US Copyright Office publicly states the need to put digital and terrestrial radio royalty schemes on equal ground

US Copyright Office publicly states the need to put digital and terrestrial radio royalty schemes on equal ground

The way terrestrial radio stations pay for the music they play could soon be changing based on statements made yesterday by the US Register of Copyrights, Maria Pallante, as reported by Digital Music News. In remarks at the World Creators Summit yesterday, Pallante boldly stated that the US needed to “provide a full public performance right for sound recordings,” meaning extend the fee system already imposed on digital music services to radio stations who make bank selling advertising without directly compensating the artists it uses to entice listeners to their place on the dial.

How did this sudden change in public discourse come about? It seems that Pandora’s greasy-looking co-founder Tim Westergren got Congress involved in his negotiations with the music industry to try and reduce Pandora’s payment obligations in the the royalty scheme it had previously agreed to. His argument that it wasn’t fair that his company had to pay so much when terrestrial radio didn’t have to pay anything resulted in Jimmy Jam stepping in to note that this was indeed a shame, and that terrestrial radio really should be paying artists for their work. While this wasn’t Westergren’s intended take-away, it seems to have been enough to penetrate the wall of lobbying that Clear Channel and its ilk use to prevent change in the system from occurring.

If this new approach actually occurs and is enforced, it could change the way that traditional commercial radio stations operate. They’ll always be motivated by the profit that advertising revenues provide, but could this create a culture where labels keep the royalties they’re owed low in order to entice stations to play their artists? Exposure is really the driving factor behind the presence of people at shows, so a smart label could exchange the opportunity of higher royalty income for the prospect of gaining a wider audience. Though, this shift in mindset would need to move past conjecture, and while the government is good at making bold declarations these days, the follow-through is far less certain.

Zola Jesus releasing collaborative album with JG Thirlwell and his madcap string arrangements

A little over a year ago, we reported on Zola Jesus’ Conatus tour, highlighting her May 2012 stop at the Guggenheim in NYC to do a one-off orchestral show with string arrangements by man-about-town JG Thirlwell. We’re now happy to report that said show was SUCH a resounding success that the two have decided to put out an album in the same vein as the concert so that the rest of us plebes can enjoy what folks experienced last May in the spiral-shaped space.

The album is to be released on Sacred Bones on August 20 and will be titled Versions, because these tracks are versions of tracks ZJ has already released in her more traditional electro-goth style. Here’s how Zola Jesus frontwoman Niki Roza Danilova puts it:

Versions is about the bone of the music; taking approximations from past records and turning them inside out. With all framework exposed, the songs are given a new medium in which to evolve and bloom into their own tiny worlds.

Sounds magical. The Mivos Quartet are on board to play the instruments, so get ‘boned’ later this summer as you explore the many intricate orifices that exposing Zola Jesus music to the classy treatment creates.

Versions tracklisting:

01. Avalanche (Slow)
02. Fall Back
03. Hikikomori
04. Run Me Out
05. Seekir
06. Sea Talk
07. Night
08. In Your Nature
09. Collapse
10. Avalanche [Bonus]

• Zola Jesus:
• Sacred Bones:

Destruction Unit wanna take you on a Deep Trip through hell on new Sacred Bones LP

Everybody loves garage rock, right? Whether you’re at a summer festival, stuck watching an iPhone commercial on Hulu, or just at some dumpy bar in the middle of nowhere, a ragin’ lo-fi guitar riff inevitably strummed by a dude in tight black skinny jeans will get heads bobbin’ faster than… well, whatever. The point is that EVERYBODY LIKES GARAGE ROCK. You could say that Tempe, AZ five-piece Destruction Unit play damned good garage rock, but that wouldn’t exactly be it: these guys play damned good garage rock from HELL.

And you can consider the band’s first proper studio LP, Deep Trip, your invitation to the hellmouth. Coming atcha August 20, thanks to the space oddities over at Sacred Bones, Deep Trip is the evil sexy lovechild of the men of Destruction Unit and recording wizard Ben Greenberg (and member of The Men, Pygmy Shrews, Hubble, ex-ZS) and studio owl Kyle Keays at Vacation Island in NY. (Warning: Deep Trip will steal your drugs AND your boy/girlfriend.)

In advance of unleashing the new LP into the world, Destruction Unit are touring this summer:

06.10.13 - Winooski, VT - The Monkey House *
06.11.13 - Montreal, Quebec - Il Motore *
06.12.13 - Toronto, ON - Izakaya Sushi House &
06.13.13 - Toronto, ON - The Garrison #
06.14.13 - Taylor, PA - Underwood Skatepark $
06.15.13 - Brooklyn, NY - 285 Kent *
06.16.13 - Brooklyn, NY - Shea Stadium ^
06.17.13 - Philadelphia, PA - Johnny Brenda’s *
06.18.13 - Washington, DC - DC9 *
06.19.13 - Richmond, VA - Strange Matter *
06.20.13 - Charlotte, NC - The Milestone *
06.21.13 - Atlanta, GA - 529 Club *
06.22.13 - Gainesville, FL - The Atlantic *
06.23.13 - Miami, FL - Churchill’s *
06.24.13 - Tallahassee, FL - Office Lounge Gallery %
06.25.13 - Memphis, TN - Hi Tone %
06.26.13 - New Orleans, LA - Siberia %
06.27.13 - Houston, TX - Mangos %
06.28.13 - Mcallen, TX - Thirsty Monkey %
06.29.13 - Austin, TX - Beerland %
07.01.13 - El Paso, TX - Lowbrow Palace %
07.05.13 - Los Angeles, CA - The Echo @

* Merchandise, Milk Music
# Milk Music, Roomrunner
& Vaginors (Aus)
$ Title Fight
^ Nu Sensae
% Milk Music
@ Oblivians, Milk Music

• Destruction Unit:
• Sacred Bones:

Nine Inch Nails have arrived again, older and now without teeth; Godspeed You! Black Emperor and Friday Night Lights house band to open on tour

If you have eyes and an internet connection, you’ve already seen that Trent Reznor has done his best Dr. Frankenstein impression and resurrected the still-fresh corpse of Nine Inch Nails. Cue eye rolls, angry fanboys, and the vast majority of people going “wait Nine Inch Nails had stopped?”

Well, yes, but even when he was slipping away into soundtrack work and Mariqueen Maandig’s How to Destroy Angels, Trent Reznor never really fell completely into the void. With the recent revelation that we’ve been lied to, albeit beautifully, Trent Reznor has confirmed he does not have the discipline to stay away from Nine Inch Nails. It must be like a bodily function at this point; he has to put out music or he’ll self-destruct.

This time, the chosen vessel for Reznor’s always somewhat damaged musical offerings seems to be pop. A new album, Hesitation Marks has been announced for a September 3 release date, and the new single, “Came Back Haunted,” showcases hooks that sink even deeper than anything off of The Slip.

NIN is taking this new flesh out on a massive tour, with two of the most interesting bands you could need, dream, or find: Godspeed You! Black Emperor and Explosions in The Sky. Just like you imagined, promises have been made to top everything that Nine Inch Nails have done before. That combination of acts and hype certainly deserves some raised eyebrows and perhaps a tiny little dot of incredulity, but the tickets are going on sale June 14, so they can’t turn back now, even if they wanted to.

Who knows if Trent Reznor really intends this mode of Nine Inch Nails to last or if this is for right now. Does it matter? The perfect little goth/industrial dream of the 90s is back, and isn’t that what you really wanted?

Nine Inch Nails: Tension 2013 North American dates:

09.28.13 - St. Paul, MN - Xcel Energy Center
09.30.13 - Kansas City, MO - Sprint Center
10.01.13 - St. Louis, MO - Chaifetz Arena
10.03.13 - Toronto, ON - Air Canada Centre
10.05.13 - Cleveland, OH - Wolstein Center
10.07.13 - Auburn Hills, MI - The Palace of Auburn Hills
10.08.13 - Pittsburgh, PA - Petersen Events Center
10.11.13 - Boston, MA - TD Garden
10.14.13 - Brooklyn, NY - Barclays Center
10.15.13 - Newark, NJ - Prudential Center
10.18.13 - Washington, DC - Verizon Center
10.19.13 - University Park, PA - Bryce Jordan Center
10.21.13 - Raleigh, NC - PNC Arena
10.22.13 - Nashville, TN - Bridgestone Arena
10.24.13 - Atlanta, GA - Philips Arena
10.30.13 - Sunrise, FL - BB&T Center
10.31.13 - Orlando, FL - Amway Center
11.05.13 San Antonio, TX - AT&T Center
11.08.13 - Los Angeles, CA - Staples Center
11.09.13 - Phoenix, AZ - US Airways Center
11.11.13 - El Paso, TX - Don Haskins Center
11.13.13 - Broomfield, CO - 1stBank Center
11.15.13 - Las Vegas, NV - The Joint
11.16.13 - Las Vegas, NV - The Joint
11.18.13 - Portland, OR - Rose Garden Arena
11.19.13 - Spokane, WA - Spokane Arena
11.21.13 - Vancouver, BC - Rogers Arena
11.22.13 - Seattle, WA – Key Arena
11.24.13 - Edmonton, AB - Rexall Place
11.25.13 - Calgary, AB - Scotiabank Saddledome

• Nine Inch Nails:

Jonathan Poneman, co-founder of Sub Pop, diagnosed with Parkinson’s disease

Were they in possession of nads, there are a number of diseases deserving of a swift kick to the nadal region. Given its gradual tendency to physically and sometimes mentally debilitate, as well as its relative prevalence, most people would probably include Parkinson’s on that list, but Sub Pop co-founder Jonathan Poneman, who was recently diagnosed, would prefer to take a different approach: give it a big ol’ hug, and accept the circumstances in which he now finds himself.

Initially reported by the Seattle Times, the now 53-year-old Poneman first began noticing symptoms of the disease around the onset of the 2010s. He describes a “lumbering slowness,” which his colleagues at Sub Pop noticed and would subsequently bring up to the label’s vice president, asking, “What’s wrong with JP?” A decision to confront what were undoubtedly signs of an ongoing ailment came in 2010, when an old friend and radiologist asked him about his health. Recent difficulties using his right hand immediately came to mind…

But forget about all that! How’s the caregiver to one of the indie world’s most influential record labels doing now? “Being an open heart and mindful. Anything that leads a human being to that kind of living can’t be all bad. In fact, it’s pretty good.” Poneman has since married Polish lady Magdalena Panak, whom he first met at a Mudhoney show more than 12 years ago.

He’s still going to shows, and his involvement with the label continues as well. As previously reported, July will mark Sub Pop’s 25th anniversary, and the associated free festival in Seattle’s Georgetown neighborhood — Silver Jubilee — will have a booth where people can donate to the Northwest Parkinson’s Foundation.

“I accept that I have this disease, but that doesn’t give me the right to be passive,” Poneman said.

• Sub Pop:

Noise rap group .clipping reaches perfect amplitude for Sub Pop reps, ready two LPs for 2014

Contributing to TMT’s already stellar reputation as a vessel for artists entering lives where they can afford weekly grocery trips, clipping., the rap outfit with the noisy peripherals, has just signed with Sub Pop, following the release of their Eureka!-earning, self-released album Midcity (TMT Review) earlier this year — and, not to mention, a performance at our very own Unisex Earplug showcase at this year’s SXSW. Christening their newfound label relationship, the trio of Daveed Diggs, Jonathan Snipes, and William Huston will be performing at Silver Jubilee next month, and their label debut is scheduled for release sometime in 2014, followed or preceded by another full-length for Deathbomb Arc. Exact dates are contingent upon when Diggs cares to once again remind us, through the use of an oversized megaphone, “It’s clipping., bitch.”

Entirely different utilizations of harshness separate clipping. from the more unhinged and confrontational Death Grips, and so do the former’s clear lyrical references to contemporary rap motifs. This may or may not be a good thing, depending on how seriously you take things like a roughly 10-minute expose on the vocal fluctuations contained in the phrase “GET MONEY” or talk of a “Rolex with more diamonds than gears,” but maybe future releases will see a decrease in this approach and more tracks like Midcity cut “bout.that,” which you can hear in their new video:

To be sure, the references are here too, but a certain depth to the song, as well as the full-blown 90s-esque style to the video, seems to suggest that the lyrics are all in homage to the genre. Or, who knows? Maybe the band’s history with “yay,” as it were, has yet to be revealed…

• clipping.:
• Sub Pop: