The Beatles’ “Love Me Do” officially enters public domain under current European copyright law. In related news, Europe in the middle of revising its copyright law

The Beatles' "Love Me Do" officially enters public domain under current European copyright law. In related news, Europe in the middle of revising its copyright law

Hey fellas. I missed this the other day, but Rolling Stone recently reported that “Love Me Do,” the very first single by Frank Ocean’s favorite band, The Beatles, has technically entered into the public domain in Europe!

Yes, thanks to the fact that Europe’s current copyright law estimates the lifespan of human beings at 35 years because of all the horrific wars that took place there in the 20th century, the copyrights for recorded music are set to expire after 50 years. Ergo, since we all totally know off the top of our heads that “Love Me Do” (along with its lesser-known B-side tribute to American air pressure measurements, “P.S.I. Love You”) was released all the way back in 1962, that would mean that… yes, say it with me now, “Europeans can theoretically use that song for whatever goofy purpose they want as of January 1, 2013!”

And boy, are they ever! A company called Digital Remasterings has already taken advantage of the fact and included “Love Me Do” on an early Beatles compilation that it just released; and the classical reissue label Pristine Classical released it as a “remastered single,” but only because they wanted to protest the “trouble the extended copyright will cause in its work reissuing old symphonic recordings,” which sounds like the most boring protest ever. So far, it seems that Ringo Starr has resisted his urge to record new drums on top of the song and re-releasing it, but if I was him, you can bet your ass that’s what I’d be doing.

Unfortunately, though, even though I’m out of quips, there’s more to the story than that. A “move is underway” to extend recording copyrights in ye olde European Union to a more robust 70 years (it’s currently set at 95 years in the US, if you were wondering), with the new law including a pretty unassailably logical “use it or lose it clause,” which means that rights-holders (which pretty much just refers to record labels in the 60s) for recordings released before 1963 would have to keep making them available for public consumption for the copyright to remain in effect. But if/when they pass, these laws won’t go into effect until November. So MOVE YOUR ASS, Ringo! I know you read this website.

• The Beatles:

Heterotic (Planet Mu founder Mike Paradinas and Lara Rix-Martin) prep debut album Love & Devotion… aww

Everyone knows married couples make the best musical duos. Actually, reality has yet to confirm such an idea, and stereotypes would suggest the opposite; do I really want to creatively collaborate with somebody who has smelled my dirty underwear and, not to mention, knows all of my deepest and darkest secrets? Frustrations inevitably arise, and then comes the potential for blackmail. I have to deactivate my Facebook account. The reputation of the label I’m running has become tarnished with accusations that I like wearing nothing but a Halloween mask and a purple feather boa on my days off. Is it worth the risk, I ask? Is it!?!?!

Thankfully, the debut album from Heterotic — the duo of Lara Rix-Martin and spouse Mike Paradinas a.k.a. μ-Ziq — appears to have been produced without incurring any bad blood. Love & Devotion comes out March 25, and it follows a handful of tracks previously released and listenable via their SoundCloud, including a spacey, extended take on Kuedo’s “Shutter Light Girl,” and a splendid house original, “Probingzed.”

Both of those songs are instrumentals, but four out of the eight tracks on the upcoming album feature Nick Talbot, of the folkish Gravenhurst, supplying vocals. Curiosity piqued. Commence waiting.

Love & Devotion tracklisting:

01. Bliss
02. Blue Lights (feat. Gravenhurst)
03. Wartime (feat. Gravenhurst)
04. Robo Corp
05. Devotion (feat. Gravenhurst)
06. Knell
07. Slumber (feat. Gravenhurst)
08. Fanfare

• Heterotic:
• Planet Mu:

M.I.A. not enough of a bummer for Interscope Records; new album Matangi set to finally drop in April

Interscope! Stop with the Spencer’s Gifts and the black light posters and the multiple ferrets crawlin’ around whilst you listen to The Cure in your dark bedroom, smoking clove cigarettes! We’re your friends, sorta — even though, I personally will never forgive anyone who helped push LMFAO onto the American people — and we care about you. You’re just getting a little too… goth. There, I said it. Are we really to believe that you told glitter-spangled neon activist M.I.A. that her new album is “too positive”? That she needs to “darken it up a bit”?? ARE WE?!?!?

Well, that’s the word on the street. And by “street,” of course, I mean “an interview with Australia’s Gold Coast Bulletin,” in which M.I.A. explained how her upcoming fourth album, Matangi, just didn’t jive with the label’s preferred image of the outspoken singer. “I thought I’d finished it. I finished it and then I handed the record in, like a couple of months ago,” she said. But then, according to M.I.A., Interscope was all like, “We just built you up as the public enemy No. 1 and now you’re coming out with all this positive stuff.” The release date for the album is set for April 15, but Ms. Arulpragasam is still working on gothin’ it up. Don’t worry, M.I.A.! Three months is plenty of time to stock up on black eyeliner from Walgreens and triangle necklaces from Urban Outfitters and give that lil’ album a reverse teen movie makeover. DAAAAAAAAAARK.

• M.I.A.:
• Interscope:

Spiritualized tour the West Coast’s most awesomely named venues

Coolio once quipped, “Ain’t no party like a Spiritualized party ‘cuz a Spiritualized party don’t stooooooop.” (True story: the lyrics to Coolio’s classic “1, 2, 3, 4 (Sumpin’ New)” were edited by his record company in hopes of achieving higher sales on the West Coast. At the time, Spiritualized fans were not thought to be a big enough audience for Coolio’s party jams.) And yea, Coolio was right. Because if you’ve ever seen Spiritualized, you know that the live show lives up to the band name: it’s like, transcendent and shit.

And now, Mr. Jason Spaceman will bestow the gift of a live Spiritualized performance upon the Western Coast of these United States. The tour, seemingly booked to include all of the coast’s most mystical and awesome sounding venues… and the Las Vegas House of Blues… starts in Denver and ends in Sin City. Spaceman and friends will be repping last year’s critically acclaimed Sweet Heart Sweet Light (TMT Review), which came out on Fat Possum.


04.04.13 - Denver, CO - The Bluebird Theater
04.05.13 - Salt Lake City, UT - Urban Lounge
04.06.13 - Boise, ID - Eqyptian Theatre
04.08.13 - Seattle, WA - Neptune Theatre
04.09.13 - Portland, OR - Wonder Ballroom
04.11.13 - Santa Cruz, CA - Cocoanut Grove Historic Ballroom
04.12.13 - Las Vegas, NV - House of Blues

• Spiritualized:
• Fat Possum:

Vimeo feels the pressure of being second; record labels double down on copyright claims

Vimeo, also known as the site you find yourself on whenever a video isn’t immediately available on YouTube, has recently found itself embroiled in a copyright dispute brought about by the Digital Millennium Copyright Act and some of it its record label enforcers.

Last Friday, according to The Hollywood Reporter, Capitol Records, Caroline Records, and Virgin Records America asked a judge for a “summary judgement win” in a joint lawsuit first filed three years ago in New York federal court. For those with less than a marginal knowledge of legalese, asking for a summary judgement is the equivalent of asking for an end to a case without trial, given the undisputed nature of the facts. Thank you, Internet.

Since the case had been delayed pending an appellate court ruling in Viacom v. YouTube, it’s worth summarizing what it’s all about, as if you couldn’t have guessed: the record labels are accusing Vimeo of “copying, performing, and distributing” sound recordings from artists such as The Beatles, Coldplay, Norah Jones, Nat King Cole, and The Beach Boys. Going even further, in its motion for summary judgement, the record labels essentially dub Vimeo the negligent parent of copyright-infringing, user-generated content websites. Here’s an excerpt:

YouTube, Veoh, and other websites do not create and consistently upload their own infringing videos; do not expressly tell users it is permissible to use infringing music in their videos and instruct their users how to do so; do not have a team of employees monitoring to ‘curate’ their content and a set of technological tools to accomplish that task; do not actively participate in the website ‘community’ to define and delimit the content on their website; do not at their sole discretion delete and ‘bury’ content that they believe does not reflect the image or brand they want to establish; and do not refuse to obtain licenses from music copyright owners or to deploy available technologies to filter copyrighted music. As described below, Vimeo does all of these things and more.

The entire motion attempts to demonstrate that Vimeo encourages (and makes a point to ignore) uploads that use copyrighted music.

For what it’s worth, Vimeo filed their own motion for summary judgement last September, in which they stated, “Vimeo does not—and cannot—view every video uploaded by its users to attempt to determine whether it infringes a copyright or otherwise violates Vimeo’s terms of service. Instead, Vimeo relies upon copyright holders to inform it if a user has uploaded an infringing video. This is exactly what Congress envisioned when it enacted the DMCA.”

My perspective: if someone wants to upload a video of themselves dancing sexily to Nat King Cole’s rendition of “O Tannenbaum,” while wearing a Santa hat over their nether region, shouldn’t that be their right? Shouldn’t it?!

• Vimeo:

Bryan Ferry’s The Bryan Ferry Orchestra to release album of 1920s-style covers of Bryan Ferry-penned songs

The romance! The glamour! The Louise Brooks movies and the bootleg champagne! The whole world teetering on the precipice, spinning faster and faster toward the horrible oblivion of war war WAR! The 1920s were a mad, dazzling time. And who better than Professional Dapper Man Bryan Ferry to bring the swingin’ sounds of the era back in a “totally not another swing revival” way? The Roxy Music frontman and solo dude has assembled the finest ensemble of Roarin’ 20s-style musical players and created The Bryan Ferry Orchestra, who’ll be releasing their first album, The Jazz Age through BMG. You can check out a short promo video for track “Do the Strand” below. It’s enough to make Baz Luhrman cry.

In what sounds like a wedding band dreamed up by Andy Kaufman, the Bryan Ferry Orchestra exclusively plays — as you may have guessed from the tracklisting — covers of Bryan Ferry-penned songs in a 1920s manner. Ferry doesn’t perform or sing with the orchestra, instead standing to the side, nodding his head, dreaming of a green light at the end of a dock and sighing as he sips bathtub gin.

The Jazz Age tracklisting:

01. Do the Strand
02. Love Is the Drug
03. Don’t Stop the Dance
04. Just Like You
05. Avalon
06. The Bogus Man
07. Slave to Love
08. This Is Tomorrow
09. The Only Face
10. I Thought
11. Reason or Rhyme
12. Virginia Plain
13. This Island Earth

• Bryan Ferry:
• BMG: