EMI officially breaks up with Grooveshark, Grooveshark tells its friends that it actually broke up with EMI, so there!

EMI officially breaks up with Grooveshark, Grooveshark tells its friends that it actually broke up with EMI, so there! http://www.tinymixtapes.com/sites/default/files/news-12-04-emi-grooveshark.jpg

It was announced this week that EMI, the only major label to have set up a legitimate licensing deal with the shady service, is severing its ties to Grooveshark. While EMI’s impending merger with Universal probably helped support this move (seeing as how Universal as well as the other two majors, Sony and Warner Music Group, are already suing Grooveshark for use of their artists’ content without compensation), EMI put forth a simpler explanation, stating that Grooveshark failed to make any payments on a $450,000 promissory note signed at the time of the original licensing deal, way back in November 2011. Apparently the first payment of $100,000 was due this past March 15, and when Grooveshark failed to pay, the jig was up.

So how has Grooveshark responded? Well, let’s just say they’re being their usual polite, adult self. A statement released by the streaming site in response to the break with EMI noted that, “Grooveshark was recently forced to make the difficult decision to part ways with EMI due to EMI’s currently unsustainable streaming rates and EMI’s pending merger with Universal Music Group, which we consider monopolistic and in violation of antitrust laws. To date, Grooveshark has paid over $2.6 million to EMI, but we have yet to find sustainable streaming rates. In spite of this, Grooveshark’s dedication to artists and rights holders remains the same.”

Oh, that wily Grooveshark, always turning the tables! Of course it was you who broke up with EMI and not the other way around. And why would you owe them anything, anyway, since you gave them WAY more money than you were supposed to already? Stupid EMI, wanting compensation for use of their artists’ music as agreed upon in a legal contract.

Grooveshark does have a valid point with the whole “monopoly” claim, not that it seems particularly relevant to the issue at hand. A lack of licensing deals hasn’t stopped Grooveshark from doing its thing thus far, and the lack of one with EMI probably isn’t going to slow it down either. Until governments start throwing some weight behind the label’s desire to see the site go down in flames (which they’re likely to do sooner than later), Grooveshark will continue to operate in the weird delusional bubble that keeps them seemingly guilt free as they rake in the advertising dollars.

It appears Grooveshark may be legitimately scared this time, though, putting continued pressure on Digital Music News to fork over information about a potential whistleblower from within the Grooveshark Organization that may have contributed to the suits filed against the site by the major labels. Stay tuned as this story develops!

• Grooveshark: http://grooveshark.com

EMI officially breaks up with Grooveshark, Grooveshark tells its friends that it actually broke up with EMI, so there!

It was announced this week that EMI, the only major label to have set up a legitimate licensing deal with the shady service, is severing its ties to Grooveshark. While EMI’s impending merger with Universal probably helped support this move (seeing as how Universal as well as the other two majors, Sony and Warner Music Group, are already suing Grooveshark for use of their artists’ content without compensation), EMI put forth a simpler explanation, stating that Grooveshark failed to make any payments on a $450,000 promissory note signed at the time of the original licensing deal, way back in November 2011. Apparently the first payment of $100,000 was due this past March 15, and when Grooveshark failed to pay, the jig was up.

So how has Grooveshark responded? Well, let’s just say they’re being their usual polite, adult self. A statement released by the streaming site in response to the break with EMI noted that, “Grooveshark was recently forced to make the difficult decision to part ways with EMI due to EMI’s currently unsustainable streaming rates and EMI’s pending merger with Universal Music Group, which we consider monopolistic and in violation of antitrust laws. To date, Grooveshark has paid over $2.6 million to EMI, but we have yet to find sustainable streaming rates. In spite of this, Grooveshark’s dedication to artists and rights holders remains the same.”

Oh, that wily Grooveshark, always turning the tables! Of course it was you who broke up with EMI and not the other way around. And why would you owe them anything, anyway, since you gave them WAY more money than you were supposed to already? Stupid EMI, wanting compensation for use of their artists’ music as agreed upon in a legal contract.

Grooveshark does have a valid point with the whole “monopoly” claim, not that it seems particularly relevant to the issue at hand. A lack of licensing deals hasn’t stopped Grooveshark from doing its thing thus far, and the lack of one with EMI probably isn’t going to slow it down either. Until governments start throwing some weight behind the label’s desire to see the site go down in flames (which they’re likely to do sooner than later), Grooveshark will continue to operate in the weird delusional bubble that keeps them seemingly guilt free as they rake in the advertising dollars.

It appears Grooveshark may be legitimately scared this time, though, putting continued pressure on Digital Music News to fork over information about a potential whistleblower from within the Grooveshark Organization that may have contributed to the suits filed against the site by the major labels. Stay tuned as this story develops!

• Grooveshark: http://grooveshark.com

Opeth are sad that you didn’t buy their music the first time around, so they’ll be reissuing it and you better get it this time!

Swedish metal dudes Opeth, who you recognize as the “kinda pretty” band that your younger brother listened to during his Goth phase, have been skulking around their Swedish villas all winter long. They’re upset that, even though the albums were popular, not nearly enough people bought 2002’s Deliverance, 2003’s Damnation, 2001’s Blackwater Park, or 2004’s Lamentations.

Accordingly, Opeth have de(i)cided to reissue all four albums, through The End Records and available for consuming on April 10 (my cat’s birthday!) and they’re really hoping that, finally, this time, they’ll all sell at least a billion copies. The boys in Opeth are also throwing in a brand-new bonus DVD with Blackwater Park, and a documentary about the recording of Damnation and Deliverance is included with Lamentations. “How much sweeter could they get?!” asks Opeth guitarist Michael Akerfeldt.

Well, it can get a whole lot sweeter when you go on tour, Mr. Akerfeldt. Which is exactly what they’re doing because Opeth have already announced (and are even already on) a pretty freakin’ long tour with that other metal band, Mastodon, that has run its course across Europe, Australia, and is just now about to inundate North America with loud-as-fuck guitars.

Opeth/Mastodon co-headlining tourdates:

04.06.12 - Montreal, QC - Metropolis *!
04.07.12 - Toronto, ON - Sony Centre * !
04.09.12 - Philadelphia, PA - Electric Factory * #
04.10.12 - Wallingford, CT - The Dome * #
04.11.12 - New York, NY - Roseland Ballroom * #
04.13.12 - Chicago, IL - Riviera Theatre * #
04.14.12 - Grand Rapids, MI - The Intersection * #
04.15.12 - Pittsburgh, PA - Stage AE * #
04.16.12 - Knoxville, TN - TN Theater * !
04.18.12 - Oklahoma City, OK - Diamond Ballroom * #
04.19.12 - Dallas, TX - Palladium Ballroom * !
04.20.12 - San Antonio, TX - Back Stage Live * !
04.21.12 - Corpus Christi, TX - Concrete Street * !
04.23.12 - Denver, CO - Fillmore Auditorium * !
04.25.12 - Las Vegas, NV - House of Blues * #
04.26.12 - Los Angeles, CA - Gibson Amphitheatre * !
04.27.12 - Oakland, CA Fox Theatre * !
04.28.12 - Reno, NV - Grand Sierra Resort * #
04.30.12 - Seattle, WA - The Paramount * !
05.01.12 - Vancouver, BC - Orpheum Theatre * !
05.03.12 - Edmonton, AB - Edmonton Events Center * !
05.04.12 - Calgary, AB - MacEwan Hall * #
05.05.12 - Saskatoon, SK - The Odeon * !
05.06.12 - Winnipeg, MB - Burton Cummings Theatre * !
05.09.12 - Washington, DC - The Fillmore * #
05.10.12 - Charlotte, NC - The Fillmore * #
05.11.12 - Myrtle Beach, SC - House of Blues * #
05.12.12 - Atlanta, GA - Masquerade Music Park * #

* Ghost
# Mastodon closes show
! Opeth closes show

• Opeth: http://www.opeth.com
• The End: http://theendrecords.com

Unsound New York: Sun Araw, Actress, Demdike Stare, Laurel Halo, Julia Holter, Peaking Lights are playing. Pop some allergy meds and get out there!

2003 wasn’t just the year after Yoshimi Battles the Pink Robots. 2003 was the year Unsound Krakow started up, a festival that, according to its website, “is interested in the idea of cross-border collaboration, and thinking of the festival as a tool for commissioning and fostering new work.” 2010 wasn’t just the year before Strobo Trip. 2010 was the year Unsound New York cropped up, an offshoot of the Krakow festival that somehow brings together everything “from contemporary classical music to post-industrial sounds to black metal to new directions in bass driven club music.”

This year’s festival will take place April 18-22 across five different venues: BAMcinématek, (Le) Poisson Rouge, Public Assembly, Lincoln Center, and ISSUE Project Room. The lineup includes a number of artists from Eastern Europe as well as plenty from the USA and the UK: 2562, Actress, Baaba, Black Rain, Biosphere, Tomek Choloniewski, Dave Q, Demdike Stare, Distal, Eltron John, Jeremy Grimshaw, Laurel Halo, Heat Wave, Hieroglyphic Being, Mark Van Hoen, Julia Holter, Jenny Hval, Hype Williams, Inner Tube, Ital, Jacaszek, Julia Kent, Denis Kolokol, Kotra, Lustmord, LXMP, Maria Minerva, Monolake, Napszyklat, Next Life, Nguzungzu, Nondor Nevai, Peaking Lights, Andrea Pensado, Pole, Sepalcure, Sun Araw, Teeth, Throwing Snow, Dave Tompkins, Nate Wooley, Zemi17, and Zavoloka.

Any of those strike your fancy? Hit up the Unsound website for individual tickets (some of the events are free!!!)

Unsound Festival New York 2012 is presented by Fundacja Tone, the Polish Cultural Institute in New York, and the Goethe-Institut New York.

• Unsound: http://unsound.pl/en

Dean Blunt & Inga Copeland share 30 unreleased tracks for free download, achieve maximum choong

Dean Blunt & Inga Copeland’s Black Is Beautiful is almost here (due April 17 via Hyperdub), and as a “fucking awesome” reminder, they’ve just let loose another heaping handful of tracks under the name The Attitude Era. The mixtape/unorganized jumble is being offered for free download here (originally posted at the end of this interesting Hype Williams profile at The Guardian), but get it now because the link will be dead in two weeks.

Though a mishmash, The Attitude Era clocks in at 33 tracks and nearly 1.5 hours; damn. Plus, you never know with these two whether an untitled track might be the highlight of the album, so no sniffing at these titles just because they say “version” or “unmastered” or “rejected remix.” Inhale, exhale.

The Attitude Era “tracklisting”:

tape 3 mix weds
Showcase of the Immortals ramirez mix instrumental
AMIR voc mix
attitude adjustment
The Attitude Era
bar rumba
Sinn Fein
slugabed rejected remix
This is the remix
untitled
WHITE FLIGHT
WHITE FLIGHT II
white flight refix
y2j
8210
copeland not ever
face turn MASTERED
Schadenfreude
PROGRESSION
poison dub unmasterd
Parred
Millenial Turk
THE MANDIBLE CLAW
Judgement
Jericho
heel turn vocal version
LUNA VACHON
Existential flux
Energy God
copeland rumors unmastered
untitled
blinder
The Sniper

• Dean Blunt & Inga Copeland: http://www.youtube.com/pollyjacobsen
• Hyperdub: http://www.hyperdub.net

Thrill Jockey releases debut album by kandodo, world’s first band named after a supermarket (at least according to a quick Google search I did)

It’s a long way from English stoner rock to African-inspired jams with titles like “witchdoctor” and “lord hyena, 3am,” but The Heads’ Simon Price don’t care, baby; he’s ready to take you there. Price is steppin’ out to do the solo thang, and with the moniker kandodo and a little help from his friends at Thrill Jockey Records, the singer/guitarist has got a debut self-titled album, kandodo, on the way. Inspired by Price’s youth in Zambia and Malawi, the nine tracks on his solo debut have more to do with Spacemen 3, Neu!, and Brian Eno than tribal rhythms, although the inspiration behind all the tracks is, according to Thrill Jockey, “animist religions, hyenas, sharks and dusty drives.” And grocery stores, apparently: Kandodo is the name of a Malawian grocery store where Price and his family shopped in the 80s. If only Tesco or Rainbow Foods or my local Food 4 Less could inspire such dreamy tunes.

The project gathers some of Price’s first-ever solo recordings, which he made at home with a secondhand MacBook, a guitar, a tambourine, some keyboards, a drum pedal, and a Walkman, which he used for field recordings. (Look it up, kids.) This summer, kandodo’s eponymous debut is slated to be released as both a CD and everybody’s favorite, a gatefold LP. Curious parties can meet Lord Hyena on June 12, when Thrill Jockey releases the album into the wild.

kandodo tracklisting:

01. dawn harmonix
02. laud the hyena
03. ceramy
04. yamadharma
05. dagga
06. witchdoctor
07. shangri last
08. kandodo
09. lord hyena, 3am

• kandodo: https://www.facebook.com/pages/Kandodo/168305819900725
• Thrill Jockey: http://www.thrilljockey.com