TODAY'S TOP STORY: So, the Copyright Royalty Board in the US yesterday delivered what could be seen as a mixed bag ruling over the rates online radio services in the US must pay in the coming five years, though it was Pandora which was smiling, while record industry rep SoundExchange is "reviewing the decision closely and considering all of our options". As much previously reported... [READ MORE]
TODAY'S APPROVED: Every day this week in the CMU Approved slot, we'll be looking at one of our five favourite artists of 2015. Today, Everything Everything... Whatever it was Everything Everything were attempting to achieve all this time, it really felt like they nailed it in 2015 with their third album 'Get To Heaven'. First single 'Distant Past', released in February, was a near... [READ MORE]
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including Spotify considering windowing releases off its freemium service, the European Commission's Digital Single Market review, Labour's proposals on the agent of change principle, and the Wu Tang Clan's single-copy album buyer. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Pandora happier than SoundExchange following mixed-bag CRB royalty rate ruling
DEALS REM sign with Concord Bicycle
LABELS & PUBLISHERS MPG steps up campaign to save AIR Studios
LIVE BUSINESS Paris live sector recovering, as Eagles Of Death Metal announce new European dates
Mumford & Sons negotiate extension on public consultation for government's secondary ticketing review
DIGITAL & D2F SERVICES Spotify Party mixes the tunes so you don't have to
ARTIST NEWS Madonna video breakdown identifies unwelcome "diva bitches"
Nine Inch Nails and Russell Mills to publish art book
ONE LINERS TuneCore, Kobalt, Adele, more
AND FINALLY... Lewis Hamilton Formula One champion and... popstar?
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.
We are looking for a highly motivated and creative individual to be the Press Officer for an exciting venue re-launch in London.
The ideal candidate will have at least a year's experience in the PR industry, with a passion for nightlife, music and food, and a keen eye for detail. We are looking for someone who has the ability to deliver excellent press coverage, offer fresh ideas for our communications strategies and thrive under a heavy work load.

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Warp require an experienced person to lead promotions and marketing at physical retail and distribution, as well as the broad array of digital download and streaming services. This is a senior role in our sales and marketing team and you will be responsible for creating and implementing innovative retail focused sales and marketing campaigns, across new releases and catalogue, both in the UK and internationally.

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Taking place at multiple venues over 10-20 March 2016 Convergence is a celebration of music pioneers, visual artists and technologists. This role is required to implement Convergence 2016 marketing plan as set by the festival’s Marketing Director.

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You will join a small, young and energetic team of events organisers to take over the delivery of the festival marketing strategy. Your skills and expertise will be used to build on our previous success and support the festival growth with increased ticket sales and a strengthening brand profile.

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The British Academy Of Songwriters, Composers & Authors is seeking a Member Events And Marketing Co-ordinator.

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A crucial role at the RFB, this is a role for an ideally experienced person in the music industry, working with the Head Booker and full team on liaising with Booking Agents, Managers and the wider industry on constructing and actioning marketing plans and creative marketing ideas.

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We are hiring for a fantastic entry level position for someone looking to become fully employed in the live music industry. The role will be working directly with the Head Booker on the booking of new talent and bringing new acts into the fold, forging new relationships with industry - agents / managers / artists. Watching a wealth of new acts and looking to work closely with new music.

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The Production Manager role at B-Line Festival Bars is an exciting opportunity for a person with the right experience and career interests to work on a number of major outdoor music festivals and brand activations through primarily the provision of public bars.

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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.
18 Jan 2016 CMU Insights Seminars: How The Music Business Works Programme
18 Jan 2016 CMU Insights Seminar: Making Money From Music
25 Jan 2016 CMU Insights Seminar: How Music Rights Work
1 Feb 2016 CMU Insights Seminar: How Music Licensing Works
8 Feb 2016 CMU Insights Seminar: The Music Rights Sector
10 Feb 2016 CMU Insights Masterclass: Key Developments In Music Rights
15 Feb 2016 CMU Insights Seminar: The Live Sector, Brand Partnerships & Fan Services
22 Feb 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
29 Feb 2016 CMU Insights Seminar: Building A Fanbase - Music Media
6 Mar 2016 CMU Insights Seminar: Building A Fan-Orientated Business
6 May 2016 CMU Insights @ Canadian Music Week 2016
19-20 May 2016 CMU Insights @ The Great Escape 2016

Pandora happier than SoundExchange following mixed bag CRB royalty rate ruling
So, the Copyright Royalty Board in the US yesterday delivered what could be seen as a mixed bag ruling over the rates online radio services in the US must pay in the coming five years, though it was Pandora which was smiling, while record industry rep SoundExchange is "reviewing the decision closely and considering all of our options".

As much previously reported, online radio services Stateside - including personalised radio services like Pandora - can license sound recordings under a compulsory licence, which means labels and artists are obliged to allow these services to use their music. When a service exploits the compulsory licence it must pay royalties via collecting society SoundExchange, with rates ultimately set by the CRB.

The judges who make up that board have been busy of late considering what rates such services should pay over the next five years. Although there have been plenty of CRB rulings before, much more attention has been given to this review simply because online music services have become so key to the record industry in recent years, and personalised radio set-ups like Pandora and iHeartRadio completely dominate the streaming sector in the US in terms of users.

Needless to say, the streaming services wanted the rates they pay to be cut, while SoundExchange, speaking for the labels and artists, argued for rates to be increased, claiming that current royalty fees undervalue the music online radio platforms utilise.

Services have been paying 0.14 cents per stream in recent years. Pandora wanted that cut to 0.11 cents per stream, while SoundExchange was pushing for 0.25 cents per stream. Tiny differences per play of course, but given the high number of streams, a lot of money was actually at stake.

In the end the CRB went for something in the middle, increasing the per stream rate to 0.17 cents from next year, and then locking that to the US Consumer Price Index for subsequent years through to 2020, meaning rates will be amended every twelve months more or less in line with inflation. So, more than the digital services are currently paying, and more than they wanted to pay, but some way off what SoundExchange asked for.

It is worth noting that this figure relates only to free streams, ie where the consumer doesn't pay. It's the most important metric because the vast majority of consumers using personalised radio services like Pandora and iHeartRadio aren't paying, opting for ad-funded services. But some such streaming platforms, including Pandora, do offer a paid-for ad-free option.

On paid-for streams the rate has actually been dropped, from 0.25 cents per stream to 0.22 cents. Although that is basically bad news for labels and artists, it does make premium subscription services more viable and more attractive to the likes of Pandora, and generally the music industry is keen to push more users from the free services onto paying services. Therefore the silver-lining for the labels on that rate - if you must insist on finding one - is that it might persuade personalised radio services to put more effort into upselling premium, which even Pandora has not done a particularly good job on to date.

Not that SoundExchange itself was particularly looking for any silver lining last night, saying that it was "deeply disappointing" that online radio services were getting what it considers to be below market rates, on top of the zero rate terrestrial radio stations enjoy when it comes to sound recordings (because in the US AM/FM stations aren't obliged to pay any royalties to labels or artists).

The rights society said: "SoundExchange presented a strong case on the fair market rate for music played by webcasters utilising the statutory license. Our rate proposal used data from dozens of marketplace deals and was based on what willing buyers and sellers would agree to. Music has tremendous value and is the core foundation of the webcasting industry. It's only fair that artists and record labels receive a market price when their music is used".

It went on: "We believe the rates set by the CRB do not reflect a market price for music and will erode the value of music in our economy. We will review the decision closely and consider all of our options. As music advocates, SoundExchange represents the entire recorded music industry and we remain united on the principle that recording artists and rights owners deserve a fair market rate when their music is used".

The "considering of options" could mean that SoundExchange may as yet appeal the CRB's ruling, which also has to be approved by the US Register Of Copyright, so this big rate review may not as yet be over. But the digital services, for now, seem basically happy. Well Pandora does. And although this rate ruling affects plenty of other online operators in the US, it is the publicly listed Pandora which has had the most attention, not least because the insecurity caused by the review has caused the firm's share price to dip.

Pandora boss Brian McAndrews said he was "pleased" with the outcome because, while the new rate was higher than he wanted, it was within "our range of expected outcomes". He also welcomed the "much-needed certainty" the ruling provided (any appeals pending, of course). Though, speaking to investors, he also said that he saw Pandora doing more direct deals with the record industry in the future, meaning the firm will rely less on the SoundExchange licence during the period these new rates cover.

As previously noted, Pandora has relied heavily to date on the compulsory licenses available in the US to operate (collective licensing rules mean that there has been a virtual if not actual compulsory licence on the publishing side too).

Of late it has started doing direct deals, with indie-label repping Merlin on the recordings side, and Sony/ATV, Warner/Chappell, Songs and BMG in the publishing domain. With ambitions to expand globally and into on-demand streaming - where the SoundExchange licence does not apply - these direct deals will become all the more important.

Which could all mean that this super important ruling by the CRB actually becomes less relevant in the next few years as the biggest personalised radio service - and any of its competitors which also have global or on-demand ambitions - increasingly go the direct licensing route. But still, in the short term, Pandora can probably switch on a happy playlist today. SoundExchange may be mainly listening to something a little more mellow. Or angry. Maybe angry.

REM sign with Concord Bicycle
REM have announced a new licensing deal with independent music firm Concord Bicycle Music, which will now rep some of the band's most famous albums, LPs like 'Out of Time', 'Automatic For The People' and 'New Adventures In Hi-Fi', all originally released by Warner Bros.

Concord Bicycle will handle physical and digital releases of the records worldwide, with a number of deluxe re-issues complete with the mandatory bonus material in the pipeline. The deal will see the band working with the indie's SVP Of Catalogue Management & Development Sig Sigworth, who worked with Michael Stipe et al in the early years of their respective careers when he was at REM's original label, IRS Records.

Confirming the new arrangement, REM manager Bertis Downs said: "The band and all at REM HQ are very happy to be joining with Concord Bicycle Music for this next phase of curating and extending REM's recorded legacy. The albums covered by this agreement are some of the band's most successful, both artistically and commercially, and we know the people at Concord share our enthusiasm about this partnership".

On ending the band's alliance with Warner Music, he added: "We leave the Warner Bros family, a great label where we are certainly grateful for some of our career highlights. But moving forward, we knew this was the right time to change it up and Concord is the right home for this key part of REM's catalogue".

Meanwhile Sigworth added: "After starting my career at IRS Records and having the pleasure to work with REM, it was disappointing when the band left to go to Warner Bros. I've had the good fortune to consult with the band on their catalogue for the past several years, but to now, all these years later, be able to bring the band and their incredible post-IRS legacy to the Concord Bicycle Music family is very rewarding".

MPG steps up campaign to save AIR Studios
The Music Producers Guild has called on Camden Council to reject a planning application that threatens to cause the closure of AIR Studios in Hampstead.

The owners of a residential property next door to the studio, which was founded by Beatles producer George Martin in 1969, have applied for planning permission to excavate a new basement. Current AIR owner Paul Woolf says that this work would cause vibrations and noise that would make it impossible to record in the studio, often used for orchestral work on film soundtracks, for several months. Being out of action for this long would put the operation at risk of permanent closure.

Last week, the campaign to block the development stepped up after builders moved in next door and began work, which halted recording sessions in the studio.

According to local newspaper Ham & High, AIR's lawyers quickly fired off a letter threatening an injunction after builders were spotted moving in a large digger, writing: "You are fully aware that undertaking exceptionally noisy work, which will also cause vibrations, will not simply interrupt the recording sessions but will no doubt cause them to be abandoned by the studio users. We consider your decision to go ahead with these works in spite of the impact on our client's business to be unreasonable behaviour on your part".

Before the final draft of that letter was completed, work had apparently already begun, Woolfe telling the paper: "We had sound experts in the main hall recording the vibrations. It was enough to absolutely stop any session dead. Fortunately nobody was recording there at the time. This was just luck".

With planning permission not yet rubber stamped for the basement development, the MPG is now encouraging its members and others concerned for the future of the studio to submit objections to the work and sign a petition.

It said in a statement: "We call on Camden Council to reject this planning application and additionally demand all local authorities and government urgently take steps to better protect the UK's recording facilities, so as to not only ensure that this country remains a world leader in the production of music for film and television, but also to maintain the benefit to the UK economy generated by the music industry, as well as the countless jobs it provides for sound engineers and producers".

Queen's Brian May recently lent his support to the campaign, saying that "given the outstanding contribution to the British music and film industries which AIR Studios makes, it is almost unbelievable to me personally that Camden Council has not thrown out this developer's application already".

The architect overseeing the project, Thomas Croft, told Ham & High that endeavours were being made to work with the studio, saying: "We advised the studio in advance of these archaeological investigations and agreed times that noisy works could take place and we will continue to make every effort to avoid disturbance to the studio".

Paris live sector recovering, as Eagles Of Death Metal announce new European dates
French live music trade group Prodiss says that the country's concert business - which saw a slump in attendance after the attacks on Paris last month - has rebounded in the last couple of weeks, though not yet to pre-attack levels.

In the immediate wake of the attack on the Eagles Of Death Metal show at the Bataclan venue in Paris, in which 89 people were killed, there was an 80% drop in concert attendance in the French capital. Since then, attendance figures have rapidly risen again, though they are still 20-25% down on the same weeks a year ago. However, promoters are confident that the French live market will return to its usual figures in the next month.

Speaking to Billboard, Prodiss rep Aline Renet said: "After an significant drop in the two to three days after the 13th of November - which was understandable - figures are now going back to near normal, and promoters are expecting sales back to normal in the next few weeks. Parisians showed clearly their will to 'culturally resist' in continuing to attend shows".

The latest update on Paris's live music sector came as Eagles Of Death Metal rescheduled the European tour they were forced to cancel after the attacks, which includes their first full shows in France since Bataclan, having performed a couple of songs at a recent U2 show in Paris. The band will play the French capital again on 16 Feb, and then in Lille on 24 Feb and Nimes on 2 Mar. Although there are no new UK dates in the latest tour announcement, the band have been confirmed for next year's Reading and Leeds festivals.

Confirming the new dates, frontman Jesse Hughes told reporters: "The people of Paris have always been incredible to us, and our feeling of love towards this beautiful city and its people has been reinforced a million times over this past month. Hearing the stories of the survivors, the injured and those who have lost loved ones has been overwhelming. Not returning to finish our set was never an option. We look forward to coming back in February and continuing our mission to bring rock n roll to the world".


Mumford & Sons negotiate extension on public consultation for government's secondary ticketing review
Mumford & Sons have negotiated an extension on the previously reported public consultation that was conducted as part the government's latest review of the secondary ticketing market. Those with an opinion now have until this Friday to submit their views.

In a statement yesterday, Mumford & Sons laid out their own thoughts on the matter, urging fans to support them in calling for stronger regulation of ticketing resale sites. Although the public consultation officially closed on 20 Nov, the band said that they had personally gone into the Department of Culture, Media & Sport last week and convinced Michael Waterson, who is overseeing the review, to extend it to 18 Dec.

"By our estimation when [our latest] tour went on general sale there were roughly 6000 tickets out there on secondary ticket platforms across the UK tour, including 1500 for each night at The O2 in London", said the band. "People may argue that those tickets have already been sold and we're getting the money anyway. But that's not how we see it. We want fans of the band to be able to get into our shows for the right price, to feel that they've got value for money. We want every seat in a sold out show to be filled with a fan. Why do we care so much? Because it's not right, it hurts our fans and it's a problem for all artists".

They went on: "Behind the scenes over the years, we have tried a lot of different ways to beat the touts including trying to get as many of the tickets as possible for a show to sell ourselves through ticket companies that we choose; we hold back tickets to put back on sale at face value nearer to the show so that fans have a second bite of the cherry at buying tickets at the right price, we've cancelled thousands of orders by arduously going through ticket purchases order-by-order to weed out known touts and dodgy credit cards; we've even gone as far as to put all of the tickets in one US tour we did into a lottery system so that we were able to remove all of the touts before only inviting legitimate fans to buy the tickets. We need your help to win this battle. We urge you again to use face-value only secondary ticketing sites either to sell or buy tickets".

"We personally went in to the UK's Department of Culture, Media & Sport last Thursday morning and met with Professor Waterson who's conducting an independent parliamentary review into this issue of secondary ticketing", they finished. "We voiced our concerns, and we've been welcomed to give them more evidence of these bad practices, which we will do. In the meantime if any of you has a bad story to tell about buying tickets via secondary ticketing sites, the review would welcome your feedback".

They encouraged fans to email their views to, noting that "you will get a message back saying that the deadline for submitting evidence has passed, but we've managed to get an extension until 18 Dec".

This new review of the secondary ticketing market by the Department Of Culture, Media & Sport was announced in October. While some regulation of online ticket touting was added to the Consumer Rights Act at the end of the last parliament, it was watered down from what many wanted. However, in passing the legislation the government said that there should be another review of the market too. Which is why this is all happening now. Well, the review. The CRA didn't say anything about last minute interventions by Mumford & Sons.

Spotify Party mixes the tunes so you don't have to
Just in time for two thirds of the way through the Christmas party season, Spotify has announced new thing called Spotify Party. The new feature offers a collection of playlists professionally mixed by folks like that Diplo.

You can choose music to match the mood of your party using the 'mood tuner' and insert music into the play queue without disrupting the flow. Doesn't it sound like fun? I hope there's a mood setting for 'subdued with an undercurrent of repressed anger'.

"When it comes to throwing parties you simply have to have the right playlists - or everyone will leave", says Diplo. "And while researching and picking out music is fun, it also takes a lot of time and effort. With Spotify Party, you're served with loads of beat-matched music that transitions perfectly, which you can easily adapt to whatever your current vibe is. Best of all, you don't have to do any of the legwork".

Spotify Party is being rolled out to iOS and Android users as we speak. If you haven't got it yet, here's a video explaining a bit more.

  Approved 2015: Everything Everything
Every day this week in the CMU Approved slot, we'll be looking at one of our five favourite artists of 2015. Today, Everything Everything...

Whatever it was Everything Everything were attempting to achieve all this time, it really felt like they nailed it in 2015 with their third album 'Get To Heaven'. First single 'Distant Past', released in February, was a near perfect combination of pop and experimentation, setting a level of expectation that the final LP more than delivered upon.

In terms of favourites, it's difficult to pick one from the tracklist, but most recent single 'Spring / Sun / Winter / Dread' is the song I increasingly find myself returning to. It is perhaps the best example of the record's sound too, grabbing you with a guitar hook that they build upon, creating a base for Jonathan Higgs' often staccato and precisely, if unusually, pitched vocals. No part of the track is a simple bridge to the next section, each is paid close attention.

'Get To Heaven' sounds like an album made by a band who are thoroughly enjoying what they're doing, and who keep hearing things fall into place as they tread deeper into the recording careers. It's a record that's clearly had a huge amount of time spent on it, but it sounds like it just fell out of them fully formed.

Watch the videos for 'Regret' and 'Spring / Sun / Winter / Dread'.
CLICK HERE to read and share online

Madonna video breakdown identifies unwelcome "diva bitches"
Madonna has branded fans who complained that she was an hour late on stage in Manchester on Monday night "diva bitches". The late start also resulted in the show being cut short, though the singer said that technical problems with her video backdrop were actually to blame.

Explaining herself when she did finally arrive on stage, the singer said: "I'm not back there eating chocolate and filing my nails and getting my extensions done, alright? Tonight our video crashed and we had no video. And our back up card file was... I dunno, it was compromised, let's put it like that ... so we had to wait until we could reboot it, and it just so happens that the head of the company that created the machine is right here in Manchester. So praise the Lord and thank you God, but that is why we're late".

Those technical issues clearly and fully explained, there were still some boos from the audience, prompting Madonna to announce: "If you diva bitches want to keep complaining about it, then don't come to my show".

Some people latterly suggested that the show could have gone ahead without the video, but those people are wrong, as Madonna said in a later Instagram post: "The video lights 75% of my show. We can't play in the dark".

You probably can, but I suppose some people might not think that was a great show, just having to listen to Madonna sing. She added: "We were rebooted and ready by 9.30pm even though we planned to go on earlier. I had to make cuts in show before show started ... This still brought us past the 11.00pm curfew! But we went on and the venue was kind enough to extend till 11.39pm! It was their choice not mine to end the show! [I] always want to finish. So we all missed the last three songs! And I'm sorry about that ... We did our best! And we still had to pay a fine! That's life. You still got to see an amazing show! And only missed twelve minutes!"

So let that be a lesson to you, diva bitches.


Nine Inch Nails and Russell Mills to publish art book
Nine Inch Nails are putting out a new coffee table art book with artist Russell Mills, titled 'Cargo In The Blood', featuring the work he created for the band's 'Hesitation Marks' album. The book shares its title with that of the painting that was used for the cover of the record.

The collaboration on the 2013 album saw NIN and Mills work together for the first time since 1994's 'The Downward Spiral'. Says Mills: "Our renewed collaboration on 'Hesitation Marks' very quickly suggested massive potential for the strange and the familiar to collide and collude in works that I hoped would encapsulate, by allusion, suggestion, metaphor and association, the conceptual ideas imbued in the album as well as in the undertow of its sonic world".

He continues: "I created a total of 30 pieces for 'Hesitation Marks' and they chose 'Cargo In The Blood' for the cover of the deluxe CD. The title seemed to sum up everything I've been working on for the last five to ten years, this whole idea of something that can be carried in the blood and it could be good or bad, something that could be character-building, something that could be destructive, something that could be positive".

Limited to 2000 copies, the $300 320 page book will also come with an original framed Mills painting. More info here.

And here's a short film looking at the inspiration and process behind Mills' work on 'Hesitation Marks' and 'The Downward Spiral'.

TuneCore, Kobalt, Adele, more

Other notable announcements and developments today...

• TuneCore has a new VP Marketing in the former of Andreea Gleeson, who joins from retail firm Lord & Taylor.

• Kobalt has announced the appointment of Kenney Shiu as Director of Music Publishing for Asia Pacific. He will be based in Hong Kong and will report into the MD of Kobalt in Australia, Simon Moor.

• Fans of local radio stations becoming part of quasi-national station networks should get 18 Jan in their diaries. That's when Liverpool's Juice FM will officially become an outpost of Capital FM, following Global Radio's acquisition of the station earlier this year.

Here's a new Pusha T video, 'Crutches, Crosses, Caskets'.

Here's DIIV's new single, 'Under The Sun'.

• Andrew Hung from Fuck Buttons has released a new solo EP, 'Rave Cave 2'. You can listen to it on SoundCloud here.

• Kelly Lee Owens has covered Aaliyah's 'More Than A Woman'. Don't believe me? Well how do you explain this?

• Dutch showcase festival Eurosonic Noorderslag has been awarded IMPALA's annual Outstanding Contribution Award, which the pan-European indie labels trade group presents each year to recognise "exceptional efforts of an individual or organisation to promote and develop European independent music".

• BRITs organisers have announced that "superstar Adele" will play at the annual awards bash next February. Which is good news. Superstar Adele is my favourite of all the Adeles. Google Play is this year's official BRITs streaming partner which means its seven users will be able to stream Adele's performance after the show. More good news!

Lewis Hamilton Formula One champion and... popstar?
A year ago, Formula One driver Lewis Hamilton revealed that he had started making music, though at that point he wasn't willing to make any of it available to the public. That, it seems, has now changed.

Speaking to US documentary show '60 Minutes', Hamilton played clips from two songs, 'J'Adore' and 'Lookin At You', telling interviewer Charlie Rose: "Music's been a huge passion of mine since I was young. I started playing guitar when I was thirteen. In [the studio] I can be me, I can be vulnerable, I can show a side to me that people don't [usually] get to see".

"The plan has always been [to make music] just as a hobby", he added. "But it's starting to get to a point now where it's very serious, and we spend a lot of time here [in the studio]. When I'm not training and getting ready for the race I'm in here".

Noting that he potentially has a ready-made fanbase through his racing, he said: "I never thought in a million years I'd have people following me. You know, fans. I want to share [my music] with them. I wanna see what they think. My work ethic here is exactly the same as it is on the racetrack, but it's just here I can be... me".

Watch the video (and hear the music) here.

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 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.
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