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After billboards and a renewed social media presence last week, it’s officially been announced that Gesaffelstein has signed with Columbia Records. Other artists signed to Columbia include Calvin Harris, Diplo, and Kaskade. Gesaffelstein’s debut album Aleph came out in 2013. In 2015, he provided the soundtrack for the film Maryland. This year, he worked with The Weeknd on his project My Dear Melancholy,. With the new signing, a full return is expected, although no other information was given in the official press release for the news. This article was first published on Your EDM. Source: Gesaffelstein Signs With Columbia Records Source

Here’s a deep house gem from none other than New York’s impressive rising artist Francis Mercier, featuring the UK’s very own Jeanne Naylor. With unique and funky fresh disco house vibes, it’s sure to spice up the beginning of your week. Working alongside Mercier, Naylor was tasked with filling the void and she’s done that so incredibly well. The futuristic pop feels are almost comparable to a Dua Lipa and Calvin Harris collaboration. The hook is groovy, sexy, and ready to burn through the dance floor. “Treat Me Like A Lady” is a curated hit song, perfect for your house music playlist! Francis is in touch with his production roots, always staying true to a consistent vibe. All the while, he continues reaching forward and progressing with the times. An artist like this is bound to make his mark and it’s with songs like this that he is going to do so. His commercial house mastery is not to be mistaken, even if it looks easy. The man is a genius on the decks and behind his music production as well. For more music from Francis be sure to follow him on Soundcloud and Spotify! Find the song on you’re favorite platform here! This article was first published on Your EDM. Source: Francis Mercier drops a statement of a single “Treat Me Like A Lady” [Deep Root Records] Source

Fans of HBO’s woefully short-lived Western series Deadwood have been waiting a good while now for a proper conclusion to what was then one one of the cable network’s most engaging shows it’d aired. The story of a Dakotan boomtown in the 1870s, struggling to build an economy and government alike in a territory run by lawlessness, Deadwood boasted as immersive a world as any big-budget prestige series has managed to date. In its bloody, foul-mouthed way, it also spoke to something about the corruption on which America was built from the ground up. Then HBO cancelled it in 2006, just as creator David Milch made the bold decision to end the third season on a cliffhanger that tore down much of the series’ framework to date. Luckily, word emerged earlier this year that the network had greenlit a movie finale to draw the series to a more deliberate close. Now, Deadline reports that the movie has officially begun production, with the majority of the series’ principal players re-assembled for the finale. Among the returning stars will be Ian McShane (Al Swearengen), Timothy Olyphant (Seth Bullock), Molly Parker (Alma Ellsworth), Paula Malcomson (Trixie), John Hawkes (Sol Star), Anna Gunn (Martha Bullock), Dayton Callie (Charlie Utter), Brad Dourif (Doc Cochran), Robin Weigert (“Calamity” Jane Canary), William Sanderson (E.B. Farnum), Kim Dickens (Joanie Stubbs) and Gerald McRaney (George Hearst). Additionally, reports have emerged of a new character played by Jade Pettyjohn, whose involvement with the story remains unknown. Although the release date of the finale remains unknown (sometime in 2019 is the best current estimate), HBO revealed a bit more detail about how the film will end the story: “The indelible characters of the series are reunited after 10 years to celebrate South Dakota’s statehood. Former rivalries are reignited, alliances are tested and old wounds are reopened, as all are left to navigate the inevitable changes that modernity and time have wrought.” Sounds like a fine finale to a show that’s only going to find a bigger and bigger audience over time. Source

Last week, High on Fire announced that they were dropping off their scheduled co-headlining tour with Municipal Waste, as frontman Matt Pike had to undergo an emergency partial amputation of his toe. Now, there’s a visual to go with the news. With High on Fire off the bill, the “Speed of the Wizard Tour” still kicked off this past Friday, with Municipal Waste in the lone headlining slot along with openers Toxic Holocaust and Haunt. Pike, meanwhile, is resting at home after the procedure, but offered up a photo of his stitched-up toe on High on Fire’s Instagram page. Needless to say, it’s not exactly easy on the eyes. In fact, we recommend you’re between meals when looking at Pike’s surgically repaired appendage (below): One saving grace is that the rest of Pike’s toes are in pretty good shape, as Instagram user palsiewalsie points out in the comments section, “This might be a weird observation but I was kind of surprised how well cared for Matt’s toes are otherwise.” Toes aside, High on Fire’s latest album, Electric Messiah, came out in September. Read our review of the disc here, and read our interview with Matt Pike here. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Beginning tonight, Danish rockers Iceage are kicking off a co-headlining tour with Atlanta’s Black Lips. The bands will be selling an exclusive split 7-inch on the jaunt, and today Iceage have shared their contribution to the release, “Balm of Gilead”. The single is a riotously ripping number in the same vein as the battered and rowdy ilk found on Beyondless, their ferocious fourth album from earlier this year. Frontman Elias Bender Rønnenfelt drawls all over the tumbling rocker backed by equally disaffected vocal harmonies. Take a listen below. Take a look at Iceage’s upcoming tour dates, including those with Black Lips. Source

Hardwell is taking us on a trip down memory lane today. His Instagram feed has transformed into a timeline of his DJ ventures, starting from the very beginning. Back to when he first began DJing at the age of 14. In a series of uploads he introduces this new storytelling series: “It is time to relive my journey through my eyes — the past 16 years of my life. Let’s share some memories. The Story of Hardwell.” “I was 14 years old when I started getting serious with DJ’ing,” he explains. “The beginning of my DJ journey started in 2002. Starting my DJ life in 2002 was hard work and full focus as a kid. I had managed to play at 12 parties that year.” But his history with music dated back well before then, “It all started with years of practicing piano in my bedroom at my parents’ home. The basis for my musical interest, which was quickly followed by my curiosity for electronic music and technology.” The DJ/producer recently announced his huge, unexpected step back from touring to focus on his music and personal life. It’s unclear whether this is a temporary hiatus or a full retirement — only time will tell. Keep your eyes on Hardwell’s Instagram account here for more as he reveals The Story of Hardwell in full. Photo via Rukes.com This article was first published on Your EDM. Source: ‘The Story Of Hardwell’ Revealed, DJ Shares His Career Timeline On Instagram [LOOK] Source

Thom Yorke recently delivered his first ever film score, creating music for Luca Guadagnino’s Suspiria remake that’s been as praised as the movie itself. You’d think being in a band with Oscar-nominated composer Jonny Greenwood would have encouraged the Radiohead frontman to approach scoring, but that’s not entirely true. It wasn’t mutual admiration or support that brought Yorke to Suspiria, but jealously. “If I was honest with myself, I was a little bit jealous but felt that I couldn’t [do it] so I never tried,” Yorke told BBC Radio 1’s DJ Phil Taggart about having such an accomplished scorer in his band (via NME). It wasn’t just Greenwood’s success that intimidated Yorke, either, as the guitarist had far more base skills and experience than the singer. “Jonny’s just so far ahead – he understands orchestration works, he can read music, he’s studied it all. I mean, he sits there studying scores,” Yorke continued. “For Paul Thomas Anderson’s last film [Phantom Thread], he went away and read all the scores from the period of the composers of the time. That is not gonna happen with me ’cause I can’t read music.” Yorke added that he felt “purely amateur” next to Greenwood’s approach. He thought a horror film would be make for the simplest first attempt at creating a score — “I can just make loads of weird noises” — but he discovered even that was far more complicated than he’d anticipated: “So he’s out there off on his travels and he knows what he’s doing, whereas I’m totally scratching the surface, purely amateur. It stayed like that for a while and then I suddenly found myself committing to do a horror film and then thinking, ‘Well, it’s a horror film, I can just make loads of weird noises. It’ll be fun.’ There was way more to it than that and it was more melodic than that and more adventurous, and I was having to write choral pieces just using my own voice and many, many different things. So I’m a sucker.” A sucker who still created some pretty arresting music for Luca Guadagnino’s new film. Yorke also performed one of the tracks, “Suspirium”, alongside a solo piano version of “Everything in Its Right Place” during a recent stop at BBC Radio 1’s Piano Sessions. Yorke is set to release more new music soon, with a politically-charged solo album coming next year. Later this month, he’ll embark on a North American tour, tickets for which can be found here. Source

Diskolab‘s game is tight. Their Halloween-themed experience, WYNWOOD FEAR FACTORY was on-point. The sound quality, artists, and atmosphere at the Mana Wynwood Warehouse left no questions of why over 10,000 people choose to spend their Halloween weekend at this event. Headliners included Galantis, Getter, Duke Dumont, Fisher, Deorro and RL Grime. Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram From epic live performances on the main-stage to highly anticipated underground artists, the soundscape at WYNWOOD FEAR FACTORY stretched from house and techno to trap and bass. With a bunch of new material just being released by these artists, the sounds were at the forefront of electronic music trends, boggling our minds and rattling our bones. Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Listen to RL Grime’s Halloween VII featuring Shaq: WYNWOOD FEAR FACTORY Lineup The tone was set right off the bat as sketchy and halloween spirited characters welcomed us into their layer. Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram The spacious new indoor venue allowed room to get down and for a large-scale, bonkers production. Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Credit: Adi Nayev : Twitter : Instagram Thank you Adi Nayev for capturing this beautiful family affair for us to cherish. Look for the WYNWOOD FEAR FACTORY to return to Miami Halloween Weekend in 2019. Follow WYNWOOD FEAR FACTORY: Facebook Instagram Official Website The post 13 Exclusive Photos from the Wynwood Fear Factory Warehouse Rave appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

This Friday, Smino will return with his sophomore album, Noir. The St. Louis-bred rapper teased the release with last week’s “L.M.F.” music video. Now, a second offering in “Klink” has been unboxed. Produced by Monte Booker, the track sees an especially exuberant Smino rapping over vivid, string-laden loops. The song as a whole celebrates money, sex, and feeling “fly,” but nothing captures this spirit better than its truly bangin’ chorus. Notch this one down as a sure-fire hit. (Read: The Top 50 Albums of 2017) Take a listen below. Previously, Smino described Noir as a “brighter” and more confident collection, which is exemplified well on “Klink”. “Just have fun with your fucking life,” the rapper said of his state of mind surrounding the LP. “That’s really what I was doing when I was making the record: just having fun and living off my own confidence.” Noir is the follow-up to 2017’s breakthrough blkswn. Source

Following a unanimous vote in September to deny the renewal of Ultra Music Festival’s contract at Bayfront Park, the festival this past weekend revealed plans to negotiate a contract with Virginia Key to hold the festival on March 29-31, 2019. The apparent plan was to split the festival between Miami Marine Stadium and Historic Virginia Key Beach Park. Challenges with the location were readily apparent: the possible environmental impact and the traffic congestion leading to the festival, exacerbated by an only-two-lane highway and limited parking on-site. However, another challenge has presented itself today. Youssef Khamis, CEO and Founder of Rapture Electronic Music Festival, has released a statement saying he has already signed a contract with the park for the dates Ultra hopes to secure and plans to move forward with Rapture. He said, “We have a signed contract with Historic Virginia Key Beach Park dating back to March 2018 for March 29 and March 30, 2019. We’re very much looking forward to returning to this beautiful beachside setting for our third edition.” The Miami Commission is set to hear Ultra’s proposal on November 15, but it is unclear what the outcome will be at this time. Photo via aLIVE Coverage for Ultra This article was first published on Your EDM. Source: Another Festival Claims They’ve Already Signed A Contract With Ultra’s Proposed New Venue Source

It started as an episodic series and has instead become (checks notes) a…six-part movie, but The Ballad of Buster Scruggs is finally almost upon us. The latest from Joel and Ethan Coen, who’ve done more than anybody else to revive the Western in the last decade or so, the omnibus series follows the titular dopey gunslinger (Tim Blake Nelson). Like so many others in those days, Scruggs is more than his unassuming manner suggests. The omnibus story brings the Coens’ penchant for human eccentricity to one of the objectively weirdest points in American history (seriously, read about anything from back then). While the style is certainly an expansive departure for the filmmaker, the style in the film’s latest trailer is pure Coen brothers. It’s another quick look at a broad series of stories, but the latest trailer suggests that something distinctly unique is on the way, in what’s shaping up to be a heavy-hitting finish to 2018 for Netflix. Co-starring Tom Waits, Brendan Gleeson, Zoe Kazan, James Franco, and a host of other familiar faces,The Ballad of Buster Scruggs will premiere in select limited theaters on November 8th, before releasing wide on Netflix on November 16th. Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS On today’s episode of Kyle Meredith With…, J Mascis of Dinosaur Jr. talks with Kyle about his new solo record, Elastic Days, a love for drumming, and his specific, recognizable “Big Muff” sound. Mascis discussed working on new music for the band by himself and other hobbies like biking and karaoke. “It’s not as boring as most things,” Mascis said about biking, which keeps him up early and perky as ever. 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. Follow on Facebook | Podchaser | Twitter Source

In a new Music Week report detailing Foals’ new publishing deal, it was revealed that the band is currently working on a new record, which will be released sometime in 2019. According to the report, the new worldwide partnership with Transgressive Publishing and Warner/Chappell Music covers the Oxford band’s “catalogue and their future releases, including their fifth album which is due out next year.” The new effort will be the band’s first release since 2015’s What Went Down, as well as their first without founding bassist Walter Gervers, who departed the group earlier this year. “I was very excited when Transgressive first discussed the possibility of partnering with Foals,” said Mike Smith, MD of Warner/Chappell Music UK. “They’re without doubt one of the most forward-thinking and constantly innovating rock bands to have emerged in the past ten years. They never fail to release thrilling music and it is a huge privilege for Warner/Chappell to be able to work with their remarkable catalogue and future recordings.” Foals has also confirmed appearances at Germany’s Rock am Ring and Rock im Park festivals, the band’s first live dates of 2019. More dates are expected to be revealed in the coming weeks. Source

Former Lambchop and Silver Jews member William Tyler will soon return with a new solo album. Dubbed Goes West, it’s due to drop next year on January 25th through Merge Records. The 10-track effort follows 2016’s Modern Country. As its title suggests, the acclaimed guitarist drew inspiration from the West Coast and his move from Tennessee to California. M.C. Taylor of Hiss Golden Messenger elaborated further in a bio he penned for Tyler’s new album: “William and I bonded early in our relationship over Barry Hannah, a hellraising writer from Mississippi who practically reinvented the way that words could be assembled on a page. Like Hannah, William Tyler knows the South—as a crucible of American histories and cultures, an entity capable of expansive beauty and incomprehensible violence, often in the same beat—as his native place, the place that holds him and that he runs from. In the music of William Tyler, the South is not apart from America; the South is America condensed. And like Hannah—and this part is important—William moved to California, where Goes West was written. We don’t know how long William will stay—Hannah lasted just a couple of years, writing in the employ of director Robert Altman—but the change of scenery seems to suit him.” Joining Tyler in the studio were guitarists Meg Duffy and Bill Frisell, bassist Brad Cook, keyboardist James Wallace, and drummer Griffin Goldsmith. Tucker Martine served as engineer as well as co-producer alongside Cook. As a first listen of Goes West, Tyler has shared the wondrous and glimmering “Fail Safe”. Check it out below. Goes West Artwork: Goes West Tracklist: 01. Alpine Star 02. Fail Safe 03. Not in Our Stars 04. Call Me When I’m Breathing Again 05. Eventual Surrender 06. Rebecca 07. Venus in Aquarius 08. Virginia Is Our Lovers 09. Man in a Hurry 10. Our Lady of the Desert Tyler is currently on the road with Ty Segall. More dates are expected to be announced. William Tyler 2018 Tour Dates: 11/06 – Burlington, VT @ Higher Ground # 11/07 – Portland, ME @ Port City Music Hall # 11/08 – Hamden, CT @ Space Ballroom # 11/09 – Brooklyn, NY @ Warsaw # # = w/ Ty Segall Read M.C. Taylor’s full bio below: William and I bonded early in our relationship over Barry Hannah, a hellraising writer from Mississippi who practically reinvented the way that words could be assembled on a page. Like Hannah, William Tyler knows the South—as a crucible of American histories and cultures, an entity capable of expansive beauty and incomprehensible violence, often in the same beat—as his native place, the place that holds him and that he runs from. In the music of William Tyler, the South is not apart from America; the South is America condensed. And like Hannah—and this part is important—William moved to California, where Goes West was written. We don’t know how long William will stay—Hannah lasted just a couple of years, writing in the employ of director Robert Altman—but the change of scenery seems to suit him. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band that performs Goes West alongside William—including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine—is the best and most sympathetic group of players that William could have assembled to play these songs. Source

Taking a break from the current leg of their “Worldwired Tour”, Metallica hosted a special acoustic performance and auction at the Masonic Auditorium in San Francisco on Saturday night (November 3rd), raising funds for their All Within My Hands Foundation, which aims to “create sustainable communities by supporting workforce education, the fight against hunger, and other local services.” The band’s dedicated fans, some of whom paid as much as $6,500 for a ticket, were treated to a 75-minute, 12-song performance all done acoustically, some of which featured a mandolin, keyboards, and pedal steel. Opening their set with a totally unique version of “Disposable Heros,” Metallica seemed right at home playing an unplugged version of one of the heaviest songs from Master of Puppets, despite frontman James Hetfield saying afterward, “Well, that sounded different.” The songs played this evening were not the typical Metallica setlist, but instead included a handful of covers, including Deep Purple’s “When a Blind Man Cries”, Nazareth’s “Please Don’t Judas Me”, Blue Oyster Cult’s “Veteran of Psychic Wars”, as well as their staple cover of Bob Seger’s “Turn the Page”. Of course, the setlist did include a number of Metallica’s own songs, including “Enter Sandman”, “Nothing Else Matters”, “The Four Horsemen”, and the set-closer “Hardwired”. Cage the Elephant were also on hand to perform, playing an opening set. It was a special evening for a great cause, as well as a way for Metallica to give back to those in need. Fans who are interested in donating to the All Within My Hands Foundation can click here to learn more about the charity organization. Metallica will plug their instruments back in when they resume their “Worldwired Tour” on November 26th in Las Vegas. The band has dates scheduled in North America and Europe through August 2019. Check out their full itinerary here. Setlist: Disposable Heroes (rearranged) When a Blind Man Cries (Deep Purple cover) The Unforgiven Please Don’t Judas Me (Nazareth cover) Turn the Page (Bob Seger cover) Bleeding Me (abridged) Veteran of the Psychic Wars (Blue Öyster Cult cover) Nothing Else Matters All Within My Hands (rearranged) Enter Sandman (rearranged) The Four Horsemen (abridged) Hardwired Photo Gallery: Metallica at Masonic Auditorium in San Francisco (click to scroll through) Photos by Raymond Ahner Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Details of Mac Miller‘s cause of death have surfaced — the hip hop star died from a lethal mix of fentanyl and cocaine. The LA County Coroner’s Office describes a “mixed drug toxicity” in the official toxicology documents. Specifically, fentanyl, coke and alcohol were found in his system. It wasn’t necessarily the amount of a certain drug over another that killed him, but the combination. The report, relayed by TMZ, reveals it was Mac’s assistant who found him unresponsive and called emergency services. Mac was described as being “blue,” even during the call for help. First responders arrived to find a patient suffering from cardiac arrest. Pills reportedly recovered from the home included Xanax, Oxycodone, Hydrocodone, and generic Adderall. His death has been categorized by the Coroner as an “accidental overdose.” Mac struggled with substance abuse for years before his death. He passed away on September 7, 2018 at age 26. Source: TMZ | Photo: CARL TIMPONE/BFA/REX/SHUTTERSTOCK This article was first published on Your EDM. Source: REPORT: Mac Miller Cause Of Death, Accidental OD of Fentanyl & Cocaine Source

For the first time since their 1998 album EndSerenading, seminal Texas emo band Mineral have revealed new music. Shared via a lengthy interview with NPR, “Aurora” is a gorgeous eight-minute epic that appears on a 10-inch record accompanying a new limited edition retrospective book celebrating the band’s 25th anniversary, fittingly titled One Day When We Are Young: Mineral at 25. Set for release on January 4th, the book and 10-inch will also include “Your Body Is the World,” another brand new song. Stream “Aurora” below. One Day When We Are Young is available to pre-order now. In addition to the new track, Mineral have also shared world tour dates for 2019. Mineral 2019 Tour Dates: 01.09 – Miami, FL @ The Ground At Space 01.10 – Orlando, FL @ The Social 01.11 – Tampa, FL @ The Orpheum 01.12 – Atlanta, GA @ The Masquerade 01.16 – Philadelphia, PA @ Theater of the Living Arts 01.17 – Washington, DC @ The Black Cat 01.19 – Brooklyn, NY @ Elsewhere 01.20 – Boston, MA @ Brighton Music Hall 01.23 Toronto, ON @ Lee’s Palace 01.24 – Chicago, IL @ Lincoln Hall 01.26 – St. Paul, MN @ Turf Club 01.30 – San Francisco, CA @ Great American Music Hall 01.31 – Santa Ana, CA @ The Constellation Room 02.01 – San Diego, CA @ The Casbah 02.03 – Los Angeles, CA @ Echoplex 02.14 – Austin, TX @ The Mohawk 03.16 – Tokyo, JP @ Shibuya O-Nest 03.17 – Tokyo, JP @ Hachioji Rips 03.18- Tokyo, JP @ Fever 03.19 – Iwata, JP @ FM Stage 03.20 – Nagoya, JP @ Huck Finn 03.21 – Kanawaza, JP @ Art Gummi 03.22 – Kyoto, JP @ Growly 03.23 – Osaka, JP @ Conpass 05.23 – London, UK @ The Dome 05.24 – Antwerp, BE @ Trix 05.25 – Cologne, DE @ Artheater 05.27 – Hamburg, DE @ Hafenklang 05.28- Berlin, DE @ Lido 05.29 – Munich, DE @ Hansa 39 05.30 – Milan, IT @ Circolo Magnolia Source

Kevin Morby has spent a good chunk of the year touring in support of his most recent album, 2017’s City Music. It looks like the indie rock songwriter will continue to do much of the same in the following months, as he’s just announced a 2019 North American tour. Set for May and June, the trek includes stops in cities such as Los Angeles, San Francisco, Portland, Vancouver, and Salt Lake City. There are also dates scheduled for New York, Philadelphia, and Toronto, and back-to-back gigs at Chicago’s Thalia Hall. This new series of shows follows November stints in both Australia and New Zealand with past collaborator Waxahatchee. The new tour also comes after Morby’s “The Complete Last Waltz” concert in Port Chester, a recreation of The Band’s seminal concert film. Find Morby’s full itinerary below. Kevin Morby 2018-2019 Tour Dates: 11/14 – New York, NY @ Joe’s Pub 11/17 – Port Chester, NY @ Capitol Theatre (The Complete Last Waltz) 11/21 – Auckland, NZ @ Whammy Bar # 11/22 – Brisbane, AU @ The Foundry # 11/24 – Adelaide, AU @ Porchland # 11/27 – Melbourne, AU @ Corner Hotel # 11/28 – Victoria, AU @ Northcote Social Club # 11/29 – Victoria, AU @ Northcote Social Club # 12/01 – Berry, AU @ Fairgrounds # 12/02 – Sydney, AU @ Sydney Opera House # 03/02 – Phoenix, AZ @ M3F Fest 05/08 – Los Angeles, CA @ The Theatre at Ace Hotel 05/10 – Santa Cruz, CA @ The Catalyst 05/11 – San Francisco, CA @ The Fillmore 05/13 – Portland, OR @ Crystal Ballroom 05/14 – Seattle, WA @ The Showbox 05/17 – Salt Lake City, UT @ The State Room 05/18 – Denver, CO @ Bluebird Theater 05/31 – New York, NY @ Town Hall 06/01 – Washington, DC @ 9:30 Club 06/02 – Philadelphia, PA @ Union Transfer 06/03 – Boston, MA @ The Sinclair 06/05 – Toronto, ON @ The Opera House 06/06 – Ann Arbor, MI @ The Ark 06/07 – Chicago, IL @ Thalia Hall 06/08 – Chicago, IL @ Thalia Hall # = w/ Waxahatchee In addition to working with Waxahatchee, Morby has contributed to recent albums from Anna St. Louis and Matt & Kim. Revisit the video for City Music’s title track: Source

Parquet Courts have shared a cover of Neil Young’s “We R In Control,” a track from the rock legend’s 1982 album Trans. It’s an interesting choice of a Young song for a cover; at the time of its release, Trans marked a moment of divisiveness in the musician’s loyal fanbase, with the shift in sound from guitar rock to synths and electronics even causing his label at the time to file a lawsuit against Young for not sounding like himself. However, it’s just that disparity that drew Parquet Courts to the track in the first place. “I’m a big fan of whenever an artist does something different from what they’re known for,” vocalist/guitarist Austin Brown explained in a press release. “For instance, Bob Dylan’s gospel/Christian period. And I have a similar affection for Neil Young’s electronic record Trans. This is my favorite song off it.” Recorded during the sessions for Human Performance, the cover is reflective of a time when Parquet Courts was similarly trying to break out of their mold. “We actually started it during the Human Performance sessions where we were trying to do something different as a band too, so it seemed kind of appropriate,” Brown said. Stream “We R In Control” below. It comes courtesy of Amazon’s Originals. Parquet Courts are currently in the midst of a world tour that lasts through the remainder of 2018. Meanwhile, Young recently confirmed that he is definitely married to Daryl Hannah. He’s also set to release a new live album, Songs for Judy, on November 30th. Source

Mac Miller died of an accidental overdose after ingesting a lethal mix of fentanyl, cocaine, and alcohol, a coroner has determined. The results of Miller’s autopsy and toxicology report were announced on Monday and first reported by TMZ. The 26-year-old rapper was found dead in his San Fernando Valley home on September 7th. Police believe Miller’s home was scrubbed clean of drugs prior to paramedics being called, as they found only a small trace of white powder. Last week, many of Miller’s friends and collaborators came together to celebrate his life at a tribute concert in Los Angeles. Source

Now that smart phones essentially double as portable music players, the iPod has more or less become a relic. But that shouldn’t take away from what a monumentally influential invention it’s proven to be. It’s not a stretch to call the first successful mass-market mp3 player one of the single-most game-changing innovations of the last two decades. With a gadget smaller than your wallet, Apple altered the way we access and listen to music. We take for granted in 2018 that music essentially exists for the taking across a host of different platforms, but it took the iPod to transform music from a massively profitable commodity to something more akin to a free resource. Apple deserves credit for transitioning the world over from physical media to mp3s and later streaming. Facts being what they are, no other company brought an mp3 player to market that came remotely close to rivaling the iPod. But the mp3 player’s origin story doesn’t begin in Cupertino. Some 300 miles away in the San Fernando Valley, another company beat Apple to the punch with a device of its own. In 1982, Chong Moon Li founded Diamond Multimedia, a company that became one of the leading manufacturers of graphics and sound cards in the 1990s. Diamond Multimedia also was one of the earliest companies to dabble in the then-nascent field of digital audio players. In September 1998, the company went to market with the Rio PMP300, which arguably served as the precursor to what Apple would eventually develop just a few short years later. In fact, it’s hard not to look at the PMP300 as a crudely constructed iPod. The device shares the iPod’s rectangular shape as well as many of its most distinct features, most notably the display screen and click wheel. Rio PMP300 But that’s largely where the similarities end. Like most products in their infancy stages, the PMP300 was a comparatively bulky device weighted down by old-world technology. Rather than being charged via a cable, the PMP300, which loaded songs from a personal computer, required a single A battery. Storage capacity was also very limited. The iPod’s appeal stemmed from its ability to let users carry thousands of songs in their front pocket. The PMP300, on the other hand, maxed out at 32 megabytes. (In fairness, the device allowed users to store additional songs by way of a memory card.) The attempt was a noble one, but it just wasn’t the PMP300’s time. Looking back, it’s amazing how much Apple perfected upon Digital Multimedia’s primitive prototype in just three years. And yet for all its shortcomings, the significance of the PMP300 transcends the device itself. The marketing of the PMP300 would have a huge ripple effect on how music would be sold and marketed for years to come. The device, which sold for a remarkably low $200 when it went on sale in 1998, was quickly halted by the Recording Industry Association of America, which was concerned with how the product might adversely impact record sales. The device was on sale for roughly a month before the RIAA filed an injunction in Central California District Court seeking to stop it from selling. What transpired was a groundbreaking ruling that played a large part in clearing the way for the future of pop music consumerism. In RIAA vs. Diamond Multimedia, the RIAA sought protection under the 1992 Audio Home Recording Act. The organization lobbied hard for the bill’s passage in an effort to curb the advent of digital audio, which it saw as a threat to CD sales in the late 1980s. The bill, which was signed into law by President George H. W. Bush in October 1992, among other things defined what constituted a “digital audio recording device.” Under the law, the manufacturers of such devices are required to pay royalties to the RIAA and must also include a “serial copy management system” (SCMS) on their products to help prevent their use in copying music illegally. The PMP300, the RIAA argued, constituted a digital audio recording device because of its ability to replicate music in a different format. What’s more, Digital Multimedia’s failure to pay royalties or secure an SCMS for its device warranted the PMP300 being taken off of shelves, it argued. But Judge Andrea Collins thought otherwise. On October 26, 1998, Collins dismissed the injunction in district court, finding that the case lacked merit. Not to be deterred, the RIAA appealed the decision to the United States Ninth Circuit Court of Appeals. But the Ninth Circuit not only upheld the lower court decision; it actually extended it. Because the PMP300 was not specifically marketed as a device used for copying music or other copyrighted material, it did not meet the definition of a digital audio recording device under the Audio Home Recording Act. It was also ruled that a personal computer hard drive, which hosts other files and programs other than music, could not be considered a digital audio recording device by law. Instead, the court found that transferring music files from a PC to the PMP300 for personal use constituted fair use. The Ninth Court’s ruling, which was delivered June 15, 1999, became the first major legislative victory for file sharing. The favorable ruling did little to help the PMP300’s bottom line, however. Diamond Multimedia sold about 200,000 of the units after the dust from the lawsuit settled, but it wasn’t long before the company discontinued the product. Diamond Multimedia eventually got out of the mp3 player game altogether. Today, the company produces and sells a number of products more in step with the current technological climate, including gaming headsets, docking stations, video adapters, USB ports, and sound cards. Rio PMP300 The RIAA, meanwhile, continued to doggedly fight the eventual rise of downloadable media. Six months after issuing its findings in RIAA vs. Diamond Multimedia, the Ninth Circuit Court of Appeals was presented with another request for an injunction by the RIAA, this time against the then-budding file sharing network Napster. This time, the RIAA’s appeal was successful. In July 2001, Napster shut down to comply with the court’s order to prevent the sharing of copyrighted music. Two months later, the company paid out some $26 million in restitution to the RIAA for past downloads from the site. But the damage was already done. The RIAA might have gotten the best of Napster, but an endless host of copycat file sharing networks sprung up in its wake anyhow. The battle might have been won, but the music industry would ultimately have to concede the war to new media. The industry’s struggles to regain its commercial footing continue almost 20 years later. In 2018, streaming services such as Spotify, Apple Music, and Tidal have only further driven a wedge between the industry and music consumers it used to so gamely profit off of. On the flip side, artists have largely been left to reconcile with the fact that success no longer can be measured in record sales, at least not in the way it once was. These days you’d be hard-pressed to find someone who’s heard of the Rio PMP300, especially after the iPod became as much a household name as the Walkman. But despite its failure, there’s no denying its hand in shifting the technological tides. Diamond Multimedia might have been off in its vision for the mp3 player, but the company was among the very first to understand and try to utilize the potential of such a device. That gives the PMP300 a legacy you can’t measure in units. Source

Greta Van Fleet are already making history in their brief career, with their debut album, Anthem of the Peaceful Army, recently landing at No. 3 on the overall Billboard 200 chart and No. 1 on the Top Rock Albums tally. But, with three brothers in the band, there’s some rock history they may want to avoid. Over the years, we’ve seen sibling feuds break up bands like The Kinks, The Black Crowes, and Oasis, to name a few. But when we mentioned those bands to bassist Sam Kiszka, he told us he doesn’t see that happening with Greta Van Fleet. “I think that the fact we all beat each other up on a regular basis…,” Kiszka quipped to Heavy Consequence, before continuing, “I’m just kidding, but really, that used to happen back when we used to write in the garage. The thing is, it’s kind of like one of those silly stereotypes that boys really get over things quickly, and we do, especially being brothers. It’s actually quite funny, the kind of arguments that we go through, and it’s never personal. When we’re writing or in the mode of an artist, all can be forgiven once that’s all over.” The Michigan rock act is made up of brothers Sam, Josh and Jake Kiszka, along with childhood friend, Danny Wagner. Sam admits that the brothers’ relationship is a bit different when creating music than it is in everyday life. “There certain ways that we act that we don’t act like when we’re not being creative,” Sam explains. “We tend to be very aggressive, sometimes stubborn when it comes to creativity. And everybody plays a role in the creative process. Sometimes Josh and Jake are flying in the stars and doing something far too abstract, and then I kind of bring them down. And sometimes I’m flying too high, and sometimes it’s great for your bandmates to bring you back to Earth.” If anything, Sam says being brothers in a band is a really positive thing, and has helped them during this whirlwind rise to fame. “There’s a lot of very special things that happen with brothers in the band,” remarks Sam. “I don’t think there’s anything that we’re afraid to say to each other, and that goes for Daniel, too. I mean I’ve known Daniel since first grade. When he joined, it turned into Greta Van Fleet. So, yeah, I think that it’s a very healthy writing and recording process. And especially having to tour, I think it really is the next level of having a rolling family on the road, knowing each other so well, and being able to live with each other. I think it’s a very overlooked, but very important thing.” For more from Sam Kiszka, including his thoughts on the band’s quick rise to fame, the backlash from certain rock fans, and more, check out our interview feature here. Greta Van Fleet are closing out 2018 with a European tour, followed by a brief run of U.S. dates. The band will embark on a world tour in 2019, as well. See a full list of dates here. Source

The rumors were true: Spice Girls will reunite for a stadium tour this summer. The legendary pop group has mapped out a six-date UK tour for June, culminating in a date at London’s Wembley Stadium. There’s one catch, however: Victoria Beckham, a.k.a. Posh Spice, will not participate in the tour. Reportedly, she is prioritizing her fashion business and has opted to sit out of the festivities. Instead, Emma “Baby” Bunton, Geri “Ginger” Halliwell, Mel “Sporty” Chisholm, and Mel “Scary” Brown will tour as a four-piece unit. Check out Spice Girls’ tour schedule below. Tickets go on sale Saturday, November 10th. You can also secure them here. Spice Girls previously reunited in 2012 to perform at the closing ceremony of the London Summer Olympics. The group first announced plans for their latest reunion back in February, saying: “The time now feels right to explore some incredible new opportunities together. We all agree that there are many exciting possibilities that will once again embrace the original essence of The Spice Girls, while reinforcing our message of female empowerment for future generations.” Spice Girls 2019 Tour Dates: 06/01 – Manchester, UK @ Etihad Stadium 06/03 – Coventry, UK @ Ricoh Stadium 06/06 – Sunderland, UK @ Stadium of Light 06/08 – Edinburgh, UK @ BT Murrayfield Stadium 06/10 – Bristol, UK @ Ashton Gate Stadium 06/15 – London, UK @ Wembley Stadium Breaking Spice news… Tickets on sale Saturday 10.30am #GirlPower #FriendshipNeverEnds pic.twitter.com/QmWrXOWLMd — Spice Girls (@spicegirls) November 5, 2018 Source

Supergroup The Good The Bad & The Queen have broken off a second single, “Gun to the Head”, in the lead-up to their new album, Merrie Land. On the upbeat, almost whimsical, number, Blur/Gorillaz’s Damon Albarn, The Clash’s Paul Simonon, The Verve’s Simon Tong, and Fela Kuti drummer Tony Allen make a “case for love.” “We don’t care because we’re all animal lovers/ We like to share our lives with them,” Albarn sings. “Required of this song is a case for love/ When everything else that keeps us together conspiring to tear us apart.” Check it out below via its corresponding music video, which stars humans creepily dressed as puppets. To coincide with today’s release of “Gun to the Head”, the band has also announced three new intimate UK shows at the end of November. Find their full schedule below. The Good The Bad & The Queen 2018 Tour Dates: 11/26 – North East, UK @ Tynemouth CIU Club 11/27 – North East, UK @ Cullercoats Crescent Club 11/28 – North East, UK @ Cullercoats Crescent Club 12/01 – Blackpool, UK @ The North Pier 12/02 – Glasgow, UK @ SWG3 12/04 – London, UK @ Hackney Arts Centre 12/05 – London, UK @ Hackney Arts Centre 12/06 – London, UK @ Hackney Arts Centre TGTBTQ recently performed the Merrie Land title track on Later… with Jools Holland, marking the collective’s first time together on stage since reuniting for a benefit concert in 2011. Source

If you missed Ozzy Osbourne on his recent North American trek, you’ve got another chance to see the metal legend on his final trek, dubbed “No More Tours 2”. The Prince of Darkness has just announced a new summer 2019 leg that will mostly see him playing arenas. According to Rolling Stone, the two-month stateside leg kicks off May 29th at the State Farm Arena in Atlanta, Georgia, and runs through a July 29th show at the Hollywood Bowl in Los Angeles. Opening for Ozzy will be fellow metal legends Megadeth, with dates listed below. Four of the concerts, including the L.A. show, are previously announced make-up gigs for shows Osbourne had to cancel on his recent North American leg due to a staph infection that required multiple surgeries on his hand. He has since recovered, revealing to fans that he has a clean bill of health. Osbourne is touring with a band that includes Zakk Wylde on guitar, Blasko on bass, Tommy Clufetos on drums and Adam Wakeman on keyboards. We caught the “No More Tours 2” stop at Jones Beach, New York, in September and it was a stellar outing for Ozzy and company. As previously announced, Osbourne will headline a one-off Ozzfest New Year’s Eve concert on December 31st at The Forum in Los Angeles, with Rob Zombie, Marilyn Manson, and more on the bill. He’ll also headline a European trek in early 2019 with support from Judas Priest. While this may be Ozzy’s final full-scale tour, the metal icon has insisted that he is not retiring and that he will likely play one-off shows here and there once the trek wraps. He also hopes to release a new solo album, with Zakk Wylde on guitar. Ozzy Osbourne Tour Dates: 12/31 – Los Angeles, CA @ The Forum (Ozzfest New Year’s Eve) ^ 01/30 – Dublin, IE @ 3arena * 02/01 – Nottingham, GB @ Motorpoint Arena * 02/03 – Manchester, GB @ Manchester Arena * 02/05 – Newcastle, GB @ Metro Radio Arena * 02/07 – Glasgow, GB @ SSE Hydro * 02/09 – Birmingham, GB @ Genting Arena * 02/11 – London, GB @ O2 Arena * 02/13 – Munich, DE @ Olympiahalle * 02/15 – Frankfurt, DE @ Festhalle * 02/17 – Hamburg, DE @ Barclaycard Arena * 02/19 – Berlin, DE @ Mercedes-Benz Arena * 02/22 – Stockholm, SE @ Tele2 * 02/24 – Helsinki, FI @ Hartwall Arena * 02/27 – Zurich, CH @ Hallenstadion * 03/01 – Bologna, IT @ Unipol Arena * 03/03 – Barcelona, ES @ Palau Sant Jordi * 05/29 – Atlanta, GA @ State Farm Arena # 05/31 – Sunrise, FL @ BB&T Center # 06/02 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre # 06/04 – Charlotte, NC @ PNC Music Pavilion # 06/06 – Cincinnati, OH @ Riverbend Music Center # 06/08 – Hershey, PA @ Hersheypark Stadium # 06/11 – New York, NY @ Madison Square Garden # 06/13 – Pittsburgh, PA @ KeyBank Pavilion # 06/15 – Bangor, ME @ Darling’s Waterfront Pavilion # 06/18 – Montreal, QC @ Bell Centre # 06/20 – Hamilton, ON @ FirstOntario Centre # 06/22 – Uncasville, CT @ Mohegan Sun Arena # 06/26 – St. Louis, MO @ Hollywood Casino Amphitheatre # 06/28 – Kansas City, MO @ Sprint Center # 06/30 – Des Moines, IA @ Wells Fargo Arena # 07/04 – Milwaukee, WI @ Summerfest # 07/06 – St. Paul MN @ Xcel Energy Center # 07/09 – Edmonton, AB @ Rogers Place # 07/11 – Vancouver, BC @ Rogers Arena # 07/13 – Tacoma, WA @ Tacoma Dome # 07/16 – Portland, OR @ Moda Center # 07/18 – Sacramento, CA @ Golden 1 Center # 07/20 – Las Vegas, NV @ MGM Grand Garden Arena # 07/23 – San Diego, CA @ North Island Credit Union Amphitheatre # 07/25 – Phoenix, AZ @ Ak-Chin Pavilion # 07/27 – Mountain View, CA @ Shoreline Amphitheatre # 07/29 – Los Angeles, CA @ Hollywood Bowl # ^ = with Rob Zombie, Marilyn Manson + more * = with Judas Priest # = with Megadeth Source