TODAY'S TOP STORY: The founder and CEO of US music PR and management firm Life Or Death, Heathcliff Berru, has resigned from the company following accusations of sexual harassment. He has since said that he is checking into rehab for alcohol and drug addiction. The development actually relates to past rather than very recent incidents. The story began yesterday with a series of... [READ MORE]
TODAY'S APPROVED: Sometimes it's good to wipe the slate clean and start again. Something Icelandic producer EinarIndra - or Einar Indra, if you like - found out the hard way. All of his early work was lost to hard drive failure. Swearing off technology, he worked entirely acoustically for a while, before tentatively stepping back into the electronic world (and presumably buying a... [READ MORE]
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including David Bowie, Universal finally doing a licensing deal with SoundCloud, Spotify's mechanical royalty disputes in the US, and Songkick suing Live Nation. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Life Or Death CEO Heathcliff Berru resigns over sexual harassment
LEGAL European Court says private copy compensation doesn't have to come from device levy
DEALS Imagem signs up Steve Miller
DIGITAL & D2F SERVICES Spotify extends its partnership with Starbucks
RELEASES Black Sabbath announce tour-only CD for farewell jaunt
Låpsley announces debut album
Fallulah announces new album
GIGS & FESTIVALS Dan Deacon confirmed as artist in residence for Convergence 2016
ONE LINERS Caroline International, Ole, ASCAP, more
AND FINALLY... David Bowie turned down "not very good" Coldplay collaboration
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.
Secretly Group (Dead Oceans, Jagjaguwar and Secretly Canadian) have an exciting opportunity for a radio plugger to join their expanding UK label team. We’re looking for a candidate who is ready to step up from their current role to lead the UK radio plugging strategy for the three labels in UK.

For more information including a full job description and how to apply click here.
We are looking for an experienced Marketing Co-ordinator to oversee key singles and compilation projects on the Cr2 Records schedule along-side label management. This will be a temporary position covering for our Marketing Manager whilst away on sabbatical for the period of start of February to the end of April 2016.

For more information including a full job description and how to apply click here.
Indigo are hiring an Assistant Technical Manager, to assist the Technical Manager in all aspects of the technical operation at Indigo. The successful candidate will provide effective communication of event requirements relevant parties, ensuring the technical expectations of the hirers of Indigo are met and managed effectively.

For more information including a full job description and how to apply click here.
Juno, the world’s largest online dance music and DJ and studio equipment store, is looking for an enthusiastic social media and content assistant to help expand its fast-growing social media and marketing activity, on and offline.

For more information including a full job description and how to apply click here.
Secretly Distribution is seeking a full-time Project Manager - Europe for our extensive family of distributed labels. Join Secretly Distribution’s growing international team. The ideal candidate is a skilled writer and communicator with at least three years' professional experience related to product management, artist relations, marketing and/or promotions in the music industry.

For more information including a full job description and how to apply click here.
Kilimanjaro Live are starting a year-long paid internship programme to give individuals an opportunity to learn the various elements of concert and festival booking, promotion and production with a view to establishing a career in the live music industry.

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
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.
25 Jan 2016 CMU Insights Seminar: How Music Rights Work
26 Jan 2016 CMU Insights @ Music 4.5: The YouTube Paradox
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
17 Feb 2016 CMU:DIY x Urban Development Industry Takeover Seminar
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
16 Mar 2016 CMU:DIY x Urban Development Industry Takeover Seminar
13 Apr 2016 CMU:DIY x Urban Development Industry Takeover Seminar
6 May 2016 CMU Insights @ Canadian Music Week 2016
19-20 May 2016 CMU Insights @ The Great Escape 2016

Life Or Death CEO Heathcliff Berru resigns over sexual harassment
The founder and CEO of US music PR and management firm Life Or Death, Heathcliff Berru, has resigned from the company following accusations of sexual harassment. He has since said that he is checking into rehab for alcohol and drug addiction.

The development actually relates to past rather than very recent incidents. The story began yesterday with a series of tweets from Dirty Projectors' Amber Coffman, who wrote: "Was just re-telling/re-remembering a story about how a very popular music publicist RUBBED my ass and BIT my hair at a bar a couple years ago".

She went on: "This was someone I barely knew and had just met. He did it in front of four of my male friends. Still makes me so damn mad thinking about it. Still mad at myself as well for not punching him in the nose, but I totally froze up. Weird survival instinct I guess".

Several hours later she named Berru as the man in her story, adding: "I told [Dirty Projectors' label] Domino Records, who were working on projects with him and they stopped working with him. They told me they've held their commitment of not working with him ever since, and I really appreciate that gesture".

Following these statements, numerous other women, both artists and industry execs, came forward with stories of harassment by Berru - among them Tearist vocalist Yasmine Kittles who said that the PR man had held her down and forced her to touch his penis in 2009. When she told her then manager, she was informed that she would just "have to get over that" if she wanted her band to have a career.

As further allegations came to light, Life Or Death announced that Berru had resigned. "Life Or Death has a zero tolerance policy for the type of conduct alleged in today's online postings", the company said.

"We take these allegations very seriously. The men and women who make up this company do not, and will not, condone or tolerate any conduct described in the online postings. Life Or Death is three men and three women who are committed to promoting art and serving the clients that we're so privileged to represent. We are taking measures to ensure that the alleged behavior did not, and will not, make its way into company operations or impact our commitment to promoting art and assisting our clients".

Despite this, a number of the agency's clients, including Wavves, DIIV and record label Mixpak, said yesterday that they would no longer be working with the company.

In his own statement, Berru blamed drug and alcohol addiction for his alleged actions, saying: "I am deeply sorry for those who I have offended by my actions and how I have made certain women feel. If I crossed the line of decency or respectfulness in situations when I was drunk and under the influence, there is no excuse of course".

He continues: "To be clear, while my conduct may have been inappropriate, I have never drugged anyone or engaged in that type of behavior. Nevertheless, I do not want to be the type of person who would let drugs or alcohol take command of his life and compromise how he treats people. Yet I have been this person and it's time to put a stop to all of this. Create a world with one less inappropriate man".

He went on: "I have been fighting a losing battle against drugs and alcohol for many years and will be checking into a rehabilitation facility in the hope that I can improve my chances of winning that fight. A year ago, I was confronted by a peer and began to try to clean up and make things right with therapy and with an eye towards quitting the addiction. The shame and sadness feels as strong now as it did then and I am making an immediate change".

"In no way do these allegations reflect on Life or Death PR, its staff, or anyone associated with the company", he added, saying that the running of the company had been turned over to its president, Nick Dierl.

Although there has been a positive reaction to Coffman and others coming forward with stories about Berru, and him subsequently losing his job, it has been pointed out that this is not an isolated case. Indeed, last year Vice's Broadly published an article on the sexual harassment women in the music industry often face.

European Court says private copy compensation doesn't have to come from device levy
The European Court Of Justice has ruled that it is fine for member states of the European Union to compensate copyright owners for private copying through a general fund rather than a device levy.

As much previously reported, in most countries - though not the UK - it is legal for individuals to make copies of recordings they bought legitimately so that they can listen to said tracks on multiple devices, or have a handy back up. So, when people buy a CD and rip it to a computer and then transfer tracks to a smartphone, that is all legal. Whereas in the UK, that is technically copyright infringement.

Where the private copy rights exists, copyright owners are often compensated for the private copies being made. Indeed, European law says that "rightholders should receive fair compensation to compensate them adequately" when private copies are allowed; 'fair' being assessed, in part, based on the "possible harm to the rightholders resulting from the act".

The European directive on private copying allows some room for manoeuvre for each EU country's copyright system. Though when the UK government decided to introduce a private copy right with no levy - the argument being the "harm" of a narrow private copy right was negligible - the music industry successfully had the new law overturned in court on the basis it didn't comply with the directive.

Which means that private copying is illegal again here. And having another go at introducing the right - either with a levy, or by better arguing the case that there is no harm - is not currently on the UK Intellectual Property Office's agenda.

Meanwhile, elsewhere in Europe, there has been much debate over the best way to compensate rights owners for private copying. The classic method was to apply a levy to blank cassettes and CDRs, the assumption being most people buying those media would, at some point, use them to make private copies. That money was then passed back to the music industry, benefiting rights owners, artists and songwriters.

As sales of blank cassettes and CDRs waned, the question was asked: what else can you apply the levy to? MP3 players maybe, but as digital media consumption shifted to devices with many other uses - ie smartphones and tablets - it's been controversial to suggest the levies should be applied there. Though in some countries they have been. Indeed a new levy was applied to such devices in Germany at the start of the year.

Some other countries have tackled the problem by rejecting the levy approach entirely, and instead the government just sets aside a pot of cash for affected rights owners funded by the taxpayer. A few years back, Spain opted for this approach, initially on an interim basis and then, in 2014, permanently.

Some Spanish copyright societies hit out at this system, mainly because they felt the sums of money being set aside weren't enough, though their complaints put the focus on the entire 'general pot' over 'device levy' approach to private copy compensation. The Spanish Supreme Court then passed the issue to the European Court Of Justice in 2014 to check whether having the taxpayer compensate for private copies complied with the aforementioned directive.

The ECJ has now said that the general pot system is just fine. Faced with the argument that paying for private copy compensation out of tax income would be unfair to those tax payers who don't benefit from the exception - companies, for example - the court said tax payers often pay for things they don't directly benefit from.

According to The Register, the court noted: "There is no link between the taxes paid by taxpayers, including those who, like corporations, cannot benefit from the exception, on the one hand, and the financing of compensation under this exception from the general budget of the State, on the other. It would be different only if a tax or a specific tax were introduced for the purpose of this funding, but this is not the case of the Spanish system at issue".

The judgement is good news for Spain and other countries which have opted for this approach, which includes Finland and Estonia. It might also spark speculation that the UK government could go the 'general pot of cash' route if and when it has another go at introducing the private copy exception, to satisfy European law without having to work out how a levy system might work, and what devices to levy. And without having to feel the heat from the tech industry lobby, which is obviously anti all such levies.

Imagem signs up Steve Miller
Independent publisher Imagem Music has announced a new administration deal with Steve Miller's Sailor Music and Silk Stocking Music, covering all of the world except North America.

Imagem CEO André de Raaff said: "I've known Steve personally since the beginning of the 90's, releasing his Best Of album in Europe when I was CEO of Arcade and was looking after his music publishing catalogue in Europe. We stayed friends and started doing business again a few years ago".

He went on: "I'm pleased that we are going to look after his catalogue on a more global basis and I'm convinced that we will be extremely successful with his timeless compositions. Steve is one of the best US pop composers of our times and an exceptional guitar player as well. And Janice is a unique force in reactivating his extremely valuable music assets".

"Who's Janice", you ask? Well, the President of Sailor Music of course. Who says: "We have been working successfully the last few years with Imagem in the Benelux and are very pleased to have the opportunity to expand our publishing administration to multiple territories. I am especially looking forward to working with André and his expert team".

By the way, Miller is due to be inducted into the Rock N Roll Hall Of Fame this year. How fancy.

Spotify extends its partnership with Starbucks
An exciting piece of coffee shop news that will be of particular interest to all you music types now. First a bit of background. I often get my lunch from that popular coffee shop chain Pret A Manger, partly because the company has kindly opened eight stores within five minutes walk of CMU HQ in Shoreditch.

Now, I'm a soup person, that's no secret, and a year ago I discovered that Pret's Chicken, Broccoli and Brown Rice Soup is one of the most magnificent combinations of soup-like ingredients to have ever been mixed together in one soup-making pot. I love it. Pret has a revolving menu of soups, with a different line-up each day. Monday has traditionally been Chicken, Broccoli and Brown Rice Soup day, and what a day Monday has become for me.

But here's the thing, as well the revolving line-up of soups that change and vary each day of the week, Pret also has one soup that is available every day for one whole week. Or sometimes even one whole month. Tomato has had that honour. Autumn Vegetable has had that honour. Ham Hock was the featured soup in the run up to Christmas. But never, ever, has Chicken, Broccoli and Brown Rice Soup occupied that position.

Then, last week, while browsing Pret's soups web page - which is something I do from time to time, I'll admit it - imagine the joy in my heart when I noticed: Chicken, Broccoli and Brown Rice Soup was only on the menu every freakin day that week! There was a special bounce in my step as I then made my way into Shoreditch, trying to decide which of the eight Pret branches near CMU HQ I'd give my business as I bought my first of five helpings of Chicken, Broccoli and Brown Rice Soup that would come over the next five days.

Imagine - just imagine it for a moment - the horror that was unleashed when I arrived at the Pret next to Liverpool Street Station to discover: NO Chicken, Broccoli and Brown Rice Soup. Hadn't this store not got the memo?

Worry not, I thought, I'll try the (other) Pret next to Liverpool Street Station, that'll be dishing out Chicken, Broccoli and Brown Rice Soup for sure. Wait, what's this? No Chicken, Broccoli and Brown Rice Soup? What about the (another other) Pret next to Liverpool Street Station? What do you mean Souper Tomato is this week's every day soup option. That's not what your fucking website says Mr Pret e Fucking Manger.

But worry ye not faithful CMU reader. Because the traumatic segment of this story leads to a most gloriously happy ending. On arriving at my local Pret (you know, the one near that one that's a bit nearer than that one) this Monday lunchtime the greatest news of the year was delivered to my ears by Ms Pret e Fucking Manger. "Would you like a helping of Chicken, Broccoli and Brown Rice Soup, it's our every-day soup this week don't you know!"

Do you ever occasionally muse about what the soundtrack to your life would sound like? I mean, if your life was a movie and some music supervisor was tasked with picking some tunes or commissioning a score to soundtrack the events and moments of your life, what music would they choose? Well, we'd need something magnificent for this particular moment, I can tell you. A rampant, rousing, inspiring and glorious crescendo of musical goodness. Which is why this news will be of interest to all you music types. Maybe you'd like to write that piece of music. Or a folk song retelling this magical tale. That'd do.

Anyway, in almost related news, Spotify has extended its existing partnership with Starbucks in the US so that customers will be able to 'favourite' songs playing in the coffee chain's stores via the cappuccino-peddler's own app, influencing what music subsequently gets played there. The customer can also automatically add the track to a playlist over in the Spotify app for future listening. It's an interesting partnership, though one sadly lacking in soup.

  Approved: EinarIndra
Sometimes it's good to wipe the slate clean and start again. Something Icelandic producer EinarIndra - or Einar Indra, if you like - found out the hard way. All of his early work was lost to hard drive failure. Swearing off technology, he worked entirely acoustically for a while, before tentatively stepping back into the electronic world (and presumably buying a back up disk) to make what would become his debut album, 'You Sound Asleep', released in 2014.

The result of all this is a sound where every element is carefully placed, including the bits that hook into your skin while you're distracted looking at the delicate parts on top that you're worried might fall. Although the production is electronic, his music takes cues from his foray into the acoustic world. 'Sometimes I'm Wrong', the first track from his upcoming second album, is a prime example of this.

Built out of a skeletal piano part, the track is slowly layered up with ever more forceful electronic sounds, with everything eventually twisted and pulled apart. This is all quietly held together by Indra's soft vocals, which shrink and swell with the music.

Listen to 'Sometimes I'm Wrong' here.

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Black Sabbath announce tour-only CD for farewell jaunt
Have you been wondering if Black Sabbath would release more new music before their farewell tour comes to an end? Well wonder no more, because, yes, that is what they are going to do. But you'll have to go to one of those shows to get it. Or eBay. You know it'll be on eBay.

The tour-only CD will feature four tracks rejected from their last album, '13', along with four live recordings, plus artwork by Shepard Fairey.

"We went into the studio with thirteen songs - which is why the [last] album is called '13'", explained bassist Geezer Butler, according to Billboard. "We thought we'd put out an album of thirteen songs, but when we were in the studio we wrote another three songs, which brought it up to sixteen and then we left it to [the album's producer] Rick Rubin to pick which songs would go on the album. To give it some light and shade he picked the eight songs that we on the '13' album. We put a few songs on deluxe versions of the album and then we had the four left over, and we decided to do a gig-only CD".

I hope you were keeping up with all that, maths fans. Basically, Black Sabbath have some stuff knocking around that they previously thought not good enough to release, and now they want to sell it before the opportunity passes.

Deluxe editions of the band's first three albums are also due for release (in the US) this week. Meanwhile, for UK fans, the sole date on Black Sabbath's schedule is a headline slot on the Saturday night of this year's Download Festival.


Låpsley announces debut album
Låpsley will release her debut album, 'Long Way Home', through XL on 4 Mar. Make a note of that.

"It's an autobiography of my emotions and events over the past year", says the musician of the new record. "Everything that's happened, I've channelled in some way into a song - whether that's the theme of a long distance relationship, or something that he's said, or the way that I've felt, or an argument. I only revisit the memories of that relationship when I go into the studio. I think it's helped me, to be able to collect everything for those moments when I'm writing. I think that's what's driven this album".

Although she adds that one thing that held back the record was trying to find the right producer to work with on it, she having rejected numerous potential collaborators. She explains: "They didn't want to listen to me, or they think a girl's just there to add a top line, or they come to the table with ideas already. Straight away if I come in to a studio and someone says 'I've written something for you', then I'll just walk out. I don't care. I'm not there for that".

In the end, the majority of the album was created with XL's in-house producer Rodaidh McDonald, who turned out to be a much better match for her. "This album wouldn't be how it is if it wasn't for Rodaidh", she says. "He's at the top of the thank yous. The way that he thinks is different to anybody else. He's not tainted by a commercial idea, it's so creative and beautiful and what I aspire to be like in the future".

Listen to new single 'Love Is Blind' here.

And catch Låpsley on tour at these dates:

5 Mar: Manchester, Academy 2
6 Mar: Bristol, Trinity
9 Mar: Birmingham, Institute 3
10 Mar: Brighton, The Haunt
30 Mar: London, Heaven


Fallulah announces new album
Twice approved Danish singer-songwriter Fallulah has announced that she will release a new album, titled 'Perfect Tense', on 26 Feb. The title track of the record is streaming online right now.

"When writing this song it was all about capturing a mood and a vibe", says Fallulah of the track. "It felt like a polaroid quickly snapped with carelessness at a fun party. It was done in under an hour and just felt very effortless. The message of the song is to break free from a stale and uninspired state of mind".

She continues: "I spent many years taking myself too seriously and worrying about what other people thought of me. Letting go of those insecurities has helped me believe in myself and say yes to things that I find intimidating or difficult. I don't care about being perfect but actually find imperfections so much more interesting now. Hopefully it will serve as an uplifting anthem to everyone listening and will make them inspired to go get what they want, faults and all".

Listen to 'Perfect Tense' here.

Dan Deacon confirmed as artist in residence for Convergence 2016
Organisers of the Convergence festival have announced that this year's edition will introduce an artist-in-residency programme, with experimental composer Dan Deacon the first artist to take on that role. In addition to a gig at Village Underground, Deacon will lead a masterclass with the Guildhall Young Arts Academy, will be found in conversation with Mary Ann Hobbs, and will take part in another collaborative event to be announced soon.

Deacon's involvement has been confirmed alongside a bunch more additions to the bill for this year's event, which takes place in venues across London from 10-20 Mar. Among the new additions are Junun featuring Shye Ben Tzur, Jonny Greenwood & The Rajasthan Express, Nurse With Wound, Factory Floor, Anna Von Hausswolff, Colin Stetson, Shit Robot, Karen Gwyer, Kara-Lis Coverdale and Simbiosi.

The festival will also present 'Pieces Of A Man: The Gil Scott-Heron Project', a day of talks, screenings and performances described as "a celebration of the life and legacy of the legendary American soul and jazz poet, musician and author". Kwabs, Jamie Woon, Nadine Shah, Loyle Carner and Gwilym Gold are amongst those taking part in that.

The Convergence Sessions also return, a daytime programme of talks, debates and workshops, this time taking place at the Ace Hotel in Shoreditch. Mixcloud, onedotzero, Hellicar & Lewis, Seeper and Makerversity are all involved, as are the team from CMU Insights who will put the spotlight on the shifts and challenges occurring in media and journalism. More on that very soon too.

Commenting on all this, Festival Director Glenn Max says: "While there is no single theme to this year's array of installations, talks, and concerts, a recurring idea is the re-materialisation of culture beyond its digital vaporisation. Technology provides all of the instruments for innovation but - for it to mean something to our human culture - we need the disruptive ingenuity and emotional investment of artists".

He goes on: "Technology wants us to be clean, carefully quantised and perfectly composed, but it is when artists break the rules that we are compelled and delighted. We want our relationship with music and art to be messy, tangled and sprawling. Convergence is a many-headed beast led by heroic innovators, fiery personalities and evocative voices that are masters, rather than slaves, to the algorithm".

Check it all out at

Caroline International, Ole, ASCAP, more

Other notable announcements and developments today...

• Spotify has bought audio product firm Cord Project and music discovery tool what-not thingy maker Soundwave. This is because Spotify is "laser focused on delivering innovation", says the firm's Shiva Rajaraman. Should have acquired a company that makes lasers then.

• The US-side of Universal's label services business Caroline has promoted Matt Sawin to Senior VP for Marketing & Commercial Development. He's been with Caroline from back when it was boring old EMI Label Services, and says he's "honoured" to take on his new role. His bosses are "THRILLED" obviously, though Caroline herself? Silent as always.

• Hey, just imagine if it turned out that Canadian music rights firm Ole had promoted Jennifer Essiembre to Senior Manager Of Creative overseeing creative operations of the company's pop/urban division, while also working closely with business development and label services. Well, no imagination is required.

• News now from, and I quote, "the American Society Of Composers, Authors And Publishers, the world leader in performing rights and advocacy for music creators", which is basically a CMU one-liner in itself. Anyway, ASCAP has promoted both Nicole George-Middleton and Shawn LeMone to the role of SVP Membership. Can't tell you any more, that first sentence has sent me over the one liner word limit.

• Elsewhere in PRO news, another US society, SESAC, has appointed Alexander Wolf as President of International. He joins from Solar, the vehicle that represents the Sony/EMI song catalogues in the digital licensing space in Europe. His new role will also include exploiting, outside the US, the mechanical rights repped by the Harry Fox Agency, which merged with SESAC last year.

• SoundCloud has confirmed that it's appointed 7digital's now ex-SVP Music, Raoul Chatterjee, as its new Director Of Content Partnerships. He began partnering content on Monday. Here's some SoundCloud content you're all welcome to 'partner' right now.

• The video for 'Kill V Maim', which - for my money - is the best track on Grimes' latest album, is out now. You should watch it because it's the best track on Grimes' latest album and the video is good.

• Aurora has released a new track, 'Conqueror'. It's taken from her debut album, 'All My Demons Greeting Me As A Friend', which is out on 11 Mar.

• Matthew E White has announced a new single, 'Cool Out'. It features Natalie Prass on vocals. He's on tour in the UK this month, finishing up at The Roundhouse in London on 30 Jan.

• Get Inuit have popped out a new single, 'My Oh My'. Have a listen.

• Tinie Tempah has announced a show at Brixton Academy on 16 Apr. Tickets go on sale this Friday.

• Glassjaw have announced that they'll play the Old Blue Last in Shoreditch on 30 Jan. Good luck trying to get into that.

• Japan's Prime Minister Shinzo Abe has told a parliamentary committee that he is pleased boyband SMAP have decided not to split up. So, er, that's... good? I guess.

David Bowie turned down "not very good" Coldplay collaboration
The NME might consider them Godlike Geniuses, but David Bowie turned down the opportunity to collaborate with Coldplay. "It's not a very good song", he apparently told them. Which seems like a fair enough reason to pass up the opportunity.

"[The song] had a sort of David Bowie-type character in it", explained drummer Will Champion to the NME. "I think Chris phoned him up or wrote him a letter to say, 'Please would you sing on it?' and he said, 'It's not a very good song, is it?' We were like, okay, we'll take that as a no".

"He was very discerning", he added. "He wouldn't just put his name to anything. So, we'll give him credit for that".

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins 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, and advising on CMU Insights training courses and events.
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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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