Thursday 29 March 2012, 11:13 | By CMU Editorial

The View detail new album, tour

Releases

Mischievous Scottish troupe The View have shared details of fourth album ‘Cheeky For A Reason’, their first release via Cooking Vinyl. Described by the band’s Kyle Falconer as “Fleetwood Mac’s ‘Rumours’ done by The Clash”, it’s out on 2 Jul.

The View are also about to tour quite a lot on the LP’s promotional behalf, visiting the dates you’re about to see listed:

9 Jun: Inverness, Rockness
10 Jun: Stockton, Ku Bar
12 Jun: Leeds, Cockpit
13 Jun: Hull, The Welly
14 Jun: York, The Duchess
16 Jun: Sheffield, Leadmill
17 Jun: Liverpool, O2 Academy
18 Jun: Nottingham, Rescue Rooms
19 Jun: Cardiff, Cardiff University
20 Jun: Bristol, Fleece
22 Jun: Northampton, Roadmender
23 Jun: Oxford, O2 Academy 2
24 Jun: Brighton, Concorde 2
25 Jun: Portsmouth, Wedgewood Rooms
26 Jun: London, Koko
28 Jun: Cambridge, Junction
29 Jun: Wolverhampton, Wulfren Hall
7 Jul: Cleethorpes, Pleasure Island
8 Jul: Doncaster, The Dome
9 Jul: Manchester, The Ritz
10 Jul: Newcastle, O2 Academy 2
12 Jul: Glasgow, O2 Academy

Swim Deep debut new video

Releases

Moving in the same crowd as Birmingham group Peace, the three grunge-informed youths of Swim Deep like nothing more than to skate shopping centres, take shots, scope vinyl and – as is only natural, their being a band and all – make music. And rather nice music, at that.

I know all this because I’ve just seen the video for Swim Deep’s debut single ‘King City’. The band’s lovenote to Warpaint bassist Jenny Lee Lindberg, it’s set for delivery via Chess Club Records on 14 May.

You too can experience the video, an oddly compelling log of the lo-fi West Midlands tourist trail, here:

Four Tet to stock Nova during in-store Phonica set

Gigs & Festivals

Producer Kieran Hebden, alias Four Tet, has announced he’ll play a sure-to-be-oversubscribed DJ set at the Phonica record store in London’s Soho. Even more exclusive is the news that copies of the supposedly sold-out ‘Nova’, Four Tet and Burial’s just-released joint single, will be stocked during Hebden’s appearance.

Priority entry will be offered to those who sign up to the event’s Facebook guestlist, as can be done here.

Festival line-up update – 29 Mar 2012

Artist News Festival Line-Up Update Gigs & Festivals

EUROCULTURED STREET FESTIVAL, various venues, Manchester, 3-4 Jun: Staged across a multitude of car parks, tunnels, streets and subterranean spaces in Manchester City Centre, Eurocultured’s excellent value Bank Holiday happening so far houses Death In Vegas, The Japanese Popstars, Caravan Palace, Birdy Nam Nam, The Correspondents and Jim Noir, with many more acts as yet unannounced. www.eurocultured.com

FULHAM FEST, various venues, Fulham, London, 27 Apr: Live West London landmark Under The Bridge celebrates its first birthday with a local contingent of grass roots bands, not least Carlito, Craft, The Lucky, Moscow Drive, Lex Lucian, Albany Down and The Eons, with further ‘special’ party guests still to be named. www.facebook.com/fulhamfest

LIVE FROM JODRELL BANK, Cheshire, 23-24 Jun: Staged within the cosmic sights of the iconic Lovell telescope, this moonage daydream of a live music fest is now poised to receive Graham Coxon, Baxter Dury and Little Barrie into the ranks of its Paul Weller-headlined Sunday line-up. Elbow top the roster on Saturday, with their supporting acts as yet among the many mysteries of modern science, ie still to be confirmed. www.livefromjodrellbank.com

SLOTTSFJELL, T¿nsberg, Norway, 19-21 Jul: New Order, Wild Beasts, Janelle Monae and Team Me are all now poised to play amid the picturesque Norwegian fjords of this idyllic three-day festival, which counts Frank Turner, Gallows, Sodre Lerche, Wolfmother and Noah & The Whale among its existing bookings. www.slottsfjell.no/

SONAR, Barcelona, Spain, 14-16 Jun: The Spanish version of this year’s Sonar (as it also takes place in Sao Paulo, Tokyo and Capetown) invites the likes of New Order, Die Antwoord, James Murphy, TEED, and 2 Bears to its crowded roster, as also features Lana Del Rey, The Roots, Deadmau5, Friendly Fires, Hot Chip, Modeselektor, James Blake, Fatboy Slim, Richie Hawtin, Amon Tobin, Squarepusher, Nicolas Jaar, Metronomy and John Talabot. www.sonar.es/en/2012/

STANDON CALLING, Standon, Hertfordshire, 3-5 Aug: Standon summons acts including !!! and Willy Mason to its 2012 line-up, which prior to this notice hosted the top-billed Fat Freddy’s Drop, Death in Vegas and Beardyman, plus Casiokids, Field Music, Stealing Sheep, Dub Pistols and King Charles. www.standon-calling.com

SUMMER SUNDAE WEEKENDER, De Montford Hall And Gardens, Leicester, 17-19 Aug: Patrick Wolf, Gold Panda, Ghostpoet, Stay+, Team Me and Dog Is Dead prove thrilling new editions to a highly anticipated Summer Sundae roster, joining Katy B, Adam Ant, Friends, Cashier No 9, Tune-Yards, Willy Mason and Billy Bragg, the last of whom will mark Woody Guthrie’s historic 100th birthday with a celebratory set. www.summersundae.com

Beyond Oblivion founder buys defunct company’s assets back

Digital

In an interesting turn of events, a company called Gee Beyond has bought many of the assets belonging to the now defunct digital music service Beyond Oblivion, which shut down before even launching late last year, and then went into bankruptcy earlier this year.

And who runs Gee Beyond? Well, none other than former Beyond Oblivion CEO Adam Kidron, blamed by many former execs at the digital non-start-up for running the company into the ground without it ever going live. So that’s fun.

A US judge approved Gee Beyond’s acquisition of Kidron’s former company’s assets on Monday. The new firm will pay a reported $4.2 million for the bits and pieces of IP and contracts and such like.

Though, according to Evolver FM, the new company won’t get access to digital rights management technology at the heart of Beyond Oblivion’s Boinc platform, because its maker, Intertrust, objected to the sale of its agreements with the defunct enterprise to a new company run by the same founder.

Quite what Gee Beyond plans to do with the remains of Boinc remains to be seen.

Absolute sign up Vaughan for Olympics shows

Media

Absolute Radio has announced it has recruited Johnny Vaughan, who, of course, departed the Capital Radio breakfast show somewhat suddenly late last year, after bosses there decided it was time for a new voice in prime time.

Vaughan’s initial job for the national station will be to front a series of programmes during the Olympics talking to all sorts of celebs about London’s fortnight of sporty nonsense. Absolute, of course, is one of the broadcast partners for the entertainments due to take place in London’s parks during the Games.

Confirming Vaughan was on board, Absolute’s COO Clive Dickens told reporters: “Johnny is at the top of his game, and is without a doubt one of the best talents in radio. We are very excited about hearing him back on air, as I am sure will his many fans. He will further strengthen our stellar ‘Faces For Radio’ line-up”.

While Vaughan himself added: “For two weeks this summer we’re celebrating the two greatest things Great Britain has given the world – sport and music. I’m really looking forward to celebrating both”.

Billboard appoint new editor

Media

US trade mag Billboard has appointed a new Editor for its weekly magazine, who will report to Editorail Director Bill Werde. Interestingly – given recent rumours Billboard has been looking into making its newsstand title more consumer friendly as industry subscriptions slide – the new editor, Joe Levy, has a background very much in the consumer press, having held senior editorial posts at Maxim and Blender, and contributed to Rolling Stone, Village Voice and Spin.

Confirming the new appointment, Werde told reporters: “I couldn’t be more excited to bring Joe Levy to Billboard. Joe is one of the best editors working today when it comes to music and broader entertainment. He has an encyclopedic knowledge of pop culture, a brilliant mind for incisive commentary and a deft hand with a story. As we work to ensure Billboard offers the best coverage across all of our platforms, this is a giant step for the magazine”.

No sex please, we’re a British boy band trying to appeal to middle America

And Finally

The boys from One Direction might be enjoying all the chart success they are having in the USA right now, but – if The Sun is to be believe – it’s not all going to plan, because label execs there have banned the former ‘X-Factor’ finalists from fucking their groupies. And according to the tab, the four single members of the boy band are “raging” over the enforced sex ban.

Seemingly record company types in America are keen to maintain the group’s “clean cut image”. Which I wasn’t aware they had to start with – indeed, you could argue their US success is in part down to American teens being bored of the tedious clean-cutted-ness of the likes of the Bieber and the Jonas Brothers – though I suppose if you get into bed with Nickelodeon, that means not sharing your bed with anyone else (though, interestingly, the 1D boys have been playing down their commitments to the kids TV channel recently).

The Sun quote one of those sources as saying: “Four of them are single and they’ve been told to stay that way as it appeals to their American teen fans. Niall Horan is fighting off the women with his Irish accent and good looks so he’s having to live like a monk. He’s raging about it – all the lads are. They are all young lads and they have urges like anyone else their age. And the worst thing is the American girls are literally throwing themselves at them so there is so much temptation in their way”.

Q&A: Blood Red Shoes

Artist Interviews

Having formed in 2004 after the demise of respective bands Cat On Form and Lady Muck, Brighton alt twosome Blood Red Shoes, aka Steven Ansell and Laura-Mary Carter, released their debut album ‘Box Of Secret’ via Mercury in Spring 2008. It was immediately well received and soon bred a sequel in 2010’s ‘Fire Like This’, after a considered return to the pair’s original label V2.

A document derived from constant touring, petty crime and debauch (“From getting arrested, Laura fighting bouncers… twice, to the two of us breaking up on stage or me being found in the street robbed by prostitutes”, says Ansell) third album ‘In Time To Voices’ is proof of the duo’s punk rock ‘coming of age’. Out this week via V2/Co-Operative Music, the LPs campaign will see BRS play their largest capacity show to date at London’s Shepherds Bush Empire on 18 Oct, part of an international tour whose British section begins on 27 Apr at Concorde 2 in Brighton.

As the band limber up for said live labour, CMU Editor Andy Malt approached guitarist and co-vocalist Laura-Mary Carter to ask – amongst other things – about her ambitions for the new record, past/present triumphs and regrets, and her thoughts as to the vicious rumour that “rock is dead”.

AM: How has your sound developed on ‘In Time To Voices’?
LMC: The biggest change on ‘In Time To Voices’ is the development of the songwriting. We really wanted to focus on writing great songs and once we had the backbone of that we could embellish things in whatever way we felt fit. That way behind all the guitar distortion and heavy drums you could play the songs on an acoustic guitar and they could still stand up on their own.

We also decided before we started to write this album we would not limit ourselves to the guitar/drum set up only. So, for example, if we felt like strings or keyboard would work in a song then we should put it in. Which we did. We still like to keep our sound real and not too over-produced, but we did put more layers on than the previous albums, though each part really has a place.

Our voices have been a huge step forward for us as we are really learning every day about how to sing better and how our voices complement each other.

AM: Given you have more layers and production going on this time – how will it translate live?
LMC: Like I said, the backbone of each song is there without the production, so it will be a more stripped back version live. We will not be using backing tracks or have extra members, which is something we feel very strongly about. At the moment we are rehearsing the songs, and although there is a lot more to think about for both of us, I think there are ways we can work it out. A few songs on the record may not fit in our live set but we can play them acoustic for sessions and various other things.

I have way more pedals now and Steve has to take singing and drumming to the next level, but we are confident we can pull it off. Playing live is what we are known for and it’s so exciting to be able to mix up all three albums in a set now.

AM: Have you always wanted to experiment more with your sound? Why start to impose fewer restrictions on yourselves now?
LMC: Yes, we have always wanted to experiment, but we were conscious not to run before we could walk. I think if we had made this record a few years ago it would have been shit as we wouldn’t have known how to execute it in the right way. Once we had two records under our belt we felt the need to change and progress and will continue to do so in the future. I really think that ‘In Time To Voices’ is just the beginning of experimentation in our sound. We have learnt a lot even since finishing this album.

AM: Do you have any particular favourite tracks on the new album?
LMC: Yes, I think ‘Silence And The Drones’ is our favourite track on the album. It was the song that set up the mood and feel to the record for us. We wrote it really fast and it kinda just fell out of the sky. We always wanted to write a song like that, so for us it’s our personal greatest achievement.

AM: Are you looking forward to starting your tour next month? What can people expect from the shows?
LMC: Yes, we are looking forward to touring. They can expect an energetic and real rock n roll performance, mistakes and all…

AM: You’ve had a bit of a convoluted route though the major label system, originally signing to V2 but then releasing your debut through Mercury. This is now your second album for V2. What led you back there and are you pleased with the team around you now?
LMC: We signed to V2 way back when they were not owned by Universal. We thought of many things to put into our contract but we didn’t think about putting in a clause to say if the label is bought out then we reclaim all rights and are free to walk. Silly us… massive schoolboy error there.

So V2 was sold to Universal three months after we signed, and the labels within the major were able to take their pick of any of the bands. We never in a million years thought Mercury would want us. And I can say hand on my heart, it was one of the worst feelings I have ever had hearing that they were picking us up. The experience was how you would imagine if you were to write a stereotype of major labels. They don’t have a clue and we took great pleasure at telling the boss of Mercury just that in a meeting before we parted ways.

I think that major labels should stick to their big pop stuff as the track record in the last however many years with anything guitar based has pretty much mostly been a disaster (Joe Lean And The Jing Jang Jong is a prime example there).

Once we were back to the re-established V2 with the guy who actually signed us in the beginning, it was like going home, even though we were still technically within the Universal empire. We like working with actual ”music lovers” and a forward thinking label. We have a close relationship with all our label throughout Europe. However, we actually license our albums to them, so we don’t have a conventional deal any more. So we tour a lot to be able to put our earnings into making the next album. That way we have complete control, so it’s better all round.

AM: If you could go back and give one piece of advice to yourselves as you were preparing to release your debut album, what would it be?
LMC: Don’t let anyone make you dress up in silly outfits for photo shoots, to be more confident, and to just be yourself.

AM: What’s your view of the current state of the music industry? Are you optimistic about the future?
LMC: The music industry has changed a great deal since we first started being involved in this world. The ways of breaking bands these days into mainstream is totally changing. I think major labels still have not quite grasped what’s actually happening and are still signing loads of bands that are clearly gonna go nowhere in the hope that one of them will make back all the millions of pounds they have lost.

It is interesting when you think about the fact that one of the biggest artists in the world right now, Adele, is on an independent label. If that doesn’t speak volumes I dunno what does.

Another thing I have noticed is that there is no method to what is popular. I didn’t really see Ed Sheeran or The xx getting big, or Two Door Cinema. But people just like them! It’s a real guessing game as to what people will like, and I think that is an exciting prospect. On the other side of things the internet and the way of hearing music has got so saturated that many artists’ people don’t know where to look.

Attention spans are not the same, and the mystery in bands has all been taken away with things like Twitter. It’s all about content and everyone is fighting to be heard. I think maybe at some point people will get sick of this too and maybe it will regress back.

I also have the opinion that the success of bands like Mumford And Sons and Adele is a lot to do with the fact that they write classic-sounding songs with a great voice, something that is lacking within a lot of mainstream music, so it sticks out amongst the vast amounts of new stuff out there.

I have so many conflicting opinions on this subject I could talk for years. But I guess who knows what will happen. I stay optimistic about music in general, I think great music will always prevail.

AM: You’ve said elsewhere that you see most modern bands as “way too clean-cut and sensible”. What are bands doing wrong, and how much do you think this has led to recent claims by some media that rock is dead?
LMC: Rock is dead comments are rubbish! Rock will never die, people need to proactively find it! If you’re just waiting for it to go mainstream and come to you then you might be waiting a while as bands being signed at the moment are not necessarily good guitar bands. There are plenty of great rock bands I can think of about at the moment – maybe not as many as there used to be, but as long as there is underground music, there will always be guitar bands.

AM: What bands are you enjoying at the moment?
LMC: I really am enjoying St Vincent, Tame Impala, True Widow, Grizzly Bear, Mark Lanegan, Peggy Sue, Pulled Apart By Horses, and The Dodos as they are new things on my iPod. Then the oldies like Queens of The Stone Age, Radiohead, Fleetwood Mac, Autolux, Hotsnakes, Mogwai, Television, Blur, PJ Harvey, Trail Of Dead and Pixies.

AM: What’s next for Blood Red Shoes?
LMC: Tour for the next year and beyond …our plan is to take over the world!

Approved: Fanzine

CMU Approved

If you must lump East London quartet Fanzine into a category of any kind; file them beside Mazes, Weird Dreams, Gross Magic, and the class of guitar bands who are surpassing the capital’s live divebar scene to write songs that’ll resonate beyond (god forbid) that semi-sacred Dalston-Shoreditch-Stoke Newington radius.

One half of the band’s new single, ‘Houses Fall’ – as will form one of the first releases from The Line Of Best Fit’s new signature label, Best Fit Recordings – is such a song. Awash with covetous chords and lightly-sloping vocal steppes, it’s a sweet and ragged hymn to a girl so devastating, she can fell actual bricks-and-mortar buildings. And that’s some feat.

The very same track, which is in fact the reverse to Fanzine’s forthcoming debut ‘LA’ (out 30 Apr), can be streamed after its heartier A-side counterpart just here:

And since Fanzine would hardly be doing justice to their own name without their very own… well, fanzine; here are Fanzine’s self-made fanzines.

Sony/ATV offers EMI concessions in Europe, as Californian Attorney General takes an interest

Business News EMI Sale Timeline Labels & Publishers Top Stories

While Universal Music resisted the temptation to offer concessions to competition regulators in Europe during the European Commission’s initial investigation into its proposed acquisition of the EMI record companies, it emerged late yesterday that Sony/ATV has offered concessions in a bid to allay fears about its acquisition of the EMI music publishing business.

As previously reported, Sony’s publishing company, a joint venture with the Michael Jackson estate, is leading a consortium of investors to buy EMI Music Publishing, which is likely to remain a separate entity if the takeover goes ahead.

With Sony only owning half of Sony/ATV, and Sony/ATV only owning a slice of EMI Publishing under the proposed deal, some speculated that this takeover might have a smoother ride through the regulatory process than Universal’s bid to buy the EMI labels, the Universal music company being much more closely integrated under one parent conglom.

However, even if EMI Publishing was to remain a stand-alone entity, it would still report into Sony/ATV’s leadership, led by former EMI publishing chief Marty Bandier, and the two companies would almost certainly speak as one in the all important collecting society domain, which is much more significant in the publishing sector than the record industry.

Either way, presumably by making concessions at this point, Sony/ATV are hopeful European regulators might be persuaded to green light their EMI deal without a full three month second phase investigation, like that launched with regards Universal’s EMI acquisition at the end of last week.

The EC confirmed Sony/ATV had offered concessions yesterday, but gave no details as to what exactly they were. The regulator added that the proposals would push back its phase one investigation into the Sony deal until 19 Apr, when it will announce whether the Sony-led consortium has won approval, or whether a full three month inquiry will be required for this deal too.

Sony itself revealed little about its negotiations with the EC, except to tell reporters yesterday that it and its investment partners remain “confident that the transaction will be approved”. Though those who opposed both EMI deals, which together would make the two biggest music companies in the world even bigger, remain hopeful both takeover proposals may as yet be blocked.

Meanwhile, in the US, California’s Attorney General Kamala Harris has reportedly started making her own inquiries into the two EMI deals, separate from the ongoing competition investigation being conducted in the US by the Federal Trade Commission. According to Bloomberg, Harris’s office has made contact with various people and organisations likely to be affected by the deal, though it’s not clear to what end, or what power the Attorney General would have to hinder any deal-making if both transactions were approved at a federal level.

Industry welcomes Hooper’s initial thoughts on a Digital Copyright Exchange

Digital Top Stories

Former OfCom man Richard Hooper yesterday published his first report on the proposed Digital Copyright Exchange, one of the grand proposals in the government’s Hargreaves review of copyright law last year.

As previously reported, the proposed Exchange would aim to lower the administrative costs of licensing content for digital services, and to give business and consumers easier access to copyright material, which is a great idea, but Hooper has been charged with the task of working out exactly how that might work. It’s thought he might recommend some sort of a formal government-run online information exchange, or some other industry-run system that would achieve his objectives.

Launching his provisional report on the matter, which mainly sets out the case for such an Exchange’s existence, Hooper told the BBC yesterday: “This will drive economic growth across the UK’s creative and technology industries. And if the media companies are seen to be doing everything possible to enable and encourage new digital services via easier and more streamlined copyright licensing, then that makes it easier for politicians to be even tougher against copyright infringement”.

The provisional report was welcomed by reps for the music industry, who noted in particular Hooper’s admission that, relative to other countries, the UK’s copyright licensing processes are already amongst the best, even if said processes could be simplified further. Quite how that latter bit can be achieved is what is still to come in the government’s big feasibility study, but UK Music said it looked forward to working with Hooper and his colleagues to look for solutions.

UK Music chief Jo Dipple told CMU: “I think everyone involved in this feasibility study has appreciated Richard Hooper’s thoughtful and methodical approach. Having revisited the question of whether copyright licensing is fit for the digital age, he has quite rightly recognised that the UK music industry is breaking new ground – licensing more digital music services than any other country and consistently supporting innovation. The report also identifies areas where music licensing can be improved. That is our aim too. UK Music looks forward to working with Richard Hooper [and his colleagues] throughout stage two of this study, and will be keen to highlight existing industry initiatives that have this specific goal in mind”.

Meanwhile speaking for the record industry, BPI boss Geoff Taylor added: “We support the overall conclusion of the study that whilst the licensing of digital music is more advanced in the UK than in most other countries, a voluntary and industry-led DCE could help to further enhance transparency and efficiency. We welcome the acknowledgement that rights owners should remain free to choose the way in which they license their creative works, and look forward to working with Richard Hooper in Phase 2 to help design a DCE that will stimulate even more innovation in the UK’s world-leading digital music market”.

The next report is expected in July, meanwhile Hooper’s provisional thoughts are online here.

MegaUpload targeted with civil actions

Digital Legal MegaUpload Timeline

Two independent rights owners in the US have launched civil proceedings against MegaUpload and its founder Kim ‘Dotcom’ Schmitz over the alleged infringement of copyrights they own.

The civil litigation follows, of course, criminal action against the Mega empire and its top execs, four of whom are currently fighting extradition from New Zealand to face copyright infringement, money laundering and racketeering charges made against them in relation to their involvement with the controversial file-transfer and video sharing company.

First plaintiff Microhits owns music rights while co-litigant Valcom owns the copyrights in various TV and film assets, and according to The Hollywood Reporter both companies rely heavily on the charges made against the Mega business in America’s criminal investigation in their civil lawsuits, filed with the Virginian courts.

Both claimants are seeking compensation of $30,000 to $150,000 per infringement, though their legal papers do not reveal how many of their works they believe MegaUpload infringed. Both companies have copyrights in thousands of bits of content, so could well push for mega-damages if they were successful in court, though a lot of content owners will be going after the Mega fortune if copyright infringement is proven in either the civil or criminal cases in the US. It’s already thought the Motion Picture Association Of America is planning its own litigation on behalf of the big studios.

Team Mega, of course, continue to claim their operations were protected from infringement claims under American law, and that the US authorities’ assault on their empire was politically motivated.

The Morning Benders opt for name change

Artist News

Actually a rebrand rather than a reunion, US indie pop outfit The Morning Benders have opted to drop their moniker of seven years, deciding instead that they’d prefer to be referred to as POP ETC. Whilst touring the UK, the band realised that their original name had different connotations overseas than in America (“We were told it was the equivalent of ‘The Morning Fags'”, they say), and changed it to avoid causing public offence.

Writing on behalf of the band in this statement, frontman Christopher Chu explains: “We simply cannot go on using a name that is demeaning to the gay community. The reason we are making music is to reach and unite as many different kinds of people as possible, and the idea that our name may be hateful towards anyone makes us sick”.

He continues: “In the UK and many parts of Europe the name has simply become too distracting. The MUSIC has always been our number one focus, and we want to present that to people in as pure a way as possible”.

Now free from all such distractions, Chu and POP ETC have released a free mixtape, their first new output since 2010 album ‘Big Echo’. It’s available at popetcetera.com.

The Men debut RSD track, announce new UK dates

Releases

Magnificently mussy Brooklyn band The Men have gifted new track ‘A Minor’ to ‘Todo Muere Vol 2’, a compilation to be released on Record Store Day (21 Apr) by their host label, Sacred Bones. Clocking a duration that demands absolute faith and devotion (it’s over eight minutes long), the track features alongside other offerings from Crystal Stilts, Amen Dunes and Iceage offshoot War.

Why not listen to it here:

In addition to playing London’s Field Day festival this year, the band have also just confirmed amid a forthcoming US and European tour live dates at Dublin’s Whelan’s (30 May) and the Shacklewell Arms in East London (3 Jun).

Peaking Lights discuss new LP

Releases

Dub-pop couple Peaking Lights, aka wed Wisconsinites Aaron Coyes and Indra Dunis, have confirmed the release of their third studio LP, ‘Lucifer’.

Out via Weird World on 18 Jun, it was recorded in Brooklyn following the birth of the duo’s son, who is hailed as a “guiding light muse for the album”.

That said, Coyes offers a further quote: “All of our record titles have come to us in dreams, daydreams and epiphanies. ‘Lucifer’ sat so strong with us. It means ‘Venus, bearer of light’ and is the first sign of the sunrise. To us this record is about play and playfulness, unconditional love, rhythms and pulses, creation and vibration”.

Hear all that manifest in the hour-long ‘Lucifer’ mixtape streaming below, which features fragments of several unknown album tracks. Or, in Peaking Lights speak, gives “a few distant glimpses of [the record’s] many spoils”.

You can also have a closer look at this tracklist:

Moonrise
Beautiful Son
Live Long
Cosmic Tides
Midnight
Lo Hi
Dream Boat
Morning Star

Smashing Pumpkins to release Oceania LP

Releases

Billy ‘Pill Popping’ Corgan and his Smashing Pumpkins have – at long, long, infinitely long last – come to an arrangement with EMI Label Services/Caroline Distribution as to the distribution of their new album ‘Oceania’. An instalment of the band’s 44-song concept opus ‘Teargarden By Kaleidyscope’, said LP is released – for all those who still care or remember – on 19 Jun.

The exclusive EMI deal stems from Corgan and co’s wish to make the album simultaneously available on an international scale (with the possible exceptions of Canada, Brazil and Australia, who are excluded from the EMI distribution zone), without pre-releases or press/radio previews spoiling any of their ‘Oceania’ fun.

Says “thrilled” EMI GM Mike Harris: “Everybody at EMI Label Services is looking forward to working closely with Billy and the band to help them deliver their vision and their music to fans around the world”.

Efterklang to tour with Northern Sinfonia orchestra

Gigs & Festivals

Danish post-rock trio Efterklang are to embark on a concert tour with The Sage Gateshead’s resident orchestra, the 35-piece Northern Sinfonia.

Staged in promotion of forthcoming Efterklang LP ‘Piramida’, preparations for ‘The Piramida Concerts’ have seen the band appoint Missy Mazzoli, Karsten and Dan’el Bjarnason – past collaborators of Kronos Quartet, Oh Land and Sigur Rós respectively – to assist in composing classical arrangements for various album tracks.

Following the show’s premiere at the Sydney Opera House, UK dates will run as follows:

23 Oct: Gateshead, The Sage
24 Oct: Edinburgh, Usher Hall
27 Oct: Coventry, Warwick Arts Centre
28 Oct: Brighton, Dome
29 Oct: Manchester, Bridgewater Hall
30 Oct: London, Barbican

Poliça announce show

Gigs & Festivals

Fresh(ish) from a rapt reception at this year’s SxSW festival, CMU approved synthpop ensemble Poliça will mark the release of their debut album, ‘Give You The Ghost’, with a one-off date at CAMP later this summer.

With the LP’s issue date reset to 30 Apr, the show takes place at the East London venue the following week (7 Jun).

141 more bands added to Great Escape line up

Artist News Gigs & Festivals

141 more bands have been added to the line up for this year’s The Great Escape, which is very exciting indeed. Amongst the latest editions are The Temper Trap, returning to the Brighton festival three years after playing one of their first ever shows there, this time in a headline slot at the Brighton Dome.

Confirming their return to TGE, the Temper Trap told CMU: “We can’t wait to play The Great Escape again – being part of the event in 2009 was incredible and 2012 is going to be even better. We’ll be playing songs from our new album, it’s set to be a very special show”.

Jack White signings The Black Belles on their first UK trip, former Supergrasser Gaz Coombes and We Are Augustines are among the other bands now added to the extensive list of acts set to play venues across Brighton between 10 and 12 May, alongside the CMU-programmed Great Escape convention, more news from which will be announced tomorrow.

Meanwhile, find out about all this year’s TGE bands, and get yourself tickets, at www.escapegreat.com

Festival line-up update – 28 Mar 2012

Artist News Festival Line-Up Update Gigs & Festivals

BENICASSIM, FIB Heineken, Valencia, Spain, 12-15 Jul: Vince Power scores a serious booking coup in bagging Bob Dylan, who joins festival proceedings alongside other new conscriptions Jessie J, Robyn Hitchcock and TEED. At the Drive-In, The Stone Roses, Florence And The Machine, New Order, Noel Gallagher«s High Flying Birds, David Guetta, Bombay Bicycle Club and The Maccabees are amongst those announced on previous occasions. benicassimfestival.co.uk

CAMBRIDGE FOLK FESTIVAL, Cherry Hinton Hall, 26-29 Jul: Festival coordinaters enlist Anais Mitchell, John Prine, Ruthie Foster, The Unwanted and Four Men & A Dog to Cambridge Folk Festival’s rosy live ensemble, this latest lot joining existing bookings Joan Armatrading, The Proclaimers, Clannad, June Tabor & Oysterband, Billy Bragg, Seth Lakeman, Dry The River, Roy Harper and Benjamin Francis Leftwich. www.cambridgefolkfestival.co.uk

DOT TO DOT, various venues, Manchester/Bristol/Nottingham, 2-4 Jun: Taking place across multiple venues in a triplet of cities, Dot To Dot organisers have named Wavves, Bastille, Clock Opera, Islet, Willis Earl Beal, Pond and Beth Jeans Houghton amid the festival’s initial line-up, with Neon Indian also primed to play its Mancunion edition only. www.dottodotfestival.co.uk

END OF THE ROAD, Larmer Tree Gardens, Tollard Royal, Wiltshire, 31 Aug – 2 Sep: 2:54, Deer Tick, The Mark Lanegan Band, Concrete Knives, Marques Toliver and Peggy Sue expand upon EOTR’s existing 2012 roster, which hitherto housed Grandaddy, Grizzly Bear and Tindersticks in its headline slot, plus Midlake, Beach House, The Low Anthem, Dirty Beaches, Veronica Falls, The Antlers and Villagers. www.endoftheroadfestival.com

GOLDEN DOWN, Black Bush Valley, Matterley Estate, Hampshire, 15-17 Jun: Mount Kimbie, Thundercat, Hercules & Love Affair and Lorca number amongst Golden Down’s most recent roll-call, thus lining up beside prior recruits Lee Scratch Perry, Roots Manuva, Four Tet, Apparat, Ghostpoet, Dub Pistols, Floating Points and Slow Club. www.goldendownfestival.co.uk/

HARD ROCK CALLING, Hyde Park, London, 13-15 Jul: Resurgent grunge legends Soundgarden have been newly named to reign over the Friday bill at this year’s Hard Rock Calling, with Iggy & The Stooges also set to join such select performers as Bruce Springsteen, John Fogerty, Lady Antebellum, Paul Simon, Jimmy Cliff, Ladysmith Black Mambazo and Alison Krauss & Union Station. www.hardrockcalling.co.uk

HOP FARM MUSIC FESTIVAL, Hop Farm Country Park, Paddock Wood, Kent, 29 Jun – 1 Jul: Bob Dylan is poised to reprise his 2010 appearance atop the Hop Farm roster, confirmed as he is to share headlining duties with Peter Gabriel & The New Blood Orchestra and Suede. An extra horde of just announced acts includes Damien Rice Primal Scream, My Morning Jacket, Maximo Park, Patti Smith, The Stranglers, Billy Ocean, The Psychedelic Furs, Lianne La Havas, Slow Club, Tom Vek and White Denim. www.hopfarmfestival.com/

LONDON BLUESFEST, various venues, London, 26 Jun – 6 Jul: The London leg of this double-barreled blues spectacular is newly set to host Erykah Badu and Nick Lowe, who further supplement a bill that also stars Van Morrison, Tom Jones, George Benson, Hugh Laurie and Ronnie Wood. www.bluesfestlondon.com

LOVEBOX, Victoria Park, London, 15-17 Jun: Recent add-ons Grace Jones, Mika and Felix Da Housecat mean three more stars for this year’s Lovebox tenth anniversary happening, sharing space with Lana Del Rey, Bobby Womack, Niki & The Dove, Patrick Wolf, Hot Chip, Magnetic Man, Azealia Banks, Danny Byrd and Emeli Sande. www.lovebox.net

PUKKELPOP, Kempische Steenweg, Belgium, 16-18 Aug: With supreme Pukkelpop beings Bjšrk, Foo Fighters and The Stone Roses ruling this festival’s delectable listings in some style, additional Belgian treats include Bloc Party, The Black Keys, Hot Chip, Two Door Cinema Club, Frank Ocean, The Big Pink, Enter Shikari, Jessie Ware and Tune-Yards. www.pukkelpop.be/en

T IN THE PARK, Balado, Kinross-shire, Scotland, 6-8 Jul: Cher Lloyd, McFly, Shed Seven, The Subways and Childish Gambino form a sundry batch of brand new T acts, accompanying the afore announced Snow Patrol, The Stone Roses, Kasabian, Noel Gallagher’s High Flying Birds, Florence And The Machine, Tinie Tempah, New Order, David Guetta, Calvin Harris and Nicki Minaj. www.tinthepark.com

TRAMLINES, various venues, Sheffield, 20-22 Jul: Roots Manuva, We Are Scientists, Ms Dynamite, Mr Scruff, Charli XCX, Spector, Alt-J, Clock Opera, Frankie And The Heartstrings and Peace are first to feature on the roster of this free-for-all music fest, as are Alternative Stage guests Esben And the Witch, Mazes, Frankie Rose, 65daysofstatic, and Rolo Tomassi. www.tramlines.org.uk/

WIRELESS FESTIVAL, Hyde Park, London, 6-8 Jul: The Weeknd, Labrinth, Childish Gambino, Chiddy Bang, Jaguar Skills and Theophilus London lead the latest additions to what’s perhaps the festival season’s most mainstream music programme, as also features co-headliners Deadmau5, Drake and Rihanna, plus a supporting cast including Nicki Minaj, Jessie J, Professor Green, Wiz Khalifa, J Cole and Example. www.wirelessfestival.com

Converse announce latest artist collaboration

Brands & Merch

Converse has announced details of its next Three Artists One Song collaboration, which will see Mark Foster of Foster The People, DJ A-Trak and singer songwriter Kimbra work together on something musical to coincide with the launch of a new Converse collection of shoe like objects next week.

Converse’s VP of Brand Marketing, Joy Howard, told CMU: “Converse is in its seventh Three Artists One Song series, and with each new collaboration we’re continually blown away by how talented these artists are when they come together to express themselves. Mark Foster, Kimbra, and A-Trak are making some of the most exciting music out there today and we’re thrilled that [we] could be the catalyst for bringing them together”.

The Orchard streamlines staff post merger

Business News Labels & Publishers

Digital distributor The Orchard has announced a small number of redundancies following its merger with rivals IODA earlier this month. According to Billboard, about ten people from the IODA side of the business were let go on Monday, and more cuts are expected. It’s not yet clear how the combination of the two companies will impact its UK team.

Sony DADC London centre due to relaunch this summer

Business News Labels & Publishers

Sony’s logistics business Sony DADC has announced it will open a new “enhanced” distribution centre in Enfield, North London on the site of the facility that was burned to the ground during the riots that occurred in the capital last August, taking stock from numerous independent record companies with it.

The new complex will have an extra layer of offices than the old building, and will have “more capacity, technology investment and an enhanced security concept” according to Sony DADC bosses, who hope to have the facility up and running by the summer.

MCV quote Sony DADC’s UK General Manager Natasha Tyrrell thus: “Despite suffering the complete loss of our UK distribution centre in summer 2011, our customers have been very supportive and encouraging during the difficult period post fire, while our team has shown tremendous strength of character and determination to succeed. We are determined to keep this fantastic team together, to strengthen their resources and to create a great place to work – while supporting our current client base in their growth strategies”.

Indie label distributor [PIAS] used the Sony DADC centre, which was why the fire affected so many independent labels. The music firm has been using an alternative Sony DADC centre since the fire, as well as working with Proper Music to supply independent retailers.

EMI launches dance network

Business News Labels & Publishers

EMI yesterday announced the launch of the EMI Dance Network, a new A&R and marketing network that will bring together specialists in dance and electronic music around the world. Overseen by the major’s Bart Cools, the new network will help dance artists signed to the firm’s various labels expand their global precense.

Says Cools: “EMI has long been home to some of the most innovative and successful artists in dance music and given our incredibly strong dance roster and our global rights approach we’ve been looking at how we can best serve our electronic music artists going forward. By taking our existing expertise in dance music and creating a new global structure we can ensure that our artists are working with people who are the experts in the genre, who have an unrivalled track record of success, and know how to take full advantage of the ever growing opportunities for dance music around the world”.

Odd Future premiere TV prank show

Artist News Media

It’s always absolute Odd Future mania here at CMU HQ, but this week has been made especially maniacal by the virtue of some UK dates coinciding with the premiere of OF’s new ‘reality’ TV show ‘Loiter Squad’. Hurrah.

Produced by ‘Jackass’ creators Dickhouse Entertainment (yes, really), the show comprises a mix of skits, sketches, pranks (plus the occasional live performance), and is available for UK viewers to screen via its American broadcasters Adult Swim.

So if you fancy watching a be-wigged Tyler, The Creator and friends hitting each other with bin lids, and other such stunts, look below to find the first of what may be many ‘Loiter Squad’ episodes.

As previously reported, Odd Future’s UK tour starts today in Birmingham, continuing on to London’s Brixton Academy tomorrow. Speaking of London, as of today the Old Truman Brewery on Brick Lane will be flogging OFGWKTA merchandise at a short-term pop-up shop, this exclusive sample sale ending on 2 Apr.

Bieber could be sued over phone number prank

And Finally

Justin Bieber could be facing legal action over a Twitter prank that went a bit wrong.

The Biebster reportedly teased his fans by tweeting a phone number recently, with the call to action “call me right now”. It was a fake number, and didn’t even have enough digits.

But that didn’t stop his fans from inserting their own final digits, trying zero through nine in the desperate bid to make phone contact with their hero.

Which left ten land line owners really rather pissed off as a deluge of Bieber fans started swamping them with optimistic phone calls. And I’ve seen Bieber fans chatting on Twitter, they’re not the sorts of people you’d want to be taking wrong number calls from.

According to TMZ two of the affected phone line owners are now suing the popster claiming his behaviour was “reckless”. Bieber is yet to respond. I tried calling him on this number I got off the internet (I added the missing zero), but I just got some very rude people telling me to “fuck off”. He really ought to hire some new staff.

Eddy Says: Best bits via the slopes

Eddy Says

Our old friend Eddy TM has been keeping himself rather busy this week via a whirlwind tour of Europe’s ski resorts, where the skiers and snowboarders of the world are rather digging his DJ sets. So busy in fact, there’s not been time for a full Eddy Says this week, though he has sent in a quick update from the slopes, and we’ve also used this opportunity to revisit some of our favourite columns of old.

Dearly beloved…

This week I’m away playing at a couple of those things that make me think us DJs really do have the best job in the world: snowboard festivals.

Snow Kop in Serbia was first, I played last night, warming up for DJ Fresh and Messy MC. I know the Serbs love their rock so I treated it as a bit of a rehearsal for my support slot with the Prodigy at Download later this year, road testing some big rock bomb remixes of the likes of System Of A Down and Slipknot (thank you Subsource!) in with some crowd pleasing favourites, like the Losers mix of Rage Against The Machine and Bassnectar’s big Pixies mix. It went down really well, so much so I’m even more pumped about Download now, and still so grateful to The Prodigy for asking me to support them.

Right now I’m en-route to the Big Snow Festival, where I’m appearing with Majestic, doing another genre-blending set of electro-moombo-dubstep-DnB. The journey has been made especially fragrant by the fact my bag is soaked in somebody else’s Serbian Schnapps. It appears as though several bottles of Rekija ruptured and spent several hours soaking into my clothes. The bus we’re driving towards the Italian alps on now smells like a Cooper Temple Clause tour vehicle!

Anyway, in my absence the nice guys at CMU are putting some of their Eddy Says favourites here, normal service will hopefully resume next week.
Xe

FIVE OF TEAM CMU’S FAVOURITE EDDY SAYS COLUMNS…

1. Let’s start with Eddy’s ode to the nice guy in music – the column that has generated more hits than any other column we’ve every published on theCMUwebsite.com!

2. And now for some of Eddy’s ‘Uncle Ted remembers’ stories – like the time Eddy broke his neck on live TV.

3. And who could forget the story behind Ibiza Rocks – part one, two and three?

4. Then there’s Eddy’s recent excitement at drum & bass finally topping the charts.

5. And don’t forget last week’s tip filled music for the (real) new year column!

And finally, have you got your Secret Garden Party tickets yet?

Approved: Haim

CMU Approved

Their propitious fate sealed by liberal SxSW hyping (not to mention a feature in the Guardian’s ‘New Band Of The Day’ slot), sororal trio Haim (that’s LA-based sisters Danielle, Este and Alana Haim) make music to chime with the abrupt spring offensive we’ve all appreciated of late.

More than just decorative despite its forthright pop allure, their debut EP, a three-tracker entitled ‘Forever’, is available to download for free following its release earlier this month.

First track ‘Better Off’ fortifies its floral folk notes with a stiff rhythmic backboard, its pop palette darkened by sparse, barbed instrumentation and clipped harmonics. Title track ‘Forever’, meanwhile, is as knowingly pert and pristine as final third ‘Go Slow’ is downbeat.

Dip into the EP, plus Dan Lissvik’s remix of its title track, here:

Tips: Who owns a copyright?

CMU:DIY

CMU Business Editor Chris Cooke provides an overview of the rules on default ownership under UK copyright law.

If you are a singer songwriter, and you write a song with lyrics and then record it, you have created three separate copyrights…

• A copyright exists in the lyrics
• A copyright exists in the musical score
• A copyright exists in the sound recording

Under the UK copyright system (and most copyright systems, though the US is different) you do NOT need to register your work in order to get copyright protection – the copyrights in the lyrics and musical score exist as soon as they are created (technically they do need to be written down or recorded), and the copyright in the sound recording exists as soon as the recording is made.

But if you don’t have to register the copyright, how do we know who owns it? Well, the law tells us who, by default, owns any one copyright.

In the case of the lyrics and musical score it is the creator – so the lyricist or composer, who may be different people or the same person. If you collaborate with other people on writing a song, then everyone involved will be a co-owner.

In the case of the sound recording, under English law the copyright belongs to what the Copyright Act calls the ‘producer’ – though the Act doesn’t mean the record producer, but whoever paid for the studio time, which for a signed artist would usually be their record company.

So, that’s simple.

However, English law also allows the ‘assignment’ of existing and future copyrights to a third party, which can be a company or an individual. This basically means you hand over ownership of the copyrights in any works you have created or will create to a record company or music publisher or similar, normally in return for upfront money or long-term investment, or more often a combination of the two.

Once you have assigned the rights in something you created, the person or company you assigned them to becomes the copyright owner, and can do whatever they like with and profit from your work. Though usually there will be a written agreement when assignment takes place, in which the new copyright owner will commit to pay a share of any money generated by the song or recording back to the original creator. That agreement may also give the creator veto rights over certain uses of their work – though what share of the money and what veto rights a creator gets is all up for negotiation. Obviously any creator negotiating such an agreement needs legal advice.

Oblivious of that assignment agreement, the UK copyright system provides a couple of extra bits of protection to some artists:

– Any musician involved in a sound recording that is then broadcast or played out in public may be due an extra royalty, oblivious of any contracts linked to that recording (this is sometimes referred to as ‘equitable remuneration’). Collecting society PPL collects and distributes this royalty when it applies (on recordings registered with it) – so make sure you are a member!

– Any creator also has ‘moral rights’ over their work even though they no longer own it. Moral rights include the right to a credit where appropriate, and the right to stop ‘derogative treatment’ of songs or recordings. Though in the UK moral rights aren’t actually much use, not least because they can be waived by the creator in their record or publishing contract.

Even if you are not planning on assigning your rights to a record label or music publisher any time soon, you should give some serious thought to copyright ownership, especially if you are in a band, or regularly collaborate with other artists on songwriting or recordings.

Anyone involved in the creation of a song, or who helps pay for studio time, will have a claim to co-ownership of any relevant copyrights in works that are created, but the law doesn’t prescribe what percentages everyone is due of any money subsequently generated (though a judge will do that if your song becomes a global hit and you all fall out over who is due what cut of the loot).

To avoid future aggro, it’s worth drafting up a simple one page agreement between band members or collaborators in which copyright ownership is defined, and making sure everyone understands and signs that agreement. Obviously this in itself can cause some short term aggro, which is why you might want to involve a manager or lawyer in this process, not really because you need any special skills in writing such an agreement, but so they can be the ‘bad guy’ if being forced to discuss things like copyright ownership causes tensions.

Chris offers more insights on music rights through the CMU Insights training courses. Click here for more information.

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CMU Business Editor Chris Cooke provides an overview of the rules on default ownership under UK copyright law.

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