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Look, Justin Bieber grew up in a bubble where all of his worst, most juvenile behaviors were encouraged and justified by a parasitic gang of cash-hungry heels. As such, what’s normal to us is strange and even frightening to him; it’s why he treats fans like animals and disregards tasteful displays of fashion, religion, courtship, and urination. Sure, this can make him and the tremendous weight of his influence seem disquieting, if not downright terrifying. But it can also offer us a vital glimpse of someone with no fear of consequence. Bieber’s net—stitched together from wealth, fame, and muscle—is so vast that no fall is to be feared. He can literally do anything. This became abundantly clear earlier today when a photo of Justin Bieber eating a burrito alone on a park bench went viral. Bieber’s burrito is completely unwrapped, and the pop star is not eating the cylindrical bundle of meat, cheese, and vegetables so much as he’s feeding on it like a pig from a trough, his white, capped teeth sinking into its soft, slightly moist middle. The internet is losing its shit over this photo, asking if Bieber simply doesn’t know how to eat a burrito. It’s not an unfounded response, and it’s very likely that Bieber is so disconnected from reality that he approached the meal like Rick Moranis approaches a slice of pizza in Ghostbusters. “Yes, have some,” Bieber probably said when handed the burrito. does….justin bieber not know how… burritos work ? pic.twitter.com/WWKP2ttARe — Ryan Bassil (@ryanbassil) October 25, 2018 Really, though, aren’t all the best parts of a burrito in its center? That flavorful, texturally rich amalgamation of salt, fat, acid, and heat? Aren’t the first few bites of a burrito just mouthfuls of flour anyway? If you’re not worried about staining your disgusting hobo clothes, why not eat a burrito this way? Anyways, leave him alone. And listen to him alongside Chance The Rapper and Quavo on DJ Khaled’s “No Brainer”. Source

Praise the Trap Gods, because RL Grime and Alison Wonderland are going b2b for the first time ever! This makes for just another reason to hit up ODESZA‘s first-ever Sundara destination festival in Riviera Maya, Mexico. As if we already didn’t have enough reasons to want to go… RL Grime and Alison Wonderland, each with their own respective sets. RÜFÜS DU SOL, Jai Wolf, TOKiMONSTA, Golden Features and more. Oh yeah, and ODESZA. “Yo [RL GRIME], do you wanna b2b with me at [Sundara]?” Wonderland posed the question. Considering there was already art made up, it was a really a done deal from the start. “Down,” Grime responded. Sundara music festival takes place March 13 – 16, 2019. More details here. This is going to be legendary… RL Grime b2b Alison Wonderland Yo @RLGRIME do u wanna b2b with me at @sundarafest pic.twitter.com/fl1M1wCsez — your body is (@awonderland) October 24, 2018 Down — RL GRIME (@RLGRIME) October 25, 2018 still can’t believe I am going to be playing a b2b set with rl grime — your body is (@awonderland) October 25, 2018 This article was first published on Your EDM. Source: RL Grime b2b Alison Wonderland Is Going Down At Sundara [DETAILS] Source

Yesterday, Kat Katz, vocalist for Agoraphobic Nosebleed, announced via Facebook that she would be leaving the grindcore band after seven years, stating that she was “tired of being bullied by dudes” and that she hopes to find a project that “respects me and treats me as an equal.” That development was shocking enough, but the situation is now threatening to explode into a full bore he said/she said war of words. At first, the other members of the band issued a statement through their own Facebook page that read: “We’ve had some disagreements with Kat about how we should interact in the band, and as a result she quit. We wish her well with music in the future.” Today, the band went even deeper, publishing their side of the story that led to Katz’s departure. The long account, published below, cites an incident that took place after an Agoraphobic Nosebleed show at last Saturday’s Quebec Deathfest that blew up into an angry exchange of emails and culminated in Katz tendering her resignation: “If you watch footage from Agoraphobic Nosebleed’s Quebec Deathfest set from Saturday October 20, you’ll see a band of four people completely harmonious and happy to be preforming music together. Katherine Katz has been with us in ANb since around 2007-2008 and we have been fortunate to work with her. Since that time, Kat has always been treated with respect as a person and as an artist and every bit as an equal to any other member of the band. In fact, an entire EP (Arc) was written specifically for her artistic aesthetic in which she could revisit the slower, doomier music she has always loved. We transitioned ANb into playing live in 2014 because of her and Rich’s desire to do so. Kat and I have been in discussion more than any other members over the direction of the new cd. This is not to say we haven’t had minor fights here and there, because we have. No different than any other band. After the show around 3:30 a.m. on October 21, we all loaded the Uber with our gear to meet back at the hotel. John was taking the gear in the Uber and the rest of us were to walk and meet him there to unload. When we got there, Rich and I realized Kat had not arrived with John in the Uber. We texted her to find out if she needed help or was just off doing her own thing. After loading the gear into the hotel, she still hadn’t responded, so we all felt that we had to go back and look for her in the event something did happen to her. I texted and called her once or twice more in case her phone was buried somewhere, and she couldn’t hear the notifications—but I received no reply. Returning to the club, John, Rich, and I found no one who knew where she was. After 45 minutes or so she replied that she was fine and that she was helping some person who was having an apparent mental emergency. I told her that we were worried about her and that she should have told us what she was doing. I yelled it actually, because we were genuinely concerned and had mobilized to go find her. The rest of the evening was spent in silence. The next day flying home Rich also expressed how angry he was that Kat had trivialized his (and our) concern to another person earlier that morning. A couple of days later, Kat wrote an email to the entire band, explaining that she understood our concern but that she was an independent woman and didn’t appreciate being treated unequally from other members, even claiming that we wouldn’t have been so worried about any other band member in a similar situation. The email thread went back and forth between all members until Kat finally felt that she was being ganged up on, and she quit the band. No pejorative words were used. No disrespect was conveyed. We have always loved Kat as an artist, and as a person, and have valued her role in the band. We wish this could have been worked out in another way. But we certainly wish her well. These are the events as they happened. We yelled at Kat during this time not because she’s a woman, it’s because we had no idea what happened to her, had cause for concern to find her, and when we eventually found her and expressed that we were upset, she regarded that as an attack and felt bullied. Which, while maybe unpleasant because emotions were running high, it most definitely was not. We are not trying to devalue that she feels we all ganged up on here and we are sorry for how that developed, but it was only out of concern for her and trying to get her to understand that concern.” Katz has yet to respond to the above band statement or publish her account of the events that led to her leaving Agoraphobic Nosebleed. We will update you when and if that happens. Source

HARD Day of the Dead returns this year for the first time since 2015 and to its original venue at LA State Historic Park, making for a wild night with even more wild music. A bit different from the typical HARD lineup, this year’s Day of the Dead festival features just two stages: a Live stage and a DJ stage. On the Live stage, attendees can bear witness to the final Justice live show of the decade, Die Antwoord, Knife Party, Cashmere Cat and more. On the DJ stage, you’ll be able to catch more underground acts like Lee Foss b2b Felix da Housecat, Rybo b2b Lubelski, Dateless, and more. If you’re on the fence for whatever reason, let Your EDM help you out: enter the contest below for the chance to win two GA tickets to the festival on November 3! The more actions you complete, the better your chances of winning. Enter below. Photo via Tony Nungaray for Insomniac Events This article was first published on Your EDM. Source: Win a pair of tickets to HARD Day Of The Dead with Justice, Die Antwoord, Knife Party, and more Source

Run out of ideas for an unforgettable Halloween weekend this year? Look no further than Las Vegas. The city that never sleeps is the perfect destination for any holiday weekend, but things get truly spooky on All Hallow’s Eve as OMNIA, Hakkasan, JEWEL, and 1OAK welcome top-tier DJs from around the world. The week is already starting tonight at Hakkasan with Illenium, but events are going on all the way through to Halloween night! Check out the full lineup below. For more information and to purchase tickets for Halloween weekend, click here or visit hakkasangroup.com. JEWEL Nightclub Friday, Oct. 26 DJ Drama Saturday, Oct. 27 Steve Aoki Monday, Oct. 29 | Halloween Celebration blackbear OMNIA Nightclub Friday, Oct. 26 Main Club: Martin Garrix Heart of OMNIA: Lucky Lou Terrace: Mikey Francis Saturday, Oct. 27 Main Club: Zedd Heart of OMNIA: Bamboozle Terrace: Sammi Tuesday, Oct. 30 | Halloween Eve Main Club: Zedd Heart of OMNIA: Crooked “Wild At Heart” presents a special edition, “Eat Your Heart Out” with a $5,000 costume contest Terrace: DJ Mondo Wednesday, Oct. 31 | Halloween Celebration Main Club: Steve Aoki Heart of OMNIA: DJ Dash Terrace: Pedi Hakkasan Nightclub Thursday Oct. 25 Main Club: Illenium Friday, Oct. 26 Main Club: NGHTMRE Saturday, Oct. 27 Main Club: Kaskade Ling Ling Club: DJ Dash Sunday, Oct. 28 | Halloween Celebration Main Club: Borgore 1Oak Nightclub Friday Oct. 26 DJ Karma Saturday, Oct. 27 DJ Shortkutz Wednesday, Oct. 31 | Halloween Celebration Lil Uzi Vert This article was first published on Your EDM. Source: Hakkasan Announces Massive Halloween Week Lineup In Las Vegas Source

It’s thumbs up from Ozzy Osbourne, as far as his health is concerned. The Prince of Darkness suffered a nasty staph infection in his right thumb, forcing him to undergo multiple surgeries and postpone the last four shows of the fall North American leg of his No More Tours 2 trek. But now, the metal legend says he’s got a clean bill of health. Just a few days ago, Osbourne told Rolling Stone he “could have been dead” had he not been treated in a timely manner. But today, Osbourne posted a video message on Twitter today assuring fans he’s in good health. “Hi everyone, I just want to take this opportunity to thank you all for your concern,” he said. “My thumb is fully recovered now. I am looking forward to seeing you all this New Year’s Eve at The Forum with Ozzfest. It’s gonna be great. Be there. Can’t wait to see you. I need to rock ‘n’ roll for you!” Checking in pic.twitter.com/inuXXdRI5Z — Ozzy Osbourne (@OzzyOsbourne) October 25, 2018 The show Ozzy mentioned is the recently announced Ozzfest New Year’s Eve concert at The Forum in Los Angeles. As previously reported, the show at the indoor arena will feature Ozzy, Rob Zombie, Marilyn Manson, Korn’s Jonathan Davis and Body Count. And today, the lineup for the event’s outdoor second stage was revealed, with Zakk Sabbath (the Black Sabbath tribute act led by Ozzy guitarist Zakk Wylde), DevilDriver and Wednesday 13 warming up the fans as they enter the venue. JUST ANNOUNCED OUTDOOR 2ND STAGE LINEUP@ZakkSabbath@DevilDriver@Wednesday13 Tickets on sale TOMORROW! More info on #OzzFest coming soon pic.twitter.com/0eyGflnm3G — Ozzfest (@TheOzzfest) October 25, 2018 As for Ozzy’s postponed tour dates, those have been rescheduled to take place in July 2019. 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

A new track from XXXTentacion and Lil Pump, produced by Skrillex, with features from Swae Lee and Maluma is out today. The song comes four months after XXXTentacion, real name Jahseh Onfroy, was shot and killed in an alleged attempted robbery. The song, “Arms Around You,” features a tropical, dance hall beat and smooth vocals. While it’s usually fairly easy to place Skrillex’s production influence on a track, this one is a bit more difficult. Though, perhaps the cleanliness of the production is evidence enough, even without his telltale vocal chops. The song was teased by Skrillex yesterday in a since-deleted tweet that tagged all the track’s partners, as well as co-producers Mally Mall and Jon FX. Preview the track below. Photo via Rukes.com This article was first published on Your EDM. Source: New Song By XXXTentacion & Lil Pump, Produced By Skrillex Out Today Source

Robyn returns tomorrow with Honey, her first LP in eight years. We’ve previously heard the long-gestating title track, as well as album opener “Missing U”. Now, in conjunction with the Adult Swim Singles program, the Swedish pop star has shared another new track, “Human Being”. (Read: 10 Ways Pop Star Robyn Was Ahead of Her Time) Robyn’s Swedish counterpart Zhala joins her on the song, a measured, tender track that finds the singer yearning for connection. “Where to go/ The streets are so cold,” she pleads. “Stay in my arms/ Dance with me.” Hear it below. Honey arrives tomorrow, October 26th, via Interscope and Konichiwa. See the single’s artwork below. Source

The Lowdown: Eight years after their last release, post-hardcore experimentalists Daughters return with an LP that deconstructs their sound and reanimates it into a whole new sonic monster. Building off the groove and melody that informed their self-titled 2010 album, the four-piece expands and darkens the tonality, utilizing guitar effects and keyboards that sound even more alien than before. Groove remains a common element, but many tracks eclipse five minutes with moderate tempos, minimalist industrial instrumentation, and punishing drum work. Vocalist Alexis SF Marshall adds an element of Nick Cave to a delivery that already echoes Jesus Lizard’s David Yow. The Good: “City Song” immediately announces You Won’t Get What You Want as unafraid to tread new ground. It’s slow, cold, and noisy, and it nicely sets up the clangorous, mid-tempo “Long Road, No Turns”. “Satan in the Wait” follows with more dissonance, a sludgy bass line, and a twist: a melodic passage that sounds like bells run through effects pedals. The band’s brand of whirring guitars and breakneck speed doesn’t make an appearance until the fourth track, “The Flammable Man”, but it hasn’t lost a step. “The Reason They Hate Me” is the most straight-ahead banger of the 10 songs, and “Daughter” delivers off-kilter, warbling, reverberating effects whose range is emblematic of the album at large. The Bad: By the penultimate, seven-and-a-half-minute “Ocean Song”, the album’s elongated structures are a bit fatiguing. Marshall’s discordant yelps and spoken-word narratives are unique but one can’t help but yearn for some singing as a respite or contrast. The Verdict: Despite the layoff between albums, Daughters have reinvented themselves once again. The sounds that guitarist/keyboardist Nick Sadler gets out of instruments are unparalleled, and his frenetic fret work — though utilized much less often on this album — also has few contemporaries in style. Fans hoping for a repeat of the accessibility and groove of the self-titled album or the spasticity and rawness of earlier albums might be disappointed, but You Won’t Get What You Want is a brave and excellent addition to Daughters’ discography. Essential Tracks: “Long Road, No Turns”, “Satan in the Wait”, “The Flammable Man”, “Less Sex”, “Daughter”, “The Reason They Hate Me” Source

The Pitch: Ready, Freddie? He’s a Killer Queen. Gunpowder, gelatin. Dynamite with a laser beam. Guaranteed to blow your mind, anytime! This is 20th Century Fox’s Bohemian Rhapsody, a dramatic account of the life and times of Freddie Mercury and Queen. At least, as much as the band will allow it to be about Mercury over Queen. See, this was produced by surviving Queen members Brian May, Roger Taylor, and the band’s manager, Jim “Miami” Beach. Gwilym Lee is guitarist Brian May (permed and puppy-eyed), Ben Hardy is drummer Roger Taylor (baby-faced and hot-headed), Joseph Mazzello is bassist John Deacon (present). And Freddie is played by Rami Malek of Mr. Robot, with all the mercurial display one might expect. Bohemian Rhapsody is a reel of the good times, rolling. The band’s run from 1970 to 1985 is chronicled, as we see Queen form and eventually perform at Live-Aid. No personal origin stories. No sight of Mercury’s lesser-known suffering. Songs are made, montages pass the time, and the butchering of Queen classics occurs. Bohemian Crapsody: Fade-in. The crowd booms. The credits begin to roll. Mercury is luxuriously framed in behind-the-back tracking shots. Intrigue accumulates. Executive Music Producer credits for Brian May and Roger Taylor share screen time with cute images of Freddie Mercury’s cats. Cigarettes. Stoli. Branded band crates with instruments and microphones, shot in pornographic close-up. Wembley Stadium. It’s the day of Live-Aid, summer ‘85. Why else would there be all this teasing? It’s the big one. Freddie is still followed, a spry creature in a tank top with studded belts (arm and waist). He takes the stage, and the film cuts back: “1970.” Good lord, another one of these? There’s a tacky little word one can throw around for movies like this, but it’s so fitting: clichéd. Bohemian Rhapsody is like watching 40 years of musical biopic tropes in brief, shortened and scrubbed and marketed within a bank-friendly PG-13 presentation. Wikipedia-level beginnings, band consternations and growth, excess and artistry losing its way only to find itself again in a big, final moment and/or concert. Freddie walks up to the band to join. In-studio sparring leads to creative genius. Record executives and music critics pooh-pooh their sound, but it doesn’t really matter when they sell out shows globally. All this, of course, is recalled through over-edited, over-shot montages, scored with painfully obvious and popular Queen (often chopped to bits). They travel to “MIDWEST USA” or “RIO,” intercut with bus shots and payphone patter while “Bohemian Rhapsody,” “Killer Queen,” and other chart-toppers flail on the soundtrack. Freddie’s budding homosexuality and identity? Window dressing, and innuendos lit in red. The band maintains animus with Fred’s bullish vision, but all the while completely support and accept his greatness. Anti-drama, one might call that. Fred’s partying ways get screen time, with impromptu bacchanals, rococo ‘80s house decor, crowns and royal shoulder pads and all that. But it’s still shallow and simplistic, and at times curiously scrubbed of the drugs and excess one could get in, you know, an R-rated movie. That might feel more Queen. (Which: would it have killed this movie to avoid using leather-clad gay men solely for texture, and actually consider them as people? Food for thought.) Hey Brian May? Ray Charles, Loretta Lynn, Johnny Cash, NWA, and Dewey Cox called. They want their movies back. This movie isn’t the wacky, tacky, prog-and-glam revelry that is Queen. It’s processed pop music. Greatest Shits: What’s the point of playing ball with the band to get licensing for all the best songs, if you’re going to chop them to shit? The blame can be shared around, but the use of Queen here is frustrating, and even crass. The song creation montages undercut the glory of Queen by never allowing the songs to be played in full, or with enough oomph while the band keeps dissecting and negotiating. “Bohemian Rhapsody” is teased, drawn out, shown in pieces, and even book-ended with record stooges bemoaning that it will never work. All the side business is so distracting that you forget the band was trying to make a full album in these moments. The movie wants the song. That’s it. Even the Live-Aid medley, the film’s big finale that bluffs fidelity, cuts corners. A whole song is missing. That ought to sit well with Queen-fiends. Additionally, the award for lamest film moment of 2018 may go to this film. When Freddie goes in to be tested for AIDS, and is given the bad news, the film sets all this to the band’s Highlander theme, “Who Wants to Live Forever.” A directorial, musical misfire. The angelic, golden-lit lugubriousness of it is now under consideration for new camp. The Verdict: Where to begin with this record scratch of a biopic? Formally, it’s bursting with director Bryan Singer’s propensity for “cool”/impractical shots. This baffling need to over-shoot grows monotonous, from the digitally assisted shots of the camera flying under chairs to the trips behind piano keys to the copious insert shots of Freddie’s damned cats. Letting the hits play could have done away with all that needless overcompensation, but what’s done is done. A pricey, showy presentation can’t make up for a bargain story in Bohemian Rhapsody. To get a sense of the kind of obvious, middle-of-the-road vibe the film curates, look to credited, final writer Anthony McCarten. An Oscar nominee for big biopics like The Theory of Everything and Darkest Hour, the movie is delivered in the exact style of those formers. Drama, easy facts about the band, more drama, Freddie’s genius (!), yet more drama, climax, credits full of information about what happened to the band. No flavor necessary; the names carry the burden of excitement and intrigue. Bohemian Rhapsody is another lame music biopic, and its failures ultimately lie in the poor creative choices, the gutless approaches to potentially explosive events in the life of this band. We’re not buying this new album. There’s no new material to be found in Bohemian Rhapsody Where’s It Playing?: Everywhere on November 2nd. Or, hear us out – you can listen to all of Queen’s hits now, online. Yes, for free (less the ads), you could avoid Bohemian Rhapsody for $15 plus parking, and enjoy “Bohemian Rhapsody” online right this second, and have a much better time. You can even replay it. In full! Trailer: Source

Natalie Portman knows a thing or two about the terrors of the stage. (After all, she won an Oscar for it back in 2011 with her turn in Darren Aronofsky’s incredibly unnerving Black Swan.) That’s why we’re confident she’ll bring some appropriate gravitas to Vox Lux. Directed and written by Bradley Corbet, the film follows two sisters, Celeste (Portman) and Eleanor (Stacy Martin), who triumph over a mutual childhood tragedy by going on to create pop music together. Now, as a 31-year-old mother, Celeste must confront new evils, from scandals to another terrifying act of violence. Joining Portman and Martin is an A-list cast that includes Jude Law as Celeste’s manager, Jennifer Ehle as her publicist, and Willem Dafoe as the film’s narrator. Legendary songwriter Scott Walker composed the film’s score and pop wunderkind Sia also penned the original songs on the soundtrack, which Portman sung herself. So, things should get pretty interesting between Sia and Gaga come Oscar time. Watch the first trailer below. Catch the film on December 7th. Source

This story was originally published in October 2016, Back in 1978, John Carpenter’s Halloween was an urban legend, a movie so scary that audiences were screaming their heads off in theaters across America. But the critics loved the film, a distinguishing hallmark from its hack-and-slash contemporaries and one that would make its co-writer and director something of an auteur. It was also an unprecedented commercial smash. Grossing over $40 million on a shoestring budget of $320,000, Halloween changed the game for independent filmmaking, proving a brand-new, small-scale distributor like Compass International Pictures could reign supreme over the box office and subvert the studio system. Naturally, Hollywood took notice and capitalized on the film’s success, launching a mad dash of slasher movies that didn’t have anywhere near the imagination or skill that Carpenter brought to the table. That goes for the Halloween name, too, which has since been trick or treated to death with sequels, remakes, and reboots. Even still, Halloween remains a landmark for the horror genre. “Not since Psycho had there been a horror movie that powerful,” Rob Zombie, who offered his own spin on the franchise (twice, in fact), told MovieMaker. “John Carpenter basically reinvented the wheel.” Of course, any reinvention requires ingenuity, patience, and craft. For Carpenter, the New York-born filmmaker learned his craft at the University of Southern California’s film school (where he was just ahead of George Lucas), whose alumni also included screenwriter John Milius (Apocalypse Now), Robert Zemeckis (Back to the Future), and director Randal Kleiser (Grease), among many others. At USC, students were required to make a lot of movies, which sharply honed their technique, and Carpenter’s influences were classic directors like Howard Hawks, who came from an era where directors were craftsmen, not artistes, and who knew how to deliver unpretentious entertainment on schedule and on budget. By 1970, Carpenter stepped into the industry after co-writing, editing, and scoring John Longenecker’s The Resurrection of Bronco Billy, which nabbed an Oscar in 1971 for Best Live Action Short Film. This would lead to his 1974 debut, Dark Star, a counterculture spoof on 2001: A Space Odyssey that he co-wrote with Dan O’Bannon. Although Dark Star quickly came and went, the film developed a cult following, enough that Carpenter was able to follow it up with his 1976 thriller Assault on Precinct 13. Again, the film didn’t catch on amid its initial release, but it did draw a select circle of fans and brought Carpenter further into the spotlight — or more specifically, Halloween. Irwin Yablans, who founded Compass and served as its president, caught Assault on Precinct 13 and felt Carpenter was the perfect choice to helm the company’s debut film. His idea revolved around babysitters being stalked at night, and when Carpenter and his late co-writer and producer Debra Hill began writing, Yablans suggested it take place on October 31st. For the setting of Halloween, Hill drew on her hometown of Haddonfield, New Jersey, which was transformed into the fictional small town of Haddonfield, IL, and like many great horror stories, it takes place in a Bradbury-esque environment that could more or less be your neighborhood. “I wanted a Midwest, sleepy town,” Hill explained. “The idea of pulling off the veneer and seeing what lies beneath intrigued me. What’s so interesting to me about horror movies is they take place in small towns where they don’t have a huge police force. [Laughs.] You put the story in a sleepy town, really beautiful homes, nice full trees, it seems safe. “You think nothing could go wrong there and nothing could be further from the truth. Every town has a secret, every town has that lore of something that went horribly wrong with it. What inspired me was Rear Window where you pull off the veneer and have a peek inside each of the apartments. The idea of pulling off the veneer and what lies beneath has always intrigued me.” Carpenter was paid $10,000 and 10% of the profits to direct and co-write Halloween, and as long as he stuck to its 20-day schedule and budget, Yablans agreed to give him final cut. Similar to classic directors of Hollywood’s past, Carpenter even wanted his name above the title, which would make his name synonymous with the cinematic terror. “John was a little ahead of his time,” says Tommy Lee Wallace, who edited Halloween and worked with Carpenter on a number of his films. “Branding is all the rage now, and I just think John was working very hard to set himself apart and create a brand for himself.” In creating Laurie Strode, Carpenter and Hill once again drew from Howard Hawks, whose films had strong roles for women. “You can’t separate the political milieu from the movies,” Wallace adds. “This was a time that women were asserting their rights like never before, and Debra was a very assertive woman. No way she was going to have a weeping violet type as her heroine.” At Hill’s request, a young Jamie Lee Curtis was cast as Laurie in what would become her feature film debut. “Jamie is very much like Laurie,” Hill explained. “She’s very introspective, very complicated. There are many interesting facets to Jamie, and there’s a very beautiful innocence that the business still hasn’t ruined.” With Laurie being the good girl of the group, Carpenter and Hill unconsciously created the classic horror rule that if you have sex, you die. It’s unclear which critic first pointed this out, though it might have been Pauline Kael, who wrote that the killer “has no trouble picking off the teenager who fools around; only Laurie has the virginal strength to fight back.” “It was never a conscious decision,” Hill said. “The people who mentioned that in reviews applied their own morality to it. I thought they were being ridiculously introspective about a film that was meant to have no social statements.” Carpenter agrees, saying, “It wasn’t my intention to make a moral point. I just hadn’t thought of it. The other girls were busy with their boyfriends, they were busy with other things. Laurie had the perception because she’s not involved in anything. She’s lonely, she’s looking out the window.” “We wanted to make Laurie a strong character who was very willful and feared nothing,” Hill says. “Someone who was quiet yet defiant and faced the enemy. Laurie had an inner strength you didn’t see on the outside.” For the role of Dr. Sam Loomis, Carpenter wanted a British actor and reached out to Peter Cushing and Christopher Lee. When both veterans turned him down, Yablans suggested they try to secure Donald Pleasance, who would go on to forge an alliance with Carpenter and also the franchise, playing the role four more times. “We liked him so much, we made him the President in Escape from New York,” Hill joked, adding: “I think because of his wonderful use of the English language he gave extra importance to John’s writing about the personification of evil.” Indeed, Pleasance delivers one of the most haunting moments in the film, specifically when he explains to Charles Cyphers’ bemused Sheriff Brackett why Michael Myers must be apprehended before it’s too late: “I met this six-year-old child with this blank, pale, emotionless face and the blackest eyes, the devil’s eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized that what was living behind that boy’s eyes was purely and simply evil.” Creating that evil was a separate task altogether, and it was Wallace who brought that “blank, pale, emotionless face” into the horror lexicon. As the story goes, he initially picked up two masks, one being a Captain Kirk mask that he had spray-painted white and fiddled around with the eyes and hair. The other? A traditional, boring clown mask. “There was no question that once the Captain Kirk mask came out, it was really unsettling,” Wallace says. “We knew we had what we needed. I think all you had to do was look at that mask and say, ‘Something is desperately wrong here and I’m scared.’” Much of that fear also could be credited to the immediacy of Halloween. The film begins with a bravura moment of cinema, where a long camera take tracks a young Michael Myers into his house, where he commits his first murder. The entire sequence was made possible by the use of a Steadicam, which at the time was becoming an important tool in cinematography. “This was a new technology that we, by the seat of our pants, learned to use,” says cinematographer Dean Cundey. “There was nowhere to learn yet. John wanted to do something for the opening shot that took advantage of it and that would be completely new and innovative that you couldn’t do with conventional camera shots.” “I’ve always admired long tracking shots in the opening of movies,” Carpenter says. “Touch of Evil immediately comes to mind, and there’s one in the original Scarface. An acquaintance of mine had made a short film that was all one take, and it was really an engrossing way of moving the camera through an environment.” Once again, it was Hill’s idea to bring on Cundey, who would continue to work with Carpenter on The Fog, Escape from New York, The Thing, and Big Trouble in Little China and later lens seminal blockbusters like Back to the Future, Jurassic Park, and Apollo 13. Although Carpenter wasn’t established yet, Cundey felt he was making a big leap in his career. “Working with John was a revelation because suddenly here was a guy who was interested in using the camera in a creative way, drawing the audience in,” Cundey says. “I thought, Boy, this is just my cup of tea, where the camera is contributing and you’re telling the story with visuals.” Another clever trick was how Cundey and Carpenter would start with wide shots and gradually move in tighter, closing in on the audience until they felt like they too were trapped in the closet with Laurie. It’s a calculated motif that further proves Carpenter had a strong command over his craft, though he argues that Halloween was more of a stylistic exercise for him. “That’s all we had,” he says with a laugh. “We only had the style because we had a very slim plot: An escaped lunatic comes back to this town and starts killing these babysitters. A lot of horror can live or die on visual flourish. Horror requires mood and tempo, it’s a little trickier, and usually you’re suspending some sort of ridiculous premise that you have to make people believe in.” A big part of that magic trick required a stellar score, and similar to Psycho, Rosemary’s Baby, and The Exorcist before it, Halloween would have one — though, it would come much later. “It’s a separate task,” Carpenter says, arguing that he doesn’t think about music while shooting. Hill, however, believed that Carpenter scored the film in his mind during shooting. Perhaps subconsciously, but in actuality, the film was completed long before the score was even composed. It wasn’t until Carpenter screened an early cut of the film for an executive at 20th Century Fox that he realized he needed to “save it with the music.” And so, he did just that by holing up at Sound Arts Studios in Los Angeles for a couple of weeks. “I had the theme already written for years,” Carpenter says. “It was just something I’d tinkered out on the piano. I played 5/4 time on an octave on a piano, that’s all it was. I hadn’t necessarily applied it to Halloween, it was just sitting there and I thought, Oh, I’ll use this. That works okay. I’m not an accomplished composer of symphonies, I just do basic, straight-ahead, riff-driven music.” Halloween opened on October 25, 1978, in Kansas City, Missouri. Like so many low-budget films of the ’70s, the film didn’t have a wide release as independent distributors would traditionally “bicycle” prints around the country regionally. Although the film would open early in Southern California and New York, Yablans recalls that Halloween slowly grew out of the Midwest. It took so long for the film to break that Carpenter didn’t even know Halloween was a hit until Avco Embassy offered him a multi-picture deal as he was filming Elvis — his first of many collaborations with Kurt Russell. This opened the door for him to make both The Fog and Escape from New York, two titles that would join forthcoming Avco cult classics like Phantasm and The Howling. “Low-budget horror films were dormant, slightly sleeping at the time,” Carpenter says. “Halloween revived this ‘Let’s go to the movies and have fun’ idea. Lots of screaming, lots of grabbing your dates, lots of laughter afterwards. Word of mouth just kinda grew as people saw it. It was a very, very limited release, so in that sense it was amazing.” In addition to being a major crowd-pleaser, Halloween received strong reviews from the major critics as well. Newsweek called it “a superb exercise in the act of suspense” and “the most frightening flick in years,” while the late Chicago Sun Times critic Roger Ebert named it “an absolutely merciless thriller.” Halloween would go on to make $40 million in its first run, which would be somewhere in the vicinity of $200 million today, clearly a major return on its $320,000 investment. Pale imitators like 1980’s Friday the 13th followed the film’s step-by-step road map, especially its pseudo ‘no sex rule,’ and managed to rake in almost as much at the box office ($39.7 million). Once Hollywood heard the cash registers ringing, even more inferior slasher movies followed for several years, and they killed teenagers in various different ways and spilled gallons of gore because they couldn’t compete with what made Halloween truly special: Carpenter’s skill and vision as a filmmaker. As recently as this summer, Carpenter remarked on the knockoffs, telling Bret Easton Ellis: “Friday the 13th, I feel, affects me as very cynical. It’s very cynical movie-making. It just doesn’t rise above its cheapness. I think the reason that all these slasher movies came in the ’80s was a lot of folks said, ‘Look at that Halloween movie. It was made for peanuts and look at the money it’s made. We can make money like that.’ So they just started cranking them out. Most of them were awful.” Suffice to say, Halloween will be the only slasher film to reside in the Library of Congress. It was inducted in 2006 and picked from over a thousand titles. At the time, Steve Leggett, the staff coordinator for the Registry, explained: “Halloween launched Carpenter’s career and started the slasher genre. Some people may say that’s good or bad, but it’s really a good film.” Ten years later, after being preserved for future generations, that statement still holds true. “The audience recognized the value of Halloween,” Cundey says. “The fact that they empathized with the characters, and even subconsciously appreciated the visual storytelling, it was very rewarding to see that happen as opposed to a lot of the films I’ve worked on, which were sort of projector fodder for the drive-ins that would disappear after two or three weeks.” “Halloween was a blast,” adds Carpenter. “It was just a bunch of kids making a movie.” “We were young, hungry, and not yet jaded or cynical about the industry,” Hill concluded. “We were kids playing in the most exciting sandbox on the planet.” Subscribe via iTunes | Spotify | Google Play | Stitcher | Podchaser | RSS Source

KSHMR is currently on a North American tour making his next stops at Cemetery of Sound, Escape: Psycho Circus then LA Exchange for Halloween night. Along his tour we got a moment of his time to talk about his music journey and his latest releases. photo credit KSHMR As electronic music enthusiasts listening to reggaeton is not on the top of our playlist. Sure, it is fun in the clubs but for the first time KSHMR has created a future reggaeton single title, ‘Good Vibes Solider’, that we can enjoy anytime of day. He blends melodic house elements with classic reggaeton break downs, making for a blissed out single that will hopefully convert those “reggaeton-or-die” people to like electronic music too. Take a listen and hear about it from Niles Hollowell-Dhar himself, the Berkeley native. Niles Hollowell-Dhar photo credit KSHMR How did the collaboration with Head Quattaz for ‘Good Vibes Soldier’ come about? Good Vibes Shoulder ft. Head Quattaz The idea originally started with Vini Vici, I thought it would be a psy trance idea but when they sent back their version, it morphed into what you’re hearing now and they got the rapper on it. It’s really out of my realm style wise but I love the song so much, I wanted to put it out. In the end, Vini Vici aren’t credited producers but they definitely co-produced and made a psy trance remix that’ll be amazing. Can you talk about the creative process for the track (i.e. what helped you decide on this particular instrumental…)? Co-produced/worked on it in person with HQ or worked remotely? I wanted to do something inspiring and worldly sounding. I started with the African vocal that’s now the chorus of the song. I sent it to Vini Vici and they sent it back with a didgeridoo and that became the center piece and made it really special. With ‘Good Vibes Soldier’, as with a lot of your music, you maintain a very distinct sound. What genres did you draw on most to create this particular song? The genre is open ended here. I think of it like the world cup and a song that would be associated with that. Something that sounds like it brings nations together. Do you have any plans to work with Head Quattaz again soon? I didn’t get a chance to meet them but I hope so. What inspires you when you are creating, generally? Is there anything in particular that you draw upon when crafting tracks? Particular styles of music? I do enjoy getting inspired by movie soundtracks. It can give you inspiration to make something that leads to seeing a story in your head, which is important to me and dance music. At what point did you realize that you wanted to pursue music? Was it a decision to pursue dance music specifically, or did that happen along the way? When I started out, I made hip hop and then I ghost produced for a friend and found some success there. What sort of message or vibe do you hope to leave fans with through your artistic expression? I hope to inspire a journey that you go on when you listen to my music. Hearing this music from different parts of the world, getting feelings and emotions that you wouldn’t normally feel. To be transported, that’s what I hope people feel. What have been some of your favorite shows, or music moments, thus far this year? This year I would say the show at Parookaville in Germany was really special because I delivered the live performance where we have a 7 piece band of brass, strings, and other orchestra instruments and presented for the first time the new story about a giant that falls from heaven. Do you have more new music on the way soon? Yes, my next song is called Magic and it will come out soon. Magic KSHMR Listen to a teaser of ‘Magic’: How did you go about conceptualizing ‘The Giant Story’? Is this kind of artistic creativity something that you have always been interested in? Can we expect more of this? Crafting the story has been something that I’ve done since my very first show. So yes I will keep doing it. Which stop on ‘The Giant’ tour are you particularly looking forward to? Why? I’m excited about my show in DC and I’m excited to bring it to India come next year. Catch KASMR’s smooth and explosive sets along The Giant Tour that runs at least until the New Year. Pre-order ‘Magic’ and stay up with his latest via his social media handles linked below. KSHMR Tour Follow KSHMR: Facebook | SoundCloud | Twitter | Instagram The post How KSHMR’s Music is Bringing the World Together [Exclusive Interview] appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

The Stone Roses returned in 2016 with “Beautiful Thing”, their first single in over two decades. The following year saw the English alt-rock pioneers hit the road for a reunion tour. Now, frontman Ian Brown is plotting a comeback of his own: He’s prepping to release Ripples, his first solo album in 10 years. Due out March 1st, 2019, the LP serves as the long-awaited follow-up to 2009’s My Way. Brown self-produced and wrote a majority of Ripples, as well as created the artwork and played most of the instruments heard throughout the record. Part of the LP was also a family affair — his sons have co-writing credits on three songs and provided additional instrumental contributions. The forthcoming solo effort was recorded in Liverpool and “enhanced” at London’s Abbey Road Studios before undergoing mixing by longtime collaborator Steve Fitzmaurice. Of the 10 tracks, there are covers of Barrington Levy’s “Black Roses” and Mikey Dread’s “Break Down The Walls”. As a first look at Ripples, the 55-year-old Brown has shared the jaunty lead single, “First World Problems”. An official music video is said to be on the way soon. Ripples Artwork: Ripples Tracklist: 01. First World Problems 02. Black Roses 03. Breathe and Breathe Easy (The Everness of Now) 04. The Dream and the Dreamer 05. From Chaos to Harmony 06. It’s Raining Diamonds 07. Ripples 08. Blue Sky Day 09. Soul Satisfaction 10. Break Down the Walls (Warm Up Jam) Source

Mumford and Sons have shared another new track from their forthcoming fourth studio album Delta. On the heels of the first single, “Guiding Light”, the band premiered “If I Say” on Zane Lowe’s Beats 1 Radio show Thursday. “If I Say” is one of the English folk rockers’ slow-builders, drums and guitars patiently layering themselves on thicker and thicker as the song climbs towards a crescendo. Only this time, the track is embellished with cinematic string arrangements from British composer Sally Herbert. As one of the Sons, Ben Lovett, told Lowe, the song actually came to him in a dream. “I was actually asleep in an apartment in New York and I dreamt the song,” he said. “And then I went into my bathroom and recorded it on my voicemail at 3:00 AM. And I sent it to everyone the next morning and they were like, ‘Yeah, okay. That’s a song.'” Take a listen to “If I Say” via the lyric video below. "It's a dream song." New @MumfordAndSons!#IfISay is the #WorldRecord. Listen with @zanelowe. https://t.co/pMgEvFZPy4 pic.twitter.com/Ue0WmpZSiV — Beats 1 (@Beats1) October 25, 2018 Delta is out November 16th via Gentlemen of the Road/Glassnote Records. Mumford and Sons will head out on a 60-date world tour supporting the release beginning the same day. For a behind the scenes look at what the concerts will be like, revisit Lovett and Ted Dwane’s appearance on Kyle Meredith with… below. Listen and download via iTunes | Google Play | Stitcher | RSS Source

Origins is a new music feature that asks an artist to look deep into the influences behind their latest single. Next year will mark the 40th anniversary of Pink Floyd’s seminal record The Wall. Yet even four decades after the concept album tackled alienation, division, and the failure of authority figures, the themes remain all too relevant. That’s why Magnetic Eye Records has spent the last year and a half putting together an impressive roster of an artists to contribute to a complete reimagining of the record they’re calling The Wall [Redux]. Due out November 9th, the tribute features contributions from the likes of The Melvins, Pallbearer, Greenleaf, Mark Lanegan, and others. Former Kyuss and The Obsessed member Scott Reeder also contributed, taking a dark and lonely turn on “Is There Anybody Out There”. The track finds The Wall’s protagonist, Pink, trapped behind a wall of his own design, questioning his decision to lock himself away and wondering what exists on the other side of those bricks. Reeder highlights this isolation in the rattling guitar and hollow sounds of the opening, giving way to pensive strings and a melancholy guitar, giving us all space to think about the damage that comes from separating ourselves by giant walls — psychological or physical. Take a listen below. Pre-orders are going on now. Find the complete tracklist with all the contributors beneath Reeder’s detailing of the Origins behind his take on “Is There Anybody Out There”. The Wall: The first band I loved when I was first gaining consciousness was the Beatles, around 1967/68. The thing that stuck out for me was the vocal harmonies — they seemed to be delivered from a magical, divine force that they had somehow tapped into. It wasn’t until Pink Floyd released The Wall that I got that same thrilling feeling that these musicians were truly tapped into a whole other level. I first bought it on 8-track cartridge, and I’d spend hours in the headphones, dissecting every note, every sound, or just letting go and getting lost in it’s sonic glory. When I left for school, I’d often leave the tape looping through the headphones, and I’d sit in class daydreaming of being in my room listening inside those Koss headphones. To this day, it’s my favorite album of all time. Paying Tribute, Or Desecration?: “Is There Anybody Out There?” is such a weird, but simple piece. It repeats that painful question a few times, and the iconic arpeggiating guitar line takes it home. I thought about doing a gratuitous bass line weaving through the guitar bit, maybe on fretless… but it seemed trite, and took away from the feeling of isolation. It felt better not to mess with the formula too much. I did a few ambient tracks with my Warwick 8-string bass going through a Whammy pedal, rising and falling to add to the tension building. The vocals go by so fast in the original – I added a few tracks instead of just going for the synth. I was stoked to bust out my trombone, too, for the first time since the 1984 Olympics (I played in the opening and closing ceremonies)! Isolation: Harry watching over Scott Reeder’s ranch The emotions in “Is There Anybody Out There?” and throughout Pink Floyd The Wall are so, so heavy. Maybe it spoke to me at age 15 because of losing my father so young? My family relocated to the desert shortly before, and I was pretty alienated for awhile, not knowing a soul in my new surroundings. I tried LSD at 16, way before beer or weed, which felt like it brought me more inside the music, but didn’t do much for easing the alienation, haha! My dream had always been to make music, and I was lucky to fall into the punk scene and start playing music with a few from a very small group of somewhat-like-minded individuals. It felt like we were a tiny group of misfits back then in the early ’80s — it’s crazy how things spread from playing to five people at a house party, to playing to a field of 100,000. Really weird. I completely love my wife and the critters at our ranch, and I love my friends to death; but I still prefer quality time with just a couple of people, over having big parties, ANY day. The isolation of our ranch allows both, though — I can go from quiet reclusive weirdo to crazy party host… but I really enjoy the quiet right now, mostly. Mass Shootings Crept Into The Ambience: Rocky enjoying a gunshot-free moment A big part of the vibe in the original piece is simply the ambience, holed up in a motel room on a desolate highway zoning on the TV, with a neighboring crying kid at the end. I instead wanted to portray the isolation that one can feel out here on our ranch, so I recorded some sounds around here. Some major mass shootings had just happened, including the horrific Las Vegas one — gun regulation was a huge, divisive issue boiling over at this moment, and I wanted to touch upon it in some way, as well. One night I was on the porch with my dog Rocky, and there were gunshots in the distance going off, so I grabbed my phone and started recording… Rocky was huddled next to me whimpering, while our Great Pyrenees Harry was out by the horses barking at the guns. Perfect. The swarm of flies in the transition is actually bees taking over a kiddie pool for the dogs. My Chihuahua Scooter was the homage to the screaming kid at the end… I feel just a little bad yelling the “Shut up!” overdub to cut her off on the recording, as she passed less than two months after this recording… I’m very stoked she’s on it, though! She made a great background vocalist, along with Rocky and Harry! The Wall [Redux] Tracklist: Side A 1. In the Flesh? – The Melvins 2. The Thin Ice – Low Flying Hawks 3. Another Brick in the Wall, Pt. 1 – Ghastly Sound 4. The Happiest Days of Our Lives – Sergeant Thunderhoof 5. Another Brick in the Wall, Pt. 2 – Sasquatch 6. Mother – ASG Side B 1. Goodbye Blue Sky – Mos Generator 2. Empty Spaces – Domkraft 3. Young Lust – The Slim Kings 4. One of My Turns – Worshipper 5. Don’t Leave Me Now – Spaceslug 6. When the Tigers Broke Free – Year of the Cobra 7. Another Brick in the Wall, Pt. 3 / Goodbye Cruel World – Greenleaf Side C 1. Hey You – Summoner 2. Is There Anybody Out There? – Scott Reeder 3. Nobody Home – Mark Lanegan 4. Vera – Ruby the Hatchet 5. Bring the Boys Back Home – Sunflo’er 6. Comfortably Numb – Mars Red Sky Side D 1. The Show Must Go On – Open Hand 2. In the Flesh – Solace 3. Run Like Hell – Pallbearer 4. Waiting for the Worms – WhiteNails 5. Stop – Blue Heron 6. The Trial – Church of The Cosmic Skull 7. Outside the Wall – Yawning Man Source

Ariana Grande has announced the first leg of a world tour in support of her latest album, Sweetener. “The Sweetener World Tour” kicks off in North America in March and runs through the middle of June. Check out the full schedule below. Additional tour dates, including an international leg, will be announced shortly. Tickets for the dates announced today go on sale beginning Thursday, November 1st at 10:00 a.m. local time. You can also grab them here. Ariana Grande 2019 Tour Dates: 03/18 – Albany, NY @ Times Union Center 03/20 – Boston, MA @ TD Garden 03/22 – Buffalo, NY @ KeyBank Center 03/25 – Washington, DC @ Capitol One Arena 03/26 – Philadelphia, PA @ Wells Fargo Center 03/28 – Cleveland, OH @ Quicken Loans Arena 03/30 – Uncasville, CT @ Mohegan Sun Arena 04/01 – Montreal, QC @ Bell Centre 04/03 – Toronto, ON @ Scotiabank Arena 04/05 – Detroit, MI @ Little Caesars Arena 04/07 – Chicago, IL @ United Center 04/10 – Columbus, OH @ Schottenstein Center 04/12 – Indianapolis, IN @ Bankers Life Fieldhouse 04/13 – St. Louis, MO @ Enterprise Center 04/15 – Milwaukee, WI @ Fiserv Forum 04/17 – St. Paul, MN @ Xcel Energy Center 04/18 – Omaha, NE @ CHI Health Center 04/20 – Denver, CO @ Pepsi Center 04/22 – Salt Lake City, UT @ Vivint Smart Home Arena 04/25 – Edmonton, AB @ Rogers Place 04/27 – Vancouver, BC @ Rogers Arena 05/30 – Portland, OR @ Moda Center 05/02 – San Jose, CA @ SAP Center 05/03 – Sacramento, CA @ Golden 1 Center 05/06 – Los Angeles, CA @ Staples Center 05/10 – Los Angeles, CA @ The Forum 05/14 – Phoenix, AZ @ Talking Stick Resort Arena 05/17 – San Antonio, TX @ AT&T Center 05/19 – Houston, TX @ Toyota Center 05/21 – Dallas, TX @ American Airlines Center 05/23 – Oklahoma City, OK @ Chesapeake Energy Arena 05/25 – New Orleans, LA @ Smoothie King Center 05/28 – Tampa, FL @ Amalie Arena 05/29 – Orlando, FL @ Amway Center 05/31 – Miami, FL @ American Airlines Arena 06/04 – Raleigh, NC @ PNC Arena 06/07 – Nashville, TN @ Bridgestone Arena 06/08 – Atlanta, GA @ State Farm Arena 06/10 – Charlotte, NC @ Spectrum Center 06/12 – Pittsburgh, PA @ PPG Paints Arena 06/14 – Brooklyn, NY @ Barclays Center 06/18 – New York, NY @ Madison Square Garden Source

Days after Instagram announced added integration into its stories with SoundCloud (after already integrating with Spotify), Instagram parent company Facebook is now doing the same with its own stories, as well as adding a music section to users’ profiles. The integration is meant to flex Facebook’s recent partnership with the three major labels, Sony, Warner, and Universal, as a way to grow its musical footprint. Adding music to your user profile is a lot like choosing a specific song to play on your MySpace page so many years ago. Users must manually choose which song to feature on their profile at any given time, as there’s currently no support for “currently playing” functionality with any streaming service. The second update involves adding music stickers to Facebook Stories, which works in exactly the same way that it does for Instagram which added the functionality back in June: search for songs, pick out the part you want to share, and add the sticker with the artist and song name. Finally, Facebook is looking to compete against Tik Tok with Lip Sync Live, which it is expanding to Pages. Verge notes this would be of most use to artists as they promote recent singles. As teenage use of Facebook wanes, hopefully these new integrations will help keep some of the younger generation engaged and logging in. via Verge This article was first published on Your EDM. Source: Facebook Adds Music For Profiles and Stories Source

Marilyn Manson has a new playlist to rock out to, and it contains his own hit “The Beautiful People”, along with songs by Nine Inch Nails, Deicide, Drowning Pool … and Britney Spears, among other acts. Oh, and it’s comprised of music that’s been used by U.S interrogators at detention centers around the world. Harper’s magazine just published an excerpt from the recently released tome The Penguin Book of Hell, which offered a list of songs that have been used by U.S. officials to interrogate inmates at detention centers at Guantánamo Bay, Abu Ghraib, Bagram, and Mosul. Joining Manson’s “The Beautiful People” on the list of songs “played repeatedly at maximum volume” are Nine Inch Nails’ “Somewhat Damaged”, Deicide’s “Fuck Your God”, Drowning Pool’s “Bodies” and Queen’s “We Are the Champions”, along with Britney Spears’ “… Baby One More Time” and Christina Aguilera’s “Dirrty”. And for maximum aural torture, there’s Barney and Friends’ “I Love You Song” and The Meow Mix Theme. Manson himself caught wind of the list, posting the clipping on Twitter as “My new playlist”. My new playlist pic.twitter.com/RWNq9qVxPV — Marilyn Manson (@marilynmanson) October 24, 2018 Most of this is not new info, as a number of these songs have been revealed over the years as tracks repeatedly played by U.S. military officials in attempts to get information out of detainees. But seriously, who doesn’t want to listen to “We Are the Champions” all day? That’s not torture, that’s motivation! Tour Update: Nine Inch Nails Behemoth's Top 5 Songs Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Alice in Chains' Top 5 Source

In 2010, Robyn released Body Talk, and mainstream pop around the world was forever changed. Or rather, American pop eventually changed. It seems Robyn had to take eight years away to allow for US pop and indie music to catch up to her in terms of empowering, expansive inclusiveness; stripped-down, electronic complexity; and general coolness. Which means, it’s the perfect time for Robyn to finally return with her sixth album, Honey. In the decade since the 39-year-old Swedish artist released new solo work, Robyn has definitively shifted from pop star to pop icon. Even while living predominantly out of the spotlight, her music has continually found new audiences and grown in cultural consciousness — from the classic “Dancing on My Own” featured in a memorable scene on Lena Dunham’s Girls to her collaborations with indie and house acts like The Knife, Teddybears, and Röyksopp. Listeners have long connected with her unadorned delivery of complicated emotions, lyrical specificity of heartbreak, and subversion of pop forms to reflect reality. And, through it all, there’s the triumphant catharsis of dancing through the tears, whether in the communal anonymity of the club or alone in your room. Since striking out from the mainstream pop machine, Robyn has created according to her own intuitive timetable. But this latest project was further delayed by the huge personal losses Robyn experienced: the breakup with long-term partner Max Vitali and the sudden death of close friend and collaborator Christian Falk. Between 2014 and 2016, Robyn says, there were times when she couldn’t even get out of bed. She stayed away from her home city of Stockholm to cope, clubbing in Europe and Los Angeles, where she was inspired to make music again upon hearing minimalist electro track “XTC” by DJ Koze. When she went back to work, however, she did it alone for a long time. She taught herself production. She abandoned traditional pop-song structure with beginnings, middles, and ends. She submerged in her club-kid roots, dancing on her own to disco, funk, house, and techno — before surfacing through the deep filter of her life, loves and losses. As we wait for Honey to finally drop this Friday, we look back at 10 ways that Robyn was way ahead of her time. _______________________________________________________ Source

It’s been 25 years since the world fell in love with Mrs. Doubtfire. Since then, the 1993 blockbuster has taken on a rather bittersweet aura due to Robin Williams’ tragic passing in 2014, but that didn’t stop the film’s co-stars from getting together to mark the occasion. On Wednesday night, Pierce Brosnan, Lisa Jakub, Matthew Lawrence, and Mara Wilson reunited for a dinner that fortunately didn’t end with Bond choking from pepper. Jakub, who played the eldest Hillard sibling, captured some of the night on Instagram: Naturally, they’ve all kept busy: Lawrence appeared on an episode of Girl Meets World not too long ago and recently got engaged to professional dancer Cheryl Burke; Jakub retired from acting in 2001 and has since published two books, 2015’s You Look Like That Girl and 2017’s Not Just Me; Wilson has maintained a successful voice acting career, starring in Bojack Horseman and Big Hero 6: The Series; and Brosnan recently returned for the musical sequel, Mamma Mia! Here We Go Again. Get even more nostalgic by revisiting their performances in Doubtfire below in what’s arguably the most stressful scene in comedy history: Source

The Pitch: Based off Firing Point, a novel by writer Don Keith and retired military commander George Wallace, Hunter Killer brings together three separate stories — an undersea mission to investigate a vanished American submarine, led by Captain Joe Glass (Gerard Butler); a Navy SEAL team’s observation of a Russian marine base; and a coup by Russian defense minister Dmitri Durov (Mikhail Gorevoy) against the country’s president (Alexander Diachenko). By instigating strategic attacks on both American and Russian ships, Durov hopes to trigger a war which, suffice to say, neither country wants. The mission, which our heroes are quick to accept, involves saving the Russian president from the closet where he’s hogtied and loading him onto Glass’ submarine. After all, this is a Gerard Butler movie, and if there’s one thing we’ve learned from Gerard Butler movies, it’s that there’s only one man who can save us. That man? Gerard Butler. Meat and Potatoes: It doesn’t get more straightforward than this. Any nuance to be found in Keith and Wallace’s book is excised in Arne Schmidt and Jamie Moss’ by-the-numbers screenplay, which intentionally treats matters of international warfare and foreign relations with kid gloves. There are no shades of grey in this story; rather, there is the carefree convenience of having a lone baddie upon which to lay the entirety of this potential World War. Butler’s Glass, meanwhile, is both supernaturally confident and incapable of ever being wrong. Longstanding international tensions are swiftly cast aside in the name of decency and preservation, with the Russian president transformed from an uneasy adversary to a willing ally; never once is his character colored by the country’s status as an authoritarian state. The naivete of it all would be adorable, were our current president not presently bending over backwards to impress murderous dictators. The Crew: Character feels like a nuisance in Schmidt and Moss’ screenplay, a curious development when the story’s coasting on training wheels. Linda Cardellini‘s NSA analyst is a mom; Zane Holtz‘s Navy SEAL is bad at his job; Common’s rear admiral is…very serious? Oscar winner Gary Oldman is also here to advocate war and remind people this is “not a time to pussy around.” And Butler’s Glass? Well, he’s been on some crazy, scarring missions, but don’t expect to hear much about them. Don’t expect to learn much about his crew, either, who exist solely to protest his unconventional, haphazard methods and unearned sense of trust and be subsequently humbled when everything works out as planned. This Is An Action Movie, Right? It is, and Hunter Killer‘s best moments undoubtedly come during its moments of peril. Director Donovan Marsh achieves a few genuinely tense sequences, whether in Glass’ attempts to outmaneuver guided missiles, a vessel slowly buckling under the pressures of the deep sea, or a seemingly futile gun fight. That said… Hope You Like CGI: Shitty CGI, too. You can nearly see the pixels in the opening sequence, in which Marsh’s camera scans over and under polar ice caps to reveal the goofy-looking subs beneath. Aside from some pointless POV imagery, there are no memorable pictures or captivating flourishes in which to indulge. The Verdict: Hunter Killer has thrills, but they’re of the cheapest variety. The message is wide-eyed, but pandering, and the threats narrowed to such an absurd degree that the inevitable kill shot is as hollow as it is satisfying. Marsh’s nuts-and-bolts approach to plot allows for a propulsive urgency, but it’s hard to care when everyone onscreen is reduced to dialogue that feels robotic in its functionality. It’s easy to get lost in the zig-zags of the movie’s endless missiles; it’s harder, however, to care where they land. Where’s It Playing? Hunter Killer docks on U.S. screens on October 26th. Trailer: Source

Since release his latest album, Age Of album, this past June, Oneohtrix Point Never has still been steadily rolling out new music. The experimental producer born Daniel Lopatin gave us The Station EP in July, and now, he’s prepping another collection of previously unheard material. Titled Love in the Time of Lexapro, the EP contains a pair of new songs and alternate versions of two Age Of tracks. The two all-new offerings are “Thank God I’m a Country Girl” and “Love in the Time of Lexapro”. The latter title track has been an audience favorite on Lopatin’s Age Of tour, but has never been properly recorded and released until now. There’s also a rework of Age Of’s “Last Known Image Of A Song”, helmed by veteran Japanese experimental musician and composer Ryuichi Sakamoto (The Revenant), as well as a new rendition of Age Of highlight “Babylon” featuring additional contributions from (Sandy) Alex G. (Read: Top 25 Albums of 2018… So Far) In the lead-up to the EP’s release on November 23rd, Lopatin has shared the mesmerizing title track. Take a listen below. Check out a live version, filmed in Japan last month: Love in the Time of Lexapro Artwork: Love in the Time of Lexapro Tracklist: 01. Love In The Time Of Lexapro 02. Last Known Image Of A Song (Ryuichi Sakamoto Rework) 03. Thank God I’m A Country Girl 04. Babylon (Alex G & OPN) In related news, Lopatin recorded a session for KCRW’s Morning Becomes Eclectic while accompanied by his MYRIAD ensemble. He performed Age Of cuts like “The Station”, “Ray Cats”, “Toys 2”, “Black Snow”, and “We’ll Take It”, as well as R Plus Seven selection “Chrome Country”. Lopatin also offered up a live in-studio version of “Love in the Time of Lexapro”. Tune into the whole thing below. Source

On November 2nd, Bohemian Rhapsody, the long-awaited Freddie Mercury biopic starring Rami Malek, is set to finally open in theaters. To coincide with its release, Vinyl Me, Please has announced a deluxe vinyl reissue of the 1975 Queen album, A Night at the Opera. Vinyl Me, Please’s “Essentials” record for November, the Night at the Opera reissue comes pressed on 180-gram “multi-color galaxy vinyl.” Packaging includes a heavyweight gatefold tip-on jacket with foiling. The reissue was recut at London’s famed Abbey Road Studios, according to a statement from Vinyl Me, Please. (Read: New Scientific Study Confirms the Obvious: Freddie Mercury Had an Unparalleled Singing Voice) Following its initial release, A Night at the Opera went on to earn Queen multiple Grammy nominations (Best Pop Vocal Performance, Best Arrangement for Voices) and further cemented the band’s placement in rock music history. The album, of course, birthed the iconic hit “Bohemian Rhapsody”. In Vinyl Me, Please’s own words: A Night At The Opera is stylistically nimble, genre-curious, eager to chase every spark of an idea with a can of gasoline. Like few other bands before or since, Queen understood how to weave everything they loved — opera, prog rock, showtunes, Dixieland jazz, arena rock, etc. — into a cohesive and singular sound. On this album, they found their voice and it turned out their voice was a choir. Check out a pic and unboxing video for the reissue. More details about the reissue can be found here. Check out the final trailer for the Bohemian Rhapsody biopic. Source

Nobody likes a clown, especially not Diddy. The hip-hop veteran, who’s also been known to go by Puff Daddy, Brother Love, and simply Sean Combs, stopped by The Ellen DeGeneres Show early Thursday morning, where he was welcomed with a surprise Halloween treat: Pennywise the Dancing Clown. During their conversation, DeGeneres mentioned she heard a rumor that he was afraid of clowns, to which Diddy argued: “No. Impossible. I’m a black man. I have so many other things to be fearful of. A clown is not gonna scare me.” Well, that’s not exactly true. Shortly after, Pennywise popped up from underneath a nearby table, sending Diddy flying. Being a good sport, he danced it off, adding, “You know, I woke up this morning and I said, ‘I want my life to be full of surprises.’ You really affected my street cred with that.” Don’t worry, Diddy. Even Richie “T. Mouth” Tozier has a fear of clowns. Watch the clip below and be sure to subscribe to The Losers’ Club, our weekly Stephen King podcast, that’s currently trudging through all 1,200 pages of It. Source