3 Oscar Nominations for ‘Albert Nobbs’ – A Film Featuring The Soundtrack by Irish Composer Brian Byrne
The critically acclaimed film “Albert Nobbs” has been nominated for 3 Oscars at the 84th Academy Awards in the following categories: Best Actress, Best Actress in a Supporting Role and Best Makeup.
The films’ sumptuous score is written by US–based Irish composer Brian Byrne and is published by leading Irish music publisher Bardis Music. It previously received a Golden Globe nomination for his song “Lay Your Head Down”. The song, performed by Sinead O’Connor and co-written by Glenn Close, features on the Rodrigo Garciá directed, “Albert Nobbs”, and was nominated in the Best Song category. The film score was composed by Brian and performed by the RTÉ Concert Orchestra.
“Albert Nobbs”, set in 19th century Ireland and co-written by Glenn Close and John Banville, also received Golden Globe nominations in the Best Actress (Glenn Close) and Best Supporting Actress (Janet McTeer) categories.
Brian Byrne has worked as a composer, conductor, songwriter, arranger and pianist in the US and Europe since relocating to LA from Ireland in 2003. Brian won an IFTA for his score of Irish sci-fi comedy, “Zonad”, and then went on to score indie drama, “The Good Doctor”, featuring Orlando Bloom.
Brian’s previous film work includes conducting and arranging the scores to Jim Sheridan’s Oscar-nominated “In America” and Kristen Sheridan’s drama, “Disco Pigs”.
Most recently Brian was commissioned to write a fanfare for Her Majesty the Queen’s state visit to Ireland.
Due to the recent change in our Tours & Residencies submissions policy, which is effective for submissions for our July 2012 distribution, we can no longer accept paper or email submissions for Tours & Residencies.
Circa 90% of live performance submissions received from members for our Tours & Residencies Scheme are now submitted online via the members area of the IMRO website.
By moving to processing online submissions only, we are reducing the administration costs for processing Tours & Residencies submissions from 30% to 10%. Under the same policy change we are increasing the gross payment per venue per night from €15.24 to €20.00. Taking into account the previous administration cost of 30% on a gross payment of €15.24 versus the new administration cost of 10% on a gross payment of €20.00, there should be a noticeable increased net payment to our members for Tours & Residencies.
Therefore we would ask that you submit your Tours & Residencies via the members area of www.imro.ie – we encourage you to regularly submit your live performance details and set lists online. Once a set list has been submitted online, it can be used against any number of gigs. You can also track when your submissions have been processed online.
Royalties for Tours & Residencies taking place between July and December 2011 will be paid in our D122 July 2012 distribution. In order for eligible performances to be included in the D122 payment, please submit your July to December 2011 performances online by Wednesday 29th February 2012.
If you have not already done so, please register for online access to the members area of this website, where you will be able to view & update your correspondence details, view statements online, register new works, view your repertoire of registered works and submit live returns to us.
Should you have any questions about logging on & registering as a new user, please contact the IMRO Membership Department at Ph: 01-6614844 or by email at ei.ormi@pihsrebmem
The introduction of this change moves us closer to paperless processes and the delivery of associated cost and service benefits to members.
Swords are a three-piece electro-indie band formed in 2010 from Dublin, Ireland consisting of Diane Anglim (Vox, Keys, Synths, Loops), Jarlath Canning (Bass/Guitars, Synths, Samples, Loops) and Ian Frawls (Drums, Percussion, Loops).
Swords’ debut demo was received positively by Irish critics, with Hot Press Magazine’s Jackie Hayden making Swords his “pick of the fortnight” in May 2011, noting their ticking rhythm and brilliant hooks. The same publication subsequently praised Anglim’s “deceptively caustic vocals”. In September 2011 Swords were featured as Music Review Unsigned magazines artist of the month. October 2011 saw their track “Chasm” winning the Hot Press and Bulmers Berry ‘Who’s Hiding in The Undergrowth’ competition and the band featured in a full page interview and photo shoot in its mid October edition. Most recently BalconyTV’s video blogger Tina Edwards described Swords track Chasm as Electronica meets Zooey Deschanel. Jim Carroll of the Irish Times also featured Swords in his “New Music” section of the Irish Times’ “The Ticket”, noting that they were a band to watch out for.
It was Mastered in Abbey Road Studios London by Adam Nunn
CISAC publishes economic survey of authors’ society royalty collections.
Despite a challenging economic environment, 2010 proved a positive year for creators: Royalty collections hit a high note & climbed 5.5%
MIDEM, Cannes, January 30, 2012 –The annual Global Economic Survey released by CISAC, the International Confederation of Societies of Authors and Composers, shows gross royalty collections climbed 5.5% year-on-year. That was a second consecutive year of significant growth, following a 1.7% rise in 2009, with the slight dip seen in 2008 failing to halt the steady climb of collections over the last 7 years—in striking contrast to the performance of other cultural sectors.
“These positive results show the solidity and efficiency of the international network of authors’ societies represented by CISAC,” said the confederation’s Director GeneralOlivier Hinnewinkel.
“Here is proof,” he added, “that collective management is the solution for today and tomorrow, generating wealth for creators while withstanding economic changes and supporting digital music markets.”
Key figures for global collections in 2010
€7.545 billion—total gross collections from CISAC member societies
+5.5%—worldwide year-on-year growth (in current €).
61% of global collections were generated in Europe(€4.6 bn)
73% of collections were from public performance royalties
86% of collections were accounted for by musical repertoire
+15%—growth for audiovisual repertoire.
The Survey was based on data provided by CISAC members—232 authors’ societies in 121 countries, representing more than 3 million creators and publishers of all artistic genres.
Mr Hinnewinkel said that, “The growth has been delivered through the hard work of CISAC members who are constantly looking into improving their costs, expanding coverage of their own territories and adapting to the constantly-changing ways their repertoire is used, especially in the digital sector.”
Emphasizing the contribution authors’ rights can make to global economic development, the overall rate of growth for royalty collections during 2010 slightly exceeded that of world GDP (5.1%, according to IMF figures).
That growth came across the globe, with particularly dynamic performances in the Latin America-Caribbean (+21%) and Asia-Pacific (+12%) regions. North America saw growth of 5.7%, although Europe remained somewhat muted, at 2.3%.
The year also saw an unexpected recovery in mechanical reproduction royalties for recorded works, driven by results in North America, Asia and Latin America and by the digital sector.
However, public performance continued to provide the lion’s share of revenues for creators and music publishers, climbing 7.5% to €5.5 billion, or 73% of all revenues. With the advertising market predicting growth through to 2014, those figures are expected to climb further.
With 56% of public performance revenues accounted by broadcasters, radio and television remain the predominant royalty source (39.8% of all collections). Revenues from the phonographic industry accounted for 23.4% of all collections, representing the second major source of royalty collections. But while collections from the digital sector rose 22% in 2010, they have still not offset the decline in royalties from physical sales and remain a very limited source of revenues (1.7% of collections).
Nevertheless, the flow of revenues from the digital sector is set to continue increasing. The growth rates for streaming and downloads were very high, reflecting the expansion of licensing contracts for these two types of music use.
“IFPI recently reported that major international digital music services such as iTunes, Spotify and Deezer are now present in 58 countries,” said Mr Hinnewinkel,“compared to only 23 at the start of 2011. CISAC members are now well placed to develop this market as it expands.”
The Irish Music Rights Organisation (IMRO) is delighted to announce the fourth IMRO Live Music Venue of the Year Awards will take place on Tuesday February 28th, 2012 at IMRO Buildings in Dublin.
The annual Awards celebrate the dedication and passion of those who work in Ireland’s live music venues, who provide the public with an exceptional live music experience week in, week out. Hundreds of venues across the country were considered for the Awards shortlist by more than 8,000 IMRO members. Venues were judged on their commitment to providing the core elements that make for a great live music venue – atmosphere, sound and lighting, staging, diversity of programming and most importantly, the staff and management at each venue. IMRO members also voted on Ireland’s music festivals, delivering a shortlist of ten festivals in the final tally.
Live music venues and festivals play a pivotal role in the music industry in Ireland, giving international and home-grown artists a platform to engage with fans and build new audiences. They also play a central role in urban and rural communities across the country, providing a social gathering place for audiences of all ages and musical tastes and contributing hugely to the domestic economy. Of the Awards announcement, Victor Finn CEO of IMRO said: “An extensive and vibrant venue network is the lifeblood of any strong live music sector. These awards acknowledge and applaud those venues and festivals throughout Ireland that excel in creating a memorable and exhilarating environment for music fans and performers alike”.
At the ceremony in IMRO HQ in Dublin on February 28th, awards will be presented to the leading live music venue in each of the following regions: Dublin, Leinster (excluding Dublin), Connacht, Munster and Ulster (covering Donegal, Monaghan and Cavan). The IMRO Music Festival of the Year Award will also be presented. One overall award will be presented for the IMRO National Live Music Venue of the Year. This Award is decided upon by the public, who vote for their live music venue of the year from the combined shortlist of all regions. Live music fans should simply log on to www.surveymonkey.com/s/venueawards and choose their favourite from the shortlist provided by Sunday February 19th. One lucky participant will win an iPod Touch.
The Hot Press Live Music Venue of the Year Readers Poll will also be part of the Awards and Hot Press fans can vote at www.hotpress.com/readerspoll . Editor Niall Stokes said: “2011 was another fantastic year for live music in Ireland. Venues across Ireland worked really hard to bring great music to the people, offering a huge range of choices to artists and fans alike. It takes real courage to invest in putting on live music in today’s economic climate, so a big thanks and congratulations are in order for everyone involved in making the Irish live circuit such a thriving scene.”
The IMRO Live Music Venue of the Year Awards have become an important badge of merit for venues across the country since its inception in 2008. Dublin’s Olympia Theatre took home three awards in 2010 and Brian Whitehead CEO of The Olympia said of the Awards: “It was a real honour to have our theatre and staff recognised and loved by industry professionals and music fans alike. The awards themselves take pride of place on our walls, so everyone from backstage staff to bar staff to housekeeping staff can be proud of their achievements.” Having won the Connacht region award for four consecutive years, Roisin Dubh promoter Gugai said: “There are plenty of music awards out there, but it’s great to have the IMRO Live Music Venue Awards to acknowledge the great work done by the staff in venues around the country.”
IMRO are now delighted to announce the venues that have been shortlisted in this year’s IMRO Live Music Venue of the Year Awards.
Web: imro.ie / Facebook: Imro.Ireland / Twitter: @ImroIreland
For further media information contact Aileen Galvin at Entertainment Architects
01 9056382 / ei.dtlae@neelia / www.entertainmentarchitects.ie
|IMRO Live Music Venue Awards 2011|
|IMRO Dublin Live Music Venue of the Year Award|
|The Button Factory|
|The Grand Social|
|IMRO Rest of Leinster Live Music Venue of the Year|
|Birr Theatre & Arts Centre, Birr, Co. Offaly|
|The Spirit Store, Dundalk, Co. Louth|
|Mermaid Arts Centre, Bray, Co. Wicklow|
|The Watergate Theatre, Co. Kilkenny|
|Wexford Opera House, Co. Wexford|
|IMRO Connacht Live Music Venue of the Year|
|The Dock Arts Centre, Co. Leitrim|
|Town Hall Theatre, Co. Galway|
|Roisin Dubh, Co. Galway|
|Hawk’s Well Theatre, Co. Sligo|
|Roscommon Arts Centre, Co. Roscommon|
|IMRO Munster Live Music Venue of the Year|
|Cyprus Avenue, Co. Cork|
|Crane Lane, Co. Cork|
|Cork Opera House, Co. Cork|
|Theatre Royal, Co. Waterford|
|University Concert Hall, Co. Limerick|
|IMRO Ulster Live Music Venue of the Year|
|Allingham Arms Hotel, Bundoran, Co Donegal|
|McGrorys, Culdaff, Co. Donegal|
|The Abbey Hotel, Donegal, Co. Donegal|
|Voodoo, Letterkenny, Co Donegal|
|Ramor Theatre, Virginia, Co. Cavan|
|IMRO Music Festival of the Year|
|Live @ The Marquee Cork|
|Templebar Trad Festival|
|Temple House Festival|
|Galway Arts Festival|
Dublin – 17th January, 2012 – The Irish Music Rights Organisation, (IMRO), today announces it has agreed to licence its Music Rights Royalty Distribution System to the Canadian Musical Reproduction Rights Agency, (CMRRA).
CMRRA is a music licensing agency, which represents the vast majority of music copyright owners (music publishers) doing business in Canada. On their behalf, CMRRA issues licenses to users of the reproduction right in copyrighted music. Licensees pay royalties pursuant to these licenses to CMRRA and, in turn, CMRRA distributes the proceeds to its publisher clients. CMRRA is based in Toronto and has approximately 100 fulltime staff.
“The music industry is facing major changes and challenges that are impacting the ability of songwriters to be compensated fairly for their work,” said David A Basskin, president and CEO of CMRRA. “In order to respond to unprecedented demand for licensing, and to best provide for the collection and distribution of royalties, we have decided to invest in new technology to allow for improved processing and communication between all parties involved.”
Having carried out a competitive tender process for the replacement of its current systems CMRRA selected the IMRO system. The IMRO system was proposed by Spanish Point Technologies who will use it as the basis to deliver the new system for CMRRA.
The innovative design and the successful implementation of the IMRO system was recognised by Microsoft when it awarded Spanish Point the Worldwide Partner of the Year Award. The solution has achieved significant cost reductions for IMRO while at the same time handling an increase in data volumes. This is also a key objective for CMRRA.
‘”We are pleased to deliver real cost efficiencies to both CMRRA and IMRO members by sharing our IT development to-date and agreeing collaborations on future joint enhancements to our systems” says Victor Finn, Chief Executive Officer, IMRO
“CMRRA is a sister copyright distribution agency and we are delighted that they have selected the IMRO system to replace their legacy system. Built on a modern Microsoft platform it is capable of scaling to handle very large amounts of data The thousands of man hours of design, development and testing effort which our team and our implementation partners put into the system will ensure CMRRA have a great platform on which to deliver a best in class service to its publishing members. “. Says Declan Rudden, Director of I.T. and Distribution at IMRO.
Ends 17th January 2012
For further information contact:
Keith Johnson, Director of Marketing & Membership (IMRO)
Tel: 01-6614844 Fax: 01-6763125 E-mail: firstname.lastname@example.org
Notes for Editors:
IMRO is a national organisation that administers the performing right in copyright music in Ireland on behalf of its members – who are songwriters, composers and music publishers – and on behalf of the songwriters, composers and music publishers of the international overseas societies that are affiliated to it. IMRO does not represent the interests of record labels. Their interests in Ireland are administered by Phonographic Performance Ireland (PPI) and their representative trade body is The Irish Recorded Music Association (IRMA). IMRO’s function is to collect and distribute royalties arising from the public performance of copyright works. IMRO is a not-for-profit organisation.
Music users such as broadcasters, venues and businesses must pay for their use of copyright music by way of a blanket licence fee. IMRO collects these monies and distributes them to the songwriters, composers and music publishers who created the songs. The monies earned by copyright owners in this way are known as public performance royalties.
IMRO is also prominently involved in the sponsorship and promotion of music in Ireland. Every year it sponsors a large number of song contests, music festivals, seminars, workshops, research projects and showcase performances. Indeed, IMRO is now synonymous with helping to showcase emerging talent in Ireland.
About Spanish Point
Spanish Point Technologies is an innovative software company working with Microsoft technologies to provide business systems which remove complexity, increase productivity and connect users to critical business information. They employ technologies such as SharePoint, Microsoft Office, BizTalk, SQL Server and their own LookupPoint™ to build great solutions.
Headquartered in Dublin Ireland, Spanish Point provides consulting and solution build services on Microsoft’s core information worker and related technologies. Their innovative LookupPoint technology displays line of business information directly in Microsoft Office and is a great example of the power of the Microsoft Office platform and Spanish Point’s design and software development skills.
The pre-eminent Irish independent label of the post-punk era Reekus Records celebrates 30 years in existence with a broad and varied selection from its sometimes roster, including selected rarities and previously unheard material.
30th years safter the release of Kaught at the Kampus, this 40 track, 2 CD compilation album features tracks from that first release right through to the current and future releases. All of the 20 tracks on CD1 are available on CD for the first time including two ‘lost tracks’ from Microdisney, which were recorded in Windmill Lane studios in 1981 but unreleased at the ti me, and two unreleased tracks from Paul Cleary/The Blades, and the album also features the classic Blades single, the original version of Downmarket. Among the other tracks from the early days are gems from Belfast’s Big Self, and the original Aslan recording of their classic hit This Is. Known as the ‘demo’ version, this was released in May ’86 and is said to be the longest playlisted single on Irish radio; Aslan subsequently went on to sign with EMI and re-record ‘This Is’ for that label, though to the afficiandos the original Reekus version has a greater warmth and feel than the later versions. ‘Please Don’t Stop’ the b-side to the original 7” vinyl version of This Is, is also included, as is the b-side from the original 12” version ‘Been So Long’. Also included on CD1 are tracks from Some Kind Of Wonderful, Montage, Nigel Rolfe, Barry Warner, The Camino Organisation and Nun Attax.
CD2 features tracks from 2000 onwards a including Paul Cleary, Sweet Jane, The Radio, Perry Blake, and Saville, Deetrich, Saccade and Keith Moss.
Hotpress supremo Niall Stokes, commenting on the album says:
“Independent record labels are crucial to any music scene – and in many respects Reekus Records has been the outstanding independent label in Ireland over the past 30 years. It is extraordinary to look back at the roll-call of great artists that the label has incubated and supported at different times – including The Blades, Big Self, Nun Attax, Micro Disney, Aslan, The Moondogs, Perry Blake, Saville and David Hopkins, among them, as well as recent contenders like Saccade and Sweet Jane, among others.
Running an independent label is a labour of love – and in that respect no one has shown a more genuine and enduring love for the music than the label founder, driving force and inspiration, Elvera Butler. Irish music owes her a huge debt of gratitude – and the release of this 2 CD ‘Best Of’ celebrating 30 years on the road for Reekus is as good a time as any to repay it. Here’s to another 30 years!”
Too Late To Stop Now is scheduled for its official release on Friday March 2nd 2012, though pre-release copies are available for purchase online from the Reekus website and at Tower Records in Dublin.
SWEET JANE beat off stiff competition from over two thousand international entries, to win the NBC Universal synch pitch competition at this year’s Midem, the world’s biggest music industry event; Sweet Jane were the only band chosen from outside the USA. NBC Universal are responsible for many of the more popular US television shows, including Being Human, Royal Pains, In Plain Sight and Suits, and loved the Sweet Jane music submitted -here’s what they said about them.
On January 7th Irish singer-songwriter and pianist Lisa Cuthbert launches the crowdfunder campaign for her new album ‘Paramour’:
‘Paramour’ is inspired by the stories of female inmates at Ireland’s former Magdalene Asylum laundries during the 19th and 20th centuries, the Irish Catholic church ran Magdalene laundries as a means of rehabilitating “fallen women”.
Paramour will be Cuthbert’s second studio album and the follow-up to her debut Obstacles, released in 2010. Cuthbert says the new material is “darker and more dramatic than my first album, which was an accessible singer-songwriter album. This time we’re going a little bit further.”
Planned as an independent release, Paramour’s funding goal of €5,000 will cover the “production of the album, advertising, marketing, and distribution” and sponsor reward packages on the her Sponsume funding project page include feature incentives such as unlimited access to online performances for one year, custom song recordings, and private shows.
Irish singer-songwriter and pianist Lisa Cuthbert makes music that has been described as a dark, brooding mix of eclectic sounds with a Celtic twist. Informed by such dynamic influences as Tori Amos, Joni Mitchell, Kate Bush, and Loreena McKennitt, Lisa’s work is distinguished by haunting, ethereal voice, dramatic song writing, and layered harmonies. Through songs that explore memories, moods and feelings Cuthbert aspires to a deeper emotional affect that draws listeners into fervent reverie.
Grab Radio world
Grab Radio World is an app for music lovers everywhere. The app allows the mobile user to listen to over 40,000 radio stations from all over the globe. The unique thing about Grab Radio is that it enables the user to purchase the songs they love directly from the Apple Store. The app lets people build up all their favourite tunes into a must have playlist.
Grab Radio Benefits
The listener can browse through five different categories; local radio; talk radio; sports; music genres; and they can also browse by location. The user can add their favourite stations to the favourites list.Grab Radio gives users easy access to free music on YouTube as they can go directly to the song on YouTube as it is playing on the radio by the click of a button. The ‘more’ button also allows users to link up with your favourite artist on Facebook, Twitter and MySpace.
Other features include a built in Shazam feature to identify new music and sleep timer which fades out gradually allowing the listener to fall asleep to their favourite station.
Grab Radio is currently available for iPhones, iTouch, iPad and Nokia smartphones. Grab Radio has just gone into partnership with Microsoft to launch the app on the Mango version in early February. Grab Radio World will also be coming soon to Android.
Ovi Store: http://store.ovi.com/search?q=grab+radio
★★★★“…The sheer volume of stations you can access is amazing!” iphoneappcafe.com
- Best new business at the Sunday Business Post ‘Out on Your Own’ conference 2009
- 02 App of the week!
- One the few projects to get investment offers on RTE Dragon’s Den* 2010
- Ulster Bank business achievers award finalist 2010
- 2010 Appys ‘Best Media APP’ award finalist
- Nokia North America ‘Calling all innovators’ finalist 2011