Signing Stories: Poly-MathDate Signed: November 2025Label: The Lasers EdgeType of Music: Prog, Math-RockPublicity: Earsplit PRWeb: poly-math.net

Sometimes, it’s all in the name. Poly-Math is English instrumental prog/math-rock quartet that was founded by Tim Walters around a dozen years ago.

“At the time, Tim was the drummer of math-rock band Monsters Build Mean Robots,” says band member Chris Woollison. “Initially founded as a three-piece with Joe Branton and [I], Poly-Math’s instrumental fusion of prog and math-rock was simply a side project at the time. However, only six months after the band started writing together we were booked to support math-rock legends And So I Watch You From Afar, and were shortly after booked to play the first ever ArcTanGent festival—the U.K.’s biggest math-rock and avant-garde music festival, which lead to us taking the project more seriously, eventually superseding any of our separate projects.”

While Woollison does describe the band as math-rock, he’s also keen to point out that the sound has evolved. “We started as a math-rock band, but definitely on the heavier, riffier side of that genre,” he says. “Initially, we took massive influence from the Mars Volta and Omar Rodriguez Lopez’ other projects. Also Deerhoof and Battles, as well as contemporaries in the U.K. scene like Three Trapped Tigers and Physics House Band. As we added more members--keys and then saxophone--we developed a more prog-rock/quasi-jazz sound, calming down a little from the punky energy of the first recordings and moving to a more expansive, considered sound that goes on a journey through styles and motifs but without losing any of the energy and power.”

Poly-Math signed to The Lasers Edge based on a deep appreciation for the label’s roster and catalog. They’ll be adding to that roster with the Something Deeply Hidden album. 

“We have recorded most of our live albums at Brighton Electric Studios because they have a fantastic live room and selection of gear,” Woollison says. “This time, we decided to record only drums at Electric and track the rest of the material in our home studios to give us a bit more freedom and time to experiment--a potentially risky choice because of the lack of time pressure, but we got it all together in pretty good time and sent it off to Mark to make sense of it and mix it. Mark Roberts is one of the most prolific engineers for alternative music in Brighton, U.K., and as always with Mark, we were instantly happy with the results.”

The band has more releases and plenty of touring planned for 2026, so keep your ears to the ground for Poly-Math news. The post Signing Stories: Poly-Math first appeared on Music Connection Magazine.

Sony Music buys 49% stake in music unit of Vietnam media giant YeaH1; companies launch new SYE Holdings joint ventureSME, through Sony Music Entertainment Hong Kong, agreed to acquire a 49% stake in YeaH1-owned 1Label for an undisclosed sum last month.
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Kid Rock, Live Nation to testify at new Senate Ticketing HearingThe battle over how live events are ticketed is heading back to Washington. On January 28, the Subcommittee on Consumer Protection, Technology, and Data Privacy will convene a high-stakes Senate ticketing hearing.
The post Kid Rock, Live Nation to testify at new Senate Ticketing Hearing appeared first on Hypebot.

China, US sign off on TikTok US deal, but uncertainty remainsBoth China and the USD have signed off on the TikTok US deal, according to multiple sources. But major uncertainties remain for artists, labels and all creators.
The post China, US sign off on TikTok US deal, but uncertainty remains appeared first on Hypebot.

Maroon 5 and the End of the Analog EraSennheiser this week released word that, with Maroon 5's "first tour to fully deploy Sennheiser Spectera, Dave Rupsch proves that wideband digital wireless is the future of high-stakes stadium audio."

"For 25 years, monitor engineer Dave Rupsch has occupied the high-stakes sonic cockpit for global icons like My Chemical Romance, Katy Perry, Megadeth, Red Hot Chili Peppers, Nick Jonas and more," a statement reads. "He has watched the industry undergo a digital revolution, seeing line arrays and consoles evolve into marvels of precision — yet one crucial link remained stubbornly tethered to the past. To Rupsch, a flawless, end-to-end digital IEM transmission was his 'white whale' and the 'utmost needed component to close the loop on modern concert audio technology.' This search felt like an elusive and unattainable goal for far too long."

"That search came to an end during the 2025 Maroon 5 tour. While Rupsch had spent years relying on industry-standard analog wireless systems, the increasing congestion of the UHF spectrum was becoming an unavoidable disruption."

Mark Chipeur, Business Development Manager at Sennheiser who worked directly with the band's audio team on Spectera deployment.

“Introducing Spectera to Maroon 5’s monitor team was about tackling real-world RF and workflow challenges head-on. Rolling the system out with them on the fly at the first Phoenix show in its especially congested RF environment was a true test, and Spectera delivered. Working closely with Dave throughout evaluation and deployment highlighted his deep RF expertise, thoughtful approach to system design, and ability to quickly translate new technology into a reliable, tour-ready solution. 

"Dave’s team had already coordinated their existing wireless Mics and IEM channels so we decided to use the clean RF spectrum in the Duplex Gap. Following this selection Dave wanted coverage not only on stage but also backstage. This helped us to determine optimal antenna placement for continuous performance.”

For further info, visit here.The post Maroon 5 and the End of the Analog Era first appeared on Music Connection Magazine.

Duetti secures $200m in fresh financing, led by $50m Series C equity investment from The Raine GroupThe funding consists of a $50 million Series C equity round led by Raine Partners and a $125 million private securitization.
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Ed Sheeran Is Letting Fans Curate His Setlists. You Should Too. Ed Sheeran is letting fans curate five songs in his setlist on his current tour. Is this something all artists should take note of?
The post Ed Sheeran Is Letting Fans Curate His Setlists. You Should Too.  appeared first on Hypebot.

Audiomack hits 50M monthly active users, adds Artist Pro toolkitAudiomack now has 50 million monthly active users fueled by 31% year over year growth. Learn how their human-powered curation and Audiomack Pro tools for artists are reshaping independent music discovery and marketing.
The post Audiomack hits 50M monthly active users, adds Artist Pro toolkit appeared first on Hypebot.

Remembering Those We Lost in 20252025 was a year where we lost many treasured musicians. Some legendary older artists whose time had unfortunately come, and some surprising younger names whose loss came as a sudden surprise. On AllMusic, we've tried to feature small tributes in recognition of these events, and now we look back at a selection of those who left their mark on music's history and will certainly be missed.

The Legal Beat: RAPPER RBX’S CLASS ACTION AGAINST SPOTIFYIn late 2025, Rapper RBX, whose real name is Eric Dwayne Collins, filed a class action lawsuit in federal court in California against streaming giant Spotify, alleging that Spotify failed to prevent streaming fraud. The action is on behalf of RBX as an individual and “on behalf of other members of the general public similarly situated.”

The lawsuit alleges that Spotify failed to prevent bots (bots are automated software programs that perform repetitive tasks over a network, also commonly known as fake users) from fraudulently inflating the number of streams for Drake, one of the most streamed artists on Spotify, with almost 81 million monthly listeners.

RBX first had success decades ago performing for labels Death Row Records and Aftermath Entertainment alongside Snoop Dogg and Dr. Dre. He is Snoop Dogg’s cousin.

Spotify is a massive company with over 713 million users, which includes 281 million paid subscribers; it offers over 100 million songs to these users and leads the audio streaming market.

In particular, the suit alleges that Spotify allowed “billions” of bot-generated streams, which increased Drake’s streams. Drake is not named as a defendant in the lawsuit perhaps because plaintiff had no proof that Drake was involved in any streaming fraud.

RBX contends that some Drake songs have gotten “more than a hundred million streams” which were from “areas with zero residential addresses.” The lawsuit further alleges that Virtual Private Networks (VPNs) were used to disguise some streams and some were apparently created by bots that “moved unreasonable locations between songs.”

The plaintiff claims that Spotify’s failure to keep bots off its platform has caused “massive financial harm to legitimate artists, songwriters and other rightsholders” due to the fact that income earned from streams on Spotify is paid to artists based upon a percentage of the streaming marketplace and that percentage is diluted by the failure of Spotify to keep bots off its platform.

The lawsuit alleges that Spotify’s efforts to eliminate bots are “nothing more than window dressing, inadequate at best.” RBX further contends that the more users Spotify claims it has “the more advertisements it can sell, the more profits the company can report.” 

The suit further states: “[T]his mass-scale fraudulent streaming causes massive financial harm to legitimate artists, songwriters, producers, and other rights holders whose proportional share is decreased as a result of fraudulent stream inflation on Spotify’s platform.”

Spotify claims that it does not benefit from artificial streaming and invests in “always-improving, best-in-class systems to combat it and safeguard artist payouts with strong protections like removing false streams, withholding royalties and charging penalties.”

According to Spotify’s website, it pays artists from a revenue pool and calculates royalty payments from the pool based on an artist’s share of the total amount of monthly streams.

In 2025, shares of Spotify increased to a stock market valuation of a 100 billion dollars. Many artists complain about low streaming income, believing that platforms like Spotify pay too little per play, thus making it hard to earn a living wage for all but very successful artists. The pay per stream rate is only about $0.004 on Spotify.

GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, GRAMMY-winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Litwak is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Litwak has been selected as a “Super Lawyer” by Super Lawyer magazine for 2022-2025. Email Litwak at gtllaw59@gmail.com or visit glennlitwak.com.

This article is a very brief overview of the subject matter and does not constitute legal advice.The post The Legal Beat: RAPPER RBX’S CLASS ACTION AGAINST SPOTIFY first appeared on Music Connection Magazine.

Vocana and Sonicbids Launch ‘Pay the Artists’ Live Gig Series Across NYCPay the Artists will bring independent artists and discovery-hungry fans to five venues across New York City starting in January 2026.
The post Vocana and Sonicbids Launch ‘Pay the Artists’ Live Gig Series Across NYC appeared first on Hypebot.

Milk & Honey continues UK expansion, signing Grammy-winning mixer Dan Grech-MargueratGrech-Marguerat has worked on breakthrough projects for artists including Lana Del Rey, Halsey, George Ezra and The Killers
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Free Instagram Edits App For Musicians: Marketing Made EasierFor years, the workflow for marketing music on Instagram and other short video platforms was a fragmented mess. Film on your phone, Airdrop to a laptop, edit in CapCut or Premiere, export, and Airdrop back.
The post Free Instagram Edits App For Musicians: Marketing Made Easier appeared first on Hypebot.

GRAMMY Nominations 2025: Best Immersive Audio AlbumThe 2025 GRAMMY nominations are here and we're going to help you to untangle it all right up until the big event, continuing with the Best Immersive Audio Album category.

Take a listen to the nominated albums below--who do you think will win?

See the full list of nominees in every category here.

All American F—boyAndrew Law, immersive mix engineer (Duckwrth)

ImmersedJustin Gray, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Justin Gray, Drew Jurecka & Morten Lindberg, immersive producers (Justin Gray)

An Immersive Tribute To Astor Piazzolla — LiveAndrés Mayo & Martín Muscatello, immersive mix engineers; Andrés Mayo & Martín Muscatello, immersive producers (Various Artists)

TearjerkersHans-Martin Buff, immersive mix engineer; Hans-Martin Buff, immersive producer (Tearjerkers)

YuleMorten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Arve Henriksen & Morten Lindberg, immersive producers (Trio Mediæval)

Duckwrth photo by Dana GoldsteinThe post GRAMMY Nominations 2025: Best Immersive Audio Album first appeared on Music Connection Magazine.

On… Warner’s cutbacks, and the bigger story.The following article originally appeared in Tim Ingham’s latest ‘Tim’s Take’ email, issued exclusively to MBW+ subscribers.
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