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The New York Times today ran a feature exploring the plans for posthumous music from the late emo rapper Lil Peep. The piece digs into the unheard potential of the young musician, who died of a drug overdose last November, hinting that his work was taking a “brighter and more optimistic” turn before his passing. Some of that more positive material, it seems, may end up being released as part of the soundtrack to a forthcoming documentary from acclaimed filmmaker Terrence Malick. It turns out the Thin Red Line director is friends with Lil Peep’s mother’s family, the Womacks, which led to his involvement in the project. Malick won’t direct the doc himself, though he will be serve as its executive producer. While a parenthetical line near the end of The Times piece is all that mentions the film, there are plenty of other interesting tidbits throughout the story. One section focuses on “Falling Down”, a posthumous collaboration with another deceased Soundcloud star, XXXTentacion, originally recorded as a Lil Peep solo track called “Sunlight on Your Skin”. It turns out XXX’s remake of the track wasn’t exactly sanctioned by anyone involved in the original, which became a point of contention ahead of its release. In fact, members of Lil Peep’s old GothBoiClique collective said Peep often expressed suspicion of XXX stemming from the allegations of domestic abuse and violence against him. Peep’s mother, Liza Womack, originally wasn’t in favor of releasing the collaboration either. However, after speaking to XXX’s mom, Cleopatra Bernard, they chose to let the track come out as a symbol of their shared grief. The Times also reveals more details about the forthcoming Come Over When You’re Sober Pt. 2 (due November 9th via Autnmy/Access Records in association with Columbia Records). Much of the material on the album was pulled from the same sessions as Pt. 1, Peep’s studio debut. The Times’ Jon Caramancia describes the effort as “a work of elegiac beauty, filled with vitriol, resignation and, in a few moments, hope for change on the horizon.” He also says it finds Peep leaning into a grander pop sound, “a fluid amalgam of hip-hop density and rock anxiety,” providing a glimpse at the artist’s potential had his career had time to flourish. Read the entire story at The New York Times for more. Source

Earlier this year, Scottish alternative hip-hop trio Young Fathers dropped their latest critically acclaimed LP, Cocoa Sugar. The album didn’t contain a title track, but it turns out the group actually did record one. Today, they’re sharing the song “Cocoa Sugar” as part of a double A-sided single with the album track “Border Girl”. “Cocoa Sugar” opens with warm layers of gentle vocals and synths, somewhere between a lullaby and a pleasant morning rousing. While its sweet backbone remains, however, the song screeches into a space of doubt and loss as the protagonist watches his sweet cocoa sugar “drifting away.” Young Fathers’ Kayus Bankole describes the song in a press release as, “A sweet lullaby for my cocoa sugar — my love. Stay warm, stay safe and goodbye.” Take a listen below. Young Fathers will hit up some larger North American markets on tour next month before heading back to the UK for a December trek. Check their full tour schedule for the complete details. Source

Listen and download via iTunes | Google Play | Stitcher | RSS The Halloween episode of Kyle Meredith With… features an interview with heavy metal band Gwar’s current frontman, Blothar, who dives into the mythology of the group’s newest album, The Blood of Gods, which takes on social and political issues that will further “the destruction of the human race.” We hear the artist’s opinion on President Trump and his “bizarre, alien, surreal disregard for humanity”, which Blothar claims makes him more like an ideal member of GWAR than any human being. He also touches on the group’s new graphic novel, GWAR: The Enormogantic Fail, and their upcoming tour. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Source

The Pitch: One day, while doing odd jobs to maintain a living, Jong-su (Yoo Ah-In) runs into an old schoolmate in the modest city of Paju. He doesn’t remember Hae-mi (Jeon Jong-seo) right away, particularly given the plastic surgery she claims to have had since childhood, but she certainly remembers him. They reconnect, they bond over their rural upbringings, and before long they’ve become lovers. Then, without warning, Hae-mi disappears. When she returns from a backpacking trip through Africa, she returns with Ben (Steven Yeun), a well-off young man with mysterious intentions, who seems to have just as active an interest in Jong-su as he does in Hae-mi. Soon Jong-su is led to wonder exactly who Ben is, who Hae-mi really is, and what one or both of them ultimately want from him. Burning For You: With Burning, director Lee Chang-dong‘s first film in eight years, a different version of South Korea emerges from the one that’s been so common in the major crossover films of the last 10-15 years. So many of the biggest global hits to emerge from the country have focused on the lurid, the kind of outré filmmaking that tends to grab eyeballs the fastest. By contrast, Burning exists alongside those films while also functioning as a more intimate piece. This year’s South Korean nominee for the Oscars, Burning plays out the modern class struggle in South Korea through a trio of lost souls, two of them wandering because of their own uncertain place in the world, and the other because he’s simply pursuing the cheapest and most hedonistic thrills. In Yoo, the filmmaker finds an endlessly expressive blank slate onto which to play out so much of the film’s high drama. Burning unfolds at an incredibly deliberate pace, and if that pacing occasionally draws the film into listless territory, even its most wandering moments have merits to take away. As Jong-su starts to be invited to high(er) society parties and adventurous group dates, the seduction of Ben’s lifestyle is writ clear. It’s not that he isn’t a suspicious figure, but to Jong-su, he’s suspicious solely because of his unyielding privilege. To Jong-su, who maintains his family’s farm while waiting for his reckless father to finally get out of prison, Ben’s world may as well be an alternate reality, a place of opulent condos and high-end restaurants and casual drug use and a general devil-may-care attitude about life. Burning is largely concerned with privilege in all of its forms, and the ways in which people who grow up outside of that social structure have far too little of an understanding of just how alternate a reality the rich live in from the rest of us. Into The Fog: We’ve already referred to Lee’s film as deliberate, but it’s tough to think of a better way to illustrate the way in which Burning unfolds. The film peels itself back in tiny increments, never allowing for a sense of easy comfort as Jong-su’s intentions are perpetually called into question. Yoo delivers his performance with such a sense of halted silence that Yeun’s slick, assured presence feels like an immediate and violent interruption of Jong-su’s life without Ben ever having much to say at all. Where Yoo and Jeon are both reluctant in the way they move through life, people from an impoverished environment who’ve learned to be over-polite in every scenario, Ben practically slithers his way through the day. He’s endlessly cool, but when he acknowledges that he’s never once cried in his life, the red flags immediately begin to crop up. Yet Burning is hardly your everyday potboiler. For as relentlessly charismatic as Yeun is, in a turn that asks him to shed so much of the nice-guy cred he’s built up through his more genial onscreen roles elsewhere, this is Yoo’s film. In centering the film around a protagonist so paralyzed by social anxiety that his words feel like a struggle, Lee tells a very different story of modern Korea, a story about the people being abandoned by the inexorable march of progress. Wisely, Lee never situates the rural parts of the country as quaint; the open expanses are every bit as fraught with tension and fear as the claustrophobic cities. As much as anything, Burning is a chronicle of a rapidly changing nation, a country watching its traditions disappear in the face of modernity. In this way, it’s a distinctly South Korean story, but also achieves an aching universality as well. The Verdict: Burning is the kind of thriller that keeps its grander implications close to the chest. They won’t emerge until long after the film rolls, to many viewers, and this kind of pacing may be off-putting to some. However, to look past the way in which Lee tells his story is to look past what gives the film so much of its dramatic impact. The film’s languid storytelling eventually gives way to a strangling paranoia, a sense that danger is just around the corner, whether because of Ben’s increasingly mysterious behavior or simply because Jong-su is passing his time in a part of the world in which he fundamentally does not belong. Much of the film’s 147 minutes is simply devoted to following Jong-su, who himself is often following others. In his aching need to make sense of the world’s unyielding chaos, Burning emerges as one of the most trenchant modern portraits of the ways in which affluence can blacken the soul, and how struggling to attain it can often end in the exact same result. This is despairing filmmaking, but also the kind that arrests the eye from its first moments. Lee has made something rare here: a portrait of poverty that treats its subjects not as victims or as aggressors, but simply as pawns of a far grander social scheme than any of them can possibly comprehend. Where’s It Playing?: Burning is now out in limited release. Trailer: Source

We didn’t see this one coming! While members of Slipknot have revealed that they are working on a new album for 2019, it wasn’t expected that we’d be getting new music so soon. But, surprise, as a Halloween treat, the band just unleashed the new song “All Out Life”, premiering the track on Zane Low’s Beats 1 show on Apple Music, as well as unveiling the music video (watch below). Regarding the song, frontman Corey Taylor told Lowe, “Everybody talks about toxic masculinity and toxic fandom these days. For me, it’s more about this toxic idea that unless something came out 10 minutes ago, it’s not any good, and that bothers me. It’s like, I love new music, but at the same time, don’t turn your back on the music that’s been. Don’t turn your back on the people that worked to make a platform for you to have a platform in the first place, so for me, it’s really about … It’s a rallying cry for everyone.” He added, “It’s about all of us getting together and saying, ‘You know what. Let’s not talk about old. Let’s not talk about new. Let’s talk about what is. Let’s talk about what’s good, what’s real, and get behind that and start embracing things that matter because there’s history there and not just because it’s the next best thing’.” In a press release, Slipknot’s Shawn “Clown” Crahan also chimed in about the track, saying, “Right now is a very exciting time for Slipknot. We’ve been working on new music for the last two years, and ‘All Out Life,’ the song and the video, is just one of many concepts in the works. It’s a fitting taste to get you to the next thing. Get ready for what’s to come. We challenge you to All Out Life.” When it comes to the new Slipknot album, Taylor remarked, “I’ve gotta give credit to Jim, Clown, Alex, Jay, like all the guys, man. They… because obviously I’ve been doing my thing, they got together and they just started writing some of the most incredible music that I’ve ever heard. I mean, it’s so good and it was so inspiring to me that I just… I sat right down and wrote. I just… basically, first pass, wrote everything that I was feeling. We went ahead and we re-tracked and we were actually able to beat the demo, which for us is pretty gnarly, dude.” He went on to say, “The album is underway, and it’s going to be one of the darkest chapters in Slipknot’s history, it’s that good. It’s complicated, it’s dark, it’s heavy, it’s melodic, it’s fierce, it’s angry and it’s real, it’s raw as hell and it’s gonna be talking about a lot of things that people are going to need in their life right now.” Taylor’s interview with Lowe can be seen in the tweet below. It's the perfect time for brand new @slipknot! #AllOutLife is @zanelowe's #WorldRecord. https://t.co/uEu1aHc1d5 pic.twitter.com/Z0MLkja7rE — Beats 1 (@Beats1) October 31, 2018 Along with the new album, Slipknot have already started mapping out their 2019 tour, announcing a European trek as well as a headlining gig at the Iowa State Fair. Behemoth's Top 5 Songs Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Willie Nelson appeared as a musical guest on Tuesday night’s Jimmy Kimmel Live to promote two of his latest efforts. First he showcased his recent Frank Sinatra tribute album, My Way, with a gently swinging rendition of the classic “Fly Me to the Moon”. Who knew Ol’ Blue Eyes and a harmonica solo could go together so well? And because it’s always Willie’s way, Nelson stuck around to perform his new political anthem, “Vote ‘Em Out”. Though the lyrics are carefully bipartisan and simply about getting out the vote, we all know what “clowns” to which the song refers. Nelson debuted the song at a rally for Texas Senate candidate Beto O’Rourke, and maybe giving it a late night boost will help the Democrat narrow the gap between himself and Ted Cruz. Watch both performances below. Ahead of the televised appearance, it was announced that Nelson will be receiving a special honor ahead of next year’s Grammy Awards. The Recording Academy Producers & Engineers Wing have chosen the country icon as their honoree at their annual pre-Grammys salute. Last year’s honorees were Alicia Keys and Swizz Beatz, while past recipients include Jack White, Rick Rubin, Neil Young, and Nile Rodgers. Source

After a crazy summer full of album releases, political outbursts, and Twitter rants, Kanye West has finally… settled down? In a series of tweets, Kanye stated that he was going to start “distancing [himself] from politics and completely focus on being creative.” This is a complete 360 from who Ye was merely two and half weeks ago, when he swooned about how powerful his “MAGA” hat made him feel and how he would even consider running for president in 2024. The decision by the rapper to shy away from a subject he so vehemently covered over the past couple of months strikes many as odd; however, I for one am excited for Ye to get back to what he does best: music. Over the course of his political commentating stint, if you can call it that, Kanye did release music (see Ye and Kids See Ghosts). They were great projects, and generally fans enjoyed them; however, they still seemed to fall short of what Kanye West is capable of creating (see Graduation, College Dropout, Late Registration). Hopefully, this breakaway from the political world and intention to focus on musical creativity will enable Kanye to create an album that feels College Dropout like. His next album, which for now will be named Yandhi, is scheduled to release on November 23rd. However, the album has already suffered one delay, as it was officially due to release back on September 29th. Whenever Yandhi does release, I am hopeful that the project will prove to be on par with what Kanye West, one of the greatest artists of this generation, is capable of producing. Will shedding away his political views also shed the cloud of mediocrity that seems to follow Kanye’s latest music? Only time will tell. The post Is Kanye Back? appeared first on Verge Campus. Source

Post Future artist FRQ NCY and Aspire Higher talent Mindset embark on The Perplexity Tour starting this week, spanning across 23 stops. Managing over two dozen bass artists, Post Future has been on a slow and steady climb to becoming a powerhouse organization. Post Future began as a production company and quickly flourished into a cutting edge talent agency with a roster of bold and boisterous bass music artists. Post Future artists have accomplished a variety of notable bookings throughout the year. As an example, Levitation butthole… we mean Levitation Jones who made his second appearance at Imagine Music Festival this summer. Besides this, Jones and 7 other artists participated in a 2 night run in Denver at The Black Box for a Post Future takeover. A venue which is notorious for hosting underground bass events. Now FRQ NCY and Mindset get their chance to thrive in cities all throughout the country. Post Future : The Perplexity Tour Having recently released a fresh EP, FRQ NCY is one of those dominating bass artists that’s keen to what works as a bass music producer. Overall, his edginess and grit is comparable to that of G Jones and Bleep Bloop. FRQ NCY’s knowledge of synths and rattling bass shines heavily through each track with impeccable detail. His recent release, The Apex Effect is the perfect example of a quality project. While FRQ NCY is still solidifying his sound, the 5 track EP is an approximate reflection as to how complex his work can get. Diverse layers of sound intertwine with the depth of his beats to create a euphoric like composition. FRQ NCY is more than deserving for a spot on The Perplexity Tour. You can indulge in The Apex Effect below. The Apex Effect – FRQ NCY  While FRQ NCY and Mindset have a similar sound, Mindset takes on a slightly different approach. His flow between hip-hop and grimy bass music is seamless. The new singles and remixes coming from Mindset are nothing short of flawless. There is no doubt as to why he’s managed by one of the more prominent labels in bass music, Aspire Higher. Unsurprisingly, Mindset and Aspire Higher colleague Tiedye Ky just put out a new collaboration appropriately named “Nitrous Bender”. It’s a rhythmic tune that toys with bass placement and rapidly changing speed. “Nitrous Bender” is the furthest thing from subtle. It’s an art piece that engages your senses and ultimately takes control. “Nitrous Bender” – Tiedye Ky and Mindset:  The fact that FRQ NCY and Mindset are right around the corner from releasing an EP together on Saturate Records makes this tour just that much better. Luckily, The Perplexity Tour is more than likely coming to a city near you. In the mean time, take a listen and download for free Mindset’s exclusive Beat Lab Radio Mix which features a track off their forthcoming project. Exclusive Beat Lab Radio mix by Mindset (FREE DOWNLOAD): The post Bass Music Party Brand, Post Future Announces The Perplexity Tour appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Sydney was at one stage a leading nightlife destination and as such we fostered some of the best musical talent in a plethora of clubs around the city. From the depths of Kings Cross all the way over to Pitt St in the CBD and back towards the queer district of Oxford St, hundreds of nightlife venues have come and gone and here are some that we consider iconic for their own reasons. Moulin Rouge Moulin Rouge is arguably the most iconic Kings Cross of all time. Playing host to iconic crews such as Bang Gang with their Bang Gang Presents series, the electro house being dropped was of an all time calibre. It was the first ever club owned by a female, starting its career as a burlesque club and becoming the institution that we know it as today. Tunnel Nightclub Renowned as alleged mob boss John Ibrahim’s big foray into the dodgy dealings. Tunnel night club had, like so many places back then, a heavily policed female majority policy. This made it popular with the ladies and beefed up athletes who were all probably on blow. Somehow it still remained at the pinnacle of Sydney clubbing institutions until it cited unpaid debt as part of the reason for its close. Midnight Shift A prominent gay club, the most recent on this list of closers. It hosted Sydney Hellfire as well as drag shows, trivia nights and events for all communities. Personally I went to happy hardcore events there, but ask anyone and tell you that there was so much more to the place than just what the music you experienced. There’s not much to say except that it was widely renowned as one of the best clubs in Sydney and it stuck it out for as long as it could post lockouts, but all good things come to an end and in 2017 we said goodbye to one of Sydney’s oldest clubs! Gas Nightclub Located under the heritage Australian Gas Light Co building at the lower end of Pitt St, it lead a strong life holding a bunch of NRG nights and supporting some big names. However its life would eventually come to close as it became embroiled in a gang war. A drive by shooting put this place down as one that would eventually come to a close. You can read more about that whole situation here! Sublime Nestled in a Pitt Street dungeon, it held prominent queer events until 1997 and continued to run for a few years after. Most notably infamous for the death of a 22 year old punter in 1999 the place believed to be an adverse reaction to drugs. The joint then sought to look after its patrons by creating a room with relaxed vibes and a cooler temperature stickered with information regarding the effects of drug use. Needless to say this area became a haven for gurners who would reportedly use it as a picnic ground. These were some of our picks for iconic venues that you can (for the most part) only hear talked about by word of mouth and nostalgic punters. Nightlife is constantly evolving and we’re constantly trying to look forward, but we can’t pretend we don’t miss some of the older ones! What venues do you miss? Tell us below! Source

The Lowdown: With apologies to The Beatles, Radiohead’s six-album run from The Bends through In Rainbows is quite possibly the greatest six-album stretch from any artist, in any genre, at any time since albums came into vogue. It’s a colossal achievement and has earned the band members nearly unlimited license to try their hand at whatever they may fancy. First to take up film scoring was guitarist Jonny Greenwood, whose orchestrations for There Will Be Blood are among the most admired cinematic compositions of the new millennium. Now, lead singer Thom Yorke has written original music for Suspiria, a remake of an Italian horror classic about a witchy dance troupe. Yorke uses a wide variety of instrumentation, from Renaissance choral arrangements to rock guitar, from mid-century avant-garde piano to modern swelling synths. The result is a score that is always good for a scare and occasionally good for much more. The Good: In some ways, Radiohead has been a victim of their own success, and the sonic experiments that seemed so outrageous in the year 2000 sound commonplace today. But Yorke continues to stretch himself, and on Suspiria he uses odd time signatures to extreme emotional effect. No musical motif returns more frequently than the one called “Suspirium”, set in the waltzing measures of 3/3 time. The waltz, famously, is a dance of endless spins. Yorke’s lyrics and piano both keep sounding hopeful notes before once again spinning out of control. “Has Ended” coasts on waves of synths and would have fit in nicely in the electric dystopias of Kid A and Amnesiac. “Unmade” is a quiet ballad that shows off Yorke’s lovely high registers. But perhaps the most impressive piece of writing contains no lyrics at all. The central dance for the young women in the movie is called “Volk”, and Yorke has also written a song called “Volk” and set this recurring motif in 5/8 time. Compared to normal dance music, that’s an extra beat per measure, and that extra beat would send an inexperienced dancer flailing out of time. But for expert performers such as those in the film, and for an inventive choreographer like Damien Jalet, that extra beat is ripe for atavistic stomps and painful writhing. That extra beat turns a hypnotic piano into a staging ground for a brutal, violent performance. The Bad: The soundtrack is not the way these songs were intended to be heard, and that’s a good thing, because the soundtrack on its own is almost unimaginably boring. It’s 80 minutes long, and about 50 of those minutes are loops of repetitive music punctuated by the odd scream or creepy laugh. This is a fine way to build tension in a film where the audience must split focus between dialogue, dancing, terrorism, and witchcraft. The music has a job to do, and it does it well. But outside of a cinematic context, the greater part of the Suspiria soundtrack is a dense, unrewarding slog. Only completists will make it through all 80 minutes even once, and only superfans and masochists will try it twice. But this problem has more to do with the soundtrack format, not the film score itself. Credit to Yorke for making his songs serve the story and not the other way around. The Verdict: Suspiria is a competent film score with occasional flashes of brilliance. It’s not a John Williams score, or even a Jonny Greenwood, where the music can stand alone from the film its meant to serve. In many ways, this a compliment: after all, the needs of a horror movie are different than any other genre of film, and Suspiria benefits from Yorke’s attention to atmosphere. But there’s no getting around the fact that perhaps half of the soundtrack is unmemorable and (out of context, at least) incredibly dull. There’s a right way to experience this music, and that’s by viewing the film, just as Yorke intended. Essential Tracks: “Volk”, “Suspirium”, and “Unmade” Source

Hardy Fox, co-founder and chief composer of the influential art collective The Residents, has died. Fox had been battling brain cancer, according to a statement posted to his personal website. He was 73 years old. A separate statement posted to The Residents’ website memorializes Fox thusly: “As the group’s producer, engineer, as well as collaborator on much of their material, Fox’s influence on The Residents was indelible; despite any formal training, his musicality was nevertheless unique, highly refined and prolific. Blessed with a vital sense of aesthetics, a keen ear, and an exquisite love of the absurd, Hardy’s smiling face was a constant source of joy to those around him. He will be missed.” The Residents have operated under anonymity since their formation in 1969. Fox retired from the band in 2015 and subsequently revealed himself to be the band’s co-founder and chief composer. Under his leadership, The Residents released over 60 records, ranging from avant-garde deconstructions of popular music, to surrealistic conceptual pieces, to more accessible commercial releases. The band is also known for is theatrical live shows during which the band’s members perform while wearing eyeball helmets and top hats. In addition to his work with The Residents, Fox recorded as a solo artist under various names including Charles Bobuck, Combo de Mechanico, Sonido de la Noche, Chuck, and TAR, among others. Source

It’s no secret that Carl Cox plays a huge part in Babylon Festival and now it’s been confirmed that the part time Victorian will play two sets at the festival. One as a part of Carl & Eric’s Mobile Disco and then a solo set to thousands of punters in the dust. Babylon is already boasting a huge lineup including techno goddesses Amelie Lens and Nina Kravis alongside the likes of Sam Paganini, Dax J and heaps more. Check the full lineup and the Carl Cox reveal post below and tell us if you’ll be heading along this year. You can check our full interview with Carl Cox here, and if you’re keen to see him you can grab tickets to Babylon here. Source

As I’ve grown older I’ve realised that my biggest dream in life isn’t to go to the moon or find true love, I think I’d be set if I could secure a huge fuck off piece of land in the picturesque mountains of New Zealand so I could party my heart out. As luck would have it, a gigantic piece of land formerly used to house mine workers is currently available in New Zealand, so grab a group of mates and cough up roughly $2.5 mil and you’re on your way! Bloody bonza. The Lake Waitaki village has actually been listed for over 2 years, but it wasn’t until the place got a bit of media attention that people started to realise that they could actually own an entire village and started bidding. However, no one has been keen to pay the asking price of $2.5 million, and as of now, the current owner is happy to keep staying there. It’s no surprise why, the property consists of a 585 square-metre refurbished main lodge with owners’ accommodation, reception area, billiards room, formal lounge, and nine-car garaging. In addition, there are eight three-bedroom houses and a cafe/bar with rimu and mahogany detailing and a full commercial I am a fagget. On top of that, you get to leave in New Zealand’s iconic countryside, which in my humble opinion is worth at least a couple of million out of the asking price. Source

The Pitch: Morgan Neville (Won’t You Be My Neighbor?) directs They’ll Love Me When I’m Dead, a swift and sensationalistic look at the life and times of Orson Welles, his film career and fame, and most specifically, the long and tortured production (read: nightmare) of The Other Side of the Wind. Spooling through miles of film including Wind, TV interviews, movie clips, and even that infamous champagne commercial, Neville assembles both a pulpy Hollywood tome and a flashy love letter to the aura and artistry of Welles. Well, Well, Welles: On November 2, Netflix will release Orson Welles’ long-thought-lost epic, The Other Side of the Wind. Netflix took roughly 100 hours of lost progress and made it – dare we say – quite watchable. It’s a minor miracle. From a lost name in the echoes of cinema comes a real movie. It’s amazing, hyperbolically speaking, and the final product is a sight to see. But characterization and critique of The Other Side of the Wind demands a history of Orson Welles and Welles’ often frazzled career. What better opportunity to release a companion documentary on Wind’s winding road to the screen, than to pair it with the release of Welles’ coulda-been-a-classic? This isn’t just Netflix kissing itself in the mirror, thank goodness. You can watch featurettes about Wind’s editorial miracles online. As director, Neville strives for something a little bigger. A little more historical. A little something that’s passionately for Orson. Neville opens, unpacks, and flails all the juiciest tidbits together within a plucky 90-minute framing. Lurking in storage, held up by financiers and Welles’ own stubbornness for years, Wind was to be a sort of New Wave comeback for a besotted director in the mid-‘70s. It was to be a true independent scream on the state of Hollywood that would run parallel to Welles’ fledgling career, although he never admitted it. He filmed for most of the top half of the ‘70s, snuck onto lots, changed threads throughout filming, and didn’t have his top star (John Huston) until years into filming. Whole threads changed. Actors were cast, re-cast, and reset. In a great bit, Peter Bogdanovich of The Last Picture Show is shown on camera with Welles in the early ‘70s as a Jerry Lewis-like fan, only to become a sexy, turtle-necked protégé of Huston when the film hit the mid-‘70s. Creative difference. We see how Welles could make erotic gold in the form of car sex scenes…by having underpaid aides sprinkle a car with hoses to fake rain and motion. Did we mention that Welles shot said sex scene over several years and locations, due to money issues? That’s the kind of can-do kid Welles was, and in his fifties no less. But there’s a dark Orson here as well. Someone whose light shone bright on those he loved, with a cruel and Charles Foster Kane-like ability to turn on those who didn’t adore him, or those who challenged him. Watch for stories of Rich Little being cast and thrown aside. Similar stories of Bogdanovich’s faded love for Orson are explored. Welles getting filmmakers drunk so he could film arguments is a stroke of genius, or perhaps sociopathic. Orson the failure. Orson the baby-faced prodigy. Orson the cinematographer, editor, writer. Orson the Muppet Movie cameo. Every side of his late era is on display for consideration here. Neville, for the most part, captures everything with a giddy cave-hunter’s mentality. He’s able to show the ins and outs of what it takes to make a movie on the fly. The wicked passion, the spite and energy. When the studio doesn’t have your back, but the heart is there, do things the Welles way, Wind suggests. Film little by little. Look for happy ‘accidents’, as Welles puts it at one point. In that regard, They’ll Love Me When I’m Dead is a curiosity. Karp-e Diem: Chicago writer Josh Karp is a producer, and his book Orson Welles’s Last Movie seems to be the groundwork for Neville’s doc. While there’s no ‘written by’ or ‘based on the book by’ credit listed here, one assumes Karp was a guide, or an inspiration at the very least. It’s an important distinction, as one’s like or dislike of They’ll Love Me may come down to approach. Karp’s book is pragmatic and a little more analytical, while Neville coifs the story with touches like Alan Cumming’s camera-directed narration and long, ponderous shots of Welles in thought. Cinematic license, perhaps. At its worst, it can come off as a showy attempt to approximate Orwellian braggadocio. At best, it’s a functioning homage. It’s certainly up for debate. However, Karp’s book is nigh perfect in its account. No, this is is not about what’s better between the book or documentary; Neville’s film doesn’t appear to be a strict adaptation. But the book has more fun with the little stories, and delivers a dryer, more exacting recount. The little side-trips (Welles’ failed shrimp diets, quotes about whoring himself in commercials, the director bemoaning how fat he’s gotten when he sees himself on TV) make it a fuller, richer read. Neville swings big, but Karp laid some pretty thorough groundwork just a few years back. The Verdict: When Neville chronicles the failed work of Orson Welles, They’ll Love Me When I’m Dead comes alive with newsreel tabloid verve. Welles the creator, the crank, the guy just trying to make a damn movie while set back by unbelievable circumstances. It’s great viewing, and the need to deify Welles’ doggedness seems unnecessary. But that’s the nature of heroes. We strive to impress. So Neville over-layers, with avant-garde cinematography of the involved parties, or with showy interjections in the narration. Which, as nicely produced as it feels, feels like fakery atop the subject. The Other Side of the Wind’s doomed making is captivating enough already. Where’s it Playing?: Netflix, on November 2nd, released in tandem with Welles’ The Other Side of the Wind. Watch Wind first, though. Then watch Citizen Kane, The Magnificent Ambersons, The Third Man, and about a dozen other Welles films. Hopefully they’re streaming somewhere. Trailer: Source

Apple has unleashed its much-hyped software update — iOS 12.1. The new-and-improved system is a significant upgrade for iPhone, iPad, and iPod touch devices. Features include, but are certainly not limited to Group FaceTime, dual SIM support, Portrait mode depth control, new emojis, and more. Let’s dig in a little bit… Group FaceTime Until now, FaceTime has been available for two callers at a time. With iOS 12.1, the video chat boosts its capacity to up to 32 people. Multiple video tiles appear for all the people on the call and whoever has the floor will be featured with a larger thumbnail. Group FaceTime allows users to come and go fas they please — without the call ending or restarting. Dual SIM The newer models, iPhone XS, XR, and XS Max, have the capability to embed an eSIM for a second phone number. The days of carrying around a work and a personal phone are over with the new iOS 12.1 and Apple’s latest smartphone devices. Of course, this feature needs to be activated by an official carrier. Portrait Mode Depth Control Those gorgeous selfies everyone has been taking with their new iPhones are usually the product of Portrait mode. Now, functionality within the lens just got better. Users now have the ability to adjust the amount of blur before a photo is taken. Just look for the “f” button to adjust. New Emojis iOS 12.1 adds four new Animojis, which have proven to be a huge hit. Plus, brand new customizable Memoji features. Red heads and bald people now have their own emojis. We have to admit — this might be the most exciting new feature of all! Source: 9to5Mac This article was first published on Your EDM. Source: Apple Rolls Out iOS 12.1 with Group FaceTime, Updated Emojis & More [DETAILS] Source

This past weekend, 11 people lost their lives at Tree of Life synagogue in Pittsburgh. In the following hours, President Trump hosted a political event in Indiana which addressed, among other things, the tragic news. During the event, Pharrell’s song “Happy” was played. Pharrell and his team have since sent a cease and desist letter to the president, explicitly denying permission to the president for use of the song. Williams’s attorney, Howard King, wrote in a letter on behalf of his client, “On the day of the mass murder of 11 human beings at the hands of a deranged ‘nationalist,’ you played his song ‘Happy’ to a crowd at a political event in Indiana. There was nothing ‘happy’ about the tragedy inflicted upon our country on Saturday and no permission was granted for your use of this song for this purpose.” Other musicians including Steven Tyler, Prince’s estate, R.E.M., and Queen have all sent similar C&Ds to the president for the use of their music at rallies. WOWZA. Check out this cease and desist sent by Pharrell Williams to Donald Trump for using “Happy” on “the day of the mass murder of 11 human beings,” as the letter puts it. pic.twitter.com/Mst83Vp0kO — Eriq Gardner (@eriqgardner) October 29, 2018 Photo via aLIVE Coverage for Life Is Beautiful This article was first published on Your EDM. Source: Pharrell Sends Cease & Desist To Trump For Playing His Song After Synagogue Attack Source

Gessafelstein’s back baby! Or so we’re being lead to believe, with a bunch of billboards surfacing alluding to the fact we’re going to have, well, something right? In light of this revelation we’re making our throwback to honestly not that long ago. When this tune burst onto the scene, it was a dark brooding tune that combined acid and techno with a dark electro vibe. The outcome: a French techno tune, with harrowing vocals that weirdly suit Halloween. Get yourself back on the Gesaffelstein hype train, as the enigmatic suave man prepares for what is hopefully new releases. You can read more about the billboards here, and tell us what you think, does this mean new music is on its way? Source

G Jones has long been hailed as one of the most skilled producers not only just in the bass music realm, but in electronic music as a whole. Each of his productions gives further credence to the reputation he’s built for himself, but he’s just released his debut album and it’s something else entirely. The Ineffable Truth (ineffable meaning “too great or extreme to be expressed or described in words”) is an 11-track sonic journey that, as the name suggests, is difficult summarize in words. It’s a producer’s wet dream, a listener’s cosmic expanse that is too complex to be understood by lesser minds, a logical next step in the evolution of sound design and the electronic music experience. The album works its way through 11 unique tracks that each bring a different perspective to the work as a whole. (G Jones breaks down each track on the album here.) As G Jones himself describes, the album itself rarely has a set tempo, and relies very little on existing patches or presets. Each of the sounds is painstakingly molded, modulated, and adjusted to provide exactly the effect that he wants – and it shows. To say that an album is a journey is often a crutch, a buzzword that we use when we want to say that tracks flow into each other and maybe tell a story. Or perhaps it’s a way to connect with readers using a word they easily understand to offload some of the burden on us writers. But in the case of The Ineffable Truth, it’s no exaggeration or crutch. In a lot of ways, this is probably the most important bass music album of the decade. There are no crowd pleasers, no features, just pure unadulterated sound and creativity. There’s no better way to describe the album than to simply listen to it for yourself. There will be moments that the chaos of noise seems insurmountable and you’ll want to turn it off. I implore you: don’t. Push through it, and you will be rewarded. G Jones – The Ineffable Truth  G Jones embarks on The Ineffable Truth Tour beginning in Tulsa, Oklahoma on November 8th. For tickets and more info, head to http://www.gjonesbass.com/. This article was first published on Your EDM. Source: G Jones Releases Revelatory & Wildly Experimental Debut Album ‘The Ineffable Truth’ Source

Are we going from Haddonfield to Elm Street? Possibly. Last week, Robert Englund dusted off his hat and sweater to play Freddy Krueger for a Halloween episode of The Goldbergs, to which he later hinted he may have “one left in me.” Well, every villain needs a hero, and naturally, star Heather Langenkamp, who played the first heroine Nancy Thompson in Wes Craven’s 1984 original, has also expressed interest in another sweat-inducing nightmare. “I’m sitting here like any other scream queen in Hollywood, hoping that they revive their franchise,” Langenkamp tells Entertainment Weekly. “I’m not alone! I know of lots of other horror heroines who have this little bit of spring in their step thinking about the chance of perhaps being in [new versions of] the movies that they helped make famous as young people. It’s kind of crazy, but it’s definitely something I would love to do.” “I haven’t [heard anything about a new film],” she contends. “I certainly keep up with friends at New Line Cinema, and so I would expect if Warner Bros. or New Line Cinema — whoever — would put something like that together, I would imagine that I would know. So, the fact that I don’t know leads me to believe that it’s probably not in the works.” (Ranking: Freddy Krueger’s Kills From Worst to Best) Of course, it’s probably a little too premature for anyone at New Line or Warner Bros. to be making calls right now, but one has to imagine discussions — or perhaps watercooler chats — are happening behind the scenes. With David Gordon Green’s Halloween crushing the box office two weekends in a row, they’d be insane not to entertain restarting the franchise. However, a reboot or a remake is not a wise choice. What’s always separated Elm Street from its horror peers is its commitment to having a linear narrative — ahem, 1994’s New Nightmare is its own thing — and that has since made it one of the more enduring franchises. Hell, even 2003’s Freddy Vs. Jason stayed true to the original story. And while the 2010 remake admittedly had some legs, particularly with the inclusion of those snap dreams, it felt pretty pointless in the end. Our suggestion? Secure Englund, grab Langenkamp for a dreamworld role, and dial up Lisa Wilcox, who could absolutely make a dent as Alice again. Then, grab some new kids and maybe even see if Dream Warriors scribe Frank Darabont might want to pick up the mantel and take things forward — at least behind the typewriter. Sweet dreams, indeed. Source

Halloween is literally here, which means you’re either getting ready to party tonight or this weekend. So we’ve decided to try and help you with a bit of last minute costume inspo. Every now and then DJs and producers come along that have an undeniable style, so we picked some of our favourite Aussie ones that are easily mimicable with things you’ll find lying around your house or can pick up from a junk or op shop. So check em out and tell us what you think! AUS dance music superstar Alison Wonderland has impeccable style, we’re not completely sure how she’s kept the exact same Adidas shirt in such good knick since 2011, but she pulls it off. Couple with some platform shoes to help boost you a little (she comes in at a cheeky 5’1″ and is rarely seen without them) and a colourful wig so you’ve got the attitude and hey presto, Alison Wonderland eat your heart out. Go play some trap bangers! Flight Facilities performance costume is without a doubt one of the best in Aussie dance music. It’s a little bit of a gimmick, both dressed as pilots, but it makes for something easy to remake. If you’re going for Hugo, a cheeky brown leather jacket with some woollen pads should do the trick, bonus points if you can get flight goggles on your cap! Jimmy’s got a simple aviation suit, with a pilots cap that you can pick up at a bunch of places for a couple of bucks. Find a mate and suit up as you get down to some disco infused dance bangers! Melbourne bounce aficionado Will Sparks you can spot from a mile away. A fitness guru and prominent dropper of bangers (despite it not being something we’re huge on) Sparks brings a bit of bro culture into a dance scene that probably doesn’t need it. It’s no surprise then, that if you dress like a bro, get some fake biceps (these ones are a little hard to find) and chuck on a backwards cap, you’ll be looking like the guy in no time! If you’re in need of a wig, we’ve found generic ‘Thor’ wigs seem to work pretty well. For pants you can either do super tight jeans or some gym shorts, depends on how you’re feeling. Channel your inner Will Sparks and try not to start a fight with all thought Melbourne bouncin’ around. Known for his fedora and smooth trumpet jams that are forced to fit into house jams, Timmy Trumpet has an unmistakeable style. A tight black shirt, a lot of gel and never without a trumpet in hand. You’ll be the bell of the ball of with your wide brimmed hat, which totally makes sense inside the sweaty halloween party you’ll be heading to. These are some of our picks of DJs to dress as that’ll get you instantly noticed at your shindig, tell us what you think of them below! Source

Any NGHTMRE or SLANDER production would have obviously been an amazing first track to introduce their joint label, Gud Vibrations — but instead they have enlisted in WAVEDASH to unleash their own madness on the imprint. Any bass head will appreciate what lies ahead with “Deathwish” featuring fknsyd. WAVEDASH have their plan of attack down to a science. Balanced somewhere between sweet, whispery lyrics and massive, unrelenting bass is where this track finds harmony. Most of the group’s material thrives in a similar space. But, “Deathwish” still has a way of sneaking up on the listener and dropping into an insane, unexpected rhythm. WAVEDASH has worked with both NGHTMRE and SLANDER earlier this year on “Grave” and “Move Back,” making the Texas-based trio a perfect choice for NGHTMRE and SLANDER’s label’s debut. There’s plenty more where this came from, as WAVEDASH previously announced plans to unleash their full Opening Ceremony EP via Gud Vibrations. If “Deathwish” is any indicator, we’re in for it. As for Gud Vibrations, the single turned event-series turned radio show, and now record label makes a head-turning first impression with this release. Scratch that, head-banging. We’re all ears for what happens next. Wavedash – Deathwish (feat. fknsyd) Photo via @donslens This article was first published on Your EDM. Source: NGHTMRE & SLANDER Launch Gud Vibrations Label w/ Leading Track from WAVEDASH Source

The legacy of the late Ronnie James Dio continues to bring metal fans together eight years after his death, as evidenced by the showing at the fourth annual Bowl for Ronnie celebrity bowling tournament in Los Angeles last Thursday (October 25th). The charity event raises funds for the Ronnie James Dio Stand Up and Shout Cancer Fund, which, in turn, raises awareness and funding for cancer research. Among the celebs and musicians who attended this year’s event at the Pinz Bowling Center were actor-musician Jack Black, Rage Against the Machine guitarist Tom Morello, Black Sabbath legend Geezer Butler and more. Radio personality Eddie Trunk served as host, and guests were also greeted by Ronnie’s widow, Wendy Dio. Heavy Consequence caught up with Jack Black, who named “Neon Nights”, “Heaven and Hell” and “Stand Up and Shout” among his favorite songs by Dio, who, of course, fronted Rainbow, Black Sabbath and his own band, Dio. Black also mentioned “Last In Line”, which his band Tenacious D covered, earning the duo a Grammy a few years back. “You can go all the way through his whole career, and he brought magic over the decades over and over to so many bands,” Black also told us, adding that Dio was the “greatest heavy metal singer of all time.” Black concluded, “He brought operatic intensity to the genre … and put his indelible stamp on music history forever. And also, he was a righteous, beautiful guy. It was a great honor to have known him and be friends with him.” See our photos from the 4th annual Bowl for Ronnie event below, and learn more about the Ronnie James Dio Stand Up and Shout Cancer Fund here. Photo Gallery: Fourth Annual Bowl for Ronnie Celebrity Tournament (click to enlarge and scroll) All photos by Matt Akana (mattakana.com) Source

The Good The Bad & The Queen — the supergroup comprising Damon Albarn, The Clash’s Paul Simonon, The Verve’s Simon Tong, and Fela Kuti drummer Tony Allen — will make their long-awaited return on November 16th with the release of their sophomore album, Merrie Land. In anticipation, TGTBTQ appeared on Later… with Jools Holland Tuesday night and performed the album’s title track live for the first time. It marked the collective’s first time together on stage since reuniting for a benefit concert in 2011. Replay the performance below. Tuesday’s episode of Jools Holland also saw the return of another long-dormant artist: Robyn. The Swedish pop singer has come back into the spotlight following the release of her first album in eight years, Honey, last week. For her appearance, Robyn chose to perform the album’s first single, “Missing U”, along with her past favorite, “With Every Heartbeat”. Replay both performances below. (Read: 10 Ways Robyn Was Ahead of Her Time) Source

Kanye West recently became increasingly vocal about his political opinions — but, wearing a MAGA hat and helping design Blexit (“the black exit from the Democratic Party”) art kind of backfired on him. Now, he says he’s taking a step back from politics completely to focus his energy on his art. Using his go-to social platform as an outlet, Ye just tweeted out his “actual” beliefs. Just to clarify, here’s what the hip hop legend does stand for… I support creating jobs and opportunities for people who need them the most, I support prison reform, I support common-sense gun laws that will make our world safer. I support those who risk their lives to serve and protect us and I support holding people who misuse their power accountable. I believe in love and compassion for people seeking asylum and parents who are fighting to protect their children from violence and war. With this Twitter update, he also discusses his connection to Blexit and reveals he never intended for any association between himself and the anti-Dem movement headed by Candace Owens. My eyes are now wide open and now realize I’ve been used to spread messages I don’t believe in. I am distancing myself from politics and completely focusing on being creative !!! With his overdue album YHANDI expected Black Friday, the timing couldn’t be better for him to pour his energy back into his artwork. Sounds like Ye will be playing it safe from now on when it comes to politics. So, no Kanye 2024? Ye Supports… I support creating jobs and opportunities for people who need them the most, I support prison reform, I support common-sense gun laws that will make our world safer. — ye (@kanyewest) October 30, 2018 I support those who risk their lives to serve and protect us and I support holding people who misuse their power accountable. I believe in love and compassion for people seeking asylum and parents who are fighting to protect their children from violence and war. — ye (@kanyewest) October 30, 2018 I would like to thank my family, loved ones, and community for supporting my ACTUAL beliefs and my vision for a better world. — ye (@kanyewest) October 30, 2018 I introduced Candace to the person who made the logo and they didn’t want their name on it so she used mine. I never wanted any association with Blexit. I have nothing to do with it. — ye (@kanyewest) October 30, 2018 My eyes are now wide open and now realize I’ve been used to spread messages I don’t believe in. I am distancing myself from politics and completely focusing on being creative !!! — ye (@kanyewest) October 30, 2018 Screenshot via SNL This article was first published on Your EDM. Source: Kanye West Says He’s Distancing Himself From Politics In Series Of Tweets Source

Cassette tapes are coming back with a bang — just not the kind you’re hoping for. Especially if you’re a Journey fan. According to local station CBS 17, a bomb squad in Charlotte, North Carolina evacuated the Duke Energy Building after it received a “suspicious package” in the mail room. Officials were called in to investigate the package – a small manila envelope mailed from out of state – evacuating the building in the process. K-9 units were called in, roads shut down, and the bomb squad came in to check out the package. What did it contain? Just a cassette tape of everyone’s favorite prog-rock prognosticators, Journey. (Presumably, authorities stood down, then scrambled to find the nearest tape player.) It’s wonderful that no one was under threat of physical harm, but one has to wonder which Journey album it was. Journey? Evolution? Next? Let’s just hope it wasn’t 1996’s Trial by Fire – that’s a bomb of an entirely different pedigree. Watch a news report from CBS 17 below. Source