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Under the name Frankie Rose And The Outs, Frankie Rose released her acclaimed debut in 2010, a collection of short, fuzzed-out pop songs. For the follow-up, 'Interstellar', Rose dropped The Outs from her moniker and set about creating a cleaner sound with New York producer Le Chev. Ahead of the release, CMU's Aly Barchi caught up with Frankie Rose to find out more about her methods more>>
Toronto-based Bernice released debut album 'What Was That' in low-key style last September, which is still available to preview via their Bandcamp page. A still-small sonnet borne along on a beautiful, madrigal melancholy, standout track 'New Bodies' sounds akin to Odd Future faction The Internet's jazz-adjacent R&B softcore, albeit a mild-mannered cousin as opposed to close relation more>>
- BT and TalkTalk review options after appeal court ruling on DEA
- Orchard IODA merger confirmed
- Artists in Edinburgh plan day of protest over new licensing rules
- Best Coast announce new album
- Ex-Books man Nick Zammuto prepares solo album
- Ninja Tune supervises new Slugabed album
- Le Tigre plot live EP
- O Children announce album
- Festival line-up update
- You Me At Six write song about Thorpe Park rollercoaster
- Universal promotes digital man
- Streetlight Manifesto urge fans not to buy their records
- Ad agency group buys Frukt
- Listen Up hires Toni Tambourine for print PR
- Live Nation acquires Setlist.fm
- RadioCentre boss wants an end to genre-defining station licences and "double taxation" on music rights
- Amazing Radio announces three new appointments
- Atari Teenage Riot donate Sony advert fee to Anonymous
Listen Up are looking for a part-time bookkeeper to join our busy team in the office one day per week. We are looking for a highly organized and motivated individual to come in and look after all aspects of the company's accounting.

Responsibilities will involve but not be limited to: keeping the day-to-day accounts in order, invoicing and chasing payments and preparing quarterly accounts. Applicants must have experience with Sage software.

Salary dependent on experience. Please send CV and covering letter to james.mack@listen-up.biz
AEI Media Ltd is the company behind a number of leading electronic music brands: UKF, Drum&BassArena, This Is Dubstep and Get Darker. We're looking for an energetic and well-organised individual, with fastidious attention to detail, to co-ordinate the day-to-day operations of our rapidly growing live division. Reporting to the Head of Events & Tours the responsibilities of the role include producing and co-ordinating detailed promotion campaigns for our events; implementing an agreed data strategy for all our events; creating design briefs.

For a full job description and details go to www.theCMUwebsite.com/jobs
AEI Media Ltd is the company behind a number of leading electronic music brand: UKF, Drum&BassArena, This Is Dubstep and Get Darker. We're growing rapidly and looking for someone to manage and maintain all accounting functions for the company. Reporting to the Managing Director you will be AAT Qualified/Part Qualified ACCA/CIMA with at least 5 years' experience working in an accounts environment, ideally within a music/media company. A self-driven, results oriented team-player with a positive outlook, you'll have a clear focus on high quality and business value.

For a full job description and details go to www.theCMUwebsite.com/jobs
Leading music and entertainment company Proud Group is looking for an experienced and passionate assistant booker and A&R scout to assist the Head of Live Bookings at Proud2 at The O2 across an existing and new venture. Proud2 (formerly known as Matter) is a 2,500 capacity live music venue that opened in March 2011 within The O2.

Tasks include, but are not limited to: advancing shows, artist liaison, researching promoters and updating databases with relevant information, working closely with the marketing team to plan and execute marketing campaigns, maintaining up to date knowledge of news and trends in the music industry. The successful candidate will get involved in all aspects of running the venue and will gain invaluable experience from working at the Proud Group on a new project being implemented.

For a full list of skills requirements check www.theCMUwebsite.com/jobs. Previous experience in either live music, events, music marketing, promotions, artist management and A&R is a must.

Applicants should send a CV, photograph and covering letter to proud2jobs@proud.co.uk explaining why they are the ideal candidate. The position is full time and is based at Proud2 at The O2 in North Greenwich.

BT and TalkTalk both said yesterday that they were "reviewing their options" after the Court Of Appeal rejected their claims that the copyright section of the 2010 Digital Economy Act conflicts with various bits of European law. It was the net firms' second go at trying to force a rethink of the controversial legislation, pushed through by the previous Labour government but in theory also supported by the current coalition. Many now expect the two ISPs to have one more go by taking the matter to the Supreme Court.

As much previously reported, the disputed section of the DEA introduces a three-strikes system for combating illegal file-sharing into UK law, whereby ISPs are forced to send warning letters to suspected file-sharers with the threat of some as yet to be determined penalty if warnings are ignored. Despite being passed in 2010, the so called graduate response system is yet to go live, much to the annoyance of those in the content industries who lobbied so hard for it.

The attempt by BT and TalkTalk to overturn the legislation through judicial review hasn't helped. Responding to yesterday's ruling, the second basically rejecting the firm's arguments, a spokesman for TalkTalk told reporters: "We're disappointed that our appeal was unsuccessful though we welcome the additional legal clarity that has been provided for all parties. Though we have lost this appeal, we will continue fighting to defend our customers' rights against this ill-judged legislation".

A spokesman for BT said something similar, telling reporters: "We have been seeking clarification from the courts that the DEA is consistent with European law, and legally robust in the UK, so that everyone can be confident in how it is implemented. Now that the court has made its decision, we will look at the judgment carefully to understand its implications and consider our next steps".

Those campaigning groups that have supported the net firms on this one were more openly critical of the appeal court's ruling.

Peter Bradwell of the Open Rights Group said in a statement: "There is one thing the court cannot tell us: that this is a good law. The Department For Culture, Media And Sport had no evidence when they wrote this Act, except for the numbers they were given by a couple of industry trade bodies. This is a policy made on hearsay and assumptions, not proper facts or analysis. So significant problems remain. Publicly available wi-fi will be put at risk. Weak evidence could be used to penalise people accused of copyright infringement. And people will have to pay £20 for the privilege of defending themselves against these accusations. The government needs to correct these errors with a proper, evidence-based review of the law".

Meanwhile Loz Kaye from the UK branch of The Pirate Party said: "This decision brings the draconian Digital Economy Act another step closer. The coalition government must be clear now once and for all on whether it supports this anti-internet piece of legislation. No one has proved that the Act will help the creative industries financially, that is just lobbyists' spin. A recent study on a similar system in France suggests that there is no benefit for music sales. Threats to chuck entire households off the web will be bad for the economy, bad for society - and for us as a creative nation too".

Those who oppose the three-strikes provisions in the DEA (not to mention the possible framework for a web-blocking system against infringing websites, similar to that proposed in the US under the controversial SOPA, which is pencilled into the UK act for future consideration) will hope that recent protests against the global intellectual property treaty ACTA and the spilling over of US protests against SOPA into Europe might fuel renewed lobbying efforts to persuade government to alter the DEA's anti-piracy strategy before its even implemented.

Though the government has continued to stick up for ACTA despite mounting pressure, and seems basically committed to the DEA still. And those against the legislation won't find supporters on the opposition benches in parliament either, Labour recently renewing its support for the Act it rushed onto the statute book. Nevertheless, it still remains uncertain if and when three-strikes will actually go live in the UK.

As previously reported, numerous trade bodies representing different content industries supported the appeal court's ruling on the BT and TalkTalk action yesterday, with the boss of record label trade body the BPI, Geoff Taylor, summing up the sentiment of his and other trade body organisations when he said: "The courts have confirmed, once again, that the Digital Economy Act is legal, proportionate and fair and can now be implemented. The ISPs' failed legal challenge has meant another year of harm to British musicians and creators from illegal file-sharing. The ISPs now need to work constructively with government and rightsholders to implement the Act".

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Independent distributors The Orchard and IODA have confirmed they are merging after reports to that effect circulated yesterday morning.

Though some might see it more as an acquisition of IODA by The Orchard, even if equity in the two companies will be shared out 50/50. The merged company will operate under The Orchard's name and will be run by The Orchard CEO Brad Nevin. Kevin Arnold, founder and CEO of IODA, will have an advisory role on the new company's board and work on "strategic projects" with the firm's part owner, Sony Music.

It's still not entirely clear how big a share of the new company Sony Music will control. The music major owned 51% of IODA, but Billboard's sources reckoned the company would exercise an option to buy the firm outright before merging it with The Orchard, giving it 50% of the new entity. Some reckon as part of the deal, due to be completed this side of the summer, Sony might have the right to buy out The Orchard's current owner Dimensional Associates at some point in the future, so to take complete ownership of the combined indie label distribution and marketing firm.

Confirming the deal in an email to its labels, The Orchard said yesterday: "The main point is: We're Better Together. We have more negotiating power so we can better assert your rights. We also have more resources to build better tools for you to connect with your audiences".

Meanwhile in a blog post on the company's website, a spokesman noted: "Richard Gottehrer, co-founder of The Orchard, loves to remind us that our tagline during our early years was 'A Place To Grow'. As we started working with larger independent labels we dropped the tagline (although Richard will argue that even the most sophisticated of businesses still has room to grow), but we've never stopped growing the opportunities for our clients. We want our clients - new and old - to have better opportunities to grow their audiences and businesses, which will enable them to spend more time making music, music videos and films. The Orchard will continue to be a pioneer and a devoted partner to our clients as we combine these two great companies".

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Hundreds of artists in Edinburgh are planning on staging a day of "artistic disobedience" on April Fools Day in opposition to new licensing rules due to be introduced in the city.

The new licensing regulations will expand the number of live events that need to apply for a licence from city authorities, including free events, and while costs associated with those licences have been dropped in some cases, many fear that the bureaucracy involved will deter smaller venues and promoters from staging grass shows events that champion new talent, including live music.

Coming at the same time as two of the Scottish capital's leading grass roots venues losing their current homes - the popular Forrest Café and marvellous Bongo Club - many fear this could have a hugely damaging impact on the gig and wider arts scene in the city.

Edinburgh councillors insist that the new rules are required because of legislation passed by the Scottish parliament two years ago, though it's thought their counterparts in Glasgow might resist some of the requirements put in place by Holyrood. Councillors in both cities, and around Scotland, continue to consider the issue.

In protest at the new rules, artists are expected to stage numerous free events in venues across Edinburgh on 1 Apr without a licence. Publicity material for the campaign, called A Little April Tomfoolery, says: "Find a location and do your thing. Publicise it or don't. Show off your pictures, burst into song, wax poetical, make a scene, find an audience. Just don't apply for a licence".

Six hundred people have now signed up to the campaign's Facebook page, and organiser Jen McGregor - noting that this issue actually affected the whole of Scotland - told The Scotsman: "A lot of people have already come back to say that they will definitely organise something now and I think they'll go ahead regardless of what councillors decide later this week, as the issue is not going to go away in Edinburgh, Glasgow, or anywhere else".

Ironically this is all coming to a head in Scotland just at the Live Music Act becomes law in England and Wales. The long time in development Westminster legislation, which removes licensing obligations from smaller music events introduced by the 2003 Licensing Act, is due to get royal assent this week.

But the act does not apply North of the border (though neither does the Licensing Act it was amended). So while the music industry rightly celebrates the passing of the Live Music Bill in Westminster, their efforts might now need to be repeated in Scotland in support of the grass roots artists there who are now fighting off a separate set of arguably needless licensing legislation.

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Scratch-pop specialists Best Coast are to release their sophomore album 'The Only Place', the band's first full-length since 2010 debut 'Crazy For You'. Produced with composer and Kanye West/Fiona Apple collaborator Jon Brion, it's due out via Wichita Recordings on 14 May.

Singer-songwriter Bethany Consetino explains her mindset circa the LP's inception: "I'm trying really hard to grow up. I'm trying to let go of my bad habits and the immature things I still drag around with me".

As previously reported, Best Coast will bolster the release with a UK tour, playing the first date of which on 16 Jun at the Garage in Glasgow.


The Only Place
Why I Cry
Last Year
My Life
No One Likes You
How They Want Me To Be
Better Girl
Do You Love Me Like You Used To
Dreaming My Life Away
Let's Go Home
Up All Night

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Former leader of The Books, Nick Zammuto, has announced the debut album from his solo project, Zammuto. The eponymously titled record will be released through Temporary Residence on 30 Apr.

Zammuto will also be performing as part of the Bang On A Can All-Stars at the Barbican in London on 20 Mar. The ensemble will premiere a performance called Field Recordings, which features music by Tyondai Braxton, Mira Calix, Michael Gordon, David Lang, Christian Marclay, Julia Wolfe and Evan Ziporyn, as well as Zammuto.

Listen to Zammuto's recently released 'Idiom Wind' EP here: soundcloud.com/zammuto/sets/zammuto-makemine-ep/

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Bath-based bass artist Slugabed, real name Gregory Feldwick, is in readiness to release new album 'Time Team'.

Inspired, in Feldwick's own words, by "deep feelings about mostly inexpressible things", it's out on Ninja Tune on 7 May. First single 'Sex', the Deadelus remix of which is available for free download here - www.ninjatune.net/slugabed/ - will pre-date the album with a separate release on 9 Apr.


New Worlds
All This Time
Moonbeam Rider
Travel Sweets
Unicorn Suplex
Dragon Drums
Mountains Come Out Of The Sky
Grandma Paints Nice
Climbing A Tree
Earth Claps
It's When The Future Falls Plop On Your Head

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Now-defunct NYC post-punks Le Tigre are to unleash a live EP of recordings taken from the trio's final 2004-2005 tour. Entitled, as is only apt, 'Le Tigre Live!', it's set for release via Le Tigre Records on 13 Mar.


Hot Topic
What's Yr Take On Cassavetes?
Mediocrity Rules
Well Well Well
Keep On Livin

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Gothic pop troupe O Children have confirmed the forthcoming release of their second album 'Apnea'. The successor to the London quartet's eponymous first LP, the new record was written and recorded just as lead singer Tobi O'Kandi, having inadvertently overstayed his English visa, waged a legal battle to avoid being extradited to Nigeria.

Says Tobi of the LP: "It's a really personal record. I didn't write it for anyone else and I think that's how all music should be made. It's a very different album but it's a kind of 'heart on your sleeve' record".

O Children have three live dates listed thus far, the first a Vice party at Leeds' Nation Of Shopkeepers on 28 Mar. Meanwhile, album aspect 'PT Cruiser' is available to stream here: soundcloud.com/deadlypeople/o-children-pt-cruiser


Holy Wood
The Realest
Red Like Fire
PT Cruiser
I Know (You Love Me)
Yours For You
Hate City
Solid Eyes

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BILBAO BBK LIVE, Kobetamendi, Bilbao, Spain, 12-14 Jul: Organisers confirm Mumford & Sons, The Maccabees, Enter Shikari, Garbage, Bloc Party, Four Tet and Here We Go Magic amidst the latest supplement to the Bilbao BBK bill, as also features The Cure, Radiohead, Glasvegas, Snow Patrol, Warpaint, Pure Love and The Kooks. www.bilbaobbklive.com

LATITUDE, Henham Park, Southwold, Suffolk, 12-15 Jul: As well as respective headliners Bon Iver, Paul Weller and Elbow, Latitude's stellar first line-up missive also includes Bat For Lashes, Janelle Monáe, M83, The Horrors, Battles, Zola Jesus and Wild Beasts. www.latitudefestival.co.uk

LEEFEST, Highams Hill Farm, Warlingham, Surrey, 29-30 Jun: Having begun in 2006 as a house party in host Lee Denny's back garden in Bromley, LeeFest's illustrious seventh edition lists headliners Mystery Jets plus Summer Camp, We Were Evergreen and Raf Daddy of The 2 Bears on its line-up to date. www.leefest.org.uk

SONISPHERE, Knebworth, 6-8 Jun: Brand new line-up conscriptions Glassjaw, Hundred Reasons, Skindred and Sonisphere debutants Black Stone Cherry accompany afore announced festival supremos Kiss, Faith No More, and Queen featuring Adam Lambert, with Evanescence, Tim Minchin and The Darkness also set to perform. www.sonisphere.co.uk

STOP MAKING SENSE, The Garden, Tisno, Croatia, 2-6 Aug: Having rolled out its entire 2012 roster, Croatian seaside happening Stop Making Sense counts Lil Louis, Jimmy Edgar, Adrian Sherwood, A Skillz, Benji B & MC Judah, Deetron, Move D and Steffi as just several of the many names on its electronic-specific line-up. www.stopmakingsense.eu

ULTIMATE 80S, The Forum, Hatfield, Hertfordshire, 26 May: ABC, Heaven 17, 'Spirit In The Sky' songsmiths Doctor & The Medics, Howard Jones and Eurovision favourite Katrina (sans The Waves) make for a classic line-up at this Hertfordshire eighties bash, which charts an entire decade across its one-day span. forumhertfordshire.co.uk/index.php/news/show/ulitmate_80s_festival_one_day_outdoor_event

VINTAGE FESTIVAL, Boughton House, Northamptonshire, 13-15 Jul: Aloe Blacc, Chic feat Nile Rodgers, Sergio Medez & His Orchestra, St Etienne and Baxter Dury are amongst those acts featuring on Vintage's eclectic programme as it stands thus far. All artists are hand-picked to play on one of three themed days, with further artists and DJs including Danny Rampling, Norman Jay, Don Letts, Gaz Mayall and Martin Green appearing across an array of on-site night clubs. www.vintagefestival.com

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I think every band in the world at some point in their careers has probably thought to themselves "what we really want to do is write a song dedicated to a theme park ride, but what would really make that special is if the theme park officially endorsed our musical tribute".

Well, every band in the world, bow down to the superior force of You Me At Six, who have persuaded Thorpe Park to officially sanction their musical interpretation of the Surrey amusement park's newest rollercoaster. Or, possibly, have been persuaded to write a song for the new Swarm ride in return for a wad of cash, perhaps being assured "turning a rollercoaster into art worked for Johnny Depp, didn't it?"

So yes, the EMI-signed band - who originally hark from Surrey - will release a song in honour of Thorpe Park's newest ride The Swarm, "the UK's first winged rollercoaster" which celebrates "apocalyptic devastation" complete with, according to this here press release, "genuine plane wreckage", which sounds like fun.

Confirming the partnership, Thorpe Park's Divisional Director Mike Vallis told CMU: "We are enormously excited to be working with You Me At Six to mark the launch of our most extreme rollercoaster to date, The Swarm. At Thorpe Park we strive to give our adrenaline seeking fans an experience that they won't get anywhere else, so it is hugely exciting that the world's first dedicated song for a rollercoaster will be written for us - I'm sure our customers will jump at the chance to add this track to their iPod playlist".

Meanwhile Rafael McDonnell from the EMI department which set up this interesting partnership (yeah, we can seemingly diss something in our first paragraph but still find it interesting) added: "This partnership between Thorpe Park, EMI Music and You Me At Six is a great example of how brands can work together with the music industry to creative innovative content and marketing. The band have written a great track and the strategic fit between the tone and feel of The Swarm rollercoaster and You Me At Six makes this a perfect collaboration which benefits everyone in this partnership".

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Universal Music this morning announced the promotion of Francis Keeling to the role of Global Head Of Digital Business, reporting into Rob Wells, the major's President of Global Digital Business. Based in the record company's London office, in his new role Keeling - previously UMG International's VP Of Digital - will "assume responsibility for generating growth and new revenue for Universal Music's digital businesses worldwide".

Confirming the promotion, Wells told CMU: "Francis is by far the best at what he does in the entire global music industry. He is expert at finding the commercial viability in any new business model or in an existing model that needs to be finessed. He troubleshoots like a true entrepreneur, is a joy to work with, and continues to impress and inspire people who work alongside him".

Keeling himself added: "The internet is a global economy, and it is vital for Universal Music to have a global approach to licensing our partners, to encourage investment, new models and their international expansion. I am extremely excited to be leading this process to grow the digital business for UMG and our incredible roster of artists".

The promotion has been confirmed as Keeling pens a piece for the Financial Times, a former employer of his, recapping the growth of the digital music sector over the last ten years, and encouraging the investment community to recognise the opportunities that exist in this domain. This can be read here: www.ft.com/cms/s/0/bfcdd930-61fb-11e1-807f-00144feabdc0.html

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US ska-punk band Streetlight Manifesto have urged fans not to buy any of their records or t-shirts currently being sold by Victory Records. Confirming ongoing hostilities between them and their label in a blog post, the band said: "It is and has been for quite some time our position that Victory Records is an artist-hostile, morally corrupt and generally dishonest company, with whom we have had the displeasure of being associated due to a contract that was signed years ago".

They continued: "We're writing today to ask you to please boycott all Streetlight related items by not purchasing any of our records or merchandise from Victory's website, any traditional CD stores, online third party retailers or any digital distribution service (iTunes, Amazon etc). Victory has a long-time reputation of pocketing all of the proceeds from a band's music and merch, with shady accounting and generally bully-ish behavior".

They then urged fans to only buy products direct from their website or at gigs. Or, failing that, they added: "Alternately, we're sure you can find a way to get the tunes onto your computer that may not be, ahem, traditional... Speaking a bit metaphorically, there is a torrent of methods to accomplish this, and Google is your always loyal friend".

Currently working on a new album, they confirmed this may still be released through Victory in order to fulfil their contractual obligations to the record company, adding that they refused "to let our constant battles with our own record label hold back the [new] album's release" and that they "look forward to being free from Victory's clutches once our contract with them ends this summer".

Read the full post here: streetlightmanifesto.com/streetlight-manifesto-proudly-boycotts-itself/

This is not the first time Victory has been in dispute with one of its bands, of course. Hawthorne Heights sued the company in 2006 for breach of contract, kicking off a lengthy and extremely bitter legal battle.

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London-based 'music and brands' marketing agency Frukt has been bought by the Interpublic Group, one of the so called 'big four' ad agency organisations. The company will continue to operate under its existing name and will still be led by founders Jack Horner and Anthony Ackenhoff, though it will become part of IPG's Octagon Entertainment Group, work closely with Octagon's existing London team, and from later this year share offices with the sister agency.

Launched in 2001, Frukt advises brands on their music and entertainment strategies, and hopes that being part of the Interpublic Group will help fast track its global expansion. In a note on the Frukt website, the two founders said: "This brings us to a new chapter in our evolution. From today, we will be a key part of a new and improved Octagon Entertainment family. Ultimately part of the IPG group, we can now extend our international reach and capabilities with some great agencies from within this global network".

The continued: "Practically speaking, we will still be Frukt, and it's business as usual! We're looking forward to this immensely, there's a lot more for Frukt to achieve, and with you, and Octagon, we're going to get there".

You can read Horner and Ackenhoff's announcement in full here: www.fruktcomms.com/a-note-from-the-frukt-founders/

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Music PR company Listen Up has announced that it has hired Toni Tambourine to head its new print PR division. Tambourine joins the company from Defected Records, where he worked for nine years.

Listen Up Director James Mack told CMU: "We are very happy to have Toni on board, his experience speaks for itself and we can now provide the most inclusive service possible for our clients".

More info on Listen Up can be found here: listen-up.biz

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Live Nation has announced that it has acquired Setlist.fm, a website which allows users to share setlists from gigs. The site currently boasts over 400,000 setlists in its database and was already providing content to Live Nation and Ticketmaster's iPhone apps. Owning it outright, according to the press release, will apparently "create a richer, more interactive fan experience within the Live Nation community". So that's nice.

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The boss of RadioCentre, the trade body for a chunk of the commercial radio sector, has called on government to drop music genre requirements from the licences that many commercial stations operate under, and to change copyright law so that those who listen to radio services in public places do not need a music licence in addition to that already paid for by the broadcaster.

Andrew Harrison was speaking at the Westminster Media Forum about government plans to review the Communications Act. The RadioCentre chief said that he welcomed plans to reduce the regulation that governs the radio sector; legacy regulations which, he argued, made less sense as the radio industry competed with new unregulated media online.

But, he added, he feared that the momentum for deregulation plans had diminished somewhat, and could come unstuck amidst political movements for more regulation of the wider media and concerns about media plurality (political debates both caused by Rupert Murdoch's News Corp, the former by phone hacking at the News Of The World, the latter Murdoch's ambition to own both News International and Sky News outright). He urged ministers to treat radio - a relatively small industry that punches above its weight in terms of impact and reach, he said - as a special case.

As for specific objectives, current obligations to make locally-targeted programmes locally to where they air, a frequent bug bear of the radio sector, and rules governing advertising and in-programme sponsorship were topics raised, though Harrison also focused on two key music issues.

First, he noted government issued licences still controlled what music many commercial stations must play. This system - dating from the era when FM stations in any one region were not meant to compete head on - was increasingly problematic, Harrison agued. In reality media regulator OfCom has become more willing in recent years to bend original music genre obligations, but it's true that as radio owners merge previously local services to become quasi-national networks, some obligations to provide niche programming in off-peak in some areas do get in the way.

Said Harrison: "Radio stations are still licensed by music formats, which dictate the proportion of a particular genre they can play - a blunt instrument in an era of infinite music choice available through smartphones, downloads and streaming. Of course no other music service is required to seek permission from a government agency when determining the music that they play. Nor is the music industry itself given quotas by government on the sort of music they should promote or support".

Staying with music, Harrison then focused on an issue of much more direct relevance to the music industry, the licence fees it pays to record labels and music publishers for the music it plays (another favourite moan of the broadcasters). Harrison said his members felt there was now a "disproportionate cost to our business of copyright for licensing music in the digital age", while particularly focusing on the fact that any business owner wanting to play the radio on their premises, even just for staff, needed their own licences from PPL and PRS, what Harrison continues to dub as "double taxation".

With work-place listening key to radio ratings, it looks like RadioCentre could be lobbying anew for a change in public performance licensing rules when the music being played in public has already been licensed by a broadcaster - a move that would be strongly opposed by the collecting societies, who are pushing the requirement for workplace music licences more now than ever before as their label and publisher members pressure their royalty agencies to up periphery licensing income.

Which could make any Communications Act review interesting for the music industry as well as the broadcasters and net providers.

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New music digital station Amazing Radio added three new presenters to its line up yesterday, up and comer Shell Zenner, Bella Union boss Simon Raymonde, and London radio legend Gary Crowley. They are the latest in a long stream of new DJs to join the expanding new music station, which airs online and via the national digital network.

Confirming the new appointments, Amazing Radio Programme Director Matt Jamison told CMU: "This is such an exciting time for Amazing Radio. With our time shifted feeds to the United States - launched in February - generating huge interest across the pond and our UK station going from
strength to strength, Gary, Simon and Shell serve to further enhance our worldwide standalone dedication to new and emerging music".

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Atari Teenage Riot track 'Black Flags' recently turned up in an advert for Sony's PSVita handheld games console. The move confused and angered many fans when it appeared online last month, due to the band's long held anti-establishment stance. However, says frontman Alec Empire, the group haven't bowed down the The Man just yet.

Writing on the band's Tumblr blog, Empire explained that back in 1999 Sony used one of the band's tracks in an advert without permission, saying: "Even though the thing got settled in court, kind of, I never felt they paid what they owed".

So the new sync deal, it seems, was basically an act of revenge. Empire goes on to reveal that he had been waiting "until it became unstoppable" to reveal that the royalties earned from the ad sync had been donated to the Anonymous Solidarity Network, an organisation which offers support to people who are facing prosecution for allegedly being members of online activist group Anonymous.

Members of Anonymous, of course, were behind the initial attack on Sony's servers last year, which in turn led to customer details being stolen from accounts on its both its PlayStation Network and streaming content platform the Sony Entertainment Network (then still called Qriocity).

Read Empire's blog post here - riotnews.tumblr.com/post/18841309164/atr-a-sony - and watch the advert featuring 'Black Flags' here: www.youtube.com/watch?v=Qt0KFeoDwtI

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CMU Editor Andy Malt and CMU Business Editor Chris Cooke are both available to comment on music and music business stories. Together they have provided comment and contributions to BBC News, BBC World, BBC Radios 4, 5, 6music and Scotland, Sky News, CNN, Wired and the Associated Press. Email andy@unlimitedmedia.co.uk or chris@unlimitedmedia.co.uk.

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