Imogen heap where is she from

We both had an evening together as we were playing the same concert. I hadn't heard of her before, but I heard this song called "Do It" - and it's so amazing, her voice is just so great.

Ever since I was 17 I've been in the music industry and it's all about working and promoting and this and that and The Future. View agent, publicist, legal and company contact details on IMDbPro. Getting Started Contributor Zone ». Edit page. Create a list ». Left-handed female personalities! Favorite singers. See all related lists ». Share this page:. Clear your history. Heap is renowned for being inventive. She self-released her album Speak for Yourself long before it became popular to do so.

But these endeavours are likely to pale in comparison to her current project: to bring to life an entirely new landscape for distributing and monetising music and all its related data and content. What she hopes to emerge is the core of a revolutionary system she refers to as Mycelia.

It could completely transform the music industry. Music is in many ways a bellwether for the digital revolution. The products of many creative industries — art, music, books, papers, films — which were once solely physical objects, shipped, bought and carried home, are now digital files available on demand at next to no cost. Because digital files can be reproduced and shared infinitely and easily, the result in almost every industry has been more consumption and lower average returns, fuelling fears about how the people who make this stuff — the writers, artists and musicians — will get paid for it.

The modern music industry was created at a time when it made economic sense to produce a million copies of one vinyl record, and copyright could be successfully enforced. But as the industry went digital, the whole way music was made and sold changed.

In the early 00s, many feared the music industry would soon wither away as free streaming services and pirated content made music, de facto, free. Spotify, iTunes and YouTube, to their credit, came up with ways of monetising music again, turning pirates into paying customers. YouTube, which has many more users but no paid-for premium service, came up with something called Content ID. This has breathed new life and money into the industry. But the streaming and revenue-sharing deals that are now so important for the industry have also brought into sharp relief just how opaque and complicated the whole system is.

The structure of modern music production is Kafkaesque. An artist might sign a deal with a record label. There are sync rights, mechanical royalties, performance royalties. Consumers and music services pay different amounts for streaming, downloads and physical sales, and different amounts again to songwriters via collecting societies and publishers.

Different deals can be struck in different territories. Add to that a mild obsession with non-disclosure agreements and it can be close to impossible for musicians to work out what they are owed.

What should be a simple transaction looks more like a derivatives and futures market. I feel digitally torn apart; and in the data-driven era, the movement of music, money and feedback should be frictionless. A total rethink is in order. The more layers of bureaucracy, the more finely sliced the cake, especially as a growing proportion of money is coming from streaming services. There is money to be made if you can accumulate enough viewers, of course.

The brave new world of streaming and advertising might work for some, but there is a very long unprofitable tail. According to the website Information Is Beautiful , for a signed US solo artist to earn minimum wage from streaming, their songs would need to be heard more than 1m times.

No one really knows. They get by thanks to live shows. Having been burned by previous challenges with record labels Heap had been spurned twice by record companies, when Almo Sounds was sold and when Frou Frou's label staff focused on promoting other acts , Heap decided to form her own record label on which to release the new record. At the end of , Heap premiered two album tracks online, enabling fans to pay for a digital download, entitled " Just For Now " which was up for a limited time as a Christmas gift , and " Goodnight And Go ", which had been featured on the second season of hit US TV drama The O.

In April , The O. The track was released immediately to digital download services such as iTunes where it became an instant fixture in the chart. The track was released as a digital download on the 5th July in the UK and peaked at 8 on the iTunes download chart. The album was also released on iTunes UK, where it entered the top 10, selling strongly.

Due to popular demand, the track was commercially released on a special limited edition copies were printed 7" vinyl in the UK in September. It was released in those territories in November, and Heap appeared on the Hotel Cafe Tour promoting the record. Heap is slated to continue touring in in the US and UK to support the record. Three versions were recorded and are available from Heap's official web site. Heap's album 'Ellipse' features Canvas , Aha!

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