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Meet the PDA winners for 2009<br />
page 14<br />
Redefinition<br />
+<br />
Transformation:<br />
Securing the future<br />
of Australian<br />
Classical Music<br />
page 4<br />
<strong>APRA</strong><br />
stomps boots<br />
in Tamworth<br />
page 12<br />
Newsletter of the<br />
Australasian Performing Right<br />
Association<br />
www.apra–amcos.com.au<br />
issue<br />
01<br />
2009
Cover<br />
PDA Winners for 2009<br />
04<br />
Redefinition + Transformation<br />
To the point<br />
Back<br />
Daniel Baker, David Leha,<br />
Melody Eötvös, Laura Jean Englert<br />
and Wally De Backer<br />
Meet the PDA winner’s for 2009<br />
page 20<br />
06<br />
Corporate update<br />
Rock the vote<br />
Front<br />
Abbe May, Katrina Burgoyne<br />
and Paris Wells<br />
Absent<br />
Sean Foran<br />
Redefinition<br />
+<br />
Transformation:<br />
Securing the future<br />
of Australian<br />
Classical Music<br />
page 5<br />
<strong>APRA</strong><br />
stomps boots<br />
in Tamworth<br />
page 20<br />
08<br />
10<br />
Your music online: aggregators<br />
Song Stories: “Dream out Loud”<br />
Going Global<br />
Newsletter of the<br />
Australasian Performing Right<br />
Association<br />
www.apra–amcos.com.au<br />
issue<br />
01<br />
2009<br />
12<br />
Apra stomps boots in Tamworth<br />
> Photo: Blue Murder Studios<br />
In the immortal words<br />
of Messers Farriss<br />
and Hutchence,<br />
“are you ready for<br />
a new sensation?”<br />
Matthew is one of Australia’s most prominent<br />
classical composers; often experimenting<br />
with popular music in his orchestral works he<br />
has extended classical repertoire to suit the<br />
modern world. Throughout his career he has<br />
been attached to some of Australia’s most<br />
prestigious ensembles including The Sydney<br />
Symphony, The Sydney Youth Orchestra and<br />
the Queensland Orchestra. In 2002 he was a<br />
featured composer with Musica Viva Australia.<br />
www.hindson.com.au<br />
?What is it you most value about music?<br />
Its mysterious nature - why is it that sound waves<br />
editor’swrap<br />
travelling through the air can move us to tears?<br />
What are you currently working on?<br />
A new ballet for the Birmingham Royal Ballet.<br />
What are you listening to?<br />
Only my ballet at this point in time.<br />
In the great words of Messrs Farriss and Hutchence, “are you ready for a<br />
new sensation?” The first issue of Aprap for 2009, comes to you out of the<br />
What is your favourite film that is about music or is<br />
new <strong>APRA</strong>|AMCOS offices in Ultimo (p5), featuring a fresh new look, new<br />
it a musical?<br />
features and a new staff writer.<br />
Does Team America count as a musical?<br />
Our newest team member (and roving reporter) Allison Gumbleton made<br />
the trek to Tamworth for this year’s Country Music Festival (p11). Allison<br />
also caught up with Millie Millgate – our Export Music Services Producer<br />
– fresh off the plane from MIDEM, and found out more about the Sounds<br />
Australia initiative and its goal to advance Aussie music product overseas<br />
(p21).<br />
Emerging Australian and New Zealand songwriting sensations - the 2009<br />
Professional Development Award winners are profiled on pages 13 & 24;<br />
jazz artists Aaron Choulai and Way Out West feature in “Going Global”<br />
(p10); and composer Matthew Hindson rounds out the songwriter profiles<br />
in “What’s My Scene” on page 2.<br />
Also in this issue, we explore the world of music in games (p17); find out more about<br />
working with aggregators (p7); and hear from the 2006 Churchill Fellowship recipient,<br />
Genevieve Lacey about the future of Australian classical music (p3).<br />
We really hope you like the new design and, as always, welcome your feedback and<br />
suggestions for content – just send us a note at comms@apra.com.au … we’d love to<br />
hear from you.<br />
Anthea Sarris<br />
><br />
contents<br />
issue 01<br />
2009<br />
14<br />
16<br />
18<br />
20<br />
22<br />
24<br />
26<br />
Creating opportunities for emerging songwriters<br />
Member News<br />
Screenrap<br />
Game On<br />
Publisher News<br />
A word to the stealing generation<br />
On tour with Millie Millgate<br />
International Notes<br />
NZ News<br />
What’s Happening<br />
what’smyscene?<br />
What is your favourite book/website about music?<br />
Captain Corelli’s Mandolin is an amazing book<br />
whose musical premise binds the whole thing<br />
together.<br />
What is the best live performance you’ve ever been<br />
to, whether you were performing or not?<br />
One of the best recent ones was a performance<br />
by pianist Bernadette Balkus in the 2008 Aurora<br />
Festival. Simply astounding.<br />
What is the quickest piece you have written and<br />
which piece took the longest to write?<br />
I wrote a solo violin piece in two hours once - it<br />
turned out OK. My flute concerto went on over<br />
four years.<br />
Who have been your greatest musical influences?<br />
Inspirational composers who are/were not afraid<br />
to make big, honest statements- Olivier Messiaen,<br />
Ludwig van Beethoven, Peter Sculthorpe, Ross<br />
Edwards, Iannis Xenakis.<br />
What is your most marked characteristic as a<br />
composer?<br />
Using influences and/or techniques of popular<br />
music within a classical context.<br />
Who would you most like to collaborate with and<br />
why?<br />
It would be good to collaborate on a concerto<br />
for the phenomenal Australian beatboxer, Joel<br />
Turner. He is astonishing in both technique and<br />
musicality.<br />
What’s your favourite piece (that you’ve written)?<br />
I’m quite fond of “In Memoriam” as it also has<br />
extra-musical resonances to do with deaths of<br />
family members.<br />
What piece written by another writer do you wish<br />
you had written, and why?<br />
Brahms Symphony No. 3 - because it’s so strong,<br />
individual and yet technically brilliant.<br />
What is the quality you most admire in a composer?<br />
Honesty in approach and delivery - no mucking<br />
around - “this is me”.<br />
What is the best career advice you were ever<br />
given?<br />
“Don’t knock back an opportunity because<br />
you don’t know where it will lead.” Brenton<br />
Broadstock<br />
If you were not a composer, what might you have<br />
ended up doing?<br />
Probably a computer-related job or graphic design<br />
if I was more talented.<br />
Matthew Hindson<br />
<strong>APRA</strong> member since 1993. Photography by Bridget Elliot.<br />
aprap<br />
02
Redefinition +<br />
Transformation<br />
Securing the future<br />
of Australian classical music<br />
By Genevieve Lacey,<br />
Recipient of the<br />
2006 Churchill Fellowship<br />
> Photo: Blue Murder Studios<br />
The impetus for me to submit my<br />
application for a Churchill Fellowship<br />
came from my sense that the world of<br />
classical music 1 in Australia was in a tight<br />
corner. I wanted to find out whether this<br />
was similar in other parts of the world,<br />
and if so, to learn how this challenge was<br />
being addressed.<br />
‘The death of classical music’ has been a<br />
perennial topic in the arts community in<br />
Australia over the last five to ten years.<br />
Facing the challenges of a rapidly changing<br />
world has left many of my colleagues with<br />
a sense of bewilderment and despair. As<br />
the sustainability and relevance of the<br />
artform have been called into question<br />
over the last years, people have leapt to<br />
defend the fortress.<br />
Separatist politics can be a shrewd way<br />
of defining and strengthening the identity<br />
of a group. But separation also breeds<br />
isolation.<br />
1 I define classical music loosely as notated western<br />
art music.<br />
Preservation<br />
In its current form, the industry of<br />
classical music is best called a heritage<br />
enterprise. Most music schools and<br />
tertiary institutions with courses that are<br />
repertoire based are training classical<br />
musicians to faithfully re-present the<br />
past. The ethos is not primarily about the<br />
creation of new music now, or the future<br />
of the artform, but the perpetuation of a<br />
historical canon and a particular set of<br />
performance traditions.<br />
General standards of basic music<br />
education and literacy in Australia have<br />
been subject to constant attrition over<br />
at least a generation. On one hand,<br />
small numbers of students in privileged<br />
environments are developing exceptional<br />
musical skills from an early age. On the<br />
other hand, huge numbers of students do<br />
not know how to sing, read or play even the<br />
simplest of tunes. I see a direct corollary<br />
between the deterioration of our music<br />
education system and the tiny percentage<br />
of our population engaging with classical<br />
music. We have lost track of the roots and<br />
sources of our audiences.<br />
By losing the participatory nature of music<br />
making, we have lost an essential part<br />
of the ecosystem. Knowing what it feels<br />
like to participate makes listening much<br />
more active and engaging. Links between<br />
concert platforms and ‘normal people’<br />
have been eroded, and what’s happening<br />
on concert platforms is becoming<br />
increasingly alien and irrelevant.<br />
Australian musicians working<br />
internationally in the field of classical<br />
music are prized. We are valued for our<br />
high level of skills, our commitment, our<br />
work ethic, and our fresh, bright approach.<br />
In many ways, for a country with a small<br />
population and a young western culture,<br />
we are punching above our weight.<br />
Nonetheless, many of our finest musicians<br />
leave Australia. Most see it as a choice<br />
between living at home and pursuing a<br />
career. It is imperative that we address<br />
what is keeping many of our most talented<br />
artists from living here, and contributing<br />
to this culture.<br />
Looking forward<br />
When I applied for a Churchill fellowship,<br />
I was concerned at my sense that I was<br />
working in an ever-shrinking realm in<br />
Australia. During my Churchill journey,<br />
my thinking and perspective shifted<br />
radically. When I left, I imagined that my<br />
task was to try to find a way to expand the<br />
province for classical music in Australia,<br />
or at least, to ensure that its ground was<br />
held. As a result of this trip, I am much<br />
less interested in concepts of territory or<br />
preservation.<br />
I don’t think that classical music is dead,<br />
or even in its death throes. Within the<br />
privileged spheres that have housed and<br />
fed it for centuries, it is still an honoured<br />
guest. Both abroad and at home, I have<br />
met many inspiring, highly intelligent and<br />
articulate people working to preserve its<br />
heritage and safeguard its continuation. I<br />
have no doubt they will succeed.<br />
I don’t think that classical music is<br />
outdated or irrelevant. Many of the sounds<br />
of classical music are still as profoundly<br />
illuminating and moving as they were<br />
when they were first created.<br />
The arts sit uncomfortably in a consumerist<br />
world. It is not possible to count the<br />
emotional, intellectual and cultural values<br />
and effects of art in the same way that it is<br />
possible to count the box office takings.<br />
We have been seduced by the idea that<br />
success = growth. In fact, success and<br />
growth are very different. Lack of growth<br />
(economic turnover, audience numbers<br />
etc) need not be failure. Less quantifiable<br />
concepts of beauty, pleasure, adventure,<br />
dreaming time, challenge and learning<br />
are essential in the arts. Our role as artists<br />
is as urgent as it has ever been.<br />
I do think that what faces classical music<br />
currently is a period of redefinition, and<br />
potentially one of transformation. It<br />
strikes me that many of the decisions that<br />
have been made about classical music<br />
as a result of the apparent threats to it<br />
over the last generation have been made<br />
out of fear and anger. They have been<br />
about guarding terrain, reinforcing, or<br />
preserving barriers. But it seems to me<br />
that we are guarding the wrong things.<br />
Commissioning and performing more<br />
works in a concert hall tradition adds to<br />
the museum. But it does not address any<br />
of the fundamental schisms between the<br />
presentation of the work and the general<br />
population. We need to think about<br />
removing the obstacles between the art<br />
and people engaging with it. We need<br />
to think about collaborations that take<br />
our music into different spheres, and hence, to<br />
different listeners. It was not always the case<br />
that classical music was heard and played<br />
almost exclusively by a privileged minority.<br />
My wish is that all of us who are connected to<br />
classical music think deeply about what it is we<br />
seek to hold dear. I would like us to think equally<br />
profoundly about how we might embrace change.<br />
I would like us to respond to the current cultural<br />
climate with hope, great creativity and openness.<br />
I would like us to think about creating ways for<br />
people to participate in music at every level, to<br />
consider making relationships and creating<br />
communities around our work, rather than<br />
selling tickets and expanding concert series. I<br />
would like us to turn our gaze to the world and<br />
walk into it with open arms, rather than turning<br />
our backs and shielding what we have. We have<br />
so much to gain.<br />
Genevieve Lacey is a freelance recorder player.<br />
She is a serial collaborator and is passionate<br />
about commissioning new works and creating new<br />
contexts for her instrument. Her current major<br />
project, in partnership with the UK filmmaker<br />
Marc Silver, is the creation of an installation and<br />
performance artwork commissioned for Adelaide<br />
Festival 2010.<br />
to<br />
the<br />
point<br />
“...we are entering the next<br />
phase of music distribution, and<br />
a phase that might revolutionise<br />
the music business.”<br />
With the launch of Nokia’s Comes With Music<br />
service in coming months, we are entering the next<br />
phase of music distribution, and a phase that might<br />
revolutionise the music business.<br />
The service will launch in Australia shortly, having<br />
launched in the UK late last year. An unlimited<br />
and free download (to phone or computer) service<br />
is bundled with the price of the phone. Unlike the ISP<br />
industry, Nokia – in seeking to make access to music<br />
as wide and as easy as possible – thinks writers and<br />
copyright owners should be paid when their works are<br />
used in this way. And accordingly Nokia has signed a significant<br />
licence agreement with <strong>APRA</strong> and AMCOS in advance of the<br />
service’s launch.<br />
If the business model works, and becomes an industry<br />
standard, mobile phone sellers may become the gatekeepers<br />
to (at least music) content on the internet. If that occurs, we<br />
should be thankful that we will be dealing with people like<br />
Nokia who, like Apple before them, value those who create the<br />
content that drives their business.<br />
Brett Cottle<br />
<strong>APRA</strong>|AMCOS CEO<br />
aprap<br />
04
you decide<br />
the winner!<br />
CORPORATE UPDATE<br />
By Dean Ormston, Director Corporate Services <strong>APRA</strong>|AMCOS<br />
> Photo: Blue Murder Studios<br />
<strong>APRA</strong> and AMCOS AGMs<br />
Constitutional Amendments<br />
Maintaining a high level of service<br />
The <strong>APRA</strong> and AMCOS Annual General Meetingss (AGMs) were<br />
held 28 November 2008. Leading screen and classical composer<br />
Nigel Westlake was elected as a writer director to the <strong>APRA</strong> Board.<br />
With a career spanning three decades, Mr Westlake has composed<br />
works for the screen (Miss Potter, Babe) and the concert hall; and<br />
has received many awards for his work including 14 <strong>APRA</strong> Awards<br />
in both Classical and Screen categories.<br />
Two retiring* <strong>APRA</strong> Board directors John Anderson (EMI Music<br />
Publishing Group) and Eric McCusker (Writer Director) decided<br />
to stand for re-election and were returned. Classical composer<br />
Dr Richard Meale MBE AM retired from the Board after 22<br />
years of service.<br />
Iconic Australian music publisher, J. Albert & Son has continued<br />
its long tradition of representation on the AMCOS Board with the<br />
election of Tim Prescott. Mr Prescott was elected as Corporate<br />
Representative of J. Albert & Son, replacing Fifa Riccobono<br />
who has served on the AMCOS Board for thirteen years. Also<br />
retiring* from the AMCOS Board were Bob Aird (Universal Music<br />
Publishing), Matthew Capper (Warner/Chappell Music Australia)<br />
and Damian Trotter (Sony/ATV Music Publishing) who decided to<br />
stand for re-election and were returned.<br />
(*Both <strong>APRA</strong> and AMCOS Board Directors serve three successive<br />
annual year terms in office.)<br />
Both the <strong>APRA</strong> and AMCOS Boards proposed and carried a<br />
number of constitutional amendments at the November 2008<br />
AGMs. The amendments dealt largely with providing procedural<br />
efficiencies, including a streamlined process for voting for<br />
directors at the AGMs.<br />
Voting will now take place before the <strong>APRA</strong> and AMCOS AGMs,<br />
with voting conducted electronically except where expressly<br />
requested by a member. There will be no voting at the actual<br />
AGMs. The results of the election for directors will be verified<br />
by <strong>APRA</strong> and AMCOS’ auditors prior to the meetings, and will<br />
be announced at the meeting. The new process will provide<br />
increased transparency in relation to the results of elections.<br />
These changes will also continue our efforts to reduce costs and<br />
environmental impact by minimising paper use and postage.<br />
In addition to procedural improvements, the <strong>APRA</strong> Board<br />
proposed and passed amendments relating to members’ rights<br />
to opt out and license back their rights otherwise assigned to<br />
<strong>APRA</strong>. The changes simplify the opt out categories and enable<br />
members to license their own works for online distribution for<br />
non-commercial purposes. Further information is available<br />
from our Writer Services department.<br />
<strong>APRA</strong> and AMCOS subscribe to a voluntary Code of<br />
Conduct for Copyright Collecting Societies. The 2008<br />
report from the independent Code Reviewer, former<br />
Federal Court judge, Mr James Burchett QC, is available<br />
on the <strong>APRA</strong>|AMCOS website [www.apra-amcos.com.<br />
au then navigate to About>Corporate Documents].The<br />
results were very pleasing and reflect the continued<br />
commitment to improving our practices and services. As<br />
always, we welcome the feedback of both our members<br />
and licensees in ensuring the level of service provided.<br />
Building X – our new Sydney home!<br />
On the 16 December 2008 <strong>APRA</strong>|AMCOS closed the door on<br />
our St Leonards home of 11 years to relocate to refurbished<br />
digs in Ultimo. Our new home, originally built as a wool-store<br />
circa 1900 and most recently tenanted by TAFE NSW, was<br />
renovated to provide a modern office space with facilities<br />
to better service the needs of our members. The building<br />
fit-out maintains the heritage of the original building and<br />
incorporates environmentaly friendly design, including;<br />
capturing stormwater for reuse in toilets, energy efficient<br />
lighting and passive air-conditioning. We look forward to<br />
hosting on-site member functions and events and generally<br />
welcoming members to our new home.You’ll find us at 16<br />
Mountain Street, Ultimo, Sydney.<br />
You’ve heard the songs, now it’s time to decide what<br />
you think should be <strong>APRA</strong> Song of the Year. Teaming up<br />
with Gibson Guitars, <strong>APRA</strong> will play host to the most<br />
hotly contested award in the music industry. Decided<br />
exclusively by 45,000+ <strong>APRA</strong> members, the award is the<br />
only peer voted music award in the country. The winner<br />
will be announced on the 23rd of June at the 2009 <strong>APRA</strong><br />
Music Awards to be held at Peninsula in Melbourne.<br />
For the past 18 years, <strong>APRA</strong> Song of the Year has<br />
acknowledged the outstanding work of Australian<br />
songwriters, with past winners including Powderfinger<br />
‘My Happiness’; Kasey Chambers ‘Not Pretty Enough’;<br />
Missy Higgins ‘Scar’; Ben Lee ‘Catch My Disease’ and<br />
Daniel Johns and Julian Hamilton ‘Straight Lines’.<br />
Boasting a long list of Australia’s most iconic songwriters,<br />
the award is a showcase of homegrown songwriting<br />
talents. <strong>APRA</strong> members have the chance to<br />
decide and recognise the hard work and talent of their<br />
creative colleagues.<br />
The voting lines are now open, so it’s<br />
time to decide on the hottest song of the<br />
past year. Not only will you be barracking<br />
for your favourite song, but thanks to<br />
Gibson Guitars you will be in the running<br />
for a Gibson Les Paul Studio Guitar,<br />
worth $2,499.<br />
Head to the website,<br />
www.apra-amcos.com.au, and cast your<br />
vote now. Need a refresher of the songs<br />
past? We’ve provided links next to the<br />
song list that will redirect you for a quick<br />
listen! Hop to it, voting closes on the<br />
21st of April 2009.<br />
aprap<br />
06
Search Music<br />
<strong>Download</strong> Music My Music Music Blog<br />
By Anthea Sarris<br />
If you’re an independent<br />
songwriter and you’re<br />
keen to get your music<br />
online, you should<br />
consider working with an<br />
aggregator. Aggregators<br />
supply Digital Service<br />
Providers - DSPs -<br />
(like iTunes and Amazon)<br />
with music content.<br />
They collect (or<br />
‘aggregate’) works<br />
from many sources<br />
then provide them to<br />
DSPs for distribution.<br />
On behalf of the music<br />
creator, they prepare the<br />
content (music files, CD<br />
artwork) according to the<br />
requirements of each<br />
DSP, and report back<br />
on sales of the works<br />
from the online services.<br />
For the DSPs, they make<br />
the process of sourcing<br />
content so much easier<br />
by centralising the supply.<br />
You may want to get your music<br />
online for a variety of reasons –<br />
to increase your revenue streams<br />
or to raise your profile. Whatever<br />
your reason, it’s important to think<br />
carefully about what you want to<br />
achieve and find the aggregator<br />
service that suits you best.<br />
Things to keep in mind:<br />
• Exclusivity: will this help<br />
or hinder your work?<br />
• Contract term: how long will<br />
you be locked in?<br />
• Fee structure: pay now<br />
(up front) or pay later<br />
(% of sales to aggregator)?<br />
• Provide ISRC numbers with<br />
any works you submit to an<br />
aggregator. It makes it easier<br />
to find you to pay any royalties<br />
• If there is more than one<br />
performer of your work, make<br />
sure you let us know so we can<br />
update our records. Once again,<br />
it makes it easier to find you to<br />
pay any royalties.<br />
• Aggregators aren’t there to<br />
market your work, just collect<br />
it and pass it on. Marketing and<br />
promotion are still your gig.<br />
• Aggregators will report to<br />
you, but not to <strong>APRA</strong>|AMCOS –<br />
the DSPs report to us. Follow<br />
your product, keep an eye on<br />
which DSPs your aggregator<br />
supplies to.<br />
Where to begin?<br />
In the past few years, a range of<br />
aggregator and online distribution<br />
services have emerged including<br />
Amphead, The CAN, CDBaby, IODA<br />
and Musicadium. Aprap spoke with<br />
two of these aggregator services to<br />
find out more about how they work<br />
and what they are looking for*.<br />
* <strong>APRA</strong>|AMCOS does not recommend<br />
Musicadium or Amphead over similar<br />
service providers and strongly recommends<br />
you research and select the aggregator<br />
based on your personal circumstances.<br />
Musicadium<br />
Musicadium is an Australian-based<br />
company that helps self-released artists<br />
and independent labels to digitally distribute<br />
and market their music across the globe.<br />
Musicadium is focused on digital distribution<br />
and have rapidly built a local profile and<br />
customer base, as well as servicing<br />
customers worldwide. Aprap spoke with<br />
Tim Price, Musicadium’s Promotions and<br />
Development Manager.<br />
What sort of music content<br />
are you looking for?<br />
Everyone, basically! We have a very large<br />
indie and rock base, as well as a lot of<br />
singer/songwriters. We are beginning to see<br />
jazz and dance music coming in and there is<br />
always room for any genre imaginable. We<br />
take all comers; we do not reject content,<br />
so we really are in the business of allowing<br />
any artist to have their music online and<br />
for distribution. We want to allow anyone<br />
to generate new revenue streams for<br />
themselves.<br />
Which DSPs do you supply?<br />
Currently, we supply iTunes, Emusic and<br />
Amazon. We are in the final phases of testing<br />
with Nokia and that should be live very soon.<br />
We have a view to expand this list to cover all<br />
of the major outlets.<br />
How do you charge for your service?<br />
We believe our fee model is the most artistfriendly.<br />
We charge up-front and don’t take<br />
a percentage of royalties earned. We charge<br />
on the basis of the number of outlets you<br />
wish to distribute to. You can distribute your<br />
albums to iTunes, emusic or Amazon mp3.<br />
What is the best way for a music creator<br />
to get your attention?<br />
We don’t make judgment calls on bands’<br />
content; therefore the best way to get our<br />
attention is simply to sign up! Though, there<br />
are ways of making us work for you! When<br />
you sign up, make sure you are organised<br />
and have your artwork (high res files), track<br />
details and PayPal account info ready to enter<br />
into our system. Also, send through press<br />
releases when you have something exciting<br />
come up: whilst we can’t promote every<br />
release we get, we love to blog about it and<br />
put it in our e-mail marketing campaigns.<br />
We love it when one of our artists has some<br />
success! www.musicadium.com<br />
AmpHead<br />
AmpHead Music is the Australasian branch of The Orchard –<br />
the world’s largest distributor of independent music. Since<br />
commencing operations in 2003, they have gained substantial<br />
growth and have had their Orchard agreement extended to<br />
cover all aggregation and catalogue placements throughout<br />
South East Asia. Aprap spoke with AmpHead’s Australasian<br />
Manager, Rick Butterworth<br />
What sort of music content are you looking for?<br />
We have no agenda in the type of content we are looking for; we<br />
are more concerned with providing the best service so that all our<br />
clients can achieve the best possible profiling and income results.<br />
Which DSPs do you supply?<br />
We supply over 400 stores worldwide, including over 150<br />
internet stores, 250 telecommunication carriers, as well retail<br />
brands such as iTunes, Napster, Myspace, Verizon etc.<br />
How do you charge for your service?<br />
In some cases we charge a nominal one off account set up fee to<br />
activate your account, and then charge a standard distribution<br />
fee of 30%. Our fees are to cover the initial ingestion and<br />
delivery and the ongoing management of the account. We also<br />
supply non-exclusive synchronization, branding opportunities<br />
and online reporting.<br />
What is the best way for a music creator to get your<br />
attention?<br />
We will look at all products that we are presented and will<br />
give them the opportunity to be distributed in the world digital<br />
market. The key to actually selling your music is being noticed<br />
and to be visually present on key retail sites, the best way of<br />
achieving this is to have a story (ie: you are touring in that<br />
territory, you have radio play in that territory etc.) Make sure<br />
you’re continually providing this information to the sales and<br />
marketing people of the distributor that you are with.<br />
www.amphead.com.au<br />
Your Music Online<br />
Australia, New Zealand<br />
and rest of world except USA<br />
<strong>APRA</strong>|AMCOS<br />
Case study:<br />
Army Ant’s quest for an aggregator<br />
Sydney indie/rock group Army Ant, started searching for an<br />
aggregator late last year following the release of their debut<br />
EP. With their first LP in the works, they decided to wait until<br />
Paid Presentations for International Cola was ready to launch<br />
in February before sending both recordings to an aggregator.<br />
After a substantial review process, the band decided that CD<br />
Baby was the aggregator that best suited their needs.<br />
“The main thing we wanted was non-exclusive. We also didn’t want<br />
anything to be for too long. We wanted to have the option to get out<br />
if it wasn’t working,” said Army Ant’s Adam Simpson.<br />
The band researched several aggregators and reviewed<br />
agreements from three. Simpson emphasised the need to<br />
understand the fine print of the agreements before signing. “If<br />
there is anything you don’t understand, write back to aggregator<br />
and get them to explain exactly what it means. “<br />
“You need to be so much more business savvy these days, than<br />
when I started playing in bands at 17. Back then you made a<br />
CD, sold copies at gigs or via mailorder, and maybe got it into<br />
a store. Now, you have so many options, but you’ve also got<br />
responsibilities that come with these options. You don’t need<br />
a manager or a lawyer involved to get your stuff into the global<br />
market, but you need to have a thorough understanding of how<br />
each service works, and what you’re signing up for, so that you<br />
don’t find yourself in hot water!”<br />
Army Ant’s debut LP, Paid<br />
Presentations for International Cola<br />
is available on iTunes. For more info:<br />
www.myspace.com/armyantband<br />
Distributes Royalties<br />
(inc via publisher)<br />
Sales report and licence<br />
fees generated and sent<br />
to <strong>APRA</strong>|AMCOS<br />
Registers work and<br />
provides title,<br />
performer & ISRC.<br />
Provides licence<br />
for repertoire.<br />
Composer<br />
Consumer<br />
<strong>Download</strong>s<br />
music.<br />
DSP<br />
(e.g. iTunes, Nokia)<br />
> Army Ant<br />
Creates a Song<br />
(and provides to<br />
aggregator for a fee)<br />
Provides reports on sales<br />
activity and accounts<br />
on master recording right.<br />
Accounts on master<br />
recording right only.<br />
Distributes recordings<br />
to Digital Service Providers<br />
Aggregator<br />
(e.g. Musicadium,<br />
CDA)<br />
aprap<br />
08
In the early 90s, Troy Cassar-Daley burst on to the Australian Country Music Scene:<br />
his 1994 debut album EP garnered him his first Golden Guitar nomination; and in 1995<br />
his debut album delivered him his first ARIA Award for Best Country Album. The album,<br />
Beyond the Dancing, catapulted the young singer/songwriter into the mainstream music<br />
consciousness, and the first single “Dream Out Loud” - a song with equality and reconciliation<br />
at its heart – went to #1 on the Australian Country Music Charts.<br />
“As a young person starting to write music and using music as a tool; all<br />
I ever wanted for Australia, was to bring everyone together. Equality was<br />
one of those burning issues which it still is, whether it’s male or female,<br />
black or white; everyone deserves to have an equal go. And that’s where<br />
“Dream Out Loud” sort of came together: it’s a ‘meet in the middle’ song<br />
and I am continuing to write stuff like that today, because I think it’s an<br />
important message for everyone to learn.”<br />
The song came to life in a suburban home in Brisbane in the early nineties.<br />
Cassar-Daley was visiting his then girlfriend (now wife), Laurel Edwards,<br />
when inspiration struck. The demo was recorded on a suitcase sized<br />
Tascam 4 track cassette recorder – his travelling companion on the long<br />
drives in his trusty EH Holden – and got Edwards’s seal of approval.<br />
“I remember very vividly sitting under Laurel’s house with the 4-track<br />
and a microphone that I had loaned from someone, and putting a little<br />
demo down with the acoustic guitar and the vocal. It really started to<br />
stick to me as a tune, and I knew it was going to be a contender for the<br />
record, but I didn’t realise it would be one of those career songs that<br />
will be around until the day I die.”<br />
The song features on the 2007 release, “Born to Survive: The Best of Troy<br />
Cassar-Daley”. According to Cassar-Daley, it wouldn’t have been a best of<br />
album without “Dream out Loud”. He says: “I still feel the same excitement<br />
today as I felt when I heard it on the airwaves for the first time. It all began<br />
with that song for me; and even thought it mightn’t have been the most<br />
commercial thing I’ve ever written, its definitely number<br />
one on my ‘heart chart’.”<br />
By Anthea Sarris<br />
Cassar-Daley grew up in NSW with two distinct ethnic and musical<br />
influences that left him with no option but to play music for a living. “I never<br />
found anything else that made me pay attention as much. It had me pretty<br />
well at the get-go. My mother played a lot of quality country music around<br />
our house - Slim Dusty, Merle Haggard, George Jones and Willie Nelson.”<br />
Cassar-Daley’s Maltese-Australian father and uncles all played guitar and<br />
performed regularly. His Aboriginal cousins from his mum’s side not only<br />
all played guitar but were taught by the same guitar teacher. “There was<br />
music going on everywhere. I don’t really think I had a choice at the end<br />
of the day.” This cross-cultural upbringing, infused with music at every<br />
turn, paved the way for Troy’s evolution as a songwriter and performer,<br />
culminating in his breakthrough single, “Dream Out Loud.”<br />
The song is also responsible for one of Cassar-Daley’s most life<br />
changing experiences: performing at the Reconciliation Australia event<br />
at Old Parliament House to celebrate the 40th anniversary of the 1967<br />
referendum: the most successful and defining referendum in Australian<br />
history.<br />
“It was just me and the guitar. The organisers saw it as being a pivotal song<br />
to feature on the day, addressing the relationship between black and white;<br />
two cultures meeting in the middle, regardless of what had happened in<br />
the past. The referendum gave Aboriginal people the right to vote, and that<br />
was a pretty special thing in my book. I was nearly bawling. I just didn’t<br />
realise this song would come full circle and reintroduce itself into my life<br />
and my career again. Things do come full circle.”<br />
DreamOut<br />
Loud<br />
Troy Cassar-Daley’s highly anticipated new album, I Love This Place, will<br />
be released in April. For more info go to: www.troycassardaley.com.au<br />
> Aaron Choulai<br />
Collaborative by nature, Jazz is a<br />
truly international music form that<br />
knows no boundaries. Drawing<br />
inspiration from other cultures and<br />
genres Way Out West and Aaron<br />
Choulai are each going global with<br />
their spin on Jazz!<br />
Way Out West<br />
Fuse Vietnamese, African and Middle Eastern influences with<br />
contemporary Jazz and you get the innovative Melbourne<br />
sextet Way Out West. Founded in 2001 by composer/<br />
trumpeter Peter Knight, the band’s exotic sound is due<br />
in no small part to Dung Nguyen’s mastery of traditional<br />
Vietnamese instrument – the mono string and 16 string<br />
zithers. Add in West African percussionist Ray Pereira plus<br />
saxophone, acoustic bass and firebrand drumming, and the<br />
mysterious alchemy is complete.<br />
In 2003, the debut album Footscray Station put Way Out West<br />
on the map. The release got widespread national airplay and<br />
scored Way Out West numerous festival invitations around<br />
Australia. But it’s the band’s latest album New Grooves for<br />
Old Streets, that’s really opening new doors! Released on<br />
Jazzhead in late 2007, the album has scored rave reviews,<br />
and the track “Postcard from Footscray” was nominated for<br />
2008 <strong>APRA</strong> Jazz Work of the Year.<br />
2008 was a huge touring year for Way Out West. They<br />
played played the massive 2008 Montreal Jazz Festival,<br />
where New Grooves for Old Streets topped the CISM-Fm<br />
Jazz chart for the last week of July. Performances at the<br />
Vancouver International Jazz Festival also drew critical<br />
acclaim: the influential Jazz Times describing Way Out West<br />
as an “international revelation”. The tour continued with<br />
performances at the Veneto Festival in Italy and a sold out<br />
show in Japan.<br />
And there’s more globe-trotting in store for 2009. Way Out<br />
West are the recipients of arts funding from the Australia<br />
Council and the Federal Government. Plans are already<br />
underway for a tour of South Korea, Indonesia and Japan<br />
including the famous Takatsuki Jazz Street<br />
Festival!<br />
> Way Out West<br />
Aaron Choulai<br />
By Kathy Grant,<br />
Manager International Distribution<br />
<strong>APRA</strong>|AMCOS<br />
Possessing extraordinary talent as a composer and jazz<br />
pianist, 27 year old Aaron Choulai took to the world stage<br />
early in life. Born in Papua New Guinea, Aaron moved to<br />
Melbourne in his early teens and was accepted into the<br />
Victorian College of the Arts Secondary school, a selective<br />
high school for talented young dancers and musicians.<br />
Soon after, a family member introduced him to the<br />
legendary Paul Grabowsky, who took Aaron under his<br />
wing, becoming his piano tutor and mentor.<br />
Forming the band VADA with a group of fellow students,<br />
Aaron began playing his compositions around Melbourne’s<br />
clubs. A gig at the Bennetts Lane Jazz Club in February 2003<br />
proved to be a turning point. Amongst the crowd was New<br />
York saxophonist Tim Ries, in Melbourne for the Rolling<br />
Stones 40 Licks tour.<br />
Impressed with Aaron’s work, Tim invited him to New York,<br />
for guest appearances and to record. The result was Aaron’s<br />
debut album Place and a three disc deal with the prestigious<br />
Sunnyside Records. As soon as the deal was inked Aaron<br />
headed back to Melbourne, finishing his last year of school,<br />
then returning to New York to live and work.<br />
Coaxed back home early 2005 for a stint as Kate Ceberano’s<br />
Musical Director, Aaron travels frequently to Australia and<br />
the festivals of Europe. Recent tours include gigs along the<br />
east coast of America with his trio, a European tour with his<br />
sextet including performances in the UK and at the Antibes<br />
Jazz Festival (France), plus duo performances in Japan and<br />
Israel, to name a few.<br />
Amid all the international commitments, Aaron works on<br />
an ongoing basis with the Tatana Village Choir a 16 voice<br />
collective from his ancestral home in Papua New Guinea.<br />
Appearing at 2009 Womadelaide, their traditional choral<br />
music was performed in combination with the VADA jazz<br />
ensemble – an inspirational mix of cultures and<br />
genres if ever there was one!<br />
> Troy Cassar-Daley. Photo by Justin Walpole.<br />
aprap<br />
10
<strong>APRA</strong> stomps boots in<br />
By<br />
TAMWORTH<br />
Allison Gumbleton<br />
All roads lead to Tamworth as the <strong>APRA</strong> team arrives for<br />
the annual 2009 Country Music Festival. Slung guitars<br />
and shiny boots fill the streets as buskers, songwriters<br />
and party goers endure the biggest festival on the<br />
country music calendar. Every step through Tamworth<br />
whistles a different tune- there’s no escaping the buzzing<br />
atmosphere, chatty locals and buskers. If it’s great music,<br />
a decent chin-wag and a rum and coke you’re after,<br />
Tamworth Country Music Festival is where it’s at.<br />
<strong>APRA</strong> hosted numerous events over the festival period,<br />
including two Songwriter Speaks and an <strong>APRA</strong> Connect.<br />
Over the two nights, 500 patrons heard from guest<br />
speakers Sara Storer, Karl Broadie, Lianna Rose, Travis<br />
Collins, Felicity Urquhart and Mick Thomas. James<br />
Blundell moderated the evenings, querying the stars on<br />
their personal experiences as songwriters.<br />
In conjunction with Tamworth Regional Council and the<br />
Country Music Association of Australia, <strong>APRA</strong> presented<br />
<strong>APRA</strong>: Connect. This informal cocktail party provided<br />
a unique opportunity for the 300 <strong>APRA</strong> members<br />
who attended to socialise and network with industry<br />
colleagues.<br />
The pinnacle of the festival is the annual Australian<br />
Country Music Awards, a gathering of the biggest names<br />
and faces in the industry. This year the evening was<br />
hosted by country stars, Troy Cassar-Daley and Felicity<br />
Urquhart. Congratulations to Kasey Chambers and<br />
Shane Nicholson – the pair dominated the night bagging<br />
five Golden Guitars, including Album of the Year; Video<br />
Clip of the Year; Single of the Year, Top Selling Album of<br />
the Year and <strong>APRA</strong> Song of the Year for “Rattlin’ Bones”.<br />
For the full list of winners please visit our website<br />
www.apra-amcos.com.au.<br />
Songs on the street<br />
< Shane Nicholson and Kasey Chambers.<br />
Photo courtesy John Elliott CMAA<br />
<strong>APRA</strong>P chatted with four buskers in town for the festival,<br />
about their greatest Tamworth moment.<br />
From l-r clockwise ><br />
Doug Alexander, Rodger Bradshaw, Jo Caseley, Dean Dee<br />
<strong>APRA</strong> Songwriters Speak<br />
By James Blundell<br />
The success of the <strong>APRA</strong> Songwriter<br />
Speaks country music series has taken<br />
all involved by surprise. Tamworth ’08 and<br />
’09 saw strong attendance at these events;<br />
with the program expanded this year to two<br />
songwriting sessions and a cocktail party<br />
networking event. This year’s sessions at<br />
The Pub and The Family Hotel effectively<br />
illustrated <strong>APRA</strong>’s Songwriter Speaks ideal<br />
at work, with some genuinely interesting<br />
observations and queries being put<br />
forward to the panel, by <strong>APRA</strong> members<br />
and the country music loving public.<br />
On Wednesday 21 January, it was my<br />
pleasure to moderate a panel discussion<br />
at The Family Hotel featuring Sara Storer,<br />
Karl Broadie and Lianna Rose. The second<br />
Songwriter Speaks event took place the<br />
foillowing evening at The Pub. I moderated<br />
a panel featuring songwriters Travis<br />
Collins, Karl Broadie, Felicity Urquhart<br />
and Mick Thomas.<br />
Over the two evenings, we were confronted<br />
with some profound questions and comments.<br />
There seemed to be three main themes that<br />
drew interest from the audiences:<br />
°<br />
°<br />
°<br />
How much of your personal life is<br />
reflected in your writing? The panel<br />
all agreed that they divulge much<br />
of their lives in their songs, leaving<br />
themselves open and vulnerable,<br />
but often resulting in some of their<br />
best songs.<br />
When do you know a song is finished?<br />
Most of the panelists agreed that they<br />
will revisit a song a few times and felt<br />
that a song could remain unfinished<br />
forever if they don’t use their family<br />
and sometimes co-writers in<br />
consultation to determine that the<br />
message is clear and the structure<br />
of the song complete.<br />
Do you write songs to appease public<br />
taste or to satisfy your own criteria of<br />
quality? Unanimously the panel<br />
agreed, they write for themselves<br />
and hope that the audience and public<br />
appreciate its worth and message.<br />
An inspired initiative, the <strong>APRA</strong> Songwriter<br />
Speaks concept encapsulates both live<br />
performance and dialogue on the craft<br />
of songwriting, in a publicly accessible<br />
forum. Primarily for <strong>APRA</strong> writer<br />
members to attend free of charge, these<br />
sessions are also open to the public. It has<br />
been my pleasure to moderate at several<br />
of these events. In addition to the the<br />
queries and comments from the writers<br />
in the audience, it’s always great to hear<br />
the volume of questions from the general<br />
public.<br />
<strong>APRA</strong>’s Deputy Director of Member<br />
Services, Milly Petriella, has coordinated<br />
<strong>APRA</strong>’s presence at Tamworth for many<br />
years. I was compelled to ask Milly why she<br />
thought public interest in the Songwriter<br />
Speaks concept was growing, and I think<br />
her response was extremely astute.<br />
“It’s an unusually intimate interaction<br />
between the creative mind<br />
and the music consumer. The<br />
audience actually see more of<br />
the artist’s persona in this format<br />
than they do at a commercial<br />
performance.”<br />
I fully agree with this, as the questions put<br />
to the panel open up areas of discussion<br />
that don’t fall within performance only. The<br />
breadth of artists invited to participate are<br />
unique in their own right, with markedly<br />
different musical identities though<br />
possessing a common thread, the craft of<br />
songwriting.<br />
Best to all,<br />
James Blundell<br />
><br />
Photos by John Elliott (top-bottom):<br />
Bill Page (Mushroom Music), Lianna Rose,<br />
Karl Broadie, James Blundell<br />
Karl Broadie and Felicity Urquhart<br />
Sara Storer, Karl Broadie, Milly Petriella,<br />
Lianna Rose, James Blundell<br />
Mick Thomas and Travis Collins<br />
Geoff Parmenter(Events NSW), Brett Cottle (<strong>APRA</strong><br />
AMCOS), James Treloar (Tamworth Mayor)<br />
Doug Alexander, Harvey Bay, QLD<br />
About thirty years ago I walked into a pub with my guitar.<br />
There was a guy playing snare drum on stage and he asked<br />
me if I could play the guitar. I said yes and joined in, next<br />
thing I know I was a surrounded by a band that had jumped<br />
in through a window out the back.<br />
Jo Caseley, Penrose, NSW<br />
Playing at the Longyard with Sam Buckingham and Renny<br />
Field and also performing my original song “Sorry the<br />
Stolen Generation” at the Aboriginal Cultural Showcase.<br />
Dean Dee (The Plastic Spurs), Hunter Valley, NSW<br />
Busking every year is a great way to give back to the public,<br />
because that’s how I started. You tend to get honest results<br />
from people, it gives people an opportunity to see real live<br />
entertainment. It’s keeping music live and that’s what it’s<br />
all about really.<br />
Rodger Bradshaw (Jabaru), Darwin, NT / Noosa, QLD<br />
I like going down to the pubs. We saw Paul Greene and some<br />
Hillbilly Rockabilly stuff. I’m into the tribal country music.<br />
aprap<br />
12
Creating Opportunities For Emerging Songwriters<br />
“This year’s winners are of the highest calibre, all very much deserving of the award.<br />
The standard is as much a testament of their hard work as it is to the songwriting talent in Australia,”<br />
said Brett Cottle, <strong>APRA</strong>|AMCOS CEO, at a ceremony to announce the Australian winners<br />
of the 2009 <strong>APRA</strong> Professional Development Awards.<br />
Eight Australian songwriters are now on a career fast-track thanks to the cash, travel and recognition<br />
provided by the <strong>APRA</strong> Professional Development Awards. Check out page 24 for the three NZ PDA winners.<br />
<strong>APRA</strong> thanks the judges, the 27 partner organisations who processed hundreds of applications<br />
and our generous sponsors. With your support, <strong>APRA</strong> can continue to give emerging<br />
songwriters and composers the helping hand they need to kick start their careers.<br />
> Melody Eötvös<br />
> Daniel Baker > Laura Jean Englert<br />
> Katrina Burgoyne<br />
> Paris Wells performs (with guitarist Ryan)<br />
> Sean Foran<br />
> David Leha<br />
> Sally Howland and George Michalik (top)<br />
> Wally De Backer and Eric McCusker<br />
> Abbe May<br />
Melody Eötvös<br />
Classical<br />
Melody holds a Bachelor<br />
of Music (Hons) from<br />
the Queensland<br />
Conservatorium and is<br />
currently enrolled in a<br />
Master of Arts Philosophy<br />
at the Royal Academy<br />
of Music. Melody has<br />
composed music for<br />
the computer console<br />
game “Avatar: the Last<br />
Air Bender”, several<br />
animation film/music<br />
projects, commissions<br />
for the Ulysses<br />
Ensemble (Australia)<br />
and a commission<br />
for the Queensland<br />
Conservatorium Wind<br />
Orchestra. In 2008,<br />
her composition “Attic<br />
Tragedy” was performed<br />
by the Tasmanian<br />
Symphony Orchestra. In<br />
2009 Melody attend the<br />
Kuringgai Philharmonic<br />
Orchestra Composers<br />
Workshop and the Modart<br />
Professional Development<br />
Project with the Sydeny<br />
Song Company, directed<br />
by Roland Peelman. With<br />
the PDA she plans to go to<br />
the USA or Canada in<br />
pursuit of a Doctorate<br />
of Musical Arts. www.<br />
melodyeotvos.com<br />
Sean Foran Jazz<br />
Graduating from<br />
the Queensland<br />
Conservatorium of Music<br />
with a Bachelor Music and<br />
recently completing his<br />
Masters with Distinction<br />
at the Leeds College of<br />
Music, his success as a<br />
musician has taken him<br />
onto the global stage. One<br />
third of renowned jazz trio<br />
Misinterprotato, Sean has<br />
performed at major jazz<br />
festivals throughout Japan,<br />
Canada and the UK as well<br />
as regular performances<br />
on the local jazz scene.<br />
The talented musician has<br />
claimed a bag of accolades,<br />
including QSong Jazz<br />
Awards for the Best Jazz<br />
Song in 2006 and 2008.<br />
Sean was also the recipient<br />
of the Brisbane City<br />
Council’s Emerging Artist<br />
Fellowship in 2007. With the<br />
PDA, Sean intends to travel<br />
to Sweden/ Norway and<br />
learn from Lars Jansson,<br />
an experienced and<br />
prominent musician on the<br />
Scandinavian jazz scene.<br />
www.myspace.com/<br />
seanforan<br />
Katrina Burgoyne<br />
Country<br />
A graduate of CMAA<br />
College of Country Music,<br />
Katrina is active on the<br />
country music circuit,<br />
having performed over<br />
100 shows in 2008.<br />
Katrina won the 2005<br />
Maton Muster Talent<br />
Search; performed on the<br />
Main Stage at the Gympie<br />
Muster in 2005/2006; she<br />
is a Toyota Star Maker<br />
Grand Finalist and has<br />
played the main arena at<br />
the Sydney Royal Easter<br />
Show in 2004 and 2005.<br />
On the road to releasing<br />
a debut album, she<br />
has already co-written<br />
two songs, “Outlaw”<br />
with Dan Murphy and<br />
“Too Late for Sorry”<br />
featured on Chasing<br />
Bailey’s debut album.<br />
She has performed and<br />
supported industry icons<br />
Bill Chambers, Felicity<br />
Urquhart, Beccy Cole and<br />
The McClymonts just to<br />
name a few. Katrina plans<br />
to use the PDA toward<br />
her short term goal of<br />
travelling to Nashville<br />
and recording her original<br />
songs.<br />
www.myspace.com/<br />
katrinaburgoynemusic<br />
Daniel Baker<br />
Film & TV<br />
Daniel is one of Australia’s<br />
leading up and coming film<br />
and TV composers.<br />
A graduate of the<br />
Australian Film, Television<br />
and Radio School, Daniel<br />
has a Master of Arts:<br />
Screen Composition. His<br />
AFTRS film, Pleasance,<br />
was the runner-up in the<br />
best student film category<br />
at the Palm Springs<br />
International Film Festival.<br />
In addition, Daniel was<br />
co-composer for Channel<br />
Nine’s “The Strip” and<br />
worked as orchestrator<br />
on the films, “Jumper”,<br />
“Disgrace” and “Australia”.<br />
Daniel plans to use<br />
his PDA to develop<br />
his songwriting skills,<br />
beginning with a<br />
mentoring program<br />
with David Hirschfelder<br />
later this year. He plans<br />
to use his PDA prize<br />
money to attend SPAA in<br />
Queensland and other<br />
international events such<br />
as ASCAP’s ‘I Create<br />
Music’ Expo.<br />
www.studioripple.com.<br />
au/Daniel Baker.html<br />
David Leha<br />
Indigenous<br />
David is a talented<br />
songwriter and performer<br />
with the band Radical<br />
Son, and has two Deadly<br />
Award nominations under<br />
his belt. He is a featured<br />
artist on the latest Urthboy<br />
and The Last Kinection<br />
albums, and also features<br />
on Gadigal Music’s Making<br />
Waves compilation. David<br />
also performed and wrote<br />
for the Get Up Mob’s 2008<br />
release, From Little Things<br />
Big Things Grow. Drawing<br />
inspiration from personal<br />
experiences, David’s<br />
songwriting provides<br />
powerful social statements,<br />
which can be seen in his<br />
debut self titled EP and his<br />
follow up EP Black Stones.<br />
The PDA will enable David,<br />
and Radical Son, to expand<br />
their audience. It will allow<br />
David to focus on producing<br />
music and touring, and<br />
will also contribute to<br />
equipment, production of a<br />
video clip and participation<br />
in international festivals<br />
and conferences.<br />
www.myspace.com/<br />
radicalson<br />
Wally De Backer<br />
Popular and<br />
Contemporary<br />
Performing under the<br />
name Gotye, Wally has<br />
had many successes as<br />
an independent artist.<br />
As Gotye he wrote and<br />
produced two albums,<br />
Boardface (2004) and Like<br />
Drawing Blood (2006).<br />
His hit song “Heart’s a<br />
Mess” gained first place<br />
in the 2008 International<br />
Songwriting Competition’s<br />
folk singer songwriter<br />
category. Like Drawing<br />
Blood was voted as triple j<br />
listeners’ favourite album<br />
of 2006, was nominated<br />
for that year’s J Award and<br />
the ARIA award for Best<br />
Independent Release. In<br />
2006 Wally was awarded<br />
the 2006 AIR Award for<br />
Best New Independent<br />
Artist. Having already<br />
made connections with<br />
UK industry people, Wally<br />
plans to use his PDA to<br />
travel to London and work<br />
with Hugh Padgham and<br />
Flood on new material.<br />
www.gotye.com<br />
Laura Jean<br />
Englert<br />
Popular and<br />
Contemporary<br />
Laura is an extremely<br />
active songwriter and<br />
performer. In 2007 she<br />
toured nationally with UK<br />
band, Snow Patrol. She<br />
also took part in an <strong>APRA</strong><br />
song writer workshop<br />
at The Age Melbourne<br />
Writer’s Festival 2007 and<br />
the Queenscliff Music<br />
Festival. Last year, Laura<br />
Jean joined the “Broad”<br />
festival on their national<br />
tour. With the PDA,<br />
Laura will further her<br />
ambitions as a songwriter,<br />
through overseas travel.<br />
She is hoping to attend<br />
the international music<br />
conference, North by<br />
North East in Canada and<br />
the Berklee songwriting<br />
workshops in Spain.<br />
The prize money will also<br />
assist in the purchasing<br />
of new equipment to<br />
enhance the recording of<br />
her compositions.<br />
www.myspace.com/<br />
edenland<br />
Abbe May<br />
Popular and<br />
Contemporary<br />
Since the release of her<br />
2008 album, Howl and<br />
Moan, Abbe has won<br />
several WAMI awards,<br />
including Best Female<br />
Vocalist, Most Promising<br />
New Band and Song of the<br />
Year, and was nominated<br />
for an AIR award for the<br />
Best New Independent<br />
Artist. A member of the<br />
2007 “Broad” national<br />
tour, Abbe has performed<br />
at many major festivals<br />
throughout her career,<br />
including W.A Cultural<br />
Festival Artist, West<br />
Coast Blue and Roots,<br />
Southbound and Wave<br />
Rock Weekender.<br />
Receiving the PDA will<br />
enable Abbe to continue<br />
touring nationally and<br />
allow for her to begin<br />
touring abroad.<br />
www.myspace.com/<br />
abbefuzz<br />
The Australian winners<br />
of the 2009 PDAs<br />
receive $12,000 cash to<br />
advance their careers<br />
through study or travel,<br />
PLUS: a Gibson guitar<br />
courtesy of long-time<br />
<strong>APRA</strong> Awards partner<br />
Gibson Guitars, studio<br />
time at Trackdown<br />
Recording Studio and<br />
access to an online<br />
course provided by<br />
the award-winning<br />
Berklee College of<br />
Music.<br />
Paris Wells<br />
Jessica Michalik<br />
Contemporary<br />
Endowment<br />
Songwriter Paris Wells<br />
has been awarded the<br />
2009 Jessica Michalik<br />
Contemporary Music<br />
Endowment. <strong>APRA</strong> also<br />
administers this award as<br />
part of the PDA program.<br />
The Endowment gives<br />
a $10,000 development<br />
grant to a promising<br />
Australian songwriter or<br />
band, nominated by the producers<br />
of The Big Day Out.<br />
Melbourne’s Paris<br />
Wells built up an<br />
incredible street-level<br />
buzz throughout the<br />
underground circuit<br />
and then took a break<br />
to jet off around the<br />
country supporting Justin<br />
Timberlake. In late 2007,<br />
Paris released her debut<br />
EP, Mum Hasn’t Slept Yet,<br />
and suddenly St. Jerome’s<br />
favourite resident became<br />
a household name. Her<br />
long awaited album, Keep<br />
It was released in July 2008.<br />
www.myspace.com/<br />
pariswells<br />
aprap<br />
14
Welcome to the first issue of Aprap for 2009. By now, you would know that we have a new address<br />
– 16 Mountain Street, Ultimo. For those members close by or for those who’d like to make the trip<br />
to Ultimo, we would love to see you. Our Member Services team, led by Milly Petriella, can assist<br />
with all your <strong>APRA</strong>|AMCOS and industry related matters. Please call your <strong>APRA</strong> rep. to make an<br />
appointment – 02 9935 7900.<br />
Export Music Services<br />
<strong>APRA</strong>|AMCOS and the Australia<br />
Council for the Arts have agreed<br />
to jointly fund a two year contract<br />
position from January 2009 to<br />
December 2010. The Music Export<br />
Producer role is to be wholly managed<br />
by <strong>APRA</strong>|AMCOS with the Australia<br />
Council providing input in the<br />
development of initiatives and other<br />
partnership arrangements.<br />
2008 Member Survey Results<br />
A sincere and heartfelt thank you to those members<br />
who took the time to complete our recent survey. It<br />
goes without saying that your views and opinions are<br />
highly valued and contribute to the overall direction<br />
of the organisation. The full results along with our<br />
strategic plan in response will be published in the<br />
July issue of Aprap and posted on the <strong>APRA</strong>|AMCOS<br />
website.<br />
Congratulations to <strong>APRA</strong> member Ross Johnston -<br />
winner of the Member Survey Competition. Ross<br />
has won a double pass to this year’s <strong>APRA</strong> Music<br />
Awards, to be held in Melbourne in June.<br />
Song Registrations:<br />
Save a tree, check your emails!<br />
Previously, if your songs or compositions were<br />
registered with <strong>APRA</strong> by your publisher or a co-writer,<br />
you would have received letters in the post advising<br />
you of the titles and shares registered on your behalf.<br />
As we now move into a more environmentally friendly<br />
world, we will now email these title registrations<br />
notices to you, in turn reducing the amount of paper<br />
we send out by 10,000 pages per year!<br />
The subject heading of these emails will be Apra<br />
- Advice Of Title Registrations and will be sent by<br />
our friendly staff in the Writer Registrations and<br />
Publisher Services sections of Member Services.<br />
These emails are important as they will advise you of<br />
the shares of any performing right royalties you will<br />
be paid by <strong>APRA</strong>. On account of this, please file and<br />
keep for your own personal record.<br />
We are thrilled to announce that Millie<br />
Millgate (ex MusicNSW and AAM) took<br />
up the position in early January.<br />
The role has as its twin aims;<br />
• To centralise efforts in relation to the<br />
coordination, support and production<br />
of Australia’s presence on behalf of the<br />
Australian contemporary music sector<br />
across national, state and territory<br />
funding agencies and other operators<br />
at key music markets and,<br />
• Raising the profile and visibility of the<br />
Australian contemporary music sector<br />
within key international music markets.<br />
By Sally Howland<br />
Director Member Services<br />
<strong>APRA</strong>|AMCOS<br />
member news<br />
<strong>APRA</strong> Music Grants<br />
We have a lot of work ahead of us<br />
but our immediate priorities are to<br />
focus on key international markets,<br />
including SXSW (Austin, Texas),<br />
The Great Escape (London, UK) and<br />
Womex (Copenhagen, Denmark).<br />
If you have any questions in relation<br />
to your overseas activities, be it as<br />
a performing artist or your business,<br />
I would urge you to contact Millie at<br />
mmillgate@apra.com.au or<br />
02 9935 7831 to discuss your plans.<br />
In the meantime, checkout her<br />
report on MIDEM 2009 on pages 21-22.<br />
For further Sounds Australia updates keep your eye on the <strong>APRA</strong>|AMCOS website and Bytes newsletter.<br />
The next round of grants funding for the 2009/10 financial year<br />
closes on 30 April 2009. <strong>APRA</strong>’s funding program is designed<br />
to support organisations, events, projects and initiatives that<br />
have as their broad aim to develop, acknowledge, promote or<br />
recognise Australian compositions. In that context, preference<br />
is given to programs that broadly benefit the interests of<br />
Australian composers, as opposed to those which benefit an<br />
individual or small number of writers.<br />
A list of last year’s ecipients and the grant application form can<br />
be downloaded from the <strong>APRA</strong>|AMCOS website: go to www.<br />
apra-amcos.com.au then navigate to music creators> grants<br />
and competitions > music grants. For further information<br />
contact Lucia Doll on ldoll@apra.com.au or 02 9935 7788.<br />
Good news for members<br />
independently releasing their<br />
own records<br />
It is a fact of the times that more of our members are writing,<br />
recording and independently releasing their own records. In<br />
the current music landscape it is likely that this development<br />
will continue further. The AMCOS Board, acknowledging this<br />
trend, has approved a 12-month trial reduction of the AMCOS<br />
commission rate for self-released, self-licensed records. This<br />
move by the AMCOS Board will ultimately put more dollars<br />
in songwriters’ pockets. From 1 March 2009, the AMCOS<br />
commission rate will generally be halved from 10% to 5%, for<br />
published songwriters who submit audio manufacturing licence<br />
applications where all (or the majority of) the songs on the<br />
recording, are written by them.<br />
> Photo: Blue Murder Studios<br />
By Michelle O’Donnell<br />
Film & TV Writers <strong>APRA</strong>|AMCOS<br />
Australian film Mary and Max opened the 2009 Sundance Film Festival.<br />
Melbourne-based DALE CORNELIUS composed the score. He says: “Working<br />
on the claymation Mary & Max was one of the most unusual film projects<br />
I’ve been involved in. Initially Melanie Coombs (producer) and Adam Elliot<br />
(director) asked me to come on board as a music editor. They had oodles of<br />
licensed music, most of which Adam had been living with in his head for the<br />
past 10 years whilst developing his idea, then script, then storyboarding and<br />
then during the 57 week shoot! When they showed me the film for the first<br />
time I discussed with Adam that there was a potentially big problem with<br />
the repetitive nature of the licensed music - it was a little like wallpaper<br />
and became very tiresome against his beautifully crafted visuals. So over a<br />
period of time it was recognised that the film needed an original score for<br />
most of the dramatic and emotional sections of the film, re-arrangements<br />
of licensed material to vary some of the key themes, and a heap of music<br />
editing and even re-mixing the licensed tracks. The job was huge and it was<br />
very challenging to make all the different music elements cohesive as one<br />
music score.<br />
“The pay-off was, of course, seeing the film have its world premiere at the<br />
Sundance Film Festival’s Opening Night. The film was introduced by Robert<br />
Redford and Festival Director, Geoffrey Gilmore, who praised the film highly<br />
for its originality and storytelling. Mary & Max had six public screenings,<br />
all of which were sold out. I had a great time doing interviews and meeting<br />
lots of interesting film makers, composers, and all sorts of characters that<br />
make Sundance a film festival like no other.”<br />
> Photo: Blue Murder Studios<br />
The International Film Music Critics Association (IFMCA) has announced<br />
composer CEZARY SKUBISZWESKI as a 2008 nominee for scoring excellence<br />
for the Documentary Feature Night by Lawrence Johnston. Cezary says,<br />
“The nomination for Night is very special as the other nominees across<br />
all the categories represent the biggest names in film music. As the only<br />
Australian composer to get a nod from the international critics, I feel very<br />
honoured.”<br />
The annual IFMCA Awards are the only awards given to composers by film<br />
music journalists. The IFMCA is an association of online, print and radio<br />
journalists comprising members from all around the world, who specialise<br />
in writing about original film and television music. The international<br />
organisation makes conscious efforts to celebrate the best film music, not<br />
just from mainstream Hollywood productions, but worldwide, wherever it<br />
may originate.<br />
Cezary won the <strong>APRA</strong> Screen Music Award for Best Music for a Documentary<br />
and Night has been nominated for an ARIA award. Last month Cezary<br />
also received a nomination for Death Defying Acts in the Best Music Score<br />
category of the Film Critics Circle of Australia (FCCA) Annual Awards for<br />
Australians.<br />
Dale Cornelius <<br />
BURKHARD DALLWITZ was kept extremely busy over the Christmas /New<br />
Year period composing the music for the hugely successful Underbelly: A<br />
Tale of Two Cities, which went to air on Channel 9 last month.<br />
NEIL SUTHERLAND is working on a three part series for Beyond about<br />
building weapon vehicles. Neil says it’s a real ‘Boys show’, as they use real<br />
ammunition. The series is set to screen on the Discovery Channel (US) mid<br />
2009. Neil is also busy with new themes for Getaway and Australia’s Funniest<br />
Home Videos, the music for Bondi Vet and his latest series Real Prison Break<br />
for Southern Star, which has already screened in the UK and is set for a<br />
Channel 7 broadcast later this year.<br />
aprap<br />
16
John Guscott<br />
Writing for<br />
games<br />
Imagine entering a bleak world of no<br />
colour nor music. You launch a blob of red<br />
onto the cityscape, and with that splash<br />
comes a saxophone solo. Gradually layers<br />
of colour and music pour through the<br />
drab city, creating the critically acclaimed<br />
game, de Blob.<br />
For almost eight years John Guscott has<br />
been composing music for computer<br />
based video games. With his latest<br />
endeavour, de Blob, music plays an<br />
inextricable, interactive role.<br />
“The thing that interests me about video<br />
game music is the concept of interactive<br />
music, where music would respond/<br />
adapt to how the game is actually<br />
going. Although I have done things like<br />
that in the past, de Blob has pushed the<br />
boundary as to what is possible both<br />
technically and creatively.”<br />
As Senior Audio Designer at Melbourne<br />
based game developers, Blue Tongue,<br />
John has seen the gaming industry<br />
mature, “in the late 90s I noticed that<br />
video games started going on to CD discs,<br />
what that meant was suddenly you could<br />
have full CD quality music in a game”.<br />
However the key to creating a successful<br />
gaming track is the implementation:<br />
From Pac Man to Guitar Hero – the history of music in games<br />
has been an artistic, technological and social evolution. Today,<br />
88% of Australian homes have a gaming device; 70% of parents<br />
in these homes play computer games, and almost all of them<br />
play with their children (according to Interactive Australia<br />
Key Findings 2009). The Australian video game industry is<br />
now double the size of the movie box office and still rapidly<br />
growing in popularity. For some games, music provides aural<br />
landscape for the action, for others, music is the beating<br />
heart driving all activity. <strong>APRA</strong>P takes a closer look at this<br />
genre to find out more about what it takes to write music for<br />
games, songs being licensed into games and how copyright is<br />
administered for these uses.<br />
“you could have the most amazing piece<br />
of music in a video game, on its own it<br />
might be absolutely incredible, but if you<br />
implement it incorrectly, when it’s played<br />
over and over it can drive people crazy, and<br />
it will lose its quality and effectiveness”.<br />
Composing for games is vastly different<br />
to composing for other genres; Guscott<br />
describes the process as, “a more vertical<br />
approach as opposed to thinking in terms<br />
of a traditional horizontal timeline”.<br />
Structurally it also differs, “you don’t<br />
have to follow traditional structures, but<br />
often the music needs to loop smoothly,<br />
so, as composers we tend to focus on that<br />
moment where the track re-starts and try<br />
to disguise the loop point”.<br />
Working out of his own company, Big<br />
Boot Productions, Laurence Maddy has<br />
similar views on the complexity of writing<br />
for games, “one of the challenging<br />
things in game composition is achieving<br />
elasticity and interest (structurally), as<br />
this elasticity and interest is constructed<br />
in a very unorthodox way. You might<br />
have 6-7 levels in a game, so you’d<br />
write a theme for each level, and inside<br />
that theme you might write 5 separate<br />
levels of intensity. With all these levels of<br />
intensity streaming simultaneously, it’s<br />
> Laurence Maddy<br />
the interactive nature of the technology<br />
that selects the appropriate intensity of<br />
music to be played”.<br />
Maddy has written for numerous games,<br />
with his biggest success coming from the<br />
2005 release, Heroes of the Pacific. After<br />
composing for feature films, stage shows<br />
and producing records for the better part<br />
of 20 years, Maddy is well aware of the<br />
current boom of the gaming industry, “I<br />
think there is an incredible technology<br />
that is advancing at a rapid rate, and at<br />
the moment it seems to be more focused<br />
on games I think the future of this<br />
technology will reach far beyond gaming,<br />
such as educational/training tools<br />
without doubt. This is an industry that is<br />
going to grow enormously in the future,<br />
and I see so many other applications for<br />
the technology than just games”.<br />
> Frank Roveta<br />
Photo: Blue Murder Studios<br />
By Allison Gumbleton and Anthea Sarris<br />
Collecting on copyright<br />
from games<br />
As the gaming industry extends itself further, it is difficult to pin point the exact direction<br />
it will head, “Faster networks and cheaper plans combined with improved user interfaces<br />
has been the key to the boom and will continue to be a driving factor in the growth of the<br />
online gaming market”, says Frank Roveta, <strong>APRA</strong>|AMCOS’s Digital Recordings Manager.<br />
Roveta acknowledges the unique nature of this genre and so the process of collecting<br />
royalties, “The reproduction and synchronisation rights are usually cleared at source,<br />
so an AMCOS licence is not required. There is, however, a communication right<br />
exercised when these works are made available online. <strong>APRA</strong> is active in licensing<br />
these services for making the works available for download. As such, gaming services<br />
such as SingStar, are licensed in much the same way other download services are<br />
licensed, minus the AMCOS component”.<br />
The success of application stores- such as the iTunes store for the iPhone and<br />
iTouch- and particularly the success of music applications opens other new revenue<br />
possibilities for members.<br />
Lurking beneath the rise of any new technological medium is the potential for advertising, branding and music<br />
synchronisation. Games are no exception. Music companies are generating links between their artists and the<br />
potential to gain a slice of the US$48.3 billion dollar global gaming industry. Music games were responsible for<br />
15% of all games sales in the first half of 2008, and with their increasing popularity across all demographics; it<br />
seems to be a sure way to expand musical exposure.<br />
In 2008 Metallica released their latest album Death Magnetic as a game premium download on the same day as<br />
the general release of the album. Motley Crue released the single “Saints of Los Angeles” through Rock Band<br />
as a download on the same day as its commercial release. The single generated 50,000 sales through the game,<br />
compared to 14,000 downloads from iTunes its first week of release.<br />
In 1985 Mark Callaghan of GANGgajang, penned the song “Sounds of Then (This is Australia)”. The song went on<br />
to become one of the band’s most recognised works. More than twenty years later, Callaghan was surprised to find<br />
that the makers of SingStar wanted to incorporate the song into the hit karaoke-style game.<br />
Callaghan says, “It’s interesting ‘cause the song itself was technically not a hit when it was released. The single<br />
was released at the same time as the album, so most people bought the album, not the single. The wonderful thing<br />
is that it has continued to grow in popularity, to the point where even if people don’t know the band, they instantly<br />
recognise the song. It has really gone out there and embedded itself in the public consciousness”.<br />
Funnily enough, when Callaghan played SingStar and sang his own song, he did not go so well, “I got a pass. I<br />
guess as you sing a song over the years it evolves a bit, so you don’t sing it exactly the same”.<br />
Licensing to<br />
games<br />
> Mark Callaghan<br />
aprap<br />
18
Duran Duran<br />
Leader Cheetah<br />
> Chris Bolton<br />
> Oh Mercy<br />
> Music Sales and<br />
ABC Licensing sign agreement<br />
> The Presets<br />
> True Live<br />
NATIVE TONGUE<br />
> Natalie Bassingthwaighte<br />
EMI MUSIC PUBLISHING<br />
AUSTRALIA PTY LTD<br />
Natalie Bassingthwaighte’s song<br />
“Catch Me If You Can”, from her<br />
forthcoming debut solo album<br />
‘1000 Lies’, has been licensed<br />
to Channel 10 for their new<br />
TV programme Lie To Me, a<br />
crime series about a ‘human lie<br />
detector’ based on a real-life<br />
specialist you can read clues in<br />
the human face, body and voice<br />
to expose the truth in criminal<br />
investigations.<br />
The Preset’s song “Talk Like That”<br />
from their multi-Award winning<br />
album Apocalypso has been<br />
licensed for branding promos to<br />
pay-TV channel Fox 8 whose lineup<br />
of shows include Australia’s<br />
& America’s Next Top Model,<br />
American Idol, The Contender,<br />
Futurama and The Simpsons.<br />
FINTAGE<br />
Duran Duran’s most recent studio<br />
album Red Carpet Massacre as<br />
well as a significant part of the<br />
band’s back catalogue have<br />
been added to the works already<br />
under Fintage’s control from<br />
the Astronaut album cycle. New<br />
worldwide agreements were<br />
recently signed with the band’s<br />
publishing entities Skin Divers<br />
and Skintrade Music Limited.<br />
The stats on Duran Duran are<br />
remarkable: a total of over 70<br />
million records sold, 18 American<br />
hit singles, 30 UK top 20 tunes<br />
and a global presence which<br />
guarantees them huge concert<br />
audiences on five continents.<br />
MUSIC SALES<br />
Larrikin Music has signed writer<br />
and pianist Fiona Joy Hawkins<br />
to a worldwide publishing deal.<br />
Fiona, winner of the 2008 MusicOz<br />
Classical and Jazz Award, has<br />
just finished recording her fourth<br />
album Blue Dream. Blue Dream<br />
which will be released on the ABC<br />
label in the first half of 2009.<br />
Music Sales and ABC Licensing<br />
have signed a new licensing<br />
agreement for Music Sales<br />
to produce songbooks for the<br />
Playschool series and the hugely<br />
popular Spicks & Specks.<br />
Brendan Gallagher, Karma<br />
County’s frontman and songwriter<br />
has signed a worldwide deal with<br />
Music Sales for his book: The Open<br />
Tuning Chord Book For Guitar. A<br />
new edition of the book, which<br />
Brendan has self-published,<br />
will now be released worldwide<br />
through the Music Sales group of<br />
companies in 2009.<br />
The Music Sales Group has now<br />
released the fourth in their Music<br />
Business Education Supplements<br />
with the launch of: Establishing<br />
a Music, Entertainment and Arts<br />
Business, by Ben O’Hara and<br />
Mark Beard. It covers all aspects<br />
of establishing a business as well<br />
as an overview of the Australian<br />
legal system.<br />
Music Sales (through Campbell<br />
Connelly) is pleased to announce<br />
it has signed a long-term<br />
publishing deal with Barry<br />
Adamson (Magazine, Nick Cave<br />
and the Bad Seeds).<br />
MUSHROOM MUSIC<br />
Recent inductees to our catalogue<br />
include Western Australian independent<br />
rock giants Birds of<br />
Tokyo, Adelaide based Americana<br />
outfit Leader Cheetah, much<br />
loved hip hop act True Live,<br />
emerging indigenous artist Dan<br />
Sultan and his co-writer Scott<br />
Wilson.<br />
Congratulations to Kasey<br />
Chambers whose collaborative<br />
album of last year - Rattlin’<br />
Bones recently went Platinum;<br />
also to Cut Copy and Birds of<br />
Tokyo, both earning Gold records<br />
for their 2008 releases In Ghost<br />
Colours and Universes.<br />
Kobalt Music has extended<br />
its long standing relationship<br />
with Mushroom Music. We will<br />
continue to exploit the catalogue<br />
in Australia and New Zealand.<br />
Kobalt’s roster boasts Gwen<br />
Stefani, The Offspring, The Hives,<br />
Nine Inch Nails, Gomez and as<br />
well as songwriters Ryan Tedder<br />
(Leona Lewis, Beyonce) Max Martin<br />
/Lukas Gottwald (Pink, Britney)<br />
and Max Martin (Katy Perry).<br />
Our TV department has also<br />
found multiple placements in<br />
domestic series Underbelly 2,<br />
The Cut, The Strip, East of<br />
Everything, City Homicide and<br />
Packed to the Rafters. Our film<br />
department recently supervised<br />
the Australian feature Two Fists<br />
One Heart and has also licensed<br />
music into the new feature My Year<br />
Without Sex.<br />
Meanwhile, our US partners<br />
Chrysalis secured some significant<br />
international action including<br />
The Panics on Ugly Betty, Youth<br />
Group on Gossip Girl, Snowman<br />
on CSI and Magic Dirt on the<br />
latest Grand Theft Auto series.<br />
Native Tongue welcomes<br />
Alexander Gow and Thom<br />
Savage from Melbourne band,<br />
Oh Mercy. The band are currently<br />
on a national tour with End Of<br />
Fashion. Their debut album,<br />
Privileged Woes is due for release<br />
late 2009.<br />
Welcome to new signing<br />
Christopher Bolton (Seagull).<br />
Chris is a classically trained<br />
guitarist influenced as much<br />
by the sonic adventuring of<br />
minimalist music as he is by<br />
the rustic traditions of folk and<br />
blues. Seagull’s debut album<br />
Goodbye Weather is out now on<br />
Two Bright Lakes.<br />
Native Tongue is pleased to<br />
announce it has taken over representation<br />
of the Roy Orbison<br />
catalogue, which includes publishing<br />
and masters of all of the<br />
Big O’s major hits.<br />
Native Tongue writer T-Jay<br />
co-wrote the Australian Idol<br />
winning, now platinum selling,<br />
single You, performed by Wes<br />
Carr. T-Jay is currently in Sydney<br />
writing and producing Wes’s<br />
debut album.<br />
In licensing news we recently<br />
signed Delta Goodrem’s “Believe<br />
Again” as the promo music<br />
for Nine Network’s Domestic<br />
Blitz. We also secured James<br />
Yorkston’s “Woozy With Cider”<br />
as the music for Strongbow<br />
Cider’s summer TV campaign.<br />
Songs by Plastic Palace Alice,<br />
The Getaway Plan, Cut Off<br />
Your Hands, Goldenhorse and<br />
Black Mustang were featured<br />
in Network Ten’s Out of the<br />
Question. Fur Patrol’s Someone<br />
You Really Want was featured in<br />
City Homicide. A number of Native<br />
Tongue artists were also placed<br />
into Network Ten‘s hit show Bondi<br />
Rescue. “So Alive” by The Bads,<br />
has been licensed into Australian<br />
feature film My Year Without Sex.<br />
ROUGH CUT<br />
> Birds of Tokyo<br />
2008 was another busy year<br />
for Rough Cut writers with new<br />
releases from Darren Hayes,<br />
Trial Kennedy, Small Mercies<br />
and In Fiction. Rudy Sandapa<br />
(Midnight Music Catalogue) is<br />
currently in the US completing<br />
production on the late Stephen<br />
‘Static’ Garrett upcoming album.<br />
Kisschasy enjoyed an incredible<br />
amount of radio support and<br />
completed two sold out national<br />
tours. They head to the US shortly<br />
to tour and commence recording<br />
their third album.<br />
2009 is also off to an amazing<br />
start for our two newest signings.<br />
Singer / songwriter Maxine<br />
Kauter just keeps going from<br />
strength to strength over the last<br />
six months with her debut EP<br />
being released to critical acclaim,<br />
reviewers singing her praises as<br />
an amazing new talent to watch<br />
out for, and the year ending with<br />
her securing a spot at the recent<br />
Peats Ridge Festival.<br />
Late last year Rough Cut signed<br />
a young singer/songwriter, Thom<br />
Crawford. Thom’s distinctive<br />
voice and emotive writing<br />
attracted the attention of several<br />
songwriters in the US and UK.<br />
He is now travelling through LA,<br />
Nashville, New York and London<br />
for six weeks of writing and<br />
recording. Expect a first release<br />
mid-2009.<br />
SHOCK MUSIC<br />
PUBLISHING NEWS<br />
SMP & Music Sales have recently<br />
renewed their agreement for<br />
exclusive representation of all<br />
Shock Music Publishing’s print<br />
music. The first under the new deal<br />
is a folio of Kings of Leon songs<br />
from the Multi Platinum ARIA #1<br />
album Only by the Night. KOL also<br />
scored top spot in Triple J’s #1<br />
Hottest 100 listener poll (‘Sex on<br />
Fire’). The folio will be produced in<br />
time for the March tour.<br />
Newest signings, of both global<br />
and local calibre, to the SMP stable<br />
are former Starky frontman,<br />
guitarist and songwriter Beau<br />
Cassidy; Sydney based pop<br />
institution The Camels; Cleopatra<br />
Wong, legendary early 90’s band<br />
featuring the female half of the<br />
Go-Betweens Amanda Brown and<br />
lovely Lindy Morrison; funk based<br />
Sydney collective, Confection,<br />
featuring Josh Beagley (ex<br />
Swoop) and Juanita Tippins;<br />
David Lyndon, Rees Smart and<br />
Chris Paver of Ripping Dylans,<br />
who are currently working on<br />
a new album for release early<br />
2009; one of Australia’s hardest<br />
working Rock’n’Roll bands, Hell<br />
City Glamours; singer/writer/<br />
performer Andy Walton with<br />
his own band Andy Walton Band;<br />
Detonators, Australia’s Rockabilly<br />
institution boasting over 1200<br />
gigs; local goth/retro Sydney<br />
band, Graphics; the masters of<br />
Aussie chill, OKA; and talented<br />
singer/ songwriter Paul Taylor.<br />
WIRRIPANG NEWS<br />
During 2008 Betty Beath has<br />
had yet another International<br />
broadcast of her work for string<br />
orchestra Lament for Kosovo.<br />
It was performed at the United<br />
Nations headquarters in Vienna,<br />
honouring the Declaration of<br />
Human Rights. Earlier in the year,<br />
Ann Carr-Boyd’s composition for<br />
mandolin ensemble Fandango<br />
rated 55 of the top 100 works in<br />
the ABC Classic FM survey of<br />
chamber music.<br />
Wirripang has launched a<br />
number of CDs: including the<br />
works of Bruce Crossman on<br />
his CD Double Resonances which<br />
includes “Daragang Magayon<br />
Cantata”. Also released were<br />
Nine Elemental Songs featuring<br />
the works of the composer<br />
Michael Atherton together with<br />
Jim Franklin and Tony Wheeler.<br />
Women composers were the<br />
theme of Katie Zhukov’s CD<br />
Ragtime Dreams and Visions, including<br />
the Wirripang composers<br />
Ann Carr-Boyd, May Howlett<br />
and Betty Beath. Flute Odyssey<br />
is made up of the works of a<br />
number of Wirripang composers<br />
performed by Emma Knott and<br />
David Miller.<br />
Finally oboist Rachel Tolmie<br />
combined with the Bourbaki<br />
Ensemble produced Mozart<br />
in Love, the title of its centrepiece<br />
work by the composer<br />
Phillip Wilcher.<br />
> Dan Sultan Band<br />
Compiled<br />
by Mark Eades<br />
and Allison<br />
Gumbleton.<br />
Contributions are welcome<br />
and should be emailed<br />
to comms@apra.com.au.<br />
Deadline for the July 2009<br />
issue is Friday 8th May 2009.<br />
aprap<br />
20
A word to the<br />
stealing<br />
generations<br />
By Michael Coulter, Courtesy of The Age<br />
RECENT reports suggested about 400,000 people downloaded AC/DC’s new<br />
album in the week before it was released. In many instances, these people<br />
were described as “fans”.<br />
This is puzzling, because the word “fan” is a contraction of “fanatic”, someone<br />
with an excessive enthusiasm for a particular subject. If you accept that<br />
terminology, it’s basically saying the best way of showing your appreciation for<br />
something is to steal it. A few better words for those downloaders would be<br />
“parasites”, “deadbeats” or “thieves”.<br />
Chances are not many of the file-sharers who are plundering the intellectual<br />
property of the world think of themselves in those terms. Leaving aside the<br />
whole “everyone does it” and “why pay if you don’t have to” arguments, there<br />
seems to be a fundamental belief, or at least common rationalisation, that if<br />
you’re not stealing a physical object, then you’re not stealing. But just because<br />
what you’ve taken is a specific sequence of ones and zeros doesn’t make it any<br />
less a crime.<br />
Anyone who’s hired a DVD in the past few years will be familiar with the<br />
industry ads pushing the same line. In the case of music downloads, it is on a<br />
breathtaking scale: not only is electronic piracy wrong, but practised on a large<br />
enough scale it will eventually make the entertainment industry unviable.<br />
Like everyone else, all a musician truly owns is their talent and the hours<br />
of their life. We don’t ask doctors or carpenters to trade those hours in for<br />
nothing, so why should we expect musicians to?<br />
In the case of AC/DC, it’s hard to argue that nicking a half-million or so of their<br />
CDs is going to put them in the poorhouse any time soon. There’s still enough<br />
people out there prepared to actually pay for their product to keep them in<br />
short pants and Learjets for the foreseeable future. But what about the great<br />
band of 2012, or 2015? And the music label that will sign them?<br />
One of the dangers is that music will go the same way as cinema and publishing<br />
- the financial risk becomes so great that companies only back material<br />
considered to be an iron-clad commercial proposition. So along with Shrek VII<br />
and the Harry Potter Almanac, we’ll be on a drip feed of Beatles re-releases,<br />
the latest Madonna offering and the first single from the winner of Australian<br />
Idol. All fine things in their way, but not exactly a balanced diet.<br />
It’s sad to think that in an age where technology has made music better<br />
sounding, simpler to record and cheaper to buy, technology also appears to<br />
have made music irresistibly easy to steal. What might be most galling is that<br />
in value-for-money terms, there’s not much less expensive than an album.<br />
As universal languages go, the best we’ve found so far is music. And what a<br />
language it is; a highway to a world of emotion and memory. You can measure<br />
out your life by songs: the song that was playing the first time you danced with<br />
a girl/boy, the songs listened to with friends, the songs that consoled after<br />
the end of a relationship, the songs played at weddings and funerals. And,<br />
amazingly, you can own those songs and moments, and relive them whenever<br />
you want.<br />
I can vividly remember playing one of my favourite albums for the first time,<br />
in a sunny room on the second floor of a Kew apartment in 1991. There was<br />
that perfect instant, the one of hearing the first few notes and knowing that<br />
this was music I’d waited my whole life to hear. From pristine vinyl LP through<br />
two compact discs (one stolen in the conventional fashion), I have listened to it<br />
hundreds of times since, and, what’s more, relished it every single time. If $40<br />
for 17 years of enjoyment isn’t a good investment, I don’t know what is.<br />
In the case of the AC/DC download, you have five men who have made more<br />
money than even a hedge fund could lose by writing loud, simple songs in 4/4<br />
time. Compared with the skills and responsibilities of, say, a registered nurse,<br />
what they do isn’t that amazing, but they’ve still managed to be a part of the<br />
lives of hundreds of millions of people. If you love their music and own their<br />
entire catalogue, you might have contributed somewhere around $400 to their<br />
upkeep. Considering what you’ll have received in return, though, you’ve got<br />
much the better half of the bargain.<br />
Michael Coulter is The Sunday Age’s production editor.<br />
> Photo: Blue Murder Studios<br />
As the newly appointed Producer - Export<br />
Music Services, a position co-funded by<br />
<strong>APRA</strong>|AMCOS and the Australia Council for the<br />
Arts, it’s my job to promote Australian music<br />
overseas. I am working closely with anyone who<br />
has an interest in exporting music; including<br />
Government agencies, industry bodies, artists,<br />
labels and the list goes on.<br />
In a nutshell, I act as the glue between the Australian<br />
music industry and the world! Basically my job is to:<br />
> Co-ordinate agencies and other key operators of<br />
the Australian music industry in the global market.<br />
> Provide support to the Australian music industry as<br />
they move into the global market<br />
> Increase our presence within key international<br />
music markets, for example South by South West<br />
(Austin, Texas, USA), The Great Escape (London,<br />
UK) and Womex (Copenhagen, Denmark)<br />
This is very exciting for me as I get to represent the<br />
Australian music industry on a global scale, establishing<br />
international networks that will ultimately increase our<br />
overseas export.<br />
My first gig as Export Music Services was to attend the<br />
MIDEM Music Conference in Cannes, France, in January.<br />
MIDEM -the world’s largest international music fair -<br />
brings together musicians and business people where<br />
they can discuss political issues and upcoming trends<br />
within the industry.<br />
Here are some excerpts from my MIDEM “Tour Diary”<br />
featuring details of the people I met with and the issues<br />
we covered. Although these excerpts are just the tip of<br />
the iceberg that was MIDEM 09, I hope they give you an<br />
insight to how my role will assist our music industry<br />
in promoting Australian songwriters and music to the<br />
overseas market.<br />
Millie<br />
TO DO... Before MIDEM<br />
- Review MidemWorld online<br />
registrant database<br />
- Create list of key contacts<br />
- Create conference schedule:<br />
Set-up meetings with key<br />
contacts (allow for<br />
spontaneous hook-ups)<br />
- Find passport/check expiry date<br />
- Learn basic French phrases<br />
Day One: Saturday 17 January 2009<br />
Morning : MidemNet Opening Debate<br />
- Discussions centre on the Trent Reznor/<br />
NIN case study. Particular focus<br />
on fan survey, and implications for artists<br />
and impact on sales.<br />
Afternoon: Roundtable session with the<br />
Ontario Media Development Corporation.<br />
- Initiative by the Canadians bringing<br />
together local industry VIPs<br />
and key industry people abroad.<br />
- Interesting to see what other countries<br />
were up to … great potential<br />
to replicate this type of roundtable session<br />
back home.<br />
Evening : Welcome drinks and catch up with<br />
the Aussie contingent at Midem.<br />
- It’s nice to see some familiar faces, am<br />
settling in nicely!<br />
Day Two: Sunday 18 January 2009<br />
Morning: MidemNet- The Big issue:<br />
How can music and ISPs work together?<br />
- Very topical issue in the present<br />
technological climate. Informative<br />
session.<br />
Afternoon: General Assembly of<br />
International Music Managers Forum<br />
- Meeting with IMMF executives to<br />
discuss Australia as a possible host for<br />
future key IMMF meetings.<br />
Evening: Cocktail function hosted by UK<br />
music copyright collecting society, PRS, to<br />
launch their new brand ‘PRS FOR MUSIC’.<br />
Day Three: Monday 19 January, 2009<br />
Morning: Meeting with NZ’s, Gary Fortune,<br />
International Manager of New Zealand<br />
Music commission (my NZ counterpart).<br />
- picked his brain about this type of role for<br />
advice, war-stories, pitfalls, success etc.<br />
Afternoon: In conversation<br />
session with Brain Message.<br />
- co-manager of Radiohead,<br />
Kate Nash... Focus on<br />
online distribution<br />
including case study<br />
on Radiohead’s latest<br />
album and its online<br />
distribution method.<br />
Evening: Live performance showcases<br />
- Included an acoustic performance<br />
by The Mercury Men (UK),<br />
Australian jazz ensemble<br />
Misinterprotato and Canadian Blast<br />
Showcase, featuring numerous artists.<br />
Day Four: Tuesday 20 January 2009<br />
Morning: Meeting with directors of the<br />
major international music conferences:<br />
- Representatives from South by South<br />
West (USA), The Great Escape (UK),<br />
WOMEX, Canadian Music Week, North by<br />
North East (Canada), Liverpool Sound City<br />
(UK), New Skool Rules (The Netherlands).<br />
- Introduced myself and my role as Export<br />
Music Services. Spoke to them in regards<br />
to initial planning for a Sounds Australia<br />
presence at their respective events.<br />
Afternoon: Meeting with Phillipa McEvoy,<br />
International Strategy Manager, Music &<br />
Publishing Creative & Media Export Unit,<br />
UK Trade & Investment.<br />
- My UK counterpart: spoke to her on<br />
how to best approach<br />
my role. The Brits are<br />
renowned for their<br />
cohesiveness as<br />
exporters – great to get<br />
advice from her on<br />
the ways the Australia<br />
industry can be<br />
more successful in an<br />
international music<br />
market.<br />
Evening: Thought<br />
provoking dinner meeting<br />
with researcher Robert<br />
Singerman.<br />
By Millie Millgate<br />
and Allison Gumbleton<br />
- Robert is doing ground<br />
breaking research,<br />
attempting to break down<br />
language barriers between<br />
global musicians and<br />
their potential audiences<br />
who speak different languages.<br />
He is also working on a world<br />
music lyric translation for both<br />
live and recorded music.<br />
Day Five: Wednesday 21 January 2009<br />
Morning: Meeting with Myles Keller,<br />
Membership Development Director,<br />
PRS for Music<br />
- Discussed suggestions and ideas for our<br />
next Song Summit music conference in 2010.<br />
Afternoon: Meeting with key executives<br />
from Sonicbids: Panos Panay (Founder<br />
& CEO), Andy Kingston (VP, Business<br />
Development) and Ford Englander (VP,<br />
Operations).<br />
- Furthering relations between our<br />
two organisations: explored future<br />
opportunities including possible benefits<br />
for Australians exporting their music.<br />
Evening: Meeting with Danny Yau,<br />
International Digital Sales and<br />
Marketing Manager, UK.<br />
- Australian expat living in the UK. He wants<br />
to help Australians get in touch with the<br />
right people whilst overseas. Very well<br />
connected in the music industry. We<br />
discussed setting up an expat network<br />
to help Australians connect with<br />
overseas contacts.<br />
TO DO... After MIDEM<br />
- Send follow-up emails to all the people<br />
I met.<br />
- Meet with senior staff at<br />
<strong>APRA</strong>lAMCOS to share key issues that<br />
emerged from MIDEM, share information<br />
and contacts made.<br />
- Unpack then repack for East Coast<br />
Music Awards, Festival and Conference,<br />
Canadian Music Week and SXSW.<br />
- Research natural jet lag remedies<br />
aprap<br />
22
International<br />
notes<br />
> Photo: Blue Murder Studios<br />
By Scot Morris, Director International<br />
Relations <strong>APRA</strong>|AMCOS<br />
New Standards<br />
for the Digital Age<br />
In the last edition of <strong>APRA</strong>P, I wrote about<br />
international developments in licensing in the digital<br />
age. In this context, one of the most important roles<br />
of CISAC and the international collecting society<br />
network is the development and use of standard<br />
international identifiers or metadata.<br />
CISAC has been working with societies and the<br />
industry to create international standard numbering<br />
systems which will allow societies, publishers<br />
and users to identify composers, publishers, song<br />
and audiovisual titles. These numbering systems,<br />
certified by the International Standards Organisation<br />
(ISO), are linked to all underlying information held on<br />
our databases and allow us to meet the challenges<br />
of automating the identification and payment of<br />
royalties in the digital age. The identifiers are the<br />
foundations of rights management information<br />
which is used in CISAC tools and formats to allow the<br />
electronic exchange and processing of vast amounts<br />
of data around the world - quickly and accurately.<br />
You are probably already familiar with some ISO numbering<br />
systems such as ISRCs for sound recordings or ISBNs for<br />
books. In addition, CISAC has developed the International<br />
Standard Work Code (ISWC). <strong>APRA</strong> attributes ISWCs to all<br />
works registered on our CMS database by members and is used<br />
to identify works by societies throughout the world. ISWCs also<br />
appear on a worldwide database at www.iswc.org.<br />
The other number you may be familiar with is the Interested Party<br />
Identifier (IPI); the number formerly known as the CAE. The IPI<br />
identifies creative right holders in all repertoires and links to their<br />
names, nationality, place of birth and agreements with copyright<br />
societies. For further information go to www.IPIsystem.org<br />
ISAN (International Standard Audio-visual Number) identify<br />
all types and versions of films, television shows, ads, video<br />
games, music videos etc. ISANs are attached to cue sheet<br />
information held in the <strong>APRA</strong>|AMCOS CMS database. These cues<br />
include information on the underlying musical works (+ISWCs),<br />
rightsowners (+IPIs), durations and the usage of music (featured/<br />
background/theme) in these productions. <strong>APRA</strong>|AMCOS and<br />
Screenrights have established a regional agency to issue ISANs<br />
- go to www.australasia-isan.org for more information.<br />
The above CISAC rights management information is used in CISAC<br />
tools, databases and standard formats as part of the Common<br />
Information Systems (CIS) Project, launched in 1994. CIS aims to<br />
develop systems to allow seamless and accurate digital exchange<br />
of data between societies and their members. Examples of the<br />
databases are the Musical Works Information Database (WID)<br />
that contains nearly 8 million works with information about titles,<br />
ISWCs and performing and mechanical rights shares. There<br />
is also the AVIndex – a database of the world’s audio-visual<br />
productions automating requests for distribution data from the<br />
society which holds the authoritative cue sheet. These are linked<br />
through CIS Net – a network of local, regional and international<br />
society nodes – that give societies access to work information,<br />
relevant IPIs, publishing agreement and AVIndex information.<br />
<strong>APRA</strong>|AMCOS uses CISNet in its distribution processes and<br />
supplies information on our repertoire via the WID Database.<br />
The other important part of the CIS project is the international<br />
standard formats for electronic data exchanges between<br />
members and societies. These include Common Works<br />
Registration (CWR) providing a standard format for publishers<br />
to register works with societies; the Unidentified Performances<br />
(UP) Format for societies to circulate data about unidentified<br />
works and to perform batch inquiries against CISNet; and the<br />
Audio-Visual Request (AVR) to automate queries of the AVIndex<br />
and to supply cue data in a format that can be entered directly<br />
into our database. <strong>APRA</strong>|AMCOS is also very involved in the<br />
elaboration by CISAC of a new electronic data exchange of<br />
distribution data between societies, which will provide much<br />
more detail on how works are used - called the Common Royalty<br />
Distribution Format (CRD).<br />
The way the CISAC standards, tool and rules are engaged in the<br />
very core of societies business can be represented thus:<br />
> Samuel Holloway. Photo by Michael Norris > Grayson Gilmour. Photo by Ian Jorgensen<br />
The <strong>APRA</strong> NZ<br />
Professional<br />
Development Awards<br />
have grown this year<br />
from one scholarship<br />
to three; recognising<br />
excellence in three<br />
composition genres:<br />
Classical, Pop<br />
Contemporary and<br />
Film & TV. Each<br />
recipient receives<br />
NZ$12,000 towards<br />
their professional<br />
development and<br />
a brand new Gibson<br />
guitar (cheers<br />
Gibson!).<br />
By Abbie Rutledge, Communications and Events <strong>APRA</strong> NZ<br />
Film & TV: Grayson Gilmour<br />
www.graysongilmour.com<br />
“...Grayson has extreme potential with a big career in<br />
the making. He is an exciting talent and one to watch<br />
as he moves into the area of composing for film and<br />
television...”<br />
Grayson Gilmour has made quite an impact for someone<br />
who is yet to turn 25. Hailing from Palmerston North,<br />
Grayson began his solo recordings at age 16 and hasn’t<br />
stopped since. By 2005 album #3 Phantom Limbs was so<br />
well received throughout Australasia - Grayson had to say<br />
goodbye to his signature self-assembled CDs and had the<br />
album re-mastered and pressed. By now Grayson has more<br />
than one project on the go, most notably as the lead singer<br />
for So So Modern – an eclectic 4-piece whose sound NME<br />
describes as “puzzle pop”. Known for his compositional<br />
electro-acoustic studies creating textures, arrangements<br />
and interludes, he has already received a nod from the<br />
NZ Film Commission to compose for a new feature film.<br />
Grayson intends to focus his passion for different types of<br />
music and forms of composition into the specific field of<br />
scoring for film and television. With his PDA, Grayson will be<br />
able to attend the Nordic Youth Film Festival and the Sound<br />
Design & Music course at Media Lab Helsinki.<br />
Classical: Samuel Holloway<br />
www.myspace.com/samuelholloway<br />
“... Samuel’s strength is his creativity. He is a creative<br />
spark and a free thinker, who has an absolute<br />
commitment to classical music...”<br />
Samuel Holloway is an Auckland-based composer and<br />
teacher, lecturing at both the University of Auckland and<br />
Unitec. His musical work has been performed by prominent<br />
artists and ensembles, including the NZ Trio, 175 East, the<br />
Luxembourg Sinfonietta and the NZ Symphony Orchestra.<br />
Samuel has also received numerous awards highlighting<br />
his outstanding work, most notably in Hong Kong where he<br />
was awarded first prize in the 2007 ACL Young Composer<br />
Competition for his work Stapes. From July 2007-July 2008<br />
he was the Composer in Residence at the Lilburn Residence<br />
in Wellington. With several works in the pipeline for 2009<br />
premieres, Samuel intends to use his PDA towards overseas<br />
trips: the first being the Asian Contemporary Music Festival<br />
in Korea. The second will include attendance at festivals<br />
and workshops such as Ostrava Days and Royaumont’s Voix<br />
Nouvelles; collaborative work with performers in Luxembourg<br />
and Los Angeles and to Huddersfield to discuss the possibility<br />
of further study.<br />
Pop Contemporary: Jessica Hansell<br />
www.cocosolid.com<br />
“...Jessica is a great talent with incredible motivation.<br />
She is a masterful lyricist with a great insight into<br />
everyday life. Jessica is a force of nature...”<br />
> Jessica Hansell<br />
Coco Solid is producer, rapper and musician Jessica Hansell.<br />
The Auckland-raised Maori/German/Samoan femcee has<br />
produced five critically acclaimed albums since 2004. Coco<br />
Solid’s infamous sound, as her bio states: “is a mix of<br />
psychedelic raps, 80’s electro, booty-bass, dancehall, grime,<br />
punk and experimental noize. Mix this with slow-burn politics,<br />
cut-throat jokes and a trademark monotone wit... well you<br />
have yourself a cult following, an internationally innovative<br />
band and a dense band bio.” When Coco Solid toured their<br />
2005 album Denim & Leather in Europe and the US; London’s<br />
Time Out likened them to MIA, while German crowds packed<br />
out super clubs and the LA art scene applauded their “droll”<br />
lyrics. With more accolades from her peers that you can poke<br />
a stick at – including having her work covered by Princess<br />
Superstar – Jessica plans to use her PDA by basing herself in<br />
Berlin for two months to collaborate with renowned hip-hop<br />
producer Robin Hannibal. Jessica will also collaborate with<br />
Portuguese rapper MC Violet and work on further tracks with<br />
Princess Superstar in New York later in the year.<br />
aprap<br />
24
Music to Dine For<br />
> Truth Corroded<br />
< Bombazine Black<br />
Compiled by Chris Moller<br />
Contributions should be emailed to<br />
whatshappening@apra.com.au<br />
Deadline for the June 2009 issue is<br />
Friday 8 May 2009<br />
> Anthony Snape<br />
Local SA thrash metal band TRUTH<br />
CORRODED had a huge year in<br />
2008, releasing their album Upon<br />
The Warlords Crawl in Australia<br />
and Singapore, and touring both<br />
territories to a huge response. The<br />
band plan to capitalise on their<br />
success in these territories with<br />
extensive touring in both Asia and<br />
Australia throughout 2009, while<br />
also looking to expand its reach<br />
to the US and Europe. They will<br />
also begin writing and recording<br />
the follow up to Upon the Warlords<br />
Crawl. www.truthcorroded.com<br />
CLARE REYNOLDS is soon to head<br />
overseas for 6 months to capitalise<br />
on the recent success of her song<br />
“Don’t Give Up”, featured on the<br />
US TV series Private Practice. The<br />
show is now set to air on primetime<br />
television in over 50 countries.<br />
Clare is the only Australianbased<br />
artist to be featured in the<br />
season and also one of the few<br />
independent artists, and features<br />
alongside the Foo Fighters, Amiee<br />
Mann, Wilco, James Blunt and<br />
SIA (another <strong>APRA</strong> member!).<br />
Since the program aired Clare<br />
has been inundated with hits on<br />
her myspace, youtube and iTunes.<br />
www.clarereynolds.net<br />
The SUNWRAE ENSEMBLE launch<br />
their third full-length album this<br />
year Autumn Never Fall, composed<br />
by Artistic Director RAE HOWELL.<br />
Touring throughout VIC, NSW,<br />
QLD & SA in April/May this year,<br />
Sunwrae will perform as a 9-piece<br />
ensemble, and perform new<br />
music and live performance to the<br />
new animated film The Machine.<br />
www.sunwrae.com<br />
Indigenous artist BLAKE RALPH<br />
was recently awarded Artist of the<br />
Year (2009) by the Gadigal council<br />
in association with Yabun and Koori<br />
Radio. Blake was presented with<br />
the award by the Hon. Minister<br />
for Aboriginal Affairs Paul Lynch<br />
on Australia Day at Victoria Park<br />
> Blake Ralph<br />
and Paul Lynch<br />
Sydney and was recognised for<br />
his service in community projects<br />
in the Liverpool area. His debut<br />
self-titled EP features the single<br />
“Falling for You”, which received<br />
rotation on over thirty commercial<br />
and community radio stations<br />
nationally. Look out for Blake’s<br />
debut album this year, due to be<br />
released on the VMUSIC label.<br />
www.blakeralph.com<br />
Announced as the overall Grand<br />
Prize Winner in the Nashville<br />
based SongDoor International<br />
Songwriting Competition in<br />
January this year, ANTHONY<br />
SNAPE landed first place in the<br />
Pop, Rock and Singer-Songwriter<br />
categories. Rising to the top of<br />
thousands of entries from over 14<br />
different countries, the Australian<br />
born artist has been writing in<br />
Nashville after touring the US in<br />
2008 with guitar virtuoso Tommy<br />
Emmanuel. Anthony is set to<br />
showcase at the SXSW Music<br />
Festival in Austin, Texas in March.<br />
www.anthonysnape.com<br />
Melbourne singer/songwriter RON<br />
KINGSTON recently performed<br />
in Bahrain for the US, British<br />
and Australian soldiers serving<br />
in neighbouring Iraq and Kuwait.<br />
Ron was the only Australian<br />
performer in Bahrain during the<br />
summer period from April unitl<br />
September 2008. Ron is currently<br />
in Melbourne recording his third<br />
album and gearing up for his<br />
> Sunwrae Ensemble<br />
Alive & Unplugged national tour.<br />
For more details visit:<br />
www.myspace.com/ronkingston<br />
Wollongong band LEADFINGER<br />
started as a solo project<br />
for songwriter STEWART<br />
CUNNINGHAM and has built up a<br />
solid reputation in the indie rock<br />
scene, playing loads of awesome<br />
gigs, and recently releasing the<br />
well received Through the Cracks<br />
EP on local Wollongong label<br />
Music Farmers. February 2009<br />
saw their third release, an album<br />
called Rich Kids on European record<br />
label - Bang! Records. The album<br />
is distributed in Australia by Fuse<br />
Music and will also be released<br />
on limited edition gatefold vinyl.<br />
www.myspace.com/leadfinger<br />
After receiving an artistic residency<br />
at the Cité Internationale des<br />
Récollets in Paris, MATTHEW DAVIS,<br />
founding member of indie rock<br />
act GERSEY, went about creating<br />
an entirely new international<br />
project BOMBAZINE BLACK and<br />
debut album, Here their Dreams.<br />
A predominately instrumental<br />
collection of cinematic and evocative<br />
music, the album features guest<br />
appearances from Toby Martin<br />
(Youth Group), Miles Browne (Art Of<br />
Fighting), Martin Cooke (Gaslight<br />
Radio) and Daryl Bradie and Danny<br />
Tulen (Gersey), Here their Dreams<br />
is available through Inertia. www.<br />
myspace.com/bombazineblack<br />
Legendary Melbourne songwriter /<br />
musician and performer CHARLES<br />
JENKINS recently released his<br />
new solo album The Blue Atlas<br />
featuring his talented cohorts THE<br />
ZHIVAGOS, plus a 16-piece string<br />
section. Starting out with the<br />
Adelaide rockabilly/punk outfit the<br />
Mad Turks from Istanbul through<br />
to the twice ARIA Award-nominated<br />
power-pop band the Icecream<br />
Hands, Charles has recorded and<br />
released nine albums, both locally<br />
and internationally, and has toured<br />
Europe and America as a solo artist.<br />
www.charlesjenkins.com.au<br />
Adelaide based singer/songwriter<br />
JADE AMBROZE was named<br />
the winner of Contemporary<br />
Christian Song category in the<br />
8th Annual Independent Music<br />
Awards (IMA) program with her<br />
song “More”. This year’s IMA<br />
winners and finalists were culled<br />
from thousands of submissions<br />
worldwide. Jade worked with<br />
producers Andy Sorenson and<br />
David Holmes on her latest album<br />
Meant to Fly which contains this<br />
award winning song “More”.<br />
www.jadeambroze.com<br />
It has been a solid year for NEIL<br />
MURRAY, a member of the<br />
pioneering indigenous rock group<br />
the Warumpi Band. The next couple<br />
of months will see him gathering<br />
songs for a new album plannned<br />
for next year, along with releasing a<br />
book of song lyrics, to be published<br />
by One Day Hill early 2009. Neil is<br />
currently helping to promote the<br />
Salvation Army’s Braver, Stronger,<br />
Wiser initiative which is targeting<br />
depression in rural and regional<br />
Australia. There is also talk of ABC<br />
music releasing a special boxed<br />
set of his back catalogue albums.<br />
www.neilmurray.com.au<br />
Local Byron artist Cheynne<br />
Murphy has just released his<br />
new EP Firesongs for the Soul<br />
and will play the 2009 Blues and<br />
Roots Festival and shows along<br />
the east coast to support the<br />
release. Already garnering critical<br />
industry acclaim, Cheynne’s<br />
new songs effortlessly traverse<br />
the alternative acoustic folk pop<br />
terrain, ending up somewhere<br />
in the misty hills of Byron Bay,<br />
the inspiration and location for<br />
most of the song writing. www.<br />
myspace.com/cheynnemurphy<br />
> Cheynne Murphy<br />
Newcastle’s independent punkinfused<br />
rock group HEARTBREAK<br />
CLUB are taking a break from<br />
their live shows, heading into<br />
Melbourne’s Sing Sing Studios<br />
to record a new album with US<br />
Producer Ed Rose (Motion City<br />
Soundtrack, The Get Up Kids) and<br />
engineer Matt Voigt (The Killers,<br />
Midnight Oil, The Living End). These<br />
new recording sessions will be the<br />
first since their EP O Tempora!<br />
O Mores!, which received great<br />
reviews and radio play nationally.<br />
www.heartbreakclub.org<br />
JAMES GREHAN’s last nine<br />
months have seen the Queensland<br />
songwriter recording and releasing<br />
a 7 track mini album Space<br />
Between the Silence which went on<br />
to receive five nominations at the<br />
Q-Song Awards. Winning three<br />
categories for Best Alternative<br />
Song, Best Regional and the<br />
Courier Mails People’s Choice<br />
Award resulted in Triple J placing<br />
a third track from the release on<br />
Charles Jenkins <<br />
their Hit List. With these accolades<br />
under his belt James is heading<br />
back into the studio to write and<br />
record his next release for 2009<br />
www.jamesgrehan.com<br />
Melbourne pianist GALLIANO<br />
SOMMAVILLA, released his first<br />
cookbook Playing with Food in 2006<br />
with an accompanying 11 track CD<br />
of his original compositions. To<br />
follow up the success of the first<br />
release Galliano has just released<br />
his second book Music to Dine For,<br />
this time with an accompanying 17<br />
track CD, recorded by Chris Wilson<br />
at his studio. For more information<br />
on this unique release go to www.<br />
galliano.com.au<br />
After years of touring, collaborations,<br />
and awards, including<br />
a duo with Jenny Balmer - Country<br />
Album of the Year winner, well<br />
known keyboardist and composer<br />
ROBERT STEVENSON has finally<br />
felt it time to release his own album<br />
Simple Little Miracles. Robert<br />
has played with the who’s who<br />
of Australian touring musicians<br />
(John Swan, The Chantoozies, Scott<br />
Carne, Brian Mannix, Jean Stafford,<br />
Johnny Chester, Judy Stone, Little<br />
Patti etc). For more information see<br />
www.robstevensonmusic.com<br />
Aztec Music are proud to present<br />
the long overdue reissue of X’s<br />
legendary Australian album<br />
X-Aspirations. Produced by<br />
Australian rock legend LOBBY<br />
LOYDE, the album was recorded<br />
at Trafalgar Studios and features<br />
one of the great singles of the<br />
punk era “I Don’t Wanna Go Out”.<br />
Available now from Aztec Music<br />
www.aztecmusic.net<br />
Making waves –Singer Songwriters<br />
is the powerful debut from Gadigal<br />
Music, a label developed by<br />
Indigenous music professionals<br />
for Aboriginal and Torres Strait<br />
Islander singers, musicians,<br />
writers, producers and sound<br />
engineers to reach as wide an<br />
audience as possible. Released<br />
in partnership with ABC<br />
Music, Making waves - Singer<br />
Songwriters opens the way for<br />
further collaborative releases of<br />
Indigenous music across a range<br />
of genres, from Country to Hip Hop<br />
and Rap. The compilation features<br />
singer songwriters Glenn Casey<br />
Donovan; Adam James; Radical<br />
Son; Sharon Lane; Dewayne<br />
Everettsmith; L.J. Hill; Krista<br />
Pav; Dan Sultan; Leah Flanagan<br />
and Sharnee Fenwick.<br />
aprap<br />
26
Nick Cave & The Bad Seeds<br />
at All Tomorrow’s Parties, Cockatoo Island<br />
It’s not often that a festival “curator” runs out on stage throwing karate-style kicks into the air. But that’s how Nick<br />
Cave made his entrance as leader of the band headlining the first All Tomorrow’s Parties Festival on Cockatoo<br />
Island in Sydney Harbour.<br />
His burst of exuberance made all the photographers jump and recoil slightly from the pit in front of the stage.<br />
There was no slow introductory song for the crowd. His first two numbers had the feel of a performer already<br />
warmed up and at his energised peak.<br />
As a rule, photographers always shoot the first two or three songs, but I think it would be better if we shot the last<br />
two or three as there is usually more emotion to capture. This photo makes me smile because I think Nick Cave<br />
might have had a laugh out of scaring the photographers - or at least me, anyway - and catching us all unprepared<br />
for his wild-man kicks and erratic body movements. I wasn’t sure if I’d captured this kick successfully and only<br />
on downloading it to my laptop did I know this was the shot.<br />
Everyone left the concert raving to each other about Cave’s performance while motoring across the harbour<br />
back home.<br />
By Edwina Pickles,<br />
photographer for The Sydney Morning Herald.<br />
epickles@smh.com.au<br />
<strong>APRA</strong> is an association of composers, authors and publishers of music in Australia, New Zealand and the South Pacific having affiliations with similarly constituted<br />
organisations around the world. Writer directors: Arthur Baysting [New Zealand], Eric McCusker, Nigel Westlake, Jenny Morris, Chris Neal, Michael Perjanik<br />
[Chairman] Publisher directors: Robert Aird Universal Music Publishing Group Pty Ltd, John Anderson EMI Music Publishing Australia Pty Ltd, Ian James Mushroom<br />
Music Pty Ltd, Matthew Capper Warner/Chappell Music Australia Pty Ltd, Fifa Riccobono J Albert & Son, Damian Trotter Sony/ATV Music Publishing Chief Executive:<br />
Brett Cottle LLB Director of NZ Operations: Anthony Healey Registered Office: 16 Mountain Street Ultimo NSW 2007 Telephone: (02) 9935 7900 Facsimile: (02) 9935<br />
7999 Email: apra@apra.com.au Internet: www.apra-amcos.com.au<br />
Branches: VICTORIA 3-5 Sanders Place Richmond VIC 3121 Telephone: (03) 9426 5200 Facsimile: (03) 9426 5211 QUEENSLAND 3 Winn<br />
Street Fortitude Valley QLD 4006 Telephone: (07) 3257 1007 Facsimile (07) 3257 1113 SOUTH AUSTRALIA unit 54, 55 Melbourne Street North<br />
Adelaide SA 5006 Telephone: (08) 8239 2222 Facsimile: (08) 8239 0744 WESTERN AUSTRALIA suite 1, 12-20 Railway Road Subiaco WA 6008<br />
Telephone (08) 9382 8299 Facsimile (08) 9382 8224 NEW ZEALAND HEAD OFFICE Unit 113, Zone 23, 21-23 Edwin St, Mt Eden, New Zealand<br />
Telephone: 64 9 623 2173 Freephone: 0800 692 772 Facsimile 64 9 623 2174 PO Box 6315, Wellesley St, Auckland 1141, New Zealand.<br />
The opinions expressed in articles in Aprap are not necessarily those of the Australasian Performing Right Association. Editor: Anthea Sarris asarris@apra.com.au<br />
Design: Elastik Printing: No Time To Lose ©2008 Australasian Performing Right Association Ltd, Sydney, Australia. Print Post No: 255003/02262 ISSN: 1441-4910.<br />
Printed on environmentally friendly paper using soy-based inks.