New New Musical Express - October 2008

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    • 3 okt 2008, 22:33

    New New Musical Express - October 2008

    Redigerad av Babs_05 den 1 nov 2008, 23:42
    • Babs_05 sa...
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    • 4 okt 2008, 15:14

    Journal: New Music October 2008, by Nialloleary

    New Music October 2008, by Nialloleary


    TV on the Radio new album entitled “Dear Science” (Rated at 5/5) Q CLASSIC
    Described as “Experimental New Yorkers Perfect Winning Formula”
    Recommended tracks to download…..”Halfway Home”, “Dancing Choose” & “Love Dog”

    Ladyhawke new album entitled "Ladyhawke".
    (Rated at 4/5)

    "Pip Brown certainly knows one end of a pop tune from the other. Like Santogold, Lykke Li and numerous other solo singers seemingly incapable of actually selling any records, Brown, as Ladyhawke, has set her controls for the heart of the American Apparel-friendly hipster blog scene, but what sets her apart are those tunes. Big tunes. Big, lovable and expertly crafted tunes.”

    Recommended tracks to download.... 'Better Than Sunday'

    (see journal for much, much more)

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    • 6 okt 2008, 19:12

    Journal: Oasis - Dig Out Your Soul : Quick Album Review 4/5, by Babs_05

    Oasis - Dig Out Your Soul : Quick Album Review 4/5, by me.


    There are no anthemic tracks on this album, the whole thing is a held back, understated affair, a slow-burner for some fans most probably. For me, it's the understatedness that I like so much. It's this that will have me put the album on. I don't know anyone who has the time to listen to albums like we used to: sat next to the record player, the door closed and no one allowed in. Now, we listen on our mobile devices anytime we want, or somewhere in the house whilst we get on with other things. We don't necessarily want demanding music that insists on full-on attention all the time, great as it is in small doses. If Dig Out Your Soul is being marked down by critics for not being full-on, I predict we the listeners will be the ones marking it up, chalking up regular plays in The album is pretty much 'easy-listening'. If that's damning in your eyes, go play with your Tonka toys, grown ups are talking.

    • Babs_05 sa...
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    • 6 okt 2008, 19:15

    Digital music ends feud with record labels

    September 24th 2008

    Bigger royalties could spell end for some services

    The Digital Media Association has come to an agreement with the respective organisations over a licensing model for digitally distributed and streamed music.

    The new plan, which applies mainly to streaming services like, means a mechanical royalty to reproduce music, will stand at 10.5 per cent of revenue.

    This means those currently struggling to succeed in an increasingly busy marketplace stand to lose an even greater portion of their income, and will likely force some out of business altogether.

    While fixed downloading won't be subject to the agreement, as it has other royalty channels in place, subscription-based services, such as the now legal Napster, will be forced to cough up.

    On the plus side, the threats of legal action over the multitude of streamed internet music services appears to have receded with the current agreement, so while some may be forced to close, others will be relieved to have the huge fines hanging over their heads removed.

    Jonathan Potter, Executive Director of DiMA says: "DiMA is particularly pleased with the agreement to end litigation and threats of litigation involving several of our member companies so that they can focus on building innovative businesses that can effectively fight piracy, the music industry's greatest threat."

    Source: Tech Radar

    • Babs_05 sa...
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    • 6 okt 2008, 19:25

    Major Music Industry Groups Announce Breakthrough Agreement

    The Press Release from DiMA, September 23, 2008:

    WASHINGTON -- In a breakthrough that will facilitate new ways to offer music to consumers online, the Digital Media Association (DiMA), the National Music Publishers’ Association (NMPA) and the Recording Industry Association of America (RIAA), together with the Nashville Songwriters Association International (NSAI) and the Songwriters Guild of America (SGA), today announced an agreement on how music creators will be compensated for music distributed through certain online models.

    The agreement, in the form of draft regulations submitted to the Copyright Royalty Judges, proposes for the first time mechanical royalty rates for interactive streaming and limited downloads, including for subscription and ad-supported services. The agreement proposes a flexible percentage of revenue rate structure, with minimum payments in certain circumstances.

    Limited download and interactive streaming services will generally pay a mechanical royalty of 10.5 percent of revenue, less any amounts owed for performance royalties. In certain instances, royalty-free promotional streaming is allowed. Outside the scope of the draft regulations, the parties confirmed that non-interactive, audio-only streaming services do not require reproduction or distribution licenses from copyright owners.

    The agreement does not address royalty rates for physical product or permanent music downloads. The Copyright Royalty Judges are expected to issue a ruling on those rates on or before October 2.

    “This historic agreement is the foundation for a new generation of music distribution,” said David Israelite, NMPA President and CEO. “This agreement will ensure that songwriters and music publishers continue to thrive in the digital age. I am grateful for the good faith efforts of everyone involved in the discussions leading to this important announcement.”

    “This agreement provides a flexible structure to support innovative business models in the digital music marketplace that will benefit music fans, creators and online services," said Mitch Bainwol, Chairman and CEO, RIAA. "The agreement demonstrates that our industries can work collaboratively to solve complex issues.”

    “Innovative music services will enjoy a more stable business environment because of this agreement and that will benefit music fans and music creators alike,” stated Jonathan Potter, Executive Director of DiMA. “DiMA is particularly pleased with the agreement to end litigation and threats of litigation involving several of our member companies, so that they can focus on building innovative businesses that can effectively fight piracy, the music industry’s greatest threat.”

    Roger Faxon, Chairman and CEO of EMI Music Publishing, who was independently represented in the CRB, also lauded the agreement. “We're very pleased that these matters have finally been agreed, and that we have reached an agreement that is good for the songwriters we represent, and good for music consumers. This is a first step to establishing fair rates that properly compensate writers for their creative efforts, and we'll continue to work hard to establish a framework that properly reflects the value of songs in all their digital forms.”

    “NSAI, the Nashville Songwriters Association, is proud to be part of this historic agreement which assures that America’s music creators are compensated, music consumers benefit from the many new choices provided by digital technology, and those who invest in America’s intellectual property are rewarded,” said Steve Bogard, President, Board of Directors, NSAI.

    “Digital music has become the ubiquitous soundtrack of American life,” said Rick Carnes, President of SGA. “The digital age has helped American songwriters create more value for both the economy and the culture than ever before. With this deal, the Songwriters Guild of America, the music publishers, the record labels, and the digital music services have come together in an historic agreement that creates a workable payment structure and a fair rate for songwriters in the digital music distribution models of today and tomorrow."

    Agreement Facts:

    * The agreement proposes mechanical royalty rates that cover both limited downloads and interactive streaming, including when offered by subscription and ad-supported services.
    * The percentage rate structure in the agreement provides much-needed flexibility for new business models.
    * The agreement permits the use without payment of certain kinds of promotional streams, in the interest of encouraging paid uses of musical compositions.
    * The agreement confirms that the mechanical licenses issued under its provisions will include all reproduction and distribution rights necessary to provide the licensed limited downloads or interactive streams.
    * Outside the scope of the draft regulations, the parties confirmed that non-interactive, audio-only streaming services do not require reproduction or distribution licenses from copyright owners.

    Source: DiMA

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    • 7 okt 2008, 17:16

    MySpace Takes On iTunes With DRM-Free, Amazon-Backed Site

    Very long, comprehensive article examining the new MySpace Music site. Too long to copy here but definitely worth a read.


    September 24, 2008

    MySpace, in a bid to slow the steamroller that iTunes has become, launched a music site early on Thursday to give one of the world's largest online communities streaming access to full-length songs, the freedom assemble an infinite number of playlists, and the ability to buy DRM-free tracks from Amazon's MP3 store without leaving the site.

    The road is littered with previous attempts to take on iTunes: Yahoo Music, Rhapsody and Napster (which Best Buy is buying for $121 million) have not gained much traction, and Apple's remains the largest retailer of music in the world.

    But by reducing use restrictions -- and not charging subscription fees -- MySpace is betting that its 120 million members will be just fine with ads.

    "With DRM-protected a la carte files and tethered subscription files, you've got a constrained system -- the content is constrained; it's locked in," MySpace COO Amit Kapur told

    "As a result of that, you have a misalignment between users of the service and the actual service itself, as well as the retail partners or the content owners who are backing it.... [It's] an experience that isn't set up to win."

    He characterizes the new MySpace Music as a natural progression from the original Napster, albeit one that works in concert with the labels. Major labels hold equity stakes in the service.

    Source and link to article: Wired Magazine

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    • 7 okt 2008, 23:10

    Amy LaVere - This World Is Not My Home

    Amy LaVere - This World Is Not My Home

    Alt-country, art pop, fey loveliness from singer and actress, Amy LaVere. Her debut album, This World Is Not My Home, was originally released in 2006. Re-released in August 2008 under a more favourable climate, things are looking good for Amy. She appeared live on Later... with Jools Holland tonight with Nightingale. I will post the video as soon as it appears in YouTube. Sometimes, she really sounds like Martha Wainwright.

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    • 7 okt 2008, 23:43

    Seasick Steve - I Started Out With Nothin' and I Still Got Most of It Left

    Amazon UK

    Seasick Steve - I Started Out With Nothin' And I Still Got Most Of It Left

    One of the albums I'm waiting for in is this one, the third from surprise star of the year, Seasick Steve, released last week, 29 September.

    The return to roots, americana, punk sensibility, all perfectly align with the changes we're seeing in mainstream music. Even a couple of years ago, this music would have been fringe.

    The new album features guest artists Nick Cave and Grinderman. Apparently, they turned up to the recording session suited and booted and looking good.

    Sadly, this is another artist suffering under Warner's paranoid delusions of people scarpering with their toons, so the best I can do is bring you the few tracks available on the Official Site. Well, I suppose as Seasick Steve says, he started out with nothin' ...

    YouTube - Warners Album Promo

    Live, Later... with Jools Holland, 30 Sept 08, I Started Out With Nothin' and I Still Got Most Of It Left

    • Babs_05 sa...
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    • 8 okt 2008, 21:58 Brings Back Part of the Album Jacket With Song Lyrics

    October 8, 2008

    The Internet radio and on-demand streaming music service is host to over 5 million songs spanning numerous independent and big-name studios and publishers. So today’s unveiling of a partnership with LyricFind to insert some 800,000 lyrics among’s song catalog isn’t a full sweep. Yet it includes many popular artists old and new, from The Beatles to Pearl Jam to Radiohead, enough to satisfy plenty of listeners.

    However, a concern for listeners may be the position given to lyrics relative to other features. For instance, if you visit an artist’s main page on, you’ll find biographical information, a music player, followed by recommended material as well as sections home to videos, albums, top tracks, and the comment roll. A link for lyrics isn’t evident. Neither is it visible with a specific album page in view. Users are required to drill down to an individual song page to see a lyrical preview (if it exists). One more click will bring you to the full transcript.

    Despite this structural makeup,’s deal with LyricFind - launched for U.S.- and Canada-based listeners first, to be followed by more places “in the near future” - is worthwhile if only to give visitors an impression of a complete experience. The site has worked to do so with audio and video. Lyrics simply help to finish the picture.

    For the time being, does not display advertising beside each full lyric, but just as with real estate elsewhere in its archives, it will invite advertisers and sponsors to make themselves seen alongside text provided to users. This will involve “the ability to skin the entire page.”

    Source: Mashable

    • Babs_05 sa...
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    • 11 okt 2008, 23:20

    ArtistData keeps artists’ information in sync across networks

    October 9th, 2008

    The Internet’s given musicians many new avenues for promoting their music. Maybe too many. Even with a dedicated person to market your band online, you’re bound to miss some, and who knows, that could be the one that helps you take off. That’s where ArtistData comes into play.

    The information synchronization service, which launched a public beta in June, lets musicians and promoters more easily spread their information to the vast array of music-oriented and promotional sites out there. Right now, the service focuses primarily on syncing concert information across various sites, including obvious venues like MySpace, Eventful, and Grooveshark (a new addition), but also less obvious ones like Twitter, PureVolume and AmieSt. ArtistData keeps all the information you put on one, up-to-date with the information on the others.

    Some new features the service is launching today include a website widget that artists can put on their sites to easily keep all dates for things like tours in sync with other networks they’re on. iCal subscriptions and SCV Exports are also new for better desktop calendaring support and to import old data into calendars. And RSS feeds are now available to give more access to the artist information stored in their systems. All these features are free.

    In terms of the service making money, ArtistData president Brenden Mulligan declined to talk about the specifics at this point, but says that they’ve come up with a “new and innovative revenue that involves helping the artists and music sites make incremental revenue.” That’s vague, but the service claims to be expanding quickly so we should know more soon if its strategy’s working or not.

    It should get more interesting when it expands beyond just concert data and can do things such as sync blogs, news and perhaps even music eventually.

    Source: [url=[/url nofollow=yes]

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    • 12 okt 2008, 13:25

    Billy Childish and his weird world

    Profile on Billy Childish.


    Despite his extraordinary output, the chances are that you have not heard of Childish, or you only know vaguely that he once went out with the artist Tracey Emin. In 2006 he declined a lucrative offer to appear on Celebrity Big Brother. Indeed, Childish does not watch television, or listen to the radio, or read newspapers, and hasn’t done so for years. He doesn’t “do” e-mail or mobile phones, and the last time he went to a gig, other than as performer, was in the 1970s. This helps to explain how he has the time to produce so much work. It also explains his extraordinarily scanty grasp of popular culture. “People think I’m being cute when I don’t recognise the names of people they mention,” he says.

    Nevertheless, Childish has himself been a cult hero to successful people such as the late Kurt Cobain, P J Harvey and Robert Plant. The White Stripes asked Childish to paint live on stage with them on Top of the Pops. Kylie Minogue phoned him to ask if she could use part of the title of one of his poetry books for her album Impossible Princess. (“She was very polite and very nice,” he reports.) His poetry has twice won him National Poetry prize commendations. The poet laureate, Andrew Motion, said of Childish: “He looks like he’s having more fun being a poet than I am.” As for the art world, Emin has acknowledged his profound influence on her own work, and a new critical study of Childish by the artist and writer Neal Brown describes him as “one of the most outstanding, and often misunderstood, figures on the British art scene”. Brown “discovered” Childish in the course of writing a book about Emin for the Tate. He couldn’t fathom why nobody was writing similar books about Childish.

    “I think it’s because Billy has done such a lot of work,” Brown tells me, “and because of the sheer range it covers. Also, there’s a sense of embarrassment because of the sincerity of the work. Painterly nuance is not necessarily the point. A conspicuous emotional register is – particularly moods of poetic exhilaration.”

    The artist Peter Doig, who has known Childish for many years, agrees: “A lot of people are embarrassed by work like Billy’s – but that’s what’s great about it as well. He is very honest.” For the record, people who have found his work embarrassing include critics writing in Time Out (“nothing more than a Bayswater Road-style dauber”), Virgin’s in-flight magazine (“infantile paintings”), and the East Anglian Daily Times (“some of the worst painting I have ever seen on public show”).

    Childish has been compared to William Blake and D H Lawrence – like them, he both writes and paints. He also shares their sincerity and eccentric otherworldliness. When I mention these names to Childish, he thinks for a moment, then says: “I’m not unique. I come from a tradition which only seems to pop up occasionally.” He pauses. “I can imagine how arrogant that will sound, written down.” (He is frequently accused of arrogance.)

    “But what I mean is that I’m just not intimidated. I don’t take it too seriously. I’m confident enough to do things regardless of ability. I don’t sweat over them. I’m not fussy. It’s like cooking: I’m good at that, and I don’t need recipes.”

    As a journalist, I’m accustomed to meeting creative people who know they are rather special. I’ve also met a number of crushed souls who, believing themselves to be useless, daren’t try their hand at anything. Childish is a stunning exception: passionately creative in any discipline, but also substantially indifferent to worldly success. Having followed him for several months – to an exhibition of his paintings in London, and a combined poetry reading and music event – and talked with him at great length, I find that Childish has quite some influence on me. I have written poems, produced dozens of sketches and paintings and not a few lino-cuts. So I have come to see him at home to offer him a challenge that I wouldn’t dream of suggesting to most serious artists: can we do some painting together? In principle, he has agreed. But he is not feeling well today. He looks uncharacteristically glum and says he has been for certain unspecified medical tests and has had to cancel gigs during the summer. I offer to go away, come back another time. But he says that won’t be necessary, makes me a cup of green tea in a glass cup, and sits down for a long talk.

    See article for more:

    Source: Billy Childish and his weird world

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    • 17 okt 2008, 01:06

    Radiohead’s Numbers Are in, and Yes, the Experiment Worked

    October 16, 2008

    Remember Radiohead’s experiment, in which they let people choose how much they wanted to pay for their latest album, In Rainbows? Call it a publicity stunt or an innovative business model, but the initial numbers show that the experiment was a success.

    Now, the final numbers are in. In short, In Rainbows sold better than their last album, selling 1.75 million copies of the physical CD, 100.000 box sets, and 30,000 units on iTunes in the US in the first week of availability. The album was number 1 in both the UK and US for the first three months; it was played 17 million times on Last.FM, and even to this day it’s in the top 200 UK & US as far as sales of the physical CD go.

    Yes, they’re a big band. Yes, their audience is not the same as, say, Shakira’s. Yes, this was one of the first such experiments and it caused a great deal of attention regardless of the music.

    But with these numbers, it’s impossible not to call it a huge success. Essentially, Radiohead has shown that - in some cases, at least - it’s possible to completely cut out the middleman (read: the record label) and still have a very successful record. Furthermore, they’ve proven that alternative business models are possible, and that fans aren’t all mindless zombies who are only looking to get as much as they can for as little money as possible. Now, it’s time for the record labels to start changing their business models - or perish.

    Source: Mashable


    • After being made available for free for 3 months the album was no.1 in the UK and in the US
    • 1st Radiohead album on iTunes – no.1 album selling 30,000 units in the US in the first week
    • The physical CD has sold 1.75 million to date and is still top 200 UK & US
    • They sold 100k boxsets via W.A.S.T.E.
    • Nearing 17 million plays on
    • 1.2 million fans will see the tour
    • The digital income from the experiment made a material difference to WCM’s UK digital revenue this year

    Source: Music Ally

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    • 23 okt 2008, 21:57

    Amadou & Mariam - Welcome to Mali

    Amazon UK

    Due for release on 17 November is the new album from my favourite Mali artists, Amadou & Mariam - Welcome To Mali.

    YouTube Ce n'est pas bon

    YouTube Sabali

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    • 25 okt 2008, 00:58

    Nielsen - 5th fastest growing social network site for Sept 08

    Nielsen has released numbers for its estimates on the biggest and fastest-growing social media sites in the U.S. for the month of September, and there are a few surprises.

    The biggest social network in the U.S. is still News Corp.'s MySpace, Nielsen's numbers found. But the bad news is that its traffic has only grown by 1 percent since September 2007, keeping it just under 60 million visitors, and second-place rival Facebook has grown by 116 percent in the same time period.

    Rounding out the top 10 social networks are (in order) Classmates Online, a mainstay that gets little press but a lot of traffic; business networking site LinkedIn; Microsoft's Windows Live Spaces, which Nielsen says has shrunk by eleven percent since September 2007;; kiddie site Club Penguin, now owned by Disney; AOL Hometown, which the service plans to shutter soon; Tagged; and the AOL Community site.

    Nielsen's ranking of the fastest-growing social sites is a little more interesting. At the top of the list is Twitter, fueled by loads of press and tie-ins to coverage of the hotly contested presidential election, with 343 percent growth since September 2007. Following in second place is Tagged, which clocked in 330 percent traffic growth and which Nielsen says is most popular with the 35-49 age demographic. In third place is Ning, which is actually a service for creating community sites, followed by LinkedIn, music site (owned by CBS Interactive, which publishes CNET News, Facebook, teen site MyYearbook, and then AOL's Bebo.

    In ninth place is Multiply, a social network for the nongeek set that recently announced that it had partnered with Microsoft to absorb the MSN Groups service. And in tenth place is, which Nielsen says counts the 55-64 age demographic as its biggest.

    Figures for Sept 07 - 850 / Sept 08 - 1,879 / YOY growth - 121%

    Article source: CNET News

    Nielsen Online - September Results (pdf)

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    • 26 okt 2008, 00:02

    Bryn Christopher - My World

    You may remember I swooned over Bryn Christopher back in May. Since then, tracks have become available in and more recently, his new album has too.

    My World

    Bryn Christopher recently performed at the BBC Electric Proms on 'Saturday Night Fever' night. He did Disco Inferno. He was easily the highlight of the night. He was in a grey suit with double slits at the back, and tan shoes. His stylist picked the wrong shirt though. That's a work shirt.

    YouTube - Disco Inferno

    In the meantime, it's on the BBC iPlayer in audio as well as video, and UK viewers with digital tv can press the red button and watch any of the Electric Proms performances again.

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    • 30 okt 2008, 18:34

    Video: Monkey Bee: A Short Film by Jamie Hewlett

    Monkey Bee is taken from the music to the opera, Monkey: Journey To The West (link to Amazon UK), which UK viewers will recognise as the music used by the BBC for their idents during this year's Olympics.


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    • 30 okt 2008, 18:40 seeks sponsors for live music venture

    29 October 2008, the online music network, is seeking sponsors for a series of gigs across the UK and US for unsigned artists to help to fund and promote the events.

    Official partners will be offered branding at the event, as well as on all promotional activity on, and a presence on the “ presents” profile page. vice-president of global marketing Orlena Yeung says: “We want to be a big player in the live music scene, building on the popularity of our music site. We are looking for commercial partners to help us ensure these are a huge success for our community of unsigned artists.”

    The CBS-owned website is used by almost 2 million UK members, and it aims to boost its popularity by becoming a site where unknown artists and bands are discovered. senior vice-president of European advertising sales Miles Lewis says: “We have a solid fanbase that engages with and returns daily to their pages. We want to extend this using live concerts, building awareness of our service and offering advertisers opportunities to reach this crucial market.”

    The concerts aim to rival MySpace’s music tour, an ongoing series of concert events produced by and branded for the social network. They are held across the UK and US and sponsored by hairstyling brand, VO5. Gigs will be held monthly in different locations, mainly in London and New York.

    Marketing Week

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    • 1 nov 2008, 23:35
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