FRIDAY 6 NOVEMBER 2015
TODAY'S TOP STORY: The world's biggest music publisher, so that'll be Sony/ATV, yesterday announced an "unprecedented" direct licensing deal with Pandora. This pre-empts any future change to collective licensing rules Stateside, and means America's biggest streaming service will now agree rates directly with the Sony publishing firm, rather than relying on fees set in the country's... [READ MORE]
 
TODAY'S APPROVED: Fabric moves into house pastures tonight, with the main draw being the amazing Mr Kerri Chandler for six solid hours! Chandler is one of deep house music's ambassadors and has been injecting his blend of soul into the music since the early 90s, with his prolific production work and famed mammoth DJ sets. The 6:23 Kaoz man has full control over this... [READ MORE]
 
BEEF OF THE WEEK: Did I ever tell you about the time I saw Sleigh Bells live? Well, it was an in-store at Rough Trade East around the time of the release of their first album. I bought the record on twelve-inch vinyl picture disc too. Remind me to show you it next time you're round, it's quite cool. Very distinctive. It'll be a right fucker to find, actually. My vinyl's all in a completely random... [READ MORE]
   
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including Pandora's "unprecedented" licensing deal with Sony/ATV, the MegaUpload extradition case, UK Music's 'Measuring Music' report on just how much money the music industry is pumping into the UK economy, and the week in Bieber news. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Sony/ATV announces direct licensing deal with Pandora
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LEGAL Neil Fox sexual abuse trial begins
Cliff Richard re-interviewed by police
JUMP | ONLINE
DEALS Kaiser Chiefs renew publishing and recording deals
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LIVE BUSINESS AIF and MU launch Fair Play For Festivals agreement
Attitude Is Everything and AIF collaborate on new access information drive
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DIGITAL & D2F SERVICES Facebook has another go at doing stuff with music
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AWARDS Festival Congress dishes out awards to indie fests
UK Music Video Awards presented
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ONE LINERS John fucking Lewis, Carly Rae Jepsen, Coldplay, more
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AND FINALLY... Beef Of The Week #278: Sleigh Bells v Demi Lovato
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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.
 
 
ALPHA MUSIC PUBLISHING - FINANCE & ROYALTIES MANAGER (LONDON)
Alpha Music Publishing are looking for a permanent Finance & Royalties Manager to be based at their East London office and to commence in January 2016 with remuneration based on experience.

For more information including a full job description and how to apply click here.
   
CR2 RECORDS - DIGITAL CONTENT MANAGER (LONDON)
We are now looking for a fully competent and experienced Digital Content Manager to manage the scheduling and delivery for all our digital releases covering singles, artist albums and compilations to all digital retailers ensuring quality control and accurate, timely delivery for our very busy schedule.

For more information including a full job description and how to apply click here.
   
WARP RECORDS - JUNIOR BUSINESS AFFAIRS ADMINISTRATOR (LONDON)
Warp Records is seeking a full-time Junior Business Affairs Administrator to assist with the day to day running of the department which oversees legal and business affairs operations across the entire Warp group of companies.

For more information including a full job description and how to apply click here.
   
MUSIC CONCIERGE - CLIENT SERVICES MANAGER (HERTFORD)
Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for a Client Services Manager to manage our expanding creative and account management teams and oversee the smooth day-to-day operations of the business, whilst liaising at senior level with world-class brands.

For more information including a full job description and how to apply click here.
   
MUSICIANS' UNION - NORTH OF ENGLAND REGIONAL OFFICER (MANCHESTER)
The Musicians' Union represents over 30,000 musicians working in all sectors of the music business. As the Regional Officer, your broad knowledge of the music industry will enable you to play a full and effective role in the delivery of services to our members within the Region.

For more information including a full job description and how to apply click here.
   
IMPRESSIVE PR - SENIOR MUSIC PR (LONDON)
Impressive PR are looking for an experienced Senior Music Publicist salary approx £25-35K+ dependent on experience, specifically for publicists who know the job and have excellent music media contacts and potential to bring in their own clients.

For more information including a full job description and how to apply click here.
   
COMPOSED - CUSTOMER SERVICES EXECUTIVE (LONDON)
Composed is a digital start-up from Universal Music Group, the global music leader. We are recruiting for a full-time Customer Services Executive to support the needs of our ever-growing customer base. This position would suit a tech-savvy graduate with a passion for classical music and previous experience in a customer service role.

For more information including a full job description and how to apply click here.
   
WFS COMMUNICATIONS - MUSIC, BRAND & EVENTS PUBLICIST (LONDON)
WFS Comms is looking for an experienced publicist to work across music, brand and event publicity. We need a music obsessive, with good, long standing contacts, sharp strategic thinking and experience pitching on new business with great presentation skills.

For more information including a full job description and how to apply click here.
   
MUSIC PUBLISHERS ASSOCIATION - MEMBERSHIP MANAGER (LONDON)
The Music Publishers Association is seeking a self-motivated, proactive, confident and sociable Membership Manager to manage its membership base, driving expansion whilst continuing to build on existing relationships with members.

For more information including a full job description and how to apply click here.
   
MPA GROUP OF COMPANIES - EVENTS MANAGER (LONDON)
The recently reorganised MPA Group of Companies is seeking a highly organised, well connected, confident and creative Events Manager to be responsible for the planning and delivery of its full and varied events calendar.

For more information including a full job description and how to apply click here.
   
MPA GROUP OF COMPANIES - PROJECT CO-ORDINATOR (LONDON)
The recently reorganised MPA Group of Companies is seeking a highly organised, multi-tasker with strong analytical and research skills, working closely with its Chief Executive to take on, develop and see through the completion of specific projects across all companies in the MPA Group.

For more information including a full job description and how to apply click here.
   
MPA GROUP OF COMPANIES - TEAM ADMINISTRATOR (LONDON)
The recently reorganised MPA Group of Companies is seeking a highly organised, pro-active, efficient and positive team player to work as its Team Administrator, taking responsibility for specific licensing related duties as well as offering admin support to its staff and assisting with the smooth running of its office.

For more information including a full job description and how to apply click here.
   
THE ORCHARD - INTERACTIVE MARKETING MANAGER (LONDON)
We’re looking for a savvy, seasoned music marketer to promote The Orchard’s distributed artists in Europe and beyond. The ideal candidate’s specialty lies in creating and executing strategic marketing campaigns designed to generate publicity and awareness, build audiences, engage fans, and drive sales and revenue for new releases and catalogue titles.

For more information including a full job description and how to apply click here.
   
LISTEN UP - EVENT PRESS CO-ORDINATOR (LONDON)
We are currently hiring an experienced Events Press Co-ordinator to join the events team at Listen Up. The candidate will need one year of experience in print and online events campaigns.

For more information including a full job description and how to apply click here.
   
DOMINO PUBLISHING - COPYRIGHT & PUBLISHING ASSISTANT (LONDON)
Domino Publishing requires a passionate music person to assist the copyright and royalties staff. This is a unique opportunity to work within the worldwide hub of a young, expanding music publishing company and help us provide an unrivalled and exemplary service to our songwriters and publishers.

For more information including a full job description and how to apply click here.
   
CHALK PRESS AGENCY - ONLINE MUSIC PR (LONDON)
The Chalk Press Agency are seeking an experienced Online Music PR. The ideal candidate will have at least three years experience in online press with an unwavering passion for breaking new artists, and re-introducing global names with sharp, ideas-driven campaigns, and with proven results.

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
 
 
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
 
09 Nov 2015 CMU Insights Seminar: Live, Brands & Fans
CLICK FOR INFO
16 Nov 2015 CMU Insights Seminar: Building A Fanbase - Social Media Tools
CLICK FOR INFO
18 Nov 2015 CMU:DIY x Urban Development Industry Takeover Seminar
CLICK FOR INFO
20 Nov 2015 CMU Business Editor Chris Cooke appears at Finding The Future
CLICK FOR INFO
21 Nov 2015 CMU:DIY x The Roundhouse Artist Toolkit Day
CLICK FOR INFO
23 Nov 2015 CMU Insights Seminar: Building A Fanbase - Music Media
CLICK FOR INFO
30 Nov 2015 CMU Insights Seminar: Building A Fan-Orientated Business
CLICK FOR INFO
07 Dec 2015 CMU Insights Masterclass: Navigating The Digital Market
CLICK FOR INFO
10 Dec 2015 CMU:DIY x Urban Development Industry Takeover Seminar
CLICK FOR INFO
18 Jan 2016 CMU Insights Seminars: How The Music Business Works Programme
CLICK FOR INFO
10 Feb 2016 CMU Insights Masterclass: Key Developments In Music Rights
CLICK FOR INFO
 

Sony/ATV announces direct licensing deal with Pandora
The world's biggest music publisher, so that'll be Sony/ATV, yesterday announced an "unprecedented" direct licensing deal with Pandora. This pre-empts any future change to collective licensing rules Stateside, and means America's biggest streaming service will now agree rates directly with the Sony publishing firm, rather than relying on fees set in the country's rate courts.

Pandora has, in the main, licensed song rights via the collective licensing system to date, so via American performing rights organisations like BMI and ASCAP. Where the music industry licenses collectively extra regulation applies, to counter competition law concerns about the collective licensing approach. In the US, this regulation stems from the so called 'consent decrees'.

Usually that extra regulation includes a process for when a licensee or group of licensees cannot agree terms with a society, with some sort of statutory body set up to mediate and ultimately set rates where disputes occur. In the US that is the rate court, and Pandora has made good use of that system to try to keep the royalty rates it pays songwriters and publishers as low as possible.

So much so, a few years back the big publishers, including Sony/ATV, decided they would pull their digital rights out of the collective licensing system and force Pandora into direct deals where the rights owners would have a stronger negotiating hand, and the rate court could not intervene. The big publishers are already licensing multi-territory digital services directly in Europe (albeit via partnerships with the collecting societies).

But - even though some direct deals were actually negotiated with Pandora - it then went to court and argued that, under the consent decrees, the publishers couldn't do partial withdrawal from the collective licensing system.

A judge agreed, saying that the publishers either had to offer collective licensing as an option to all licensees of the performing rights in their songs - so radio, live performance, bars, restaurants, digital and so on - or to none. So to force Pandora into a direct deal, a publisher would have to start licensing every radio station, bar, restaurant and so on directly too, and nobody wants to have to do that.

Here's the thing though, while the publishers are obliged to provide performing right licences via the collecting societies, in the US the digital services still have the option to circumvent the collective licensing system, if they so wish, and do a direct deal. Though usually they would only do so if they could get a better rate directly than collectively, and why would the publisher agree to rates lower than they are already getting via their collective licensing system? Well, if the digital service offers marketing or other kickbacks, possibly.

Either way, BMG announced a direct deal with Pandora over a year ago. Meanwhile Sony/ATV and the other big publishers got busy lobbying the US Department Of Justice to amend the consent decrees, so to allow partial withdrawal. The DoJ is now reviewing the decrees, and it's thought it will introduce more flexibility into the rules so that publishers can use BMI/ASCAP for some scenarios, but license direct in others.

However, the Sony/ATV deal pre-empts all of that. And crucially, the publishing giant says that, under the direct deal, it will get better rates than it currently receives via BMI and ASCAP. Why would Pandora agree to that, when it currently doesn't have to do a direct deal at all? Well, it seems, 'more security'.

With a wobbly share price, perhaps Pandora would rather pay slightly more than face the insecurity of what might happen next in the collective licensing domain. Perhaps it's fed up of all the tricky and expensive legal wrangling, and the bad press that comes with pursuing royalty battles in public through the rate courts.

Perhaps it knows partial withdrawal is incoming anyway. Or perhaps, following the departure of the streaming firm's VP Of Business Affairs Chris Harrison in August, the top guard at Pandora are no longer in the mood for a fight. Because Harrison led many of the legal fights to reduce royalty obligations. And he's at Sirius now, let them do the fighting I say.

Either way, Sony/ATV chief Marty Bandier - who has been particularly vocal on digital royalties, and them being too low for publishers - is definitely pleased with the new deal with the big bad (or now, presumably, super fine) Pandora.

He told reporters: "We believe that this agreement with Pandora is a major step in the right direction to ensure that our songwriters are fairly compensated for the use of their music on streaming services. We are pleased that our songwriters will begin to enjoy the benefit of better rates on one of the most important platforms for music consumption and discovery. It is part of our ongoing strategy to ensure that all digital music services recognise the indispensable value that the words and music of a song bring to their businesses".

Pandora boss man Brian McAndrews was smiling too about this new deal covering "Sony/ATV's storied catalogue" (which is his favourite term, given he described BMG's repertoire the same way a year ago). He said yesterday: "This is a significant milestone in our long-standing effort to strengthen ties with the music maker community".

And: "Over ten years, Pandora has built music's most powerful marketing engine, which we put into action every day for Sony/ATV's storied catalogue. By partnering directly with Sony/ATV, we are proud to lock in our opportunity to connect an incredibly talented community of songwriters with streaming music's largest and most passionate audience".

Bandier, you will notice, was keen to stress that this deal was all about fairly compensating the tune writers. Though said songwriters might now be wondering exactly how all this is going to work.

When royalties are paid to BMI and ASCAP, half the money goes straight to the songwriter. In Europe, when direct licensing occurs in digital, the performing rights loot still goes through the societies, so these direct payments continue. Will that happen here? And if not, what if there are songwriter contracts in the system that say performing rights money must go through the writer's society?

Meanwhile, does this direct deal only apply to American-signed Sony/ATV songwriters? That is to say, those who are BMI or ASCAP members. Presumably so, because outside the US, the PROs generally represent the performing rights in songs on an exclusive basis, so that in the UK - even where a song is published by Sony/ATV - the performing rights element of the copyright is basically assigned to PRS.

Therefore the publisher can't just cut the collecting society out of the system, which is why direct licensing in Europe has to be done in partnership with the societies. PRS repertoire is currently licensed in the US via its reciprocal agreements with BMI and ASCAP. What does this deal mean for all of that?

And what about co-writes, where one songwriter on a song is not published by Sony/ATV, or not repped directly by BMI or ASCAP? What happens when there are disputes over splits and ownership, conflicts that are traditionally resolved within the collecting societies?

Oh so many questions. And presumably the Sony publisher will need to provide Pandora with a nice long list of all the songs it controls, including those owned by EMI Music Publishing, which Sony/ATV manages but doesn't own outright. That's a list lots of people would like to see.

BMG is over a year into its direct dealing with Pandora, so there may be some precedents already in place here for Sony/ATV to follow in its "unprecedented" deal. Though it's currently far from clear how all this is going to work day to day. But Bandier would likely say, with the better royalties, all the stakeholders will benefit here, so everyone has a vested interest in making the direct licensing of Pandora work.

Meanwhile, we all turn to Universal Music Publishing to see if it can persuade McAndrews et al to voluntarily go the direct dealing route too.

Neil Fox sexual abuse trial begins
The trial of Neil Fox began yesterday, with the former radio presenter accused of exploiting his fame to sexually abuse women and girls as young as fourteen over a number of years.

As previously reported, Fox was arrested in September last year accused of sexual offences against two women. Further charges were added as more alleged victims came forward and, as the trial began yesterday, he faced fifteen charges in total in relation to alleged assaults against nine women between 1988 and 2014.

Shortly before the trial officially began, Fox was actually cleared of five of those charges. However, he still faces accusations of eight counts of indecent assault and two of sexual assault.

One of his accusers, who says she was aged fourteen at the time of her alleged attack, claims that Fox forced his tongue into her mouth when she met him at a motor show in 1991. There is a similar allegation that he kissed a fifteen year old girl at a theme park in 1996.

Another alleged victim was aged fifteen when, she says, Fox molested her in an underground carpark at Capital FM in 1988. Prosecutor John Price told the court that subsequently "she would regularly go to his flat [and] intimacy would occur between them", telling the court that this allegation is "conspicuous for its seriousness".

The court also heard that the accuser who triggered the initial police investigation was a colleague at Magic FM, whom Fox allegedly groped.

Two other former colleagues have also come forward, one alleging that he kissed her shoulder telling her "you taste so good", another saying that he told her that he'd had a dream about her the previous night, saying: "I was fucking you up against that wall. I could do it right now. I could fuck you up against that wall right now".

Price told the court that the timespan of the accusations "demonstrated a long-standing propensity on behalf of Mr Fox to impose himself sexually on young adult women".

Fox denies all the charges against him. The trial continues.

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Cliff Richard re-interviewed by police
Cliff Richard has been re-interviewed by police over allegations of sexual assault, a spokesperson for the singer said in a statement yesterday.

As previously reported, Richard was questioned under caution by police last year following a raid on his Berkshire home. He is accused of sexually assaulting a boy under the age of sixteen at a Christian faith rally in 1985, though he has never been arrested or charged.

A spokesperson told reporters: "Other than restating that the allegations are completely false and that he will continue to co-operate fully with the police, it would not be appropriate for Sir Cliff to say anything further at this time".

It is not currently known why police called Richard in for further questioning.

Kaiser Chiefs renew publishing and recording deals
Those Kaiser Chiefs, who despite what you might think are still going, have signed a new global publishing deal with Imagem. Not only that, but they've also renewed their record deal with Fiction Records. This is all in preparation for the release of their as-yet-unrecorded sixth studio album. What a world.

Imagem MD Kim Frankiewicz attempted to justify this by saying: "Our history with the Kaisers goes back to the very beginning at Imagem. As a band they have evolved and the spirit of their songwriting has an unbound energy. I'm delighted to be working with them once more, this time on a global basis, working alongside our offices in Europe, North America, as well as our partners throughout the world".

James Sandom of Redlight Management pleaded: "We're delighted to sign a direct deal for Kaiser Chiefs with Imagem Music. Imagem has proven a dedicated and creative home for the band since the acquisition of Rondor Music in 2008‎, helping secure a number of substantial licenses and showing the attention to detail any artist would wish for from their publisher".

Kaiser Chiefs have sold over six million albums. And let's not forget that they played the O2 Arena earlier this year. If I'm being honest, I don't really have anything against them, I just find this all really confusing. Though they were first to predict those 2011 riots, and a whole seven years early. Perhaps that's it.

AIF and MU launch Fair Play For Festivals agreement
The Association of Independent Festivals used its Festival Congress event in Cardiff yesterday to announce a new agreement with the Musicians' Union called the Fair Play For Festivals agreement, which, the two organisations say, "will mutually benefit emerging artists who are represented by the MU and the AIF's 55 member festivals".

An extension of the MU's existing 'Fair Play' initiative, the new document provides guidance and standards for emerging artists and independent festival operators in areas like remuneration, promotion, logistics and advance information. The alliance recognises the importance independent festivals play in the careers of emerging talent, and the importance of said acts to said events, and aims to enhance working relationships.

Says AIF General Manager Paul Reed: "This agreement covers a lot of ground and, in many cases, the festivals will already be fulfilling such conditions for emerging artists. The idea is to provide practicable and realistic guidance and, crucially, a balanced agreement that will work for promoters and artists alike. UK festivals are one of the main incubators for emerging talent in the UK and this agreement acknowledges the importance of such artists to our members".

Meanwhile, the MU's Live Performance Official Kelly Wood added: "Our 'Fair Play' initiative encourages good, clear relationships between artists and employers based around fair deals and it is exciting to be taking this into the festival sector".

She went on: "Festival slots are invaluable for emerging artists looking to reach new audiences and we therefore embraced the opportunity to work with the AIF in order to create a mutually beneficial agreement. With the input of our members we've been able to achieve an agreement whereby the terms are relevant, realistic and will encourage a good working relationship between artists and festival organisers".

For more on the agreement check www.aiforg.com/fairplay

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Attitude Is Everything and AIF collaborate on new access information drive
Elsewhere at the Festival Congress, the Association Of Independent Festivals also announced a new collaboration with Attitude Is Everything, the charity that encourages the live music sector to improve accessibility to its events for deaf and disabled music fans.

The joint project will see AIF encourage festivals to do possibly the simplest thing promoters can do to help deaf and disable customers: provide decent information about access and facilities at their events online. This information, Attitude Is Everything points out, "is absolutely crucial, and often determines whether disabled music lovers will choose to attend a festival or gig in the first place".

AIF will provide its members with an easy-to-use template via which they can set up an access information page on their websites that includes all the required information. Events that do so will then be allowed to stick an 'Access Starts Online' stamp of approval on their websites and social media. The Access Starts Online initiative will then be extended beyond the indie festival community to all venues and music events.

Says Attitude Is Everything CEO Suzanne Bull: "The Access Starts Online campaign does exactly what is says on the tin. A lack of access information on event websites is a major barrier to deaf and disabled fans enjoying live music, and in most instances will influence whether they actually buy a ticket in the first place".

She goes on: "Attitude Is Everything is delighted to be partnering with the Association Of Independent Festivals for the campaign's launch. Not only do they represent some of the UK's most exciting live events, including many of my personal favourites, but as an organisation they have consistently taken a strong stand on issues that impact upon music fans such as ticket touting or legal highs. We look forward to working closely with them in future".

Facebook has another go at doing stuff with music
Facebook is having another crack at adding a compelling music feature. Well, it was about time. And at least this one is quite simple: if you post Spotify or Apple Music links onto your Facebook timeline, people seeing them in the social network's iPhone app will be able to listen to 30 second clips.

Users who have accounts on either of those services will then be able to do more stuff with the music - though mainly save shared tracks to their streaming libraries if they so wish. Luddites will also be able to purchase the tracks from iTunes.

"We hope by making this experience better, artists will share more, friends will share and engage more, and music will become a better part of the Facebook experience overall", said Facebook Director Of Product Michael Cerda in a statement.

Support for more streaming services and availability of the feature on more devices are expected soon.

Here's a video of it all working, just to prove none of this was a lie.

  Vigsy's Club Tip: Fabriclive at Fabric
Fabric moves into house pastures tonight, with the main draw being the amazing Mr Kerri Chandler for six solid hours!

Chandler is one of deep house music's ambassadors and has been injecting his blend of soul into the music since the early 90s, with his prolific production work and famed mammoth DJ sets. The 6:23 Kaoz man has full control over this club tonight; and rightly deserved.

That's not to say there's no one else worth checking out during the night though. Also in Room One will be Voyeur, while in Room Two are DJ Wild, Jerome Sydenham and Stephane Ghenacia.

Friday 6 Nov, Fabric, 77a Charterhouse Street, London, EC1M 6HJ, 11pm - 7am, £8 - £22. More info here.
CLICK HERE to read and share online
 

Festival Congress dishes out awards to indie fests
So, the Festival Congress got underway in Cardiff yesterday, as we may have already mentioned. Last night the event's awards bash took place. And if you think I'm just going to put all the winners in a list... well, yeah, of course I am.

Not until I've quoted Association Of Independent Festivals' General Manager Paul Reed though. Obviously. Because that's the law, Paul Reed quote first, winners list later. And if you don't like that, you'll just have to write a letter to your MP.

"What a way to kickstart the Festival Congress", said the law abiding Reed. "Our members vote for the awards and the fact that we have winners who are yet to join AIF speaks volumes about the festival community. It was a strong shortlist, so congratulations to all of the winners!"

And here they are...

New Festival On The Block (No More Than Three Editions): Camp Wildfire

Unique Festival Arena: The Hidden Hedge, Blissfields

Mind Blowing Spectacle: Boomtown's Palace, Boomtown Fair

Best Smart Marketing Campaign Of The Year: Boomtown Fair's Spoof Videos

Emmet Brown Award For Innovative Use Of Technology: Shambala - The First UK Festival To Accept Bitcoin As Payment

Live Act Of The Year: Slaves

Festival Journalist / Website Of The Year: Simon Godley, God Is In The TV Zine

Unsung Hero: Chris Tofu, Continental Drifts

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UK Music Video Awards presented
Back in London, the UK Music Video Awards took place last night. Unfortunately Paul Reed didn't say anything about these awards, which technically means this news story contravenes the strict 'music award reporting laws'. Though I'm going to plead the David Knight defence. I'm still taking a risk here, but - as they taught me on day six of law school - the David Knight defence is not without precedent.

And so here we go. MVAs Editorial Director David Knight says: "The most creative work and greatest achievements in music video in the past year were honoured at the biggest ever UKMVAs, at the historic Roundhouse. Masters of the modern music video, including David Wilson and Colin Tilley, shared the stage with David Mallet, one of the pioneers, highlighting British music videos' rich tradition. Now with music videos being more important than ever before, the spectacular line-up of winners shows what can be achieved when music video makers are given creative freedom to express themselves".

Thanks Dave. Especially for doing your best Paul Reed impression while delivering those words. I'm pretty confident the authorities haven't even noticed my law-breaking here. Which means I can now confidently publish the list of MVA winners. Are you ready? Let's go...

Best Pop Video UK: Mark Ronson feat Bruno Mars - Uptown Funk
Best Pop Video International: Rihanna - Bitch Better Have My Money
Best Pop Video Budget: Aquilo - Losing You

Best Rock/Indie Video UK: Royal Blood - Out Of The Black
Best Rock/Indie Video International: Tame Impala - Let It Happen
Best Rock/Indie Video Budget: Naïve New Beaters - Run Away

Best Dance Video UK: Leftfield & Sleaford Mods - Head And Shoulders
Best Dance Video International: Tiga - Bugatti
Best Dance Video Budget: Lorn - Acid Rain

Best Alternative Video UK: The Staves - Black & White
Best Alternative Video International: Flying Lotus feat Kendrick Lamar - Never Catch Me
Best Alternative Video Budget: Son Lux - Change Is Everything

Best Urban Video UK: Rag N Bone Man feat Vince Staples - Hell Yeah
Best Urban Video: Kendrick Lamar - Alright
Best Urban Video Budget: Dels - Burning Beaches

Video Of The Year: Kendrick Lamar - Alright
Best Lyric Video: The Shoes - Feed The Ghost
Best Interactive Video: Cee Lo Green - Robin Williams
Best Live Music Coverage: Lenny Kravitz - Just Let Go
Best Music Documentary: The Wrecking Crew

Best Art Direction & Design In A Video: Tiga - Bugatti
Best Styling In A Video: Rihanna - Bitch Better Have My Money
Best Choreography In A Video: Sia - Elastic Heart
Best Cinematography In A Video: Kendrick Lamar - Alright
Best Colour Grade In A Video: Rudimental - Never Let You Go
Best Editing In A Video: Royal Blood - Out Of The Black
Best Animation In A Video: Royal Blood - Out Of The Black
Best Visual Effects In A Video: Black Atlass - Jewels

Best Commissioner: James Hackett
Best Producer: Sarah Tognazzi
Best New Director: Helmi
Best Director: David Wilson
Best Artist: Flying Lotus
The Icon Award: David Mallet

John fucking Lewis, Carly Rae Jepsen, Coldplay, more

Other notable announcements and developments today...

• Yet another sad result of the lack of music slots available on British TV these days means that the launch of the John Lewis Christmas advert remains 'a thing' people get excited about. You know it's an advert, right? You're not allowed to get excited about adverts. Anyway, Aurora is singing on it this year, covering Oasis' 'Half The World Away', and we approved her earlier this year, so that's nice.

• Carly Rae Jepsen cancelled her show in Bucharest last night "out of respect to everyone affected by the tragic fire" at the Colectiv Club in the city last week. There are also growing safety concerns around live events in Romania, after the country's Prime Minister Victor Ponta resigned following claims that officials had taken bribes to ignore venues failing to adhere to safety regulations.

• Coldplay, as no one will be surprised to learn, have confirmed that they are releasing a new album on 4 Dec. It's called 'A Head Full Of Dreams'. The first single is 'Adventure Of A Lifetime' and can be heard here.

• Just like that, out of nowhere, Rustie released a new album out of nowhere. It's called 'Evenifudontbelieve'. And even if you don't believe he released this album, here's a website telling you of all the places you can listen to it.

• People like Banks, don't they? I've never really got her music, to be honest. Though apparently her new single is better. Oh wait, no, it's just called 'Better'. Here it is.

CMU Beef Of The Week #278: Sleigh Bells v Demi Lovato
Did I ever tell you about the time I saw Sleigh Bells live? Well, it was an in-store at Rough Trade East around the time of the release of their first album. I bought the record on twelve-inch vinyl picture disc too. Remind me to show you it next time you're round, it's quite cool. Very distinctive.

It'll be a right fucker to find, actually. My vinyl's all in a completely random order at the moment and it's a bit of pain to find anything that doesn't have the title written on the spine. Even then it can be quite difficult. And the Sleigh Bells album - 'Treats' it's called - is just a picture disc in a clear plastic sleeve. Bloody nightmare. But, as I say, very distinctive when you actually see it.

Oh, yeah, I was talking about seeing them live. It was in Rough Trade East, as I've already mentioned, and now I think about it, I don't actually remember that much about the performance, except for standing among the racks of the shop feeling that very distinctive guitar sound shuddering through me.

Way back in 2010 it was. No wonder my memory is a little hazy. Some things never leave you though, do they? Those guitars, the distortion created by everything being turned up so loud, the incredibly distinctive drum patterns. Those you wouldn't forget. Not ever. They were so very distinctive. 'Infinity Guitars' and 'Riot Rhythm' in particular.

Anyway, changing the subject slightly, Demi Lovato has a new album out. It starts really well but gets a bit tedious as it progresses. Which is a shame. But the first three tracks are very enjoyable. 'Stars', one of them is called. And it has these very distinctive drums.

So distinctive, that even Sleigh Bells noticed them, and they tweeted Lovato this week to say: "[We're] flattered you guys sampled 'Infinity Guitars' and 'Riot Rhythm' for 'Stars' but we were not contacted. Gotta clear those".

Of course, it's very hard to prove that one drum pattern is exactly the same as another. Especially if it's been slowed down slightly and had a couple of effects thrown in. So I'm not saying Demi Lovato did sample drums from two Sleigh Bells tracks. Just that it's weird that two drum parts that sound very similar to sections of two separate Sleigh Bells songs have appeared in one other song by someone else entirely. Still, it could be coincidence.

That's what producers Carl Falk and Rami say, anyway. They told Entertainment Weekly: "We did not use any samples in Demi Lovato's song 'Stars'. Demi was also not involved with the production. She only wrote top line".

So, hey guys, Demi Lovato wasn't even involved in this sampling that didn't happen, so lay off, right? But a rep for Sleigh Bells countered: "I can confirm that the band feels their music has been sampled without proper clearance and are seeking all available remedies with [Lovato's label] Island Records".

If nothing else, sampling archive WhoSampled also reckons that 'Infinity Guitars' is sampled on 'Stars'. Though I'm not sure if that is admissible in court. Not that a case like this would ever get to court. The problem for smaller artists in situations like this is that it's costly to hire lawyers to fight your case, while major labels have better lawyers on retainer already. So "all available remedies" often just means "passively aggressively tweeting about it".

Though it might help their case to learn that Lovato was named the winner of Billboard's first Rulebreaker Award at the 2015 Billboard Women in Music Awards, which are set to be handed out next month. Unauthorised sampling definitely counts as breaking a rule.

You know, I heard what I thought was the 'Infinity Guitars' drums sampled somewhere else once. I wish I could remember where. They're quite easy to spot, what with them being so distinct and all. Still, that might have been a total coincidence. As it may be here too.

Listen for yourself.

Here's 'Infinity Guitars'.

And here's 'Riot Rhythm'.

And now here's 'Stars'.

 
ANDY MALT | Editor
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