THURSDAY 7 MAY 2015
TODAY'S TOP STORY: After months of chatter about the so called 'digital single market', yesterday the European Commission finally unveiled its plans for harmonising rules and bringing down national barriers within the European Union when it comes to digital services and platforms. And while the content industries hope that the whole DSM initiative will provide a platform via which some of the... [READ MORE]
 
TODAY'S APPROVED: I guess you could accuse me of banging on about Emilie Nicolas a bit much in this column, this being her third appearance. Sure, maybe you could. But I'm in charge, and you don't get a say, so shut up and enjoy it. Yeah, maybe you have already read about this exact song right here once before, but that was two years ago and this is a slightly different version. Also, it now has... [READ MORE]
TOP STORIES European Commission unveils Digital Single Market plans, artist community expresses concern
JUMP | ONLINE
LEGAL Sony content pulled from SoundCloud as frustrations remain
Pandora defeats ASCAP appeal on rate court ruling
CISAC calls on Canada to extend song copyright term too
JUMP | ONLINE
DEALS Concord Bicycle's Fearless acquisition is no Wind-Up
JUMP | ONLINE
LABELS & PUBLISHERS British bands, America, you know, yeah, that, hurrah!
Warner and Universal appoint marketing agency execs to senior roles
JUMP | ONLINE
ARTIST NEWS Hot Chocolate frontman dies
JUMP | ONLINE
GIGS & FESTIVALS Tom Vek celebrates tenth anniversary of debut with gig, re-release and guitar auction
JUMP | ONLINE
AND FINALLY... Adele puts Faith in fancy dress for her birthday
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.
 
 
HOUSE OF 27 – SOCIAL MEDIA INTERNSHIP (PAID) (LONDON)
House of 27 is a UK digital PR company representing both development and established artists across unsigned, independent label and major record label setups. We require an intern to support our small, friendly team in our daily work environment. An additional interest in A&R and scouting new bands would be ideal, but passion for new music and enthusiasm for digital is a must.

For more information including a full job description and how to apply click here.
   
DOMINO RECORDING CO - DIGITAL OPERATIONS MANAGER (LONDON)
Domino Recording Co is seeking a high calibre individual to oversee its digital operations processes, based in the London office. This full-time position will be responsible for managing direct global operations relationships across digital music partners (eg iTunes, Spotify, Google Play, Millward Brown), and ongoing management of the digital catalogue across the label.

For more information including a full job description and how to apply click here.
   
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.
 
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
 

European Commission unveils Digital Single Market plans, artist community expresses concern
After months of chatter about the so called 'digital single market', yesterday the European Commission finally unveiled its plans for harmonising rules and bringing down national barriers within the European Union when it comes to digital services and platforms.

And while the content industries hope that the whole DSM initiative will provide a platform via which some of the copyright reforms they've been pushing for can be pursued - mainly to the detriment of the tech giants like Google - plans for removing barriers to digital trade and consumption within the EU could force some less welcome changes onto the entertainment industry too.

Launching its plans yesterday, the EC said: "The Commission wants to ensure that users who buy films, music or articles at home can also enjoy them while travelling across Europe. [We] will also look at the role of online intermediaries in relation to copyright-protected works".

Lobbyists and trade groups across the music industry will be looking carefully at the DSM proposals, with some issues uniting all stakeholders in the business. Though there will be disagreements too. And yesterday those representing artists and managers in the UK hit out at the rather lacklustre provisions for reviewing and boosting performer and creator rights within the DSM project.

In a joint statement, the Music Managers Forum and Featured Artists Coalition said: "We welcome the harmonisation of copyright exceptions and helping consumers to access paid for content wherever they are in the EC. And the adoption of the 'follow the money' approach with regard to commercial scale online infringement is something we have championed for several years now and it should be the major plank to reduce piracy".

"However" they went on, "the document only say 'measures to safeguard fair remuneration of creators also need to be considered in order to encourage the future generation of content'. [In fact] there are legislative issues that should be adopted now to aid creators".

Expanding on that claim, FAC CEO Paul Pacifico told reporters: "The creative economy simply doesn't exist without creators. If we don't make sure creators get paid a fair share from the commercial exploitation of their music online, we will not have a sustainable industry for the future. We hoped the European Commission would go further in their blueprint".

Getting more specific about the areas where the FAC wants reform at the European level, Pacifico went on: "The 'making available right', which was meant to reward creators in the digital age, has failed as most artists simply do not have the negotiating power to get a good deal from the players who dominate the music landscape. We urgently need action to give performers an unassignable right that guarantees transparent remuneration to deliver real and transparent value to performers and to reassure consumers that the artists they love are actually getting paid".

Sony content pulled from SoundCloud as frustrations remain
Sony Music has pulled a bunch of recordings by its artists off of SoundCloud, seemingly as talks between the digital firm and the major over the former's new monetisation platform stalled yet again.

As much previously reported, SoundCloud has been busy building an advertising system within its audio streaming platform in a bid to help audio-makers monetise their content, partly to boost its own revenues (which to date have come from upselling premium services to content owners) and partly to placate rights owners - especially in the music space - who have long been aggrieved that SoundCloud has built a massive audience without ever having any music licenses in place.

SoundCloud is pushing a YouTube type model for monetisation, even though the YouTube model isn't especially popular at record labels and music publishers. But the firm hopes that, because - like YouTube - SoundCloud is an important marketing channel in the music industry, it can persuade rights owners to sign up to a less risky business model (less risky for SoundCloud that is), on the basis that some monetisation + existing marketing benefits is a good deal. Except the more lucrative (for the labels) Spotify-type services keep saying that YouTube and SoundCloud are major hindrances in growing the subscription streaming market.

Anyway, SoundCloud has met some resistance since coming to the music industry with its monetisation plans, though some rights owners have signed up and Warner Music is dabbling. Sony, however, is not, and word has it that continued frustration over the deal being offered by SoundCloud is why tracks from Hozier, Miguel, Kelly Clarkson, Passion Pit, Leon Bridges and MS MR have all been pulled from the streaming site.

A SoundCloud spokesperson wouldn't be drawn on the company's dealings with Sony, but stressed that everything was going just swell elsewhere. Said spokesperson told Billboard: "We are in ongoing conversations with major and independent labels and will continue to add partners to [our ad revenue] programme. We've always put control in the hands of creators, and anyone who makes music and audio can decide when and how they want to share it with fans, allowing artists to essentially broadcast out to the world the availability of new content".

News of Sony's takedowns came as the National Music Publishers' Association in the US announced it had reached a deal with SoundCloud on behalf of the trade group's independent members. NMPA boss David Israelite said yesterday: "This agreement ensures that when SoundCloud succeeds financially, so do the songwriters whose content draws so many users to their site. I am thrilled that we could agree on terms that will benefit both creators and the SoundCloud platform that has brought online music access and creativity to a new level".

--------------------------------------------------

Pandora defeats ASCAP appeal on rate court ruling
Pandora is fighting battles with the American music community on so many fronts it can be hard to keep up. I really need to draw a diagram. Preferably before they open their box and all hell breaks loose.

In the latest development, Pandora has won in the next stage of its legal fight with American collecting society ASCAP. One of the US music publishing sector's big performing rights organisations, ASCAP appealed an earlier rate court ruling regarding what royalties the streaming service should pay the society, and also whether music publishers could pull their digital rights from the collective licensing system while continuing to licence broadcast and public performance through the society.

In the original ruling, the rate court said that Pandora should pay ASCAP a royalty rate of 1.85% for the entirety of its current five year licence from the society. ASCAP and the major music publishers argued for a higher rate, pointing out that when Universal and Sony/ATV started negotiating directly with the streaming service they secured a better deal. But the Second Circuit Court of Appeals said yesterday that the original ruling was reasonable and should stand.

Of course it's because the rate courts - which decide royalties when the music publishers licence collectively in America - tend to set rates lower than could be negotiated directly, that the big publishers want to start direct dealing with digital services Stateside (as they already do in Europe).

But the appeals court yesterday also concurred with the earlier decision that partial withdrawal was not possible under the 'consent decrees' that govern collective licensing in the US. It was that original ruling on partial withdrawal that stopped Universal and Sony/ATV instigating the direct deals they had negotiated. As previously reported, the music publishers now want the consent decrees rewritten to allow direct dealing on just digital.

Needless to say, ASCAP was critical of the new court decision. The society's CEO Elizabeth Matthews said: "This ruling reaffirms what we already know - that the ASCAP consent decree and the rules that govern music licensing are outdated and completely out of step with the way people listen to music today. We are encouraged that the Department of Justice is reviewing the ASCAP consent decree and by the growing chorus of voices in support of our efforts to modernise music licensing - from the Copyright Office to Congressional sponsors of the Songwriter Equity Act".

She went on: "Powerful corporate interests, like Pandora, are determined to stand in the way of meaningful music licensing reform so that they may continue to shortchange songwriters. This is a wake up call for creators to stand together, get involved and fight for their right to be paid a fair market rate for the use of their works".

Pandora, of course, was bullish about their latest court win, seemingly using the occasion to diss the music publishers for failing to make a Global Repertoire Database, a failure that does arguably make direct licensing harder (though it hasn't stopped direct dealing in Europe). The digital firm's Director Of Public Affairs Dave Grimaldi said: "We are pleased that the Second Circuit has affirmed Judge Cote's ruling, which highlights the anti-competitive harms that can result from a lack of transparency into music ownership".

So there you go. And the battle continues. On all those many fronts. I really do need to draw that diagram.

--------------------------------------------------

CISAC calls on Canada to extend song copyright term too
With copyright extension on the agenda in Canada, the songwriting community has said it would like a little bit of that action too thank you very much.

As previously reported, the Canadian government - in something of a surprise move - recently announced it would seek to extend the sound recording copyright term in the country from the current 50 years to 70 years, bringing it in line with Europe. But the copyright term for songs in Canada - while longer than that for recordings - also isn't in line with Europe, being life plus 50 years rather than the more common life plus 70 years.

So come on Canadians - say the songwriters, though in rhyme I'm sure - if you're throwing round extra copyright protection, chuck some in our direction too.

Jean Michel Jarre, in his guise as President of CISAC, the global grouping for author collecting societies, told reporters today: "Authors in Canada still do not benefit from the same term of copyright protection as in most of the world, where protection for authors extends to 70 years after their death, while in Canada the term of protection for authors expires 50 years after the author's death. This puts the whole community of creators in Canada, as well as foreigners seeking protection in Canada, at a major disadvantage".

He goes on: "On behalf of CISAC and the four million creators represented by its members, I call upon the Canadian government to address this imbalance and immediately bring Canada's law in line with the rest of the world. Authors in Canada should be protected for the same duration that exists in most other countries around the world. This is a matter of pure fairness".

Canada is yet to respond. Though to be fair it's currently asleep. But CMU's Andy Malt is within its borders at Canadian Music Week, so I'll make sure he gets the country to comment before the day is out. Or at the very least we'll hear from someone who lives there. Hey, if all else fails we'll ask our friend Marsha. She lives there now.

Concord Bicycle's Fearless acquisition is no Wind-Up
I don't care who the winners are on this here election day, let's all just agree that I win the Headline Of The Day contest. I mean, come on, that's classic. I'm loathed to actually write this story, I can't see how it can ever do that headline justice. It's basically all down hill from here. A bit like what will happen once the results are in tonight.

Anyway, the rather acquisitive US-based Concord Bicycle Music has just bought up American independent labels Wind-Up Records and Fearless Records in a move that, says the music firm, "underscores the company's commitment to develop and grow its rock and alternative music portfolio". And I'm sure we can all agree, underscoring commitments to grow portfolio is what it's all about in this here music making malarkey.

But before you all shout, "hey CMU, you definitely told us back in November 2013 that Bicycle was buying Wind-Up Records then, was that just a vicious lie you put around, knowing how underscored portfolio growth news would get the social networks aflutter and deliver some extra grubby page hits on your shitty website?", well...

First of all, our website's not shitty. You should all go have a browse. I mean, look how much we wrote about Grooveshark. Second of all, that was Bicycle buying the Wind-Up Records catalogue. This is it buying the active label and roster. Ha, bet you feel like a fool now. Don't worry, give me your vote in the Headline Of The Day contest and I'll forgive you.

Now, I could cut and paste in some quotes here for you all to enjoy. But I'm going to be fearless and wind-up the proceedings early. All you need to know is they talked about "aggressive growth strategies". Rock n roll.

British bands, America, you know, yeah, that, hurrah!
Records from UK artists accounted for almost one in eight of all the albums sold in the US last year. Take that America. We've got you hooked. And Sam Smith, Ed Sheeran, Coldplay and One Direction might look harmless, but you just wait.

The BPI reckons that British artists also did rather well in Canada last year (15.3% of the album market), but I'm waiting for CMU's Andy Malt - currently on a jolly at Canadian Music Week - to confirm that. Because he definitely said it wasn't a jolly and he was going to analyse the Canadian music market in rigorous detail. That and catch up with Marsha.

Anyway, here's BPI boss Geoff Taylor, not in Canada but being rigorous: "British artists well and truly flew the flag in the world's biggest and most competitive music market last year. The sensational achievements of Sam Smith, Ed Sheeran, One Direction and the entire Class Of 2014 demonstrate once again that the UK's music industry is a worldbeater".

Want more? We got more: "The creative industries are the most important source of jobs and growth for the UK economy. The incoming Government should act swiftly to boost further investment in British music, by extending creative tax credits so that more albums and music videos are produced here in the UK. This will create exciting new jobs for young people and further strengthen the UK's reputation as a leading creative nation".

--------------------------------------------------

Warner and Universal appoint marketing agency execs to senior roles
Warner Music has appointed a new VP Global Brand Licensing at its artist and label services arm in the US. And the lucky appointee? Alix Kram. Her prize is to "oversee the consumer products and brand licensing strategy for the company, as well as developing retail partnerships and new product lines".

Kram: "I'm thrilled to join the Warner Music Group family. With a background in entertainment and consumer products, moving to the music side of the industry is a natural and exciting fit for me. The roster of artists available to creatively strategise with regarding product and licensing on a global scale is vast, diverse, and rich with opportunity".

Elsewhere, Universal Music has appointed a new SVP Marketing, Consumer Engagement & Digital Partner Management for its South East Asia division. Which is quite a wide remit. And the lucky appointee? Florian Jungbauer. His prize is to "lead the strategic planning, development and implementation of integrated global social media, content, community, fan engagement and digital marketing for Universal Music and its artists across the region".

Universal Music Asia Pacific President George Ash: "Florian is a class act. I couldn't be more excited to welcome Florian to the Universal Music family. His experience and influence will be an incredible benefit to our labels and artists as we continue to transform our business and fan engagement. Florian's achievements across Asia are without peer".

I bet he could be more excited. If he really tried. Both Kram and Jungbauer come to their major label roles from marketing agencies. And why the hell not, I say.

 

Approved: Emilie Nicolas - Pstereo
I guess you could accuse me of banging on about Emilie Nicolas a bit much in this column, this being her third appearance. Sure, maybe you could. But I'm in charge, and you don't get a say, so shut up and enjoy it. Yeah, maybe you have already read about this exact song right here once before, but that was two years ago and this is a slightly different version. Also, it now has a cool video to look at.

'Pstereo' is a cover of a track by Norwegian rock band Dum Dum Boys (not to be confused with the oft-approved Dum Dum Girls), albeit rewritten from the ground up with lyrics translated into English. The result remains a great piece of pop that stands strong two years on from its original airing. Which is good news, because Nicolas' debut album, 'Like A Warrior', will finally see the light of day in the UK on 29 Jun, a week after the single's official release.

Now sit there and watch some whales float over the Scottish highlands in the new video for 'Pstereo'.

CLICK HERE to read and share online
 
 

Hot Chocolate frontman dies
Hot Chocolate frontman Errol Brown has died, his manager confirmed yesterday. Phil Dale said that Brown had liver cancer and died at his home in the Bahamas.

Dale's full statement read: "Errol Brown MBE passed away in The Bahamas this morning, with his wife Ginette and daughters Colette and Leonie by his side, of liver cancer. Errol was a lover of life and obviously 'music!' I never went into his home, car or a hotel room without music playing. Errol was a 'Gentle Man' and was a personal friend of mine who will be sadly missed by everyone who knew him. His greatest legacy is that his music will live on!"

Born in Jamaica, Brown moved to the UK aged 12. His group was famously signed to The Beatles label Apple Records after John Lennon enjoyed their reggae cover of 'Give Peace A Chance', though it was an alliance with producer Mickie Most and his label Rak Records that kick-started Hot Chocolate's heyday, with a long string of hits during the 1970s and early 1980s.

Tom Vek celebrates tenth anniversary of debut with gig, rerelease and guitar auction
Is it really ten whole years since Tom Vek's marvellous debut album 'We Have Sound'? Oh yes.

And to celebrate, Vek will play the album in full at London's Brixton Electric on 22 May, alongside a special re-release of the record by Tummy Touch Records, in a limited edition, triple LP, signed format no less.

And as if that wasn't enough celebrating, Vek is also auctioning off the guitar used throughout the album on eBay.

Adele puts Faith in fancy dress for her birthday
So Adele marked her 27th birthday this week by dressing up as George Michael because, well, erm, yeah, errrrrrrm, so, hmmmmmmm, right, and, well, erm, yeah, ba ba ba ba, so, see, and, well, you know, what I... yeah, hmmmmmmmmmm, nya nya nya, and, well, you know, and, you'll understand, I'm sure, I mean, so, well, what I mean to say is, I'm sure you understand, because, you understand, right, of course you do, so, and, well, erm, yeah, I don't, that is to say, I wouldn't, and, so, it's, well, yeah, hmmm... maybe. Anyway, Adele marked her 27th birthday this week by dressing up as George Michael. See.

 
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
© UnLimited Media, a division of 3CM Enterprises Ltd

CMU, UnLimited Media, Kemp House, 152 City Road, London EC1V 2NX
t: 020 7099 9050 (editorial) 020 7099 9060 (sales)

publishing@unlimitedmedia.co.uk | complaints@unlimitedmedia.co.uk