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Mystery artist KLOUD does it again. Amongst a series of remixes, covers, and originals, KLOUD has bent expectations and defied the odds, putting new spins on the likes of Nero, La Roux, and more. Now he sets his sights on bigger fare — Swedish House Mafia. Covering “Save The World” is no small task. Originally sung by John Martin, just recreated the vocals is difficult enough. But everything in KLOUD’s new song is done from scratch, from the bottom up. The new production is fresh and exciting and definitely puts a different perspective on the classic. While there’s undoubtedly a contingent of fans that worship the original, there’s bound to be a group of new fans who fall in love with this new take. Check it out for yourself below. This article was first published on Your EDM. Source: KLOUD Delivers Unexpected Cover Of Swedish House Mafia’s Hit “Save The World” Source

Dance music has always had a close relationship with video games, after all, electronic music provides the soundtrack, and many games have iconic scores. Few games in history are as iconic as Mortal Kombat. This past Thursday, the first game play trailer was revealed for the highly anticipated Mortal Kombat 11, out on April 23. Mortal Kombat has been in gamers’ lives for more than 25 years, revolutionizing fighting games forever, and becoming one of the most iconic and venerable franchises in the industry. The 1997 film also has a classic dance music soundtrack — dance music is in Mortal Kombat’s DNA. This time the Mortal Kombat team enlisted the help of Dimitri Vegas & Like Mike and Bassjackers, who lend their 2018 track, “The Jungle,” for an epic preview of the game. First off, wow, this game looks AMAZING!! Classic characters like Raiden, Scorpion, Sub-Zero and Baraka unleash absolute carnage upon each other. The fatalities look absolutely brutal (Baraka rips Scorpions face off his skull!), all of the iconic moves are there (Scorpion’s “Get Over Here”, Raiden’s flying bullet) and what better way to unleash some vicious combos on fools than to the trapped out tune from DVLM and Bassjackers. The livestream event that unveiled the gameplay featured a bunch of celebrities and youtubers, as well as a highly anticipated matchup between Dimitri Vegas and Don Diablo. Dimitri got the best of Don and made it all the way to the finals. Check out the insane trailer for Mortal Kombat 11, out on April 23! And to get you in the mood to save Earthrealm from the Netherrealm and Shao Kahn listen to Dimitri Vegas & Like Mike & Bassjackers “The Jungle” available on Smash the House.  This article was first published on Your EDM. Source: Dimitri Vegas & Like Mike Provide Soundtrack for New Mortal Kombat Trailer Source

The past few years have not been kind to India’s Sunburn Festival. After 2016, the festival was relocated from Goa to Pune, nearly 300 miles away. And the issues only continued to accumulate in 2017 and 2018. Now, miraculously, the tide could be turning for the legendary festival. In February 2019, the festival returns home to Goa as Sunburn Klassique. The new festival will be hosted at the old Sunburn venue in Vagator which is now one of the most popular areas in Goa. The venue was discovered by Sunburn in 2013 after being forced to move from Candolim. Karan Singh, CEO, Sunburn states, “Sunburn introduced the concept of dance music to India and has aided in building music tourism across India. Over the last 12 years we’ve evolved from being just a music festival to an aspirational brand with millions of loyalists. We hope our return to Goa is truly memorable and magical and we can once again build Goa into a thriving music destination. As a practice, we will deliver the most intrinsic and enhanced fan experience without compromising on our production and experiential ethics. A massive festival like Sunburn is built on foresight and passion and we’re going in all guns blazing to make an even bigger mark in 2019.” Sunburn Klassique will return to Vagator Goa on February 23-24. Early bird tickets go live tomorrow on bookmyshow.com, viagogo.com and festicket.com. Photo via Rukes.com This article was first published on Your EDM. Source: Sunburn Returns To Goa In 2019 As “Sunburn Klassique” Source

It took Danger 10 years to release his debut album, but it seems now that dam is broken and we’re getting more of him than we’ve ever dreamed. Two years after releasing his album Taiko, Danger is back with Origins, revisiting his roots. If the album sounds nostalgic, that’s by design. Many of the tracks are unreleased from back in his MySpace-era days — fans will no doubt notice “88:88 Stage 3” in the tracklist, a follow up to the track “88:88” from his 2009 EP 09/16 2007. And even beyond that, separate from Taiko, the new album seems to be less about creating a world within the music and more about evoking memories from the past. One might say, a simpler time… Longtime fans of Danger are going to love this album, as he brings back so many of the soundscapes, melodies, and structures that made him an underground phenom from 2007 to 2014. New fans are sure to love this album as well, as no one else is really pushing this sound; and in an ecosystem of regurgitated and repeated sounds, any new experience is going to be lauded. Of Origins, Danger says, “ORIGINS has become a vehicle for me to tackle keeping my past-self from haunting me or let my present-self become tethered down in nostalgia. I’ve struggled lately searching for my inner-child. I thought he had disappeared, then I’d thought I wouldn’t need him anymore, then I came to realize that living without him left me incomplete. When recently visiting my parents home, being in my dusty childhood room, I realized I had been missing that child who still reveled in the retro land of VHS tapes and 8-bit gaming. He needed to have voice in my current art. ORIGINS was born out of this struggle and it was an album that needed to happen. It’s important to never forget that the most fragile part of yourself can also be your biggest strength. In many ways this album represents where I’ve come from, more-importantly it informs where I’m going.” The album is entirely instrumental and resembles video game background music for the most part, making it the perfect choice to put on when you need to get to work or just zone out. Then again, maybe just turn the lights off and put some headphones on, and get lost in the nostalgia. Check out the new album Origins from Danger below.  Also be sure to catch Danger on tour starting next week. This article was first published on Your EDM. Source: Danger Returns With Nostalgic Sophomore Album, “Origins” Source

There are certain unassailable rules in the service industry. “Don’t mess with the people who make your food” is a prime example. One that doesn’t exist yet in dance music, but should, is: Don’t piss off the people who design your art. Art in this case can be as broad as track art to live visuals, but the message stays the same. Yesterday, Mr. Carmack violated that rule with the below tweet. To all you graphic designers charging 50$ every change you make, you need to rethink why you started designing in the first place — MR. CAR/\ACK (@mrcarmack) January 18, 2019 There are a lot of ways to begin addressing why this tweet is so absurdly wrong, but this response from @sarahxcarr is a good start. Most designers don’t even make modifications unless they’re asked to by the person who hired them. And most of the time the designer has stated how much they charge for edits or how many edits they will include with their service before even being hired. Soooo….. — (no subject) (@sarahxcarr) January 18, 2019 A graphic designer generally isn’t some kid in their mom’s basement who does this on the weekends. It’s a real person who’s made this their career, has contracts, and charges fees for their work. After turning in a project for review, most designers will charge an hourly rate for any revisions that the client wants done. In that sense, $50 for a single revision is actually a steal. Carmack’s tweet seems to imply that any revisions should be free of charge — does that mean no matter how many revisions it takes? And the implication that they should be designing graphics for, I don’t know, just the pleasure of it, is bordering on asinine. The tweet was posted yesterday and, despite hundreds of replies, Carmack hasn’t made any effort to clarify or rectify his position. See some of the responses from real graphic designers and creatives below: The next time you want money for music you wrote you need to rethink why you started making music in the first place. — Joshua Cole (@joshuawcole) January 18, 2019 you may be a visionary producer but i guess you’re still a dumbass — umru search party LA (@umru_) January 18, 2019 Would love to hear what you think the correct reason that graphic designers “started designing in the first place” is — Mikey Joyce (@mikeyjoyce) January 18, 2019 First off, technically you’re making the change, not the designer. Second, if they’re charging you $50, that’s probably an hour of work and that’s not a simple change. Third, it sounds like you’re a crap client who either A) gives bad direction or B) can’t make up their mind. — Erik (@BillsFanAuthor) January 18, 2019 Imagine being able to afford a designer & complaining about having to pay a designer. — Lameboy Advanced (@AvianPride) January 18, 2019 This might seem kind of funny but I'm actually not lying. — Lil Boostie (@alexprofera) January 18, 2019 Kind of shocked that you would say this…people don’t work for free. Their art/designs are equivalent to any regular goods or services being sold. — Magician Holly (@kaydem0n) January 18, 2019 This article was first published on Your EDM. Source: Mr Carmack Just Pissed Off A Lot of People with Harsh Criticism of Graphic Designers Source

https://soundcloud.com/manateecommune/4-my-dearest-friend/s-SNamN Style, Charm, and So Much More, Mantee’s New Single is a Must-Hear Right Now. Manatee Commune has created a style, atmosphere, and presence in his music that emanates from the environment with which he grew up as a child. Inspired by his most beautiful lifelong memories, the producer best translates vision into sound. With his brand new single “My Dearest Friend,” the native of the Pacific North West continues to smother all of us with his refreshing talent. “Nostalgia drives a lot of my music making and this track is kind of the culmination of my dearest childhood memories. Those flashbacks of sparkly, sun-soaked afternoons spent running through sprinklers in my neighbors front yard, and the whole weekends are taken up by exploring my grandparents’ densely forested property with my best friend. This is one of the few tracks I’ve made that actually captures those moments and I’m pumped to share it with the world.” – Manatee Commune We only have high expectations of Manatee Commune for his forthcoming sophomore album. 2019 is set to be the year in which Manatee Commune becomes a major electronic breakout act. Like Mantee Commune? Follow the rising star daily on Twitter, Instagram, and Facebook. Stream “My Dearest Friend” above, courtesy of Soundcloud. The post Premiere: Must-Hear Mantee Commune Speak to “My Dearest Friend” appeared first on Verge Campus. Source

Calvin Harris apparently doesn’t appreciate being called by his stage name. Though we all know him by, well, Calvin Harris — his actual name is Adam Wiles and that’s what he prefers. Especially among his close friends and family. “No one calls me Calvin,” the superstar DJ is quoted in a new report. “It’s horrible and it’s not my name. You might as well be calling me Mr. Blobby.” We wouldn’t say it’s “horrible,” but alright then… “At the start of my career people were meeting me for the first time and I let it slide. It was sort of a nickname.” But, when a girlfriend was calling him by his stage name, he thought it was taken too far… “I was like, ‘I’m sorry this is ridiculous. You’re speaking to my alter ego.'” Understandably so. Of course, it’s an easy slip up considering Calvin Harris is a typical sounding name. We know Skrillex isn’t Sonny Moore’s name, just like Marshmello is definitely not the name of the masked sugary treat. Next time you see Adam, make sure you take it easy on his stage name! Source: The Scottish Sun | Photo via Rukes.com This article was first published on Your EDM. Source: REPORT: Calvin Harris Actually Hates Being Called Calvin Harris Source

Last night, Ariana Grande continued her pop world takeover with “7 Rings”, a new song detailing a lavish, drunken trip to the jewelry store. Unfortunately for the singer, the flashy number has also drawn negative attention. New York-born rapper Princess Nokia has accused Grande of stealing the flow from her 2017 track “Mine”. In a video posted to her social media, Princess Nokia listens and reacts to “7 Rings”. “Does that sound familiar to you? ‘Cause that sounds really familiar to me. Oh my god… ain’t that the little song I made about brown women and their hair? Hmm… sounds about white,” said the MC, who is of Puerto Rican descent. (Read: 10 Famous Instances of Alleged Music Plagiarism) The part Princess Nokia specifically points to involves Grande rapping, “You like my hair?/ Gee thanks, I just bought it.” On “Mine”, Princess Nokia repeats the phrase “It’s mine/ I bought it.” It doesn’t appear to be a direct lift by any means, but Nokia clearly hears a similarity between the songs. While the rapper doesn’t outright name the Sweetener singer in her video, she did like a fan tweet that suggested Grande “literally flows, words, bars from Nokia.” Perhaps ironically, “7 Rings” makes no secret about borrowing its verse structure from the Sound of Music classic “My Favorite Things”. “Mine” is taken from Princess Nokia’s 1992 mixtape from 2017. Considering the multiple breakup references, and Grande flaunting an actual new ring post-Pete Davidson split, it’s more than likely “7 Rings” was written way after Princess Nokia’s tape. Watch Princess Nokia’s accusatory video below, followed by some fan reaction tweets. @ArianaGrande pic.twitter.com/48ZqIv5DBq — Princess Nokia (@princessnokia) January 18, 2019 We thot this new Ariana song sounded sooooo familiar anyone else hearin this?? Princess Nokia need credit fr pic.twitter.com/AFwniarpNM — kaitlynn (@klonksnewgroove) January 18, 2019 i loved the visuals but i felt weird abt ariana’s #7rings. i could obviously tell that the pink trap house was ripped off from 2 chainz and the sound of music part wasn’t original but something else felt dishonest. then i realized the flow is literally ‘mine’ by princess nokia — kay (@kaylenivy) January 18, 2019 Compare both “7 Rings” and “Mine” for yourself: Source

The Pitch: It’s 1986, and Mo Monroe (Don Cheadle) is the coke-snorting, name-dropping, robo-butler-boasting head of his own rough-and-tumble Wall Street firm. Alongside his equally profane but effective lieutenants, Dawn (Regina Hall) and Keith (Paul Scheer), Mo is literally kicking in the doors of the New York financial scene, trying to use his ostentatious, unorthodox style to help his upstart firm keep up with the big boys. A chance encounter brings him face-to-face with Blair Pfaff (Andrew Rannells), a newly minted, squeaky-clean business school grad with an algorithm that could revolutionize the trading floor. What none of them know is that one year later, they’ll all be a part of the worst stock market crash in Wall Street history. That day of financial disaster, dubbed Black Monday, lends the title to this comedy series, which offers rapid-fire humor, an impeccable cast, and boundless style. Cheadle in a Haystack: While the show’s cast is solid from top to bottom, Don Cheadle is the clear star in the series’ opening salvo, and he more than earns the spot. Cheadle fully inhabits Mo Monroe and his big-mouthed/foul-mouthed/motor-mouthed presence right from the jump. It would be easy for Mo to come off like a cartoon character with Black Monday‘s self-consciously flashy framing, but Cheadle manages to make him feel believable even in the series’ more ridiculous moments, and brings him back down to Earth when it wants to contrast his mercenary bravado with a little humanity. It’s an admittedly odd comparison, but the closest touchstone for Mo Monroe is Deadwood’s Al Swearengen. Both men spit out directives and curse words with equal speed and pleasure. Both reign over their own little operations while trying to outflank the entrenched interests whose benign neglect is starting to wane. And both come from humble beginnings that taught them a guiltless, unflinching style that manages to draw you into both their devious schemes and moments of quiet vulnerability. It would be too much to say that Mo is a match for one of television’s all-time great characters, but he’s cut from the right mold, and Cheadle’s giving the role his all. Gotta Get Back in Time: If you didn’t already know that this show takes place in the Eighties, Black Monday grabs you by the shoulders and blasts you with enough song cues, fashion choices, and Reagan-era cultural references to turn your family dog into Spuds MacKenzie. At times it verges on gratuitous, with every other word out of the characters’ mouths being either a curse or a shout-out to some piece of pop culture. But the show also captures the contemporary aesthetic perfectly, matching its funhouse mirror Trading Places vibe with the same grit, grain, and feel of a 1980s comedy flick. While the Nintendo-as-macguffin routine and reference-laden back-and-forths can become too cute after a while, the show commits whole-heartedly to the “Greed Is Good”-period texture it wants to evoke, and delivers that sensibility without reservation. Ladies of the Eighties: Black Monday, like the real 1980s Wall Street, is definitely a boys’ club. Outside of the main cast, almost every secondary character in the show is a guy. The only exception is Blair’s girlfriend, Tiff (Casey Wilson), whose literal ball-busting, money-lusting Lysistrata approach doesn’t exactly do the show any favors on the representation front. But the attention, complexity, and importance the show places on Dawn helps balance that out. Regina Hall is a revelation in the role, and despite having to carry the day as the series’ only fully-formed female character, Black Monday doesn’t shy away from letting her trade barbs and blows with her co-stars or from the specific challenges a black woman would face when attempting to operate in that world. That’s an encouraging balm for the series’ otherwise unbalanced roster. The Verdict: Black Monday is one of the most exciting new comedies to rev up on TV in some time. There are plenty of moments (at least in the three episodes made available for review) that make you wish the show would dial back on the constant 1980s references and the “vulgar for the sake of vulgarity” comic stylings. But despite those rougher edges, the show oozes with style and vision, bursts with a self-assured tone and sensibility right out of the gate, and quickly sketches out its central quartet of characters with enough personality, piss, and pathos to carry the show’s flair, humor, and plot. Cheadle is clearly the straw that stirs the drink, but each member of the main cast has enough layers to make the viewer want to see more. The series’ initial pitch to the audience is driven by its central mysteries: what caused the crash, how were our heroes involved, and who’s dead by the time the bottom falls out? And a random sampling would provide instant snootfuls of the series’ throwback references, filthy dialogue, and Wolf of Wall Street-style antics. But setting aside the show’s late-episode twists and transgressive humor, there’s an unsuspecting depth beneath its Lamborghini limousine hood. Rarely has a comedy felt so stylish, so big, and so confident in what it wants to do so quickly, while still giving the audience enough substance and character to support it. The fickleness of television, like the market itself, means this enterprise could still end in ruin, but Black Monday’s initial public offering is more than enough to get us to buy in. Rating: B Where to Find It?: Black Monday premieres Sunday, January 20th at 10 p.m. ET on Showtime. Trailer: Source

Ask most fans of dance music these days who has the most advanced stage design, and you’ll hear the name Eric Prydz pop up a lot. The Swedish producer has built up significant hype around his shows thanks to his innovative EPIC (that stands for Eric Prydz In Concert) stage designs, and he’s going to take it one further this year at Tomorrowland. The annual Belgian festival will play host to the world debut of Prydz’ new stage, HOLOSPHERE. The design placing Prydz inside a spherical form at the center of a 360 degree 3D hologram — the technology for Prydz’ vision didn’t exist at the time of conceptualizing it, so his team developed the proprietary technology themselves. Eric Prydz says, “My team and I had a vision that has taken over 2 years to develop. It is now so exciting to be able to announce this, and show you the next chapter of EPIC.” See Eric Prydz from Tomorrowland 2018 below. This article was first published on Your EDM. Source: Eric Prydz Will Debut New HOLOSPHERE At Tomorrowland 2019 Source

There aren’t many festivals that can announce tickets on sale without even announcing headliners, let alone a full lineup. There are even fewer that can consistently back it up year after year so that fans don’t regret their decision to buy early. Paradiso is one of those festivals. The annual Washington festival at the beautiful Gorge Amphitheater returns June 14-15 with what is sure to be another stellar year, and it’s more affordable than ever. GA wristbands, VIP passes, Camping Passes, and all packages are on sale now — and payment plans start at just $24.99. Last year’s lineup featured deadmau5, Armin van Buuren, DJ Snake, Louis the Child, Rezz and Virtual Self. It’s hard to imagine how they’ll top it this year, but we have no doubt they will. Knife Party, Marshmello, Martin Garrix, Diplo, Tiësto, G Jones, and more come to mind, but we’ll have to wait and see! Watch the announcement below and get ready! Retail outlet tickets on on sale tomorrow Saturday 1/19 at 11AM PST. Be one of the first to secure their spot in paradise today at www.ParadisoFestival.com! This article was first published on Your EDM. Source: Tickets Now On Sale For Paradiso 2019 Source

Future’s seventh studio album ‘The Wizrd’ dropped today. ‘The Wizard’ is out now on Epic Records, and Future’s Freebandz imprint. A 20-track project, ‘The Wizrd’ is a nickname Future’s late uncle gave him. Future dubs himself, as Future Hndrxx. The artist has been developing his craft, over the years, ‘The Wizrd’ might be his most refined album. Besides perfecting his auto-tune voice, Future is in control. His Future Hndrxx persona is effective because Future sounds deliberate in his music. Although Future admits that he can’t play guitar, he’s become more musical. ‘The Wizrd’ is dynamic. This new style and persona help to improve Future’s rags to riches story. Future is often boastful, which we expect. Yet, the artist uses his repertoire of cadences, tempos, and flows to deliver his story in a fresh way. Not only is he bragging about wealth, but Future has mastered hip-hop. He delivers creative expressions, effortless verses, and tireless raps. Despite overcoming adversity and surviving street life, Future remains focused. Future’s got to have a lavish lifestyle. It reminds him of where he’s been. Furthermore, he’s got to be wise about who he lets depend on him. Future may be rich. He’s letting audiences know that he’s still a gangster throughout the album. While ‘The Wizrd’ sticks to Future’s gangster mentalities it’s his coming of age project. Future’s solidified himself as a hip-hop artist with the ability to crossover. The artist shares the spotlight on two of the projects biggest songs. His track “Unicorn Purp” features Young Thug and Gunna. Also, Future teams with Travis Scott on “First Off”. Future pays tribute to the artists that have been there for him through the pain. The people who he keeps around him can relate to his struggle. His circle keeps him sane. Yet, it’s Future’s contemplative lyrics and deep content that make ‘The Wizrd’ special. Songs like “Never Stop” and “Tricks On Me” point to his evolution. Future’s relentless drive and unyielding focus bring him wealth and status. He can have whatever he wants. Still, his business acumen and desire for more hinge on being a different person. Future protects himself and those around him by moving on his with life. He’s not going to back to the lifestyle that could bring him down or ruin his career. He’s reached the next level of fame by mastering hip-hop, and he’s worked too hard. Future has become ‘The Wizrd’ of hip-hop. Now he’s capable of moving beyond being only an artist. He’s capable of doing more, as a father, influencer and businessman. ‘The Wizard’ is a strong album with lots of fresh music that present Future, as a new man. Check our first impressions of Future’s ‘The Wizrd’ album, below! Download on iTunes: Future – Future Hndrxx Presents: The WIZRD| Spotify | Apple Music 1. Never Stop (4:51) “Never Stop” starts with a heavenly melody and banging beat. Future starts rapping about his motivations, as never stopping. “I make Yeezy Boost moves in Reeboks and ain’t gonna never stop. Trying to run up a billion until my ankle pop.” Future sounds hungry. He reflects on the pain that turned him into who he is. He needed to feel the pain to be successful despite those who doubted him. “You can feel the pain when I’m rapping because I’m raging.” ‘The Wizrd’ introduces us to an evolved artist. Future’s never going to stop grinding because he doesn’t want to go back to who he was before. 2. Jumpin on a Jet (2:17) Future is bragging about his lifestyle. The beat bangs and the production is ideal for Future. Future flows with grace over Southside’s wicked melodies. He’s in his zone on this track, and the hook is fire. This track is a club banger. 3. Rocket Ship (1:56) “Rocket Ship” is a slower tempo. Future feels unstoppable. A short track. The rapper delivers bars about his hustler background. His drugs make fiends take off like a “Rocket Ship.” Future’s product keeps them coming back for more. It could be a metaphor for his music now. Yet, his verses rapping about selling drugs. 4. Temptation (2:47) On “Temptation”, Future struggles to escape his past. Rap got him out the hood. Reminiscing on his old life selling drugs makes him want to go back. He knows he can’t. He became famous and sounds like he’s at a different point in his life now. Future gets tempted to go back to that old life, but he’s got everything he wants now. He’s motivated by taking care of his family and friends. He doesn’t want them to have his old life. Not a club banger, but a solid track for his concerts. The autotune bridges sound uplifting. 5. Crushed Up (2:29) “Crushed Up” dropped two weeks ago. Typical Future track. Wheezy produced it. Future raps about his wealth, and extravagant lifestyle. His flow is relentless. Future’s flashing diamonds because shining on the people that doubted him or wanted to see him fail. Quick track, but it’s beat is solid. 6. F&N (3:09) The beat is melodic and moves along several tempos, as Future finds his groove. Future is finding his flow. He’s starting to heat up. “F&N” takes a minute to build up, but Future starts handles this beat with ease. He makes rapping look easy. “F&N” sounds like a warm-up to the rest of the album. 7. Call The Coroner (2:11) 7 songs in and “Call The Coroner” is one of my favorite tracks. It has one of the hardest beats on the album thus far. Future keeps rapping. He’s rapping non-stop and sounds focused. He’s in control. Future’s killing the beat. This track is a banger! 8. Talk S**t Like A Preacher (2:12) He’s “Talking S**t Like A Preacher”. Future continues his relentless and unyielding flows. Future cannot stop. He’s reached the top. He’s got an edge. The beats got a fresh breakdown at the end. Future flexing for 2 minutes about being rich. This is a short track. Not the best track I’ve heard on the album, but Future’s not slowing down. 9. Promise U That (3:25) “Promise U That” is a song for the ladies. Future’s got a desirable lifestyle that women want. He can provide through his career. His wealth can afford anything he wants. Future’s a jet-setter. He’s inviting women to appreciate all the money he’s got. Future is being himself. Sounds like a record that fits into his Superfly persona. Fresh track and different vantage point from the other 8 tracks. 10. Stick To The Models (3:16) The ‘Wizrd’ album blends and it’s smooth like a soundtrack. The beat is melodic. Future starts rapping about maintaining his baller lifestyle. He never going back to who he was. He likes living lavishly. Future feels he deserves his accomplishments. He had to get away from his old life. He’s going to stick to the models. This life is better. He’s not slowing down. This track is fire. 2-minutes in and no breaks. He raps about 3 minutes without pausing. This is a solid track. 11. Overdose (1:55) Future is rapping about his balling lifestyle. He’s got too much wealth. He’s got everything he wants. He’s going to overdose on life. Short track. Skippable record, but the beat is hot. 12. Krazy But True (3:05) “Benz cooped up like a fish tank with a shark in it.” Future accepts becoming successful. He’s poetic. “Look into my eyes tell me what I’m thinking. I’m smelling like Kush promethazine drinking. This ecstasy the only reason why my heart’s beating. I need you by my side. It’s very therapeutic.” Future’s rapping about how he uses drugs to cope with all his pain. Drugs keep Future sane and help him deal with life. He wants to be someone relatable, but he’s not. His position in life makes him a role model. He’s got his methods for overcoming adversity. 13. Serving Killa Kam (3:06) Future introduces a new cadence. He introduces audiences to more of his Hndrxx personality. He’s reflecting on his pain, and struggle. It’s a track for the streets. He’s famous. He’s never going back to his old life. Yet, Future’s still a gangster. He lives by the code of the streets in his new life. He’s serving new fiends. Before he sold drugs to addicts. Now it’s fans, women, and people that use him for his wealth. He appreciates it. Future wants to serve more people with his craft and keep them coming back. He attains more status, wealth, and success. This track is dope. The beat is hard. Future is showing his evolution, as an artist. 14. Baptiize (3:38) Future is a changed man. The beat starts out soft and melodic. He’s speaking about his present lifestyle. Future’s seen a lot behind the scenes. He’s been with Jada Pinkett. He’s focused on building more wealth, and living larger. It’s boss talk. The beat shifts. The production is psychedelic. Future is raging. He’s rapping about success. He’s living this life he’s rapping about, and you can see it because he has a lot. He gotten through a lot of pain and struggle. People have failed him. Still he’s a gangster because he’s still with his homies. He wants to more success to bring his homies up with him. 15. Unicorn Purp (feat. Young Thug & Gunna) (4:06) “Gave that Phillippee to that little bitty b*tch. I made her a monster. I can’t address all the issues I’m dealing with. I’m going bonkers. You not meeting up to my criteria. I’m not responsive.” Future sounds like he’s contemplative. He’s struggling with relationships. He’s felt pain. People used him. He’s took some losses. There’s no stopping Future. Future’s become successful on his own. He overcomes adversity by cutting people off. He’s focused on his business. Young Thug giving his ad-libs the entire track. Young Thug verse is dope. Future and Young Thug are sharing success. They’ve gotten past the beef and achieve success together, as homies. 16. Going Dummi (2:41) “Everything we do we going dummi. Whatever I do I hope I got that tummy. Just in case a ni**a tries to play me.” Future is rapping about staying focusing. He’s got to deal with the pain. Rap helps him cope with the pain, and now he’s a Rockstar. To overcome the pain he has to live the Rockstar lifestyle. This track is ok. It has potential. Future explains why he has to be Future Hndrxx. 17. First Off (feat. Travis Scott) (3:48) The beat on this track is dope. Future is not the same person as before. He’s not going to make the same mistakes. He’s contemplative. He wants to do things, but he knows he can’t. He’s wiser. Future’s achieved success and he’s got too much to lose. Travis Scott sounds dark. They became famous together, and share in the success. They’ve become rap Gods now. This is the best track for workouts and the gym. 18. Faceshot (2:55) “Faceshot” beat sounds like WATTBA. “Playing with the girl all them feds know. I like to get hyphy for a kilo. I f*ck with lil shawty she got deep throat. Get you a** hit for a c-note.” The track has a double meaning. Future’s still a gangster. He’s protective. Yet, you can’t catch up with Future anyway. He’s with his girl and they’re low-key. He’ll shoot you before you take away his lifestyle, and everything he’s built. Also, he’s calling out other rappers. They’re not about their business like he is. They let women use them. Future won’t let that happen. 19. Ain’t Coming Back (3:39) Future reflects on success. He’s nostalgic. He speaking about his past. The streets made Future self-sufficient. Despite a love for the streets, he can’t go back. He’s too successful. The streets will bring him down through the envy and hate. He’s unapologetic. Future can’t make the same mistakes and let people take advantage of him. That brings him more pain. Future speaking from a mature and wise vantage point. Not a banger, but he’s letting us know he’s strong enough to move on. 20. Tricks On Me (4:22) This is a melodic track. Future’s appreciative. His minds playing tricks on him. Future’s still contemplative. He’s done so much for other people. They brought him pain. The issues and drama is why he’s become emotionless. The drugs help Future deal with emotions. He’s upset that people he thought loved him turned their backs on him. He’s got to keep working because they’re going to come after everything he has. He felt he had it all, but it’s never enough. He’s got to have these things to learn how fortune he has. Future’s got to take care of his responsibilities. It’s Future’s most honest record on this album, if not ever. One of his deepest tracks. Future shares his insecurities. The post Our First Impressions of Future’s ‘The WIZRD’ (Album Review) appeared first on Verge Campus. Source

Rammstein are getting ready to unleash their first new album in 10 years, but in the meantime guitarist Richard Kruspe recently released the new disc from his other project, Emigrate. The latest Emigrate album, A Million Degrees, which arrived in November, features guest turns from Rammstein’s Till Lindemann and Ghost’s Cardinal Copia, among others, but Kruspe handles lead vocals on most of the album’s 11 tracks. The music is a departure from the industrial metal sounds of Rammstein, offering up a ’80s post-punk vibe while not really fitting into any one genre. We recently caught up with Kruspe to discuss the new Emigrate album, working with Lindemman outside of Rammstein, his thoughts on the late Lemmy Kilmister, who appeared on Emigrate’s previous album, Silent So Long, the encouragement he received from System of a Down’s Serj Tankian, and his regrets on not getting to work with three rock icons whom we lost in recent years. Read our interview with Richard Kruspe below. On originally wanting to record a sequel to Silent So Long, but scrapping that idea after water damage in his home destroyed the new material During the process of actually re-doing the record out of memory, I had to reset myself, because I said, “If I go back and forth thinking that something was better, I would go crazy,” so I had to kind of reset myself and let the past be in peace. I really had to let go. The first reaction, I was scared. I was in a situation where I was angry. But then I took on the challenge to rewrite it, and while I was doing that, I started to get this passion and fire back that I need to finish the record. On reaching out to Serj Tankian to record the song “War”, but ultimately going with his own vocals In the beginning, when he called me back, he was like, “I love the way the song is [with your vocals].” My first instinct was that he doesn’t have the time to do something, but he was really passionate about me leaving my vocals on there. He kind of convinced me to do so. Sometimes you need that [encouragement], because even though I’ve gotten much more confident in singing, I’m still a beginner as a singer. So sometimes I need a little push, especially from someone such an experienced singer as him. So, I took it as compliment in the end. On the track “You Are So Beautiful” and its accompanying music video I think it’s the most catchy song on the record — maybe the most pop song, that’s not really associated with my kind of work. When I grew up I was listening to a lot of heavy stuff, but I also was fond of the world of pop music, and I would listen to the radio all the time. And I think I needed a certain kind of age to be cool and confident to write that sort of stuff. When I was younger, I wasn’t cool enough to tell my metal friends that I loved Depeche Mode. That song, when I wrote it, I wasn’t really sure where it was heading, until I realized this is actually for my child. And then I thought, now I want to write a story about the father that loves his child. And I did the video for that, and wrote the story. I was a father at 23 and then I became a father at 46, so there’s a lot of time in between. Even though I love my children, and have this unconditional love, sometimes you lose your track. It was fun to shoot with my daughter in the video. I was very proud when I saw how she acted on the video. And the funny thing was, when I was rehearsing for the video, I was playing the song on an acoustic guitar, and then I realized, wow, it sounds so good, so I recorded an acoustic version, as well. On the song “Let’s Go” featuring his Rammstein bandmate Till Lindemann The reason why this song exists is also the reason why Emigrate exists. [Till and I] started something way back, where we were trying to do something together, but then the band got ahold of it, and they were really fond of it. So, we stopped that, but I still had this song. After we stopped working, I started Emigrate, because I needed to do something else besides Rammstein, and this song had a totally different idea and different lyrics, and later on, I found that song again. And I was thinking that I would love to do something with Till, because our friendship changed over the years. If you’re playing in a band with someone, you get very close and it changes from friendship into something else. When I was thinking about the most intense time in my relationship with Till, we had that time after the wall came down in ’89 when the whole East Germany was kind of a Wild West. We were all going crazy, it was a very intense time. And I was thinking about capturing that time, so I re-wrote the song lyrically and musically and added this electro feeling into it. Because at that time, in every house there was a techno or rave party, and we would go there, and 7 in the morning, he would bring his daughter to school, and then come back and we would stay there into the daytime, and dance to these electric beats — I mean, can you imagine us dancing like that? I was just trying to capture that time in the lyrics and the music. On the Silent So Long track “Rock City” and his lasting impression of Lemmy Kilmister In general, working with those guys that you grew up — especially coming out of East Germany, where rock wasn’t a big thing — to have the ability to work with those people is a great honor and a great pleasure to do so. Especially, with that song, with Lemmy — because he was very sick, and he went into the studio and was singing the song, and just nailed it. I remember when I heard the song, I was jumping up and down like a little child in my bed. It was like when Christmas and a birthday come together! It was just great. Just the way that he sang, putting in some German words in there, to say “hello” in a way. It was very personal. I met him at one of the last shows he played in Berlin, and I went to his dressing room, and I said, “Thank you for being a part of [the song],” and it was sad, because I looked in his eyes and he was almost not there anymore [because he was so ill]. It was very sad, in a way. It’s always hard when we lose those people, because rock music has changed, we don’t get those dinosaurs anymore. It’s all about the hip-hop world. It’s not about music anymore, it’s about lifestyle. I just hope that I can continue what I do with Emigrate to capture those guys [like Lemmy]. I actually had three guys who I had in mind who died before they were able to record. It was David Bowie, Chris Cornell, and Chester Bennington. We were in contact and they all died before we can do something. Our thanks to Richard Kruspe for taking the time to speak with us. Emigrate’s new album, A Million Degrees, is available via various outlets at this location. Source

DJ Moodymann says he was outside of his own property when he had an aggressive run in with Detroit police. The violent video below, which is making its rounds online, shows officers screaming at him while pointing an assault rifle straight at his face. Moodymann, real name Kenny Dixon Jr., claims he went to jail despite being on his own property with his own set of keys. It’s unclear what went on before or after the video clip was taken, but any way you look at this, it’s seriously disturbing. In his since removed post, Moodymann explains what happened from his perspective… “HP police came n (MY BACKYARD)demanding proof of ownership and this is how they reacted,” he wrote. “(Went 2 jail again)charged me 4 Breaking and entering on my own property even though I had keys.what u can’t c is 9 other officers pointing there AR15 directly at my head …next time just pull the MF trigger let’s get this shit over with (I’m tired) I’m so tired.” The Black Madonna, among others have spoken out about the incident since seeing the footage… Kenny is a great man. He’s a man of peace. We have to stop terrorizing black men. The sound of his voice is something that will haunt. I’m so glad they didn’t shoot. Thank god they didn’t, but fuck this. Again, black lives matter. Black lives matter. — THE BLACK MADONNA (@blackmadonnachi) January 16, 2019 The video has been reposted below, but fair warning — it’s not easy to watch. DJ Moodymann Held At Gunpoint This article was first published on Your EDM. Source: Police Hold Up DJ Moodymann By Gunpoint In This Startling Video Footage Source

The 1975 surprised plenty of critics when they dropped A Brief Inquiry into Online Relationships last year. With one of the best records of the year — which featured one of the best tracks of the year in “Love It If We Made It” — they ascended the ranks of millennial fan factories to become respected torch bearers for modern pop rock. That rise means access to some bigger venues and more tickets sales, something the Manchester act is making the most of with a newly expanded North American tour itinerary. The band has added a handful of dates to their previously announced 2019 schedule. Newly added stops include Santa Barbara, San Francisco, Kansas City, Milwaukee, and Richmond, Virginia. This is all in addition to appearances at a number of festivals, including Governors Ball, Coachella, and Hangout. Find the complete list of dates — which includes a massive number on international shows — below. You can get tickets here. The 1975 2019 Tour Dates: 01/18 – London, UK @ The O2 01/19 – London, UK @ The O2 01/21 – Exeter, UK @ Westpoint 01/23 – Birmingham, UK @ Arena Birmingham 01/24 – Manchester, UK @ Manchester Arena 01/25 – Sheffield, UK @ FlyDSA Arena 03/16-19 – Mexico City, MX @ Vive Latino 03/20 – Guadalajara, MX @ Auditorio Telmex * 03/22-23 – Monterrey, MX @ Pa’l Norte 03/28 – Asuncion, PY @ Asuncionco Festival 03/29-31 @ Buenos Aires, AR @ Lollapalooza Argentina 03/29-31 – Santiago, CL @ Lollapalooza Chile 04/02 – Asuncion, PY @ Asuncionco Festival 04/04 – Rio De Janeiro, BR @ Circo Voador 04/05-07 – Saõ Paulo, BR @ Lollapalooza Brasil 04/05-07 – Bogotá, CO @ Festival Estereo Picnic 04/12 – Indio, CA @ Coachella Music Festival 04/15 – Phoenix, AZ @ Comerica Theatre *^ 04/16 – Las Vegas, NV @ The Joint *^ 04/19 – Indio, CA @ Coachella Music Festival 04/21 – Santa Barbara, CA @ Bill Graham Auditorium *^ 04/22 – San Francisco, CA @ Bill Graham Auditorium *^ 04/25 – Seattle, WA @ WaMu Theater *^ 04/26 – Vancouver, BC @ Doug Mitchell Thunderbird Sports Centre *^ 04/27 – Portland, OR @ Veterans Memorial Coliseum *^ 04/29 – Orem, UT @ UCCU Center *^ 04/30 – Morrison, CO @ Red Rocks Amphitheatre *^ 05/02 – Irving, TX @ The Pavilion at Toyota Music Factory *^ 05/03 – Austin, TX @ Austin360 Amphitheater *^ 05/04 – Sugar Land, TX @ Smart Financial Centre *^ 05/06 – Kansas City, KS @ Providence Medical Event Amphitheater *^ 05/07 – Minneapolis, MN @ The Armory *^ 05/08 – Chicago, IL @ United Center *^ 05/10 – Milwaukee, WI @ The Eagles Ballroom *^ 05/11 – Rochester Hills, MI @ Meadow Brooks Amphitheatre *^ 05/12 – Cincinnati, OH @ PNC Pavilion at Riverbend Music Center *^ 05/14 – Columbus, OH @ The LC Pavilion *^ 05/15 – Nashville, TN @ Ascend Amphitheater *^ 05/17 – Gulf Shores, AL @ Hangout Music Festival 05/18 – Atlanta, GA @ State Bank Amphitheatre at Chastain Park *^ 05/19 – Charlotte, NC @ Charlotte Metro Credit Union Amphitheatre *^ 05/21 – Washington, DC @ The Anthem *^ 05/22 – Richmond, VA @ Virginia Credit Union Live! *^ 05/29 – Darien Center, NY @ Darien Lake Amphitheater ^ 05/30 – Boston, MA @ Agganis Arena ^ 06/01 – New York, NY @ Governors Ball Music Festival 06/03 – Toronto, ON @ Budweiser Stage ^ 06/07-09 – Mendig, DE @ Rock am Ring 06/07-09 – Nüremberg, DE @ Rock im Park 06/28 – Werchter, BE @ Rock Werchter 06/29 – Stockholm, SE @ Lollapalooza Stockholm 07/04 – Gdynia, PL @ Open’er Festival 07/05-07 – Turku, FI @ Ruisrock Festival 07/11 – Trencin, SK @ Pohoda Festival 07/13 – Madrid, ES @ Mad Cool Festival 07/18 – Meco Sesimbra, PT @ Super Bock Super Rock 07/18-21 – Benicàssim, ES @ Benicàssim Festival 07/26 – Salagriva-Trencin, LV @ Positivus Festival 08/06 – Vilnius, LT @ Vingio Parkas 08/08 – Budapest, HU @ Sziget Festival 08/10-11 – Buftea, RO @ Summer Well 08/23 – Reading, UK @ Reading Festival 08/24 – Leeds, UK @ Leeds Festival 08/25 – Glasgow, UK @ Glasgow Summer Sessions 09/06 – Seoul, KR @ TBD 09/08 – Hong Kong, HK @ TBD 09/11 – Manila, PH @ Mall of Asia Arena 09/13 – Bangkok, TH @ Thunderdome 09/16 – Singapore, SG @ The Star Theatre 09/18 – Auckland, NZ @ Spark Arena 09/20 – Melbourne, AU @ Margaret Court Arena 09/21 – Sydney, AU @ ICC Sydney Theatre 09/22 – Brisbane, AU @ Riverstage 09/25 – Adelaide, AU @ Entertainment Centre Theatre 09/27 – Perth, AU @ HBF Stadium * = w/ Pale Waves ^ = w/ No Rome The 1975 have also shared a lyrics video for “I Like America & America Likes Me”, which you can watch below. Source

Netflix will soon be the home to future Unsolved Mysteries. Deadline has confirmed that the streaming giant will be picking up the iconic series for a new revival. The report follows a mysterious listing that surfaced on Reddit earlier this week that suggested new episodes were being filmed starting in February. In the same listing, not only is creator Terry Dunn Meurer attached but also 21 Laps Entertainment, which belongs to Stranger Things producer Shawn Levy, suggesting this may get some of that good ol’ Hawkins touch. “The series reboot uses re-enactments and interviews to retell the circumstances of, well, mysteries that are unsolved,” the listing reads. “Covering crimes, tales of lost love, unexplained history and paranormal events, viewers are encouraged to call in with information that might solve the mystery.” As Bloody Disgusting points out, both Meurer and co-creator John Cosgrove had stated they were pitching networks on a revival during a Reddit AMA session back in 2017. Much like The X-Files or The Office, renewed interest came from the series being on streaming networks such as Netflix. That same year, Cosgrove told Decider, “We are actively talking to a couple of broadcasters who have shown interest, and we’re very optimistic that we’ll have something by way of new episodes by the end of the year. It’s too early to go into much detail, but we’ve had our research producers look into possible stories and they’ve found some excellent ones which can be ready to go quickly.” Unsolved Mysteries is quite a coup for Netflix, especially at a time when its competitors are picking up essential IP that can cater to horror hounds in search of spooky events. Shudder, in particular, has been finding major success with Joe Bob Briggs and will soon bring Stephen King’s Creepshow to the fold. Of course, this isn’t the first time Unsolved Mysteries has seen a revival. Back in 2008, Spike brought it back with Dennis Farina, who hosted 175 episodes before the series ended again in 2010. With the passing of both Farina and original host Robert Stack, they’ll have to find a new host. May we recommend? Source

Death Cab for Cutie will be spending the warm summer months on the road in support of their latest album, Thank You For Today. The Ben Gibbard-led outfit has announced a North American headlining tour that begins June 7th and runs all the through the second week of August. DCFC, who recently celebrated the 15th anniversary of their classic Transatlanticism, will play in cities such as Pittsburgh, New York, Detroit, Toronto, and St. Louis. They’re also marked for Louisville, Edmonton, and Los Angeles, and are scheduled to make an appearance at Delaware’s Firefly Music Festival. (Read: Five Reasons Death Cab For Cutie’s Transatlanticism Should Be Everyone’s Favorite) The summer trek follows early 2019 stints in Europe, the UK, Australia, and New Zealand. DCFC will be joined by various opening acts throughout the year, including Mitski, Car Seat Headrest, My Brightest Diamond, The Beths, and — for the first time in 13 years — Gibbard’s Postal Service bandmate, Jenny Lewis. Consult the band’s full tour itinerary below, and grab tickets here. Death Cab for Cutie 2019 Tour Dates: 01/24 – Dublin, IE @ Olympia Theatre + 01/25 – Manchester, UK @ Albert Hall + 01/26 – Glasgow, UK @ O2 Academy + 01/28 – Nottingham, UK @ Rock City + 01/29 – Leeds, UK @ O2 Academy + 01/30 – Bristol, UK @ O2 Academy + 02/01 – London, UK @ Eventim Apollo + 02/02 – Paris, FR @ Le Trianon + 02/03 – Antwerp, BE @ De Roma + 02/05 – Utrecht, NL @ Tivoli Vredenburg Grote Zaal + 02/06 – Cologne, DE @ Live Music Hall + 02/07 – Berlin, DE @ Astra Kulturhaus + 02/09 – Hamburg, DE @ Große Freheit + 02/10 – Copenhagen, DK @ Vega + 02/11 – Stockholm, SE @ Cirkus + 02/12 – Oslo, NO @ Sentrum Scene + 03/06 – Melbourne, AU @ Hamer Hall 03/07 – Melbourne, AU @ Hamer Hall 03/09 – Canberra, AU @ Canberra Theatre 03/11 – Sydney, AU @ Sydney Opera House 03/12 – Sydney, AU @ Sydney Opera House 03/14 – Auckland, NZ @ Auckland Arts Festival 03/29 – Las Vegas, NV @ The Joint ^ 03/30 – Tucson, AZ @ Tucson Music Hall ^ 03/31 – Albuquerque, NM @ Kiva ^ 04/02 – San Antonio, TX @ Aztec Theatre ^ 04/03 – Houston, TX @ Revention Music Center ^ 04/04 – Tulsa, OK @ Cain’s ^ 04/06 – Oklahoma City, OK @ Criterion ^ 04/07 – Memphis, TN @ Orpheum ^ 04/09 – New Orleans, LA @ Orpheum ^ 04/10 – Birmingham, AL @ BJCC Concert Hall ^ 04/12 – Charlotte, NC @ Ovens Auditorium ^ 04/13 – Raleigh, NC @ Red Hat Amphitheater ^ 04/15 – Nashville, TN @ The Ryman ^ 04/16 – Nashville TN @ The Ryman ^ 06/07 – Pittsburgh, PA @ Stage AE ~ 06/08 – Nelsonville, OH @ Nelsonville Music Festival 06/11 – Portland, ME @ Thompson’s Point # 06/12 – South Burlington, VT @ The Green # 06/14 – New Haven, CT @ College Street Music Hall # 06/15 – Queens, NY @ Forest Hills Stadium # 06/18 – Detroit, MI @ Masonic Temple Theatre # 06/20 – Toronto, ON @ TD Echo Beach # 06/21 – Cooperstown, NY @ Brewery Ommegang # 06/22 – Dover, DE @ Firefly Music Festival 06/25 – Morrison, CO @ Red Rocks % 07/07 – Louisville, KY @ Iroquois Amphitheater ~ 07/08 – St. Louis, MO @ Stifel Theatre ~ 07/09 – Mankato, MN @ Vetter Stone Amphitheater ~ 07/13 – Edmonton, AB @ Edmonton EXPO Centre 08/11 – Los Angeles, CA @ Hollywood Bowl & + = w/ The Beths ^ = w/ My Brightest Diamond # = w/ Jenny Lewis ~ = w/ Lala Lala % = w/ Mitski & = w/ Car Seat Headrest Revisit Thank You For Today single: “Gold Rush”: Source

Last year’s Austin City Limits Music Festival was everything you could have wanted in a music event in 2018: diverse, stacked, aware, perfectly balanced. It was such a marvelously curated bill and executed so acutely that it was easy to name it our Festival of the Year. Headlining names like Paul McCartney, Metallica, and Travis Scott took the stage over the fest’s two weekends, but one top-tier act went one step further. While in town for the multi-weekend festival, Arctic Monkeys made a stop by The Moody Theater to tape an episode of Austin City Limits TV. The episode airs this weekend on PBS, but Consequence of Sound is excited to present an early look at the performance with a web exclusive performance of “Tranquility Base Hotel & Casino”, the title track to the British rockers’ latest album. As you can see in the clip below, the band brought something extra to the ACL Live venue. In addition to the regular film crew, a number of red jumpsuit-clad cameramen shot the performance on Ikegami ITC 730a Colour Tube cameras. The vintage gear gave a nostalgic feel to the footage similar to what viewers watched in the early days of music television. It’s a fitting aesthetic for the lounge-y vibe of Tranquility Base Hotel & Casino, especially as a shaven-headed Alex Turner delivers his sci-fi croon behind the keys for the title track. Check out the clip below. Tune into PBS Saturday, January 19th at 8:00 p.m. CT/9:00 p.m. ET for the full episode. Source

Nearly three years after Paul van Dyk‘s near-death stage fall at ASOT 750, the DJ has been court granted over $12.5 million from event organizers following a lawsuit. van Dyk suffered a brain injury and damage to his spine as a result of the nasty fall. Thankfully, his road to recovery only lasted a brisk three months, including surgery and physical therapy. However, the serious fall had a lasting impact on van Dyk and his career. During his A State of Trance show in February 2016, van Dyk stood on top of the stage design. While it’s common practice for DJs to jump on their booth, speakers, or the stage structure to build hype, nobody forewarned him that the stage was unstable. The judgement handed down awarded van Dyk $12,588,643.45 total for medical bills and lost profits. According to a report, the breakdown included $2 million for future medical expenses, $1.2 million for lost profits over the past two years, and $2.475 million for prospected future loses over the next 10 years. Plus, extra damages. Recently, van Dyk opened up about the incident and his relationship with ASOT. “I want everyone involved in some way in production and booking to shine a light on the safety of their events,” he said. Paul van Dyk’s Stage Fall Source: The Blast | Photo: Marc van der Aa for Insomniac This article was first published on Your EDM. Source: REPORT: Paul van Dyk Awarded Over $12 Million For ASOT Stage Fall Source

After years of waiting, Kingdom Hearts 3 is finally out everywhere January 29. (It releases January 25 in Asia.) In anticipation of the full game, we also finally get the full version of the Utada Hikaru & Skrillex collaboration “Face My Fears” that was teased in the game trailer last December. Fans were able to get a good enough taste of the full track from the aforementioned trailer, but nothing really beats a complete Skrillex tune. The complete version more than doubles the version in the trailer, fleshing out the tune with even more future bass goodness. And aside from all the disappointment that Skrillex hasn’t been putting out much heavy bass music lately, it seems he’s really perfected his new sound. It sounds absolutely brilliant, especially with Hikaru’s inimitable vocals. From the vocal chops to that instantly recognizable snare, Skrillex’s brand is all over this. You can listen to both the English and Japanese versions of “Face My Fears” on Spotify below, as well as new tracks “Don’t Think Twice” and “Chikai.” Note: only “Face My Fears” is with Skrillex.  This article was first published on Your EDM. Source: OUT NOW: Utada Hikaru & Skrillex’s Opening Theme For Kingdom Hearts 3 Source

The legendary soul singer and civil rights activist Gladys Knight has agreed to sing at this year’s Super Bowl 53, which is being held next month in her hometown of Atlanta. Her decision stands in contrast to those of other high-profile artists who have turned down offers to perform at the event in solidarity with Colin Kaepernick, the former NFL quarterback who has been effectively shut out of the league after choosing to protest institutional racism and police brutality by taking a knee during the National Anthem. The likes of Rihanna, JAY-Z, Pink, and Cardi B all turned down offers to participate in this year’s Halftime Show. Variety recently asked Knight about her stance on the NFL’s treatment of Kaepernick, and she responded by issuing a statement on the website defending her decision to perform. “I understand that Mr. Kaepernick is protesting two things, and they are police violence and injustice,” she wrote. “It is unfortunate that our National Anthem has been dragged into this debate when the distinctive senses of the National Anthem and fighting for justice should each stand alone.” She continued, “I am here today and on Sunday, Feb. 3 to give the Anthem back its voice, to stand for that historic choice of words, the way it unites us when we hear it and to free it from the same prejudices and struggles I have fought long and hard for all my life, from walking back hallways, from marching with our social leaders, from using my voice for good — I have been in the forefront of this battle longer than most of those voicing their opinions to win the right to sing our country’s Anthem on a stage as large as the Super Bowl LIII.” Knight joins a bill for the evening that includes Halftime Show headliners Maroon 5, who after a struggle to find willing collaborators will be joined on stage by Travis Scott and Big Boi. Scott explained his inclusion by saying he had spoken with Kaepernick and that they both walked away with “mutual respect and understanding”. However, Kaepernick later denied that he signed off on Scott’s participation.. Source

Last month, Cannibal Corpse guitarist Pat O’Brien made headlines when he was arrested for burglary and assault following a bizarre night in which he entered a nearby home in his Northdale, Florida, neighborhood around the same time this own residence went up in flames. Now, Cannibal Corpse have enlisted Hate Eternal frontman Erik Rutan to fill in on guitar for them as they head out on tour in 2019. According to reports, O’Brien was taken down by a taser when he allegedly tried to assault a police officer with a knife when he was found behind a fence after entering a neighborhood home and apparently ranting about the rapture to the occupants. During this time, the house he was renting was ablaze, with firefighters having trouble putting the flames out due to the number of firearms in his home. O’Brien was reportedly keeping 50 shotguns, 10 semiautomatic rifles, two Uzi-style rifles, and 20 handguns in his house, along with military-grade flamethrowers, three skulls and various other weapons. The veteran metal guitarist appeared in court the next day in shackles and an anti-suicide vest, and was released from jail on $50,000 bond a few says later. About a week after O’Brien’s arrest, Cannibal Corpse issued a statement, saying in part, “We wanted everyone to know that Pat is getting the help he needs and appreciates the love and support from Cannibal Corpse fans around the world … For anyone wondering, all Cannibal Corpse touring will happen as planned and all shows will be played.” With Cannibal Corpse booked to co-headline part of the 2019 Decibel Magazine Tour, and to provide support on the next North American leg of Slayer’s farewell tour, the band has tapped Erik Rutan to play guitar for them while O’Brien deals with the aftermath of his arrest. In addition to currently fronting Hate Eternal, Rutan was once a member of Morbid Angel, who happen to be the other co-headliner on the Decibel trek. Rutan has also worked as a producer on four Cannibal Corpse albums. Get tickets to the band’s upcoming tour dates here. Cannibal Corpse 2019 Tour Dates: 02/17 – San Antonio, TX @ Alamo Music Hall * 02/19 – Tucson, AZ @ Club Xs * 02/20 – San Diego, CA @ The Observatory * 02/21 – Los Angeles, CA @ The Fonda Theater * 02/22 – Santa Ana, CA @ The Observatory * 02/23 – San Francisco, CA @ The Regency Ballroom * 02/25 – Portland, OR @ Roseland Ballroom * 02/26 – Seattle, WA @ Showbox Market * 03/01 – Denver, CO @ The Oriental Theater * 03/02 – Kansas City, MO @ The Truman * 03/03 – Minneapolis, MN @ Skyway Theater * 03/04 – Chicago, IL @ The Concord * 03/07 – New York, NY @ Playstation Theater * 05/02 – Phoenix, AZ @ Ak-Chin Amphitheatre # 05/03 – Albuquerque, NM @ Isleta Amphitheatre # 05/05 – El Paso, TX @ UTEP/Don Haskins Center # 05/07 – Edinburg, TX @ Bert Ogden Arena # 05/08 – Dallas, TX @ The Pavilion at Toyota Music Factory # 05/10 – Tampa, FL @ MidFlorida Credit Union Amphitheatre # 05/11 – West Palm Beach, Florida @ Coral Sky Amphitheatre # 05/13 – Huntington, WV @ Big Sandy Superstore Arena # 05/14 – Columbia, MD @ Merriweasther Post Pavilion # 05/16 – Noblesville, IN @ Ruoff Home Mortgage Music Center # 05/17 – Bonner Springs, KS @ Providence Medical Center Amphitheatre # 05/19 – Clarkston, MI @ DTE Energy Music Center # 05/20 – Youngstown, OH @ Covel Centre # 05/22 – Ottawa, ON @ Canadian Tire Centre # 05/24 – Camden, NJ @ BB&T Pavilion # 05/25 – Mansfield, MA @ Xfinity Center # * = Decibel Magazine Tour with Morbid Angel, Blood Incantation, Necrot # = with Slayer, Lamb of God, Amon Amarth Source

R. Kelly has parted ways with Sony Music and its subsidiary label RCA Records. The severing of ties comes amidst Kelly’s mounting sexual misconduct allegations and the damning docu-series Surviving R. Kelly, which aired on Lifetime earlier this month. In addition to cutting Kelly from the roster, Sony vows not to release any new music from the disgraced R&B singer, per reports from both Billboard and Variety. (Read: Beyoncé’s Parents Kept Destiny’s Child Away From R. Kelly) Kelly was signed to Sony back in 2012 and has released four albums through RCA, including 2015’s The Buffet which featured Lil Wayne, Ty Dolla $ign, and Jhene Aiko. Amidst the backlash sparked by Surviving R. Kelly, fans have pressured Sony to part ways with the musician. However, the label initially refused to cave in over concerns of a retaliatory lawsuit and instead opted to momentarily shelve his music until criminal investigations “resolve one way or the other.” Update: According to Don Russell, an advisor and consultant for Kelly, the R&B artist had two albums left on his Sony contract. Kelly, however will not seek legal action against the label. “Our goal is not to go after anybody because he wants everybody to be happy,” Russell told Rolling Stone. He also claimed that multiple other labels are “very interested” in adding Kelly to their roster. The New York Times reports that since coming aboard with Sony/RCA, Kelly has sold 32 million albums for the label here in the US. Sony joins other former Kelly associates that have since decided to distance themselves from the singer, who over the last two decades has been accused of abusing countless women and even holding some hostage in a “sex dungeon.” This month has seen previous collaborators like Lady Gaga, Chance the Rapper, and Phoenix all condemn Kelly and remove their collaborative songs from streaming services. (Read: Video Surfaces Proving R. Kelly Definitely Knew Aaliyah’s Age at Time of Marriage) Kelly has attempted to clear his name, most recently by launching a website and Facebook account dedicated to “exposing” and discrediting his accusers. The career fallout has resulted in panic attacks, for which Kelly was hospitalized. Source

The official dates for Björk’s “Cornucopia”, which promises to be “the most elaborate stage concert she’s ever presented,” have now been revealed. Set to be housed at New York’s new high-concept arts venue The Shed, “Cornucopia” will enjoy a preview on May 6th before formally opening three days later. The Icelandic artist will deliver a total of seven performances of the show — May 9th, 12th, 16th, 22nd, 25th, 28th and June 1st — before the run concludes the following month. With a running time of 100 minutes, “Cornucopia” marks Björk’s first-ever production created with theatrical artists. In Björk’s own words, it’s a presentation “where the acoustic and digital will shake hands, encouraged by a bespoke team of collaborators.” (Read: The 20 Worst Rock and Roll Hall of Fame Snubs) Among those collaborators are harpist Katie Buckley, percussionist Manu Delago, visual artist James Merry, and choreographer Margrét Bjarnadóttir. Björk will also be assisted by Viibra, her own seven-piece flute ensemble from Iceland, and Tony Award-winning director John Tiffany. “Cornucopia” will specifically take place at The Shed’s McCourt space, which seats 1,200 and is “formed when the movable outer shell is deployed over the adjoining plaza to create a 17,000-square-foot light-, sound-, and temperature-controlled hall for large-scale performances, installations, and events.” Dubbed a “World Premiere Shed Commission”, Björk’s show is part of the inaugural season of the new venue. Tickets go on sale February 20th, and more information can be found at The Shed’s website. You can also get tickets here. Björk “Corncucopia” 2019 Dates: 05/06 – New York, NY @ The Shed at 7:00 p.m. (preview) 05/09 – New York, NY @ The Shed at 8:00 p.m. 05/12 – New York, NY @ The Shed at 7:00 p.m. 05/16 – New York, NY @ The Shed at 8:00 p.m. 05/22 – New York, NY @ The Shed at 7:00 p.m. 05/25 – New York, NY @ The Shed at 8:00 p.m. 05/28 – New York, NY @ The Shed at 7:00 p.m. 06/01 – New York, NY @ The Shed at 8:00 p.m. Björk released her most recent album, Utopia, in November 2017. Revisit that album’s single “The Gate”: Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public On today’s Kyle Meredith With…, Kyle talks to Juliana Hatfield about her new album, Weird, and gets the scoop on several new songs. She also tells the story of how she recently met Liz Phair for the first time and time-travels back with Kyle to discuss her contributions to the movie Reality Bites and television series My So-Called Life, both of which are celebrating anniversaries this year. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Source