On Our Radar (10/28/14)

zipDJ_OnOurRadar-BLOGsizeHigh Contrast & Clare Maguire – Who’s Loving You – Virgin/EMI
Aiden Jude – Words (Erick Morillo Remix) – Crowd Records
Chris Brown – New Flame (Dave Aude Dance Remix) – RCA
JJ Mullor – Magic Guiro (Andale Song) – Indie/Vendetta
Michael Woods ft Lauren Dyson – In Your Arms (Out Of Office Vocal Mix) – Spinnin
Years and Years – Desire – Virgin/EMI
Secondcity – What Can I Do feat Ali Love – Ministry of Sound
Richard Grey ft. Kaysee – Where Is The Love – Tommy Boy
Markus D’Ambrosi ft. Tony Davis & Christian Milano – Sex Machine (Tribute to James Brown) – Indie/Sounds United
Moonrabbits ft. Kyle Pearce – See the Sunrise – LaChappelle







4square Music, France
Area 51 Records, United States
Atticus Music Marketing, Belgium
Bedrosian Records, United States
Belle Epoque Records, Germany
Benka Records, France
Build It Deep, United States
Catblack, Greece
Conic Records, Italy
Dashing Records, United Kingdom
Droproom Records, United States
Explosive Beatz, United Kingdom
getNdance Records, Switzerland
Hy-Land, Puerto Rico
Juicy Music, United States
KHB Music, Germany
Loony DoGGz Records, France
Loser Producer Records, Netherlands
Maloos Music, Canada
Matell Records, United States
MegaDJ Records, Spain
Melissa B, United States
Musical Noize, Italy
Planet Rock, Canada
Punks Music, United Kingdom
Spundae Black, United States
Strawberry Digital Made Recordings, Mexico
The Slip Records, United States
Thump Records, United States
Tre’dmarks Music Group, United States
Turning Wheel, Switzerland
Tyme Records, United States
UR Recordings, Germany
We Are Intelligence, United Kingdom
We Play Acid, Portugal



A solution to the long-contested issue of nightclub performance royalties may come in the form of a small black box. Leading audio-equipment manufacturer Pioneer has developed a product — KUVO, a play on kumo, the Japanese word for cloud — that is plugged into a mixer and tracks each song played through cloud-based technology. And the company, supported by the newly formed Association for Electronic Music, will share the data with performing rights organizations for free.

The move is part of AFEM’s “Get Played, Get Paid” campaign, which seeks to steer performance royalties into the hands of songwriters and producers by streamlining the methods used by rights organizations to track music played in nightclubs. AFEM estimates that about $160 million worldwide was lost due to misallocated performance royalties in 2013.

“For 25 years, the problem has been a lack of granular data,” says AFEM CEO Mark Lawrence, previously of the United Kingdom’s Performing Rights Society. “Now, we have that.”

Mark Grotefeld, Pioneer’s head of marketing in Europe, stresses that talks with ASCAP and BMI are in the early stages, but notes that Australia’s performing rights association has signed on and will offer boxes to clubs with membership. The U.K. and Swedish rights societies also are in talks to use KUVO data.

Pioneer builds around 80 percent of the world’s DJ booths, so the decision to give the data away wasn’t easy, says Grotefeld.

“The immediate default position was, ‘Data is money. Let’s monetize this,’ ” he says, “but the performing rights societies aren’t our customers; the producers and clubs are. We’re bringing more money to producers and ultimately our business.”

In recent months, Pioneer has been testing the technology in 500 clubs around the world. It will continue to provide boxes to clubs for free so long as the program is financially sustainable, says Grotefeld.

For the initiative to work, the fiercely independent dance-music industry will have to formalize, with producers and songwriters joining performing rights societies and registering their songs. AFEM estimates that only three of the top 10 songs on online dance retailer Beatport’s chart are registered with rights organizations. Nightclubs, too, will have to acquire licenses.

“DJs will have to start treating what they’re doing like a business,” says Gordon Firemark, a Los Angeles entertainment lawyer, “if they expect to get paid for it.”

This article first appeared in the Oct. 25 issue of Billboard.