WEDNESDAY 6 MAY 2015
TODAY'S TOP STORY: So, will Apple actually unveil the all-new iTunesBeatsStream service at its Worldwide Developers Conference next month, as has been expected for a while now? Well, there is some new doubt on that occurring, because it seems the IT giant is yet to secure all the licensing deals it needs from the music rights owners to enable the service to go live. And while one source... [READ MORE]
 
TODAY'S APPROVED: You may remember - and I hope you do - that we featured Svē in this very column last summer. Things have been very quiet from her since then, though the track I wrote about, 'Riot', has been stuck in my head on and off ever since. It really is very good. Anyway, you will be pleased to hear that she is back. Back not only with a new single, but also word of her debut album, both of which... [READ MORE]
TOP STORIES With Apple still to secure licences for new look iTunes, will it meet June deadline?
JUMP | ONLINE
LABELS & PUBLISHERS Dan Le Sac ponders the pros and cons of label versus self-release
JUMP | ONLINE
DIGITAL & D2F SERVICES Grooveshark clone goes live
Pandora gets green light to buy FM radio station
Spotify engaging songwriters via Fair Trade Music initiative
JUMP | ONLINE
MEDIA OfCom won't investigate Kanye's BRITs performance
JUMP | ONLINE
EDUCATION & EVENTS CMU Insights seminar explains the music business in just two hours
JUMP | ONLINE
ARTIST NEWS Sam Smith cancels more shows due to ongoing throat problems
JUMP | ONLINE
ONE LINERS Chemical Brothers single, Glastonbury headliners, AIM Awards, more
JUMP | ONLINE
AND FINALLY... Oasis reunion rumours? Not true and Liam's fault
JUMP | ONLINE
 
Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
 
 
LIVE NATION - EVENT TICKETING MANAGER (LONDON)
Live Nation requires an Event Ticketing Manager to maximise ticket sales for Live Nation events by providing effective ticketing information and advice; and proactively managing inventory, ticket agents and allocations.

For more information including a full job description and how to apply click here.
   
[PIAS] - BUSINESS AFFAIRS MANAGER (LONDON)
[PIAS] Entertainment Group is looking for an experienced lawyer to join their UK legal team at their head office in Bermondsey. The role will take primary responsibility for [PIAS] Artist and Label Services division, but will also have significant involvement in all other legal areas of the business to include [PIAS] Co-operative and its roster of partner labels and its own Play It Again Sam label.

For more information including a full job description and how to apply click here.
   
KOBALT LABEL SERVICES - MARKETING CO-ORDINATOR (LONDON)
Kobalt Label Services requires a Marketing Co-ordinator to assist the UK and International Marketing teams at KLS, as well as support the MD for KLS in the running of day to day activities within the KLS marketing team. The candidate will report to KLS MD but will get direction day to day from the VP, International Marketing, as well as the Head of UK Marketing for KLS.

For more information including a full job description and how to apply click here.
   
MAMA & COMPANY - GENERAL MANAGER, LIVERPOOL ARTS CLUB (LIVERPOOL)
This is a fantastic opportunity to work and grow with an exciting company that owns some of the UK’s most established venues. To manage the venue both efficiently and effectively ensuring that the diary is commercially maximised and all statutory duties are discharged. To effectively manage the kitchen and restaurant operation, ensuring GP is maintained and customer satisfaction is the primary focus.

For more information including a full job description and how to apply click here.
   
SJM CONCERTS - DEPUTY MARKETING MANAGER (MANCHESTER)
SJM Concerts seeks a Deputy Marketing Manager to support our marketing team to maximise exposure of events promoted by the company, and to implement marketing campaigns to generate sales for new tours and events via various platforms including press, radio, TV, digital and print.

For more information including a full job description and how to apply click here.
   
SUPAPASS - BUSINESS DEVELOPMENT EXECUTIVE (LONDON OR NORWICH)
SupaPass is an exciting new digital music platform connecting superfans with their favourite bands. SupaPass gives labels and artists a smart way to monetise their digital content, unlocking new revenue streams and amplifying superfan loyalty by bringing everything essential from social to streaming in one place. We are seeking an ambitious and driven business development executive with a deep understanding and strong network across music, entertainment and music-tech.

For more information including a full job description and how to apply click here.
   
DOMINO - WAREHOUSE MANAGER (LONDON)
We are looking for a bright, energetic warehouse manager with plenty of enthusiasm to supervise our warehouse operation.

For more information including a full job description and how to apply click here.
   
MANAGEMENT ASSISTANT (LONDON)
Experienced Management Assistant required for established London based artist management company. Candidates must have relevant experience in all areas of artist management and must demonstrate their knowledge and experience in assisting with a global release and live campaign. Role will include providing support to artist managers, co-ordinating day to day activities for artists including general administrative duties and personal assistant duties.

For more information including a full job description and how to apply click here.
 
   
DOMINO - UK DIGITAL MARKETING MANAGER (LONDON)
Domino is seeking a UK Digital Manager to work alongside our Digital and Project Management departments. The ideal candidate will take full responsibility for defining and implementing digital marketing strategy and will evaluate and communicate ongoing campaign effectiveness. Extending the reach and engagement of our marketing campaigns with creative ideas is key.

For more information including a full job description and how to apply click here.
   
THE STATE51 CONSPIRACY - SUPPORT TEAM ASSISTANT (LONDON)
The state51 Conspiracy is looking for a bright, enthusiastic, collaborative and well-organised person to join its support team. Support Team Assistants provide critical support to our partners (labels, artists), customers, music services, suppliers and to the rest of the business, as needed.

For more information including a full job description and how to apply click here.
   
MATERIAL - JUNIOR LABEL MANAGER & MANAGEMENT ASSISTANT (LONDON)
Material are looking for a passionate and enthusiastic new member to join a small but growing team based in central London to work across our in house record labels (Needwant, Boso & Future Disco). As well as working across the labels you will have some involvement in the management arm when required. This is a starter position for an organised candidate keen to build a serious career at Material and learn fast on the job.

For more information including a full job description and how to apply click here.
   
BELIEVE DIGITAL - SYNC MANAGER (LONDON)
Believe Sync is the in-house synchronisation department for leading international digital distributor, Believe Digital. You will be responsible for representing the catalogues of Believe Digital's distributed labels, as well as in-house indie label Believe Recordings (James Vincent McMorrow, Breton, Sarh, Fyfe, Meadowlark, Age Of Luna, Gavin James and more) for synchronisation and licensing opportunities.

For more information including a full job description and how to apply click here.
   
BPI COPYRIGHT PROTECTION UNIT - MEMBER PORTAL SERVICES MANAGER (LONDON)
We are looking for a lively, dynamic and enthusiastic individual to manage our new Member Services Portal, identify and deploy resources required to deliver BPI's Anti-Piracy Strategy and coordinate with developer to resolve or escalate performance issues, and carry out other membership related tasks allocated by the Head of Internet Investigations.

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
 

With Apple still to secure licences for new look iTunes, will it meet June deadline?
So, will Apple actually unveil the all-new iTunesBeatsStream service at its Worldwide Developers Conference next month, as has been expected for a while now? Well, there is some new doubt on that occurring, because it seems the IT giant is yet to secure all the licensing deals it needs from the music rights owners to enable the service to go live.

And while one source tells Billboard "if any company can pull it off, they can", given how long the combined iTunes-Beats download/streaming platform has been in development, you have to think that if the tech firm was pushing for anything like a standard streaming deal they'd have the licenses pretty much in place already.

Though it could be that the respective deal makers at Apple and the majors are simply bluffing it out to see who'll budge first on the main points of contention as the 8 Jun deadline approaches, the labels knowing that WWDC is a key date in the Apple calendar that is perfect for unveiling something as big as this, the tech firm knowing that the labels and publishers are secretly hoping it can help take subscription-based streaming truly mainstream.

Either way, 9to5Mac says that Apple remains bullish that all will be in place in time, so much so that the new look iTunes product is still in the schedule for WWDC, with the plan to put the new service live via updates to the iOS and iTunes software later in the same month. Presumably the major label source who told Billboard "June won't be the release date - the deals aren't done" just hopes his colleagues won't be the first to flinch.

As previously reported, the flumps at Apple (I think we used up our entire swear budget for May in yesterday's Daily) are reportedly being investigated for using their market dominance in the download sphere to try and persuade the majors to force Spotify et al to abandon the freemium level of their services, so to overhaul the market into which iBeats - which is only likely to offer personalised radio for free - will be unleashed.

Dan Le Sac ponders the pros and cons of label versus self-release
"Just because artists can now self-release their own records, should they?" That's the question Dan Le Sac asks in his new column for CMU, he facing that very dilemma himself has he preps his first new record since completing his deal with Sunday Best Recordings.

"Depending on what you read", he notes, "you might find yourself believing that the record label model is dying, and the rise in self-released records might be seen as proof of that. I don't really believe that the label will ever truly die, it will evolve for sure, but ultimately a good record label brings more to your album than just a budget and a route to the shops. So what I want to ask is, what do we lose when we take record labels out of the equation? And what do we gain by doing it ourselves?"

While recognising that going the self-release route gives an artist complete creative control, and not just over the music, Dan counters: "[But] bear in mind that by choosing to self-release you are in practice becoming a label. So while you're busy being a band, touring or whatever it is bands do once they finish a record, you have to ask yourself if you have the energy or discipline to spend weeks chasing the artwork dude for that final CMYK file".

"Or the video director lady for that edit where the drummer doesn't look quite so much like someone who isn't allowed within 50 yards of children. Basically, losing a little creative control outside of the record itself might not be the worst thing if it saves you from administrative hell, or if it frees you up to actually enjoy your potentially fleeting time as a band".

Though having more control over where you music ends up is attractive. "Often artists have final approval on advertising and movie syncs and suchlike through their record deals anyway, but having control over how your music is sold and distributed direct to fans is less common. So whether or not your music is on Spotify or Deezer etc is rarely your decision".

"This may not sound greatly important but with the streaming model yet to solidify its foundations, and the industry itself shifting all the time, being able to make the choices that suit you and your audience best is huge. With an uncertain future, retaining ownership and/or control of your intellectual property gives you dexterity when reacting to that future".

Find out what conclusions Dan reaches in his full column here. And look out for Dan's address to the new government as part of the #VoteForMusic session during CMU Insights @ The Great Escape in Brighton next week, which also includes a whole full-day strand looking at the artist/label relationship, and how the partnerships between artists and labels are evolving. Full details of that here.

 

Grooveshark clone goes live
While grooveshark.com may be resting in peace following the deal done between the record industry and the often controversial streaming site's founders last week, grooveshark.io is streaming just fine thank you very much.

Yes, an anonymous person has put Grooveshark back online having seemingly foreseen the imminent demise of the streaming music site and cloned up to 90% of its content. Said person, using the pseudonym Shark, tells The Verge: "I was connected to Grooveshark a few years back and I have, together with the team I've gathered, the knowledge and the technological abilities to bring it back to life".

As previously reported, after years of conflict between the Grooveshark company and the record industry, the streaming service finally shut up shop last week, issuing a full and frank apology for infringing copyrights while in business and urging users to sign up to fully licensed streaming platforms like Spotify, Deezer or Rdio.

Grooveshark operated in a grey area of copyright law, claiming that - because its users uploaded the content, and it operated a takedown system for copyright owners - it was protected from liability for copyright infringement by the Digital Millennium Copyright Act, even though it routinely hosted large amounts of copyright infringing content.

In the end the firm was forced into closure because a court ruled that staff at the company also uploaded unlicensed music files, which deprived the firm of DMCA protection. Facing a bill for multi-million dollars of damages, the company finally gave up the fight last week.

Though whether or not a Grooveshark service that really did only take content from users could continue to exist with out copyright liabilities remains a moot point. Another legal case against the streaming platform on that specific point did seem to be swinging in labels' favour too, though it remains an ambiguous area of law.

It seems likely that the cloned Grooveshark will claim DMCA protection just like it's predecessor, though the act of cloning the original Grooveshark's server could, in itself, mean the new site is not covered by the DMCA's safe harbours. But the mysterious Shark told The Verge: "It's going to be a roller coaster, and we're ready for it".

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Pandora gets green light to buy FM radio station
As anger in the music community towards Pandora only gets more vocal, a sneaky move by the American digital music service initially made back in 2013 has been green lighted.

As previously reported, in June 2013 Pandora announced that it had acquired a traditional FM radio station in South Dakota called KXMZ. Why? Well, because being in the FM radio business would give Pandora a seat at the table of the Radio Music Licensing Committee, which negotiates with the US music publishing sector's collecting societies on the licences required for both traditional broadcasts and the online operations of traditional broadcasters.

It's sneaky because the RMLC has negotiated lower rates from the collecting societies than Pandora itself, with the top line figures for ASCAP 1.7% of gross revenue rather than Pandora's 1.85%. Pandora therefore hopes the move might reduce its royalty obligations.

The FM station purchase has been delayed because it needed to be approved by American media regulator the FCC. The main point of contention was ownership - because of laws restricting foreign ownership of American media - but in a declaratory ruling the FCC said this week it was happy the majority of the shares (over 80%) in the publicly listed Pandora were owned by American concerns, with no foreign shareholder owning anymore than 5% of stock.

And while the company still needs to make some commitments to the FCC about ownership moving forward, the regulator seems happy for the acquisition going ahead, adding that Pandora's motives in buying KXMZ were not its concern.

Commenting on the FCC's decision, Pandora's public affairs chief Dave Grimaldi said: "Pandora is radio, and the acquisition of KXMZ would qualify Pandora for the same RMLC license under the same terms as our competitors. [But] this move makes sense to us beyond the licensing parity alone".

Needless to say, the US music publishing community is not impressed with the development. Collecting society ASCAP said it was reviewing its options, before adding: "Pandora's purchase of KXMZ is a transparent ploy squarely aimed at paying songwriters even less for online music streams and serves as yet another example of the urgent need for reform of the nation's music licensing system".

As previously reported, the US publishers want collective licensing rules in the country changed so that they can force digital services to licence directly from the rights owners while still licensing traditional broadcasters and public performance through their collecting society system.

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Spotify engaging songwriters via Fair Trade Music initiative
Spotify has reached out to the Fair Trade Music initiative, a consortium of songwriter groups bigged up by Jean-Michel Jarre in his CISAC capacity on World Intellectual Property Day last month.

The venture is seeking to provide songwriters worldwide with a united voice on the digital royalties debate. As previously reported, the songwriting community has become increasingly vocal in recent months over the monies writers receive from streaming services, with many feeling that the way the money is divvied up between the sound recording and song copyrights is unfair.

According to Music Ally, Spotify's recently appointed Global Head Of Publisher Relations, James Duffett-Smith, confirmed that the streaming service - which has made a concerted effort in the past to reach out to artists, even though it mainly get its content from labels - is now also attempting to engage the songwriting community, even if it has no direct control over how streaming monies are split between the different music right stakeholders.

Duffett-Smith is quoted by Music Ally as saying: "Songwriters are the heart of the music industry and we welcome our relationship with Fair Trade Music. We're looking forward to working in partnership with the songwriting community to help build a transparent and sustainable future for the entire music business".

Meanwhile Eddie Schwartz and Rick Carnes of the Songwriters Guild Of America, one of the backers of Fair Trade Music, welcomed Spotify's advances, saying: "We are delighted Spotify is the first major service to reach out to us to engage in this vital discussion and initiative. It's encouraging to see a service as large as Spotify recognise our interdependence".

As previously reported, the spotlight will be put on the digital pie debate at CMU Insights @ The Great Escape next week. Info here.

OfCom won't investigate Kanye's BRITs performance
UK media regulator OfCom has said it will not formally investigate Kanye West's performance at this year's BRITs, despite receiving 150 complaints from viewers of the ITV broadcast of pop's big awards bash.

West's stint at the awards, in which he performed his then new song 'All Day', was heavily censored by ITV, mainly because of its repeated use of the 'n word'. Indeed, so heavy was the censorship that it made the performance pretty much unwatchable.

But most of the complaints were about the small number of offensive words that did slip through, rather than the fact such heavy muting - while perhaps understandable - made the decision to include a performance of the song at all at such a mainstream televised event rather odd. Thugh some people did complain that the repeated muting made them think there was something wrong with their TV.

Either way, a spokesman for OfCom said yesterday: "We received a number of complaints that Kanye West's language, shortly after the watershed, was offensive but we will not be taking the matter forward for investigation. Having carefully assessed these complaints, we noted that before the programme ITV took steps to ensure that offensive language was not used, and during the programme to mute the majority of it".

So there you go, Kanye's profanities at the BRITs were all fine. Though I think the jury's still out on yesterday's CMU Daily top story.

CMU Insights seminar explains the music business in just two hours
If you've ever wondered how your slice of the music industry fits in with the wider business, then we can tell you in just two hours with the CMU Insights seminar 'Revenue Streams And Music Companies', which takes place next Monday (11 May) at 6.30pm in Shoreditch.

The two hour sessions looks at the different ways artists can generate revenue and the different companies they work with to make all that happen, while providing a quick overview of the traditional label deal and how it is evolving. It's a great way to understand how the wider music industry works, and what all those different people, companies and organisations actually do. Tickets for the session are just £49.99 including VAT and booking fee and can be bought from this link.

The session is the first of an eight week programme that goes into music rights, fan engagement, live music and brand partnerships, and direct-to-fan and new business models in much more detail. These sessions take place each Monday from next week (excluding bank holidays). A small number of places are still available for the full programme at just £299 - you can book your place here.

  Approved: Svē - My Religion
You may remember - and I hope you do - that we featured Svē in this very column last summer. Things have been very quiet from her since then, though the track I wrote about, 'Riot', has been stuck in my head on and off ever since. It really is very good.

Anyway, you will be pleased to hear that she is back. Back not only with a new single, but also word of her debut album, both of which are titled 'My Religion'.

The album's out on 30 Jun, and the single is up on SoundCloud right now. But does that single live up to her earlier releases? That's the question, isn't it? And the answer is yes. It maintains her position as someone who is a very exciting pop prospect very firmly indeed.

"Hopefully this track inspires you", says Svē. "The track is about having something that you believe in so whole heartedly that it becomes your religion. Creating this album was just that".

Listen to 'My Religion' here.
CLICK HERE to read and share online
 
 

Sam Smith cancels more shows due to ongoing throat problems
Sam Smith has been forced to cancel additional tour dates because of his previously reported throat issues. The poor boy is suffering from a small vocal cord haemorrhage.

Having cancelled some Aussie shows after being told to rest his voice last week, Smith has now told fans he is going to the US to see a specialist about his condition, and as such will have to postpone concerts in Japan and the Philippines too.

He sent the world an Instagram yesterday that declared: "Very upset about Japan and Manilla dates. I've just left Australia and I'm on my way to the States to see a specialist to see what to do from there... This is fucking horrid".

Smith's next scheduled show is now 15 May in Alabama.

Chemical Brothers single, Glastonbury headliners, AIM Awards, more

Other notable announcements and developments today...

• The Chemical Brothers have only gone and unveiled their new single, 'Go', which only bloody features Q-Tip on vocals, and only flippin has a video by Michel Gondry, and is only bloody brilliant. Confirm all of these facts here.

Here's a new track from Shamir's upcoming debut album, 'Ratchet', out on 18 May. It's called 'Darker'.

• Kali Uchis has released the video for 'Rush', taken from her 'Por Vida' EP. It comes ahead of her two night residency at The Victoria in Dalston and Great Escape show next week.

• Farao has made available this track here, which is called 'Hunter'. It's taken from her new album, which will be out via Full Time Hobby later this year.

• Want some Who and extra Weller for your Sunday night Glastonbury headline slot? No? Well, tough, that's what you're getting and you'll all enjoy it, OK? And perhaps next time you'll have a good think before you moan about Kanye headlining Saturday and demanding a "rock band" in his place. The Who and Paul Weller will also play Hyde Park two days earlier.

• Six Organs Of Admittance, aka Ben Chasny, will be touring the UK next month, including a two night residency at London's Café Oto on 20-21 Jun. Listen to 'Wax Chance' from latest album 'The Hexadic System' here.

• The nominations process for this year's AIM Independent Music Awards is now open. So, if you fancy nominating someone for such an award, you should probably click here.

Oasis reunion rumours? Not true and Liam's fault
Rumours about an Oasis reunion? Liam Gallagher's fault. Or so says Noel Gallagher.

Asked about the most recent Oasis-to-reform chatter, cited by The Mirror as coming from a "well placed source", Noel has told The Rolling Stone that the gossip most likely started with his brother, forcing him to let down all the old people who get excited about any talk of the Gallagher brothers reuniting on stage.

Say Noel of Liam: "He's being a bit disingenuous to Oasis fans in the sense that he always gets their hopes up. There was a rumour last week that we've had a gentleman's agreement [to reform the band], but that rumour's come from his people".

"It's a 'source close to him', and I'll tell you how close it is: She probably wakes up with him every morning. It's always left to me in an interview to let the kids down. People say, 'You're breaking these kids' hearts.' Well, what the fuck, man?"

 
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 | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
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 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
Email caro@unlimitedmedia.co.uk
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.

For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

To promote your company or advertise jobs or services to the entire UK music industry via the CMU bulletin or website contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
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