I’ve been thinking some more about my post last week, debating how much you actually earn from selling your music online these days. Coupled with the news that’s been finally weaned from Radiohead’s ‘In Rainbows’ Album and the fact that the more forthcoming Trent Reznor’s figures on Nine Inch Nails’ ‘Ghosts I-IV’ album, I thought I’d blog further on the topic of what you can earn by giving your music away.

Regarding ‘In Rainbows’,”More than three million people acquired the album,” points out Warner Chappell Music senior vice president of International Legal & Business Affairs Jane Dyball, who admits “I had doubts there was money to be made online”. That figure includes downloads sold across various retailers, and physical packages sold online and through brick-n-mortar stores, and Dyball noted that 1.75 million copies of the physical, full-priced release were shifted. The band may have decided to not give out any specific figures on sales, but that hasn’t stopped people from estimating revenue ($10m in the first week?) and average price paid per album ($5? $8?). Other companies are saying that these figures don’t allow for those who paid $0 for the album (ComScore.com), and Radiohead’s representatives then reply that those figures are inaccurate but don’t give us anything solid to go on. Despite the option of a ‘$0’ price on the official website, between October 10 and November 3 2007, ‘In Rainbows’ was still downloaded from Torrent websites to the tune of 2.3m downloads. So just about no-one can figure it all out once the Torrent numbers are thrown into the mix.

So how about Nine Inch Nails? Front man Trent Reznor must have thought it a huge success. Not only having the respect of your loyal fans and the Music Futurists out there… not only giving the old major labels an e-middle-finger… but also pocketing $1.6 million dollars in revenue in the first week. It must have been a success, as they’ve made the follow-up album ‘The Slip’ available for free download in multiple formats, all DRM-free and encourage you to “remix it, post it on your blog, and share it with strangers”. What an amazing attitude; these will surely go down in history as all-embracing album experiments. It should be right there alongside Michael Jackson being the first black artist with a video on MTV (Billie Jean, 1983). (your random fact for the day )

It wasn’t that easy though – Reznor reported earlier this year that in the two months up to January 2nd, his previous collaboration with Saul Williams consisted of 154,449 people downloading a standard quality of ‘NiggyTardust’ and just 28,322 of them paying the $5 for the higher quality version. In his blog, Reznor suggested that he was “disheartened” by the results.

So, it wasn’t the quality which drove people to illegally download via torrents. Reznor went back to the drawing board and tried a slightly different approach. He now understood the need for a physical product to help launch the album, in fact he released several variations for both CD junkies and hard-core NIN fans (the $300 Ultra-Deluxe Limited Edition of Ghosts I-IV immediately sold out its run of 2500).

At 43 years old, technically on the upper end of Generation-Y (if not Generation-X). Reznor is refreshing, and a true pioneer in his actions. Major labels may be starting to offer 360 deals for some artists, but GIVING the music away? That must be a long way off (if at all).

What would you give to have a Reznor in charge of your career? Well, maybe you can… YOU. Maybe Indies are gaining more and more advantages over the majors and you want to choose this path. If so, then this is the place to subscribe – I’ll be talking a lot more about this over the coming months.

Lee.

If you think that the best way to further your music career is by just checking on the Jobs Board once a week, then you really are missing out. UK Music Jobs has many tools to aid you on your journey. This blog and my wise words being one of them of course and also, the members directory is a great place to network. We all want to have contacts in the industry, and here are a few suggestions how to get started, along with some great member profiles…

Artists & Musicians – you should constantly be checking out other artists & musicians! Inspiration is everywhere, listen to the music that other people in your genre (and outside it) are making, look at the way they promote themselves, take tips on their promo shots and demo tapes. Of course, there is also the huge possibility of collaboration. Merging backgrounds and experimenting often create some of the most interesting and successful records in history. (Roxy Music anyone?)

Check out Maria Alessandra Dangelo or Simon Noble

Producers & Engineers – The competition is fierce for any kind of studio work, and you need to keep on top of your game. Look at some strong profiles and try to improve your own. Keep your CV up to date, and adding a picture and a sample of your work will help encourage companies and members who browse the profiles. Looking at your peers you may notice some new or updated courses you can check out – there may be some great certificates / extra qualifications you can learn right on your doorstep and then add to your achievements.

Check out Mark Stevenson or James Kerr

Journalists & New media – whilst looking for work, why not try interviewing some of our talented bands? Why not get in touch with an established producer and offer your help on a music video or press releases? Maybe a fellow journalist’s profile will give you a clue as to how they got started and how you can gain some experience, or open your eyes to new companies that may require some kind of written skills.

Check out Joe Ward

However you decide to start networking, remember to update your own UKMJ profile – people are much more likely to interact if your page has photos / links / press clippings / list of achievements / uploaded documents. Check out my own profile for examples.

Remember, these are just my own ideas that I have thought up to help you – the UKMJ network is there for you to use in any way you can, and by doing so you will improve your networking and chances of finding your way through this crazy industry, maybe even with some new acquaintances!

Lee.

PS - Why not start getting involved with a comment if you find this helpful / ludicrous / interesting / obvious / etc. You may draw my attention and find yourself in one of my future blogs!

LL Cool J once said “I can’t live without my radio”, but do people still have radios nowadays? Hasn’t internet broadcasting killed off Tim Westwood, Pete Tong, Tony Blackburn et al? Not quite, but you catch my drift; you certainly can live without your radio. With the vast array of gadgets and gizmos available, it got me thinking what I can’t live without. We have personal mp3 players smaller then a matchbox and phones that can email and take photos (not forgetting, make the occasional phone call).

Apple have just unveiled their new iPods, and are rumoured to be announcing the launch of the Macbook Touch in October, combining the touch screen usability of their iPod Touch and iPhone ranges with their already successful MacBook laptops. Yet more kit that we don’t need but we all want.

For us recording artists, the gadget list snowballs. Learning my basic skills on an Akai 3000XL sampler, I’ll always have a soft spot for that. Popular dance artist Monika Kruse just yesterday told DJ Magazine that her Oscar Synthesizer will never leave her side.

Maybe you’re more classical and there’s one particular instrument that you will never sell. Maybe you are an aspiring music journo and you can make do without any of this, but you still can’t do without your inspiration (and maybe a pen that’s also a voice recorder).

Finally, those crazy Latvian disc jockeys, well, they just can’t live without their DJ Sport Games, so much so that they made an official event out of it! (Thanks to The Sound Republic for the heads up on that one).

Please share what you can’t live without by adding your comments. Or even pictures of you and your beloved

Lee.

John Webber was a freelance engineer in several studios throughout the UK before becoming resident engineer at Blue Pro Studios. He has established himself mastering, mixing and producing for a wide variety of indie, jazz, pop, rock and world music acts from unsigned prospects through to major label talent. Previous clients include Universal, SonyBMG & World Music Network for artists including Whitey, Rooster, Simon Webbe and Polar Bear.

Hi John, what have I interrupted you doing today?
I have just completed mastering for Candid Records’ new signing, Joe Stilgoe, a really impressive Jazz album featuring a wonderful cover of the scarecrow’s song from the Wizard of Oz ‘If I only had a brain’.

How would you describe your role within the music industry?
Primarily within the industry my main role is as a mastering engineer. We have slowly built up the mastering facility at Blue Pro over the last 2 years to be truly world class and have become known for consistent high-end results. We do still offer recording and mixing but our mastering work does dominate our schedule these days.

How did you first get into the industry?
Well, I have always been into music and started playing guitar at a very young age. My first paid audio related role was making speaker grills at a local sweatshop, sorry factory, near my hometown (Southend On Sea). Feeling like I’d never escape, I got lucky and was employed as a technician in a local studio, which eventually led to engineering work. I was then invited onto the second year of a degree at LCM (London College Of Music) which resulted in meeting with Charles Westropp, which soon after resulted in mixing for Rooster (Sony BMG/Brightside) at Blue Pro Studios.

I understand you are launching a new website soon, can you tell me a little bit about it?
Well over the coming weeks www.blueprostudios.com will be replaced with what we feel is the most informative and interactive studio website around. Users can create accounts to upload material and book sessions. The site will also contain news feeds and offer lots of useful industry insight and tips.

Soon after the main studio site goes up we will also be launching www.remotemastering.com, the worlds most ‘easy to use’ and ‘functional’ online mastering facility. Nothing particularly groundbreaking on paper but the interface and site design is truly unique. Users will be able to check DDP masters, compare mastered and un-mastered material in real time and effortlessly submit work with a 5-day turnaround.

What projects are you currently working on?
Well as I mentioned I just finished the master for Joe (Stilgoe). I am about to start a mix with songwriter/producer Adam Crowe. I am also working with Goodbye/Delete on their debut EP (John is actually the founding member). I’m doing more work with The Operators who are on the cusp of being very big. Aside from this I am always mastering and often do several records a week.

Who have you enjoyed working with?
I enjoy anything that pushes me to enhance my own skills. If the music’s good and the people involved are passionate then I get a kick from it.

Who would you like to work with in the future?
Any artists who have the potential for greatness!

Where do you see yourself in 5/10 years?
It would be great to win a Grammy Award, as being noticed for your efforts is always cool! Really though, to be associated with great music in any shape or form would be fine. I also intend to do a bit more writing for other acts.

What tips could you give to help people survive the crazy world of music business?
What I tried to do was to be diverse and see what direction my opportunities led me in. I can write, produce, record, mix and master music. If you’re looking to make a living you certainly will find it hard to survive in one area exclusively, so be smart and dare I say it ‘think outside of the box’.

In general be persistent, be stubborn and never say no to anything work wise. Talent is not enough alone, it takes seriously hard work!

John Webber’s UK Music Jobs profile: http://my.music-jobs.com/john.webber
John Webber’s Myspace blog (full of advice on Home recording!): http://www.myspace.com/johnwebbermusic
Blue Pro Studios: http://www.blueprostudios.com

Lee.

It has just been announced that London clubbing Mecca, The End, is to close it’s doors for the final time in January 2009. Known and loved by many all over the world, The End has been a true pioneer of underground dance music over the last 12 or so years, hosting groundbreaking nights across house, techno, drum&bass, breakbeat and much more.

Director Layo Paskin states “Even though the past few years have arguably been our most successful as a club and as a business, I don’t particularly believe that there’s anything more that we can achieve”, and I have to say I’d find it challenging to think of how they could continue to top their record, especially with some key members of the team eager to try new things. It’s not as if the club were over the hill, far from it, but that almost makes it even greater, to go out on a high, and be remembered as outstanding.

Built by Layo (as in ‘Layo & Bushwacka’) and Mr C (as in ‘Ebeneezer Goode’), The End was often seen as the perfect club in many ways for DJs and clubbers; that circular DJ booth in the middle of the dance floor, the incredible sound system, and the friendly and diverse crowd.

Layo continues, “It’s partially a circumstantial decision, and partially a decision of choice”, adding, “We’ve had offers for the club before, and yes, this was the best one. But I wouldn’t say that it’s so good that it makes this a purely financial issue … If it was seven or eight years ago, an offer like this wouldn’t have been accepted. It’s a lot to do with the timing.”

On a personal level, I know I will certainly miss the club; my first ‘proper’ night clubbing was about 7 years ago to see Steve Lawler play a 6 hour set in the main room, and I’ve been hooked ever since, returning for the likes of Jeff Mills, Layo & Bushwacka, Chew the Fat, and the infamous Jaded after-hours parties. I know I will not be alone, judging by the eleven pages of comments on the website since yesterday’s announcement!

On a business level, add this to the other superclub closures of 2008 (The Cross, The Key, Canvas and Turnmills), and clubland has been well and truly shaken up. What will the future hold for the likes of a newly refurbed Pacha, a re-launched Bar Rhumba, and new-kid-on-the-block Matter, opening any day now from the people who brought you Fabric? Stay tuned for more news and interviews

Lee.

OK, I actually started typing this in July before I went on holiday, but I thought I’d post it up now anyway, as I’m feeling that there’s some great music out there at the moment, and thought I’d share.

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Ever since seeing Roisin Murphy at the St. Patrick Day’s Festival in Trafalgar square, I’ve been loving the tunes from her new album. Great and unique vocals, and extremely smooth sounds, making for a good, fun llistening album. I also checked her out at Sonar in Barcelona

Electronic-pop-cum-dance-diva.
Get it here: http://emirecords.co.uk/roisin/microsite/

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I’m also going to pick up a copy of the new N.E.R.D. album soon, being a big fan of both the band and the Neptunes remixes for many years now. Their fusion of rock band and forward thinking hip hop makes for some catchy numbers, and I’m gutted that I missed them live – I think it was at the O2 arena(?) But hopefully I’ll catch them on tour soon.

Gritty Street hip hop rock combo.
Get it here: http://www.n-e-r-d.com/

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Going underground, Mark Farina’s Fabric mix (number 40 if you are counting) is doing it for me too. It didn’t knock me over the first listen, but I thought it had a great groove, and now I can say that it really grows on you the more you listen to it. Farina’s taken this opportunity to push many new young artists, and some Digital-only labels too, but still retains his classic house groove that made him a worldwide star.

Deep and jackin house vibes.
Get it here: http://www.fabriclondon.com/label/release.php?item=fab40/mar

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A tune that hasn’t left my DJ bag for some time now is an remix EP of Alan Barratt’s ‘My kinda music’ (yes, this is the kind of noise I make regularly in clubs). The EP has four different remixes including heavyweights Inland Knights and Jason Jinx, and they are all so well produced and balance each other brilliantly, as if they were all designed for a different hour of the night. Top stuff.

Chunky rolling house music.
Get it here: http://www.juno.co.uk/ppps/products/308249-01.htm

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There’s a whole heap of talent right here on the Music Jobs website in case you haven’t realized it yet! Checking out the Soundcheck area, some artists I’ve recently come across include:-

Elipse - Futuristic funk, synthesized sounds and disco beats. Also looking for other artists to record with so check him out!

http://uk.music-jobs.com/bands/index.php?band_uid=17816

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Head-Full - Bury based quartet, playing energetic funk with a classic rock twist.

http://uk.music-jobs.com/bands/index.php?band_uid=17801

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Cornerstone - After 2 years, over 100 shows, and 300 copies of their debut E.P they also won the welsh final of the BOTB

http://uk.music-jobs.com/bands/index.php?band_uid=17904

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Don’t forget to regularly keep your profile updated so I can find you and feature you in the UK MJ blog!

Upload your mp3s today so we can check you out!

Lee.

I know it was last month now, but I do have a very good excuse. I’ve been on holiday pretty much since then, lapping it up in the Mediterranean sunshine (still reading?). In fact, then location of this festival must account for part of its success. I’ll explain…

As a punter, the fact that you can fly to Spain cheaper than the cost of a cab home across London, is a big draw. Then the fact that, although I can be spoilt for choice with superstar international DJs and bands at home, I almost certainly can’t watch them in 30 degree heat with a nice COLD beer (and one that costs less then £3). The result of this feel good factor? I spent the whole long weekend with a huge smile on my face before I even heard a single beat! So by the time the music started thumping, it was like our own clubbers’ paradise.

Thursday, Sonar by Day. An essential meeting point if you hope to find anyone sober and having slept the night before. I was very impressed with the space they put together there, and the two outdoor sound stages didn’t clash at all. From the chilled electronic funk of Little Dragon, to the grimier hip hop beats of Chacos Brodas, this was perfect sunshine listening. As the evening drew in, Bass Clef put on a fantastic show, epitomising Sonar’s theme of genre bending by fusing his bass, beats and breaks with a, erm… live trombone! It worked though, and you can find some decent video clips knocking around t’interweb of all these guys.

Friday night saw the enormous Fira Gran Via complex opened up to host a whole wealth of talent. A live show from Madness kicked the party of to a great start, plenty of silly dancing to Baggy Trousers and the like, and then it was on to catch some of BC & JC vs DE. Jamie’s energy was fantastic; it was great to watch someone have so much fun performing, and completely lose himself in the music… to the point that I started thinking Darren had slipped something in his drink! You could see the kind of live improvisation that you get with The Bays, and the whole ensemble built the tension very well, and the end of their set came all too soon. And so it was on to Diplo, again a perfect example of the cross-genre fusing. Sometimes Hip Hop, sometimes fidgety Switch-esque beats, sometimes booty bass (whatever that is), and sometimes indescribable, but always the kind of tunes that strike a raw chord and make you get up and shake a leg. Following form that, Justice and their usual industrial French funk were great at times, although sometimes it was just too much. A lot of people enjoyed the variation of Diplo, and the dance-ability of his tunes, and some of the flow was lost when you were met with a wall of white noise and distorted guitar loops.

This didn’t disappoint me too much, as in the next arena was one of my personal favourites, Roisin Murphy. Having seen her live a couple of times now, I knew a few tracks from the last album, but still enjoyed the show she put on, and the rest of the band was on fine form too. After a snack break, it was outside for a good couple of hours of the Minus collective. Troy Pierce kept a good groove going, but for me Magda let it down. I know this kind of set is meant to be very subtle and the simple breaks and drops make it, but she hardly ever let a track actually drop, annoyingly fiddling with the EQs. Richie Hawtin was much more up my street, chunkier beats, rolling basslines and tracks that invited you to get your head down and jack your body along. The crowd, being a mix of English and Spanish, were absolutely loving it, both countries currently enjoying a trend of records and DJs of this ilk. Finally, around 5am and pretty exhausted, we thought a round on the bumper cars (!) and a few piano house classics from the legendary Frankie Knuckles would pick us up, and so it did. Nothing like getting the bus home humming ‘Where Love Lives’.

Saturday night started by meeting up with some DJ & producer friends for a dip in the pool and then on to dinner. My main focus at Sonar By Night was to be Freerange Records, pioneers of UK deep house. Arrinving early, I had a bit of time to check out French DJ, Chloe. Although there was some great melodic stuff going on, it was far too laid back for me, and too slow for a night time vibe I thought. So I went to see Yazoo for a short while. Having refoprmed after 25 years, maybe I was expecting too much, or maybe we are so used to the way that music production has moved on since, but the songs didn’t do it for me, bar ‘’. Maybe I was just fidgety and waiting for the Freerange guys to start. Cue Jimpster back outside to give my night a kick up the arse. Still deep and lush, but with a real chunky groove and a definite ‘sound of now’, I knew what to expect, but it still delights me everytime I hear it. Jimpster passed the baton to Milton Jackson, with a live show of his forthcoming album tracks, and the time flew by.

Tonight, I had to leave around 3am to head over to the OM Records party at La Terrazza. Unfortunately this means I didn’t get to stick around for Jeff Mills and his Rings of Saturn experiance. That’s the thing with the whole sonar weekend – there’s barely a chance to see all the acts at the official shindigs, without the endless offerings of other parties, beach gatherings and label clubnights! On the plus side, I arrived at OM to the last couple of Mike Monday tracks, and then Jesse Rose jumped on and destroyed the place. Every tune was driving along with just the right amount of funk, pinned together with squelching beats and an Unhealthy dose of bass. Closing the party would be Justin Martin, all the way from San Fran, and yet more house music of the highest pedigree. After that, well, let’s just say it was one of those special afterparties that you don’t always get to hear about

There are certain things you can do in Barcelona that you can’t get away with at most UK festivals; dance on the beach with friends and muchos sangria; dine on amazing seafood paella and wine opposite the festival and spend just £8; Too hot at Sonar by day? Go dip in the Sea, just 15 mins walk away. As I said, this makes for such a different atmosphere to English festivals, but I also realise that they have the absolute cream of European and US artists, and seeing any one of about 25 headliners is special in it’s own right. Combined with some fantastic home-grown talent (and the ice cold beer), it’s easy to see why Sonar is such a success every year. I know I’ll certainly be back.

(pls note, the sonar by night pics are from the official website // www.sonar.es)

Lee Jarvis.

Joe Driscoll is causing quite a sensation on both sides of the Atlantic with his unique sound, brilliant lyrics and stonking live sets.  Mixing together threads of hip-hop, reggae, soul, folk and roots rock, Joe is doing his own thing and doing it with style.  The worthy recipient of the Indy Award for ‘Best Solo Act Of The Year’ Joe’s star is set to rise even higher with appearances at Glastonbury and The Secret Garden Party in the coming months.

We were lucky enough to meet Joe at a small set he performed in London a few months back and not only do we think he’s one of the best new talents around he’s also a incredibly charming, nice guy to boot!

UK Music Jobs intrepid Lee Jarvis sat down with Joe to ask him how things are going and what he thinks of the music industry at the moment.

When did you first get into music / singing / playing guitar?

That’s kind of what inspired Origin Myths, my last album. When I was ridiculously young, like 5 or something I was listening to John Lennon singing and told my mom thats what I was gonna do when I grew up. Been singing as far back as my memory goes, musical theater by age 8 or 9, playing guitar by 10 or so. The guitar was way bigger than me when i started.

You grew up on the east coast of the US, right? What music did you listen to growing up? Who were your early influences?

Beatles and an old Bob Marley tape I found. My brother turned me on to hip-hop, mainly De La Soul and Tribe Called Quest. 3 feet high and People’s Instinctive Paths were unbelievably influential in early years. Wu-Tang and Rage Against the Machine held it down for a long time. Ani Difranco and the Beastie Boys are ever present.

Where are you based at the moment? - it seems like you are permanantly on tour!

Yeah, in my song Nomad I say I live in my heart my head and 10,000 houses. Yeah, always on tour, but lately been slowing it up a bit. Brixton is where I find my rest now.

When i saw you live in London, i think i described your sound as a very relaxed kind of sound, the kind of sound you expect from the west coast, or even a hawaiian sort of vibe. But then certain songs obviously have an east coast hip hop flavour and reggae sounds, all the time with the kind of story telling associated with American folk songs. Fair to say that you are a mixed bag?! Do you think this has a lot to do with your broad success in so many countries with so many different kinds of fans?

Yes, definetly. Thats what has always turned me on most about music, is the bridges it gaps. I’ve played purist folk shows, and purist hip-hop shows and gotten amazing reactions from both. I grew loving music that could do that; make everybody groove regardless of classification. I live for music that transcends, so I love when thats what turns people on about my stuff.

And you were the headlining Live act at the Malawi Lake of Stars Festival in ‘07, that must have been one helluva gig. Did that further influence your music making / lyric writing?

Yes, spending time in Africa is one of those experiences that goes beyond words. It was incredibly mind expanding, and I just want to figure out how to spend more time there. The rhythm is completely different over there, and I absorbed so much. I want to go back!

Your live show is very unique too, how did you create / develop it? It’s almost like a jam session, with yourself as several band members, would you say that’s accurate or do you have a description you like to use? Would you say that songs sound different each time you perform them - do you add new elements while you’re jamming away?

Yes, thats pretty accurate. Being that all the loops are chopped live, there are always slight (or sometimes major) differences. I like that alot. To quote The Chairman Of The Board : “I never play the same song twice.”

What about the equipment you use live, the loop sampler / trigger pedals - were you looking for some sort of technology to help you since you perform on your own, or are you a technology geek?

Wow! So funny, I’m about the furthest thing from a technology geek! I wish I was one! I had never owned a computer before, and hardly ever played electric guitar when I found it. No, a producer I was working with was making loops of my beatbox in his computer and we started to discuss live possibilities. We went to the guitar shop, I pulled out the pedal, and chopped up a pretty good Wu-Tang Clan Aint Nothing to F*$@ With right there. I had them wrap it up and spent the next 3 months composing in my room.

Even though you are a “modern one-man band”, is there anyone you’d like to work / record / perform with?

Loads. I am actually currently collaborating with a crew called the One Taste Collective- http://www. youtube. com/watch?v=ZGvA5hAXd0Y. I love the solo show, but expect to see alot more cross pollenation from me in the coming year!

You’ve won an Indy Music Award, and sold out shows both sides of the atlantic, yet people can still catch you at an intimate bar gig too. This is obviously your passion and you love performing? Could you see yourself doing anything else / if you weren’t a musician what would you be doing?

No doubt I’d be teaching. I used to volunteer doing after school music shops. I love inspiring the youth, and passing along culture. I will definetly end up in some form of teaching later in my life when touring and recording schedules slow up a bit.

Tell us about your previous albums.

Well, as the solo loop artist I released Little Beat BIg and Life As A Monkey, which were both live albums. I’m still proud of Life As A Monkey, but there is only so much you can do live. Origin Myths was my first studio thing, and that was a huge step for me. After that I put out a project called Local Principles, which was more straightforward hip-hop with old samples and drum loops. I never used to get inspired in the studio, cause I was so used to the live rush and energy. Nowadays, it is my passion and I’m just loving the craft of making quality albums.

Do you think that the whole advent of music downloads and myspace is good for music and musicians? Do you see this growing even more in the near future?

Yes and no, it’s evolution and devolution simultaneously; like most human progress. Every artist on myspace will tell you how much it has helped them, from getting fan mail from holland and fiji, to getting gigs in france, it is great. People can type your name in, and in seconds hear what you do and make direct contact. However, it has flooded the waves of communication with people that don’t really have talent or anything to say. It has kind of muddled the laws of supply and demand, in both the spiritual and fiscal sense. I’m glad thousands of people get my music for free, but I also wish I had ten pounds for everyone of those downloads as well so artists could recieve the kind of pay they deserve. I love the internet as much as I hate. It’s just the new battleground of life, so whether it’s good or bad is what we make it. And yes, it will be even more so in the future.

What about your plans for the near future? More touring? Back in the studio?

Studio studio. I love performing, but it’s two different head spaces. I’ll be doing the festival circuit this summer, but in a more relaxed vibe than hardcore touring. Hardcore touring probably commence in the fall, or upon completion of new recordings.

What about further down the line - do you aspire to be involved in the music industry in any other ways? Record Label? A&R? Or is the beatboxing / singing / rapping / bass / guitar / harmonica enough for you?!

Yeah, like I said- One Taste Collective– http://www. youtube. com/watch?v=ZGvA5hAXd0Y. I’m trying to start up a new label now for a batch of releases, then enshallah- global domination. Or at least a couple of shweet tours. There will never be enough!

01 - Cassandra

Check out Joe’s MySpace - http://www.myspace.com/joedriscoll

Lee Jarvis.

I, for one, am very excited for the Sonar Music Festival this year. Probably because I couldn’t go last year and kick-off this season is just 9 days away and counting! Sonar is a three day event in Barcelona, Spain that attracts artists, musicians and clubbers from across the globe. Their extravagant themes and mish-mish of music and art make for a weird and wonderful time; they have successfully hosted the annual event for the last 14 years and show no sign of slowing down, expecting 80,000 people this year.

The festival’s line-ups tend to favour electronic dance music, be that house, techno, electro, hip-hop or a modern mash-up of them all. They love to feature new exciting experimental acts, unafraid to push boundaries of music, DJing and VJing, and also support many home-grown artists.

This year’s show has two main themes as the basis for it’s programme: the “female factor” in today’s music and “hybridism” as the result of the intersection of musical genres and subgenres. Sonar has incorporated world class female acts into the immense line-up; live shows from Roisin Murphy and Goldfrapp complement DJ sets from the likes of Mary Anne Hobbs and Magda. A great example of the ‘hybridism’, and part of the sustained proof that Sonar is one of the best festivals in the world to check out the cream of national and international talent, is the premiere outing of a unique ‘dream team’. Pop jazz superstar Jamie Cullum, alongside brother Ben, have enlisted the help of original Underworld member Darren Emerson, then top it off with Matt White, guitarist for The Bays and The Egg, and Dave DeRose, drummer for Roisin Murphys band. Wow. I think you’ll be getting a full review on that!

The Sonar experience is split into two parts. Sonar by Day takes place in the centre of Barcelona from midday and is a great place to meet and network amongst a real variety of art and music. Sonar by Night is one crazy all-night party, out in the suburbs with the music taking place in huge arenas, hence the huge line-ups!

All this in the wonderful city of Barcelona, Gaudi’s playground, I just know that I’m going to be so torn and pushed for time, and ultimately, late for everything. Good job they don’t eat dinner until midnight.

Check the full Sonar Line up in our forums and add your comments here…

http://uk.music-jobs.com/forum/sonar-2008-thu-19-fri-20-sat-21jun-line-ups-announced-562112

Fancy working at a music festival this summer? Search our Jobs Board here…

http://uk.music-jobs.com/searchjobs.php

Lee Jarvis.

Well, here we go with the launch of the UK Music Jobs blogs! We hope to make your visit to the Music Jobs website a bit more informative and enjoyable, with news, reviews, advice and gossip from around the world.

My ’specialist subject’ is Dance music, although I aim to cover as much of the music world as possible. I love going to live gigs, so you’ll hear my rants on Jazz or Rock, and I’ll also bring you news from major labels and their latest troubles. I hope to cover these as completely as I can, and I expect a flurry of adulation / abuse as I attempt to do so. You guys may know more or feel different about what I write, so tell me so!  I want the emotional replies - blogs are supposed to be interactive, so please comment on anything you feel strongly about. I need to know what amuses and disgusts you so that I can delve deeper into the subjects that you all want to hear about.

The Music Industry is a big ol’ world, and I only have two hands and one groggy brain to try and get it all across to you…. but bear with me, it’ll be a fun journey.

Lee Jarvis.