest of the team we would expect this to expand to include more technical and client facing work.

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IBIZA ROCKS - COMMERCIAL MANAGER/PROMOTER (IBIZA)
We are looking for an ambitious, creative and self-motivated person with a fresh perspective to drive and develop our on island marketing, promotion and sales strategies across our range of events in Ibiza this summer. They should have a passion for events and proven experience in promoting and selling them.

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JUNO RECORDS - MARKETING AND SOCIAL MEDIA ASSISTANT (LONDON)
Juno, the world's largest online dance music and DJ and studio equipment store, is looking for an enthusiastic marketing and social media assistant to help expand its fast-growing marketing and social media activity, on and offline.

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UNLIMITED I&C - FREELANCE EVENTS CO-ORDINATOR (LONDON)
UnLimited I&C is looking for a freelance events coordinator. This person will help plan and deliver conference-style events, handling pre-event administration, including speaker and venue liaison. They will also need to be on site during the event to help with delivery.

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CREATIVE BUSINESS DEVELOPMENT AT NEW MUSIC COMPANY (LONDON)
A fantastic role within an innovative new music house has become available to the suitable candidate. The company is the new start up of two respected independent record labels.

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AEI MEDIA - ACCOUNTS ADMINISTRATOR (LONDON)
The main responsibilities of the role are to manage the day-to-day running of the finance department and assist with month-end tasks, working closely alongside the Finance Manager to ensure accurate and efficient processing and procedure compliance.

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BELIEVE RECORDINGS - UK LABEL MANAGER (LONDON)
Believe Recordings UK is recruiting a Label Manager who will be responsible for managing artist campaigns within the roster. They will be the primary liaison between all departments and teams involved in Believe Recordings artist campaigns.

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SOUNDREEF - CONTENT MARKETING ASSISTANT (LONDON)
A passionate and creative Content Marketing Assistant is required to join an innovative, fast-growing music business. The Content Marketing Assistant will be joining a VC funded company that has experienced substantial growth and success since its 2011 launch. The company administers royalties for a very large catalogue of musical works and licenses music in over 20 countries in the world.

For more information including a full job description and how to apply click here.
   
UNLIMITED I&C - WEBSITE EDITOR (LONDON)
UnLimited I&C is looking for a part-time Website Editor to edit and manage the website of Creative Skills For Life, a social venture and campaigning organisation which aims to enable people living with life-limiting and life-threatening conditions to come together and explore their creative potential as a catalyst for healing and personal development.

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BIBLIOTHEQUE MUSIC - MUSIC SUPERVISOR (LONDON)
We are looking for an enthusiastic motivated Music Supervisor to help increase our capacity and develop new opportunities. The role will focus on marketing the catalogues to all relevant sectors of media and corporate industries, establishing and developing solid relationships, conducting searches, and taking the lead with all client-facing activity. The position has excellent career prospects going forward with scope for autonomy, innovation and growth.

For more information including a full job description and how to apply click here.
   
 
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 ads@unlimitedmedia.co.uk
 

Streaming now nearly a third of the US recorded music market
While physical products still generated pretty much the same revenues for UK record labels as all the digital services combined last year, and downloads brought in nearly double the monies paid into the music community by the streaming services, in the US the shift from physical to digital, and download to stream, is now happening much more rapidly, with 2014 figures showing revenues getting ever closer to being split three ways between physical, downloads and streams.

Of course, downloads peaking, streaming booming and CD sales continuing to decline was the trend in most countries last year. But of the more significant recorded music markets, that trend has had the biggest impact in the US; hence all the sudden panicking in the mainly US-headquartered major labels over whether the current streaming business models are working.

It is worth noting that the fact 27% of US recorded music revenues now come from streaming services is in no small part down to SoundExchange, and the fact that American labels have long been forced to licence services of the Pandora model (ie with limited interactivity).

According to the Recording Industry Association Of America, monies from the rights body that collects royalties from services operating under the uniquely American compulsory licence very nearly equalled revenues from fully on-demand streaming services like Spotify, which are licensed by the labels directly.

The existence of SoundExchange also means the likes of Sirius - a satellite radio service - are counted under the streams tally, and it skews the subscriptions-to-ad-funded comparison a little. Directly-licensed freemium services brought in about a third of what was made from directly-licensed subscription services last year, despite having many more users, but that doesn't include ad-funded services using SoundExchange licenses, such as Pandora.

Elsewhere, RIAA figures show download revenues down 8.7% so that they represent 37% of the wider market, while CD sales were down 12.7% meaning that, despite the 'vinyl revival', physical product accounted by 32% of income. The streaming boom, therefore, is now having to compensate for continued declines in both CDs and MP3s.

Though it is worth noting that overall the US recorded music market was more or less flat last year (total sales slightly down, wholesale revenues slightly up). So, in 2014 at least, streaming growth was more or less compensating for other declines. Though, of course, the labels still seek growth.

And concerns remain that there is a limited number of people who can be persuaded to sign up to $10 a month subscription services, and that we need to find another way to get money out of those consumers shifting from paid-for downloads to free streams. Which brings us back to the discussion-du-jour, can mid-market streaming services ever get off the ground while freemium is so good?

Though if we could just find a way to monetise that specific debate, everyone would be quids in.

Gayes push to make Universal and TI co-infringers in Blurred Lines case
If you enjoyed Pharrell Williams and Robin Thicke being officially declared shyster song-stealers who should pay the family of a dead music star millions of dollars to atone for their filthy pop-thieving and naughty note-nicking, then strap yourself in for some fun times. Now the family of Marvin Gaye want Universal Music to be slapped in the face over 'Blurred Lines'. And why not? It has a very slappable face.

So yes, showing little knowledge of the maxim "quit while you're ahead" (or, for that matter, "got to give it up"), lawyers for the Gaye family have now filed some new motions following their court win last week, when a jury ruled that Williams lifted elements of Gaye song 'Got To Give It Up' when he wrote 'Blurred Lines'.

During the trial it was decided that only Williams and Thicke should be held liable for copyright infringement, as the main two songwriters credited with writing 'Blurred Lines'. But now the Gayes want Universal and its affiliates - as the labels that released the Thicke hit - to be held liable too.

Oh, and TI as well. He was let off the hook on the basis that he just showed up and did a little rap, long after Williams had completed his song thieving, but the Gayes want him to feel some of the heat too.

The Gayes' legal man Richard Busch says that if Williams and Thicke infringed Marvin Gaye's copyrights when they wrote 'Blurred Lines', then Universal et al were clearly liable for infringement too by releasing it. They are co-infringers "by virtue of their participation in the creation, manufacture and distribution" of the record, he said this week.

Adding the labels as co-infringers is important to the Gaye family for two reasons. First, it might open up a second round of damages to keep the $7.3 million+ they are already set to receive company, but it will also strengthen the Gaye family's case to have the distribution of 'Blurred Lines' stopped by injunction.

Though that too is a financial move. The Gaye family don't actually want to stop 'Lines' from being downloaded and streamed (however much we might wish that they would), rather they want Universal to agree a revenue share deal on all future exploitation of the record. The injunction would strengthen their hand in negotiating that deal.

So that's all fun. Lawyers for Thicke and Williams, of course, intend to appeal last week's ruling. Meanwhile, the Gaye family have written us all an open letter! And here it is...

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An open letter from Family Gaye on 'Blurred Lines'
We want to extend our deepest appreciation and gratitude for the outpouring of love and support we have received from all of our father's fans and friends, as well as artists and industry folks who contacted us surrounding the recent events concerning his song, 'Got To Give It Up'. Your kindness and encouragement gave us incredible strength and perseverance. We are so incredibly grateful for your support as well as the hard work and dedication of our amazing legal team and experts. We thank you all.

We especially want to thank our mom Jan for her belief in what we were doing all along, and for her never ending support.

We will celebrate what would have been our dad's 76th birthday next month, and though we miss him every day - just like the many thousands of well-wishers who have expressed their heartfelt goodwill - it is through his music that we find our compass and our paths moving forward. We are his children, but we too are his fans and we hold his music dear.

It is in that spirit and on behalf of all those who Dad always considered an extended family, his fans, we take this opportunity to set the record straight on a few misconceptions echoing through some news and social media platforms about our intentions, our plans, and the so-called 'larger' ramifications of this case within the music industry.

Originally released in 1977, 'Got To Give It Up' became one of our dad's most cherished hits, still a favorite at backyard barbecues, weddings, parties, on the radio, or on your iPod. As Oprah said, it is one of her "favorite party songs of all time". The comments on social media, emails and calls we received after the verdict affirmed for us that the song continues to touch in even deeper ways, becoming part of the soundtrack to so many lives. 'Got To Give It Up' is also recognized by Billboard Magazine as the fourth biggest single of the 30 charting hits our dad created during his extraordinary career.

It has been nearly 38 years since its initial release: tastes change, trends evolve, but we should all be able to agree that it's a testament to the enduring power of 'Got To Give It Up' that we have arrived at this juncture with Mr Thicke and Mr Williams, at all. The fact that they have openly acknowledged their respect and admiration for the song is public knowledge, and further proof of its resonance with an entirely new generation of music fans.

However, most songwriting begins with an organic approach; a songwriter brings his or her influences to the table and then works creatively from a blank slate in the crafting of their song to ensure originality and the integrity of their creation. If Mr Thicke and Mr Williams had tried to create a new song and coincidentally infused 'Got To Give It Up' into their work, instead of deliberately undertaking to "write a song with the same groove", we would probably be having a different conversation.

Like most artists, they could have licensed and secured the song for appropriate usage; a simple procedure usually arranged in advance of the song's release. This did not happen. We would have welcomed a conversation with them before the release of their work. This also did not happen.

Instead of licensing our father's song and giving him the appropriate songwriter credit, Robin Thicke and Pharrell Williams released 'Blurred Lines' and then filed a pre-emptive lawsuit against us, forcing us into court. They sought to quickly affirm that their song was "starkly different" than 'Got To Give It Up'. The Judge denied their motion for summary judgement, and a jury was charged with determining the "extrinsic and intrinsic similarities" of the songs. The jury has spoken.

We wanted to also make clear that the jury was not permitted to listen to the actual sound recording of 'Got To Give It Up'. Our dad's powerful vocal performance of his own song along with unique background sounds were eliminated from the trial, and the copyright infringement was based entirely on the similarity of the basic musical compositions, not on "style" or "feel" or "era" or "genre". His song is so iconic that its basic composition stood strong. We feel this further amplifies the soundness of the verdict.

Like all music fans, we have an added appreciation for songs that touch us in mysterious ways. Mr Thicke and Mr Williams certainly have a right to be inspired by 'Got To Give It Up' but as the jury ruled, they did not have the right to use it without permission as a blueprint for a track they were constructing.

Great artists like our dad intentionally build their music to last, but we as the caretakers of such treasures, have an obligation to be vigilant about preserving the integrity of the music so that future generations understand its origins and feel its effect as the artist intended, and to assure that it retains its value.

We feel as many do that, our father, Marvin Gaye, is an artist for the ages. But whether we're talking about a work created 50 years ago or a work created 50 years from now - protecting the legacy of original artistry is not a personal obligation, but a universal commitment in support of enduring creative achievement, encouraging future artists to also aim for new ground and their own legacies. That is what copyright laws help us do; they give people the incentive to write original songs and then help protect those songs.

Our dad spent his life writing music - that is his legacy to us all - he wrote from his heart and was a brilliant songwriter, arranger, producer and one-of-a-kind vocalist. If he were alive today, we feel he would embrace the technology available to artists and the diverse music choices and spaces accessible to fans who can stream a song at a moment's notice. But we also know he would be vigilant about safeguarding the artist's rights; a sacred devotion to not only the artist, but key in encouraging and supporting innovation. He also gave credit where credit is due.

Howard King, the attorney for Mr Thicke and Mr Williams stated after the verdict: "We owe it to songwriters around the world to make sure this verdict doesn't stand. My clients know they wrote the song 'Blurred Lines' from their heart and souls and no other source".

We never for a minute suggested that Mr Thicke and Mr Williams' hearts weren't in it. But a jury of eight men and women have ruled that the source for 'Blurred Lines' was the song 'Got To Give It Up', a song our dad wrote from his heart, and delivered to the world with pure joy.

With the digital age upon us, the threat of greater infringement looms for every artist. It is our wish that our dad's legacy, and all great music, past, present, and future, be enjoyed and protected, with the knowledge that adhering to copyright standards assures our musical treasures will always be valued.

And finally, we want to put to rest any rumors that we are contemplating claims against Pharrell Williams for his song, 'Happy'. This is 100% false. We have absolutely no claim whatsoever concerning 'Happy'.

Love and Respect,
Nona, Frankie, and Marvin III

Universal Music not for sale, Vivendi chief insists
Hey you, will you stop saying that Vivendi is going to sell Universal Music? Because you're wrong. Wrong, wrong, wrong. You couldn't be more wrong. You could try. But you'd never achieve it. That's how wrong you are.

Now, you might feebly argue that you never even said any such thing to start with, but I know it's you who's been spreading rumours about the entertainment firm's intentions regards its big fat music business to French journalists, and don't go trying to deny it.

But, says Vivendi CEO Arnaud de Puyfontaine - according to the Financial Times, which is not French, but was listening in to him speak at an Enders conference in London - music remains "at the heart of our strategy". And as a result "the disposal of our music business will be over my dead body".

Which sounds a bit like a challenge to me, but whatever. Speculation about Vivendi selling its music division has been fuelled by recent reports that John Malone, boss of US-based Liberty Media (already a significant shareholder in Sirius and Live Nation) had approached the Universal owner's Chairman Vincent Bolloré about making a possible bid. Asked if Malone had indeed made an approach, Puyfontaine joked, "Ask him".

Vivendi has been busy offloading many of its assets in recent years but, having generated billions in the process, it seems likely the French conglom will begin its own acquisition spree in the next year. And with Universal and its TV business Canal+ now at the heart of the group, alongside some smaller interests in the ticketing space, it seems likely the all-new Vivendi will have content and entertainment at its heart.

Jon Bills launches new music PR firm
Music PR man Jon Bills, most recently with Murray Chalmers PR and before that at Parlophone, has announced that he is launching his own business, Bills PR, a "cross-platform music publicity agency" no less. The company will offer a range of services, including developing and running print and online PR campaigns, and consulting on social media activity.

Confirming the new venture, Bills told reporters: "I am incredibly excited about this new chapter in my career. The industry has changed irrevocably since I started, and I believe that PR agencies and the service we provide needs to too. I am building a fresh roster, which includes thrilling new talent as well as established artists. I intend for the agency to remain agile to the market, and offer a tailored service to clients. I am exploring new ways to work with artists, labels and managers - remaining flexible at every stage of a campaign, project or career".

Artists on the Bills PR roster from launch include Axwell & Ingrosso, Eric Prydz and Taio Cruz, plus newer acts X&Y and The Young Professionals.

  Approved: LLLL
Previously approved in 2013, producer Kazuto Okawa - aka LLLL - releases his second album, 'Faithful', through Tokyo label Progressive Form this week.

The album sees Okawa work with a variety of English and Japanese-speaking vocalists, rather than just one collaborator, as he has in the past. The two singles from the album, 'Only To Silence' and Blue', show how this has extended the project's sonic pallet, while maintaining the intimate, sombre mood of the music.

Read an interview with Okawa in The Japan Times here, and check out the videos for the two singles here and here.

CLICK HERE to read and share online
 
 

Amy Winehouse documentary to hit cinemas in July
The documentary about Amy Winehouse made by 'Senna' director Asif Kapadia will hit cinemas on 3 Jul, it has been announced.

Speaking about the film at a pre-Grammys screening last month, Universal Music UK CEO David Joseph said: "About two years ago we decided to make a movie about [Winehouse] - her career and her life. It's a very complicated and tender movie. It tackles lots of things about family and media, fame, addiction, but most importantly, it captures the very heart of what she was about, which is an amazing person and a true musical genius".

As previously reported, the film apparently has the approval of the Winehouse family, and was shopped to potential distributors at the Cannes Film Festival back in 2013.

Kapadia said at the time: "This is an incredibly modern, emotional and relevant film that has the power to capture the zeitgeist and shine a light on the world we live in, in a way that very few films can".

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Jake Bugg launches charity football tournament
Endless bundle of laughs Jake Bugg has set up a charity football tournament, so that he can take his mind off the awful chore of having to play music for a bit. Ten teams will compete at the first Football Rocks at Notts County's Meadow Lane ground on 10 May, in aid of Bugg's own Robin Hoody Foundation and the British Heart Foundation.

Bugg told the NME: "I love football, and the lads and I have a game wherever we can when on tour. Growing up watching Notts County play at Meadow Lane with my Granddad I can't wait to play there with my mates in front of a good crowd and raise some money for such great causes. The team are organising a really great day and the atmosphere will be brilliant for all ages, with plenty of surprise visits during the day, everyone's being so generous with their time".

As well as Bugg and 'the lads', there will be teams from Pretty Green, The Enemy, Saint Raymond, Reverend And The Makers and club night This Feeling, amongst others.

ATP to revive holiday camp festival this November
Now, you remember how back in 2013 ATP held its "last ever holiday camp festivals"? You were sad, weren't you? Yes. Well, not to worry, because they're back again now. The promoter's winter-time Nightmare Before Christmas festival will return this November.

The event will be curated by visual artists Jake and Dinos Chapman, who acted in the same capacity on the very first Nightmare event. It will also see the festival move to a new site, Prestatyn Pontins in North Wales.

Says Jake Chapman: "We are so honoured to have been asked to curate ATP again this November in Prestatyn. Ten years ago we curated the first Nightmare Before Christmas and lost so many brain cells that it's taken a decade to replace them. It is extremely special for us be involved again".

ATP boss Barry Hogan adds: ''The redux of ATP is something that so many of our fans have wanted and we are really thrilled to be returning to a new location with Jake and Dinos Chapman, the first ever Nightmare Before Christmas curators so many moons ago".

Confirmed so far to perform are Max Richter, The Notwist, The Album Leaf, Holly Herndon, Dinos Chapman, Death, Loop, Ought, Blanck Mass, Iceage, Fumaca Preta, Andrew Hung, Sculpture, Younghusband, Vision Fortune and Grimm Grimm.

The event will take place on 27-29 Nov, with early bird tickets going on sale this Friday at midday. More information here.

Adele has sold a lot of albums, Years & Years have announced their album, and Frank Carter is probably making an album, plus, you know, other stuff

Other notable announcements and developments today...

• Adele's '21' is the best-selling album of the millennium so far, according to the Official Charts Company. It's shifted over 4.7 million copies. She's got competition though. Ed Sheeran's 'x' has just passed the two million mark. That said, he took a whole 38 weeks to get there, while Adele managed the same sales in just thirteen.

• Geeneus has unveiled another new track, this one titled 'Red Velvet'. It'll be released through Rinse on 30 Mar.

• Gorgon City have put a remix EP up on SoundCloud, ahead of the release of a full remix album exclusively through Beatport on 7 Apr.

• Years & Years have announced that they will release their debut album, titled 'Communion', on 22 Jun. From it, this is 'Worship'.

• Elle Exxe has released a video for her debut single, 'Lie To Me', which is out next week. She'll play a one-off show at The Islington in Islington (duh) on 2 Apr.

• Whitesnake have announced that they will release a new album, called 'The Purple Album', on 15 May. It's a collection of covers songs originally recorded by frontman David Coverdale while he was vocalist in Deep Purple. So that's confusing.

• Former Gallows and Pure Love frontman Frank Carter has given fans a sneak peak of his new project. See if you can work out what's going on here.

Kills and Moon apologise
It's OK everybody, Natalia Kills and Willy Moon have apologised for being cunts on the New Zealand version of 'X-Factor'. To paraphrase, it was in their job description to be partial cunts, but they got carried away and became complete cunts. It could literally happen to anybody.

As previously reported, the couple came under much criticism and were ultimately axed from 'X-Factor' after heavily laying into one of the show's contestants, Joe Irvine, mainly on the basis that he'd been dressed and hair styled (presumably by the 'X' production team) to look a little like Moon, which is apparently an offence that sits just this side of genocide.

After all the hoo and the haa about the on-screen fracas, Kills took to Twitter this week to write: "A lot goes on behind the scenes of a reality TV show and [what] you see isn't always the whole story. The show brought me on to bring my passion, dramatic expression and perspective. I was encouraged to be outspoken and things got out of hand".

Then addressing Moon-clone Irvine directly, she added: "Joe, I hope you can forgive me and I wish you all the best! Be natural, unconventional and be you!"

Moon echoed: "The show encourages judges to be forthright and highly opinionated. It went too far and I never intended to single out anyone".

So there you go. Let's consider this matter closed so we can all go back to not really knowing who Natalia Kills and Willy Moon are.

 
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 andy@unlimitedmedia.co.uk (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 chris@unlimitedmedia.co.uk (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 sam@unlimitedmedia.co.uk 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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Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

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