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It was 2015 that KOAN Sound last released any kind of major musical project as a group, but the duo are slated to finally release their new album Polychrome this December, and we couldn’t be more excited. We’ve gotten a sneak peek of the project and we can tell you that it’s worth the wait. But for everyone else, they’ve uploaded a dreamy album trailer that should give you a pretty good idea of what’s in store. You can expect creative sound design. You can expect lush sound scapes. You can expect complex arrangements and wild synthesizers and turbulent drums. Most of all, you can expect the same sound that made you fall in love with KOAN Sound in the first place to come back full throttle. “We wanted the album to be listenable but also work live at the same time – that was the hardest part. We made every track as a cinematic piece; each one tells a story. There isn’t a lot of repetition in terms of structure and arrangement, and each progresses in such a way that we can play it live in its entirety,” the band says. That quote alone also gives hope for a live tour in 2019, which would be a cherry on top of an already decadent cake. In fact, we can reveal that the band will be performing a special hometown show in Bristol at the famed Trinity on Saturday, February 16. A live tour will follow. The album is officially available for pre-order here. It arrives in full on December 7. This article was first published on Your EDM. Source: KOAN Sound Reveal Release Date Of New Album & Drop Teaser Source

Finnish trance superstar Darude has left one hell of a legacy in the world of dance music, spawning several hit singles in the early 2000s. Along with his extensive back catalogue of trance releases, it doesn’t take a meme enthusiast to know that he’s spawned the painfully monotonous running joke of replying to comments with “Darude – Sandstorm” every time someone asks for a song ID. With that obvious anecdote out of the way, we’re proud to premiere his new track ‘Timeless’ featuring Australian vocalist JVMIE released on Gareth Emery and Ashley Wallbridge’s Garuda label. This cinematic trance track begins in full force, with a pulsating bassline laying the foundation for a series of arpeggiating synth stabs that gradually rise and bring the track into it’s main melody before introducing the fragile vocals of JVMIE in the breakdown. Majestic choral pads bring the breakdown to silence before bringing the arpeggios back in the form of dramatic supersaws that lead to a buildup. After the breakdown reaches its climax, the beat is unleashed in full swing complete with it’s irresistibly catchy synth lead and wailing vocals. Darude is currently galavanting around the globe bringing his new set of singles to the main stage. With dates already announced all across Australia, Canada and America, you can be sure to catch Darude play a set in your city sometime soon. Check out ‘Timeless’ in the link below as well as local dates. Darude Australian tour dates Friday, 26th October – Fat Controller, Adelaide Saturday, 27th October – Empire Nightclub, Narre Warren Saturday, 27th October- Treat Danceclub, Melbourne Friday, 2nd November – The Met, Brisbane Saturday, 3rd November – Carmens, Sydney Sunday, 4th November – Hi Life Festival, Gold Coast Source

Avicii: True Stories has qualified for Oscars consideration — and anyone who has seen the documentary will understand why. Producer and director Levan Tsikurishvili is the one who followed Avicii on his difficult and emotional journey, capturing the footage for this film along the way. He opens up about the award consideration and what it means for the everyone involved, and all those who watched. This documentary hasn’t left a single person emotionally untouched and even if some memories are very painful to me to watch, I’m very proud and thankful that we did it. Importance of looking out for one another has never been more important than NOW and I DO hope that we’ve changed SOMETHING to the better in this industry, a specially for the younger generation. Another recent post on Instagram from Tsikurishvili hints that the doc could make its way onto Netflix again in the near future. The photo is captioned, “Watch out!!! #somethingiscomingsoon #ATS.” Though, that also could have been hinting at today’s news. RIP, legend. This article was first published on Your EDM. Source: Avicii: True Stories Has Qualified for Oscars Consideration Source

Bojack Horseman and Big Mouth have established Netflix as a home for innovative animated comedies, with the streamer now developing an in-house animation studio. Hulu, on the other hand, is opting for a different approach, filling its coffers with the hits of yesteryear. The Hollywood Reporter notes that, as part of an expanded deal with 20th Century Fox, the streaming giant has obtained the exclusive streaming rights to King Of The Hill. All 13 seasons of Mike Judge’s series, which ran from 1997-2010, are available to stream on Hulu service as of Thursday. (Read: King of the Hill’s Top 20 Episodes) Additionally, Hulu has acquired he exclusive post-broadcast streaming rights to Bob’s Burgers, Futurama, and Seth MacFarlane’s animated oeuvre, which includes Family Guy, American Dad, and The Cleveland Show. Add all of these to the animated content currently streaming on Hulu—think Rick and Morty, South Park, and Adventure Time—and it appears the streamer wants to be a one-stop shop for animated content. Hulu is apparently just giving its audience what they want. THR notes that Hulu has stated that animated shows are among its most-streamed content, with viewers watching nearly 20 hours of animation a month. Source

GRiZ has been laying low for almost a year, and just like that, he’s back again with two brand new and funky singles. But, he was never really gone — he was taking some much needed time to himself to breathe, focus on his art, and appreciate life in general. During his time away from the spotlight, Grant Kwiecinski immersed himself into the various communities, cultures, and sounds that inhabit America, making his music more diverse and wide-reaching than ever. With each new release GRiZ takes a massive step forward. This time around, he’s meeting the worlds of funk, electronica, hip hop and pop, and he’s doing it his way. Enjoy the latest from GRiZ here, read up on his personal and musical journey below, and be sure to give him some mad love for his inspiring work.  You’ve been laying relatively low — what have you been up to? I have been chillin’! Honestly, it might’ve seemed like we were kinda taking days off, but it’s been every single day giving myself space to make music and just be me — which is amazing! It was a weird transition to go from putting yourself out there and talking to people, and then to come into yourself and take some time to slow it the fuck down and see what it is that you love and getting back into you. Do you think your break from social was beneficial for your personal wellness? Yeah, man. That shit is so important. It’s so important to take some time for yourself. Take some time to just breathe and check in with you and see how you feelin’ about stuff. Because, it’s not always so easy to understand how you feel about everything when you’re always asked for your opinion or sharing your opinion on stuff. It’s important to be able to separate and live your life and check in with yourself and not always have this conversation with somebody. It’s really refreshing and I highly encourage anybody who might read this or check out this article to take some time to just do some shit for you. I know it sounds so simple and maybe it sounds difficult. I definitely feel like there’s some crazy addiction feeling towards it — this compulsory like — here I am and I’m just walking somewhere. I open my phone and I’m sitting down somewhere just killing time. I’m like alright cool, I’m just gonna surf thru Instagram — I’m like nah, nah you can’t do it! But it’s just a nice thing to be able to turn that part of your brain off. When you do, it’s beautiful how much other stuff starts happening in your head if you give yourself that space. It’s kinda tight to be bored and just sitting there looking around. If you look around you see how beautiful this world is. Even this small shit like I’ll be sitting at a restaurant and instead of checking my phone I’ll end up having a better conversation with the person I’m with and just enjoying the space I’m in. Like the cup I’m drinking out of, the wallpaper, the atmosphere, the music, the whole vibe — and all of life is like that. You can enjoy stillness. You can enjoy those moments of space and being able to hold space for yourself. It’s pretty life changing to be honest. How long have you been keeping this double release a secret from us? [laughs] A long time! We’ve been on the low keeping a lot of shit to ourselves. And it has been fun in a way, ’cause you’re like “Alright, I’ve got all this cool shit coming!” And in another way you’re like, “I just really want to tell people what’s up.” ‘Cause I didn’t disappear. I’m still working really, really hard on this thing and I’m trying to bring myself into a new chapter and be able to tell a story of how I feel about things and to be able to live that truth and be able to live through it. It was important to be able to take time to do a deep dive inwardly and understand how I felt without the influence of anything else. To be able to write and to meditate and to live life in more of a methodical, slow, and present sense. And work through this stuff and these songs that have been finished for quite some time now. I’ve performed one of them a few different times at festivals and stuff and it’s kinda my sneaky way of letting people know what’s going on. I love being able to surprise people again, and I really wanted to give people that feeling of anticipation and excitement about this thing — not that I think we lost it, but I think that it’s fun like that. It’s fun to be able to take some time to make a new narrative or some shit so people can be like, “Yo, this is what’s going on!” What kind of feeling do you get when you share new art with the world, like today? If I’m being honest — I’m nervous, ’cause I hope people like it. ‘Cause you been working on something and I’ve invested so much in myself in these tunes. I just really hope they resonate with people and I hope that they feel like it came at a good time for them, because I know personally that this subject matter and working thru these things — it helped me in my life. I use music as a coping mechanism for the crazy shit that I think about all the time. I create songs to be able to experience the emotions that I have, whether they’re positive or negative, in a constructive way, and create some resolution there. To be able to feel sad, to be able to feel excited, and put that within a musical setting so that I can viscerally, in a human way, feel that shit — then by the end of the song I feel better, ya know. I’ve been healed by this shit. “It Gets Better” is amazing to hear, because you and DRAM share a similar message of positivity — how did that track come about? That started I went to Chicago and I had this hook and I really wanted it to be expressed by a joyful voice and I wanted it to sound like, [sings] “I know, I know it gets better!” I really wanted it to sound how it made me feel — that sentiment. So we got this kid’s choir and wrapped it up with that trip, and that session was just magical. I feel like the best songs I’ve ever done have worked that way like, “I have no idea what’s going on right now… but it’s blowing my fucking mind and everybody in this session right now is having a great time and it’s this beautiful thing.” So we went down there and recorded with these kids and they have never been in a music studio before and their faces were just lit up. They had so much fun with the song. Being able to meet them and see them showcasing their talents and experiencing how this song made me feel with them delivering it was just 100% maximum feeling. Then, I went down to New Orleans to record the horns, then I came back to Denver to finish the piano parts out, and then I was like, “We gotta find the right voice for this,” to really staple the message down. And DRAM — I’ve loved his work, I love his vibes. He has such a great attitude, and I thought he’d be absolutely perfect. I hit him up, he loved the tune, they sent us something back it was like, “Cool. Done. Perfect. That was amazing. They nailed it.” And it just came together in this almost like very effortless way. What made you decide to jump on “Can’t Get Enough” and rap yourself? I really want to put myself into this project even more than in the past — and it really just started as I’m writing all these things and writing these hooks and sometimes I’m writing verses. I’m like in a hotel room in New Orleans and it’s 2 o’clock in the morning and I’m spitting this verse in my computer microphone and I’m just kinda sitting there and I go outside to vibe out and listen and I’m like, “I fucking love this, like this sounds cool to me.” And it’s in a laptop microphone, it’s not even like — good. And the way it was delivered and with an instrumental and everything I was like, “It just feels right.” And I don’t need to consider myself an MC or a rapper or a vocalist or whatever. I don’t need to be that person, but I can do that job. I can deliver my emotion into it. I felt like, if I’m gonna give this to anybody else, it might sound better. [laughs] Which, humor, right? But it wouldn’t be me. This song is about me. This song is about all my shit. It’d be hard for me to give this to anybody to deliver those lines. So, I gotta be the one saying it. I sent it around to some people and we started performing it and it just started to fit and feel like a really good place for those vocals to fit in a song. It felt like a really good place for me to be with that piece of music and I was like, “Shit, we’re just gonna do this shit!” I feel like if we do it and if I just do it confidently, people will be as convinced as I. During your live shows, how does it feel grabbing the mic and lending your own voice to the production? It’s an amazing feeling, ’cause I do this thing with saxophone, right? It has a different kind of voice to it. Of course it’s a different sounding thing, but it’s still an extension of breath and controlling the breath. It’s a very cathartic experience. But when you start putting words behind this shit and you start really interpreting what the story is, like you’re telling people verbatim what it’s about — it’s not just a melody, it’s not up to interpretation so much — I’m telling you exactly what it is. And to be able to express that part of myself with that platform in that space is, one — really, really scary ’cause you’re like, “Oh man I hope I don’t forget the words” and yada yada yada. But the other part of it is like, I’m lucky enough to have such a supportive group of fans that it felt really safe. They gave me the safe space to be exactly me and they always continue to give me a safe space to be me and do my shit, and express myself the way that I feel like I need to. I felt like I was flowing through the entire thing. To be able to encompass the message so fully was a very new, fresh, and beautiful experience. I look forward to be able to perform that song more and more. Speaking of which, what’s the process you guys go through when prepping for such intricate shows with the live band? It really starts with me talking to Stu Brooks, who is our bass player and music director. Typically I fly out to New York (that’s where he lives) and we’ll just kinda have a rap session, ya know? We’ll brainstorm and we’ll sit down with a bunch of GRiZ tunes and be like, “Alright this is definitely something we could nail, ’cause it’s all instrumental and vocals and we got that. And this is some shit that is kinda crossover we could probably do. And this is some shit that we definitely can’t do but we’re gonna try it anyways.” So we’ll go though the track and we’ll try and see, what’s a good example here — like a tune with a good drop. How do we get that emotional quality? That feeling without using any backing track, without using any computers, without using any like digital synthesizer. Everything is all analog. It’s all human, it’s all performance, it’s all us in the moment. How do we re-duplicate that with the people we have on stage? Mind you, the reason we have 15 people on stage is that we need all of us. We need every last voice. Every last person contributes so much. If you took someone away it’d be a big gap. We got a bunch of the most brilliant and go-getter musicians we could possibly find with such a cool style about their whole character — now, how do we use these people? So we’ll try and create these layers and we’ll conceptualize it and then way before the show we’ll do a rhythm section practice where it’s just percussion, drums, bass, two guitars, keys, and myself. That’s the cutting room floor for shit — we’ll take what Stu and I thought up, like “You play this, you play this, guitar does this.” And we’ll just play the groove of the song. If the groove ain’t groovin’ and we can’t do anything to make it sound super tight, the song gets scrapped. Nah, we can’t even do it. ‘Cause if you ain’t got a cool groove with just your rhythm section, it ain’t gonna be a dope tune, so you gotta make sure that that’s bangin’ there before you go in and lay in all the candy — the horns and the vocalists, which is the other 8 pieces of the band. “Chasin’ Galaxies” at GRiZmas last year was my favorite! Seriously, magical! That was so fun and that’s an open ended tune. Where most of the songs of the band, like we have some jam sections for it, but I didn’t want it to be a jam band per say. I wanted it to be like, “We’re a band, we’re playing some bad ass tunes,” that’s the whole thing. But that’s one of the songs where I played it for Stu and I was like, “Dude if we can pull this off it would be some shit!” And he was like I think we can do it, we just gotta do it our own way. That’s the other thing — imagining GRiZ songs for the band, we’re not remaking that song. The song is how it is on record, that’s just what it is. It’s gonna sound like that. We’re gonna do us, because we have what we have, and we’re limited in that sense. We’re unlimited in the sense that we are human beings and we have this infinite capacity to do beautiful shit and come up with fresh ideas and improvise on the spot so that tune is just all improv. We know that there’s a place we can get to, so we’re just gonna all look at each other, and pray to God that we’re gonna arrive at the same place eventually. We start building the momentum of this shit up and we’re like, “Alright, alright, here we go! Where are we going?” We know we’re going somewhere and all of the sudden it just clicks because we practice enough and we know each other enough and we’ve got a good vibe. But that’s one of those ones where the trains moving, we’re going somewhere, let’s just dive in. Like much of your music, these tracks are instant mood boosters! When you’re feeling down, what lifts you up? Music is definitely one of my instant mood lifters. That’s a big, big thing for me. Lately, this past year and a half or two years, if I’m feeling really down and lost and I can’t get my feet underneath me, I’ll go meditate. That’s a daily thing, but if I need it I’ll create some space for myself, create some quiet space, and just sit and just let all the shit go and let all the shit end. Not think about anything in particular and just focus on existence. It’s so simple and it works so well. Do you feel like your inspiration has shifted, from Good Will Prevail to where you’re at now musically? Definitely. Good Will Prevail came from one place and time — and whatever is coming next, the next collection of music, is a different time and place. Ya know, time changes, people change, and I think that there’s a little bit of common theme between all the things I’m doing and that’s just me as a person and the way that I experience emotion. But the situations for people change, everyone’s life situation changes. You go through heartache, you go through happiness, you go through huge wins, you go through huge failures and that’s growth and that’s a beautiful thing. We are so lucky to be able to experience all that is life, all the ups and downs, and I’m just here to be able to ride that feeling of life and express it through music. This article was first published on Your EDM. Source: GRiZ Drops 2 New Singles & Catches Us Up On His Life & Music [INTERVIEW] Source

The Toy Story series is already one of the world’s leading providers of heart-wrenching crying jags from kids and adults alike, Pixar’s animated films about a family of sentient toys tugging on the heartstrings of emotionally vulnerable audiences for decades. If Toy Story 3‘s beautifully poignant ending got you where you lived, pack some extra Kleenex for the upcoming Toy Story 4 – it’s so sad, even Tom Hanks got choked up. The Oscar-winning actor and future Mr. Rogers graced The Chris Evans Breakfast Show on BBC, where he talked about the unexpected difficulties of recording his final lines as Woody. When it came time to record the film’s ending, Hanks found himself unable to look at everyone else in the room: “The way you record Toy Story, you’re in a room with the team that has created it. When I went in for my last day of recording, I wanted to have my back to them, because usually you’re facing him so you can look right up and you can talk about it. But I didn’t want to see them and I wanted to pretend they couldn’t see me. When I realized what they were going for, I realized, ‘Oh, this is a moment in history.'” Based on the screen veteran’s reaction, a ‘moment in history’ seems fairly appropriate, and yet leaves Pixar fans wondering what the fourth film will entail.Toy Story 3’s graceful, emotional ending offered a bittersweet conclusion to the adventures of Woody and the gang – Andy passing them off to a new, younger child who could grow up with them all over again. Pixar would need a damn good reason to return to theToy Story well, and based on Hanks’ reaction, they may well have found it. It’s a relief, too, since Toy Story 4 has had the kind of rocky production history typical of recent Pixar efforts. At first, the film’s script was to be written by Rashida Jones and Will McCormack, but they departed the project amid issues with Pixar’s culture; the new script will be written by Stephany Folsom, and allegedly involves the search for Annie Potts‘ Bo Peep, who was missing in the third film. (Read: Every Pixar Movie from Worst to Best) Whatever Folsom has committed to the page, it’s apparently poignant enough to bring America’s Dad to tears. As a nation, we’d better be prepared when Toy Story 4 comes to theaters June 21st, 2019. Source

Normally, it’s hardly a surprise to hear that a prominent rapper has worked out a deal with a shoe company to sell his own brand of kicks to his or her loyal fans. When it’s Post Malone, though, the world is full of surprises. In a move that should shock everyone who’s never seen a picture of Post Malone, and no one who has, the “Psycho” singer has announced a collaboration with plastic clog company Crocs to release a line of branded shoes that fit Malone’s trashy chic aesthetic. Sure, most know them in the pre-Post Malone era as the kind of kicks you throw on to grab the newspaper on a Sunday morning, or canceled chef Mario Batali’s preferred shoe of choice before he moved on to Yeezys. But now, we can associate them with Malone’s be-grilled brand of shaggy joie de vivre. His brand of the squeaky shoe is a version of the Dimitri Clog, complete with his yellow Posty logo, that sells for $59.99. (They’re sold out already, to our great shame.) Malone’s motivation for choosing Crocs was made clear in a statement to Hypebeast, in which he said, “If you like something, go get it. I wear Crocs everywhere from the bar to the stage and I felt it was the perfect collaboration to get together with Crocs and give the fans what they’ve been asking for.” Check out these bad boys on Post Malone’s Instagram: Source

Tennessee deathcore mavens Whitechapel have announced that they will release their seventh album on March 29th, 2019, via Metal Blade Records. The disc is titled The Valley, and features the newly released first single, “Brimstone” (listen below). According to a press release, the album’s title references Hardin Valley outside of Knoxville, Tennessee, where singer Phil Bozeman grew up, with much of the subject matter dealing with Bozeman’s personal struggles as a youth. “Phil has been upfront in his lyrics in the past about hardships he endured in his life as a child, and I believe with this record we tried to paint a better picture of that,” said guitarist Alex Wade in a statement. “I feel our music is Phil’s release from his past, being able to get it out and speak about it, and hopefully anyone who hears it that may have gone through similar experiences can find some release in it, as well.” The crushing first single “Brimstone” can be heard below, while the album can be pre-ordered in one of several different packages at this location. The album news comes as Whitechapel kick off their headlining “Ten Years of Exile” U.S. tour tonight (November 1st) in Pittsburgh, Pennsylvania. The trek commemorates the 10th anniversary of their 2008 album, This Is Exile. See a complete list of dates below, and grab tickets here. The Valley Artwork: The Valley Track List: 01. When a Demon Defiles a Witch 02. Forgiveness Is Weakness 03. Brimstone 04. Hickory Creek 05. Black Bear 06. We Are One 07. The Other Side 08. Third Depth 09. Lovelace 10. Doom Woods Whitechapel Tour Dates w/ Chelsea Grin, Oceano, Slaughter To Prevail 11/01 – Pittsburgh, PA @ Rex Theater 11/02 – Syracuse, NY @ Westcott Theater 11/03 – Easton, PA @ One Centre Square 11/04 – Providence, RI @ Fete Ballroom 11/05 – Hartford, CT @ Webster Theater 11/07 – Richmond, VA @ Canal Club 11/08 – Huntington, WV @ V Club 11/09 – Dayton, OH @ Oddbodys 11/10 – Greenville, SC @ The Firmament 11/12 – Athens, GA @ Georgia Theater 11/13 – Orlando, FL @ The Abbey 11/16 – Toledo, OH @ Civic Music Hall 11/17 – Milwaukee, WI @ The Rave II 11/18 – Ft Wayne, IN @ Piere’s 11/20 – St Louis, MO @ Delmar Hall 11/21 – Lincoln, NE @ Royal Grove 11/23 – Wichita, KS @ Wave 11/24 – Colorado Springs, CO @ Sunshine Studios 11/25 – Ft Collins, CO @ Aggie Theater 11/27 – Salt Lake City, UT @ The Depot 11/28 – Spokane, WA @ The Pin 11/29 – Seattle, WA @ Showbox at the Market 11/30 – Jerome, ID @ Diamondz Event Center 12/01 – Portland, OR @ Bossanova Ballroom 12/02 – Bend, OR @ Domino Room 12/04 – Chico, CA @ Senator Theater 12/05 – Santa Cruz, CA @ The Catalyst 12/06 – Bakersfield, CA @ Bryder’s 12/07 – Los Angeles, CA @ Fonda Theater 12/08 – San Diego, CA @ House of Blues 12/09 – Tucson, AZ @ The Rock 12/12 – Austin, TX @ Come and Take It Live 12/13 – Tulsa, OK @ Cain’s Ballroom 12/14 – Memphis, TN @ Growler’s 12/15 – Birmingham, AL @ Zydeco 12/16 – Knoxville, TN @ The Mill & Mine Source

In 2016, Garrard Conley published Boy Erased: A Memoir, the chronicle of his time spent with Love In Action, an anti-gay conversion therapy program that promised devout parents a chance to “reclaim” their children by helping coach them out of their homosexuality. In a cultural period where high-ranking American politicians have publicly endorsed the practice, which has been the source of countless abuse stories over the years, Conley’s memoir served as a reminder that attempting to forcibly change that which cannot be changed is one of the cruelest things we do to others in modern society. Now, Boy Erased has been brought to theaters through writer/director Joel Edgerton, who also stars as Victor Sykes, the demeaning head of Love In Action. With Lucas Hedges portraying Jared, a version of Conley, and Nicole Kidman and Russell Crowe stepping in as his parents (a stay-at-home wife and a Baptist preacher), Edgerton attempts to make a personal story universal, in ways that can hopefully change the cultural conversation around conversion therapy for good. As the film prepares to begin its theatrical rollout, CoS sat down with Edgerton and Conley in Chicago to discuss the film, the evangelical culture that so often exists hand-in-hand with conversion therapy, possible ways forward for religious families that no longer involve the practice, and much more. —– Garrard, I’ve heard you speak about how a lot of the book was born from the question “how can a parent do this to a child?” How have both of you come to answer or otherwise understand that question as you’ve gone through the process of bringing it to film? Joel Edgerton (JE): I always kept zeroing in on this rich conflict in the book and in Garrard’s life. You had two parents doing what most parents constantly do, if you’re lucky, which is to try and help you through life. The fact that what they thought was helping was hurting…I think it’s easy to look at this and go “everyone around Garrard was trying to hurt him.” I don’t think that was what they were trying to do. They were going “how can we help? How can we help him?” And that, in and of itself, was the catch-22 that excited me on a story level about the book, was going “what if one person’s help was another person’s hurt?” How do you see that manifest in the ways in which the parental figures, in both the film and book, refuse to stop the process even as the evidence begins to mount that something really wrong is going on? Garrard Conley (GC): I think one of the great things that Joel’s captured from the book is that when you’re in a systematic, bigoted area, where bigotry is just in the air, everyone is affected by it and it’s incredibly difficult to leave it. I was able to leave it only after experiencing a lot of crazy stuff. My mom was only able to leave after seeing me in complete pain and fear. My father, you know, just now has admitted that it was probably wrong to send me there. It takes a long time to get out of those deeply rooted fundamentalist belief systems. And I think that one of the things that the film does is it shows a road map out of that. Not out of Christianity, it’s not attacking Christianity, it’s not attacking religion in any way. But it is saying that these sorts of black-and-white worldviews that don’t allow for human expression or a range of human behavior are dangerous. How do you find that these issues [within evangelical communities] are entrenched and maintained? I mean, in its way, it’s also kind of the American question of the moment. GC: Yeah, like how do we have all of this, people still believing in Nazis and stuff. JE: I find that an incredibly hard question to answer, because what are the answers? Education is an answer, but that doesn’t seem to be an easy solution. How do you get people to see the other point of view? One of the great conundrums of making a film like Boy Erased is getting the right ‘wrong’ people to see the movie. [both laugh] It’s fine to preach to the converted, and every one of those people are excited for the movie, [but] there’s also a bunch of people who aren’t excited for the movie, or don’t even care to even know about the movie. They’re the people that I actually prefer to see the movie. Empathy is a great tool for education, and unfortunately, people stick to their own ideas, their own circles, their own communities. They build a fence around allowing themselves to access empathy to other communities and other ideas. So how do you do that? How do you break down the fences? GC: I look at the church itself, the Baptist church that my dad’s involved in, and I say to him “how do you think people changed their minds on civil rights? How did they suddenly accept black people as human beings?” And my dad is like, “I don’t know, it was the right thing to do,” and I say no. There was a lot of protesting, there was a whole lot of people causing trouble in the church, saying “this is not fair. This is not right.” It’s exactly what I’m doing right now, it’s exactly what you’re doing right now. [gestures to Edgerton] The way forward is always going to be disrupting the status quo. That’s just always true. So I think that these deeply entrenched behaviors, they’re based off of these fear models that are hard to get over. It’s really hard to believe that the Bible you’ve decided to believe in 100% needs to be seen in context. When it says that slaves should go back to their slaveowners, it’s not saying that right now we should have slaves. That was a time period in which it was helpful for people to believe that. JE: Film is a peaceful protest. The great thing I’ve always found about films and plays and books is that, through one person’s experience, it speaks to many people’s experience. It becomes an identifier. Garrard’s story is an identifier for young people to not feel alone, and for other people to feel empathy for what he went through and see what was not right about it. His parents, as characters in the film and as people in real life, are their own road map for other parents to sort of examine that journey they took and realize that maybe they don’t want to take the same journey if they’re in the same position. Or if they have taken that journey, that they also identify with his mother, who is such a great hero and an individual that could help create some change by example. From a filmmaking standpoint, how did you go about making sure that the story was being told in such a way that it’d be accessible to more than just the ‘converted’? How do you make it approachable for people who might not want to be receptive to what’s being discussed? JE: Watching Trump play to his own crowd is…it’s like a bunch of people in a bubble. He knows how to get the laughs, he knows how to get the applause. I think for me to take that approach with this film would be to twirl a moustache as my character. It would be to paint everybody where Garrard is a complete hero and the others are villains and demonize religion. I think taking a lead from Garrard’s book, treating everybody as human beings making their own righteous decisions along the way with all the information that they had in those moments, thinking they were doing the right thing, and treating them as humans and fairly as such, is the right way to render this story. There is an inherent terror in the ideas within the film that doesn’t need to be amplified in a false way. It does have a certain palatability that I think [will help] Christian groups and school groups to be able to access this movie, and for it to be the very beginning of another conversation, which is “what do we all think? What do you guys think about this? How do you feel about what Garrard went through? What do you think about the choices his parents make?” There’s some tough stuff to watch in it, but it’s worth a watch for everybody in order to examine your own point of view. As far as presenting some of the really difficult material in the film, what was the thought process as far as both adaptation and visual representation were concerned in terms of what to show and where to look away? JE: There’s a couple things. One is the representation of the abuse that Garrard experienced in college. Just on a purely narrative structure level, it’s a necessary scene, in that it was a catalyst for him being outed to his parents. It’s also an expression of the supression of sexuality, and how in its darkest forms, it can come out through certain individuals because they’re not able to live a life in their own community that is free and welcoming of their sexuality. There was something I did narratively by creating a certain character in therapy, Cameron, because there was one page of Garrard’s book talking about, in previous therapies of this faith, the idea of putting a child through a fake funeral. It just blew my mind, and I thought if we have one shot at telling this story, we need to include the damage of attempted suicide, or suicide itself. The first places that that damage can really go. There were a couple of things that I thought were tough but necessary. GC: You also did so much research around all the different conversion therapies. To have Cameron in there, to have his full story, was a way to show the different types of damages that people went through. We wanted it to be a very specific story, it’s still my story of course, but also have these more universal leanings. JE: Loving parents thinking they’re doing the right thing are not going to turn up to a barbed-wire, rusty, prison cell place… GC: Some of them do, though. JE: Some of them do, no doubt. But Garrard’s parents, they love him, and felt they were trying to assist in guiding him back to (in their belief system) a better place. They weren’t trying to physically torture him; the mental ideas in that place were designed to help. [both laugh, hollowly] It is worth mentioning that there are places that still do electric shock treatment, that still put hands in buckets of ice. In Brooklyn, Garrard and I met in Brooklyn with one of the guys who was instrumental in taking down JONAH. [Editor’s note: JONAH stands for Jews Offering New Alternatives for Healing, a notorious anti-gay therapy practitioner. They were shut down in 2015 after a lawsuit proved that their conversion promises amounted to consumer fraud, but used company funds to create the still-active JIFGA, or Jewish Institute For Global Awareness.] The most purely diabolical and outright abusive trap for already damaged children, to be then re-abused under the form of some quasi-therapy. There’s a spectrum, and it also speaks to the fact that these places are unsanctioned, so there’s no unity of therapy. They pick and choose. They call themselves doctors or therapists, when they’re not. GC: Isn’t it just so American for people to be like “oh, I guess we should just send you to this place”? You outsource your pain. You’re like “Oh, we’re having this family problem. That’s how you fix it. Send him off, he’ll come back, everything will be fine.” This is a huge problem particularly in evangelical communities, where there’s this mentality of salvation for pay. There’s a fee structure. GC: There’s a lot of that going on, yeah. That’s even more insidious, I think, because it’s so clear that people are like “just give us money, and you’ll be fine.” JE: It’s also hiding problems. There’s also the idea that the person who is converted, if they’re…in that world, one of “the lucky ones,” you end up making everyone else around you happy because the problem seems to evaporate. But really, the problem is just swept under the carpet. A lot of people, when I told them I was making this movie and [they] didn’t know Garrard’s book, they went “so it’ll be set in the ’50s?” No, we’re saving money on the production design, because it’s still happening. It reminded me of one of my father’s friends who…you know, pregnancy in the ’50s, we couldn’t have that, it was shameful. So like [Garrard was] saying, send the problem off. Someone goes on a holiday, the child gets adopted out, and they bring them back to the community as if nothing had ever happened. Outsourcing problems and sweeping things under a carpet, rather than dealing with the truth. GC: The irony and the sad thing with those situations, being LGBTQ or having this child out of wedlock or whatever, those are the things that make the community more interesting. Those are the things that actually enrich the community. But instead, they’re just farming it out, saying “oh never mind.” That’s their own death. What’s the best way to push back against these practices in day-to-day life? GC: They’re headed back in that direction, you see it with Mike Pence and all that. In my opinion, there’s the 50 Bills 50 States initiative from The Trevor Project. We also have a website called Stop Erasing, which has a lot of details about how to stop conversion therapy. There’s also a podcast that’s coming out on November 2nd, Unerased, that looks at the whole history of it. The first step is, get the bans done. But at the same time, educate people about the statistics. 700,000 people in America alone have been through conversion therapy. 20,000 are affected by it today. Those things should be standard [knowledge] in every household. JE: Spread the word. And if you know somebody close to you who conversion therapy is affecting, be willing to speak out loud about it and drag someone to the film if they’re unaware. There’s a lot of avenues to speak out, on a government level and on a personal level. There are a lot of ways to galvanize people. Boy Erased opens in limited cities on November 2nd, and will expand nationwide in the following weeks. Source

Charles Bradley would’ve turned 70 on November 5th, and in celebration Daptone imprint Durham Records will release Black Velvet just a few days later on November 9th. Should you feel like commemorating the Screaming Eagle of Soul now, however, you can currently stream it in full now via NPR’s First Listen series. (Read: Double Dap-Dipping: What’s Next for Daptone Records) Black Velvet features new songs recorded during sessions for all three of Bradley’s previous albums: 2011’s No Time for Dreaming, 2013’s Victim of Love, and 2016’s Changes. Among its songs are a duet with LaRose Jackson called “Luv Jones”, along with alternate full band take of “Victim of Love” and three covers: Nirvana’s “Stay Away”, Neil Young’s “Heart of Gold”, and Rodriguez’s “Slip Away”. Previously, we got a taste of the record with “I Feel a Change” and “Can’t Fight the Feeling”. Black Velvet Artwork: Black Velvet Tracklist: 01. Can’t Fight The Feeling 02. Luv Jones 03. I Feel A Change 04. Slip Away 05. Black Velvet 06. Stay Away 07. Heart Of Gold 08. (I Hope You Find) The Good Life 09. Fly Little Girl 10. Victim Of Love (Electric Version) Source

ICE-T and dance music would hardly seem to go in the same sentence. That being said, it’s 2018, and we’ve seen much stranger things. In partnership with longtime hip hop producer and techno DJ Mr. X (real name Afrika Islam), ICE-T is leading forward with a new techno-leaning electronic music label called EBE Nation. The label just released its first album, Hip Hop DJs Don’t Play Techno, a 12-track exploration of house, techno, and hip hop fusion by MR.X and ICE-T. The two hosted a private event for press in New York City last month to discuss the album and the formation of the label. During the proceedings, Your EDM had the opportunity to sit down with MR.X and ICE-T one on one and ask about how this idea even came to be, what they think of their place among the rest of techno and dance music, and more. Listen to the album below, and keep scrolling for the full interview!  How did you first become interested in Electronic Dance Music? Mr. X: When I went over to Germany in 2000 and I started playing with WestBam, who was like the pope of electro, techno in Germany, Low Spirit Records that ran all the Maydays and ran the Love Parade. That’s how I got involved. I stepped on the stage with a million people, saw electronic music culture and fell in love with it and I wanted to stay there and study it for real instead of pretending like I knew it. I wanted to study the DJ’s, study the habit and live the lifestyle. 16 years later I’m coming back to America with my version of electronic music from being a hip-hop pioneer. What influenced you to create your own label EBE Nation? ICE T: When X said he wanted to come back to America, we’re friends because he produced my first 3 raps albums. So he came, said I’m already to come back and start spinning over in the states as Mr. X, make some noise. We said the smartest thing to do would be to start our own label so we could put out music whenever we wanted to. I thought it would also be smart to bring some more people in, build the posy, get some creative brains into the studio with us once we touched down in the States. Right now everything is being done out of Islam Studio in Berlin. EBE is in its infancy, we haven’t really signed any new producers, we’re looking at new music right now. We’re trying to pick an elite team so we can pretty much do what we want to do in this business as far as Electronic Dance Music. I am not an expert in Electronic Dance Music, I am just the business guy, I am pretty much the expert with that. With all the already established techno labels already in circulation, how are you pushing your label as one to release with? ICE T: I don’t know if we’re pushing it as one to release with, we’re just using the label to put out our music as we see fit. If you’re an artist and you’re looking to be rich, it might not be our label that you want to go for. But then at the end of the day, who’s saying you might not get a hit record over here? This is an experimental label; we’re looking for people that are a little bit out of the box and are trying to do something new, that hasn’t been done, redirect the landscape a little bit. How did you come to partner on it with Mr. X? ICE T: Like I said before, Afrika Islam is actually the person that put me in the hip-hop, got me started, got me my first record deal in New York City. He’s been gone 15 years in Europe, doing nothing but playing techno night and day all over the world at Mr. X and Mr. Y. So of course when he comes back to the states it’s my job to return the favor and say what can I do to help you stake your claim in the United States and also create a label. Right now he’s still in your Europe, I have to run this label state side until he comes and lands his spaceship here. What techno acts influence the sounds you’re trying to push on your own label or are you trying to forge a new path in technology? Mr. X: I respect all the techno artists that I listen to. I’m really more respectful of the DJs, Carl Cox, DJ Rush, those DJs from Detroit. I’m definitely more respectful for what they’ve done and we’re trying to forge a new path. This is the hybrid label, experimental label, it’s putting different styles of music together in a vision that has not been done before and that’s what this is about. EDM fans and especially techno fans are quite protective of their music and genres and the scene. What would you say to someone who is thinking, “Man, ICE-T is just following trends” or “ICE T is just trying to cash in on EDM.” How would you put them at ease and earn their trust? ICE T: They said that with rap when I started rapping out of the West Coast saying you guys are just trying to get involved with the New York scene. Of course, we loved it and we tried to get involved with it and we were successful. They said that with metal when ICE T had a metal band, you’re just trying to get involved with it. This is more me helping my partner who is actually embedded in techno, he’s been doing it heavy for almost 20 years. So for me to say yeah I’ll help you get a record off the ground never said I’m the expert, never said I’m the techno aficionado, never claimed to be that. But I do know how to run a record label, I’ve run a couple labels before. I’m not the A&R on this, I’m just helping someone I know is talented. As far as me just trying to get in, my man is already in and he’s gonna come to the United States and pretty much devastate a lot of the DJs over here that think they can just stand behind a laptop and dance around and throw their hands in the air. He’s actually gonna spin techno music that you’re familiar with and that you’re not familiar with. I wouldn’t be in it if I didn’t have someone that wasn’t an expert and just needed a little assistance. I know good music when I hear it, so beware. I personally love the challenge, I love the non-believers and stuff. I don’t know what else negatively could be said but stand on the side line and watch us do what we do. This article was first published on Your EDM. Source: ICE-T & Mr. X Dish On The Creation Of Their New Techno Label EBE Nation Source

Ridley Scott is gung-ho on a sequel to Gladiator, the 2000 Roman epic that garnered him 11 Oscar nominations and five wins, including one for Best Picture. This comes from Deadline, which reports that Scott and his Scott Free banner are leading the charge with Paramount providing backing. The story will reportedly center around Lucius, the young boy (and nephew of Joaquin Phoenix’s Commodus) who was saved by Russell Crowe’s Maximus in the original film. Maximus, having died at the end of the first film, presumably won’t be returning. (Read: From Drive-Ins to Blockbusters: How Ridley Scott’s Alien Changed Hollywood Forever) Scott is interested in directing, however, and he’s apparently speaking to hotshot screenwriter Peter Craig about writing the script. In addition to penning The Hunger Games: Mockingjay movies, Craig recently wrote the script for the upcoming Top Gun: Maverick. The director is currently at work on his first-ever TV series, Raised By Wolves, which we’re a bit more excited for than a sequel to an 18-year old movie. Scott’s sequel game, after all, isn’t the strongest. Source

We now know who Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, and the rest of the Birds of Prey will be battling in 2020. Variety reports that Ewan McGregor has been cast as the DC Comics villain Black Mask in the upcoming Suicide Squad spinoff. Born Roman Sionis, Black Mask is one of the crime kingpins of Gotham, often putting him up against Batman. A skilled fighter, impersonator, and marksman, he has a fascination with masks, often using them as mind control devices or death traps. McGregor’s Black mask will go up against Robbie’s Harley Quinn, Winstead’s Huntress, and Smollett-Bell’s Black Canary in the Cathy Yan-directed movie. Yan also recently confirmed that Cassandra Cain — who has worn the cowls of Batgirl, Black Bat, and Orphan over her two decades as a comic character — will also appear in the female-led superhero team-up. Rosie Perez is also onboard as Detective Renee Montoya. Warner Bros. has set Birds of Prey for a February 7th, 2020. While Suicide Squad had a PG-13 rating, Yan revealed that she’d be gunning for an R rating with her production. Source

The Lord of the Rings. Three Colors. Back to the Future. Perfect trilogies don’t come along every day, and they should be celebrated when they do. Today, we must rejoice, because we can add another series to the list – Bad Boys. In an enthusiastic Instagram video today, Will Smith made the official announcement that Bad Boys 3 is now officially moving forward. Co-star Martin Lawrence in tow, the two beam at the camera as Smith shouts and whoops outside a California beach. “It’s official!” He repeats over and over, with Lawrence grinning in the background. “Bad Boys 3! It’s happening!” To be fair, Smith’s enthusiasm is well-deserved; he’s been wanting to get Bad Boys 3 off the ground for years. Smith has even vented to social media before with the various setbacks the long-awaited buddy cop sequel has endured. There hasn’t been a Bad Boys film since 2003, as scheduling issues have stymied any attempt to get a third movie off the ground. At first BB3 was going to be released in January of this year, but then that got pushed back to November. Director Joe Carnahan subsequently dropped out of the project (and presumably took his script with him), so no one knows whether a new director is coming, and whether they’ll have to rewrite the script or start fresh. Either way, we’re happy as long as Will Smith’s happy; at least the movie’s coming out. Now to bide our time and wait for shit to really get real. Watch the full display below on Smith’s Instagram account below: Source

It takes a certain type of extrovert to perform in front of thousands every night, so it should be no surprise that some of your favorite artists go all out for Halloween. Below, we’ve rounded up of our favorite costumes worn by our favorite musicians, from rock gods Dave Grohl and Eddie Vedder to R&B queens Beyoncé and Janelle Monáe to indie favorites Sharon Van Etten and Lykke Li. As you’ll see, Post Malone and The Joker were popular costumes this year. Dave Grohl as Alice Cooper: Dave Grohl Starts Halloween Early at 2018 Casamigos Party https://t.co/971z9OKs0B #News #Rock #DaveGrohl pic.twitter.com/3uCnURWoSD — Neon Knight (@NeonKnight1337) October 28, 2018 Eddie Vedder and his wife Jill Vedder as Bert and Mary Poppins: Eddie Vedder e a esposa se fantasiaram se Mary Poppins e Bert pic.twitter.com/imV0njWlnQ — The Tsuranga Conundrum – 04/11 (@renatastone) November 1, 2018 Beyoncé and JAY-Z as Olympians Florence Griffith-Joyner and Tommie Smith: Beyoncé as Toni Braxton: The HAIM sisters as the witches from Hocus Pocus: Sharon Van Etten as Liza Minnelli: Stranger Things’ Millie Bobby Brown as Princess Leia, Gaten Matarazzo as Han Solo, Sadie Sink as Rey, Caleb McLaughlin as Bob Marley, and Noah Schnapp as Eleven: Le cast de Stranger Things pour Halloween.pic.twitter.com/M87aDXbiOb — Infos Séries (@SeriesUpdateFR) November 1, 2018 The Weekend and Bella Hadid as Beetlejuice and Lydia: The Weeknd and Bella Hadid dressed as Beetlejuice and Lydia Deetz pic.twitter.com/XC2HPOD5tV — The Weeknd's Fits (@AbelsOutfits) November 1, 2018 Janelle Monáe as Willy Wonka: Olivia Munn as Awkwafina: Justin Timberlake and Jessica Biel as LEGO superheroes: Margo Price as Tonya Harding: Chrissy Teigen and John Legend as Queen Elizabeth and Prince Philip Missy Elliott as Missy Elliott from “The Rain” video: HAPPY HALLOWEEN! I figured I’d be Missy Elliott from “The Rain” video but the 2018 version I couldn’t find my blow up suit so just threw on my Versace coat and I had no effects just my crazy ass@Timbaland pic.twitter.com/1zD22bawKr — Missy Elliott (@MissyElliott) October 31, 2018 Saint West and Reign Disick as Kanye and Lil Pump from the “I Love It” video: Billie Eilish as Lil Xan LITERALLY WHO IS THE REAL LIL XAN LMFAO @billieeilish @lilxanfuhyobih pic.twitter.com/zceQX4uai9 — VINEISMYLIFE (@IMADETHENEWVINE) November 1, 2018 Harry Styles as Sir Elton John: Have any of you ever dressed up as Elton for #Halloween? @Harry_Styles did this year and we're LOVING his Dodger Stadium costume! : @KevinMazur pic.twitter.com/wxfIVHPd9a — Elton John (@eltonofficial) October 31, 2018 Lykke Li and her daughter as The Joker: Rita Ora as Post Malone: ma get Halloween started for you the right way… postttyyyyyy I LOVE YOU BRO @PostMalone …ratatatatataata wassssss gooood!! And this is also a BIG thank you to getting me to 14 million on instagram! pic.twitter.com/Mn7uWeq4Tw — Rita Ora (@RitaOra) October 26, 2018 Phantogram’s Sarah Barthel as Post Malone: Yes, that’s me as @PostMalone pic.twitter.com/WFiFJFGejP — Sarah Barthel (@SarahBarthel) October 27, 2018 Questlove as a shark and a Cup O’ Noodles: Ty Dolla $ign as The Joker: Nas as Michael Jackson: Nas as Michael Jackson for Halloween #TheBroCode pic.twitter.com/Fzb1gg3CxL — TheBroCode (@thebrocode22) October 29, 2018 MUSE’s Matthew Bellamy as Marty McFly: “Weird Al” Yankovic as the Devil: Wiz Khalifa as Elvis: Wiz Khalifa as a Teenage Mutant Ninja Turtle: Edgar Wright as Sweeney Todd: Aziz Ansari as Kurt Cobain: Darren Criss as ABBA: Tom Morello as Rocky the squirrel: Freddie Gibbs and his family as The Incredibles: Matt and Kim’s Kim as… Source

Seven years ago today (November 1st), two music giants — metal icons Metallica and the groundbreaking legend Lou Reed — unleashed a collaborative album called Lulu. In the days and weeks to come, the disc would be met with a level of ridicule and venom that has rarely been seen before or after its release. None of that was lost on Metallica, who today poked fun at the backlash, by acknowledging the anniversary with a tongue-in-cheek Facebook post, reading, “Everyone’s favorite album ‘Lulu’ was released #OnThisDay in 2011. Dare we ask what your favorite song on the album is?” With Reed having masterminded the Rock & Roll Hall of Fame band The Velvet Underground, in addition to his noteworthy solo career, and Metallica being the biggest metal band on the planet, the announcement of Lulu was definitely intriguing, to say the least. However, the backlash started as soon as the first single, “The View”, was released in September 2011, with fans mocking James Hetfield’s “I am the table” lyric with memes and silly Wikipedia updates. From there, the album didn’t really stand a chance, getting universally panned and barely selling any copies. Reed passed away in 2013, two year’s after the release of Lulu, and Metallica have for the most part defended the album from its many critics in the years since. That all said, to answer Metallica’s question above, I personally choose as my favorite Lulu song the leadoff track, “Brandenburg Gate”, which was an excellent tune that got overlooked amid the overwhelming disdain for the album. Take a listen below: Source

If you’ve never heard of the band Kasvot Växt, don’t feel too bad — they’re pretty obscure. One Allmusic review points out their sole album, dubbed í rokk, was released on a tiny label so small it was essentially a private press.” The band members themselves were pretty enigmatic — each of the four members having met during a scientific research project and falling out pretty soon after í rokk was released. Their label also tanked, and most copies of í rokk were incinerated in a warehouse fire. It’s rather lucky, then, that Vermont-based jam band and drug culture impresarios Phish deigned to bring the music of Kasvot Växt back into the public consciousness, opting to continue their intermittent Halloween tradition of covering a classic album in its entirety at one of their shows. Last night, on stage at a Las Vegas show, Phish chose to cover Kasvot Växt’s í rokk in full, to the delight of an audience who had never heard of the band before. There’s just one problem: Kasvot Växt doesn’t exist. That’s right; according to Spin, Phish pulled off an elaborate prank to conjure an obscure Scandinavian rock band out of thin air, with the aid of a number of co-conspirators, including the aforementioned Allmusic, as well as WFMU and Perfect Sound Forever, who wrote blog posts and interviews with fake band members, and made up playlists featuring the band’s music. Everything from the band’s songs, to the elaborate mythology behind its over the top characters, was all part of a charming effort to bamboozle music fans into thinking they’d unearthed a whole new sound they’d never discovered before. As a reviewer for JamBase implied of last night’s show, perhaps Kasvot Växt was an inventive way to break out of Phish’s phunk, calling the album “an ambitious suite of original Phish music played in the style of an ’80s prog-rock band yet still had elements of the Vermont-birthed quartet’s distinctive sound.” Either way, this feels like a very Phish move – here comes the joker, we all must laugh. A webcast of the show is available via Phish’s website. Check out the Kasvot Växt portion of the setlist below. Setlist: Skilpadde skyer (Turtles in the Clouds) Vallast Hund (Stray Dog) Allt Er Holt (Everything is Hollow) Við Erum Komin Lever Utover Hjernen (We Are Come to Outlive Our Brains) Si Den Til Meg U.N.T.T.O.S. (Say It to Me S.A.N.T.O.S.) Viimeinen Hurra (The Final Hurrah) Pelata Leikkiä (Play By Play) Viileä Meripihka Ja Elohopea (Death Don’t Hurt Very Long) Kuolema Ei Mjög Langt (Cool Amber and Mercury) Liggur í Gegnum (Passing Through) Source

Here we go again… All three members of Swedish House Mafia have just let us in on another massive tour stop. This time, they’re heading to Mexico City. The big hint comes on all three of their Instagram pages with big, bold letters that read: MEXICO CITY / MEXICO CITY / MEXICO CITY. Countdown after countdown, the group has let us in on their official reunion and the announce of three Stockholm shows. Now, there’s another timer set to end next week. It could be new music, or another show, or a full-on world tour for all we know. Anything is possible when it’s Swedish House Mafia. So far, the group is set to perform a 3-night run at Tele2 Stadium in Stockholm, Sweden next May. The next timer is set to end on November 6, 2018 at 15:00:00 UTC. Keep your eyes on SHM’s official website here. Keep your eyes peeled for more from the iconic trio. Swedish House Mafia – Mexico City Photo via Rukes.com This article was first published on Your EDM. Source: Swedish House Mafia: Next Stop, Mexico City [DETAILS] Source

Chad Cooper and Robaer are two of KnightVision Records very promising and rising stars. They started becoming known for releasing their huge collaboration cover singles and garnering massive play stats as well as monthly listeners. Their latest release includes yet another amazing vocal performance from Swedish colleague and singer Emelie Cyréus, which I happen to think is their greatest single yet! Emelie completely nailed her cover version of The Backstreet Boys’ “As Long As You Love Me,” and it is produced to perfection. With tropical and disco house elements thriving in the mix, the song is a cheerful and fun-filled release leading us into the chilly winter. Robaer and Chad Cooper work together on singles from time to time and it’s always a fantastic blend of styles. This song is stacked with repeat potential and it won’t be surprising when start to hear it more often! Follow the artists on Spotify and Soundcloud for more music! This article was first published on Your EDM. Source: Chad Cooper & Robaer present their latest and greatest “As Long As You Love Me” Source

As Michael Myers continues to scare millions of Americans in David Gordon Green’s box office smash Halloween, two people in New York City experienced real-life horror from The Shape on this year’s All Hallow’s Eve. Fox News reports that a man wearing a Michael Myers mask shot two people in the Washington Heights section of Manhattan following a verbal dispute late Halloween night. One 21-year-old male was shot in the abdomen, chest, and leg, while a 17-year-old female was struck in the abdomen. Both were rushed to the hospital and are currently in stable condition at Harlem Hospital and NY Presbyterian Hospital, respectively. Unfortunately, much like The Shape by the end of John Carpenter’s 1978 original, the gunman fled the scene. According to the New York Police Department, the suspect is described as being six-feet tall and wearing a green-hooded sweatshirt. Terrifying. Source

Riding on the high of her beloved fifth studio album, Be the Cowboy, Mitski celebrated Halloween in Seattle last night for a show filled with angst, heartbreak, and rampages, all against loving someone who will never love you in return. It was a fitting mood for a gloomy holiday, and Mitski capitalized on the feeling, donning a costume of “your ex-wife.” Though, with a setlist that spanned her entire catalogue, Mitski explored a range of emotions, from rage to grief and everything that lives in between. Despite this eclectic energy, the singer-songwriter was surprisingly shy all night, leaning more on the music to speak volumes for her and allow a couple hundred people into her head for a short while. Photographer Caroline Daniel captured snapshots of the evening. Peruse her snaps and the night’s full setlist below, then follow both her and Consequence on Instagram. Setlist: Remember My Name I Don’t Smoke Washing Machine Heart First Love / Late Spring Francis Forever Me and My Husband Dan the Dancer Once More to See You A Pearl Thursday Girl I Will Townie Nobody I Bet on Losing Dogs I Want You Your Best American Girl Why Didn’t You Stop Me? Geyser Happy Come into the Water Drunk Walk Home A Burning Hill Encore: Two Slow Dancers Goodbye, My Danish Sweetheart Source

Myles Kennedy wears a number of musical hats, as the frontman of hard rockers Alter Bridge and lead vocalist in the group Slash Ft. Myles Kennedy and The Conspirators. Now, Kennedy can add solo artist to his résumé, as he released his debut solo album, the stripped-down Year of the Tiger, earlier this year. The singer-guitarist has been out touring in support of Year of the Tiger, with a new fall leg running from mid-November through mid-December. He also has commitments touring with Slash and, come next year, writing and recording Alter Bridge’s new album. Heavy Consequence caught up with Kennedy discuss Year of the Tiger, reconvening with Slash in the midst of Guns N’ Roses’ mega-successful Not In This Lifetime tour, and what lies ahead for Alter Bridge. Read our interview with Myles Kennedy below: On his debut solo album, Year of the Tiger, and how he feels about his fans’ response to the album I guess if it could sum it up, pleasantly surprised. I wasn’t sure how people would react to something that was different from what they had heard from me previously. I’m known as a hard rock singer. I sing with bands where the music is riff-based. It’s generally meant to be played at loud volumes, so making a record that was as introspective as this was and singer-songwriter based and stripped-down — I wasn’t sure how people would react. So, I had to set that concern aside. That was paramount for me when I stated this whole process, I wanted to make a record that I needed to make, get things off my chest lyrically and musically, and it’s a side of myself musically that I love. I spend a lot of time with acoustic guitars, and that’s been the case for a couple of decades. I really wanted to take this opportunity to try something different. On playing stripped-down solo shows verses his live experiences with Alter Bridge and Slash It was interesting, because it was obviously very stripped down. The first two tours in the States and Europe were just myself and acoustic guitars, playing the songs. It was almost like I was busking on a street corner, which is something I used to do in the ‘90s and fairly enjoy. When I first started writing songs, I would play wherever I could, at coffee shops or wherever, so having that background really helped. Once you’ve done it enough in the past, it’s like getting on a bike after not having ridden on a bike for years. Everything falls into place. It was interesting and actually really fun. It was a different experience for me and for the fans. On how it felt to get personal on Year of the Tiger It definitely felt vulnerable! There were times in the writing process when I was like, “Am I really sure I want to put this much out there?” Once record was done, I was excited as the release date grew closer, but I remember thinking, “Man, what is going to happen here?” It may have been cathartic and a great experience, but now that was going to be put out into the world, I was having a few second thoughts. Once it came out, I was pleasantly surprised, and one thing I’ve learned is that if you do something truly from the heart and you’re as honest as you can be, generally, that will be a positive and the fans will react to that. On the Year of the Tiger song he most enjoys playing live I think the one I really enjoy playing the most and one of the most challenging songs is “Haunted by Design.” It’s a challenge, and I like that. It keeps me on my toes. It’s such a cool feeling when I watch the fans sing along and clap their hands to the song. On the writing process for “Haunted by Design” and meaning behind the track That song was written back when I was consuming a lot more coffee than I allow myself now! (Laughs) I had about half a pot of coffee, and I was getting really anxious and picked up a guitar, and that riff happened. It had a Mississippi John Hurt vibe, and my wife walked by and said, “I like that! It sounds like Mississippi John Hurt!” I liked it, too. I thought maybe this was something I should chase down. What’s interesting is that when I first demoed that song, it had a real country vibe, so much so that I wasn’t sure whether it was too country for this record. When I sent it to my drummer Zia [Uddin], I was sheepishly sending it, and he loved it. I played it for a few more people, and they liked it, as well. That’s the beauty of having some people to play things for before you actually record. It helps you gauge what fits and what doesn’t work. As a songwriter, you spend so much time lost in your own music that it’s hard to have a perspective. Lyrically, that song is about shutting those voices off in your head. Those anxious voices that can be a hindrance at times and something I’ve certainly struggled with in my life, especially after drinking too much coffee. (Laughs) On the emotional song “Turning Stones” Once again, I wasn’t sure about that one, and my wife, when I started playing the demo, really gravitated towards it. She just loved the lyrics and that image of picking up stones on a beach and turning stones to see what was underneath and that analogy for life when you’re trying to move forward. When she likes something, I know it’s something I want to continue to chase down. There’s definitely a mid-’80s Paul Simon influence on that track. It’s something I had never tried before, so that was a lot of fun and a real challenge. On whether he plans to release another solo album in the future Yeah. I would love to do another one. I think this was such an amazing experience, not just making the record but also touring and getting to take this approach stylistically. It was very good for me mentally as an artist. I felt like it was something I needed to do for so long, and now that I’m getting ready to step back into Alter Bridge, I feel like I got this out of my system and feel fresh and invigorated. I definitely want to do this again. On how he keeps coming up with fresh, new ideas for his solo music, as well as Alter Bridge and Slash I try to always be aware, whether I’m watching a movie or in a conversation with someone or sitting around, just being aware of the little concepts that I can try to tap into later on. I write that stuff down in my phone and save it for a rainy day when I’m writing. It’s about keeping your antenna up and trying to tap into whatever you are feeling at the time. I feel strongly about the fact that you want to have experience about what you’re writing about, so it can be authentic. I can do the storyteller approach to a degree, but the story I’m telling has to have some understanding on an emotional level, so that when I’m singing it, I can draw on something. On how he’s evolved vocally throughout his career I think just the sheer repetition and the amount I’ve toured has helped. I was trying to figure out how many shows I’ve played in the last decade, and it’s well over 1,000 shows. Just doing something so much, you’re hopefully going to do things to help improve your game. What’s interesting is that just yesterday, someone said they saw the [Alter Bridge] DVD Live at Wembley from 2011 verses [the new] Live at Royal Albert Hall and commented on how my voice has changed. They said, “What are you doing different?” Slash brought it up recently on tour, too. A big part of that is that I kept having these chronic sinus infections, and a doctor discovered I had a deviated septum, so once I got that taken care of, I felt like I had a new instrument! On whether he was pleasantly surprised to get that call from Slash to reconvene in the midst of Guns N’ Roses’ successful reunion tour I think that for me, just seeing how great that [Guns N’ Roses reunion] was received didn’t surprise me, because as a fan, I had hoped for that for a long time. I thought I would sit back and not really think about it and focus on my own need to create, and that’s where the solo record came from. With that said, I felt like we had unfinished business. What ended up being on Living the Dream, 80 percent of that was in the can, because we started writing that during World on Fire tour. There was so much that had been put into that writing process, so it was nice to know we could reconvene and eventually release it. On the timeline for writing, recording and releasing Alter Bridge’s new album We’re going to try to get into studio in April of next year and release it around third quarter. [Guitarist] Mark [Tremonti] and I have talked about a few ideas that we’re going to exchange via technology, so we’re slowly getting started on it. We’ll see how it all goes. We’re both busy, between him touring with [his eponymous band] Tremonti, and me with my solo band and Slash, so we’re both on road constantly. It’s hard to find writing time. On whether his solo work will possibly influence Alter Bridge’s new album I worked on a few songs that I felt would really fit well with Alter Bridge, and they still have a little of that stripped-down element. You can take that and shift your mentality as you’re arranging, and you can rock out the track more and make it better fit that Alter Bridge world. I’m not as worried about that, because most important is that the song itself stands on its own. On his upcoming holiday plans I’m sure we’ll try to figure something out. Usually when I get off the road that time of year, I’m home for Thanksgiving and Christmas and make it a point to be home. I spend time with my wife and our dogs and go see her family and my family and keep in family oriented. When you’re going all the time touring, you really embrace the idea of being home and spending time with loved ones, because that’s such an important part of who we are. On his overall plans for 2019 Next year might be the busiest year I’ve ever had, which is a good thing. I’m trying to figure out how that’s going to work logistically, because January through a good portion of the spring, I’ll be out touring with Slash, and then I’ll go into making records with Alter Bridge. Then, there will be more touring on the Slash side of things, and then Alter Bridge will start touring, so next year is going to be a lot of frequent flier miles for me. Our thanks to Myles Kennedy for taking the time to speak with us. His solo album, Year of the Tiger, is available at this location, and the next leg of his solo tour kicks off in November 13th in Chicago. See the dates below. Myles Kennedy Fall 2018 Tour Dates: 11/13 — Chicago, IL @ Concord Music Hall 11/14 — Milwaukee, WI @ Turner Hall 11/16 — Council Bluffs, IA @ Horseshoe Council Bluffs Whiskey Roadhouse 11/17 — Kansas City, MO @ Harrah’s Kansas City Voodoo Lounge 11/19 — Cleveland, OH @ Agora Theatre 11/21 — Clifton Park, NY @ Upstate Concert Hall 11/23 — Hartford, CT @ Webster Theater 11/24 — Asbury Park, NJ @ Asbury Lanes 11/27 — Warrendale, PA @ Jergyl’s 11/28 — Wilmington, DE @ The Queen 11/30 — Raleigh, NC, Lincoln Theatre 12/1 — Atlanta, GA @ Center Stage Theater 12/3 — Asheville, NC @ The Orange Peel 12/5 — Orlando, FL @ The Beacham 12/6 — Destin, FL @ Club LA 12/9 — Lubbock, TX @ Jake’s Backroom 12/14 — Spokane, WA @ The Fox Theatre 12/16 — Seattle, WA @ Moore Theatre Source

Spotify is encouraging listeners to vote with playlists that celebrate each state’s individuality in music. The new state-inspired offerings strongly hint that people should unplug for just enough time to go vote during the November 6 midterm election. The “Get Vocal” feature just launched and showcases the most popular tunes from each state. For example, Florida includes tunes from J Balvin, Calvin Harris, Migos, Travis Scott and Drake. New York is all about Cardi B, Nicki Minaj, and Lady Gaga. Users can also listen to playlists from other states. They can be accessed by searching in the app for “Get Vocal, (State).” Remember: we’re all in this together. The playlist links to the user’s closest polling places through Get to the Polls. On Election Day, those Spotify users will get a reminder with a link to literally, Get to the Polls! This is a beautiful thing. A statement from the platform reads as follows: “With midterm elections quickly approaching, Spotify is encouraging voting-eligible users and employees to show up to the polls because everyone — employees, artists, and fans alike — deserves to have their voices heard on the things that matter most to them. Spotify is leveraging its massive reach and presence in its listeners’ lives to send users custom notifications, based on state / territory, to motivate them to get to the polls on Election Day, Tues. Nov. 6.” You can listen to some states’ playlists below. Florida | Alaska | New York | Tennessee This article was first published on Your EDM. Source: Spotify Gets Listeners Hyped On Voting with State-Themed Playlists Source

Ambient pop stylist Mitski has released a new video for her song “Washing Machine Heart”, off her Album of the Year-contending Be the Cowboy, Filled with trippy chiaroscuro visuals courtesy of director Zia Anger (who also helmed Mitski’s video for “Geyser”), “Washing Machine Heart” features Mitski in a sleek, long-sleeved black dress, lighting matches and being generally enigmatic. It’s a haunting accompaniment to Mitski’s lilting run-on vocals, punctuated by catchy, bleepy synths in one of the stunning album’s most infectious earworms. (Read: Album Review: Mitski Outdoes Herself on the Stunning Be the Cowboy) Watch the video on Tidal below. Mitski is currently on tour to promote Be the Cowboy through December (get tickets here). She spoke about the album, receiving accolade from Iggy Pop, and more during a recent appearance on Kyle Meredith With…, which you can hear below. Listen and subscribe via iTunes | Google Play | Stitcher | RSS Source

Out tomorrow through Ultra Music is ‘Changed My Mind,’ a stunning listen from the Swedish artist Samuraii. He has teamed up with pop duo Loote for the track, which comes after a slew of well-received remixes for the likes of Tove Lo and Astrid S. It’s a dreamy tune, flecked with electronic snippets of melody and Loote’s sweet tones – Samuraii says: “To have Loote feature on it feels a bit surreal since I’ve been a big fan of what they’re doing since ‘High Without Your Love’ came out. It seems like Emma’s voice can’t help but connect with people and I’m hoping this song will somehow leave an imprint on your day or life, even in the smallest way.” Having started ‘Changed My Mind’ two years ago, it is finally being released to the world, and we’re stoked to premiere it today. Take a listen to this infectious gem here. This article was first published on Your EDM. Source: Your EDM Premiere: Samuraii – Changed My Mind ft. Loote Source