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Long before he became a Hollywood big shot, Ben Stiller was in a band with three high school friends called Capital Punishment. When Captured Tracks uncovered the avant-garde punk group’s sole album, Roadkill, they immediately set about putting together a reissue. The label also reunited Capital Punishment for the first time in 35 years to record some bonus material for the release, and the group ended up delivering a whole new EP, This Is Capital Punishment, due out on Record Store Day Black Friday, November 23rd. Today, the band is sharing the track that led them to push forward with a full EP, a remake of the Roadkill standout “Confusion”. The original intention was to just put this one new song on the Roadkill reissue, but everyone enjoyed it so much that This Is Capital Punishment was born. More sinister, tighter, and all around more competent than the 1982 original, take a listen to the updated “Confusion” below. This Is Capital Punishment also features four completely new tracks. Find the artwork and tracklist below. This Is Capital Punishment Artwork: This Is Capital Punishment Tracklist: 01. Confusion 02. Drumming Out Time Inside Me 03. Hot Love 04. Grey And Illuminate 05. Shannon Rose Source

Static-X have just announced that the surviving original lineup of the L.A.-based industrial metal band have reunited and will be releasing a new album in spring 2019 that will feature the final recordings of late frontman Wayne Static. And the group will be hitting the road in 2019 to play those songs and to celebrate the 20th anniversary of their debut disc, Wisconsin Death Trip. The new record, titled Project Regeneration, brings together guitarist Koichi Fukuda, bassist Tony Campos, and drummer Ken Jay, as well as the group’s longtime producer Ulrich Wild, and will have Static’s vocals mixed in with contributions from a bevy of guest stars. According to a statement from Campos, Al Jourgensen of Ministry, David Draiman of Disturbed, Ivan Moody of Five Finger Death Punch, and Burton C. Bell of Fear Factory, among others, have expressed interest in lending their talents to the sessions, but it’s too soon to say who will be on the finished album “due to everyone’s crazy schedules.” “We had a lot of material to work with… several demos that Wayne left behind, as well as some really great isolated vocal performances from some nearly finished songs,” Campos said. “Together, we have been writing and crafting something very special! In the end, we expect this album to be between 12 and 15 brand-new Static-X tracks. It’s the original lineup back together for all the right reasons.” According to Campos, the band is concentrating their booking efforts on the U.S. right now but plan to expand the tour to the rest of the world soon enough. And he promises it will be a fitting tribute to their late bandmate, including “huge LED walls, big sound and lots of production.” “We feel very grateful that we have such a loyal fan base that misses the band, and misses Wayne, and I know that Wayne would appreciate all the heart and effort that we are putting into this,” Campos said. “I’ve had some very heartfelt discussions with Wayne’s family about doing this. They were very touched by the amount of love and effort that we have put into this new album and they have given us their full support. Having the blessing of Wayne’s family means the world to us! I know in my heart that Wayne would be very proud!” A pre-order campaign is already underway for Project Regeneration, which includes an option to have your name listed in the liner notes of the album, as well as several bundles and some older merch brought out to commemorate the anniversary of Wisconsin Death Trip. A preview clip, which features new music, can be seen below, with more information at Static-X.org. Wayne Static, whose birth name was Wayne Richard Wells, died in 2014 as a result of mixing various prescription drugs and alcohol. He was 41 years old. Source

Anyone who’s uploaded to SoundCloud in the past five years knows the pain of submitting an entirely on-the-books remix and having it taken down for apparent copyright infringement when no such thing has taken place. It’s been one of SoundCloud’s greatest challenges, getting its algorithm to catch up with human detection. Now, SoundCloud is partnering with Dubset technology to clear remixes faster and enable monetization for creators and rights holders. The partnership will directly target DJ mixes at first, kicking off with an invite-only beta program for specific remixes. It will allegedly extend the program to “include full DJ sets over time.” “Music culture is constantly evolving, and what’s next often can’t be found on mass streaming services,” said Kerry Trainor, Chief Executive Officer, SoundCloud. “We are excited to partner with Dubset to continue developing ways to attribute rights for remixes and other innovative content on SoundCloud.” “SoundCloud is where content creators live. It is the most important platform on the planet for creators and the ultimate partner for Dubset,” says Stephen White, CEO Dubset Media Holdings. “Mixes and remixes not only establish incremental new revenue for artists and composers, they have proven over and over to be powerful music discovery growth tools, consistently driving growth in plays of the original track as well. We are very excited to bring Dubset’s clearance capabilities to SoundCloud’s users.” Dubset specializes in “identifying the use of original recordings within remixes, samples, mixes, assigning full rights to the original rights holders and claiming all revenues from the new content for those artists and composers,” all of which falls in line with SoundCloud’s goal of allowing as much music as possible to be uploaded within the rights of creators and rights holders. Hopefully the beta runs smoothly enough that it is expanded to all creators. via SoundCloud This article was first published on Your EDM. Source: SoundCloud and Dubset Partner To Clear Remixes Even Faster For Creators Source

Cardi B has returned with a new single called “Money”, which marks her first solo release since dropping her landmark debut album, Invasion of Privacy, back in April. Take a listen to “Money” below. In the lead up to “Money”, TMZ reported that Cardi B’s team was debating whether she should address her ongoing tiff with fellow NYC rap queen, Nicki Minaj. On “Money”, Cardi B makes no specific mention of Minaj, but her boastful lyrics are obviously intended with one target in mind: “Sweet like a honey bun/ Spit like a Tommy gun/ Rolly on 101/ Come get your mommy some/ Cardi at the tip-top, bitch/ Kiss the ring and kick rock, sis.” The release of “Money” comes ahead of a series of upcoming live shows for Cardi B, which mark her return to the stage following the birth of her daughter Kulture in July. In the coming weeks, she’s scheduled to headline Rolling Loud Los Angeles, Long Beach’s Tropicalia Fest, and Mala Luna Music Festival in San Antonio. If you’re not a fan of hip-hop, fret not: Cardi B can also be enjoyed in ASMR form. Source

With Gorillaz’s Humanz tour winding down, mastermind Damon Albarn is looking ahead to his next project. As we noted late last week, Albarn has reactivated his supergroup The Good The Bad & The Queen for the release of a new album called Merrie Land, which is set to arrive on November 16th. Below, you can stream the album’s title track, which also serves as its first single. The Good, The Bad & The Queen, which features Albarn alongside The Clash’s Paul Simonon, The Verve’s Simon Tong, and Fela Kuti drummer Tony Allen, released their self-titled debut album way back in 2007. Albarn has called the long-awaited follow-up record “an ode to the North of England,” one which he worked on with David Bowie producer Tony Visconti. Merrie Land Tracklist: 01. Merrie Land 02. Gun to the Head 03. Nineteen Seventeen 04. The Great Fire 05. Lady Boston 06. Drifters & Trawlers 07. The Truce of Twilight 08. Ribbons 09. The Last Man to Leave 10. The Poison Tree The Good The Bad & The Queen have also begun to map out a supporting tour in promotion of Merrie Land. Next week, they’re scheduled to appear on Later… with Jools Holland, which they’ll follow up in December with a run of UK shows. The Good The Bad & The Queen 2018 Tour Dates: 12/01 – Blackpool, UK @ The North Pier 12/02 – Glasgow, UK @ SWG3 12/04 – London, UK @ Hackney Arts Centre 12/05 – London, UK @ Hackney Arts Centre 12/06 – London, UK @ Hackney Arts Centre Source

Do you like scary movies? You’re not alone. Not since the ’80s has horror felt so ubiquitous. Turn on the television, head to the theaters, or reach for a book, and odds are you’re going to find something spooky. Even better, most of it’s pretty damn great. Mike Flanagan’s delivered a rare Netflix masterpiece in The Haunting of Hill House, Ari Aster’s concocted a two-hour recipe for PTSD with Hereditary, and authors Riley Sager, Paul Tremblay, or Zoje Stage are prompting readers to invest in night lights. Blame it on Trump, blame it on economics, blame it on exhaustion, or, hell, blame it on straight-up sado-masochism, but there are millions of people looking to be scared and dozens upon dozens of creatives starving to scare them. The Haunting of Hill House, Netflix It’s one of the better symbiotic relationships going down in pop culture right now, and especially in Hollywood. At a time when franchise filmmaking is all the rage, original storytelling appears to be unaffected by the genre. In fact, it’s only gotten stronger. Over the last year alone, we’ve seen Jordan Peele win an Oscar for Get Out, Jim Halpert charm critics and horrorhounds alike with A Quiet Place, and fucking Nicholas Cage bludgeon his way into midnight movie cultdom with Mandy. If that weren’t strange enough, we’re also seeing Fangoria on the shelves again, Jamie Lee Curtis eschewing any yogurt for heavy artillery in another chapter of Halloween, and Stephen King sparking major bidding wars across Hollywood. Jamie Lee Curtis in Halloween There’s no end in sight, either. Luca Guadagnino is following up his Oscar darling Call Me By Your Name with a reimagining of Dario Argento’s Suspiria, Freddy Krueger’s on The Goldbergs, and LeBron James wants to take his talents to Crystal Lake. With every passing day comes another chunk of horror to chew on, whether it’s something you watch, you read, you wear, you play, or you attend. After all, horror isn’t just in demand, it’s in vogue, and it’s since become a lifestyle that’s hardly fringe. No, similar to geek culture and the proliferation of Marvel and Star Wars movies, horror has long gone mainstream, no doubt fueled by the once-rabid bite of AMC’s The Walking Dead or the ghostly blockbusters of James Wan or Jason Blum. It, photo by Ben Kaye Unlike Marvel and Star Wars, though, horror is much more complicated to corrupt, if only because it traditionally comes from such a nuanced place. What scares you doesn’t always scare others, which is why people either love or hate most horror films. Yet that personalization is why the genre is so enduring — you can always dig deeper — and why it’s so often compared to pornography. For many, the experience of horror goes beyond narrative and aesthetic and simply boils down to carnal desires. Perhaps that’s why so many people want it right now. In addition to tapping into those more primal elements of humanity, horror also provides an escape, a rush of blood to the heart, the nerves, and the head. It’s a rollercoaster ride with levels of endurance. Hereditary, A24 And at a time when customization is king and on-demand is everything, there’s really no better genre around. You want something about small town killers? Check. You want true crime? Gotcha. You want monsters under the bed? Done. It’s not that horror has gone mainstream, it’s that everyone’s caught up. Sure, there are those who don’t like to be scared, but they can be scared, and that’s just as lucrative to creatives as those who are willing to line up around the corner for it. Right now, every day is Halloween, and everyone’s looking for a costume. Source

Slipknot are promising a new album and new masks in 2019, and now they’re touring itinerary is beginning to take shape. The masked marauders have just announced dates for a 2019 tour of Europe. The band’s early summer European trek is mostly made up of festival appearances, with a few headlining gigs mixed in. The jaunt begins at Rockfest in Finland in early June and runs through the VOA Heavy Rock Fest in Portugal in early July. Dates are listed below, and you can grab tickets here. In recent weeks, frontman Corey Taylor has been offering some insight into the next Slipknot album, remarking that the effort will be “our most ambitious, our most experimental” disc yet, and that the LP will contain one of the band’s heaviest songs yet. In addition to the European tour, Slipknot recently announced that they will be headlining the Iowa State Fair in their hometown of Des Moines on August 10th. Slipknot 2019 Europe Tour Dates: * 06/07-08 – Hyvinkaa, FI @ Rockfest 06/07-09 – Nuremberg, DE @ Rock Im Park Festival 06/07-09 – Nuerburg, DE @ Rock Am Ring Festival 06/13-15 – Interlaken, CH @ Greenfield Festival 06/13-16 – Nickelsdorf, AT @ Novarock 06/14-16 – Derby, GB @ Download Festival 06/17 – Leipzig, DE @ Arena 06/18 – Hannover, DE @ Tui Arena 06/19-22 – Copenhagen, DK @ Copenhell 06/21-23 – Dessel, BE @ Graspop 06/25-26 – Krakow, PO @ Mystic Festival 06/27 – Bologna, IT @ Sonic Park 06/28-30 – Madrid, ES @ Download Festival Spain 07/01 – Nimes, FR @ Amphitheatre Nimes 07/03-06 – Viveiro, ES @ Resurrection Fest 07/04-05 – Lisbon, PT @ VOA Heavy Rock * Slipknot will play one of the dates TBD at festivals listed with multiple dates 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

Los Angeles-based garage rocker Mike Krol has announced plans to release a new album. Dubbed Power Chords, it’s due for arrival January 25th through Merge Records. Spanning 11 tracks, the effort follows his well-received 2015 album, Turkey, but finds Krol in a much, much different stage of his career. After suffering something of an existential crisis post-Turkey, he was brought back to life through his rediscovery of music. Indeed, the title Power Chords isn’t just a nod to notes and technicalities, but also references the sheer significance of music itself. A press release describes the LP as an “evolution in sound, structure and themes,” and Krol’s boldest and longest record to date.” It’s “hard-fought and hard-won, bloodied and bruised. And more importantly: defiant and triumphant.” To help with this triumphant renewal process, Krol headed to Nashville, Los Angeles, and Krol’s native Wisconsin for recording sessions. Production, meanwhile, took place at Nashville’s Quad Studios under the eye of Mike McCarthy (Spoon). Krol also enlisted the contributions of a few special guest musicians, including Allison Crutchfield (vocals, piano); Enon and Brainiac member John Schmersal (guitar); and Sleep in the Aviary’s Elliott Kozel (Farfisa, guitar). As a preview, Krol has shared lead single “Little Drama”, which was “born out of a simple challenge: to make the simplest, most primitive ‘rock riff’ progression ever.” Krol, an avid Misfits and Ramones fan, elaborated on the song’s origins: “‘Little Drama’ summarizes my daily struggles. It has brash, over-the-top aggressive verses with a chorus that reveals all of the confrontation and toughness that was just described in the verses was internal and an imaginary scenario that’ll most likely never be carried out. I suppose it’s the Midwestern in me to be polite, kind and apologetic always on the outside – while on the inside, keeping a list of names of everyone who’s done you wrong and bottling up all your anger until one day it explodes.” Hear it for yourself below. Power Chords Artwork: Power Chords Tracklist: 01. Power Chords 02. What’s the Rhythm 03. An Ambulance 04. Little Drama 05. Left for Dead 06. Blue and Pink 07. I Wonder 08. Wasted Memory 09. Nothing to Yell About 10. Arrow in My Heart 11. The End In support, Krol has lined up a 2019 North American headlining tour that kicks off in February. Mike Krol 2019 Tour Dates: 02/15 – San Diego, CA @ Soda Bar 02/16 – Los Angeles, CA @ Bootleg Theater 02/20 – San Francisco, CA @ Bottom of the Hill 02/22 – Portland, OR @ Mississippi Studios 02/23 – Seattle, WA @ Crocodile Back Bar 02/26 – Minneapolis, MN @ 7th Street Entry 02/27 – Milwaukee, WI @ The Back Room 02/28 – Chicago, IL @ Empty Bottle 03/01 – Detroit, MI @ Deluxx Fluxx 03/02 – Toronto, ON @ The Garrison 03/04 – Allston, MA @ Great Scott 03/05 – Brooklyn, NY @ Rough Trade 03/06 – Philadelphia, PA @ The Boot & Saddle 03/07 – Washington, DC @ DC9 03/08 – Carrboro, NC @ Cat’s Cradle 03/10 – Atlanta, GA @ The Earl 03/11 – New Orleans, LA @ Gasa Gasa 03/19 – Denver, CO @ Globe Hall 03/20 – Salt Lake City, UT @ Kilby Court 03/22 – Reno, NV @ Holland Project 03/23 – Visalia, CA @ Cellar Door Source

Last month saw Joey Purp return with his latest mixtape, Quarterthing. The project features a number of special guests, and last night one of the biggest, RZA, joined the Chicago MC for a performance of the track “Godbody Pt 2” on Fallon. The pair gave a furious, forceful performance, practically punching the mics with their bars. Even though RZA only features on the first verse, his presence alone added power to the presentation. At one point, Purp changed a line to pay tribute to the late XXXTentacion: “First they gonna love you, then they gonna hate you/ It comes in wave/ Rest in peace to X/ The world will never be the same.” Check out the replay below. Quarterthing also features GZA and Ravyn Lenae, with production coming from the likes of Smoko Ono, DJ Khalil, and Thelonious Martin. Additional board work was provided by Savemoney affiliate Knox Fortune and Nate Fox of the Chance the Rapper-affiliated group The Social Experiment. Meanwhile, RZA linked up with his Wu-Tang Clan mates for a rare performance on Jimmy Kimmel Live late last week. Source

While most of us are familiar with mind-warping psytrance, who really knows how it began? Psytrance, is a sub-genre which formed from goa trance, beginning in the early 1990s during a hippie movement in India. Goa trance often has funky, drone-like basslines, similar to the techno minimalism. Check out this old school Goa trance mix via Goa Spirit.  Technically, psytrance music is known to from range 140 to 150 BPMs, and emphasizes heavily synthesized programming and strong lead melodies. Technical terms aside, Psytrance has bloomed into a subgenre with many fans and artists taking the time to foster the sounds created in the early 1990s. We selected 3 new psytrance singles to soundtrack your day. 3. Gommi – Psychosis Described as the relate-able feeling of being “trapped by the chains of the corporate world,” the somewhat mysterious up-and-coming DJ from the Philadelphia called Gommi released his debut single and music video called “Psychosis,” earlier in October on Heavyweight Records. The psytrance-laden journey of “Psychosis” contains a charmingly unsettling vibe in its music video as it does in the rapid-fire audio single. Using a slew of classic stop-motion camera tricks, “Psychosis” features the melodic pop-friendly single plastered against visuals which portray the dank sadness of office life. As anyone who’s worked in an office can attest, the boring certainty can drive a person mad. Who needs a budget when you have a great director? As mentioned above, the “Psychosis” music video showcases Gommi’s penchant for the weird and whimsical. Although there’s a purveying sense of worry scattered among the visuals, the florescent colors and hallucinogenic special effects maximize the seemingly simple set. The more extreme moments of gore and confusion are always marked with a strange-yet-affable sense of humor. Check out the video above for a rare, thought-out music video pushing the boundaries of fantasy and reality. Follow Gommi: Facebook | Twitter | Soundcloud 2. Summer Solstice – Tristan With its recent entry into the top ten of Beatport’s Psy-Trance Top 100 chart, “Summer Solstice” by founding psytrance legend Tristan contains all the pack with less of a pop-punch than Gommi’s “Psychosis”. The twist and turns compared to the former are there, but the true magic of combining 80s jungle influences scattered in psychedelic patterns permeates through a dark, club backbeat. “Summer Solstice” is the joyful feeling of classic trance when it meets the other plane of existence through unique, organic percussion choices. Maybe psytrance fans aren’t too surprised to see a legend like Tristan on the list, but house-fans and run-of-the-mill trance fans should have no problem in adjusting to the wild world of “Summer Solstice”. The international vibes of the track and the clear production know-how of the genre prepare “Summer Solstice” for the ideal fall season entry-point. Follow Tristan: Facebook | Twitter | Soundcloud 1. Change the Past – Nikki S “Change the Past” by Nikki S also made quite the splash on the charts as of late. With some semi-traditional trance in the works, Nikki S utilizes well-spoken vocal samples and a flanging beat with less organic sounds than the last two tracks. The vocal samples detail what seem to be a lecture focusing on accepting the past for what you cannot change blaring among the heavier synth sounds. Nikki S prepares the listener for an 8-minute romp through the solar system by combining a slew of sounds pulled from various genres like house and techno, but staying true to her trance mantras with a tinge of the otherworldly. While it might not be your first choice if you’re looking for something more melodic, Nikki S clearly intended this track for the gritty, sound-heavy hippie in all of us. Follow Nikki S: Facebook | Twitter | SoundCloud The post 3 select psytrance singles to soundtrack your day appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Back in the summer, Toro Y Moi revealed plans to return to the road this fall for what he dubbed, the “Outer Peace Tour”. Speculation was that the tour’s name was a tease for a forthcoming album, and today that hunch has proven true. Toro Y Moi has announced Outer Peace will be released January 18th, 2019 via Carpark Records. The follow-up to last year’s Boo Boo, Outer Peace features appearances by indie pop duo Wet, producer ABRA, and electronic artist Instupendo. The 10-track LP came together after Toro Y Moi mastermind Chaz Bear returned to his Bay Area home after spending a year in Portland, Oregon. Reverting back to city life after living in a nature-rich locale awakened Bear to how stifling mass culture can be. “This record is a response to how disposable culture has become and how it affects creativity,” he said in a press release. “While listening, you might pay attention or ignore — either way that’s ok, this is music for a creative mind.” As a first listen to this “music for a creative mind,” Toro has shared the video for lead single “Freelance”. The funky track comes with a video directed by Toro’s frequent collaborator Harry Israelson. Take a look at the clip, which exists “in the same world as the album’s cover art,” as a press release puts it, below. Outer Peace Artwork: Outer Peace Tracklist: 01. Fading 02. Oridnary Pleasure 03. Laws of the Universe 04. Miss Me (feat. ABRA) 05. New House 06. Baby Drive It Down 07. Freelance 08. Who Am I 09. Monte Carlo (feat. WET) 10. 50-50 (feat. Instupendo) With the record formally announced, Toro Y Moi has also expanded the “Outer Peace Tour” itinerary. Find the full schedule below. Toro Y Moi 2018-2019 Tour Dates: 11/01 – Santa Barbara, CA @ Soho Music Club * 11/02 – Los Angeles, CA @ The Novo * 11/03 – Long Beach, CA @ Tropicália Festival 11/05 – Chicago, IL @ East Room ^ 11/06 – Chicago, IL @ Thalia Hall # 11/07 – Detroit, MI @ El Club # 11/09 – Boston, MA @ Royale # 11/10 – Brooklyn, NY @ Elsewhere 11/10 – Brooklyn, NY @ Elsewhere ^ 11/12 – Washington, DC @ 9:30 Club # 11/13 – Philadelphia, PA @ Union Transfer # 11/15 – Asheville, NC @ Orange Peel # 11/16 – Atlanta, GA @ Variety Playhouse # 11/17 – Columbia, SC @ The Senate # 01/05 – San Francisco, CA @ The Fillmore 01/16 – San Francisco, CA @ The Fillmore 01/18 – Portland, OR @ Wonder Ballroom 01/19 – Seattle, WA @ Neptune 01/23 – Houston, TX @ White Oak Music Hall 01/24 – Dallas, TX @ Granada Theater 01/25 – Austin, TX @ Stubb’s BBQ 01/26 – San Antonio, TX @ Paper Tiger 02/15-16 – Miami, FL @ iii Points Festival 03/01-03 – Phoenix, AZ @ M3F Festival * = w/ Salami Rose Joe Louis ^ = DJ Set # = w/ Dizzy Fae Source

With fans anxiously awaiting Tool’s first album since 2006, another big sign that a new disc is on the way next year comes with the band announcing a 2019 Europe tour today. The monthlong trek will see Tool playing a mix of headlining shows and festivals, beginning June 2nd in Berlin, Germany, and running through July 2nd in Lisbon, Portugal. Among the major festivals Tool will be playing are Germany’s twin Rock Am Ring and Rock Im Park fests, plus the Download Festival in both the UK and Spain. Get more info on those festivals and more here, and see a full list of Tool’s European dates below. Tool’s last studio album was 2006’s 10,000 Days. Last month, singer Maynard James Keenan stirred up excitement among fans when he offered an update on the new Tool album and all but confirmed that it would arrive in 2019. He wrote on Twitter, “Scratch Vox tracked awhile ago. [Adam Jones] deep in Guitars now. Final Vox after. Step back. Adjust. Mix. Adjust. Re-Adjust. Master. Adjust. Re-Adjust. Long Way 2 Go But Much Closer. #Tool #2019.” Tool 2019 Europe Tour Dates: 06/02 – Berlin, DE @ Mercedes-Benz Arena 06/04 – Prague, CZ @ O2 Arena 06/05 – Vienna, AT @ Wiener Stadhalle 06/07 – Nurburg, DE @ Rock Am Ring Festival 06/09 – Nuremberg, DE @ Rock Im Park Festival 06/11 – Krakow, PO @ Impact Festival at Tauron Arena 06/13 – Florence, IT @ Firenze Rocks Festival 06/16 – Donington, GB @ Download Festival 06/18 – Amsterdam, NL @ Ziggo Dome 06/20 – Copenhagen, DK @ Copenhell Festival 06/25 – Zurich, CH @ Hallenstadion 06/30 – Madrid, ES @ Download Festival Spain 07/02 – Lisbon, PT @ Altice Arena Tool’s Top 5 Music Videos Metallica’s Top 5 Songs Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Despite her best efforts, Nicki Minaj was unable to clear a collaboration with Nas called “Sorry” in time for the release of her latest effort, Queen. “Sorry” is built around a sample of Shelly Thunder’s track of the same name, which is a cover of Tracy Chapman’s “Baby Can I Hold You”. According to Minaj, Chapman refused to grant her permission to sample the track. Though “Sorry” was left off of Queen, Minaj sent the track to New York DJ Funkmaster Flex, who played it on his radio show. Now, Chapman has filed a lawsuit against Minaj, according to TMZ. Chapman is reportedly seeking statutory damages as well as an order prohibiting Minaj from ever releasing the song again. Chapman contends “Sorry” comprises half of the lyrics and vocal melody of her own song, and that she repeatedly denied Minaj’s request for clearance. She points to Minaj’s own tweet in which she said, “Sis said no ,” after learning Chapman had declined her request. In a since-deleted tweet, Minaj said she “had no clue [‘Sorry’] sampled the legend [Chapman]” and sent a plea over social media asking Chapman to clear the song — all to no avail. Take a listen to Minaj’s “Sorry” — for as long as it remains online — below. Source

This past May, Beach House gifted us with their reinvigorating and remarkable album, 7. The Baltimore duo of Victoria Legrand and Alex Scally are back today with “Alien”, a previously unreleased B-side taken from the original album sessions. “Sorry, sometimes I get carried away,” Legrand confesses repeatedly on the track, which is a natural extension of the gorgeously blurred dream pop found throughout 7. She offers her apologies, but isn’t exactly apologetic, her vocals foggy and floating as though she’s already mentally some place else again. If Beach House’s B-sides are of this caliber, forgiving them is easy. (Beach House Explain How Warhol and Numerology Influenced Their New Album) Take a listen below. Fans can also purchase the physical single, which includes the 7 album track “Lose Your Smile” on the A-side and is pressed on slime green vinyl, from the band’s official webstore. 7 is one of our favorite albums of 2018 (so far). Not too long ago they dropped a music video for one of its singles, “Black Car”. Source

Origins is a new music feature in which an artist reflects on the background of their latest song release. On November 30th, Columbia/Legacy will release the restored and retitled version of Big Brother and The Holding Company’s major label debut, Sex, Dope and Cheap Thrills. Called Cheap Thrills upon its initial release in 1968, the album was the major breakthrough for the band and their iconic singer, Janis Joplin. Featuring 30 rare performances and 29 outtakes — 25 of which are previously unreleased — the forthcoming reissue celebrates the album’s 50th anniversary and includes liner notes by Jefferson Airplane’s Grace Slick and Big Brother drummer David Getz. In anticipation, Consequence of Sound has an exclusive stream of “Piece of My Heart (Take 4)”, which appears on the two-CD version of the album. This early recording of the classic track features a different performance from Janis, unsupported by backing vocals on the memorable chorus. There is one additional voice, however, as someone calls the track what it is right at the end: “Fantastic.” Stream the track below and read our exhaustive interview on the reissue with Getz shortly after. Getz took some time to chat with CoS about what went into putting together Sex, Drugs and Cheap Thrills, revealing the Origins of the collection through tales of the original recordings, compiling the new reissue, and more. On Putting It Together They started sending me all these outtakes to listen to, and I listened to all of them. And I basically gave my assessment of what I thought should be put on or what should just be left as outtakes [laughs]. That was about four months ago. So I can’t tell you exactly if I remember which take was “Piece of My Heart (Take 4)”. And I never got a response. No one ever said to me, “Okay, Dave, we’ll go with your choices.” Everybody was weighing in at a certain time. I’m excited about this whole thing. Of course, I’m excited that the record after 50 years now, people still consider it important and listenable. Something that in some way holds up over time. That’s great to me. I’m excited to listen to all of this stuff again in the form of a record rather than a bunch of MP3s that are being sent to me, for me to receive the whole package. I’ve written a couple of essays that are in there; I’m excited about seeing my own ideas finally find an avenue out into the world about what I think happened with Cheap Thrills, and what’s good about it, what’s not good about it, what happened with the cover. All of those things. I personally have a lot invested in it in that way. On Different Takes In terms of the music, I have to hear it again, because it’s been four months now. It’s going to be a shock to me again now to know it’s really out there in the world. It’s not outtakes anymore, they’re out there. I’ve looked at the tracklisting. For some of the songs, like “Turtle Blues”, which is really just Janis and piano, I know a few of them have me playing on a table with brushes, I think, on some of it. I remember there were several different takes and they were all kind of interesting in their own way. I’m excited to hear that again and hear her little changes that she made in the vocals, things like that. On Revisiting Let me put it this way, I call it the cringe factor. There’s a certain amount of that always. It’s 50 years ago, and in some sense more than 50 years ago, that we were playing it and recording it. I think we started recording in March or April, maybe slightly after that, in 1968, and we were working on it through the summer of ’68, so it’s more than 50 years ago. There are certain things that I’ve gotten better at. I’m still playing, I’m still a guy out there who since that time I’ve gotten a lot more chops in my playing. I’ve played with dozens, if not hundreds, of other bands and some really great bands, some great musicians, and I’ve developed. My ears have developed and all of that. It’s listening to it with a different sensibility. Plus I’m an older guy now. There’s a certain factor when you’re older where you can sort of let go. There was a certain period of time in my 40s and 50s where I couldn’t listen to any of it. I just couldn’t listen. Because I was starting to really get better as a musician, and I was very judgmental and I knew people were very judgmental about Big Brother, so it was very hard for me. But then you get passed that point and you can start to except it for what it really is and what’s really good about it. And the mistakes and the flaws and the flies in the ointment, you can sort of ignore that more. That’s one of the nice things about getting older and being able to let go of stuff like that. I remember when they sent me the stuff there was one thing that I’d never heard. That was a jam that we had that I didn’t even know we’d recorded. It’s on there. [I forgot what the name they gave it.] But it was something that I’d really never heard before. I remember at the time when we were doing Cheap Thrills, everybody went in to mix it. At one point Janis and Sam [Andrew] went in and spent hours mixing it, and then James [Gurley] went in and spent time, and then I went in with the engineer at one point myself and spent about 12 hours. We listened to everything all the time. Then the album came out and it is what it is. And over the years all of that stuff just recedes and you forget all of these little things, these little outtakes. It’s all compressed now on my memory. It’s like now when I hear this thing coming out and the CD, which as a lot of the outtake, it’ll be like adding water to some instant mix. It’s all gonna get blown up again big in front of me. It’ll be interesting. On Recording The way that we recorded Cheap Thrills, you’re realizing of course this if before digital. A time when everything went down on tape and any edits that had to be made had to be physically made. What we were trying to do at that time is to get a good basic take. Big Brother tried to record live in the studio, without the vocals. We tried to play live, meaning bass, drums, and guitars are all playing at the same time rather than layering, which sort of started happening more in the ’70s. We were trying to do the whole band basically instrumentally at one time and then do the vocals. So we did a lot of instrumental takes that were discarded or had a mistake in them, sped up or slowed down, something like that. We didn’t have click tracks or anything like that then. We’re playing live in the studio as an instrumental quartet. When we got the take that we liked, that had the energy and at the same time didn’t have any obvious mistakes in it, that would be the one that we would work on vocally. Sometimes Janis would maybe put her vocal on a couple of things as options, then whatever had her best vocal, then the last thing would be to try to get some backup vocals. We didn’t work on all of them to completion. We would settle for maybe three or four at the most of the instrumental take, and then select maybe just one or two. I didn’t even know that Janis had done her vocals on more than one — on something like “Turtle Blues”, where she’s just playing with the piano, yes she did a lot of vocal takes. But I didn’t know on “Piece of My Heart” that there were several Janis vocal takes. That’s news to me. On “Piece of My Heart” I do remember that in terms of certain things, certain endings, they were worked out in the studio. What people understand as the finished arrangement of “Piece of My Heart” wasn’t the finished arrangement when we started to record it. Eventually, putting the ending the way it is, things like that, that was resolved in the studio. I remember instrumentally on that one we did a lot of takes. I don’t know how many exactly. But the funny thing in those days is the engineers were just trained to do things a certain way. So sometimes if it was a false start, it could be like, just someone counted off, “1, 2, 3,” and if someone didn’t come in on the first beat, that was a take. Sometimes there would be two or three takes before we even got to play the song. It was crazy for us, it was very frustrating. We weren’t used to that at all, this official way Columbia’s engineers have to do everything by the book. Even if someone goes, “1, 2, 3,” and someone misses the entrances, it’s, “Okay, take two.” So everything is there somewhere in their vault. You start to get crazy. You start to think, “Holy shit, we’ll never get this thing.” You’re just listening to these numbers like that, it’s very discouraging. On Recording Troubles I don’t want to put down [producer] John Simon. I have tremendous respect for him as an intellect, a producer, and as a musician. But John, I think everybody in Big Brother felt this way — I talk to him once in a while now, and he sort of denies it — but he had a kind of disdain for the music, and that came through right from the beginning. He was also working on the first The Band record. He loved The Band, and loved their music. John was coming from a place of being classically trained, of having studied music, of knowing what the right notes are, how to read. Big Brother was very much an intuitive band. We were coming from a totally different place. I don’t think even to this day he understands what we were really about. So there was a feeling in the beginning that was very tense. We felt we were assigned this producer that was coming from a different world than us. He was given to us, presented to us, “This is your producer.” Albert Grossman was the one who really chose John to do this, he was grooming him to produce other things for him. There was a feeling of discomfort right from the beginning. That put a shadow over it. I think we got through, at certain points. We got to certain places because we were so much a family and had all lived together, had a lot of laughs together, we were able to, in certain moments, transcend it. It was difficult in the beginning to get past that sort of thing of John standing there and saying, “Okay, listen you guys. You have to come in and listen to all of these mistakes you made. You can’t do it.” But we did. We felt we could. We really believed that we could adapt ourselves to record something that was without mistakes in it, fairly perfect. And still what we were going for was the energy. We were going for the spirit. That was much more important to us in some ways as a band than other things. We had to compromise a little bit with the energy and accept in certain ways something that was a little more perfect but maybe didn’t have the excitement. But we got it; I felt we succeeded. Big Brother and the Holding Company recording Cheap Thrills. Front: Peter Albin, John Simon, Fred Catero. Back: Frank Bruno, Dave Getz, Sam Andrew, photo via johnsimonmusic.net On Live Crowd Sounds John had a brilliant idea there. We had tried to record earlier live in Detroit, we recorded a whole live show. It wasn’t good. We listened to it and all agreed it didn’t even sound good. It was very live, but out of balance, hadn’t been recorded well we felt. Too many mistakes, too many out of balance things where guitars were too loud or drums would disappear. We knew we had to do it in the studio. We knew we had to somehow make it seem like a live recording. And John was able to help create that effect. On Engineer Fred Catero Fred Catero, who was the engineer, has to get more credit than people understand. How good an engineer Freddy was. It was difficult to record — we’re just kind of getting into the area where things are converting from 8-track to 16-track. I don’t know that much about engineering, but I know that when we were in the band recording, we were in the red a lot. A lot of feedback, going into the red. A lot of, “How are we going to record these guys?” From traditional engineers who had been working at places like Columbia and RCA at that time, they couldn’t figure out how they were going to record Big Brothers and the Holding Company, bands that were over-the-top level-wise. We were one of the first bands that were able to go in and play the way we play live and stay within the boundaries of what could be recorded and be put on vinyl at the time. On Being Passed Out on the Album Cover I’ve had to live with that all this time. As I said in the essay, [comic artist R. Crumb] came to one of our shows. Everything he saw, he nailed each character in the band literally by watching, by observing over maybe a three, four hour period sitting in the corner of our dressing room. He didn’t know anybody in the band. The only person he’d met was Janis, who’d gone to his house. Before that, he’d just had a phone conversation with her. He came to the gig, he sat there and took notes and made little sketches, and went home and did this. Somehow he really nailed everybody. When I saw how he saw me, I thought, “Well, most of the evening I must have been very high and kind of just laying around on a couch in the corner.” So he just thought, “Dave Getz is just a total pot head. We’ll just do him that way.” It kind of bothered me, but at the same time, Crumb is a genius and like everything else, I just accepted it over the years. That’s what it was. That’s okay. I’m not so much as I was, but at one time we did smoke a lot of grass. James did too, we both did. Peter didn’t much at all. Janis liked it a little but. James and I would smoke it all day long. Sex, Dope, and Cheap Thrills Tracklist: 2-CD Edition: Disc One: 01. Combination Of The Two (Take 3) 02. I Need A Man To Love (Take 4) 03. Summertime (Take 2) * 04. Piece Of My Heart (Take 6) 05. Harry (Take 10) 06. Turtle Blues (Take 4) 07. Oh, Sweet Mary 08. Ball And Chain (live, The Winterland Ballroom, April 12, 1968) 09. Roadblock (Take 1) * 10. Catch Me Daddy (Take 1) 11. It’s A Deal (Take 1) * 12. Easy Once You Know How (Take 1) * 13. How Many Times Blues Jam 14. Farewell Song (Take 7) Disc Two: 01. Flower In The Sun (Take 3) 02. Oh Sweet Mary 03. Summertime (Take 1) 04. Piece of My Heart (Take 4) 05. Catch Me Daddy (Take 9) 06. Catch Me Daddy (Take 10) 07. I Need A Man To Love (Take 3) 08. Harry (Take 9) 09. Farewell Song (Take 4) 10. Misery’n (Takes 2 & 3) 11. Misery’n (Take 4) 12. Magic Of Love (Take 1) * 13. Turtle Blues (Take 9) 14. Turtle Blues (last verse Takes 1-3) 15. Piece Of My Heart (Take 3) 16. Farewell Song (Take 5) 2-LP Edition: Side A: 01. Combination of The Two (Demo) 02. I Need A Man To Love (Take 3) 03. Summertime (Take 2) * 04. Piece Of My Heart (Take 6) Side B: 01. Harry (Take 10) 02. Turtle Blues (Take 4) 03. Oh, Sweet Mary 04. Ball And Chain (live, The Winterland Ballroom, April 12, 1968) Side C: 01. Roadblock (Take 1) * 02. Magic Of Love (Take 1) * 03. Oh Sweet Mary 04. Flower In The Sun (Take 3) Side D: 01. Catch Me Daddy (Take 1) 02. Turtle Blues (Take 9) 03. How Many Times Blues Jam 04. Farewell Song (Take 5) All tracks previously unreleased except * Source

Hulaween is less than a week away and everyone who is planning to attend is more than excited. I got the chance to sit down with Kat Hall, lead singer of local band, Just Chameleons, as they prepare to make their debut performance at Suwannee’s Hulaween festival. Just Chameleons made their festival scene appearance at Okeechobee in 2017 after winning an intense battle of the bands. Their music is the perfect festival vibe; filled with groovy melodies and a beautiful message, this band is one not to miss out on. Hall began getting interested in music while in middle school after watching her older sister sing in a reggae band in Jacksonville beach. At about 14 years old ,she decided to get on stage to sing backup and hasn’t looked back since. As a stand-alone artist, as well as the lead singer for Just Chameleons, Kat has continued to pursue her musical talent. She is creative and always incorporates a message, her harmoniously soulful voice drawing you right in. Who are some of your musical influences? “Lauryn Hill. I love her fearlessness within her music.” What originally drew you to reggae music? “I grew up with my older brother listening to Slightly Stoopid, and I just loved how it was rebel music. You know the type of music that starts a revolution and brings awareness to what’s happening around us. I love that reggae has the power to spread a message and create a wave of change.” What would you say Just Chameleons message is collectively as a band? “We stand for unity and bringing people together. Our music is for a bigger purpose than festivals or the idea of “fame”, we want to help people connect. And just overall stand for accepting diversity and spreading a message of awareness.” Hulaween is pretty big festival, how do you feel about being able to perform here? “I am still in shock, Hulaween is one of my favorite festivals. I’ve gone the past three years and have just been manifesting being able to play here. I wanted to get involved in the festival scene as soon as I started attending them because everyone is so connected at these fests. The vibes are so good and I think it’s a great platform to introduce our music to others.” Is Just Chameleons currently working on anything new we can expect to see at Hula? “We are actually releasing two new originals during our set! One of them is called “Old Sols” and will actually be released as a Kat Hall single. It’s a love song about my ideal relationship basically. And the other is called “Think with Your Head”. The second song is probably the most vulnerable song I’ve ever written and is trying to bring awareness to sexual harassment and assault. The main lyric being “Think with your head for a minute man take it slow.” The verses of this song explore the dangers of intimacy and guys not taking no for an answer.” Who are you personally most excited to see at Hulaween? “Vulfpeck! And Steven Marley of course.” Besides Hulaween, where can we see Just Chameleons at next? “We will be playing at Tallahassee’s First Friday on November 2nd and then we will also be opening for the Expendables on Nov 3rd at the Oak and Stone craft beer fest in Bradenton, FL.” Make sure to catch Just Chameleons at Hulaween on Thursday! They will be performing at the Spirit Lake Stage at 1:30 pm. Also check out their latest album, Propaganda, on Apple Music and Spotify. The post Hulaween Artist Interview: Kat Hall from Just Chameleons appeared first on Verge Campus. Source

For months now, Courtney Barnett has been out on the road supporting her sophomore album, Tell Me How You Really Feel. Before her North American tour comes to an end this weekend, the Australian rocker stopped by Late Night with Seth Meyers on Monday night to perform a gnarly rendition of “Crippling Self-Doubt and a General Lack of Confidence” Check out the replay below. In related news, Barnett was recently nominated for eight ARIA Awards — Australia’s highest honor in music — which includes Album Of The Year, Best Female Artist, Best Rock Album, Best Independent Release, Best Video, and Best Live Act, all surrounding her latest album. What’s more, her collaborative album with Kurt Vile, Lotta Sea Lice, was nominated for Best Adult Contemporary Album. And, because she can’t stop and won’t stop, Barnett will next embark on a European tour, which kicks off November 1st in Berlin. She’ll be joined by fellow Aussie singer-songwriter Laura Jean. Peep the full itinerary below. Courtney Barnett 2018 Tour Dates: 10/23 – Philadelphia, PA @ The Fillmore 10/25 – Nashville, TN @ Marathon Music Works ! 10/27 – Austin, TX @ Stubb’s 11/01 – Berlin, @ Berlin at Huxleys Neue Welt + 11/03 – Stockholm, SE @ Kagelbanan + 11/04 – Copenhagen, DK @ Vega + 11/05 – Oslo, NO @ Rockerfeller Music Hall + 11/07 – Paris, FR @ Casino De Paris + 11/09 – Wiesbaden, DE @ Schlachthof + 11/10 – Kortrijk, BE @ Sonic City Festival + 11/12 – Dublin, IE @ Olympia Theatre + 11/14 – London, UK @ O2 Brixton Academy + 11/15 – Oxford, UK @ O2 Academy + 11/16 – Brighton, UK @ The Dome + 11/18 – Cardiff, UK @ The Great Hall + 11/19 – Birmingham, UK @ O2 Academy 1 + 11/20 – Glasgow, UK @ O2 Academy + 11/21 – Newcastle, UK @ Northumbria University + + with Laura Jean Source

CTE Fast-Rising Star Continues to Campaign his Latest Effort While currently making headlines stemming from a recent altercation, Jeezy’s CTE recording artist Boston George stirs attention back to his breakout career with the release of his new music video, “Cold Nights”. Featuring Young Greatness under the production of longtime hitmaker Drumma Boy, Boston George reminds us why he is one of the most-promising new artists of 2018. In this new Orbit Did It directed visual Boston George and Young Greatness tap in at the trap house, where we see some typical criminal activity- runners, clientele, lots of money and what looks like flashes of cocaine to round out the gritty scenes on a snowy night in the hood. “Cold Nights” is off of Boston George’s 2017 effort, Blow Talk. Available now on all major streaming platforms. Blow Talk features guest appearances from Young Jeezy, Lil Boosie, and Dave East. Blow Talk is the lead up to Boston George’s highly-anticipated debut album, BBB: Big Bad Boston. But before we get that, Boston George will be linking up with fellow Houston Superstar Slim Thug for a joint project slated for an early-2019 release. Watch “Cold Nights” above. The post Boston George Grabs Young Greatness for “Cold Nights” : Watch appeared first on Verge Campus. Source

After taking a bit of a hiatus from performances for personal reasons, Moonbase has come back swinging. Having hosted a huge charity event just the other week it seems like he’s ready to get back on the live electronic horse and throw out the bangers that we’ve come to love from the guy. This week sees him play the hottest event in town, our very own Halloween Rave, so we thought we’d pick his brain with some quick-fire questions on what he’s vibing, who the future of AUS dance music is and where it’s heading, check it out below! Stoney Roads: What Australian artists are you really excited about right now? Moonbase: There are so many fresh Australian artists to pick out and spotlight right now, which is amazing. In particular, I’ve been rinsing Sophiya, Trophie, Adult Art Club and Kota Banks heaps lately! triple j Unearthed Embedded Player SR: What is the future of Australian dance music? What genres will be popping? MB: I have no idea (laughs), which makes it so exciting. A lot of young producers coming up at the moment are pulling from a huge and diverse range of different inspirations. That being said, there’s some certified heat happening around the UK bassline and garage sounds in Aus right now. SR: What advice/steps would you tell up-coming artists? What can prepare them for a career in music? MB: My advice is this: just keep hammering. Not every musical idea is going to sound amazing right off the bat, especially when you’re starting out. But keep pushing and you’ll find something fresh. SR: What’s the secret to your on-stage energy? How do you deliver time and time again? MB: Personally, there’s no ‘preparation’ as such. I’m very thankful to be in a position where I can perform and play my own music to audiences, so what you see at my shows is a reflection of that energy. You can catch Moonbase killing it at our halloween rave this Friday October 26, RSVP here for quick entry! Source

On Wednesday, Robert Englund returns to everyone’s dreams as Freddy Krueger when he makes a cameo on The Goldbergs. As previously reported, this marks the first time he’ll don the red and green sweater since 2003’s Freddy Vs. Jason. Although he’s long since retired the role, having sworn off any future installments to A Nightmare on Elm Street (arguing he’s “too old” to Entertainment Weekly as recently as last year), it would appear he’s now changed his mind. “I think they want to reboot the franchise,” Englund told Access Live on Monday afternoon, “but they’re gonna need a new actor. They’re gonna need a new actor to play Freddy because they’re gonna have to do eight of them. I might have one left in me… but yeah.” (Ranking: Every Death in A Nightmare on Elm Street) Of course, this comment/change of heart comes literally 24 hours after David Gordon Green’s Halloween sliced through the weekend box office, taking in over 90 million dollars worldwide. So, don’t be surprised if New Line Cinema gives him a call. After all, another Nightmare would be a hell of a coup for the studio following next year’s It: Chapter Two. And with LeBron resurrecting Jason, it’s only natural we get some dream demon action to make this nostalgic run totally authentic. Source

For every DJ on the DJ Mag Top 100, the magazine publishes a short profile on the artist. This, of course, gave us the brilliant moment in 2015 wherein a DJ mag staff writer called Kaskade a “douche” and told him to “stick with the day job.” Sometimes, however, it does give insight into an artist. For instance, in Martin Garrix’s profile this year, he reveals an unlikely favorite song for 2018: “Forever” by Taska Black. I suppose it’s really not that unlikely, given that “Forever” came out on Garrix’s STMPD RCRDS imprint, but we might have expected a track from his friends Matisse & Sadko, Brooks, Justin Mylo, or others. Despite releasing this song on STMPD, Taska Black has released in the past with Monstercat and bitbird, and is in fact managed by the same team behind San Holo, DROELOE, and Unlike Pluto. So congrats to Taska Black for the recognition from the #1 artist in the world! Listen to “Forever” below.  Photo via Rukes.com This article was first published on Your EDM. Source: Martin Garrix Reveals His Favorite Tune Of 2018 In DJ Mag Profile Source

Premier of NSW Gladys Berejiklian has just disappointed the NSW festival scene after her press release in regards to local music festivals. After the two deaths at Defqon, Berejiklian proudly claimed that the popular music festival would never take place in NSW again and set about organising a panel of ‘experts’ to do something about it. Having staunchly denied the positives of pill testing we had been waiting with baited breath for the panel results and it’s safe to say it’s pretty close to what we expected. The general ideas we got from the conference was that there will be three new policies moving forward. Further drug education including better frontline training for health professionals (This is good) Improving the regulation of music festivals by introducing a new, specific and consistent licensing regime to improve safety, and provide certainty for the music festival industry and other stakeholders. This one seems a little suspect when you consider that the head of the Independent Liquor & Gaming Authority Philip Crawford was part of the decision and festivals are already held to strict licensing regulations New laws to target drug suppliers that will hold dealers responsible for deaths they cause, and trialling on-the-spot fines for drug possession at music festivals. This one seems like a bit of a knee jerk in our opinion. On the spot fines could help, but we’d like to see the stats on how many times the dealer is brought into the equation after someone dies from a drug overdose Things that they’ve ruled out: Pill testing! Here we go again, the NSW Police Commissioner has said that the idea that pill testing will save lives “is a myth” Police Commissioner Mick Fuller says the idea that pill testing would save lives “is a myth” #NSWpol pic.twitter.com/e5htTjpGGl — Tom Rabe (@Rabe9) October 23, 2018 So that’s the round up in regards to the future of music festivals in NSW, you can read more about it by following #NSWpol where journalists were live tweeting, and read the official media release here. Source

At a certain point, watching a bloke who’s old enough to be in a nursing home attempt to be a politician goes from a funny little video you scroll past while on the toilet to a genuinely embarrassing debacle for the entire nation. That’s the situation we seem to be in with Bob Katter, who for the life of him can’t seem to stop going on nonsensical rants about fucking crocodiles and North Queensland. Appearing on Sky News to speak about whether he would vote confidence in the Government or not, Katter seemingly decided to seize the opportunity to get a few things off his mind. .@RealBobKatter: I’ve said we’ve had many more Prime Ministers than Pakistan. We’re the world champions. I would like to vote for confidence in the government, but the fact is I’ve got a person being eaten by a crocodile every six months. RELATED: https://t.co/Cr5Avtrg1g #Speers pic.twitter.com/nEtyJC2ab6 — Sky News Australia (@SkyNewsAust) October 22, 2018 There are some absolute gems in there, so have a gander at the transcript below. KATTER: I’ve said we… m’m… whff… many more Prime Ministers than Pakistan. Y’know, we’re the world champion. SPEERS: So for that reason you’d vote against a No Confidence motion. KATTER: Ye, no. Nonono. Nonono. I would like to vote… y’know… for confidence for the Government. But the fact is, that chaknow, I’ve got a person doing away with themselves, a farmworker or a contractor or a farmer, doing away with themselves every week. So what am I gonna worry about, Government stability? Or am I gonna worry about these people. I’ve got a person being eaten by a crocodile every six months. I’ve got, a…. my, cousin-brother, y’know fellow blackfullas, uhm, up in Cape York. I mean with this – figures released last month – and uhm clearly there is about 120 or 130 people dying every. year. now that don’t have to die. Now what am I gonna do? So that doesn’t matter, oh but giving Government stability matters. Well I think that I’m gonna get real upset, unless there are action on these fronts. Seriously, guys, it gets to a point where we have to ask ourselves why the fuck this dude is still in a position of power when there are hundreds of younger people who could probably form a coherent sentence. I am not one of those people, however, so I should probably leave it up to the big wigs in Canberra. Source

When the beat drops, anything is bound to happen. At one house party in South Carolina, the floor caved in — and it was all captured on camera. It all went down, pun intended, at a condo/clubhouse near Clemson University. The party was rolling a little too deep on Sunday evening when the floor gave out. Dozens of people dropped a floor down into the basement, piling on top of each other. Luckily, no one was seriously injured, although one witness describes a graphic scene. Clemson sophomore Larissa Stone says the room was “packed” when a popular song came on. “So everyone was jumping. The beat was about to drop and literally the whole floor collapsed,” she said. “It happened so quickly. I stood up, and everyone was trying to climb out. People are under other people. People are hurt. People are bleeding. I had blood on my sneakers. It was really bad.” This is truly a “when the beat drops…” meme gone wrong. We’re just glad everyone is ok. When the Beat Drops…   This article was first published on Your EDM. Source: WATCH: Floor Collapses At House Party When The Beat Drops Source

Duke & Jones are one of the hottest rising acts in bass music this year, and they’ve just released their debut EP with another powerhouse of bass music, Zeds Dead’s Deadbeats. The pairing makes perfect sense as Dystopia pushes such a wide variety of sounds from warbling bass to crackling synths. Fans should already be familiar with “Fade To Black” and “Rust,” the latter of which has been played out by none other than Zedd for months now. The newer tracks to the EP will be “Nobody Else” and “Higher” with KAKU. “Nobody Else” features a minimalistic production with a repetitive vocal sample that encourages the mind to wander. It’s far more for the vibe than for the turn up, but that’s definitely a good thing after the heavier “Rust” just before it. Rounding off the EP is “Higher,” another minimalist track among its brethren. The entire EP seems to be an exercise in minimalism and atonal music, eschewing melody and rhythm for repetition and vibe and simple sounds. As an experimental release, it’s phenomenal, though perhaps not something that would be rinsed out except by artists equally as experimental. Dystopia is out via Deadbeats now – listen below. This article was first published on Your EDM. Source: Duke & Jones Release New Diverse ‘Dystopia’ EP on Deadbeats Source