WEDNESDAY 8 JUNE 2016
TODAY'S TOP STORY: A request by the Recording Industry Association Of America to get The Pirate Bay's .org domain suspended has ended up with the file-sharing platform's registrar EasyDNS, which has been adamant in the past that it will only respond to court orders. As previously reported, the Bay recently made thepiratebay.org its primary domain once again, anticipating that... [READ MORE]
 
TODAY'S APPROVED: Sälen are Ellie Kamio, Paul Taylor Wale and Is Tropical's Simon Milner, and they are currently turning heads with new track 'Diseasey'. It follows on from last years' 'IILWMBF', which also gained a rush of attention. With two tracks to their name, the trio are now starting to show signs of a definable sound. Kamio's conversational lyrics sit on top on instantly... [READ MORE]
 
CMU TRENDS: YouTube remains the big talking point in the music community, but how did we get here, and where next? Based on his presentation at CMU Insights @ The Great Escape last month, CMU Business Editor Chris Cooke reviews the music industry’s relationship with Google’s big video platform. To access CMU Trends become a premium subscriber for just £5 a month. [READ MORE]
 
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including Guvera's IPO and the current challenges facing the streaming music market, the latest twist in Kraftwerk's legal battle over a two second sample of 'Metal On Metal', and Ellie Goulding’s defiant political stance on Donald Trump. The CMU Podcast is sponsored by 7digital. [READ MORE]
TOP STORIES RIAA may need to go legal to suspend the thepiratebay.org domain
JUMP | ONLINE
DEALS Rita Ora reportedly signs to Warner, following settlement of Roc Nation lawsuit
JUMP | ONLINE
LABELS & PUBLISHERS Robert Ziegler put in charge of CDs and stuff at Universal
JUMP | ONLINE
DIGITAL & D2F SERVICES Pandora signs up with rights admin company as it plots on-demand service
Deezer sells podcast app Stitcher
JUMP | ONLINE
THE GREAT ESCAPE CMU@TGE: Making video that succeeds online
JUMP | ONLINE
RELEASES Dan Le Sac completes unfinished tracks to mark tenth anniversary
Blood Orange sets release date for new album
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ONE LINERS earMUSIC, Polydor, hmvdigital, more
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AND FINALLY... Strokes man hates festivals, prefers surprises
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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.
 
 
THE BREWHOUSE - EVENTS & LIVE MUSIC MANAGER (LONDON)
The Brewhouse at London Fields Brewery is one of East London’s most exciting event spaces. As the Events and Live Music Manager, you will be responsible for the booking, programming and promotion of our live music and club nights.

For more information including a full job description and how to apply click here.
   
PROPER MUSIC - NATIONAL ACCOUNT MANAGER (LONDON)
Proper Music Distribution is now the largest truly independent, full service distributor of music on all formats in the UK. Reporting directly to the Head of Sales, the National Account Manager’s role is to develop strong direct relationships with key domestic retail partners. Customers include HMV, Fopp, Amazon and supermarkets.

For more information including a full job description and how to apply click here.
   
PROPER MUSIC - ROYALTIES ACCOUNTANT (LONDON)
Proper Music Distribution is now the largest truly independent, full service distributor of music on all formats in the UK. The Royalty Accountant role exists to make sure that the companies’ contractual royalty obligations are interpreted accurately and on time.

For more information including a full job description and how to apply click here.
   
KOBALT MUSIC GROUP - PROJECT MANAGER (LONDON)
Kobalt Label Services is looking for a Project Manager to join the UK Marketing Team. We are expanding our UK Marketing team to include a new Project Manager responsible for managing relationships with a wide range of clients, from emerging to established artists, both UK-based and international, as well as record labels and catalogue owners.

For more information including a full job description and how to apply click here.
   
PARTISAN PR - PUBLICIST (LONDON)
Partisan PR is seeking an online and print publicist. We require a quick witted, resourceful applicant with impeccable writing skills, a great, no-nonsense ear for new music and the adaptability and initiative to thrive working across the shifting landscape of social, online and print media.

For more information including a full job description and how to apply click here.
   
SENTRIC MUSIC - CATALOGUE ADMINISTRATOR (LIVERPOOL)
Sentric Music are looking for a Catalogue Administrator to join the Rights Management team based in our Liverpool office where they will help manage sub-published catalogues.

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.
 
13 Jun 2016 CMU Insights Seminar: How Music Rights Work
CLICK FOR INFO
15 Jun 2016 CMU Masterclass: Music Business Explained - For Brands
CLICK FOR INFO
20 Jun 2016 CMU Insights Seminar: How Music Licensing Works
CLICK FOR INFO
27 Jun 2016 CMU Insights Seminar: The Music Rights Sector
CLICK FOR INFO
4 Jul 2016 CMU Insights Seminar: Merch, Live & Brands
CLICK FOR INFO
6 Jul 2016 CMU Masterclass: Navigating The Digital Market
CLICK FOR INFO
11 Jul 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
CLICK FOR INFO
18 Jul 2016 CMU Insights Seminar: Building A Fanbase - Music Media
CLICK FOR INFO
25 Jul 2016 CMU Insights Seminar: Building A Fan-Orientated Business
CLICK FOR INFO
 

RIAA may need to go legal to suspend the thepiratebay.org domain
A request by the Recording Industry Association Of America to get The Pirate Bay's .org domain suspended has ended up with the file-sharing platform's registrar EasyDNS, which has been adamant in the past that it will only respond to court orders.

As previously reported, the Bay recently made thepiratebay.org its primary domain once again, anticipating that its Swedish address - thepiratebay.se - may be seized by the authorities there following recent court action. The site originally made the .se address its primary domain in 2012 in the wake of the US authorities swooping on MegaUpload, it then fearing that its .org domain may be seized.

Then, when Swedish authorities first started to make moves to try and seize thepiratebay.se, the Bay switched to an assortment of other domains around the world. Most of those were quickly suspended in response to demands by the entertainment industry, but it turned out that achieving such a thing in Sweden was much trickier than first anticipated. Meanwhile, the .org domain continued to work just fine throughout all of this.

With thepiratebay.org now back as the principle domain of the infamous file-sharing site, the RIAA is having a good go at getting that web address finally taken offline. To that end it sent a letter to the Public Interest Registry, the US-based not-for-profit which controls the .org top level domain.

In it, the record industry trade group lists the various court rulings against The Pirate Bay around the world, including that in the criminal case against the site's founders in Sweden, arguing that all those judgements against the Bay should be sufficient for the PIR to block the site's .org domain. That letter was forwarded by PIR to EasyDNS, which then published it.

Which is how we know that the RIAA writes: "When, as in this case, there is overwhelming evidence of infringing and abusive activity on a domain, along with court orders from several jurisdictions with well-developed copyright jurisprudence, it cannot be the 'right thing' or 'in the community interest' to hold out for those decisions to be processed before the US courts before taking action".

The key aim of the letter, therefore, was to try to persuade PIR that there was enough legal precedent for it to take action against the Bay's .org domain without necessitating court action in the US itself. But the fact PIR seemingly just passed the buck onto EasyDNS suggests it does not concur, which is presumably why the US Copyright Alliance hit out at the organisation earlier this week.

According to Torrentfreak, the CEO of the copyright industry repping group, Keith Kupferschmid, said: "It is shocking that a domain name registry in the United States - one that is dedicated to 'the public interest' - is allowing a blatantly illegal site to have a home on the .org domain. This is especially disturbing given that the operators of The Pirate Bay have been found guilty of criminal copyright infringement [and] The Pirate Bay domain names have been seized or suspended around the globe".

Meanwhile, in a blog post on the matter, EasyDNS insists that it is sticking to its line that it can only act against a domain if it receives a court order to that affect. Saying that it does not believe The Pirate Bay currently breaks its own terms and conditions, the Canada-based registrar concludes that: "Absent either a specific proceeding pursuant to our accreditation as a .org registrar or a legal finding in a competent jurisdiction to the Province of Ontario, there is nothing for us to do".

EasyDNS also reveals that it passed the RIAA's letter onto its contact at the Bay itself. They denied claims that the file-sharing site is used to distribute malware while, on the copyright infringement point, they decided to claim that they are actually compliant with America's Digital Millennium Copyright Act.

"TPB is DMCA compliant", said the Pirate Bay rep. "And if TPB receives any DMCA complaints from RIAA they will be investigated and removed if found to be valid. We have not received any DMCA complaints from RIAA at all so far this year".

It remains to be seen what move the RIAA makes next, and whether it will pursue legal action in either the US, targeting PIR, or Canada, targeting EasyDNS, to once and for all get thepiratebay.org suspended.

For its part, EasyDNS insists that it has no wish to be the registrar of choice for piracy operations, while adding that it reckons it is becoming easier for rights owners to secure court orders to suspend the domains of infringing sites, and to export those rulings around the world, ie that the law is finally catching up.

"Ahead of that day, if I were a file-sharing site operator I'd be using my time wisely in concentrating my efforts on legitimising my operations", says EasyDNS CEO Mark Jeftovic. "This could include negotiating blanket licensing agreements with mechanical rights agencies".

Yeah, good luck with that if you're The Pirate Bay. Though Team Bay, of course, stress that they've been shifting their domain for years now, and could easily deal with losing the .org domain. Though quite how soon they will have to do just that, well, we'll see.

Rita Ora reportedly signs to Warner, following settlement of Roc Nation lawsuit
Rita Ora has reportedly signed a new record deal with Warner Music, having reached an out of court settlement with Roc Nation over her previous recordings contract.

As previously reported, Ora sued Jay-Z's music firm late last year, accusing the company of stalling her career by repeatedly delaying the release of her second album. Roc Nation retaliated with a countersuit saying that it had to date spent over $2 million on a new LP that she had failed to complete.

A newly filed document at the New York Supreme Court shows that an out of court settlement has now, as was always expected, been reached.

Meanwhile, Ora posted a Snapchat video on Sunday announcing that it was "contract time", though she gave no further details. However, it is rumoured that she has done a deal with Warner Music. The major label did not respond to a request for comment.

Robert Ziegler put in charge of CDs and stuff at Universal
The Universal Music Group has announced Robert Ziegler as its new Executive Vice President of Global Physical Operations. Which is a pretty weighty job title for the guy who cleans the toilets. Oh no, apparently it's CDs and stuff he's in charge of. CDs and stuff is still a thing, see.

Ziegler, who was previously President Of Global Platform Services at Sony DADC, will oversee manufacturing and distribution for all of the mega-major's physical products worldwide. As well as CDs, that also means DVDs, Blu-Rays and, of course, our lord and saviour, vinyl.

"At Universal Music, we understand that in our digital age, fans still have a strong demand for physical products, which continue to account for a significant amount of music consumption around the world", says Michael Frey, President Of Global Operations and Advanced Media Services. Which is a pretty weighty job title for the guy who cleans the toilets. "With Robert, we're bringing on board an expert with vast experience at managing a global supply chain and providing important products that our consumers demand".

"Universal Music excels at providing fans around the world with the highest quality experiences", adds Ziegler. "It's an honour to join Michael, the company's management team and employees worldwide in continuing to uphold this valuable tradition".

Pressing CDs is a valuable tradition now? Do we get a day off every time one is produced? I do hope so.

Pandora signs up with rights admin company as it plots on-demand service
To date Pandora hasn't had to worry about the mechanical royalties mess that has hit the on-demand streaming services in the US because, as a personalised radio service, God decided (well, someone did) that the digital firm was only exploiting the performing rights of the song copyright. And those can be licensed via your good friends over there at BMI and ASCAP (et al). Or, in Pandora's case, via your good litigation foes over there at BMI and ASCAP (et al).

But with Pandora seeking to diversify, because it's struggling to break even with its ad-funded personalised radio business and so wants a slice of the entirely loss making on-demand streaming market too, the digital firm needs to start worrying about the shit storm that is mechanical rights licensing in America. And to that end, it has signed up with Music Reports, the rights administration company that was bragging at SXSW earlier this year that its platform could overcome the streaming sector's mechanical rights problem.

Confirming that his company was now working with Music Reports, Pandora boss Tim Westergren said earlier this week: "As we expand the listening experience on Pandora, it's important that we continue to ensure music makers are not only accurately and fairly compensated, but also have more control and greater transparency around the use of their art. That's why Music Reports' opt-in licensing and full reporting infrastructure is so important. I'm THRILLED to be working with another partner that puts artists' interests first".

For Music Reports, it's GM Bill Colitre added: "Pandora and Music Reports share a commitment to comprehensive licensing solutions so that royalties properly flow to publishers and songwriters. Music Reports is in a unique position to reach every active publisher in the market, ensuring Pandora can offer them all the opportunity to participate in these new services, on the same terms. This is another huge step forward for music licensing in the United States".

Super duper. Elsewhere in Pandora tries to placate the music industry as it diversifies news, the company has hired Adam Parness, most recently at Amazon, to be its Head Of Publisher Licensing & Relations, a role which will, in no small part, be about keeping songwriters and publishers on side as the streaming firm seeks to move into both on-demand services and into new markets beyond the US, Australia and New Zealand.

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Deezer sells podcast app Stitcher
Deezer has sold Stitcher, the podcast app and database it acquired in 2014, to US media company Scripps for $4.5 million. Stitcher will now be integrated into Scripps' Midroll Media podcast production company and ad network.

"The Stitcher brand is recognised to be an early mover and innovator in on-demand audio, especially with connected cars", says Adam Symson, Chief Digital Officer for Scripps. "Stitcher's data-driven technology has made it a leader in podcast discovery and audio distribution, which will complement Midroll's leadership in content creation and advertising sales".

Stitcher will continue to provide podcast content to Deezer, while the $4.5 million will come in handy. The streaming service has been raising new funding since abandoning plans for an IPO last year, of course.

"We purchased Stitcher to bring talk content and talk streaming delivery expertise to our product, and we accomplished this when we launched talk verticals in our product in mid-2015", said a Deezer spokesperson told CMU of the decision to sell the company. "We continue to build our talk offerings on top of the foundation that the Stitcher team provided us with internally from our headquarters".

"We keep the content and our strategy remains the same when it comes to podcasts", they added, when asked what this would mean for podcast content on Deezer.

Oh, and since you asked, yes you can listen to the CMU Podcast on Stitcher.

CMU@TGE: Making video that succeeds online
Look out for insights, advice and viewpoints dished out at this year's CMU Insights @ The Great Escape conference here in the CMU Daily throughout June. This week, some of the takeaways from the YouTube focused strand.

Presenting as part of the 'Making video that succeeds online' section of the YouTube strand, Nic Yeeles, the founder of Peg - a search engine which connects YouTubers to brands - spoke about the power of YouTube stars over traditional celebrities, and how collaboration can be the key to unlocking that power for the music community.

Speaking about his previous role as Brand Director of Simon Cowell's YouTube-based set-up 'The You Generation' - "essentially a pop culture show, specifically on YouTube" - he said that his "aha moment" in realising just how big this new generation of stars had become occurred when he attended the annual VidCon jamboree in the US in 2013.

"Tonnes of YouTubers and their fans go", he recalled. "It's like Beatlemania, but there are 1000 Beatles running around. To give you an idea, I was talking to one YouTuber - I had no idea who she was - but afterwards people wanted to have photos with me just because I'd been talking to her. Turns out she was this little known YouTuber called Bethany Motto, who'd had over three billion views on YouTube".

"Later there was this YouTube party, that only YouTubers were allowed into. Fans wait outside and as people leave, they hope it's one of these YouTube stars. So as I came out of the elevator doors, there this wall of screaming fans hoping that I'd be someone famous too, and then this girl comes up to me, she looked about twelve, and says, 'you smell famous'. And I was like, 'Oh my god, I feel so fucking violated'".

Everything with 'The You Generation' started well, he said. "We got 100,000 subscribers on YouTube before we'd even launched any content, which was pretty much unheard of. And we had the dream line-up here, in that we had arguably the biggest man in entertainment behind the operation and, at the time, Google were funding it and helping us with it. Plus we had access to top A-list celebrities, and our sponsors were Microsoft and Unilever. And then our viewing figures dropped off a cliff".

"I started describing working on YouTube as like going to a planet that looks identical to Earth, but where the laws of physics don't apply", he continued. "You go to do something really basic, like pick a ball and throw it, and it just stops and you're like, 'What the fuck?' Nothing happens how you expect it to happen. So we had to completely change our strategy".

The key change, he said, was to start collaborating with the YouTube stars he'd just discovered. "We'd create two videos - one that sat on our channel and one that sat on the YouTube creators' channel, and we basically teamed them up with one of the artists who we had access to. And when we launched this new strategy, literally overnight it became the fastest growing YouTube channel in the world. Over the course of the next six months we became the biggest Google-funded channel in UK, the second biggest in Europe, and the fastest growing channel on multiple occasions".

"It was just undeniable that when we worked with a traditional artist on their own, we saw little to no impact on the stats at all, and when we teamed them up with a YouTuber, bang, we'd get a crazy spike again", he said.

Wondering what it was that these people - largely unknown in the mainstream media - had over big name artists, he began asking the YouTubers what they thought the secret was. "And they all said the same thing, which is basically, their fans consider them a friend. So they'll literally come up to them in the street and just start talking to them as if they know them".

"The traditional media industries have done a brilliant job of creating these prefect, polished images of celebrities and artists", he continued. "We put them on these pedestals, we aspire to meet them, but they're kind of unreachable. And we don't necessarily want to be their friends. Then you look at someone like PewDiePie and you're like, yeah, I could see myself being friends with him".

Does this mean that all artists working in traditional systems should now follow the lead of the successful YouTubers? Not necessarily, says Yeeles "There are a few things that you have to bear in mind. One, it takes an awful lot of time. PewDiePie used to film, edit and upload four videos a day. That is a lot of time. So if you're a recording artist and you're trying to tour and write songs, it's going to be incredibly difficult to do that".

"The other thing is that success is contextual", he added. "So, when you see these people with millions and millions of subscribers, it's usually taken them five, six, seven, eight years. And they never set out to become these massive YouTubers with huge subscriber bases". Which means they never spent beyond their means.

"We read all these articles about how much revenues these YouTubers make, but they're individuals [with lower costs], and also, [the big earners are] in the minority. Most people are not making a lot of money off YouTube. So when you're a business, with business overheads, it's incredibly difficult". So if YouTube isn't your main focus, but nevertheless an important channel, "it all comes down to collaboration".

He gave an example of "one of the weirdest moments of my life", pairing former Labour leader Ed Miliband up with YouTuber Sprinkle Of Glitter during the last General Election campaign. "What was interesting about this was that Labour had previously uploaded a video with Martin Freeman", he said.

"The likes to dislikes ratio on that one was incredibly negative. But on this one it was incredibly positive. The top comment on the Martin Freeman one was, 'Vote Labour? I'd rather slam my dick in a car door'. And the top comment on this one was, 'I used to think Ed Millband was a twat, but now I think he seems like a great guy'. So it's amazing to see the influence that these YouTubers have because people consider them their friends".

Hence the value of collaboration. Yeeles likens it to being a new kid at school. In an attempt make friends, you could buy everyone a bar of chocolate, or you could befriend the most popular kid in the playground, which is a much quicker and less costly way of working. "If you collaborate with these creators, who already have these massive fanbases, or friend bases, whatever you want to call them, it's a much quicker and more powerful way of getting your artist out there", he said.

As a smaller label or artist "you're not going to get to work with Zoella", he noted. "But you can work with smaller creators and it still works just as well. Also, if you can find a YouTuber who's already a fan of a smaller artist, then that's also a way in".

"And if you're still sceptical of this whole YouTube world", he concluded, "then I really recommend, just go get smelt by a teenager, because it changes everything".

  Approved: Sälen
Sälen are Ellie Kamio, Paul Taylor Wale and Is Tropical's Simon Milner, and they are currently turning heads with new track 'Diseasey'. It follows on from last years' 'IILWMBF', which also gained a rush of attention.

With two tracks to their name, the trio are now starting to show signs of a definable sound. Kamio's conversational lyrics sit on top on instantly likeable pop; it all feels very relaxed and works hard to distract you from how much is going on in the background.

You'll be able to catch them live at Birthdays in Dalston on 29 Jun. Right now, listen to 'Diseasey' here.

Stay up to date with all of the artists featured in the CMU Approved column in 2016 by subscribing to our Spotify playlist.
CLICK HERE to read and share online
 

Dan Le Sac completes unfinished tracks to mark tenth anniversary
Dan Le Sac has released a new solo album on Bandcamp to mark the tenth anniversary of his first live show under that stage name. Titled 'Cherished, Overthrown', the album compiles eleven tracks started throughout that decade but never completed, until now.

"In that time, I wrote hundreds of songs that you'll never hear, incomplete pieces, tracks overthrown by more pertinent projects, ideas that never quite found their solidity, sketches without a home", he says. "90% of this work I'm happy for no one to ever hear. I'm glad to leave them standing in silence on my learning curve. But some I cherish too much to leave unheard, some pull me back to tweak and change long after I should have put them to bed".

"What do you do with a body of work nagging you and the anniversary of the most important day of your life threatening to pass unmarked?" he continues. "My only answer is to combine the two. So today that is what I'm doing. I've fleshed out these ideas, made them something new, I've given them the love they need to be complete, and now I'm giving them to you".

The album is up on Bandcamp for free or whatever price you see fit. Stream and download it here.

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Blood Orange sets release date for new album
Blood Orange, aka Devonte Hynes, will release his new album, 'Freetown Sound', on 1 Jul digitally and 19 Aug physically, it has been announced.

"I have just finished making an album about my life, my upbringing, being black in England, being black in America", he says of the record. "My movement to this country at the age of 21, the same age that my mother moved from Guyana to London, and my father from Sierra Leone to London. 'Freetown Sound', the name of my album, is taken from Freetown where my father was born".

Hynes will also be performing live at Koko in London on 5 Jul. Tickets are available here.

You can hear some snippets from the new record here.

earMUSIC, Polydor, hmvdigital, more

Other notable announcements and developments today...

• Edel-owned label earMUSIC has renewed its partnership with Absolute Label Services once again, and has signed Deacon Blue and Marillion to celebrate.

• Last night I dreamt that Universal Music A&R guy Rich Castillo was returning to the UK from Canada to become Senior A&R Manager for the mega-major's Polydor label, and now I think I might be psychic.

• Sony Music UK legal man Michael Smith has been promoted to the role of Executive Vice President, while various of his colleagues in the major's UK legal and business affairs unit have also been promoted. They should sue someone to celebrate.

• hmvdigital, which is still a thing apparently, is "THRILLED" to have entered into promo partnerships with eight UK festivals, including Kendal Calling, FOLD and 1234. Festival-goers will get some free downloads. Yes, just like its 2008 all over again. Good times.

• Channel 5 and MTV UK have been announced as the official broadcast partners of V Festival. I wonder if they've ever been to V Festival. Well now, luckily, they won't have to, they can watch live coverage on Channel 5 and highlights on MTV.

• Midem attendance fell by 20% for this year's 50th anniversary event, according to Music Week. New director Jérôme Delhaye blamed flooding in Paris for the dip after 4400 delegates attended the shindig, down from 5500 in 2015. He also said that rumours of the even moving to Barcelona next year were "crap". So stop spreading them will you?

• The documentary film of the V&A's 'David Bowie Is' exhibition is to be re-shown in cinemas on 14 Jul. More info here.

• Former Paramore drummer Zac Farro might now be back in the band, just FYI.

• Fifteen rare Prince albums were released on Tidal yesterday, to mark what would have been the musician's 58th birthday. Prince, of course, pulled his catalogue from all streaming services except Tidal last year.

• Hey, it looks like there's a new Aphex Twin EP on the way.

• Bat For Lashes has released new track 'Joe's Dream'. Her new album, 'The Bride', is out on 1 Jul.

• Local Natives will release new album 'Sunit Youth' on 9 Sep. They'll be touring in November too. Here's first single 'Villainy'.

• The 1975 will headline the O2 Arena on 16 Dec. And that's all I have to say about that.

• Ludovico Einaudi has just announced UK tour dates for November. He's also added a fifth show to his otherwise sold out run at London's Royal Festival Hall next month.

• Lovespeake will be making their UK live debut with three shows this week, starting at Reading's Oakford Social Club tonight. They'll be at The Islington in London the following night, then at Koko for Club NME on Friday.

Strokes man hates festivals, prefers surprises
With The Strokes booked to play Aussie festival Splendour In The Grass next month, all the fans in that audience will be pleased to know, well, just how miserable frontman Julian Casablancas will be feeling as he goes through the mandatory motions on the day.

Because, says he in a new interview with Zane Lowe over on Apple's fictional radio station Beats 1, "98% of the musicians I talk to" don't like playing festivals, and he includes himself in that majority. Yeah, fucking festivals, what were we ever thinking?

"[I prefer] to play surprise shows in half empty bars", Casablancas adds. Well, now, every gig I ever organised involved both surprises (aka slapdash publicity) and (as a result) half empty bars. So, Julian, let's do business.

 
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.
Email andy@unlimitedmedia.co.uk (except press releases, see below)
   
CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email chris@unlimitedmedia.co.uk (except press releases, see below)
   
SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, and advising on CMU Insights training courses and events.
Email sam@unlimitedmedia.co.uk or call 020 7099 9060
   
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
Email caro@unlimitedmedia.co.uk
Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

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