TODAY'S TOP STORY: Spotify made some pretty bold moves yesterday in a bid to keep users locked into its player all day and then all night too, never leaving to go elsewhere, anywhere, at any time, allowing the Spotify machine to thrust ever more content into each and every user's ears. By which we mean the company unveiled a redesigned player that will not only feature music, but also... [READ MORE]
TODAY'S APPROVED: Another band, like The Big Moon, to have their name echoing around Brighton during The Great Escape this year where Russian shoegazers Pinkshinyultrablast. As names go, there's suits them fairly well, the ethereal vocals and twee melodies backed up by guitars layered and layered into a thick wall of sound. They released their debut album, 'Everything Else Matters'... [READ MORE]
TOP STORIES Spotify updates dynamic playlisting, adds non-music content
LEGAL The Pirate Bay's Swedish domains to be seized
Legal debates continue on the copyright status of 'Happy Birthday'
DEALS Downtown buys Eagle-i
Leading Nordic indie label buys key Scandinavian publishing business
MARKETING & PR Hospital Records on driving listens through curated playlists
DIGITAL & D2F SERVICES Sony to take down more music from SoundCloud, while Ultra boss says it's years away from making money
MEDIA RAJAR Round Up: Comedy repeats now biggest on digital
Classical site hires new head of content
AND FINALLY... Madonna postpones start of tour over perfection concerns
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Your Army is looking for a Promotions Co-ordinator to work across its Radio, Club and TV departments. The position is ideal for someone with excellent administration and time management skills.

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Spotify updates dynamic playlisting, adds non-music content
Spotify made some pretty bold moves yesterday in a bid to keep users locked into its player all day and then all night too, never leaving to go elsewhere, anywhere, at any time, allowing the Spotify machine to thrust ever more content into each and every user's ears.

By which we mean the company unveiled a redesigned player that will not only feature music, but also podcasts, news, original radio-style programming and video (so that's eyes covered too).

Many of the new features Spotify unveiled yesterday are clearly aimed at attracting more mainstream consumers, most of whom are yet to really embrace the streaming platforms. Because while engaged music fans are delighted by having millions of tracks on demand whenever they want them, those used to getting their music fix from radio or MTV-type services want to do less work, and possibly want something other than just tunes.

Which is why, if it works, the first thing Spotify boss Daniel Ek announced yesterday could be a very interesting proposition. The all-new Spotify Now playlist, it is claimed, will work out what users want to hear at any one moment in time, based on both in-house playlists and the user's own listening history. So far so Pandora, though Spotify Now promises to adapt to the time of day, and to whatever the user may be doing at any one time. This brings in some of the advantages of traditional radio, which can better adapt the music to the precise moment of listening.

In addition to the more sophisticated personalised radio functionality, Spotify users will also now be able to access news and podcasts from within the app, as well as original programming created by the company itself, with radio shows presented by the likes of Icona Pop and Tyler, The Creator. And there's video too (which we expected, of course). That will include plenty of comedy clips, we were told - though the 'comedy' section of the press conference was painfully unfunny, which possibly doesn't bode well. Though Spotify's video team will also be busy creating other content too, including artist interviews and a show called 'Dance Move Of The Day'. So that's nice.

Spotify-using runners got their own shit too. Using data from a subscriber's phone, Spotify will now match tracks to the user's running pace, serving up an ever changing playlist. And if that's not enough, the company also announced "a whole new music format", single tracks that last an entire run and change BPM based on how you speed up or slow down. There are six such tracks available at launch, including one from Tiesto, who was on hand at the press conference to awkwardly talk about his creation. Perhaps he was just back from a long and tiring run.

So, a lot of new stuff then, all of which is being rolled out to users in the US, UK, Germany and Sweden as we speak.

With so many new bits and pieces to unveil, it was notable that everything was demonstrated via Spotify's mobile phone app, which tallies with reports from within the streaming firm that this where the bulk of listening is now happening. Though, I suppose, no one's running around with a laptop shoved in their pocket, so perhaps that was the reason.

On the running thing too, it was interesting to see that Nike is a launch partner on this particular gimmick, alongside Runkeeper. And integration with Nike's running app is incoming. Which is noteworthy because Nike's running app has long been closely tied to Apple's iPhone. And Apple is relevant here, of course, because all these new whistles and bells in the Spotify platform are an attempt to pre-empt whatever nonsense Apple has planned when it relaunches iTunes and Beats Music next month.

"We're bringing you a deeper, richer, more immersive Spotify experience", said Ek. "We want Spotify to help soundtrack your life by offering an even wider world of entertainment with an awesome mix of the best music, podcasts and video delivered to you throughout your day. And we're just getting started".

This all of course makes Deezer's big announcement earlier this week that it was just adding podcasts into its library look a little flat. Though will even Spotify's wider expansion of its service be enough to convince more people to hand over that all important £9.99 a month? That's quite another question. Probably some, but perhaps not enough. Time will tell.

Ek closed the press conference by saying that everything Spotify had announced "literally brings a whole new meaning to the phrase 'stay tuned'". It literally doesn't, but perhaps all these new features can help Spotify maintain its dominance in streaming music domain for a while longer.

The Pirate Bay's Swedish domains to be seized
The Stockholm District Court has ordered that two key domains used by the always controversial Pirate Bay - including the service's flagship domain - should be handed over to the Swedish authorities.

The seizing of domains used by copyright infringing websites has become a common tactic in the entertainment industry's battle against piracy, though how easy it is to take grab the domains of offending sites varies from country to country. There has been talk of The Pirate Bay losing its flagship domain in home country Sweden for a few years, but it took legal action against the organisation that controls the .se domain - Punkt SE - to make it happen.

Prosecutor Fredrik Ingblad, who was also behind the raid that knocked the Bay offline for a time late last year, led on that legal action, arguing that the file-sharing service is an illegal operation and its .se domains were therefore tools used to conduct copyright infringement. More over, Ingblad argued, Punkt SE should be held liable for the misuse of domains in its control.

Punkt SE countered that there was no legal basis for suggesting it was in anyway liable for the activities of individuals or organisations using a .se domain, and when it came to seizing the domains of copyright infringing sites, that was an ineffective way of dealing with piracy, because sites can quickly reappear at another web address, which will be just as quickly listed by the search engines, making it easy for file-sharers to relocate the set up.

After hearing arguments from both sides last month, the Stockholm court rejected the idea Punkt SE was in anyway liable for the actions of The Pirate Bay, but it did order that the domains be handed to state prosecutors, mainly because they are actually registered to TPB co-founder Fredrik Neij who was found personally guilty of copyright crimes back in 2009.

According to Torrentfreak, the court ruled: "Fredrik Neij has participated in [copyright] crimes that have been identified and he is the actual holder of the domain names. It is therefore no obstacle to confiscate domain names from him. The prosecutor's primary claim with respect to Fredrik Neij should be upheld and domain names should be confiscated from him in accordance with the Copyright Act".

While copyright industry groups have welcomed the ruling, still seems to be working just at the moment, and The Pirate Bay has decorated its home page with all the alternative domains it controls around the world, preparing users for the day the Swedish domain redirects to a stern government notice.


Legal debates continue on the copyright status of 'Happy Birthday'
"Did Patty abandon her birthday?" That's the question we need to answer. Or, to be more specific, did Patty abandon the copyright in her birthday song. Yes, the 'Happy Birthday' copyright case continues to go through the motions, with the judge overseeing the proceedings, George King, asking both sides to present their respective arguments over whether or not Patty Smith (nee Hill) ever abandoned her copyright in the song's lyrics.

As previously reported, a film company which made a documentary about the famous song - and which had to pay Warner/Chappell for the rights to use it in its movie - has since filed litigation in the US arguing that, actually, the work is no longer protected by copyright in America, even though the Warner music publisher continues to control its use.

Whereas in Europe, the copyright in 'Happy Birthday' will expire in 2016, 70 years after the death of Smith, who wrote the song with her sister Mildred Hill, in the US the term of the copyright is more complicated, because of American copyright rules in the early 20th century, and the fact that those rules changed in 1923.

Warner/Chappell's claim to the copyright in 'Happy Birthday' relates to copyright registrations that occurred in 1924 (for the lyrics) and 1935 (for the music). But film company Good Morning To You Productions Corp reckons that any copyright in the song predates the 1923 rule change, which would mean different regulations applied and the song would, therefore, be out of copyright.

Having considered motions from both sides back in March, in a statement this week King honed in on the lyrics, and a claim by Good Morning To You Productions that [a] the origin of the words to the song isn't conclusively know and [b] anyway they had been widely performed and published prior to the formal copyright registration, which means the lyrics were already public domain before any registration took place.

Not so, says Warner/Chappell, which argues that there is no evidence the Hill sisters copied the lyrics from anyone else, and the fact that the song was widely performed prior to copyright registration does not mean the song lost its right to copyright protection.

According to The Hollywood Reporter, the publisher's court submission read: "The fact that parties other than the Hill sisters disseminated the lyrics to 'Happy Birthday To You' prior to the 1935 registration does not displace the copyright that Warner/Chappell now owns".

It went on: "So long as the Hill sisters had not copied the lyrics from someone else the work remains original to them, and thus fully eligible for copyright protection So long as the Hill sisters did not publish or authorise others to publish their works prior to registration, their 'Happy Birthday To You' remained protected by common law copyright until the time of that registration".

King now wants both sides to present their respective arguments as to whether or not there was any 'abandonment' of the copyright in the 'Happy Birthday' lyrics prior to copyright registration. In theory that means King hasn't reached a conclusion on this point, though the judge stressed that abandonment would need to be explicit rather than implicit, and there would need to be "some overt act" that resulted in Hill abandoning her copyright.

Which sort of suggests he is erring to the Warner/Chappell argument on this point. Though there are still other points the judge could use to deem the 'Happy Birthday' copyright null and void Stateside. The case continues.

Downtown buys Eagle-i
Downtown Music Publishing has acquired Eagle-i Music, which began life in 2011 as the publishing spin off of the Eagle Rock record company, but which wasn't part of the deal when Universal bought the latter last year.

The deal furthers the expansion of US-based Downtown into the UK market, it having opened a London office last year. Eagle-i co-founder and MD Roberto Neri will now become MD of Downtown UK.

Confirming the deal, Downtown boss Justin Kalifowitz told reporters: "As a company, we have been fortunate to represent many of the UK's most inspiring songwriters and publishers. British music has not only made a huge impact on our business, but continues to enrich our lives. With that in mind, I'm thrilled to welcome Roberto and the team to Downtown as we expand our operations in London".


Leading Nordic indie label buys key Scandinavian publishing business
Nordic indie label Cosmos Music, which claims to own "the biggest independent catalogue of masters in Scandinavia", has grabbed a slice of the local music publishing sector too by acquiring Scandinavian Songs, which has 22 active writers and producers on its roster, plus represents the rights of a bunch of other independent music publishers in the Nordic region.

Under the deal, Scandinavian Songs will continue to operate as a standalone business under the Cosmos Music umbrella, with the publisher's previous co-owner Hans Desmond continuing to work with the business.

Confirming the purchase, Cosmos Music founder partner Ekander told reporters: "With the acquisition of Scandinavian Songs, we will now become as active in music publishing as we are on the recorded music side. The Nordic region has for quite a while lacked a good sized, strong, well-funded, pro-active and creatively driven and fully independent local publisher - and Scandinavian Songs is now perfectly positioned to fill that void".

Hospital Records on driving listens through curated playlists
Much of the discussion around online playlists during the marketing strand at CMU Insights @ The Great Escape last week focused on companies trying to get their music onto other people's curated track lists. However, we also heard case studies from a number of organisations about their experiences creating their own playlists.

One of those was Hospital Records, whose Digital Manager Romy Harber spoke about the label's own in-house playlisting activity. Interviewed by Spintune's Brittney Bean, she began by asking Harber why Hospital wants to create its own playlists on Spotify and YouTube.

"We use it as a way of driving people to songs that we want them to listen to", he said. "We have our own playlists on Spotify, we have different moods, we have our official playlists, we have the best of drum n bass. And then on YouTube, we use it as a way of grouping releases".

"It's quite easy for people to get lost on YouTube", he continued. "They'll start watching a music video and then the next moment they're watching a video of a cat on a skateboard. If we group our content all together, then hopefully people follow that path and listen to our music more".

On YouTube, where the company has over 250,000 subscribers, he explained that the focus is very much on Hospital's own releases.

"We have a playlist for every album", he explained. "We post every track from every album on YouTube, pretty much, eventually. Which I know is controversial. But we find that, unless you block it, someone else will upload your music anyway, to another channel, and then you get a worse rate. So I'd prefer people come to our channel, where we can give them the message that we want, with our buy links, rather than having them go elsewhere".

"Lots of people don't agree with putting it all up there, because the rates on YouTube are not great", he admitted. "However, we've found that from the buy links and from tracking, that it is actually a good platform to drive sales".

On Spotify, where the company currently has around 14,000 followers, the focus is somewhat different, he added. "On Spotify it's much more about curation, in that we draw in lots of third party content into our playlists and mix it up, to create moods and different environments around the music, whereas on YouTube it's almost entirely our own content".

A big challenge in generating interest in Spotify playlists, he said, is updating them with the right music at the right time.

"We're a dance music label, so we have a massive spike Thursday, Friday and then it dips on Monday. We're trying to combat that with a playlist called 'Monday Morning Rollers', which is a more chilled out, liquidy type of drum n bass, with other types of music on there too, and then we do separate Thursday, Friday and Saturday playlists".

"The weekend's what suits us best", he continued. "We want people to get that updated playlist notification at the right time, so it pops up on their phone and they think, 'Right, I'm going to listen to that now'. Whereas, if I put in a really hardcore dance track on a Tuesday morning, maybe people really aren't going to be that interested. We try to hit people with those notifications, which is a really important part of it, at the right time, so that hopefully they'll play our playlist".

For more reports on the CMU Insights music marketing strand, including discussions on the importance of playlists and pitching music to playlist owners, check out the CMU@TGE microsite here.

Sony to take down more music from SoundCloud, while Ultra boss says it's years away from making money
Sony Music's previously reported campaign of removing its music from SoundCloud - as licensing negotiations with the audio-sharing platform continue to stall - is seemingly expanding. And yesterday, producer Madeon warned fans on Twitter that his SoundCloud account will be taken down "in the next few days".

"Sony will take down all of my music from my SoundCloud account in the next few days, let's have a farewell listen", tweeted the Sony/Columbia-signed artist. "Thank you SoundCloud for being such a great discovery platform over the past five years. Well done Sony for holding your own artists hostage".

He added that his gripe wasn't with the people working on his music at Columbia, but rather "Sony Corporate's disconnected-from-reality strategy".

Of course, the fact that SoundCloud has morphed itself from being primarily a service for content creators into more of a consumer-facing streaming platform, with its aim to become "the YouTube of audio", but without licences from labels and publishers, has become an increasingly contentious issue in the last few years.

Warner Music did reach an agreement with the company last year, but other label negotiations are ongoing. SoundCloud, meanwhile, has begun monetising content through advertising and sharing that revenue with content creators, even going so far as to employ the same company that manages YouTube's Content ID system to boost its monetisation credentials.

However, concerns remain over the potential profitability of the service for rights owners. To that end, Patrick Moxey, the boss of Sony Music-allied EDM label Ultra Music - which has had its own issues with SoundCloud in the past, and with it's own artists as a result - yesterday told at the International Music Summit in Ibiza that the streaming service is still years away from generating any real income for artists and songwriters.

This created a challenge, he conceded, according to Music Week, because "I think that SoundCloud is fantastic because there are 100,000 creators uploading new music to [the platform] every night. But what do they pay artists and writers right now? Little to nothing. Will they pay anybody anything in the near future? Not really".

He continued: "What electronic artists are going to get out of SoundCloud financially in the next few years is close to nothing. Once you realise that then you'll realise that you do have to protect the guys that are trying to pay the artists and the labels".

"You don't want to mess with the spontaneity and creativity [of SoundCloud]", he added. "You want to keep that artist potential there, but at the same time, there [has] to be a way to do it and build up the premium side and the subscription side. That's what [CEO Alexander Ljung has] got to envision for the future".

Moxey's comments come ahead of Ljung's on-stage interview at IMS tomorrow.

RAJAR Round Up: Comedy repeats now biggest on digital
What, RAJARs time again? Yep, so let's do our customary run through the bigger headlines from the latest batch of UK radio listening figures.

1. Although 6 Music is still doing very well thank you very much - continuing to top two million listeners a week and up year-on-year - it is no longer the most listened to digital station. The Beeb's 4 Extra has taken that title, having overtaken its music-obsessed sister station with a steady stream of (mainly old) comedy and drama to score a weekly audience of 2.17 million.

2. Elsewhere at the Beeb, a bit of doom and gloom at the nation's (not) favourite, as Radio 1 saw its overall listening figures slip 830,000 year-on-year, so that it's now reaching about 9.7 million people a week. Nick Grimshaw's breakfast ratings were 5.5 million, the lowest since he took over the slot three years ago. Though Radio 1 bosses are keen to note that the stats suggest it is 30-somethings who are turning off the station's daytime output, which means they are meeting BBC Trust calls to skew younger. Though the average audience member is still 32.

3. Radio 2 remains the true nation's favourite, even though its audience slipped about half a million year-on-year to 15.1 million. Numbers tuning in to the Chris Evans breakfast show are also down, but are still an impressive 9.46 million.

4. In London, Kiss's moment as biggest in the capital was short-lived, with sister station Magic now the biggest commercial radio operator in London once again. But Kiss is still in second place, ahead of Global Radio's Capital and Heart in that order. Kiss and Magic are both owned by Bauer, who's Absolute Radio - while only tenth biggest in London (overall, ie when BBC stations are included) - did see its audience in the capital grow by a third in the last quarter.

5. But what about digital listening? Well, in London digital listening (so DAB, web, apps and digital TV listening combined) now slightly out-performs analogue radio (AM/FM), while nationally 39.6% of radio listening is done via digital platforms, compared to 36.6% last year.


Classical site hires new head of content
Classical music website Sinfini Music has announced the appointment of Freya Hellier, a former Radio 3 producer, to the new role of Head Of Content.

Confirming the hire, the website's GM Tina Poyser told reporters: "We're delighted to welcome Freya as Head Of Content. Her creative approach and deep musical understanding, combined with her broadcasting and digital background, give her a unique perspective on classical music and how to grow its place in our ever-changing cultural landscape".

Hellier herself added: "Working with events, broadcasting and digital content making, I've consistently sought new ways to tell the story of classical music, and I'm excited to be joining the team at such a pivotal time in Sinfini Music's expansion".

Launched in 2012, Sinfini provides a mix of editorial and educational content around classical music, as well as working with an assortment of major classical music events, including the Edinburgh International Festival, for which it will be digital media partner for a second year running this summer.

  Approved: Pinkshinyultrablast
Another band, like The Big Moon, to have their name echoing around Brighton during The Great Escape this year where Russian shoegazers Pinkshinyultrablast.

As names go, there's suits them fairly well, the ethereal vocals and twee melodies backed up by guitars layered and layered into a thick wall of sound. They released their debut album, 'Everything Else Matters', in January, which in just eight tracks manages to convey the vast talent of the band.

If you didn't catch them at TGE or before, you sadly missed a UK tour that covered the country pretty well, including three London shows. However, if you're happy to wait (which you'll have to be), you can catch them back in the capital at XOYO on 6 Oct.

Here's recent-ish single 'Umi', which came out through Club AC30 earlier this year.
CLICK HERE to read and share online

Madonna postpones start of tour over perfection concerns
Madonna has rescheduled the first five shows on her 'Rebel Heart' tour, which was due to begin at the end of August, because the show is a complete disaster and won't be ready by then. Well, I'm paraphrasing slightly. Apparently it's an ambitious show that's taking longer than expected to pull together.

"As my fans already know, the show has to be perfect", the singer said in a statement. "Assembling all the elements will require more time than we realised. I apologise for any inconvenience this may cause my fans. I can promise you this show will be worth the wait. Can't wait to share it with all my Rebel Hearts out there".

A claim that the delay is due to the singer endlessly practicing putting on and taking off a cape, lest there be a repeat of that whole BRITs thing, are a means of dragging out this story slightly longer and are entirely fabricated by me.

Unless there are any more setbacks, the tour will begin in Montreal on 9 Sep. The rescheduled dates in Atlanta and Puerto Rico have been moved to January.

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 | 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.
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SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
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Caro helps oversee the CMU media, while as a Director of 3CM UnLimited 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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