How to Get My Music on Spotify for FREE

There are millions of users all over the world who are already using Spotify. If you dont already know, Spotify is a music streaming service, which allows users to create playlists and listen to tracks from millions of artists worldwide. Previously, it hasnt been very easy to get your music on Spotify and as they are about to launch in the USA it is now very important to join the leading music service.

RouteNote allows artists to get their music onto Spotify and other streaming music services for FREE. All artists need to do is head to and signup for an account. Once you have signed up, you are able to upload your music and choose the partners you would like to send your music to. Its that easy!

There are so many other music distributors out there that charge artists a lot of money for this service, plus most also charge per store. RouteNote is the ONLY distributor that doesnt charge any upfront fees!

Spotify and other streaming services are very important for artists. These services dont currently make artists huge amounts of revenues (unless you have millions of plays). These services are used more for promotion and as the internet progresses these service will make a lot more money and it will become the main revenue stream for artists (just my opinion).

Anyways, make sure you head to and signup! Its that easy! Music Collaboration Tool which Allows Fans to Provide Feedback During The Songwriting Process

I came across a new music collaboration application that aims to help artists through the creative process. The app is called and as well as opening the collaboration process it also allows artists to share the songwriting experience with their fans.

This seems like a very interesting tool to allow fans to provide feedback during the song making process, which can only increase your fan loyalty. Check out the video below and let us know what you think of this new service.

Portishead Starting Work On Their Fourth Album

Speaking to the BBC, Portishead multi-instrumentalist Geoff Barrows said that he’ll begin writing the band’s fourth album this summer, that the band has signed with a new label, and how music festivals can boost album sales:

“I’m writing for Portishead through July and August… I just want to bang on and get another record done… It’s with a major. It’s with the biggest record company in the world. It’s with people we trust, which with a band is the most important thing… We did the Third record, it did incredibly well. We got very little support from the UK as we don’t represent a certain demographic of people, but we did Coachella [festival] and that was amazing.”

David Mapp and Lee Richardson – Алёна: VI Live Video

Remember that album I reviewed several weeks ago? You know, the offensive, intrusive and addictive Hip Hop? Well, David Mapp and Lee Richardson have uploaded onto their website a live video of the entire album being performed.

I was actually at this show and desperately wanted to share this with you all, so much so I’ve broken my own policy of only posting reviews!

Visit their website here for more information


Daft Punk To Release Tron Soundtrack in November

The soundtrack to Tron Legacy is one of the most anticipated! The Tron Legacy soundtrack which Daft Punk will be supporting on tour is set to be released on November 23.

According to another Amazon slip-up (via Consequence of Sound), the soundtrack will be released on Walt Disney Records as the film is being distributed by Walt Disney Pictures on December 17.

More Tron details coming soon!

Men at Work Have to Pay 5% Royalties for Plagiarism

Men At Work have been ordered to pay 5% of their royalties from their iconic ’80s hit “Down Under” following an earlier ruling they had plagiarized another song.

While the compensation figure should reach into six figures, attorneys for Larrikin had argued that damages in the region of 40% and 60% of royalties accrued by “Down Under” was reasonable.

Sydney-based Larrikin Music Publishing had launched proceedings against Hay and Strykert, EMI Songs Australia and EMI Music Publishing Australia, claiming the flute refrain in “Down Under” was lifted from “Kookaburra.”

Larrikin, a division of the U.K.’s Music Sales, had rights to represent “Kookaburra,” which was written in the 1930s by music teacher Marion Sinclair, a life-long supporter of the Girl Guide movement.

If Men At Work did plagiarize then it seems as though they go off very lightly.

Tom Caulfield – ‘Bare Bones’ (Pure Acoustica)

30th December 1915 – this is thought to be the date when a Public Address system was first used. It is humbling to know that a leap of only one hundred years takes us to a world of acoustic music by default. In this bygone world loudness is only available to large ensembles; a man alone can no longer fill a stadium with his songs or his kazoo.

Back in 2010, in southern England, there is a movement spreading named Pure Acoustica. This is not a record label or a genre as such; it is instead a collective of artists shepherded by the term’s founder, and fellow acoustic musician, Nick Tann. Nick is devoted to encouraging and promoting independent musicians – in particular acoustic musicians – and has a well-subscribed podcast that musicians/bands from around the globe are welcome to submit music for. Pure Acoustica is the alignment of Nick’s championing of independent artists with an ethos: the performance of music without microphones or amplifiers. While the pursuit of purity is nothing new, the intimacy that can be found in filling a room with an unaided voice is something worth pursuing. An audience must quieten to hear it; a performer must project their voice to an open space, not murmur softly into a hyped microphone like a latenight DJ.

But this article is not about a live performance, it is about singer-songwriter Tom Caulfield’s mini-album Bare Bones, recorded under the umbrella of Pure Acoustica. So how does Pure Acoustica translate to recording? An explanation can be found from Tom’s Bandcamp page.

[Bare Bones was] recorded the Pure Acoustica way; just a pair of nice microphones, all one take, no overdubs or drop-ins. No fancy effects, not even reverb. Just as if Tom was playing in your front room.

There is a problem when working to a strict ethos – it can sometimes sound better on paper than it does in practice. Audiences love to ‘see’ live performances, to match the artist’s physical effort with every nuance of the sound. But the abstract world of recorded sound is a cold blind place and it is for that reason that the quest for warmth and character on record has been so far-reaching.

Listening to Good You Got Away, with its hints of Bon Iver and its vivid storytelling, I am not wholly convinced by Tom’s vocal. I am sensitive to him holding back on some lines, while others flow much freer and without being able to watch him perform, the only story I can follow is what the vocal gives; the subtext of a man giving a single take is soon lost and forgotten. I’m inclined to wonder what it could have sounded like without the pressure of nailing it ‘all-in-one’ and with the facility to add a little reverb on his voice. This may have made an already sweet song even more magical.

Doomed To Be Beautiful is evocative of Tom Waits but lacking the incredible warmth of his recordings or grit of his voice. I do not think Mr Caulfield should aim to copy Mr Waits, but instead find a character to hang this delicate song upon. Personally, I would have loved to have heard some cello singing against Tom’s parched take. Catholic Girls confirms that Tom has a feel and talent for lyrics. ‘Everyone knows what Catholic Girls are like’ is a wonderful turn of phrase for a chorus and is a highlight of the album. Miss Valentines Last Stand continues with the rush of rhyming Jesus with Margaritas – very impressive – and the album closes with a gently funky guitar instrumental. I can’t help but wish it had some harmonica, or whistling or anything accompanying it, lovely though it is.

While Bare Bones is a fine document of Tom’s songs, this album trades magic for its ethos and this effectively stops it from flourishing. Pure Acoustica’s mandate makes excellent sense for live performances and I can thoroughly recommend going to see Tom and other Pure Acoustica artists live, in their natural habitat. For future recordings, I would suggest they either go to the great lengths of hiring chapels and candles to attempt the ultimate in one-take-wonders, or allow themselves a little more creative flexibility.

Buy a ‘Bare Bones’ CD (or download for free) here.

Learn more about Pure Acoustica here.

Find out more about Nick Tann’s podcast here.

Video: Chiddy Bang – Sooner or Later

Chiddy Bang is an artist on the rise and his new upcoming album The Opposite of Adults is eagerly anticipated. This video “Sooner or Later” has a heavy tone and is shot entirely from the first person view of Chiddy, live in Nigeria.

The message of this video calls for the Nigerian government to take responsibility for the poverty levels and the accompanying problems in the country … sooner or later.

Album Review: Guiye Frayo – Psychedelic Outer Space Dance

This week I’ve found myself a little confused by the E.P I’m reviewing – I can’t work out if it’s a real or not.

Psychedelic Outer Space Dance is Guiye Frayo’s fourth release, although I have to admit I’d never heard of them until earlier on this week. Apparently they are quite well known on “the scene”.

The band describes the E.P on their website thusly; “After several months of experimentation digging into funk, electronica and dance sounds we come up with a bunch of songs that will make you crash the mirror ball on the dance floor as we crashed ours with our spaceship” – this seems a bit of a desperate attempt to appear funky, from a band that sounds more like the Human League if the song writing were terrible rather than Galactic.

The E.P is thankfully very short, however Guiye Frayo have managed to double it in length by inexplicably whacking instrumental versions of the 3 songs at the end, I’ll come back to these later.

The E.P opens rather obnoxiously with a song called ‘Swimming’. The first thing you will hear is very stereotypical ‘funk guitar’, that screams “we’re trying to be funky, look at how funky we are” . The song evolves very unsubtly with basically no memorable moments other than a hilariously desperate “funk-breakdown” at the end of the song. The vocals are hard to make out and seem to have no relationship with the far too busy music.

The second track ‘London Pulse’ has a far too long introduction that insultingly sounds not dissimilar to something that the brilliant Parliament/Funkadelic might have opened a live show with. Guiye Frayo then go on to follow this with a three minutes or so of gloomy dross that doesn’t evolve at all.  I did enjoy that every time the lyric “London Pulse” appears the voice has been so heavily effected it sounded like “London Balls”, but not worth listening to the song just for that.

The final song ‘Fast Forward’ is by some distance the best track on the E.P. The vocals sound (in parts) as though they belong on top of the music and the song has a fairly solid structure with memorable hooks. There is an excellent break just before the second verse where most of instruments seem to actually interact with each other for the first time on the E.P.

So, the three songs done. Now we have the small matter of the ‘instrumentals’ to deal with. I really don’t understand why these are present at the end of the record. There wasn’t a single moment in any of the three songs that I was so blown away by the music I thought “my my, this is simply sublime! You know, I wouldn’t mind hearing all of these intricacies without the vocals in the way, so I can give them the attention they deserve”.
It strikes me as being very arrogant, putting instrumental versions of your songs at the end of an album. It assumes so much of the listener and even more of yourself. I also don’t understand why this has been done. I mean, admittedly in the case of the first 2 songs an absence of vocals is a minor improvement, but why were the vocals there in the first place? I can only assume that the vocals were included after the music had been written as a desperate attempt to provide a main focal point, but in doing so just added to this boring, overly complicated music with pointless, badly performed vocal tripe. They are not the only band guilty of doing this, and two very successful bands, both of whom I like (Biffy Clyro and Battles) could be accused of doing the same thing, although, both of these at least make moderately interesting music…

Anyway, I’m still none the wiser as to what the E.P is supposed to be, or if it’s a joke. I suppose I could try to learn more about the band by listening to their back catalouge and find out for myself, but, if it is a joke, I’m not sure it’s a funny enough one to waste my time on.

It’s certainly an experience and if you would like to know a little bit more about what I’m talking about, you can get the E.P from iTunes by clicking here or you can visit the band’s website here.

If you would like to be reviewed then please contact me; or @monkeyhotel