Earlier this week British Copyright Collective ‘PRS for Music’ launched their new ‘Online Live Concert’ license to an outcry of disgust and condemnation from many within the British music scene. In short, their new licences require PRS-registered artists wishing to monetise livestreamed sets OF THEIR OWN MATERIAL to pay for the privilege of doing so. The minimum PRS will charge for such a license is £22.50, regardless of how much the livestreamed gig actually makes.
Yesterday (30 September 2020), events professionals around the country took part in various actions to expose the dire situation facing workers in this highly profitable industry. Graham Dakin writes about the conditions and challenges that have led them to this point.
“We didn’t appear out of thin air / we live here” – Joe Weaver reviews London-duo Bob Vylan’s uncompromising new album, and explores some of the “extreme” political themes behind each track.
Nathan Czapnik retells the fight against far-right infiltration in the Gabber scene and highlights the power of music to bring young people together with an anti-fascist message.
Hailing from Preston and operating out of an abandoned textile mill; the two piece, made up of Katie Drew and Joey Cobb, blend together a sound reminiscent of The KVB and Cocteau Twins. Ethereal and yet somehow near impossible to pin down, the band itself describes its work as Gothic Dreampop. ‘Night Drive’ draws you […]
This new work from The Strokes is a breath of fresh air in the times of the Covid 19. ‘The New Abnormal’ is their first album since ‘Comedown Machine’ which was released seven years ago and it’s ten times better in my view. This being said it’s a polar opposite from their first album ‘Is […]
By trade, I am a composer and conductor, and cynicism of the EU is very hard to find in a profession that has come to depend on the freedom of movement to make work a possibility. If anyone observes the activities of my trade union, they would know they actively campaigned for the, now, unsuccessful […]