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  1. Yesterday
  2. Canberra electronic producer, Amastro (real name Angus Murphy) has been makig some serious waves in the electronic scene over the past months. And the energetic young producer returns in full force dropping his independently released sophomore EP titled “Insecure Demons“! The project has given Murphy the ability to explore some of his own insecurities and internal demons. Speaking to Stoney Roads about the EP, he said, “I really wanted to explore more of my spirituality and to be able to share my journey. This release includes a bunch of songs that I’ve wanted to listen to when I am chilling out but haven’t been available”. Having been on the scene just over two years now, he has had countless opportunities playing on some of the biggest and most prestigious Australian stages. With a tour set to supplement the EP release, and a supporting set during Carmada’s club tour, Australians will have plenty of time to acquaint themselves with the young producer! Check out a track-by-track review from the man himself below and stream Insecure Demons now! Tiger It was the 5th show on tour with Boo Seeka & Bootleg Rascal. Alcohol & drugs were flowing, yet for a moment in greenroom chaos, I was sober & tranquil. I felt a dark presence so I started meditating. I asked for protection for my divine light when suddenly a tiger entered my minds eye and destroyed the darkness. Inhibitions The track was inspired by the three days spent at Lost Paradise Festival, where I meditated in the forest and danced like a gypsy all night long. The track was referred to as the “mushie song” by Triple J listeners haha. Self Destruct Constantly touring and juggling both projects Gold Member & Amastro, I started to self-destruct. Thought maybe I was just crazy and that there was no greater meaning to life/nothing matters but then I found meaning in the meaningless. Pretty Scars Pretty Scars is an ode to the broken like me. It’s about the beauty you find within yourself after self-destruction. The love we discover for the scars of our experiences and the strength in our weaknesses. – Catch Amastro in a city near you soon! Source
  3. Man, did Nirvana hate stardom. And not in the prefabricated, posturing way bands typically pretend to. There was a purity to the Seattle trio’s indifference to (or, in frontman Kurt Cobain’s case, an outright disdain for) its own success that was nearly as compelling as its already-great music. Now, almost 25 years after the band’s tragic dissolution, Nirvana’s appeal still in part stems from the ways the band provoked those who tried to glorify them. There’s the now-infamous Rolling Stone cover in which Cobain wore a shirt declaring that “Corporate Magazines Still Suck”, or the time he toyed with network censors by playing the first few bars of “Rape Me” live at the Video Music Awards. But Nirvana saved its most subversive, insolent trick for the very end. No one was ready for Nirvana to become the biggest band in the world in 1992. That goes double for Cobain, who wore his band’s worldwide fame like an itchy sweater he was dying to strip off. Nevermind did the unthinkable by tailoring ugly, underground rock for pop consumers, and it remains one of the most fascinating pop music evolutions of the past 30 years. But In Utero, the band’s third and final studio release, is amazing in the complete opposite way. If Nevermind built Nirvana into the biggest band in the world brick by brick, then In Utero was the wrecking ball they desperately tried to use to smash it all to smithereens. Forget any concerns about measuring up to the stratospheric expectations of its predecessor. This was a harsh, uncompromising rebuke of Nevermind’s polished, pop-friendly take on grunge and punk, a record that made the then-chic “alternative” moniker seem as tepid as tap water. Nirvana Rolling Stone Cover 1992, photo by mark Seliger The abrasive record Nirvana was aiming for required the right producer. The trio demoed songs extensively and considered working again with Jack Endino, who produced the band’s 1989 Sub Pop debut, Bleach. In the end, however, Nirvana enlisted the services of revered engineer and indie rock figurehead Steve Albini, who by then had developed the raw, powerful studio sound that has long become his signature. The band came into the record fans of Albini’s work, with Cobain citing the Pixies’ Surfer Rosa and The Breeders’ Pod as specific influences for the kind of sound he wanted for In Utero. Albini, on the other hand, chose to work with the band out of respect for the band’s mission to push back against their own stardom. His agreement to take on the band came with an edict: There would be no label reps, handlers, or other sorted interlopers allowed during the two-week sessions. The band agreed, going so far as to pay for the sessions out of pocket to distance themselves from label interference. Recording began at Pachyderm Studio in Cannon Falls, Minnesota, in February 1993. Nevermind might boast Nirvana’s best songs, but nothing in the band’s catalog sounds as brutally cathartic as In Utero. The bulk of the album’s tracks were recorded live with a full band, and the results teem with propulsive energy. Dave Grohl’s drums arguably steal the show, and Albini reportedly used as many as 30 mics to catch rock and roll’s most hard-hitting drummer at full throttle. Atop Grohl’s percussive assault, primal guitar sounds and raucous distortion further took Nirvana’s sound in a decidedly less commercial direction. The band often played up to this change in approach, nowhere more so than on “Radio Friendly Unit Shifter”, a track that despite its cheeky title never stood a chance of landing on an FM dial. “tourette’s” slams with the reckless punk abandon of a bunch of misfits bashing out in their parents’ garage, while the flashes of experimental guitar on “Milk It” sound like a nod to art-damaged underground heroes like U.S. Maple and Jesus Lizard. Even the catchiest tunes on In Utero sound too dark for mass embrace. Singles “Heart Shaped Box” and “All Apologies” are great additions to the Nirvana cannon, but they’re not the anthemic rally cry that “Smells Like Teen Spirit” was. But this was all precisely by design. Having reached the pinnacle of the pop music landscape, Nirvana were now trying to come crashing back down to Earth. Despite some pushback from the band’s label and management about the record’s relatively non-commercial sound (as well as additional remixes that were done after their work with Albini had finished), In Utero was released on September 21, 1993. Cobain was deliberate about his attempt to shed a good portion of the band’s fan base with In Utero, but he ultimately failed. The record landed at No. 1 on the Billboard Top 100 while critics continued to heap praise on the band. The verdict was in: There was nothing that Cobain and Nirvana could do to get out from under the success that had come to them. They had become the anointed ones, poster children for the alternative rock generation. Cobain tried to creatively bring his world back into some kind of balance to no avail, and as the pressures of fame and success continued to mount, the singer’s drug addiction and depression ultimately drove him to do the unthinkable. Cobain would be found dead in his Seattle home of a self-inflicted gunshot wound on April 5, 1994, barely six months after In Utero’s release. Before Cobain’s death, it might have been easy to write off In Utero as some sort of chaotic ruse or the work of a band trying maybe a little to hard to sell the world on its anti-establishment bona fides. But knowing what we know now, it’s hard to dismiss the sincerity behind the record’s aggression. In Utero is the work of a truly gifted but troubled songwriter walking perilously close to the edge of his personal cliff, and the record is loaded with overt references to his struggles. Cobain touches on selling out his principles ( “Teenage angst has paid off well/ Now I’m bored and old,” he sings on album opener “Serve the Servants”), depression (“I miss the comfort of being sad,” he bemoans on “Frances Farmer Will Have Her Revenge on Seattle”), and his general confusion about his lot in life (“Dumb”). Hindsight is 20/20, but it’s hard 25 years later not to listen back on In Utero as equal parts artistic achievement and cry for help. Nevermind might be the record that Nirvana is forever remembered by, but In Utero is arguably the truest representation of what Nirvana truly was, a massive band with the principles and integrity of one half its size. Cobain’s fear of selling out drove much of his band’s final studio record, but those fears were unfounded. Nirvana’s last stand isn’t just a great record by grunge’s flagship band. It’s a difficult but ironclad document of artistic bravery. Source
  4. There is no denying the contribution the Sweat It Out label has had on the local and global music scene, and the announce of a new vinyl release paying tribute to founder and DJ god AJAX and his legacy to the Australian scene music is a bloody good reason to celebrate. Sydney DJ AJAX was instrumental in it’s origins and provides on-going inspiration of the label we know today with the bucket load of talent that has been released a testament to that. With the amount of releases ticking over a cool 217 the team have been hard at work and this, an opportunity to highlight some of the most memorable originals and remixes on the label. What the first side of the vinyl will deliver on is the older tracks that were likely a result of AJAX himself. You will be treated to an unreleased song from him named ‘I’m Hot’, which is a major throwback to the genres and sounds that started the label. Also included will be the last promo piece from AJAX, in the form of a vinyl booklet, on the release of Parachute Youth and their unforgettable track, ">Can’t Get Better Than This, which was the second track to go global – the first being, ">We Speak No Americano, by Yolanda Be Cool. Side C and D has some of the later and bigger releases Sweat It Out has had to offer. Synonymous with the success they have had, it will feature ">‘Take Me’ by RÜFÜS DU SOL, then named RÜFÜS, and include their 2014 signing Motez and his club hit ">‘Promise Me’. Also featured, will be the track that was recently #1 on the ARIA Club Charts for 9 weeks, in the form of Dom Dolla & Go Freek’s track ">‘Freek’. Finishing the smorgasbord of hits, we head to the colossal song ">‘Jaguar’ by What So Not in all its splendor, and a rightful closure to the songs that have represented Sweat It Out in its innovative 10 years of existence. You can clearly hear the evolution of the sounds and influences of the music through the years, but the indelible tribute to the man who shaped the formative years of Sweat It Out’s music will always be the same. The vinyl is set to be released Friday the 2nd of November but you can pre-order it here. Check out the tracklisting below; 1. Ajax – I’m Hot (Mixed) 2. Midnight Juggernauts – Shadows (Ajax Remix) (Mixed) 3. Twinsy – Back Of My Car (Mixed) 4. Northbrook – Move Your Body (Ajax Remix) (Mixed) 5. Gameboy Gamegirl – Sweaty Wet / Dirty Damp (Mixed) 6. Monkey Safari – Those Dancing Days (Mixed) 7. Danny T – Mean Baby (Mixed) 8. What So Not – 7 Dollar Bill (Mixed) 9. Rüfüs – Take Me (Mixed) 10. Parachute Youth – Can’t Get Better Than This 11. Yolanda Be Cool & DCUP – Soul Makossa (Money) (Mixed) 12. Indian Summer – Grand Rapids (Mixed) 13. Crooked Colours – Come Down (Mixed) 14. Dom Dolla & Go Freek – Define (Mixed) 15. Motez – Promise Me (Mixed) 16. What So Not Jaguar (Mixed) Source
  5. You can’t currently have a discussion about Australian festivals without talking about Pitch Music & Arts. For the last two years, their 4-day camping event has featured the sort of lineups you would expect to see in Europe. Well, they are back and not only have they announced the return dates to be from the 8th of March to the 11th of March, but they have also announced that Daniel Avery is the first act to be officially announced for next year’s event. The Brit announced himself in 2013 via his debut LP Drone Logic, an album which shaped a fresh and exciting new groove into dance music and secured its position as a bona fide scene classic. Not only is he moulding the sound of modern day techno, but he is also adding his flair to the global scene via Phantasy Records, a label he co-runs alongside fellow taste maker Erol Alkan. Together they are responsible for releasing some of the most cutting-edge dance music available today. We are just a little bit excited to hear who might be next. Stay tuned to the Pitch Music & Arts socials for more info as it happens… Source
  6. Dickey Betts, a founding member of The Allman Brothers Band, is in critical condition following “freak accident” at his Sarasota home. According to the Sarasota Herald-Tribune, the 74-year-old Betts “while playing with the family dog, slipped and cracked his head, causing bleeding from the brain.” His manager, David Spero, said Betts is currently listed as being in “stable but critical condition.” He’s set to undergo brain surgery on Friday to relieve swelling. “It was just a few days ago that Dickey was telling me how excited he was to get back in front of the fans,” Spero added. “It is very unfortunate, for all involved, that we need to cancel those shows. Please add Dickey into your thoughts and prayers. I’ll keep everyone updated on his expected progress.” (Read: The 10 Best Bands With Siblings) The canceled dates in question were originally supposed to be with his group, The Dickey Betts Band. Known for being the mastermind behind Allman Brothers classics like “Ramblin’ Man” and “Blue Sky”, Betts returned to the stage this summer for the first time in three years following the retirement of the Allman Brothers in 2014. However, he was forced to cancel some of those summer dates after suffering from a stroke in August. In May 2017, Allman Brothers co-founder Gregg Allman passed away from complications from liver disease. Dickey Betts 2018-2019 Tour Dates: 11/01 – Augusta, GA @ Bell Auditorium 11/03 – Pompano Beach, FL @ Pompano Beach Amphitheater 11/05 – Clearwater, FL @ Ruth Eckerd Hall 11/09 – Hampton Beach, NH @ Hampton Beach Casino 01/06 – Carribean @ Southern Rock Cruise Source
  7. KISS appeared on America’s Got Talent on Wednesday night (September 19th), performing “Detroit Rock City” on the show’s season finale, but the big news came in the form of a major announcement. The Rock and Roll Hall of Fame band revealed they will embark on a final tour. “All that we have built and all that we have conquered over the past four decades could never have happened without the millions of people worldwide who’ve filled clubs, arenas and stadiums over those years. This will be the ultimate celebration for those who’ve seen us and a last chance for those who haven’t. KISS Army, we’re saying goodbye on our final tour with our biggest show yet and we’ll go out the same way we came in… Unapologetic and Unstoppable,” said KISS in a statement. [Read: The Time KISS Released Four Solo Albums in One Day] Dates have not yet been announced for the trek, which is being dubbed the “End of the Road World Tour”, but a press release states that KISSonline.com will have updates in the weeks to come. KISS have embarked on farewell tours in the past, but this time it looks like it’s for real. Check out their performance on America’s Got Talent below. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Videos Pearl Jam’s “Jeremy” Annotated Video Source
  8. Sydney glitch producer William. has just shared ‘The Rat King’, a heavy, withering new track for those wanting a change in listening their listening habits. First thing to do is to go into a little bit of the history about the Sydney artist and what has made him hit hard time and time again. What you will first notice with his songs is his meticulous use of textures that have been a theme since his remix of Flume’s Wall Fuck two years ago now, that are used in such a way that you have likely never heard of before, and still incredibly current to the scene. His very strong melodic sense as to how to hold your interest through diverse rhythm in his tracks he has been doing consistently releasing over the last few months. Then in what is probably his most forward thinking attribute to electronic music, William. uses is his very bold technique of pitch bending the end of melodic progressions in songs like recent song Telekinesis that puts you in awe of what you are listening to, and did just that very thing to What So Not recently, as seen in this video. Getting into the track, it has a potency to it that is laced with excitement with every element chosen in the song. Playing with a bouncing sample that is timed with an unassuming kick and bass pattern, the track increasingly introduces menacing melodic rhythm to grittier and grittier bass sounds that you have no option but focus on. Paying close attention you notice the finer elements of how he masterfully increases the blending of the original sample with melody, by chopping and changing melodies and samples alike with finesse into the crescendo of the last chorus. I wouldn’t hold your breath to wait on this artist before he gets big, so get around the track and be very watchful for when the next gig is out so you can hear this large track live. Stream the track below and let us know what your thoughts are on the song. Source
  9. Last week
  10. You know it’s going to be a good year when Cashmere Cat teases new music with the Norwegian producer slipping one past fans from a recent show. The unreleased number, the first music since the release of his debut album ‘9’ in April last year is pumped full of sparkly Cashmere goodness and a reminder you don’t need a filthy drop to get a crowd moving. Fans were quick to point out the similarities between this and XXXTentacion’s “MOONLIGHT” in terms of chords which might suggest it’s a remix of sorts but we’re sure all will be revealed. Check out the two tracks below! ✨ playing a new song pic.twitter.com/oKUbHcix4A — cashmere cat (@CASHMERECAT) September 18, 2018 Source
  11. As everyone knows good and well, Deadmau5 is one of the worlds most renowned DJ’s as he was one of the first artists to release EDM music and since then has made a huge impact unlike any other. It was just a matter of time until he expanded his career, and he’s doing just that. Just yesterday, Netflix and Constantin Film announced that Deadmau5 will create his first ever film soundtrack for Polar which is set to release next year. According to the main press announcement, “Polar is based upon the Dark Horse action noir graphic novel Polar: Came From the Cold by Victor Santos. The world’s top assassin, Duncan Vizla, aka the Black Kaiser, is settling into retirement when his former employer marks him as a liability to the firm. Against his will, he fins himself back in the game going head to head with an army of younger, faster, ruthless killers who will stop at nothing to have him silenced.” The entire film soundtrack will be produced by Deadmau5 himself. “The Constantin Film/Bolt Pictures co-production, in association with Dark Horse Entertainment stars Mads Mikkelsen (Doctor Strange, Rogue One), Vanessa Hudgens (Spring Breakers, Beastly), Katheryn Winnick (Vikings)and Matt Lucas (Alice In Wonderland, Doctor Who, Little Britain). It is produced by Constantin Film’s Robert Kulzer (Resident Evil franchise), Jeremy Bolt (Resident Evil franchise, Death Race), Hartley Gorenstein (Room) and is Executive Produced by Constantin Film’s Martin Moszkowicz, Mads Mikkelsen, and Dark Horse Entertainment’s Mike Richardson and Keith Goldberg.” Netflix is set to release the film in 2019 but wont be seen in Canada, Germany, and China. The post Deadmau5 to Make Film-Score for Netflix Movie appeared first on EDM Maniac. Source
  12. On paper, Ticketmaster has long opposed ticket scalping. In the terms and conditions on its website, the Live Nation subsidiary clearly indicates ticket limits for buyers, and the company even has gone so far as to sue online ticket brokers like Prestige Entertainment for allegedly using bot software. In an interesting turn of events, however, it appears that Ticketmaster has had its own pockets in the scalping business all along. In an investigative report, CBC and Toronto Star uncovered evidence that Ticketmaster has been operating its own secret scalping scheme. Both Canadian outlets sent journalists posing as scalpers to the Ticket Summit industry conference held in Las Vegas back in July. It was there that the two were allegedly approached by Ticketmaster and briefed on the company’s seedy reselling scheme. The scam sees scalpers purchasing tickets from Ticketmaster, then reselling them at a higher price on Ticketmaster’s own secondary market platform TradeDesk. Under this scenario, Ticketmaster successfully inflates ticket prices and successfully profits not once, but twice — first on the fees of the initial ticket sale to scalpers, then on the fees captured during the pricier resale transactions made on TradeDesk. According to the undercover report, not only is Ticketmaster recruiting these scalpers into its secret program, but it is also actively turning a blind eye to actions that violate the company’s own terms of service. The Toronto Star writes that scalpers face little to no consequences when it comes to the ticket buying process, such as when they initially purchase beyond the stated ticket limit: “If we identify breaches of these limits … we reserve the right to cancel any such orders,” read Ticketmaster’s general terms and conditions. “Use of automated means to purchase tickets is strictly prohibited.” But ticket resellers who break those rules have no reason to be concerned, the sales executive reassured. A blind eye will be turned. “We don’t spend any time looking at your Ticketmaster.com account. I don’t care what you buy. It doesn’t matter to me,” said the Trade Desk sales executive. “There’s total separation between Ticketmaster and our division. It’s church and state … We don’t monitor that at all.” This isn’t the first time Ticketmaster has come under fire for supposedly being in bed with scalpers. When Prestige Entertainment was sued by Ticketmaster last October, the online ticket broker shot back with counterclaims of its own. Its main argument was that Ticketmaster was itself guilty of trying to game the ticket buying system. “However, TM fails to mention that, on information and belief, many tickets for each show of Hamilton were in fact never placed onto the primary ticket exchange, but went directly to the secondary ticket market for resale at significantly higher prices,” Prestige commented in a statement. Ticketmaster has yet to issue a public statement, but wrote to CBC, saying “that as the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.” Below, watch uncover footage from the Las Vegas Ticket Summit: Source
  13. Some things were never meant to be, like Insomniac‘s new psytrance, house and techno festival. Called Sacred Valley, the festival was set to take place next weekend at the Los Coyotes Indian Reservation in Southern California. Unfortunately, Insomniac has cancelled the festival entirely. Sacred Valley announced the news today with social media posts and a splash page on the event’s website. Organizers cancelled the festival “due to unforeseen circumstances” and not being able to “deliver the experience [they] had envisioned.” Refunds will be issued within five to seven business days, and it’s unknown whether the festival will ever return. The lineup would’ve included everyone from Tensnake to DJ Three, Astrix to Shpongle and Christian Smith to Kevin Saunderson. The vague cancellation description will likely inspire some conspiracy theories, but the lineup’s niche offerings may have contributed to its downfall. Plus, the festival only announced and began selling tickets in July. We respect Insomniacc for trying, and hope to see more psytrance and house and techno acts booked at events like EDC and the Wonderland festivals. RIP Sacred Valley. We hardly knew ye. Check out the full announcement below: This article was first published on Your EDM. Source: Insomniac’s New Psytrance, House and Techno Festival is Cancelled Source
  14. I’m admittedly in the group of people who never listened to Lil Peep or XXXTentacion until their respective deaths, but found meaning and quality in their work once I tried. With three months since X’s death and ten since Peep’s, the two’s posthumous collaboration “Falling Down” is now out. Each artist has released music within the rock realm in the past, but this will obviously have a very different impact on the fans of both artists. At time of publishing, the track has already been played over 650,000 times in its first 5 hours – and that’s just on Soundcloud. Check out “Falling Down” below. Lil Peep & XXXTENTACTION – Falling Down [Lyrics] [Intro: Lil Peep, XXXTENTACION & Both] ‘Ko, let’s watch the rain as it’s falling down Now let’s do this one for Peep Sunlight on your skin when I’m not around Shit don’t feel the same when you’re out of town So ‘Ko, let’s watch the rain as it’s falling down, yeah [Chorus: Lil Peep & XXXTENTACION] ‘Ko, let’s watch the rain as it’s falling down (falling down) Sunlight on your skin when I’m not around (I’m not around) Shit don’t feel the same when you’re out of town (out of town) O-o-oh, o-oh, o-oh So ‘Ko, let’s watch the rain as it’s falling down O-o-oh, o-oh, o-oh [Verse: XXXTENTACION] Rain keeps falling, tears keep falling Rain keeps falling, tears keep falling Darling, your love is like walking a bed of nails And I just can’t keep on fighting O-o-oh [Chorus: Lil Peep & XXXTENTACION] ‘Ko, let’s watch the rain as it’s falling down (falling down) O-o-oh, o-oh, o-oh Sunlight on your skin when I’m not around (I’m not around) O-o-oh, o-oh, o-oh Shit don’t feel the same when you’re out of town O-o-oh, o-oh, o-oh So ‘Ko, let’s watch the rain as it’s falling down O-o-oh, o-oh, o-oh [Interlude: XXXTENTACION] His name will live, bro’ No, I got—, I feel hella shitty because it’s like, yo Like, if I would have known he was so cool And it’s like, yo, if I would have watched interviews sooner, bro, we were so alike It’s unfortunate because it’s like, yo, when people die, that’s when you’re there, you know? ‘Cause your remorse kinda makes you check ’em out [Bridge: XXXTENTACION] Darling, your love is like walking a bed of nails And I just can’t keep on fighting [Chorus: Lil Peep & XXXTENTACION] ‘Ko, let’s watch the rain as it’s falling down (falling down) O-o-oh, o-oh, o-oh Sunlight on your skin when I’m not around (I’m not around) O-o-oh, o-oh, o-oh Shit don’t feel the same when you’re out of town (out of town) O-o-oh, o-oh, o-oh ‘Ko, let’s watch the rain as it’s falling down O-o-oh, o-oh, o-oh This article was first published on Your EDM. Source: Lil Peep & XXXTENTACION Release Emotional, Surprising Posthumous Collaboration “Falling Down” Source
  15. Despite our progress in society, women still have it rough. It’s disappointing to hear women at top companies still face discrimination, especially at a company like Spotify. That’s right; an employee has sued Spotify for discrimination against female employees and defamation. Hong Perez has sued Spotify in the New York Supreme Court, making a number of huge claims: Her boss only chose men to go on trips to the Sundance Film Festival in 2016 and 2017, trips that included drug use and fights. A Spotify executive received a promotion even after being accused of sexual harassment and taking male employees to strip clubs in Atlantic City in New Jersey. Spotify CFO Barry McCarthy allegedly said “he does not care about diversity at the company” during a town hall. An HR executive said his favorite curse word was “c***.” The global head of sales paid men more than women. An HR executive didn’t punish a male executive accused of sexual harassment. Wow, that’s a lot to take in. Variety asked Spotify for comment, receiving the following quote: “At Spotify, we do not tolerate discrimination of any kind at any level. While we cannot comment on the specific details of a pending litigation, these claims are without merit.” We’re very curious to see how this court case shakes out. This article was first published on Your EDM. Source: Spotify Sued for Discriminating Against Female Employees and Defamation Source
  16. Louis Futon and Medasin have a very special treat for fans today. By popular demand, the producers have unleashed their brand new flip of Travis Scott‘s “Wake Up,” which can only be described as pure ear candy. If “Wake Up” wasn’t already stuck in your head, it’s about to be — that is, if Louis Futon and Medasin have anything to do with it. These producers meet in the middle for a drool-worthy blend of tropical synths, flavorful percussion, and just enough switch ups to keep things interesting. Travis Scott’s smooth delivery is met with a nonchalant production, with complexities that sound so effortless. The added melodies and rhythm make “Wake Up” more infectious than ever. Dare we say these producers flip this track into something that’s even better?! From now on, it might be difficult to listen to the original without feeling like something is missing. Enjoy! Travis Scott – Wake Up (Louis Futon & Medasin Flip) This article was first published on Your EDM. Source: Louis Futon & Medasin Treat Fans To Spectacular Flip of Travis Scott’s “Wake Up” Source
  17. Chevy Chase was the first breakout star to be born on Saturday Night Live. Despite his swift rise in Hollywood, he always regretted leaving after just a year and a half of the program. “I’d do it again in a minute,” he said in a newly published The Washington Post profile. He probably wouldn’t do it with the current cast, though, as he had some exceedingly harsh words for the modern SNL in the very same interview. Speaking with the Post’s Geoff Edgers, Chase offered up some words about SNL “off the record” — despite the fact that a microphone and recorder were sitting right in front of him. “First of all, between you and me and a lamppost, jeez, I don’t want to put down Lorne or the cast, but I’ll just say, maybe off the record, I’m amazed that Lorne has gone so low,” he said into the aforementioned microphone. “I had to watch a little of it, and I just couldn’t f—— believe it.” When Edgers pointed out that the current SNL cast is actually very popular with millions of viewers, Chase replied “That means a whole generation of shitheads laughs at the worst fucking humor in the world… How could you dare give that generation worse shit than they already have in their lives? It just drives me nuts.” (Read: Why I Have a Hard Time Watching National Lampoon’s Vacation) In Chase’s mind SNL hasn’t been the same since those first two landmark seasons. “Why am I saying that? Because I was in it? I guess. That’s a horrible thing to say,” he said anyway. “But certainly I never had more fun. I really loved it and enjoyed it. I didn’t see the same fun thing happening to the cast the next year.” He had further unflattering appraisals for some of the show’s recent stars, including Will Ferrell (“Just not funny”) and Tina Fey (“I didn’t see what all the folderol was about. She was good”). Keeping in mind that this is the same interview where he tried to explain away racist comments he made to Donald Glover on the set of Community as “jokes,” Chase had this to say of Eddie Murphy: “I thought Eddie Murphy was funny. Gumby. I found that funny and people loved that. . . . Stevie Wonder, he did well. [Pause.] It’s not that hard, for Christ’s sake. Your skin’s the same color. You just put on some sunglasses and do this.” Elsewhere, he talked about bumping into Glover backstage during last year’s SNL season finale. Recalling the incident — again, just sentences away from downplaying his racial insensitivity — Chase said, “I never saw a guy turn white so fast.” Yikes. The whole Wash Post piece is a fascinating look at Chase’s career, poor reputation, and hopes for a third resurgence now that he’s sober. Read the whole thing at The Washington Post. Saturday Night Live returns for its 44th season on September 29th. Kanye West will be making his seventh appearance on the show as musical guest, while Adam Driver will serve as host. Source
  18. Techno artist Maceo Plex I have been fortunate enough to have seen a lot of shows. Festival shows, techno and house shows, much of which are at local casinos or clubs. Point being, I have not been luck enough to see something like this. A full DJ set on a boat. DJ Maceo Plex, Eric Estornel, performed a high energy set on the Hudson River overlooking New York City. Maceo Plex on Hudson River for Cercle First of all, performing on any boat is one thing, but when perform it on a river in one of the most visited places in the world, it is extra special. As you can see, fans braved some rainy conditions to rave with the Cuban-American DJ. The video, presented by Cercle, is shot from a drone providing beautiful views of the New York City skyline. Cercle is a live stream platform priding itself on showcasing and promoting unique DJ sets in unusual places. Mace0 Plex has been a longtime perform all over Ibiza, so he is no stranger to performing at cool venues all over the world. If you would like to see him perform you can check him out at Hi Ibiza in Spain and Fix Factory in Greece on September 20th. Click here for additional tour dates and don’t miss you chance to experience a Cercle event. Enjoy Maceo Plex’s set on the Hudson River for Cercle.  Follow Maceo Plex: Facebook | SoundCloud | Instagram | The post Maceo Plex Spins Intimate Deep Techno Set on Hudson River appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source
  19. It’s hard enough to buy tickets on Ticketmaster when tens of thousands of people are trying to secure perhaps only 5,000-10,000 tickets at major musical and/or sporting events, but it’s made much harder when the company providing those tickets is obscenely obsessed with profit. According to an undercover investigative report conducted by CBC News and Toronto Star, Ticketmaster knowingly operates an approved secondary seller market within its own company with the aim of doubling or tripling its own profits. A pair of reporters posing as scalpers was sent from the outlets to Ticket Summit 2018, a ticketing and live entertainment convention at Caesars Palace in Las Vegas. During their time at the convention, they spoke with many representatives for Ticketmaster who told them about their “professional reseller program.” Utilizing proprietary software called TradeDesk, users could manipulate prices and amounts of tickets on secondary markets at will, creating a mostly-unregulated marketplace for tickets. Nearly all of these users used multiple accounts and bots. “I have brokers that have literally a couple of hundred accounts,” one sales representative said. “It’s not something that we look at or report.” “If you want to get a good show and the ticket limit is six or eight … you’re not going to make a living on six or eight tickets,” said another. Alan Cross, a veteran music journalist and host of the radio program The Ongoing History of New Music, called the investigation a “public relations nightmare” for Ticketmaster. He said there have been “whispers of this in the ticket-selling community, but it’s never been outlined quite like this before.” This all benefits Ticketmaster because of its fees. According to CBC, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.” Ticketmaster has declined requests for an interview.  via CBC This article was first published on Your EDM. Source: REPORT: Ticketmaster Recruiting Its Own Scalpers To Squeeze More Money Out Of Fans Source
  20. The Music Modernization Act (MMA), S.2334 officially passed in a unanimous vote by the US Senate on Tuesday (Sept. 18). The overall goal of the act has been made clear — to alter outdated music copyright laws and bring the music industry into the current streaming age. The MMA act aims to accomplish three major things: Ensure artists and songwriters receive royalties on music recorded prior to 1972 Effectively allocate royalties for music producers Update licensing and royalty rules for streaming services The US Senator most invested in pushing the MMA forward, Orrin Hatch, made a statement: “With this bill, we are one step closer to historic reform for our badly outdated music laws.” Leading up to the vote there was a great deal of heated debate surrounding the MMA. Particularly the part about pre-1972 royalties, which SiriusXM strongly opposed. A long list of all-star musicians including Paul McCartney and Katy Perry, plus songwriters, and executives stood by the MMA, and even threatened to boycott the radio company. Despite all the drama, it all came down to this vote. The Music Modernization Act is now in effect. Source: Rolling Stone | Photo via Calder Wilson for Insomniac This article was first published on Your EDM. Source: Music Modernization Act (MMA) Passes with Unanimous Vote Source
  21. Setting the Stage: Modern Life Is War may just be the most accessible hardcore band of all time. To the cultists of heavy, that might sound like a bad thing; a big appeal of punk and metal subgenres is their inaccessibility to the larger music culture, a secret shared by weirdos in sweaty basements all across America. Modern Life Is War succeeds in being both a band you can lose your teeth to and a gateway into melodic hardcore music. They are proof that we can have both. Their show on Saturday, September 15th, in Denver, Colorado, also marked the reopening of the Marquis Theater, a venue near and dear to my heart which has been closed for a short period due to renovations following their acquisition by Live Nation. I would be lying if I said I wasn’t worried about this transition. Would they book less punk shows? Would they put a barrier in the front of the room to prevent stage diving? Would they even still have pizza? Why won’t anyone think of the pizza?! The rumors I had heard of the new Marquis resembling a Chili’s turned out to be unfounded. Aside from the security who would pat me down every time I reentered the venue and the worrying lack of pentagrams, they preserved more of the original venue than I had expected. Small victories. Taking the Stage: I’ve grown to expect less from bands that are nearing their second decade, and rightly so. Who can really expect bands to permeate the same energy that they did when they were 16, but Modern Life Is War is one of those bands that proves to be above growing old. As soon as the first song began, the stage exploded in movement; bodies climbing on top of bodies, elbows being sent in semi-calculated orbits and large men pacing around the perimeter of the pit, two-stepping and stomping and throwing their weight into their fellow concertgoers. As is with any good hardcore gig, the crowd participation contributed to overall quality of the show rather than hindering in it — good ol’ non-malicious violence. A fine line that hardcore in the past few years has struggled to maintain, but was a centerpiece in almost all of the bands’ conversations onstage. The setlist was a good mix of classics off of their 2005 album, Witness, new releases and deep cuts including sharing the stage with Faim lead singer Kat Lanzillo, whose history with the band runs deep. Her participation made the entire set feel like friends reuniting — it gave me a moment of nostalgia that didn’t belong to me, a feeling that outside of this moment, the band refused to indulge in. Modern Life Is War’s live show and their new music never gives you the option to look back, only to throw yourself forward. Solid support: The show featured an strong local lineup. Line Brawl, a band that instills visions of hockey fight compilations and two-stepping through parking lots, played a fast, aggressive set and it maintained that energy throughout. Faim (pronounced Femme), a female led hardcore punk outfit which seamlessly blends violently wailing vocals with well structured beatdown hardcore progressions and vocal melodies. Existing somewhere between hardcore, grind and crust, Call of the Void play unforgivingly dark music, and with one of the most consistent sets of the night, they are quickly becoming one of Denver’s strongest bands. The opening lineup was consistently strong and optimistic with their stage banter. All touching on the point of accessibility in hardcore, and how in part Modern Life Is War’s music had helped shaped those ideas in them. Source
  22. With Oscar season beginning to rear its starry-eyed head, Amazon Studios is hoping for some early awards buzz for Beautiful Boy, their upcoming indie drama starring Steve Carell and Timothée Chalamet, showing off the pair’s considerable talents in a new trailer. Directed by Felix van Groeningen (Broken Circle Breakdown), Beautiful Boy adapts Nic Sheff’s memoir of the same name into a sensitive awards-season tearjerker, telling Sheff’s (played by Chalamet) true-life story of meth addiction and the efforts of his father (Carell) to help him through. The trailer puts the two actors front and center, with clips of anguished outbursts amidst heartfelt moments of tenderness. “I had such grand plans,” Carell’s concerned dad says in the trailer. “He’d graduate from college, do something amazing. And now I just want him to not die.” Beautiful Boy recently premiered at the Toronto International Film Festival last month to enthusiastic praise, and no small amount of awards buzz for Chalamet, Carell and Maura Tierney, who also co-stars as Chalamet’s stepmother. The two leads are no stranger to Best Actor Oscars consideration, either; Carell was nominated for 2014’s Foxcatcher, while Chalamet is fresh off a nod for last year’s Call Me By Your Name. Beautiful Boy comes to theaters October 12th. Watch the trailer below. Source
  23. With LeBron James now firmly planted in LA, the long-rumored Space Jam sequel is finally coming to fruition. According to The Hollywood Reporter, James has recruited a pair of big name talents to join him on the project: Black Panther director Ryan Coogler will produce the film, while Terence Nance, creator of HBO’s Random Acts of Flyness, will server as director. (Read: Projecting Space Jam 2’s Monster Squad) “The Space Jam collaboration is so much more than just me and the Looney Tunes getting together and doing this movie,” James told THR, “It’s so much bigger. I’d just love for kids to understand how empowered they can feel and how empowered they can be if they don’t just give up on their dreams. And I think Ryan did that for a lot of people [with Black Panther].” Production is scheduled to begin in 2019 during the NBA offseason. The original Space Jam, released in 1996, starred Michael Jordan and the cartoon cast of Looney Tunes. Rumors of a sequel starring James have run rampant for several years, with a number of different directors and writers having been attached to the project. At one point, Fast & Furious director Justin Lin was set to direct, but those plans have obviously changed. pic.twitter.com/Ay6wRaB915 — SpringHill Ent. (@SpringHillEnt) September 19, 2018 Source
  24. Listen and subscribe via iTunes | Google Play | Stitcher | RSS Welcome back to another episode of This Must Be the Gig, the podcast that gives you an all-access pass to the world of live music! On this week’s episode, The Flaming Lips frontman Wayne Coyne dials in to chat with host Lior Phillips about what it’s like to roll around in a giant ball on top of festivalgoers, seeing The Who as a kid, the prospects of a vinyl record containing Miley Cyrus’s urine, and much, much more. This episode was brought to you by our friends at Vivid Seats. Listen above and subscribe now to keep your finger on the pulse of the live music world. Follow the series on Facebook | Instagram | Twitter Source
  25. John Carpenter is all the rage right now. What with 4K restorations, original scores, vinyl reissues, and a full-fledged European tour, the Master of Horror is experiencing a resurgence on par with another horror maestro, Stephen King. This week, Carpenter sat down with Consequence of Sound, and let loose an interesting tidbit: He says Shudder may be interested in turning his 1987 cult classic, Prince of Darkness, into a television series. While discussing the horror streaming service, Carpenter admitted, “We’re talking to them about doing a theme,” to what he wouldn’t disclose, adding: “And maybe doing a show for them. What would you think about Prince of Darkness as a TV show?” (Ranking: Every John Carpenter Movie from Worst to Best) Naturally, we expressed our interest, calling the idea “bad ass,” to which he added, “Well, maybe. Maybe not. I don’t know.” When pressed for more details, he immediately went mum, saying: “I’m not going to tell you. I’m not going to tell you.” It’s not much, but it does jive with more recent acquisitions from Shudder. If you recall, the streaming service is currently working with The Walking Dead‘s Greg Nicotero in bringing King’s Creepshow anthology to their service, so Carpenter is certainly on brand for them. It’s also ripe source material: Starring Donald Pleasance, the 1987 original followed a vicar and a crew of nerdy students, who investigate a sinister-looking cylinder at a Los Angeles church that may or may not contain the Devil himself. We’ll have to see. In the meantime, stay tuned for our full interview with Carpenter, which will appear in both our Halloweenies and Filmography podcasts, the latter of which will be devoting an entire season to the Horror Master. Source
  26. Maroon 5 is set to headline the Super Bowl LIII halftime show next year! Frontman Adam Levine and the rest of the group are responsible for an incredible amount of hit songs over the years. First there was “Harder to Breathe” in 2002, then came “She Will Be Loved” in 2004. “Moves Like Jagger” shook things up in 2011. Most recently, Maroon 5 has been hitting it hard with “Girls Like You” featuring Cardi B, “What Lovers Do” with SZA, “Cold” with Future and “Don’t Wanna Know” with Kendrick Lamar. Maroon 5 follows up last year’s performer Justin Timberlake. Other Super Bowl acts include Lady Gaga, Coldplay, Katy Perry, Bruno Mars and Beyoncé. The band did not respond immediately to Rolling Stone for comment, although several reports confirm Maroon 5 is on lock for the big game. Super Bowl LIII goes down in Atlanta, Georgia on February 3rd, 2019. Maroon 5 – Girls Like You ft. Cardi B H/T: Rolling Stone This article was first published on Your EDM. Source: Maroon 5 To Headline Super Bowl LIII Halftime Show Source
  27. As a pilot, I’ve gotten to witness some pretty amazing things. Deep orange sunsets, holes in the clouds with my city peeking through them, rain clouds releasing their wrath on the towns below, and full blown rainbows as the sun peeks up at the horizon. Becoming a pilot is hard work, and I balance this out by making sure to make time for my two other passions: writing and festivals. Today, I merge my three passions into one creation; the story of the day I flew my dad’s plane (a Cessna 150) solo, over Electric Daisy Carnival in Orlando, Florida at sunset. The date was Friday, November 10th and the time was 4:12pm. “N3424Victor, cleared for takeoff, runway 25 at Orlando Executive”. Full throttle, 50 knots, pull back on the yoke, and I’m in the sky. As I reach 1,000 feet I look down and see Downtown Orlando, with Lake Eola gleaming in the distance. My city. I was not dressed in my usual flying attire, however. I was decked out in festival gear, as today was rave day, & I was making it to REZZ’s main stage set no matter what. As I pass downtown, to my surprise, I look down next to Camping World Stadium, and I’m able to see kineticFIELD in all its glory, from 1,500 feet up and circuitGROUNDS with the pyrotechnics. I glance at the clock and it’s 4:22, exactly 30 minutes until REZZ’s set. As I overfly the stadium, I’m filled with a sense of awe, and a sense of peace, knowing that 50,000+ people were having the time of their lives below me, one of these people being one of my favorite people on this planet, my brother Evan. I wondered if they saw me up there. If just one tiny ant of a person poked their heads up out of the crowd and witnessed me, suspended in mid air glory, cruising along through the sky. I wondered if they knew I was one of them, and that I was right where I belonged. I wondered if they understood the impact electronic dance music has had on my life, and all of the tiny little coincidences that have happened along my electronic journey to get me where I am today. I wondered if there was one person down there, just one, who had precisely the same taste in music as me; someone who would completely understand my favorite songs, someone who just gets it. 4:35, 17 minuets until REZZ’s set, and time to head back in for landing. The sunset illuminated kineticFIELD as I glanced back one more time. I was ready to become grounded, immerse myself in the force of REZZ, and relax, because from this moment in time, there’s nothing, nothing of importance for me to do except- land the plane……and then relax, lol. Thanks REZZ. I tied down the plane & switched vehicles swiftly as I navigated the dreaded streets of Downtown Orlando on festival night. I really do belong in the sky, I think. Less traffic. I ran through the turnstiles & scan my wristband, with massive bass pumping through my veins. 5:16pm. I was late, but it was time. I stood in front of main stage by myself, taking in the beauty that surrounded me. I looked up in the sky & saw a Cessna 150 at 1,500 feet, and I wondered if they saw me down there… The post The Time I Flew My Plane Over EDC appeared first on EDM Maniac. Source
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