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On Friday, MUSE will return with their new album, Simulation Theory. To support the release, the UK rockers have revealed the first round of shows for their upcoming “Simulation Theory World Tour.” The tour kicks off with a North American leg beginning in late February and running into April. Come June, they’ll cross the Atlantic for a number of shows in Europe, including a headlining slot at Belgium’s Rock Werchter Festival. More dates will be announced shortly, according to a press release. Tickets go on sale to the general public beginning Friday, November 16th at 12pm local time. You can also secure tickets here. MUSE 2019 Tour Dates: 02/22 – Houston, TX @ Toyota Center 02/24 – Dallas, TX @ American Airlines Center 02/26 – Phoenix, AZ @ Talking Stick Resort Arena 02/28 – Salt Lake City, UT @ Vivint Smart Home Arena 03/02 – Las Vegas, NV @ Mandalay Bay Events Center 03/05 – San Diego, CA @ Valley View Casino Center 03/07 – Sacramento, CA @ Golden 1 Center 03/09 – Oakland, CA @ Oracle Arena 03/24 – Sunrise, FL @ BB&T Center 03/26 – Atlanta, GA @ State Farm Arena 03/28 – Toronto, ON @ Scotiabank Arena 03/30 – Montreal, QC @ Bell Centre 03/31 – Quebec City, QC @ Videotron Centre 04/02 – Washington, DC @ Capital One Arena 04/04 – Detroit, MI @ Little Caesars Arena 04/07 – Philadelphia, PA @ Wells Fargo Center 04/10 – Boston, MA @ TD Garden 05/26 – Prague, CZ @ Letiste Letnany 05/25 – Budapest, HR @ Papp Laszlo Budapest Sportarena 05/29 – Graz, AT @ Stadthalle Graz 06/01 – London, UK @ London Stadium 06/08 – Manchester, UK @ Etihad Stadium 06/12 – Riga, LV @ Arena Riga 06/15 – Moscow, RU @ Luzhniki Stadium 06/18 – Helsinki, FI @ Suvilahti Open Air 06/22 – Krakow, PL @ Tauron Arena 06/26 – Nijmegen, NL @ Goffertpark 06/29 – Cologne, DE @ RheinEnergieStadion 06/30 – Werchter, BE @ Rock Werchter 07/03 – Zurich, CH @ Hallenstadion 07/06 – Paris, FR @ Stade de France 07/09 – Marseille, FR @ Stade Orange Velodrom 07/12 – Milan, IT @ San Siro Stadium 07/16 – Bordeaux, FR @ Matmut Atlantique 07/20 – Rome, IT @ Stadio Olimpico 07/24 – Lisbon, PT @ Passeio Maritimo de Alges 07/26 – Madrid, ES @ Wanda Metropolitano Check out MUSE’s video for “Pressure” starring Terry Crews: Source

To promote his debut film score for Suspiria, Thom Yorke has been making the rounds over at BBC Radio. Last week, he performed a trio of songs from the soundtrack on BBC Radio 6 (he also spoke to host Mary Anne Hobbs and debuted a 60-minute mix of atmospheric records). Now, as Stereogum points out, Yorke appears in the latest installment of BBC Radio 1’s Piano Sessions. As the series’ title implies, Yorke delivers intimate piano renditions of the Suspiria track “Suspirium” along with Radiohead’s “Everything In Its Right Place”. “Will that do? Is that all right?” Yorke asked following his performance of the Radiohead classic. As you’ll see below, the answer is, obviously, a resounding yes. Yorke is gearing up to release a new solo album next year, and come December, he’ll embark on a North American tour. You can secure tickets to the upcoming dates here. Source

EDC Orlando returns for its seventh year this upcoming weekend. Featuring a star-studded lineup, stage spectacle and rides, EDC Orlando is one of the best EDM festivals in the Southeast. It be challenging to keep track of who to see, but Your EDM is here to help. We’ve compiled the latest and best tracks from nearly all the artists on the EDC Orlando lineup. The result? Our official EDC Orlando 2018 playlist. The playlist features recent tracks from Kaskade, Tiësto, Nicole Moudaber, Alison Wonderland, Martin Garrix, Malaa, Tiga and The Martinez Brothers and more. EDC Orlando returns to Tinker Field in Orlando on November 9-10. Enjoy our playlist below! This article was first published on Your EDM. Source: Get Hyped for EDC Orlando With Your EDM’s Official Playlist Source

Rick Grimes will live to see another day. After nine seasons fighting off walkers on AMC’s Walking Dead, Andrew Lincoln announced that he would be exiting the show following tonight’s season finale. Spoiler: Somewhat surprisingly, Grimes’ character was not killed off, but rather rescued by a mysterious helicopter. Though seriously injured, Grimes is alive as the helicopter flies off into the distance. And now we know why. Lincoln is still very much involved in AMC’s future plans for Walking Dead. As announced immediately after tonight’s finale, Lincoln has signed on to reprise Grimes in multiple feature-length films, the first of which will go into production in early 2019. AMC stresses that while Grimes will not return to the television series, his story will continue to be told in the movies. Presumambly, we’ll find out what happens to Grimes once the helicopter lands. (Some fans speculate Grimes will end up in The Commonwealth, a city of 50,000 people living in generally good conditions.) “We have a lot on the horizon – starting with a new epic featuring one of the greatest leading actors in television history and one of the best people I’ve ever met,” said Walking Dead chief content officer Scott Gimple in a statement. “These films are going to be big evolutions of what we’ve been doing on the show, with the scope and scale of features. We’re starting with the first part of the continuing story of Rick Grimes, and there is much more on the way, featuring yet-unseen worlds of The Walking Dead and faces from the show’s past, as well as new characters we hope to become favorites, told by TWD veterans and emerging voices. We want to break new ground with different, distinct stories, all part of the same world that’s captured our imagination for nearly a decade of the Dead.” Source

There’s one song that’s been sitting in Sweat It Out’s music library collecting metaphorical dust and what better time to release it than on the label’s 10th anniversary. Yep, we’re talking about none other than the late and great Ajax and his single ‘I’m Hot’. “I’m Hot” is a classic representation and throwback to Ajax’s signature high energy indie-dance driven DJ sets, mashing samples and original ideas to effortlessly to create a symphony of cool chaos. It’s all about “shtick” To the family, friends of Adrian “Ajax” Thomas, we hope you hear in this track what we have: his lively personality, his sense of humour, and most of all, pure unadulterated “shtick”. The release comes as a part of a wider compilation celebrating an array of releases over the label’s 10 years of existence including Ajax signed classics from Parachute Youth, Yolanda Be Cool, RUFUS and more. Check out this sweet animated music video that rolls with “I’m Hot”! Source

Verzache, formally known as Zach Farache, is an up-and-coming solo artist. His work began to appear on Spotify in 2016; since then, he has produced underground hits that feature a powerful bass paired with a delicate acoustic guitar. Verzache’s music appeals to a youthful demographic. I, for one, play his songs when I am stressed, tired, or simply need to relax and put things into perspective. Anyone who appreciates mellow yet catchy tunes can dig his work. Verzache is also one for the romantics out there. His lyrics are very easy; he keeps it plain and simple, but there is beauty within the straightforward and melodic. Verzache’s latest work, Thought Pool, has a similar sound but it seems that he has stepped up onto a higher emotional level with his music. His lyrics have always been simple and raw, and his melodies have frequently been mellow, dreamy, and light. In Thought Pool, Verzache carries on his audible aesthetic but hyperbolizes it. His most recent collection is full of lyrics that reflect one’s diary entries and sounds that seem aquatic. It is as if you’re submerged in a pool, listening to his thoughts: Thought Pool. If you are a fan of Jack Johnson, it is imperative that you check out Verzache. He gives off the same acoustic pleasantries accompanied by the occasional bongos. His song “What Happened,” off of his latest album, is reminiscent of Johnson’s album In Between Dreams. It makes you want to watch the sun set with your feet in the sand (perhaps with some “Banana Pancakes,” as well). It is hard to recommend a singular album of Verzache’s. There are so many songs of his that can simply put the listener to complete peace. His singles, including “No More”, “Waiting for You”, and “Losing My Love” all consist of honest odes to broken relationships. I think all of them are brilliant, but the album that I would most highly recommend is Thought Pool. Off of his latest collection, definitely pay attention to “Alright”, “Kick It”, and “Fallback.” His music progresses each time he drops something new. Keep a look out for Verzache. The post Verzache’s Latest Album Thought Pool: A Review appeared first on Verge Campus. Source

Jessie J rocked the House of Blues on October 22, bringing a powerful stage presence and an even more powerful voice to Boston. Jessie J on her R.O.S.E. Tour performing at the House of Blues in Boston, Massachusetts on October 22, 2018. Photo by Yiwen Wong.On tour to promote her latest album R.O.S.E, Jessie J performed songs from the album like “Easy on me” and “Dangerous”, as well as older hits such as “Price Tag” and “Domino” much to the delight of the crowd. A performance veteran, Jessie J showed off her vocal chops and exuberant showmanship that has helped to define her career, dominating the stage in multiple sets. Jessie J on her R.O.S.E. Tour performing at the House of Blues in Boston, Massachusetts on October 22, 2018. Photo by Yiwen Wong.Jessie J made it a point to converse with the audience on many a occasion, updating her fans on life and her growth both as a person and an artist. The songs off her new album were of a more mellow tone, showing a much more vulnerable side of herself. Compared to the sensational powerhouse she is known for, it was captivating to see another side to the singer. Jessie J on her R.O.S.E. Tour performing at the House of Blues in Boston, Massachusetts on October 22, 2018. Photo by Yiwen Wong.During a point in the show, she passed off the microphone to a fan in the crowd, only to be pleasantly surprised by the young girl’s talented voice. Jessie J’s genuine personality shone through in her crowd interactions, while delivering one flawless performance after another. Jessie J on her R.O.S.E. Tour performing at the House of Blues in Boston, Massachusetts on October 22, 2018. Photo by Yiwen Wong.Jessie J on her R.O.S.E. Tour performing at the House of Blues in Boston, Massachusetts on October 22, 2018. Photo by Yiwen Wong.Clearly a little more used to a bigger stage, Jessie J’s various outfit changes dazzled the crowd. As she strutted across the stage throughout her performance delivering pitch-perfect vocal runs, I stood there in awe of a true performer. Jessie J on her R.O.S.E. Tour performing at the House of Blues in Boston, Massachusetts on October 22, 2018. Photo by Yiwen Wong.Watching her perform live was a sight to behold. The familiarity of performing that she brought to the stage lifted the crowd, and her voice was front and center stage. Jessie J delivered an impressive performance, one that I will definitely remember for a while to come. The post [Photo Story]: Jessie J Takes the Stage in Boston on her R.O.S.E Tour appeared first on Verge Campus. Source

After releasing “I Used to Know Her: The Prelude” in August of 2018, H.E.R. finally follows up with “I Used to Know Her: Part II”, a poetic recollection of fading love and self-discovery. The sequel is comprised of eight songs in total, rich with all those soft and melodic in-your-feels melodies that evoke self-reflection and profound feelings of nostalgia. H.E.R. is no stranger to post-breakup verses. In her self-titled 2016 debut album, H.E.R., the singer-songwriter quickly earned her place among the ranks of other sentimentalist artists such as Daniel Ceasar, Sabrina Claudio, and Ella Mai. H.E.R. showcases vulnerable and often neglected emotions in such a way that creates a requited resonation between her music and her fans. Her music appeals to people on both a surface and deeper level. Her lyrics deal with the everyday struggles of the duality of human nature, a tug of war between the heart and the mind, desire and reason. In part II of the album, H.E.R. tackles the ambivalence of love in all its ordinary tragedies and glory, resulting in a seamless album that not only is aesthetically pleasing to the ear but thought-provoking to the self. In contrast to the prelude, H.E.R. takes on a more delicate and sensitive approach with the new release. While the prelude arguably maintains the deeper and more obvious rhythmic components of r&b, part II surprisingly features acoustic sounds that augment the innate feelings of human-ness that H.E.R. touches upon. The final destination of the album emphasizes self-love and recognition of one’s intrinsic value, apart from toxic and exhausting relationships. H.E.R. performing at the 2018 BET awardsThough as pretty as the music is, it does not shy away from uglier common events that plague modern society today. In the final and almost six-minute song “Lord is Coming”, H.E.R. freestyles over a fluid bass harmony about the loss of morally-sound values and principles in today’s material, substance-driven world. She boldly professes unpopular truths about the preconceptions of democracy, materialism, racial prejudices, mental health and so forth, leaving no subject sugarcoated. The effect is an almost slam poetry-esque portrayal of the many faces of mankind. H.E.R. exceeds the anticipated post-breakup sound and instead delivers a more complex and complete depiction of the complications of opening oneself to love and the world itself. The post New H.E.R. Album “I Used to Know Her – Part II” Questions the Nature of Love and Modernity appeared first on Verge Campus. Source

We’re working together with our friends at Electronic Music Conference! You will be able to catch two keynotes and a workshop focused on the benefits and pitfalls of the data heavy music world with: ‘Off The Charts’ with Mike Warner from Chart Metric, ‘Transparency: Clear as mud!’ with Jay Mogis from Nightlife/QUT and ‘Social media and multi channel digital: monetising your reach, engagement and collective online touch points’ with Eamon Chiffey, Trebl (see program for details). The benefits of music data in 2018 are an unavoidable reality. Any average Joe can see who their audience is, when they’re looking, where they are, and so much more – with just a bit of research and adjustments to your social media pages. But unsurprisingly, it’s clear we have a very real overdose of it. In fact, its probably influenced how you think about music on this very day – where you’ve dismissed a song on sight because it doesn’t have many streams, or didn’t hear about a piece of music news because it didn’t gain traction fast enough for the evil algorithms of the internet. Do these downfalls outweigh the good? After all, there are ways to get around these issues as an artist. From streams, to likes, to followers, with the use of data, and a bit of brain power and creativity, you can use music data to do some serious good to your career – and more importantly, get your music into the ears of people that are likely to dig it! We spoke to two industry bosses in the field of music data, streaming, and analytics, to try and make sense of how artists can use this flood of information to advance their careers. They also clear up a few negative myths about music data – namely that music data is a new phenomenon, is the death of creative choice, or that industries arising out of it are scamming artists. One of those people is Mike Warner – Artist and Label Relations manager for one of music data’s most prized startup success stories, Chartmetric. Chartmetric’s range of metrics and insights provide powerful tools to every role in the music industry, from independent artists trying to understand their audience, to major labels looking at multi-million dollar deals. Chartmetric tracks social media, radio play, streaming playlist growth, online charts and much more. Mike sees the primary challenge musicians face today as being unable to break through the noise – and sees data as the solution to that problem. “I feel like it used to be about who you know, as well as being in the right place at the right time. Now the floodgates have opened, and all artists have the opportunity to get heard and to be successful. This makes it challenging for artists to cut through the noise,” says Mike. On the other hand, Eamon Chiffey works on the more practical side of music data. His company, Trebl, does indeed provide a Digital Health Check to their clients, taking data from across the online sphere and presenting it visually for analysis. But their services focus more on using that data to shape decisions in artist branding, marketing, and social media strategy. “Although the music industry does have some amazing technology such as software, data and analytics at its disposal, in general, these powerful tools are not being used anywhere close to the level of international organisations in other mainstream industries like your Coca-Cola’s and Sony’s of the world,” says Eamon. Mike says the music industry’s infatuation with data is nothing new. If 10 years ago, you were the kind of person who based your music tastes on what was sitting in the top ten on iTunes, you were not alone. “I think it’s worth noting that the music industry has always been a data industry. That data used to be charts, tour schedules, radio playlists. The data was pretty limited but was used widely throughout the industry. It informed decision-making. Even A&R people who used “gut instinct” were only able to use the gut instinct because they knew a huge amount about what works and what doesn’t work. So data is nothing new, but now there is an awful lot more of it!” says Mike. Based on small amounts of data like record sales, the Billboard Hottest 100, and all listed above, decision makers would choose who to sign, who to boot, and who to shoot to the top. But there was no way to understand things like listening habits, musical tastes, or how long it took for someone to become fed up with a song and switch radio stations desperately. Nowadays, things are very different – and if you’re not using data to shape your decisions, most of the industry would argue you’re going to get left behind, drowned underneath the stream counts of your competitors. “Not understanding data is simply not an option for labels, management, nor artists. It would be like trying to do business today without email and cell phone – sure, there is no reason why you can’t do business without email and cell, but you’re going to be making life really difficult for yourself, and are unlikely to ever succeed!” says Mike. New industries have even arisen from the rise of streaming, playlisting, and analytics – most controversially, third party playlist pitching services, whose job is to up your streaming numbers. But be sure to read the fine print, as there are no guarantees you’ll hit the streaming jackpot by using them. Let’s break it down. It’s a process where artists pay a pitching service for a “campaign”, and employees at the pitching services review the track. If they dig it and have the correct contacts, they’ll pass them on for another round of reviews – this time, by independent playlist curators. These aren’t employees of streaming services, but rather, individuals whose playlists have gotten widespread attention for their ability to curate and pick the best new tracks – 2018’s version of the radio DJ. Paid by the playlist pitching company for their time, these curators listen to each and every track, and will add it to their playlist if it’s a good fit – but if not, they’ll provide the artist and track with valuable feedback for future releases. Chartmetric’s features allow anyone to analyse the success of a playlist – from the number of followers, to how often they are updated. Through this information, they can hunt down pitching services with connections to specific curators and playlists that best suit their needs. So we asked Mike – whilst radio pluggers and digital/press publicists have existed for many years, are playlist pitchers a necessary middleman for artists to gain access to independent curators? What would be so wrong with artists hunting down emails and pitching themselves, in a similar way to how many approach gaining blog coverage? “They aren’t a necessity but here’s something to consider. [Playlist pitching services] have the contacts you don’t, and can save you time which is better focused on creating more music, versus creating spreadsheets and mailing lists. The same can be said for playlist pitching companies and individuals, would you prefer to spend your week trying to contact every relevant curator and pitch them, or pay someone to do it for you,” says Mike. “Some might say it takes the creativity, rawness, and luck out of music – or even restricts less-financially-able artists from gaining streaming traction. If you’re ultra-focused on upping your social and streaming numbers, can you also make great art and fulfil yourself creatively? To those who believe that you can’t, Eamon is the devil’s advocate. He says that if your goal is to stand out and rise up, you need to consider business demands over creative ones – most, if not all of the time “It’s how an individual uses their entrepreneurial skills to navigate the landscape that will define you from your peers. In the music industry, the most important thing that I say to any artist that I meet, is that you are a business first, and an artist second,” says Eamon. And of course, not all will agree with that statement. But as he continues, Eamon told us more about how data doesn’t always mean the death of creativity. In fact, he says you can use data to guide your creative decisions. “Data can be used in so many ways when looking to position yourself digitally. I never tell an artist how to position themselves, as they, after all, are the artist, so they know themselves best. What I will say though is that data can give some really fantastic insights into what other artists who have a similar sound are doing, what is working for them and what isn’t. These insights can assist an artist to make more educated decisions about their own brand and digital presence through different types of content and social media channels,” says Eamon. Data versus creativity isn’t as much of a battle as it’s made out to be. You don’t need to make decisions that sit at the far end of either extreme. To use data correctly, you need to find somewhere where what’s good for your career, and what fuels you creatively, meet in the middle. As an artist, you understand who you are, and what you want to put out into the world. Pushing something recognisably fake for the sake of appealing to digital trends is a bad move – and the world will see right through it. On the other hand, it’s also a waste of your time to take stabs in the dark and guess what your audience wants – especially when the information is out there, and readily available! Mike explains that instead, you can look at artists who are doing similar things to you, analyse their success through data, and apply it to future releases. “If you’re releasing independently, you could use Chartmetrics to look at a similar song, then go down to ‘Related Playlists’ which shows similar playlists that the song would suit. You can search curators and playlists by genre, sort by follower count, and we have also started adding an estimated monthly listener count for some playlists. All in all, yes, the music industry is addicted to data, and there might not be much of a way around it. But think of data as a gush of good-spirited guidance, rather than hard rules. After all, to break new ground, there still needs to be artists who create something never heard before – the artists that go against “what works”. But there’s no harm in knowing where you’re going, and what you might need to do to get there. Both Eamon Chiffey and Mike Warner will be speaking about music data and leveraging digital tools at Electronic Music Conference. You can find out more information at electronicmusicconference.com before it kicks off November 14th and 15th! Source

Donald Trump’s having a tough time in pop culture. Over the last month alone, he’s been mocked by Will Ferrell, shunned by Taylor Swift, “cuckolded” by T.I., roasted by Tim Heidecker, bludgeoned by GWAR, and ghosted by Kanye West. That’s all without mentioning the multiple cease and desist letters he’s received from both Prince’s estate and Pharrell, making his obnoxious rallies that much more difficult to soundtrack. Well, now he can officially skip over Guns N’ Roses, too. Early Sunday morning, frontman Axl Rose, who has been incredibly vocal about his disdain for Trump in the past (especially over his former bromance with Yeezy), went off on his Twitter account, lambasting our Commander in Chief for using his hit song “Sweet Child O’ Mine” at a rally he held on Friday and shedding light on the “loopholes” the “shitbags” use. Here’s the full thread: Unfortunately the Trump campaign is using loopholes in the various venues’ blanket performance licenses which were not intended for such craven political purposes, without the songwriters’ consent. Can u say “shitbags?!” — Axl Rose (@axlrose) November 4, 2018 And when ur phone’s blowin’ up cuz peeps r seein’/hearin’ Sweet Child on the news at a rally… as a band we felt we should clarify r position. Peace! — Axl Rose (@axlrose) November 4, 2018 Ahem, welcome to the jungle, Mr. Trump. Source

The past few years, and this year especially, have seen equality in dance music grow by leaps and bounds. (Some may argue it’s not enough – what is? – but it’s a step in the right direction.) Artists like Rezz, Alison Wonderland, Nina Kraviz, The Black Madonna, Ducky, GG Magree, Cray, MADGRRL, and more are consistently working and putting out consistent content and often upstaging the guys on stage. There’s been a lot of effort to avoid gendered language like “female DJ” in the media, as it’s not exactly fair to specify a woman’s gender when you wouldn’t say that someone is a “male DJ” for the same reason. However, music tech company MIDIPLUS is releasing a new product they’re calling MIRROR that attempts to appeal specifically to females but falls entirely flat. The implication, of course, whether intentional or not, is that other devices are made “for men.” That this company felt the need to develop a device “specially for women” implies that one is required. Why? Because women are unable to understand the intricacies of a standard audio interface? Or perhaps it’s the device’s built in LED light source and mirror and “colorful, eye-shadow shaped knobs”? The whole concept and design is laughably, passively sexist. Of course, some women will see this and want it and there’s nothing wrong with that. The issue lies mainly in the language used to present the interface. Before beginning this article, I considered handing it off to one of our female writers for a women’s perspective, but I realized that doing so is the same as ignoring it and passing the buck. As men, it should be our responsibility to be allies to women and speak up in solidarity when we see things like this. What do you think? Do women need something specially made for their gender in order to compete with men? Or is this just as sexist as it seems? This article was first published on Your EDM. Source: Music Tech Company Releases New Sexist Audio Interface “Specially For Females” Source

The 34th annual Winter Music Conference [WMC] jumpstarts Miami Music Week in 2019! The conference will be held on March 25-28 in the remarkable Faena District, right in the heart of Miami beach. Brought to you by the organizers of Ultra Worldwide, the event will offer insight on music, technology, education, and culture. photo credit Winter Music Conference Kaskade sheds light on the beauty of WMC and the importance to attend the conference. WMC welcomes industry professionals, producers, DJ’s, and music consumers. So anyone looking to connect, build relationships, and learn from their peers are welcome. The conference presents insightful talks and discussions with business leaders and top executives in technology, social media, marketing, and more. There will also be music production educators and gear manufacturers to share their knowledge in the growing industry. Winter Music Conference is my ground zero. It has always provided the perfect storm of opportunity and excitement for up and coming artists, including myself back in 2003, where I first caught a glimpse of how it felt to have an audience respond to my work. Over the years, I’ve always made it a point to have WMC in my calendar because that’s the spot where everyone congregates and you can feel it in the air. Creativity, brother and sisterhood, FUN and most of all the chance to come together as a community and celebrate the reason we are all here—the music. – Kaskade, DJ/Producer “Before there was Ultra Music Festival, there was The Winter Music Conference, the annual coming together of the dance music tribes. Miami in March is a fundamental place to be from a business perspective, and has always given me endless opportunities for discovering new partnerships and talent. WMC brings together the dance music industry and surrounding culture like no other event in America. I’ve been attending WMC for nearly 20 years, and I’m very much looking forward to experiencing its evolution in 2019.” – Matt Colon, Deckstar Management Winter Music Conference is a place to connect with a passionate community and seek new opportunities. The organizers behind Ultra Worldwide have acquired Winter Music Conference and International Dance Music Awards (IDMA) to present their first fully programmed WMC, since the acquisition. 2019’s WMC certainly sets high standards for many more conferences to follow. Thus, Ultra Worldwide intends to establish the world’s top dance music industry and networking conference that no one should miss. “After 34 years, we’ve reached a major point in the evolution of WMC. Attendees will experience expertly curated panels with key music professionals, cutting edge mixers, mentorship moments, and endless opportunities to share up-to-the-minute technology in an exceptionally beautiful and blissful setting, the Faena District.” – Bill Kelly, WMC Co-Founder Follow Winter Music Conference: Facebook | Twitter | Instagram | Website The post Cultivate Your Music Career at the Pivotal Winter Music Conference appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Imagine a world where the party never stops. It could be a dream, but more likely a nightmare. The new indie film, Come Down explores this possibility with a sci-fi dystopian world, where people are forced to rave. In Come Down, the only thing illegal is to turn down the music. Ear plugs and headphones are banned by authoritarian leadership, and you are forced to listen to the pounding techno coming through the speakers. The concept sounds insane — and the film matches that crazy with edgy cuts and dark imagery. Come Down is fueled by “amphetamines and constant trance music” on a constant, endless loop. Might be fun for a hot minute, but we have a feeling this film is about to go off the deep end. That is, if the creators are ever able to finish it. In order to complete VFX, musical composition and other post-production essentials, the makers of Come Down have started an IndieGoGo campaign to fund the final touches. More info here. Watch the trailer below… Come Down  This article was first published on Your EDM. Source: Short Film ‘Come Down’ Explores A World Where People Are Forced To Rave [TRAILER] Source

Longtime Deerhunter bassist Josh Fauver has died. Deerhunter shared news of Fauver’s passing in an Instagram post, writing, “Very difficult times now.” A representative for the band confirmed the news to Pitchfork. A cause of death was not immediately known. Fauver played bass in Deerhunter from 2004 to 2012, appearing on several albums, including 2007’s Cryptograms and 2010’s Halcyon Digest. In addition to his time in Deerhunter, Fauver played in Atlanta bands Electrosleep International and S.I.D.S. He also ran an independent record label called Army of Bad Luck. Source

Martin Garrix probably had the best time out of everyone at ADE. Not only was he an integral part of the convention, he performed in front of an absolutely massive crowd, put out a brand new EP, and was named the #1 DJ in the world yet again. Not too shabby. The latest episode of The Martin Garrix Show features his ANIMA show and the process behind the production — how it all came together. Plus, there’s a special behind-the-scenes look at the video clips for his BYLAW EP, which was released during ADE 2018. One-by-one he released his five-track EP with highly-anticipated collaborations. “Breach” with Blinders, “Waiting for Tomorrow” with Pierce Fulton, and “Latency” with Dyro, as well as two solo tracks, “Access” and “Yottabyte.” Now that you’ve heard Martin Garrix’s ADE 2018 experience, watch what it was like for the superstar DJ right here… The Martin Garrix Show Photo via Tomorrowland This article was first published on Your EDM. Source: Experience ADE 2018 Martin Garrix Style with The Latest Episode Of His Show Source

Thirty years ago, John Carpenter was nearing the end of the 1980s, a decade full of both success and struggle for the renowned genre filmmaker. Sure, Carpenter’s name is as synonymous with the sound, look, and feel of that cinematic era as any notable director, but he also tended to struggle mightily against a studio system that had discovered blockbusters and begun to homogenize American movies all around. Carpenter was too singular a filmmaker for what Hollywood had become by the end of the ’80s, and after Prince of Darkness struggled to make an impact in theaters, Carpenter did what he hadn’t since Halloween made him a household name. He went indie once again. The result was They Live, one of the most immediately recognizable Carpenter movies and a landmark work of political subversion in American filmmaking. The story of Nada (the late Roddy Piper) being awakened to just how deep the evils of the world really go, They Live takes a ham-fisted metaphor and delivers it with such aggression and urgency that it becomes something bordering on transcendent. That it’s also a decidedly John Carpenter movie, with all the swaggering music and occasional cheese suggested therein, only adds to the universality of its argument. Born of everything from the rise of unchecked American capitalism to the Reagan era, Carpenter puts forth a vision of a world where the hero can’t really save the day. The world’s already been subsumed; the only thing left to do is show people the truth, and let humanity solve the problem itself. Like so much of Carpenter’s work, They Live is a staunchly working-class film in both tone and place. Set near Skid Row in Los Angeles, the film is entirely concerned with the lives of people at street level, hustling to get by in a society that privileges wealth and demeans its impoverished. Nada is a drifter, blowing into town in search of construction work. He lands some thanks to Frank (Keith David), but it’s hardly much. Everybody in Carpenter’s L.A. is scraping, living in pop-up encampments and hoping to keep getting by without being hassled. Yet before long, the police show up to tear down the shantytown, which sends Nada into a nearby church secretly run by radicals. Instead of weapons, Nada finds only a pile of sunglasses. It’s not until the next day that Nada puts the glasses on, and realizes exactly why they’re so valuable: the sunglasses allow the wearer to see through the propaganda of the world, and see just how many hideous, skeletal aliens have infiltrated our everyday lives. From police to bankers to talking heads on your TV, the majority of the world’s most powerful people are out to brainwash you into consumption and obedience. In one sense, it’s the best and easiest way for Carpenter to get a never-hunkier “Rowdy” Roddy Piper into some sweet shades for the better part of an hour and a half. In another, They Live makes the process of understanding sociopolitical corruption into the stuff of paranoia-fueled throwback horror cinema. In both structure and aesthetic (particularly in the retro alien designs), They Live is built to resemble the “aliens among us” panic of Invasion of the Body Snatchers and so many other fearful stories of humanoid infiltration. After all, for so many people, one of the great terrors of life is reaching an age or moment where you come to realize just how much corruption and perversion and exploitation and filth exists in any given society, and have the subsequent realization that most people either don’t care, or are actively complicit in the process. They Live might well be one of the most literal movies ever made, but it faithfully captures the terror of that process, in all its sloppiness and panic and occasional absurdity. If we’re invoking “absurdity” as a concept, we cannot move on with this classic review without addressing the centerpiece action sequence of the film, the famous battle between Nada and Frank as Nada attempts to make Frank wear the sunglasses. No volume of prose can do justice, so just have a look for yourself: In Piper, Carpenter finds the perfect action hero for his brand of filmmaking. He’s jacked, hyper-masculine, and more than a little bit of a goof without any traces of the self-effacing wink that modern leading men tend to bring to their roles. There’s an unassuming obliviousness about everything from Piper’s performance to the staging of the aforementioned fight to the simplicity with which Nada rallies around the cause that makes They Live one of the more accessible leftist films ever made. There’s no posturing about They Live, and if it gives the film a bit of a cornball quality on occasion, that’s ultimately secondary to the impact of Carpenter’s purpose. This was a film about something already omnipresent in the culture, something that would only grow in time. To make They Live in the present day would be impossible, because it’s the kind of thing we nihilistically take for granted. We’re aware that our politicians are corrupt, that the intentions behind so many of our daily lives are corrupt. At least in ’88, we could still muster up the energy to get scared of that fact. Like the best horror movies, They Live has only grown more prescient with time. Its message is so universal, in fact, that Carpenter had to come forward last year to explain, as clearly as possible, what it is and is not about: THEY LIVE is about yuppies and unrestrained capitalism. It has nothing to do with Jewish control of the world, which is slander and a lie. — John Carpenter (@TheHorrorMaster) January 4, 2017 The terrors put forth by the film are at once specific to the era of its production and timeless in their direct connection to the American experience. After all, what’s so different between election week 1988 (when the film was initially released, just days before George H.W. Bush took over for Reagan) and right now, with midterm election week 2018? We might not need the glasses anymore, but the skeletal beasts are everywhere. Carpenter saw where the industry was heading, and America right with it, a long time ago. As the film ultimately concludes, it’s up to the individual to stand up to the forces of inequity. Nobody else is going to show up to do it for you. Trailer: Source

It wasn’t too long ago that Maggie Rogers was a masters student at New York University. But after getting her music in front of Pharrell Williams, Rogers landed a record deal and spent much of the last year touring behind her debut EP, Now That the Light Is Fading. Now, Rogers is gearing up to release her debut full-length album, Heard It in a Past Life, which is out January 18th. Last night, the talented young singer-songwriter got a chance to promote the impending release with her first-ever appearance on Saturday Night Live. She performed “Light On” and “Fallingwater”, the latter of which featured Rostam on piano. Replay both performances below. In December, Rogers will embark on a North American headlining tour in support of Heard It in a Past Life. You can get tickets here. Source

Rockstar Games’ latest blockbuster, Red Dead Redemption 2, contains some musical treats hidden within its soundtrack. We already highlighted the new D’Angelo song, “Unshaken”. Queens of the Stone Age frontman Josh Homme also contributed new music to the game in the form of a track called “Cruel, Cruel World”. The twangy acoustic ballad was written by Daniel Lanois, who produced the entirety of the film’s soundtrack. Take a listen below. Red Dead Redemption 2 also boasts tracks from Nas, Willie Nelson, and Rhiannon Giddens. A commercial release for the soundtrack is said to be forthcoming. The game’s score, composed by Woody Jackson, features additional contributions from Arca, Colin Stetson, Queens of the Stone Age’s Jon Theodore, and more. Source

Ariana Grande has unveiled “thank u, next”, the title track and first single off her upcoming fifth album. In a series of tweets announcing the album, Grande said there would be “no drags…. no shade….. jus love, gratitude, acceptance, honesty, forgiveness … and growth.” She also said the album’s first single is a “track about empowerment.” Having now listened to “thank u, next”, those descriptions hold true, as Grande uses the track to credit each of her former boyfriends — Big Sean, Mac Miller, and Pete Davidson — for helping her become the person she is today. “Thought I’d end up with Sean/ But he wasn’t a match/ Wrote some songs about Ricky/ Now I listen and laugh/ Even almost got married/ And for Pete I’m so thankful/ Wish I could say thank you to Malcolm/ Cause he was an angel One taught me love/ One taught me patience/ And one taught me pain/ Now I’m so amazing/ Say I’ve loved and I’ve lost/ But that’s not what I see/ So look what I got/ Look what you taught me/ And for that I say/ Thank u, next” Listen to “thank u, next” below. The track was released minutes before last night’s episode of Saturday Night Live. According to TMZ, Grande wanted to get in front of any comments Davidson made on the show, especially after he made a crack about their relationship in a promo video. Davidson did address their breakup during Weekend Update, but only had nice things to say about Grande: “I know some of you are curious about the breakup, but the truth is it’s nobody’s business. Sometimes things just don’t work out, and that’s OK. She’s a wonderful and strong person, and I genuinely wish her all the happiness in the world. Now, please go vote on Tuesday.” Grande has not yet provided a release date for thank u, next. Last week, she announced an extensive world tour in support of her fourth album, Sweetener, which is scheduled to launch in March 2019. You can get tickets here. Source

This week, another star joined the five-timer club over at Saturday Night Live, as Jonah Hill took on hosting duties for his latest jaunt in Studio 8H. While the promo ads gave us an awkwardly stone-faced Hill – a man deep in the throes of a career reinvention as a director of Serious Art – host Hill jumped right back into comedy mode without skipping a beat. Last night’s SNL wasn’t the most innovative hour of TV, but it continues the show’s upward trajectory after a bumpy start to its 44th season. Along with Hill bringing back some of his favorite characters, the show touched on the weird, ever-increasing anxiety surrounding next week’s midterms (go vote, ya dinguses!) and tried desperately to overcome being upstaged by Ariana Grande intentionally releasing her new song a half hour before her ex’s show was to start. Woof. And let’s not forget Maggie Rogers’ spotty first song as musical guest, where the nervous songbird was hella flat for an entire verse before the backup singers wrenched her back on key. Luckily, her Madame Blanc from-Suspiria-cosplay helped her through her second set. Still, Hill and co. seemed to have a pretty good time with a thoroughly milquetoast episode of sketch comedy punctuated by the frenzy of the Grande Twitterverse and pre-midterms mania. Check out some highlights from last night. __________________________________________________________ JONAH HILL PLAYS THE HITS Five-time host Hill eased back into effortless sketch comedy in his fifth go-round, with an opening monologue that transitioned into a sketch in the “Five-Timers Lounge” — though, in a post-#MeToo world, the only candidates allowed in are Tina Fey, Drew Barrymore, and Candice Bergen (all of whom made charming cameos) since all the dudes are pervs now. Hill didn’t get to do all that much to shine in most of the sketches, mostly playing bystanders and supporting players, but he did get the episode off to a great start with an uproarious return as six-year-old Jewish loudmouth Adam Grossman. With the same crass joie-de-vivre as a middle-aged borscht belt comedian, Hill’s wide-eyed Grossman never fails to make his co-stars break, including Leslie Jones as his not-Jamaican nanny. Even if he didn’t get to do all that much, the show sailed when he got to let loose. __________________________________________________________ PETE DAVIDSON ADDRESSES “THE BREAKUP” Weekend Update was its usual self for the most part (including another appearance by Kenan Thompson as Big Papi, complete with his ever-lengthening list of absurd endorsements), but things came to a stop when Pete Davidson showed up for a segment describing skeevy politicians running in the midterms. (His impression of Rick Scott: “he looks as if someone tried to whittle Bruce Willis out of a penis.”) But the real surprise was when the giggly comedian addressed his recent breakup with Ariana Grande head-on, saying that the breakup was “no one else’s business, and sometimes things just don’t work out.” He complimented her and wished her all the best, making for a surprisingly sober admission from the kind of guy who looks, as he describes himself, “like a Dr. Seuss character who went to prison.” I wonder how Ariana feels about that payback single release timing now? (The answer: probably still great.) __________________________________________________________ SATURDAY NIGHT LIVE MAKES A SPLASH ON THE BLUE WAVE In the wake of Alec Baldwin getting literally arrested for punching a guy in the face, SNL had to keep up its not-so-heavy lifting taking potshots at the Trump administration. Of course, this week isn’t like most weeks: it’s the midterms! That means the show took plenty of opportunities for some good, old-fashioned liberal navel-gazing, from a campaign video parody filled with nervous liberals shakily asserting their confidence that the #BlueWave is coming to a pitch-perfect parody of naïve white liberals #Resisting by putting on a clueless, oversimplified off-Broadway musical about the Trump Era. (“Border control, birth control, it’s all out of control!”) Sure, the evils of the current administration are still great fodder for comedy – a late-show commercial for HuckaPM, the pill Sarah Huckabee Sanders uses to sleep at night, lets Aidy Bryant show off some hilarious pratfalls – but there’s plenty to prod about well-meaning liberal naivete and nervousness. Source

Music is the best form of medicine, as demonstrated here by Wolfgang Gartner. The masterful producer puts forth a fun, feel good kind of energy for a new EP that we simply can’t get enough of. Properly titled Medicine, this 6-track release is a perfect dose of EDM — just what the doctor ordered this New Music Friday. His signature complextro sound pulls us in multiple directions, but he pulls it off so well. Wolfgang thrives his own realm, but also pushes boundaries outside of his norm. Dancefloor heaters, radio hits, and straight up bangers — it’s all in there. Look out for “Bumblebee,” a must-listen for true EDM fans and an extreme bass house weapon for Wolfgang to work into his live sets. 2018 has been a resurgent year for Wolfgang Gartner thus far and his sound reflects that notion. He’s back in full force and poised to have a massive year in 2019. Look out. Wolfgang Gartner – Medicine Get it: https://altvision.lnk.to/medicine Follow Wolfgang Gartner Facebook | Twitter | Soundcloud | Instagram | Spotify | Apple Music This article was first published on Your EDM. Source: Get Your Proper Dose Of EDM with Wolfgang Gartner’s ‘Medicine’ EP [LISTEN] Source

Calvin Harris lends his voice to a new Benny Blanco production. But, those two aren’t the only superstars involved with the project. For the music video, Blanco enlists in his friends and fellow artists for a fun, feel good result. Cashmere Cat, Halsey, Lil Dicky, and Francis and the Lights all make surprise appearances for this visual component for the new release. Plus, the producer’s mom makes a heartwarming cameo herself. Although Harris doesn’t join in on the fun for this music video, his presence is very much known. This is the first time the producer has put his own voice down on a track since 2016, with “My Way.” Enjoy the new song and music video here! Benny Blanco & Calvin Harris – I Found You This article was first published on Your EDM. Source: Cashmere Cat, Halsey & Lil Dicky All Make Cameos In New Calvin Harris & Benny Blanco Music Video [WATCH] Source

The race to put out the world’s first foldable smartphone has been engaging to say the least, but one company just pulled ahead of the competition for the win. Royole‘s second generation creation, FlexPai is the future. The new device combines durability and flexibility. It’s elegant and it’s powerful. Royole’s FlexPai is ultra thin, with a fully flexible display, boasting a virtually unbreakable screen. These specs didn’t come overnight — the screen has been bent over 200,000 times to test out the wearability of the smartphone. Still, the screen continues to provide fantastic color, contrast, and high-resolution. The product is self-described on the company’s website as follows: FlexPai is the world’s first commercial foldable smartphone with flexible display, a combination of mobile phone and tablet. It was officially launched on Oct. 31, 2018 in Beijing. Disrupting consumers’ traditional concept of a smartphone, FlexPai can be used either folded or unfolded, giving it the portability of a smartphone plus the screen size of a high-definition tablet. Learn more or pre-order. This article was first published on Your EDM. Source: This Company Just Beat Samsung with The World’s 1st Foldable Smartphone Source

Just recently, Skrillex testified in court for a case against him that dates back to a 2012 stage dive. The plaintiff alleged she was hurt during the incident, and suffered a stroke days later. But, she also just “downplayed” newly surfaced video footage, which showed her smiling after the DJ/producer’s notorious dive into the crowd. Jennifer Fraissl revealed to the Los Angeles Superior Court jury that she wasn’t a willing participant during the stage dive stunt. Often times in tears, she opened up on Wednesday about why she put on a happy face in the video that came into evidence. “I was trying to enjoy the show,” Fraissl said. “How was I to know a significant event was about to happen to me?” On Feb. 11, 2012 — 16 days after — the plaintiff allegedly suffered a stroke. Dr. Stephen Hetts testified on her behalf, describing her case as an “ischemic stroke,” which tends to happen when arteries to the brain are restricted, severely disrupting blood flow. Dr. Hetts said it was “unusual” for someone of the plaintiff’s age, then 24-years-old, to suffer a stroke. The trial is ongoing. Skrillex 2012 Stage Dive Source: My LA News | Photo via Rukes.com This article was first published on Your EDM. Source: Skrillex Stage Dive Victim Dismisses Footage Of Her Smiling After Incident Source

Back in February, Spice Girls announced plans to reunite. “The time now feels right to explore some incredible new opportunities together,” the group said in a statement at the time. “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.” While there were reports that the group was considering several lucrative offers, including a TV talent show, a new compilation album, and a world tour, nothing has come to fruition as of yet. Now, though, The Sun’s Dan Wootton reports that Spice Girls will announce a UK stadium tour on Monday. They’re also scheduled to sit down for an interview on Jonathan Ross’ ITV chat show next Saturday, according to Wootton. There’s one catch, however: Victoria Beckham, a.k.a. Posh Spice, will not participate in the tour. According to Wootton, 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. Spice Girls previously reunited in 2012 to perform at the closing ceremony of the London Summer Olympics. In 2016, Bunton, Brown, and Halliwell announced a project called GEM, but it was later scrapped after Halliwell became pregnant. Source