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Troye Sivan stopped by Ellen on Tuesday to perform “Revelation”, his contribution to Joel Edgerton’s upcoming drama Boy Erased. Much like his live debut of the song earlier this month, the Australian pop wunderkind’s stage setup was kept to a minimum, with Sivan singing in front of a stark, colored backdrop and accompanied by just four string players. Despite the lack of theatrics, the performance was steeped in poignancy, reflecting not only the song itself, but also the Boy Erased scene that helped inspire Sivan and collaborator Jónsi. Sivan elaborated during a recent show in New York City: “I got together with Jónsi of Sigur Rós and Leland. Joel showed us a scene from the movie, and I don’t want to spoil anything, but it’s this one moment of relief in the film,” he said. “It’s this one really sweet, tender moment where Jared does something that I would consider pure and beautiful and normal and romantic. He has that experience and the sky doesn’t fall down on him. The world doesn’t come crashing down, and it’s a ‘revelation’ to him. That person that he was with is a revolution to him, and it was just so inspiring. So, we started with these lyrics of ‘you’re a revelation, you’re a revolution’.” Watch the Ellen performance below: Elsewhere in the episode, the Bloom star also played a game of “Stuff Your Granny Panties” with fellow Boy Erased cast mates Nicole Kidman and Lucas Hedges; peep that segment below. The film opens in theaters on November 2nd. Source

Maggie Rogers has pieced together an expansive touring schedule in promotion of her upcoming major label debut, Heard It in a Past Life. The Maryland-born singer-songwriter has a number of concerts on her itinerary prior to year’s end, including a leg of shows opening for Mumford and Sons. However, her schedule really gets busy come the early part of 2019, as she’s mapped out headlining tours in both North America and Europe. See her as-yet-announced tour docket below, and grab tickets here. Heard In a Past Life is out January 18th, 2019. This weekend, Rogers will make her Saturday Night Live debut alongside host Jonah Hill. Maggie Rogers 2018-2019 Tour Dates: 10/30 – Chicago, IL @ The Vic Theatre 11/01 – Toronto, ON @ The Phoenix 11/02 – Montreal, QC @ MTELUS 11/03 – Portland, ME @ State Theatre 11/05 – Boston, MA @ Royale 11/06 – Boston, MA @ Royale 11/16 – Dublin, IE @ 3 Arena * 11/18 – Belfast, UK @ SSE Arena * 11/20 – Glasgow, UK @ SSE Hydro * 11/21 – Manchester, UK @ Manchester Arena * 11/23 – Birmingham, UK @ Genting Arena * 11/25 – Newcastle, UK @ Metro Radio Arena * 11/27 – Nottingham, UK @ Motorpoint Arena * 11/28 – Cardiff, UK @ Motorpoint Arena * 11/29 – London, UK @ O2 Arena * 12/01 – Leeds, UK @ First Direct Arena * 12/02 – Liverpool, UK @ Echo Arena * 12/07 – Philadelphia, PA @ Wells Fargo Center * 12/09 – Boston, MA @ TD Garden * 12/10 – New York, NY @ Madison Square Garden * 12/11 – New York, NY @ Madison Square Garden * 12/14 – Washington DC @ Capital One Arena * 12/17 – Toronto, ON @ Scotiabank Arena * 12/18 – Toronto, ON @ Scotiabank Arena * 01/17 – Los Angeles, CA @ The Fonda Theatre 02/15 – Dublin, IE @ The Academy 02/17 – Glasgow, UK @ St. Luke’s 02/18 – Manchester, UK @ O2 Ritz 02/19 – London, UK @ O2 Academy Brixton 02/22 – Paris, FR @ La Gaitie Lyrique 02/24 – Brussels, BE @ AB Main Hall 02/25 – Amsterdam, NL @ Paradiso 02/27 – Cologne, DE @ Gloria Theatre 02/28 – Berlin, DE @ Kesselhaus 03/02 – Frankfurt, DE @ Zoom 03/04 – Hamburg, DE @ Mojo Club 03/06 – Copenhagen, DK @ Vega 03/07 – Oslo, NO @ Rockefeller Music Hall 03/08 – Stockholm, SE @ Berns 03/20 – Toronto, ON @ The Phoenix 03/21 – Toronto, ON @ The Phoenix 03/22 – Montreal, QC @ MTELUS 03/23 – Portland, ME @ The State Theatre 03/25 – Washington, DC @ 9:30 Club 03/29 – New York, NY @ Hammerstein Ballroom 03/30 – Philadelphia, PA @ The Fillmore 03/31 – Raleigh, NC @ The Ritz 04/02 – Atlanta, GA @ The Tabernacle 04/03 – Birmingham, AL @ Iron City 04/04 – Nashville, TN @ Marathon Music Works 04/06 – Indianapolis, IN @ Egyptian Room 04/07 – St. Louis, MO @ The Pageant 04/09 – Denver, CO @ Ogden Theatre 04/15 – Portland, OR @ Crystal Ballroom 04/16 – Seattle, WA @ Showbox SoDo 04/17 – Vancouver, BC @ Commodore Ballroom 04/19 – Oakland, CA @ Fox Theater * = w/ Mumford and Sons Watch the video for Rogers’ latest single, “Light On”: Source

Psychedelic folk singer-songwriter Cass McCombs has announced his latest record, Tip of the Sphere. The follow-up to 2016’s Mangy Love and McCombs’ ninth overall full-length, the album is due out February 8th, 2019 via ANTI-. Recorded at Figure 8 Studios in Brooklyn, New York alongside engineer Sam Owens, Tip of the Sphere came together with more purpose than McCombs’ past efforts. Instead of taking his time bouncing around different studios, McCombs focused in with intentional speed to produce an album with “raw immediacy and a special balance of compassion and experimentation…” A press release notes that “Tip of the Sphere recounts what has unfolded in the wake of Mangy Love’s pre-inaugural prophetic themes.” Over the 11 tracks on the album, McCombs is searching to make sense of it all, as he does on lead single “Sleeping Volcanoes”. Bass trudges through a haze of guitar and bent notes twanging off into infinity while McCombs tries to make sense of the emotional turmoil everyone he passes on the street seems to be going through. Take a listen below. Pre-orders for Tip of the Sphere are going on now, including a number of bundles with T-shirts. The vinyl edition of the record comes with a “Castillo de la Esfera” (Castle of the Sphere) vinyl topper insert designed by Tahiti Pehrson as “an homage to Brion Gysin’s dream machine.” Find the album art and tracklist below. Tip of the Sphere Artwork: Tip of the Sphere Tracklist: 01. I Followed The River South To What 02. The Great Pixley Train Robbery 03. Estrella 04. Absentee 05. Real Life 06. Sleeping Volcanoes 07. Sidewalk Bop After Suicide 08. Prayer For Another Day 09. American Canyon Sutra 10. Tying Up Loose Ends 11. Rounder McCombs will tour behind the record through late winter and early spring. Find the North American dates below. Cass McCombs 2018-2019 Tour Dates: 11/09 – Weissenhäuser Strand, DE @ Rolling Stone Weekender 11/10-11 – Utrecht, NL @ Le Guess Who? Festival 11/12 – London, UK @ Hoxton Hall 11/14 – Leffinge, BE @ De Zwerver 11/16 – Rust, DE @ Rolling Stone Park 03/04 – Washington, DC @ Union Stage 03/05 – Philadelphia, PA @ World Cafe Live 03/07 – Brooklyn, NY @ Murrmr 03/08 – New York, NY @ Bowery Ballroom 03/09 – Boston, MA @ The Sinclair 03/15 – Indianapolis, IN @ HiFi 03/16 – Chicago, IL @ Lincoln Hall 03/18 – St. Paul, MN @ Turf Club 03/20 – Boulder, CO @ Fox Theatre 03/23 – Salt Lake City, UT @ The State Room 03/26 – Seattle, WA @ Chop Suey 03/27 – Portland, OR @ Aladdin Theater 03/30 – Los Angeles, CA @ The Fonda Theatre 04/05 – San Francisco, CA @ The Fillmore Source

After living it up in Camazotz earlier this year with A Wrinkle in Time, Ava DuVernay will keep things magical as she pivots back to the documentary medium and heads on up to Minneapolis to prove that nothing compares to Prince. According to Variety, DuVernay has been working on the multi-part documentary for the past few months with full cooperation from his estate. In other words, she has total access to his archives, which is quite rare given how trepidatious he was with his own work throughout his life. “Prince was a genius and a joy and a jolt to the senses,” DuVernay says. “The only way I know how to make this film is with love. And with great care. I’m honored to do so and grateful for the opportunity entrusted to me by the estate.” The film will air on Netflix. However, DuVernay isn’t the only one making a documentary on the Purple One. Variety also confirms that Apple Music is working on a separate film revolving around his legendary 1983 concert at Minneapolis’ First Avenue. If you recall, this is the same show that saw the debut of guitarist Wendy Melvoin, the iconic Purple Rain-era incarnation of the Revolution, and several songs that would later appear on the landmark album. Currently, there’s no release date attached to either film, but one might expect to see at least one of them surface sometime throughout 2019. Here’s hoping we one day get news of a biopic with Dave Chappelle attached… Source

As both Tugg Speedman and Sean Penn can attest, playing a guy who ain’t smart but thinks he is, that’s tricky. Gold medal snowboarder and occasional indie rock frontman, Shaun White, is learning this lesson the hard way. For Halloween, White dressed up as Simple Jack, Speedman’s mentally-challenged character from 2008’s Tropic Thunder. In the movie, the character — played by Ben Stiller — was meant to be a commentary on Oscar-baiting roles. Even back then, the character received much criticism from the disability advocacy community, and a decade later, Simple Jack remains just as controversial. Soeren Palumbo, co-founder of the Special Olympics criticized White for his costume, saying in a statement, “Disability is not a joke nor should it be a punchline. We hope that Shaun White and others learn that this just continues stigma, stereotypes and discrimination.” White has since apologized for “my poor choice of Halloween costume,” adding that “It was a last minute decision. It was the wrong one. The Special Olympics was right to call me on it.” Source

While their contemporaries Slayer have embarked on their final tour and their heroes Black Sabbath have already called it a day, Metallica see no end in site. In a new interview, drummer Lars Ulrich says he hopes the band has another quarter century in them before hanging up their instruments. “A lot of people are retiring, and we feel very energized and rejuvenated. I mean, we wanna go [a] long [time],” Ulrich told Philadelphia’s 93.3 WMMR backstage at Metallica’s recent concert in celebration of the radio station’s 50th anniversary last week. “We hope we can get another 20, 25 years out of Metallica. I don’t know what it’s gonna look like, I don’t know what it’s gonna sound like, but that’s in our heads.” With all four current Metallica members at either 54 or 55 years old, that would put them at about 80 years old each in 25 years. The Rolling Stones are still going in their mid to late 70s, so it’s not out of the question. The drummer added, “We’re not sitting there thinking retirement or this or that; we’re sort of more the opposite. So I would say, for us, everything we do is kind of a long game. And back then, when you were 17, you only think of, like, the next five minutes. ‘Where is the next beer? Whoo!’ So that’s kind of different mentality nowadays.” Ulrich points to a younger generation of fans who have latched on to Metallica’s music as inspiration to keep the band going for years to come. “It’s crazy. It’s unbelievable. There’s more younger kids at our shows than I can ever remember. Half the audience is under 20. And it also feels more like it’s [a] 50-50 [split] between boys and girls now, which obviously [wasn’t the case] 20, 30 years ago.” Listen to the full interview here, and check out our exclusive photos of Metallica’s show at Philadelphia’s Wells Fargo Center here. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

The cover of Sharon Van Etten’s anticipated new album, Remind Me Tomorrow, depicts children in a messy playroom, an evocation of simpler, more carefree times. The new video for lead single “Comeback Kid” swirls around similar themes, with the singer standing before a chaotic slideshow cycling through her own chronicles of bygone ages, phases, and families. “As the lyrics for ‘Comeback Kid’ unfolded, I realized I was talking about many selves: the kid, the adult, the sibling, the friend, the neighbor. I imagined a projector streaming over me of memories, unclear if they are mine or someone else’s, confronted by the disorientation of time and perspective,” Van Etten says in a statement. “[Director] Jonathan William Turner helped me to convey these struggles of self, forgiveness, and living in the now.” William Turner adds, “The visuals draw from Sharon’s personal archive of photos and videos as the narrative of the song looks back on her past. The elements are then reactivated by an undercurrent of abstract animations. These sequences are also used to frame and obscure her performance, suggesting the fractured identity of someone looking at their past, but also confidently facing the future. Sharon is both audience and projectionist of her memories.” Watch it below. Remind Me Tomorrow arrives on January 19th via Jagjaguwar. In February, she’ll hit the road for a sprawling world tour with U.K. songwriter Nilüfer Yanya as support. See the full list of dates here. Source

Massive Attack’s Mezzanie celebrates its 20th anniversary in 2018. Already, the trip-hop legends have announced a reissue of the classic album, both in a traditional package and as DNA encoded in a spray can. Now, they’ve revealed plans for an anniversary tour to take place in North America and Europe in 2019. Described by Massive Attack’s Robert Del Naja as band’s “own personalised nostalgia nightmare head trip,” the forthcoming jaunt will consist of a one-off audiovisual production that has been “reconstructed from the original samples and influences.” A number of Massive Attack collaborators will join the band on the road, including “Teardrop” singer Liz Fraser of Cocteau Twins. Dates for the European leg were announced today and can be seen listed out below. The North American leg will be detailed on November 2nd, but the band has already revealed they’ll be visiting Washington, Philadelphia, New York, Boston, Toronto, Detroit, Chicago, Saint Paul, San Francisco, Los Angeles, and San Diego as part of their travels. Massive Attack 2019 Tour Dates: 01/28 – Glasgow, UK @ SSE Hydro 01/29 – Manchester, UK @ Manchester Arena 01/31 – Brussels, BE @ Palais 12 02/01 – Amsterdam, NL @ AFAS Live 02/04 – Frankfurt, DE @ Jahrhunderthalle 02/05 – Munich, DE @ Zenith 02/06 – Milan, IT @ Mediolanum Forum 02/08 – Rome, IT @ Palalottomatica 02/09 – Padua, IT @ Kioene Arena 02/11 – Paris, FR @ Zenith 02/13 – Nantes, FR @ Zenith de Nantes Metropole 02/14 – Bordeaux, UK @ Bordeaux Metropole Arena 02/18 – Lisbon, PT @ Campo Pequeno 02/19 – London, UK @ O2 Arena 02/24 – Dublin, IE @ 3Arena 03/01 – Bristol, UK @ Steel Yard Source

Deerhunter teased a forthcoming album called Why Hasn’t Everything Already Disappeared? back in April. Now, the full details of the project have been revealed: The band’s eighth LP is scheduled to arrive January 18th, 2019. Due out via 4AD, the album marks Deerhunter’s first in almost four years following 2015’s impressive Fading Frontier. Its 10 tracks, many of which were debuted live during their summer tour, were produced by the band, Ben Etter, and Grammy-winner Ben H. Allen III. The indie rockers also enlisted the production talents of Cate Le Bon, a Welsh singer-songwriter known for her collaborations with Perfume Genius and Kevin Morby, as well as her own solo material. Tim Presley, aka White Fence, contributed additional lead guitar. Why Hasn’t Everything Already Disappeared? is said to be “a science fiction album about the present,” according to a press statement, and one that’s “concerned with the disappearance of culture, of humanity, of nature, of logic and emotion.” “I think it’s a title that is definitely at home right here,” Deerhunter leader Bradford Cox previously explained of Marfa, Texas, a ghostlike town in West Texas where parts of the album were recorded. “There is a feeling of disappearance here… The desert just has a lot of disappeared things in it. It’s where things have disappeared to.” The LP was also recorded in Los Angeles’ Seahorse Sound, as well as Maze Studios and Cox’s own attic, both located in Atlanta. Our first official look at the upcoming LP comes with lead single and opening track “Death in Midsummer”, which features additional harpsichord from Le Bon. A short description attributed to the song reads: “Caption of photograph found in book: ‘Revolution In The Streets of St. Petersburg, July 1917.’ The photo shows figures of people running away from piles of bodies.” Check it out below via its official music video. Why Hasn’t Everything Already Disappeared? Artwork: Why Hasn’t Everything Already Disappeared? Tracklist: 01. Death in Midsummer 02. No One’s Sleeping 03. Greenpoint Gothic 04. Element 05. What Happens to People 06. Détournement 07. Futurism 08. Tarnung 09. Plains 10. Nocturne Deerhunter have announced 2019 tour dates in support of the new LP, including a North American run that begins in February. Deerhunter 2018-2019 Tour Dates: 11/04 – Sao Paolo, BR @ Balaclava Festival 11/08 – Santiago, CL @ Blondie 11/10 – Santiago, CL @ Fauna Primavera 11/11 – Buenos Aires, AR @ Personal Fest 11/13 – Quito, EC @ La Ideal 11/14 – Lima, PE @ Sala Raimondi 01/17 – Los Angeles, CA @ Lodge Room 01/21 – Osaka, JP @ Bigcat 01/22 – Nagoya, JP @ Electric Ladyland 01/23 – Tokyo, JP @ O-East 02/15 – Nashville, TN @ Cannery Ballroom 02/18 – Cleveland, OH @ Mahall’s 20 Lanes # 02/19 – Detroit, MI @ El Club # 02/21 – Toronto, ON @ Danforth Music Hall # 02/22 – Montreal, QC @ Le National # 02/23 – New Haven, CT @ College Street Music Hall # 02/24 – Boston, MA @ Royale # 02/27 – Brooklyn, NY @ Brooklyn Steel # $ 03/01 – Philadelphia, PA @ Union Transfer $ 03/02 – Washington, DC @ 9:30 Club $ 03/03 – Baltimore, MD @ Ottobar 03/05 – Pittsburgh, PA @ Mr. Small’s Theatre $ 03/06 – Louisville, KY @ Headliner’s Music Hall $ 03/08 – Savannah, GA @ Savannah Stopover Music Festival # = w/ Mary Lattimore $ = w/ L’Rain Source

The interesting thing about Russian singer and composer Elza is that while her debut solo album Nothing’s Wrong, it seems that though her work is clearly in the wheelhouse of experimental indie punk, it’s clear that she has a real knack for sound design. The way this comes through, aside from her extremely clean composition, is in the very subtle ambient electronica that infiltrates almost every track on the album. While the general public waits for the album to drop on November 2, examples of this ambient sound design phenomenon are present in the first two singles off Nothing’s Wrong, “Swayed” and “Endeavor.” Apparently Elza has traveled all over the world to hone her sound, studying sound design and engineering in Tel Aviv and Vancouver before settling in Toronto. This would explain why her style on these first two singles is eclectic and bold but she clearly she also knows her way around a studio. Then there’s her voice. Stylistically, while Nothing’s Wrong straddles a number of genres, Elza’s vocals are right in that female indie niche that gave birth to phenoms like Tori Amos, Bjork and even Dolores O’Riordan. In fact, on her YouTube page Elza covered “Zombie” by the Cranberries as a tribute to the late O’Riordan. That influence can also be heard on “Endeavor,” a straight-shooting melodic ballad where the afore-mentioned ambient sound design is very subtle but also defintiely present, as it does most of the heavy lifting in carrying the track from a simple folk-style ballad to something more indie or electronic. With almost no help, the mine races with remix possibilities when listening to “Endeavor.” That’s not just a good track, that’s good sound design. “Swayed,” while still definitely weird and indie, is a little more obviously aligned with the dancefloor. With a syncopated beat and industrial-style synths, this track is also composed in a way that illicits strong emotions from the listener while also demonstrating great technical prowess. The remixes are almost built in, if one’s mind is tuned to such things. The rest of the album follows suit, with musical feet planted squarely in rock, indie and even folk but the sound design and composition containing varying levels of ambient electronica or even outright EDM. Most of the tracks on Nothing’s Wrong are aching to be remixed. It’s likely as well that since they’re produced with electronic elements and with sound design in mind, the stems would be very easy for EDM producers to work with. All this not only shows shows Elza’s expertise as an artist but that she understands the science of sound and is happy to push its limits. There’s a lot of potential here, so here’s hoping Elza sees it too and hooks up with other producers for collabs and remixes. Either way she’s one to watch and Nothing’s Wrong is definitely an album to take a good listen to, no matter what genre you prefer. Nothing’s Wrong by Elza will be released in full November 2. It will be available to stream on Spotify or to purchase on her Bandcamp page. In the meantime, “Endeavor” and “Swayed” can be streamed on Spotify and Soundcloud. . This article was first published on Your EDM. Source: New Artist Spotlight: The Highly Remixable Elza Straddles Indie Punk and Electronica Source

The ongoing rap beef between Nicki Minaj and Cardi B continues to escalate. Earlier today, Minaj used the latest episode of her “Queen Radio” Beats 1 show to call out Cardi on a number of issues, including the drama regarding their “Motorsport” collaboration. The “Chun-Li” rapper also weighed in on their now-infamous Fashion Week shoe brawl. Cardi wasted no time acknowledging Minaj’s comments, however, as she took to Instagram tonight to hit back on nearly every one of Minaj’s claims, as well as hurl new accusations Minaj’s way, as Pitchfork points out. On her radio show, Minaj claimed that, contrary to reports, Cardi was actually attacked at the Fashion Week party by Minaj’s friend Rah Ali, and not security. Minaj also offered to pay up $100,000 to anyone who has surveillance footage of their altercation. Over on Instagram, Cardi replied by calling Minaj a liar: “You lie so much you can’t keep up with your fuckin lies… First you say you’ve got the footage, but then you say you wanna pay somebody $100,000 if they give you the footage?” On the subject of “Motorsport”, Minaj said the timetable of the track’s release led to Cardi turning down another potential collaboration. The Invasion of Privacy rapper responded by airing out her grievances regarding the recording process behind “Motorsport”, specifically as it related to Minaj’s alleged convoluted re-recording of her verse. A few weeks ago, Minaj accused Cardi of payola. Cardi used some Instagram airtime to threaten legal action against her foe. “Maybe I should sue you for defamation of character since you wanna claim that I’m using something called payola,” said the “Bodak Yellow” MC, “because you don’t understand why I’m so fuckin successful.” Elsewhere in her series of Instagram videos, Cardi insisted that Minaj had leaked her phone number to fans, saying that it was no coincidence the number surfaced shortly after their Fashion Week fight. (Incidentally, Cardi showed Nicki’s own number while showing off her past attempts to contact Nicki.) Cardi also refuted Minaj’s claims that she had kept Offset and 21 Savage from partaking in various collaborations. Despite the obvious bad blood between them, the two rappers both said the feuding has them exhausted. “I’m tired of talking about it too… I’m tired of the fucking whole internet shit,” said Cardi, before inviting Minaj to potentially put an end to their fiasco. “If you really wanna talk about it, you know where to link me…. We can talk about it, or we can fight it out.” Hear Minaj’s Queen Radio episode here. Check out all of Cardi’s Instagram videos below. Minaj’s latest album, Queen, is out now. Cardi just dropped a stellar new single, “Money”, last week. Source

Donald Trump is often accused of being tone deaf, but this one might take the cake. Hours after a real-life Nazi opened fire inside a Pittsburgh synagogue and took the lives of 11 innocent people, Trump held a a hyper-partisan campaign rally in Illinois. To make matters worse, prior to Trump taking the stage, Pharrell Williams’ song “Happy” was played over the loud speaker. Now, Williams has sent a cease and desist to Trump. “On the day of the mass murder of 11 human beings at the hands of a deranged ‘nationalist,’ you played [Williams’] song ‘Happy’ to a crowd at a political event in Indiana,” wrote Williams’ attorney, Howard King. “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.” Williams has not and will not grant Trump permission to use “Happy” and doing so constitutes both copyright and trademark infringement, according to King. Williams is the not the first artist to send a cease and desist to Trump over the unauthorized use of their music. In the last few months, Prince’s estate, Steven Tyler, and The Rolling Stones have all taken similar actions. Source

Martin Garrix announced his collaboration with street performer Mike Yung a little over two months ago, and now the two’s song is finally ready to be released this coming Friday. Yung confirmed the collaboration on Twitter over the weekend, writing, “This guy @martingarrix could work with anyone. Why he chose to work with a 60 yr old like me was always confusing. But now we have a song coming out this Friday. Hopefully this shows labels I still got what it takes. Martin thank u for the opportunity and I love you man.” The track title is still unknown, as is the general sound of the single, but we’re incredibly excited for this one to drop. This guy @martingarrix could work with anyone. Why he chose to work with a 60 yr old like me was always confusing. But now we have a song coming out this Friday. Hopefully this shows labels I still got what it takes. Martin thank u for the opportunity and I love you man. pic.twitter.com/Mfa9faLzTa — MIKE YUNG (@MIKEYUNG) October 27, 2018 This article was first published on Your EDM. Source: Martin Garrix & Mike Yung Collaboration Confirmed For Release This Friday Source

Since his start on SoundCloud at 15 years old, South London native Tom Misch has come a long way, selling out Mohawk on his first visit to Austin last Wednesday. Light rain showers falling through the trees added a bit of drama to Misch’s dreamy guitar solos and stories of success and failure in romantic adventure. The writer and producer, now 23, leans heavily into the soloing mines that lie within his breezy neo-jazz, translating his intricate, genre blending beats to the stage beautifully. Photo by Anne-Marie HalovanicMisch opened the set with his latest album Geography’s opening track, “Before Paris,” which samples audio from a 2011 interview with jazz trumpeter Roy Hargrove. “Starting to try to be a musician or artist—something like that—because you wanna make money, because you wanna do a job, that’s — that’s the wrong way. You have to do this because you love it. And it doesn’t matter if you broke, you still gon’ do it. I go out in jam sessions, and I play regardless of if I’m getting a check or not.” Photo by Anne-Marie HalovanicHargrove’s words melt into Misch’s smooth, funky guitar, as he reminds us of his roots before showing off the raw, unique artistic talent that brought him from London to Austin. He builds the tempo from there, even featuring a cover of Outkast’s “Prototype,” paying homage to his hip-hop influences. Between songs, Misch rattled off guitar riffs from Biggie’s “Big Poppa” and Dr. Dre’s “Xplosive,” recalling his early SoundCloud days when he’d remix rap, playing his signature jazzy guitar over world famous bars. Show highlights included the appearance of saxophonist Braxton Cook, who brilliantly complements Misch’s energetic guitar riffs. Cook and Misch especially vibed on the dance-inducing “Day 4: Everybody Get Down,” from collab-centric EP 5 Day Mischon, which he literally created over the course of five days, laying down a new track each day. Another stand out was the violin solo in “Water Baby”—full of reverb, soul and surprising pivots that left the crowd weak. His set list balanced new tracks from Geography with his first two albums, bringing us on a journey from his SoundCloud days to his present reality of sold-out shows on the Geography Tour and high profile collabs. Photo by Anne-Marie HalovanicDespite his success, Tom seems to maintain the same low key vibe and humble ingenuity that first attracted music lovers. In a recent interview, he says he still makes music the same way he started: alone in his bedroom. His live show makes it clear that the coolness of Misch’s music comes from his short lifetime exploring musical curiosity, combining his findings in jazz, soul, hip-hop, pop and rock, creating a truly unique and versatile sound that his fans love enough to watch in the rain. Setlist: Before Paris It Runs Through Me / Losing My Way I Wish Disco Yes Tick Tock Day 4: Everybody Get Down Prototype (Outkast cover) Movie Water Baby / Crazy Dream You’re On My Mind Colours of Freedom Follow medley South of the River Encore: We’ve Come So Far, Lost In Paris, Watch Me Dance The post Tom Misch Smoothly Delivers, Even in the Rain (concert review) appeared first on Verge Campus. Source

It’s that time of the year again, Halloween’s about to hit and with halloween comes one of our favourite yearly mix segments. That is of course RL Grime‘s Halloween series. This year having hit its seventh iteration, it’s still going strong, maintaining the position as arguably the best trap/bass mix released yearly. The scare-mix toned down the overlying spook this year, but to make up for it started with the man SHAQ himself. While it may not be as dark as some of the last mixes, it’s still absolutely huge. Check it out below to get you in the mood for the spookiest of the spooky nights and tell us what you think, did he deliver on the spook, or have there been better? You can catch the man at This That Festival over the weekend and at a slew of other shows as part of his AU/NZ Tour. Source

Halloween is still a couple of days out, but all our favorite DJs have been dressing up pretty much all month long for various themed parties, festivals, and events. The Chainsmokers are barely recognizable in their improvised costumes. Diplo pulls off Hulk Hogan freakishly well. Alison Wonderland is pictured looking pretty stealth as Batman, posed next to Halsey at the pop star’s Halloween party. Steve Aoki goes elaborate with his costume and Louis the Child settle for a much more simple, yet effective peanut butter & jelly look. Unlike many of his fellow DJs, Marshmello remains masked 365 days of the year. While we were hoping he’d bust out a festive topper, he takes a minimalistic approach to the holiday by rocking a sweatshirt. But hey, he still has until the 31st to figure something else out. As Halloween swiftly approaches, no doubt there will be even more costumes to feast our eyes on. Keep scanning social media for costumes and let us know your favorite dressed up DJs! DJs Do Halloween H/T: Billboard | Photo via Rukes.com This article was first published on Your EDM. Source: Check Out Halloween Costumes Of The Chainsmokers, Diplo, Marshmello & More Source

LICK‘s latest production has sent us straight down the “Rabbit Hole,” as he eerily remixes a Chuurch and Strange Future collaboration featuring Blak Trash. With Halloween swiftly approaching, the mood is just right for this release, though LICK always thrives in the darkness. The producer takes a bass-driven approach to “Rabbit Hole,” accenting the haunting vocals and chilling atmosphere with a steady, heavy beat. Chuurch, Strange Future, and Black Trash all keep their stake as the remix plays out, but the drop is all LICK. He is careful to maintain the integrity of the original whilst pushing the vibe to the edge, revealing a bone-chilling, midtempo beast. To obsess over this remix is instinctual. There’s plenty more where this came from, as the rest of the forthcoming, mind-altering remix pack releases October 31. Check back here on Wednesday to listen as Kotek, SYN, and Cloverdale work their dark magic. Plus, hear a brand new dub remix, all via PRIME. For now, get lost in the darkness with LICK’s “Rabbit Hole” remix, which we’re beyond thrilled to premiere. Listen to his entire Halloween mix here for even more of his dark intensity. Chuurch + Strange Future – “Rabbit Hole” (LICK Remix) Follow LICK SoundCloud | Facebook | Twitter | Instagram Follow Chuurch SoundCloud | Facebook | Twitter | Instagram Follow Strange Future SoundCloud | Facebook | Twitter Follow Blak Trash SoundCloud Website Follow PRIME SoundCloud | Website | Facebook | Twitter | Instagram This article was first published on Your EDM. Source: Your EDM Premiere: CHUURCH + STRANGE FUTURE – RABBIT HOLE (LICK REMIX) Source

Guns N’ Roses will be on tour overseas when the Election Day rolls around on November 6th, but Axl Rose is making sure his vote counts in the upcoming midterm elections. The singer has mailed in his absentee ballot in California, and is urging his fans to vote Democratic. Rose tweeted a photo of what is presumably his hand holding the return envelope of an absentee ballot, with the message, “Vote Blue … Bitches!!”, followed by the following emojis: American flag, blue circle, blue diamond and blue heart. Vote Blue… Bitches!!pic.twitter.com/vciYbuvWpt — Axl Rose (@axlrose) October 29, 2018 The reclusive rock icon has made no secret of his disdain for President Trump, recently slamming Kanye West’s bizarre visit to the White House, and often criticizing Trump and members of his cabinet. Election Day is on November 6th, and Rose will certainly have a close eye on the results when Guns N’ Roses are in transit from their November 3rd gig in Monterrey, Mexico (which opens the next leg of their “Not In This Lifetime Tour”), to their November 8th show in Jakarta, Indonesia. The late fall trek runs through a December 8th concert in Honolulu, marking the first-ever time GN’R will play Hawaii. See their full itinerary here. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Since the dawn of the rave sensation in the early 1990s, producers and bands alike from down under have never failed to put their spin on club music. From the indie-electro hybrid bangers from the Presets to the summery synth-pop anthems from Sneaky Sound System, here are our top 10 Australian dance tracks. The Aston Shuffle – Your Love With lack of a better summer anthem to kick off this list, electro-house legends known as Aston Shuffle take the cake. With heavily vocoded vocals blessing a sonic breeze of snarling electro basslines and an irresistible hook, this track just gets better and better as it progresses, carrying a certain euphoric allure throughout the entire track. This track is stunning, and perfectly demonstrates the duo’s ability to create tracks that are as appropriate for top 40 radio as they are for summer festivals. Itch-E & Scratch-E – Sweetness and Light Undeniably one of the most relentless duos in the history of Australian dance music, Itch-E and Scratch-E have steadily been at it since the early 90s, formulating their own style of trance, acid house and techno. Their 1994 single ‘Sweetness and Light‘ made them a staple of Australian dance music, peaking at 65 on the Australian dance releases chart. The veterans may even remember a young Paul Mac famously accepting an ARIA award and thanking ‘Sydney’s ecstasy peddlers for this one’ PNAU – Wild Strawberries PNAU have been around since forever, and in almost two decades they have produced some of the most iconic Australian dance tracks around, from off kilter electro jams to euphoric top 40 hits. Their 2007 hit ‘Wild Strawberries’ showcases everything we love about PNAU, it’s quirky, unapologetic, unpretentious and slightly psychedelic. Taking eccentric blog-house sonics likened to Calvin Harris and The Presets and pairing them with whimsical vocals about picking strawberries, this track is a certified stunner. Hermitude – HyperParadise (Flume Remix) The dawn of 2012 was such a promising time for Australian dance music, with future bass on its way up and young producers utilising social media to break into the mainstream. Flume was undoubtedly the main breadwinner of this era, garnering world fame with two critically acclaimed full-length albums. His beloved remix for blue mountains hip-hop duo Hermitude blew up the charts some 6 years ago and has since aged like fine-wine. Consisting of a thumping 808 bass and upbeat melody alongside an ensemble of chirping vocals, this remix serves as the perfect carefree summer jam. The Presets – My People The Presets have done it all, from the dark and gritty electro allure of 2005’s ‘Beams’ and 2008’s ‘Apocalypso’, the hypnotic techno and synth-pop numbers from 2012’s ‘Pacifica’ to the quirky schizophrenic club grooves on their latest LP ‘Hi Viz’. However out of the many hits they’ve birthed over the past 13 years, it’s safe to say that the rock solid ‘My People’ qualifies as a classic. Consisting of raw distorted synth bass and a thudding tribal rhythm, Julian Hamilton’s assertive yet darkly humorous vocals are the icing on the cake. Hook N Sling – Gotta Make A Move Sydney club veteran Hook N Sling got his start as a club DJ but is by no means a stranger to the pop world. Now based in Los Angeles, the DJ and producer has had a myriad of Beatport and radio hits alike. His 2010 single ‘Gotta Make a Move‘ is built from an infectious house groove paired with a mean bassline and an irresistibly catchy vocal hook. The vocals from Californian rapper Snob Scrilla complete the picture, making for a certain club heater. Sneaky Sound System – UFO Sneaky Sound System have had a plethora of dance pop bangers, from Hip Hip Hooray to Picture and of course their possibly most widely regarded smash UFO. UFO is the stand alone classic and with the catchy pop hook mixed in with those electro heavy sounds, there’s no doubt that it became regarded as an absolute classic Aussie dance track. Cut Copy – Hearts On Fire Undoubtedly one of the most infectious tracks to be born out of the blog house craze, Cut Copy’s Hearts On Fire is a certified gem. Bearing a glossy italo-disco sheen, the track keeps getting better as it revolves through a myriad of rock solid grooves. With the advent of ‘In Ghost Colours’ being released in 2008, it serves as a perfect answer to the indie dance movement of the late 2000s. Midnight Juggernauts – Into The Galaxy Indie synthpop eccentrics Midnight Juggernauts have become a household name in Sydney after releasing a string of quirky sci-fi laced full-length LP’s to critical acclaim. Their big-time hit ‘Into The Galaxy’ definitely qualifies for this list, with an irresistibly catchy chorus and a chord progression straight out of a Ridley Scott movie. Supposedly combining modern sounds of indie rock and sci-fi movie soundscapes, Midnight Juggernauts have soundly set themselves apart from the crowd. Bag Raiders – Shooting Stars We couldn’t resist saving this gem till last. Sydney electro-pop band Bag Raiders generated their fair share of buzz back in 2010 with their self titled debut album. What we weren’t expecting though was ‘Shooting Stars’ to have a resurgence in recent years after being used in a bizarre instagram meme featuring a guy floating through the many realms of the universe. Taking a second look, that meme wasn’t so far fetched from the trippy GCI music video from back in the day. Anyway, these are only our picks from the many classic tracks from here down-under, and we could definitely go on forever naming the best tracks from years passed. There are only so many tracks you can fit into a top 10 list, what would your top 10 Australian dance tracks be? Let us know in the comments below. Source

When considering where to spend your night this week on Halloween, there are more choices than you could possibly count. But for a truly magical, once-in-a-lifetime experience, and if you already happen to be lucky enough to find yourself in Paris, then head to Disneyland. Don Diablo announced yesterday a special Halloween set at Disneyland Paris in the park’s Star Wars area. The same Disneyland Paris has been hosting its Electroland festival for the past two years, so it’s safe to say they’ve got their plans in order and the production will be similarly from a galaxy far, far away. Don seems just as stoked about the show as we are, and it’s easy to understand why. Tickets are available here. Photo via Rukes.com This article was first published on Your EDM. Source: Don Diablo Playing Special Halloween Set At Disneyland Paris Source

Artwork by Cap Blackard (Buy Prints + More) Rank and File finds us sorting through an exhaustive, comprehensive body of work or collection of pop-culture artifacts. This time, we sift through the slush pile of horror sequels and separate the terrible from the terrifying. There’s perhaps nothing more pure than a stand-alone horror movie. Well, a good one. You know, something like They Live or The Craft. But, as is often the case in Hollywood and elsewhere, if it gets that cash, it’s gonna get a sequel. We’re all so enamored with The Babadook and It Follows these days, but where would we stand on the original films after four or six more entries in either franchise? Would we like the originals better? Worse? Would it be a Nightmare on Elm Street situation, the kind where we’d think of how revered that original film would be had they never made a sequel? We’ll never know. But horror sequels sure are tempting, eh? Not just for studios, but audiences, too. No matter how blasphemous or unnecessary it might seem, we horrorhounds dutifully file into the theater to see if lightning can strike twice or, in one of those rare, rare instances, the sequel can actually surpass its predecessor. After all, there’s nothing that says Saw V has to be bad. It’s just that usually it is. But we keep going back, and as long as they keep making ‘em, we’ll keep going back. There’s something comforting about that. In celebration of All Hallow’s Eve, we decided to revisit not just our favorite horror sequels, but also our least favorite. That meant watching every horror sequel. And that, of course, meant ranking every horror sequel. Our major criteria was that the film had to have had, at least in some form, an American theatrical release. We also shaved off some years by ignoring the Universal Monsters/Hammer Films and focusing solely on every horror sequel that followed 1976’s The Omen. Again, they must have had an American theatrical release. Did we forget any? Let us know and we’ll write a sequel to this article. Don’t act like you wouldn’t read it. –Randall Colburn __________________________________________________________ 145. Halloween: Resurrection (2002) Yes, they brought back Halloween II director Rick Rosenthal. Yes, they reconstructed the original Myers house. Yes, they returned to Haddonfield, Illinois after the California detour in Halloween H20: 20 Years Later. But, they also totally dismissed the ballsy finale of its predecessor by working in an asinine Texas switch that not only turns Michael Myers into Mission: Impossible‘s Ethan Hunt but dresses down the entire character of Laurie Strode. Everything Jamie Lee Curtis’ iconic heroine accomplished in H20 — conquering her fears, dominating evil, becoming one of the strongest female protagonists in horror — is all for nothing thanks to her perfunctory death in Resurrection. Her pathetic send-off is on the level of a cheap ’90s soap opera, and once the brother and sister embrace, you start to realize how far a sequel can go in this industry before it’s just absolutely unrecognizable. Today, fans still want Resurrection officially wiped off the canon by the Akkads as they aren’t quick to forget this slimy move. Or, you know, the fact that they turned John Carpenter’s little-indie-horror-that-could into a reality television parody, complete with a lame subplot involving a Blade Runner fan, underwritten idiots, and a kung-fu loving Busta Rhymes who delivers the trailer-ready, achingly 2002 line: “Trick or treat, motherfucker.” Oy. –Michael Roffman __________________________________________________________ 144. Basket Case 2 (1990) Frank Henelotter’s sequel to his 1982 cult-classic, Basket Case, dialed back on the horror and turned up the silliness. The film finds Duane Bradley and Siamese brother Belial living in a community for other deformed individuals that comes under attack by the real monsters of the world: tabloid reporters. Basket Case features some wonderfully gooey and gory special effects, and it’s always great when the original creator comes back for a sequel, but the film lacks much of the New York sleaze of its predecessor. –Mike Vanderbilt __________________________________________________________ 143. Carnosaur 2 (1995) “Weird Al” Yankovic once sang, “Jurassic Park is scary in the dark.” Maybe Al, but this one sure ain’t. There was zero reason for anyone to even think about a follow-up to 1993’s instantly forgettable Carnosaur; it wasn’t a box office hit, it was released four weeks before Spielberg’s epic, and the critics loathed the damn thing. John Savage, what the hell were you thinking signing up for this? –Michael Roffman __________________________________________________________ 142. The Human Centipede 3 (Final Sequence) (2015) The first Human Centipede got by on novelty, the second on shock. There’s nowhere else for director Tom Six to go for the final entry in his sick trilogy. It’s not even enjoyable from an exploitation perspective. It’s just a bad film. –Randall Colburn __________________________________________________________ 141. Leprechaun 2 (1994) Long after Jennifer Aniston first ran away from Warwick Davis, the Leprechaun series would find its proper footing by becoming a collection of fish-out-of-water parables. See: Leprechaun’s Vegas Vacation (aka Leprechaun 3); Leprechaun 4: In Space; Leprechaun: In the Hood; and Leprechaun: Back 2 tha Hood. Skip: This one. –Michael Roffman __________________________________________________________ 140. Anacondas: The Hunt for the Blood Orchid (2004) Here’s a partial list of people who might get the first sequel to 1997’s critically tolerated Anaconda terrifying: fans of animation and special effects (the CGI is … something), people who know anything about wildlife in Borneo (it’ not exactly like what’s shown here), and people who have tried and failed to get their own films made while this sailed into production. And here’s a complete list of people who won’t be: people who like to be scared by horror films. —Sarah Kurchak __________________________________________________________ 139. The Human Centipede 2 – Full Sequence (2011) The metafictional device is a nice touch (the portly killer here is inspired by the original Human Centipede), but this sequel strips away all the arthouse buzz of the first film to reveal what this series really is: an ass-to-mouth-to-ass schoolyard joke that creator Tom Six can’t stop laughing at. It still stands slightly above Human Centipede (Final Sequence), if only for its grimy black-and-white cinematography and the fact that it actually manages to be shocking instead of just lazy. –Dan Caffrey __________________________________________________________ 138. Hatchet II (2010) Back in 2006, Adam Green’s throwback slasher film, Hatchet, won over a number of critics and effectively garnered a minor cult fanbase. It helped that veterans Robert Englund, Kane Hodder, and Tony Todd hopped along for the ride. Unfortunately, the wood proved too tough for Green’s second swing, and not even the addition of Halloween scream queen Danielle Harris (in lieu of Tamara Feldman) makes this dull slice of horror a cut above the… oh fuck it, you get it. –Michael Roffman __________________________________________________________ 137. The Woman In Black 2: Angel of Death (2015) No Radcliffe? No dice. –Randall Colburn __________________________________________________________ 136. The Gate II: Trespassers (1990) Tibor Takács’ original supernatural horror film, The Gate, was a neighborhood nightmare. Stephen Dorff played a precocious little boy who battled creepy crawlers from beneath the ground with a mythos that could have been drawn up on construction paper and with crayons. It’s dumb fun now, but as a kid, it was terrifying — almost a cautionary tale for why we need our ‘rents around. Takács returned three years later to helm the Dorff-less sequel, only he lost the story’s dark magic in transition. –Michael Roffman __________________________________________________________ 135. Piranha II: The Spawning (1980) James Cameron’s “directorial debut” (he started on set as the special effects director and was promoted when the original director walked, but he doesn’t feel like the final cut represents him in any way) is not a classic. It’s a less scary, less-sensical, and less self-aware follow-up to the 1978 horror satire Piranha that stars flying fish. And those fish are played by glorified wind-up toys. But it’s still arguably better than Titanic. (Editor’s Note: Take that back, Sarah! I’ll never let that go. I’ll never let that go…) —Sarah Kurchak __________________________________________________________ 134. Piranha 3DD (2012) Alexandre Aja’s loose 2010 remake of 1978’sPiranha proved to be a spirited, tongue-in-cheek parody that was less concerned with poking fun at old tropes than just straight up beating them to the ground like a rotting horse corpse. It helped that the film was chock full of familiar faces, namely Adam Scott, Elizabeth Shue, Jerry O’Connell, Ving Rhames, Christopher Lloyd, and Richard “Damn you” Dreyfuss. John Gulager’s exhaustive, excessive sequel, however, bites off way more than it can feed to the titular shitheads. Hasselhoff playing himself is a nice touch, though. –Michael Roffman __________________________________________________________ 133. Pet Sematary Two (1992) Pet Sematary Two never gets as scary as the original. (Nobody likes seeing animals dying on-screen, and let’s all admit that the spinal meningitis-afflicted Zelda is the most disturbing thing ever). Two delivers more re-animated corpses and canines, and while less depressing (and perhaps more charismatic than the original), it just doesn’t pack the same visceral punch. Though, it’s always cool to see Clancy Brown as a villain. –Mike Vanderbilt __________________________________________________________ 132. An American Werewolf in Paris (1997) Love Tom Everett Scott. Love Julie Delpy. Love the Bush remix of “Mouth”. Can’t say the same about this paint-by-numbers remake of the original film. Woof. –Michael Roffman __________________________________________________________ 131. Scanners II: The New Order (1991) Making a sequel to one of David Cronenberg’s horror masterpieces might be blasphemous, but the impulse is, in its own twisted way, understandable. The mad scientist of the art film world consistently creates such uniquely fascinating settings in his work that you can’t help but want to play in those bizarre sandboxes a little while longer. But when you try to take on a Cronenberg idea without any of the artist’s nuance or intelligence, you get Scanners II. —Sarah Kurchak __________________________________________________________ 130. Slumber Party Massacre Part III (1990) Three times the charm? Not exactly. The third go-around with the driller killer doubles down on the gore and scales back on the humor, losing what made Deborah Brock’s ludicrous second entry so much fun. Then again, by 1990, the whole slasher parody schtick was old hat, which is probably why Slumber 3 feels like a joke that’s been passed around for years. It’s also telling that this is the only entry in the trilogy not directed and written by a woman. While Sally Mattison helmed the picture, it was Bruce Carson behind the typewriter. Dammit, Bruce. –Michael Roffman __________________________________________________________ 129. Paranormal Activity: The Ghost Dimension (2015) What a wet fart this one was. After five engaging movies that peaked and dipped but never plateaued, the Paranormal Activity franchise limped toward its finish line with this dull, forgettable entry. Watch the first one, then watch this, and just try to piece together how one led to the other. The original Paranormal Activity worked because its limited budget necessitated a reliance on atmosphere over effects. The Ghost Dimension is all CGI, none of it redeemed by even a single engaging character or clever justification for the film’s found footage conceit. A wasted opportunity. –Randall Colburn __________________________________________________________ 128. The Rage: Carrie 2 (1999) The original Carrie (and the novel that inspired it) wasn’t just horrific for its creepy crucifixes, dead teenagers, and buckets of pig’s blood. The story also has genuine pathos, unearthing the crippling pain of what it’s like to get bullied both in high school and at home. But the sequel disregards all of this by turning Carrie White’s half sister into a stereotypically brooding loner. She’s not an expansion of the archetypal teenage outcast — she’s a cardboard cutout of one. “Dude, it’s her! It’s her doing it!” Turning Carrie into an afterschool special; that’s what. –Dan Caffrey __________________________________________________________ 127. House II: The Second Story (1987) Remember how good the artwork was for these movies? Anyway, while the original was a pretty fun example of a horror comedy, this one gets rid of the terror altogether. Think comedy/fantasy/western. It only worked on Brisco County. This House has bad special effects, a pleasant old timey zombie, time travel, and a lot of Arye Gross. Oh, and that is most definitely Bill Maher at a dinner party light years before his ABC show. New rules: No more acting! –Justin Gerber __________________________________________________________ 126. Rings (2017) Rings finally answers those mythology questions left dangling after The Ring 2. Or maybe it’s as pointless as any sequel we received in 2017. In this installment, we discover a new wrinkle surrounding that dastardly tape, but unfortunately we’re following a couple of leads who are hawt as HELL but could care less about. Naomi Watts isn’t the only thing missing from this movie. With so few scares the once-haunting presence of Samara may as well stay down that well forever. –Justin Gerber __________________________________________________________ Source

Last week, Ty Segall dropped off his fourth LP of the year, Fudge Sandwich. The prolific psych rocker isn’t quite ready to stash away his guitar, though. Segall is prepping to release yet another new album — this time with The C.I.A., his collaborative group with Denée Segall, his wife/frequent bandmate/photographer, and Emmett Kelly of he Cairo Gang. The self-titled record marks the newly formed band’s first-ever full-length following an obscure cassette tape that was released earlier in the year. It spans a total of 10 songs sees Ty and Kelly on bass, Denée on vocals and lyrics, and R.E. Carlos on drums. Ty recorded and produced it in full this past February. A statement describes The C.I.A. as “an encapsulation… the omnipresent fear & anger” of today. “There is difficulty, frustration, strain and a large snake,” it adds, “you can feel the pressure of it breathing on the streets, in media, and in your lunch.” (Read: The Top 25 Albums of 2018… So Far) The forthcoming album is slated for arrival in December via In the Red, but is being previewed today with the music video for “Pleasure Seeker”. The song first popped up on the group’s tape but is being re-released on the new LP. Denée talked at length about it: “In a world filled with so much anger and chaos we must find a way to escape, at least every once and a while, to an alternate reality where only pleasure exists. This realm is different for everyone and can be conjured in many ways. It can be found by walking the dog, indulging in a decadent meal with friends, or stepping out into the void and sitting in silence under the moon. I endorse and participate in all of these methods. However, there is one technique that soars above the rest. Pleasure Seeker speaks of the ultimate release. The one which is absolutely essential to life itself. Love – in any and all of the forms it inhabits. Tender or eccentric, self or shared. Each one of us seeks a pure kind of intimacy. Carnal comfort binds us all. Seek, and you shall find.” Watch below. The C.I.A. Artwork: The C.I.A. Tracklist: 01. Fear 02. Reputation 03. Pleasure Seeker 04. Gutted 05. Sedition 06. Power 07. Harm Joy 08. Oblivion 09. S.O.S. 10. Gunslinger The C.I.A. performed together this past spring, and have lined up even more dates for December. The C.I.A. 2018 Tour Dates: 12/06 – Garden Grove, CA @ The Locker Room 12/07 – Los Angeles, CA @ The Resident 12/09 – San Francisco, CA @ El Rio Source

It was a strong showing for two big rock releases on the latest Billboard 200 chart. Greta Van Fleet’s debut album, Anthem of the Peaceful Army, landed at No. 3, while Disturbed’s seventh studio disc, Evolution, came in right behind at No. 4. In terms of pure album sales, Greta Van Fleet’s disc was No. 1 for the week, topping Billboard’s Top Album Sales chart and Top Rock Albums chart. It moved 87,000 copies in its first week of release, of which 80,000 units were in traditional album sales, and the rest in streaming equivalent units. Disturbed, meanwhile, had their streak of No. 1’s on the Billboard 200 chart stopped at five albums, with every previous release aside from their debut album, The Sickness, debuting at the top spot. Evolution moved 71,000 units, with 65,000 of those being traditional album sales. This marks the first week since early July that two rock albums have appeared in the Top 5 of the Billboard 200 tally. Topping the Billboard 200 once again is the soundtrack to A Star Is Born, which moved 109,000 units, of which 61,000 were traditional album sales. At No. 2 is the collaborative effort WRLD ON DRUGS from rappers Future and Juice WRLD. Read our recent interview with Greta Van Fleet bassist Sam Kiszka here, and stay tuned for our interview with Disturbed’s David Draiman. Source

Despite deadmau5‘s declaration earlier this month that he was taking a break to seek professional help, he still has professional obligations in the music world, including an ongoing mix series on SiriusXM called mau5trap radio. It’s more than likely that this was executed by someone other than deadmau5 himself, especially considering the first 32 minutes are just the Nightmare on Rezz Street mix. The first half is followed by some tangentially creepy tunes by the likes of Feed Me, Nero, Chris Lake, Rinzen, Getter, and others. Actually, doubling down on my previous statement, it’s almost certain that this mix wasn’t crafted by deadmau5 himself – especially considering the glaring lack of commentary from Joel. However, it’s still a great mix to throw on for Halloween week as it continues. Check it out below. Photo via Rukes.com This article was first published on Your EDM. Source: Deadmau5 Drops New mau5trap Radio Episode For Halloween Source

As the vinyl resurgence rolls on, the format has been home to reissues of a number of notable vintage horror soundtracks, from Goblin’s Dawn Of The Dead score to the original soundtracks of Halloween‘s 4 and 5. Now, George Romero’s seminal Night Of The Living Dead is getting the same treatment, with Waxwork Records releasing the film’s complete soundtrack for the very first time in any format. (Classic Film Review: Night of the Living Dead Will Scare the Hell Out of Every Generation) Much of the film’s music was thought to be lost or destroyed, reads a press release, but Waxwork’s spent the last three years working with the independent production company behind the film to locate it in its entirety. The result is a 180-gram double LP on “Ghoul Green” colored vinyl that’s packaged with brand new artwork by Robert Sammelin, never-before-seen production photos, and two pairs of liner notes by The Shape Of Water writer Daniel Kraus and Night Of The Living Dead‘s dialogue recorder and sound engineer, Gary Streiner. Enjoy a taste of the score below. Waxwork is also releasing the score to Netflix’s hit series, The Haunting of Hill House. Scored by The Newton Brothers, the creepy, piano-driven music comes packaged on 180-gram “Haunted” green-and-blue colored vinyl with printed inserts and production stills. Both editions are due out this Wednesday, October 31st. Source