News

DJ Mag just unleashed its annual Top 100 DJs list for 2018. Martin Garrix, to no surprise, maintains his top spot yet again. Dimitri Vegas & Like Mike, Hardwell, Armin van Buuren, David Guetta, Tiesto, Don Diablo, Afrojack, Oliver Heldens and Marshmello round out the top 10. Our entire breakdown can be read here — but what happens when we ask Reddit?! /r/EDM also just announced its very own Top 100 DJs. With 1,176 votes, 755 unique DJs, 1,460 users, and 17,670 points given, the community has decided its own list of reigning DJs. Martin Garrix finds himself at the top on this list as well, followed by Illenium, Seven Lions, Hardwell, Odesza, Porter Robinson, Armin van Buuren, Don Diablo, Avicii and Rezz. Dimitri Vegas & Like Mike drop from the 2 spot to 57. Marshmello falls from the top 10 as well, coming in at 29, behind Tiesto at 28. Space Mom Rezz didn’t chart for DJ Mag, but she snuck into the 10 spot here. We see similar situations with Illenium, Seven Lions, Odesza and Porter Robinson, which all pop up into /r/EDM‘s top 10. Meanwhile, David Guetta, Afrojack and Oliver Heldens drop into the 70s. DJs left off the DJ Mag Top 100 DJs list including RL Grime, Jauz, ZHU, 1788-L and JOYRYDE all find themselves on this Reddit-driven version. Porter Robinson’s alter ego Virtual Self also makes the list at 13. Bassnectar and Excision are neck-and-neck at the 17 and 18 spots, respectively, both with 180 points each. Obviously, this is a much smaller scale survey than the massive publication has for its annual list, but it’s still fun to see where /r/EDM is at with DJ preferences. Who would you put in your top 10? Let us know in the comments! /r/EDM Top 100 DJs #1 Martin Garrix – 1264 points #2 Illenium – 968 points #3 Seven Lions – 643 points #4 Hardwell – 605 points #5 Odesza – 543 points #6 Porter Robinson – 510 points #7 Armin Van Buuren – 396 points #8 Don Diablo – 353 points #9 Avicii – 348 points #10 Rezz – 305 points #11 RL Grime -268 points #12 Above & Beyond – 232 points #13 Virtual Self – 219 points #14 San Holo – 213 points #15 deadmau5 – 210 points #16 KSHMR – 208 points #17 Bassnectar – 180 points #18 Excision – 180 points #19 Skrillex -177 points #20 Ekali – 175 points #21 Arty – 167 points #22 Eric Prydz – 166 points #23 Tchami – 158 points #24 Axwell /\ Ingrosso – 151 points #25 The Chainsmokers – 150 points #26 Jauz – 145 points #27 Mike Williams – 137 points #28 Tiesto – 137 points #29 Marshmello – 133 points #30 Kygo – 133 points #31 Steve Angello -130 points #32 ZHU – 129 points #33 W&W – 123 points #34 – Alison Wonderland – 121 points #35 Said The Sky – 116 points #36 Louis The Child – 104 points #37 Zedd – 102 points #38 Brooks – 102 points #39 Swedish House Mafia – 95 points #40 Gareth Emery – 93 points #41 Madeon – 91 points #42 Kaskade – 84 points #43 Getter – 83 points #44 NGHTMRE – 83 points #45 Alesso – 80 points #46 Slander – 79 points #47 Alan Walker – 78 points #48 JOYRYDE – 74 points #49 1788-L – 74 points #50 Virtual Riot – 73 points #51 Droeloe – 67 points #52 G Jones – 67 points #53 Naeleck – 66 points #54 Phuture Noize – 65 points #55 GRiZ – 64 points #56 Flume – 64 points #57 Dimitri Vegas & Like Mike – 62 points #58 Galantis – 62 points #59 Matisse & Sadko – 61 points #60 Rufus Du Sol – 60 points #61 Headhunterz – 58 points #62 Diplo – 58 points #63 K?D – 58 points #64 Chris Lake – 57 points #65 Lane 8 – 56 points #66 Ghastly – 55 points #67 Black Tiger Sex Machine – 55 points #68 Boombox Cartel – 54 points #69 Zeds Dead – 52 points #70 Ilan Bluestone – 52 points #71 Afrojack – 51 points #72 Gryffin – 48 points #73 Oliver Heldens – 48 points #74 What So Not – 47 points #75 Tritonal – 47 points #76 Kasbo – 47 points #77 Kayzo – 47 points #78 David Guetta – 47 points #79 Calvin Harris – 47 points #80 Dillon Francis – 46 points #81 Yellow Claw – 45 points #82 Nicky Romero – 44 points #83 Ganja White Night – 42 points #84 Liquid Stranger – 41 points #85 Malaa – 40 points #86 DJ Snake – 39 points #87 Infected Mushroom – 39 points #88 Tynan – 38 points #89 Fisher – 38 points #90 Andrew Bayer – 36 points #91 Whethan – 35 points #92 Third Party – 35 points #93 Rusko – 35 points #94 Spencer Brown – 35 points #95 Axwell – 34 points #96 Dubvision – 34 points #97 Vicetone – 34 points #98 Zomboy – 32 points #99 Lucas & Steve – 31 points #100 Sub Zero Project – 31 points Photo via Rukes.com This article was first published on Your EDM. Source: /r/EDM’s Top 100 DJs Is Drastically Different Than DJ Mag’s List [RESULTS] Source

Stop me if you’ve heard this before, but Dave Grohl is a good dude. He gifted a $2,000 guitar to a 10-year-old Metallica fan, played second fiddle to his daughter at a charity event, and reunited motherf*ckin Nirvana during Foo Fighters’ Cal Jam Fest… and all that happened within the last month. Well, good guy Grohl was at it again during Foo Fighters’ gig in St. Paul, Minnesota on Thursday. Per Christy Taylor of Go 96.3 in Minneapolis, Grohl invited a blind child to the stage after noticing him in the audience. The child and his parents were escorted to the side of the stage, where they watched the remainder of the concert. At one point, Grohl even brought his guitar over to the child so that he could touch it. Update: The child is named Owen and his mother, Stacey, provided some more details of their experience on our Facebook page. For what it's worth- I'm fairly certain people don't have the facts right in this @foofighters story. I was at the show in St. Paul. The kid had a red & white cane & had to be carried on stage. It seemed like he was blind, which is why Dave brought his guitar over to him to touch https://t.co/9cG3LADzWW — Christy Tornado Taylor (@christy_taylor) October 20, 2018 Dave stops song when he spots an exhausted child in the front with his dad and he offers them a seat on the stage. #FooFighters #MyXEC @foofighters pic.twitter.com/QMMw10MOSG — Matthew Vinge (@mvinge) October 19, 2018 Grohl interacts with the child around the 3:10 minute mark of the video: Source

On Saturday, Gorillaz staged their Demon Dayz Festival in Los Angeles. Following sets from Erykah Badu, The Internet, DRAM, and Kilo Kish earlier in the day, Gorillaz themselves took the stage for an epic 30-song headlining performance. Throughout the evening, Gorillaz were joined by a cavalcade of special guests, including De La Soul, DRAM, Little Simz, and Hypnotic Brass Ensemble. What’s more, legendary jazz guitarist George Benson shared the stage with Gorillaz for the first time to perform “Humility”, their collaboration off The Now Now. And toward the end of the evening, Damon Albarn brought out his Blur bandmate Graham Coxon to perform the Blur classic, “Song 2”. “We’re going to try a bit of cross pollination,” Albarn remarked before bringing out Coxon. Watch fan-shot footage of Gorillaz’s set and see the full setlist below. Setlist: M1 A1 (with “Lil’ Dub Chefin” Outro) Tranz Last Living Souls Rhinestone Eyes Tomorrow Comes Today Every Planet We Reach Is Dead 19-2000 Humility (with George Benson) Superfast Jellyfish (with De La Soul) On Melancholy Hill El Mañana Fire Flies Broken (with Hypnotic Brass Ensemble) Strobelite (with Peven Everett) Andromeda (with DRAM) Hollywood (with Jamie Principle) Garage Palace (with Little Simz) Stylo (with Peven Everett) (and Bootie Brown) Dirty Harry (with Bootie Brown) Feel Good Inc. (with De La Soul) Souk Eye Plastic Beach Encore: Lake Zurich Sweepstakes (with Hypnotic Brass Ensemble) Latin Simone (¿Qué Pasa Contigo?) (with Leider Chapotin) Kids With Guns Song 2 (Blur cover) (with Graham Coxon) Clint Eastwood Don’t Get Lost in Heaven Demon Days Also, here’s a great image of Albarn photobombing Erykah Badu: 2 goddesses and a dodo @gorillaz @fatbellybella @Damonalbarn @demondayzfest https://t.co/bnz30QAsi6#Gorillaz #ErykahBadu #DamonAlbarn pic.twitter.com/WFyVVtgY8P — GorillazNorthAmerica (@GorillazNorthAm) October 21, 2018 Source

Being of Swedish origin, it’s not surprising that the members of Swedish House Mafia are teasing some sort of event in the nation’s capital of Stockholm. Each member of the group, Steve Angello, Sebastian Ingrosso, and Axwell, have tweeted out just the word “STOCKHOLM” in three discrete lines – a representation of their brand which has become instantly recognizable. It’s not clear what these teasers will lead to, but perhaps it has something to do with the countdown timer that mysteriously appeared on their website a few days ago. That countdown ends in a little under 15 hours at time of publishing, so it seems we won’t have to wait very long to find out either way. No matter the case, Swedish House Mafia’s return to the world stage is imminent. pic.twitter.com/cW3pmOdugW — Sebastian Ingrosso (@Ingrosso) October 21, 2018 pic.twitter.com/JCqrrZAFvY — Steve Angello (@SteveAngello) October 20, 2018 pic.twitter.com/fIUNuwwbtY — Axwell (@Axwell) October 21, 2018 This article was first published on Your EDM. Source: Members Of Swedish House Mafia All Hint Toward Forthcoming Stockholm Event Source

Martin Garrix just put out five new tracks himself, so the possibility of him dropping another unreleased track is pretty wild. Reddit is going crazy right now over this mystery track he played out last night during his performance at ADE. There are some huge names being thrown into the mix… Justin Bieber. Which, we can kind of immediately put to rest. Some of the singer’s inflections resemble the pop star, but it’s easy to hear with a close listen that it’s not him. Other commenters point out this as a possible collaboration with Matisse & Sadko and Magnificence. “That was crazy!” one commenter exclaims. “It initially sounded like a MG pop tune with the vocals and then it switched to what sounded like a MG and Matisse and Sadko ID and then the drop sounded like a new Magnificence track! Woah.” The drop most definitely sounds like Magnificence, we agree. But, another Redditor believes this is the work of Matisse & Sadko and Martin Garrix only. Whatever the case, this production is absolutely massive. What do you think? Watch here! Martin Garrix – ADE Amsterdam – Intro ID Photo via Rukes.com This article was first published on Your EDM. Source: Martin Garrix Drops Insane Mystery ID During ADE [WATCH] Source

Turns out Rihanna wasn’t the only big name pop act to turn down an offer to headline the Super Bowl Halftime Show in 2019. Entertainment Tonight reports that Pink was also in consideration as a possible Halftime performer, but negotiations between her team and the NFL ultimately broke down. The NFL subsequently locked up Maroon 5 to serve as next year’s Halftime performers. Reportedly, Cardi B has been approached to join Maroon 5 (as they previously collaborated on the song “Girls Like You”), though Cardi B previously told TMZ that, like Rihanna, she is boycotting the NFL until “they hire Colin Kaepernick back.” Source

Synecdoche, New York is one of those movies so singular and strange that its very existence feels like a little bit of a miracle. Ten years ago, Charlie Kaufman was the acclaimed screenwriter of Being John Malkovich, Adaptation, and Eternal Sunshine of the Spotless Mind, poised to make his directorial debut with an ambitious feature about a theatre director who attempts to re-enact the human experience and passage of time as a living performance piece. What followed was a movie so unrelenting in its existential despair that, by all accounts of the modern film industry, it shouldn’t exist at all. And yet, it does. A decade removed, Synecdoche, New York is still very much one of those movies that the cinephile in your life has strong opinions around, and most of the people you know have probably never even heard about. In part, that’s because of the strangely muted release it received at the time; even by the standards of limited arthouse releases, the film didn’t last especially long in theaters. Despite being championed vocally by many critics, particularly by Roger Ebert in an especially wonderful review, word quickly spread that this was dense stuff even by Kaufman’s usually labyrinthe standards. Beyond that, many would say, it’s depressing as fuck. That assessment is hardly wrong, but to invoke Ebert once more, “no good movie is depressing.” Synecdoche, New York is as wrenching a movie as one can ever watch, but there’s something exhilarating about its endlessly expanding ambition. From the beginning, Caden Cotard (the late Philip Seymour Hoffman, in one of his finest performances) is clearly unwell, in a few different respects. He spends most of his time worrying either about his plays (as the film begins, he’s staging Death of a Salesman with young actors and hundreds of lighting cues) or about his declining health. In one of the film’s several unsettling motifs, something in Caden is always breaking down, whether in the form of seizures, pustules all over his face, an inability to salivate, or another malady. Even as he obsessively navel-gazes about his art and himself, his wife and fellow artist Adele (Catherine Keener) disinterestedly passing him by all the while, he’s constantly hurtling toward death. As Caden realizes, in the way only some people do in the world, we all are. He’s just more aware of it, on a more constant basis, than most. Adele is just the first significant love to pass through Caden’s life, even if Hoffman’s mumbling neuroses and Keener’s caustic passive-aggression in the early minutes hardly paint a portrait of a stable relationship. At his theatre, he carries a casual flirtation with Hazel (Samantha Morton), who’s as interested in Caden as someone can be and lives in a house that’s always on fire. His lead in Death of a Salesman, Claire (Michelle Williams), is obsessed with his artistic skill and insight. Later, he casts Tammy (Emily Watson) as Hazel in his piece, and they form their own attachment. In every case, Caden latches onto them because he’s full of a longing he’s unable to articulate, desperate for each to be the woman who can make sense of it all for him. In every case, they ultimately pull away when they realize that this is all Caden will ever be capable of doing for the whole of his life. All of this and so much more, the lives and loves and surrealist comic interludes and dramaturgical in-jokes, populate the boundary-free world of Kaufman’s masterwork. It’s truly rare to see a film like this, one which convinces the viewer that it’s capable of going anywhere at any moment, and then rewards that investment in ways that resonate well beyond the film. Kaufman’s film is about the impossibility of capturing all of life in a single piece of art, even as Caden attempts to do it in his performance and Kaufman attempts the same in just two hours’ time. “Time” as a concept is central to the way Synecdoche goes about doing this, as Kaufman collapses and expands days, months, and eventually years and even decades into malleable minutes of screen time, disorienting interludes that swing by in a flash. Children age into their teens in minutes, entire lives come and go in the background of various scenes, and by the film’s breathtaking final minutes, Caden has become the merciless god of his own self-serving creation, building a nesting doll of art within art in hopes of finding a truth that wouldn’t be capable of satisfying him if he even did wind up landing on it. To try and unpack the film in the space of a thousand-word review is futility, and in a way, Synecdoche, New York is as much about how we’ll never truly understand anything in our time on Earth as it is art or creation or anything else. The purposeful delirium of the filmmaking is matched by so many fine story details: the way that Sammy (Tom Noonan), the man who eventually comes to portray Caden in his own play, is following him long before he becomes an active player in the story; Hazel’s infinitely burning house; the manner in which even some of Caden’s most profound life experiences become components of the play, to the point where the line between “reality” and Caden’s art becomes irrelevant. In trying to use art to discipline and harness the chaos of being alive, Caden ultimately does nothing but watch life pass him by. Synecdoche, New York would still be overwhelming if it were just a piece of thickly plotted nihilism about how artists often tend to subsume and destroy everything and everyone in their orbit. But because it’s in every way a Charlie Kaufman film, there are moments of shattering affection and need that justify the film’s entire existence. Near its end, when so much of the film has spiraled out of Caden’s view, he and Hazel looking far older than they once did, he’s finally able to look her in the eye and tell her that “I breathe your name in every exhalation.” By then, it doesn’t matter. They’ve aged. Their time came and went, leaving them passing ships in the night. Soon, they’ll both be gone. And yet, for one more night they share a bed, because that’s why people write and direct and paint and sculpt and film and play and sing and act. They’re chasing the kind of peace only afforded to us intermittently in life, the kind that comes from other people. The kind that can’t be held in stasis forever. The kind that eventually comes and goes, because of age or death or because people just change. Kaufman holds these ideas against some of his most despairing, and in this way, Synecdoche becomes something like what Caden spends the whole film chasing. It’s a piece about disease and agony and abandonment and love and hope and serenity and remorse and forgiveness and failure. Caden never really does figure out how to do the play, despite flailing half-heartedly in that direction for so much of the film. Then again, Caden’s play is really just a logline, a way to explain in less than a pile of long-winded paragraphs what Synecdoche, New York is all about. I watched Kaufman speak on this film shortly before its release, and he mentioned that it was meant to be felt, rather than understood. That’s the thing about the film: it hits on the bone-deep level. It validates the worst fears of creative types, even as it understands well that giving in to those fears is a waste of one’s life. It offers a terrifying vision of what happens when a person disappears so far into themselves that they forget to live. It understands, in ways few films ever have, the emotional burden of being desperate for love while incapable of accepting or returning it. And it ends in the only way it can, and the only way it ever does. Trailer: Source

It’s with great sadness that we’ve learned that Spiro Boursine the founder of earthcore has passed away. Victorian Police Spokeswoman Senior Constable Melissa Seach has explained the situation that took place at Antique Bar in Melbourne on Saturday morning at 2am. “Police arrested the man and placed him in handcuffs when he lost consciousness…Police attempted to revive the man until Ambulance Victoria arrived and took over.” Spiro started earthcore in 1992, growing it from a small pioneering bush doof party into one on the annual calendar events of the year for dedicated dance music fans. Although viewed as a sometimes polarising figure, Spiro’s passion for his festival baby lives on. Some of Spiro’s festival highlights included 1. The doofnado hitting earthcore 2015 just up the hill from the Hydra floor and everyone running towards it and in it. 2. Dj Hell telling me to get off his house boat in 2000 millenium NYE earthcore because it was German Territory 3. Aphex Twin playing sunrise on the main floor with a blender, a mic and 1 turntable in 1996 or was it 1998 ? 4. Martin Solveig upon entering the event realising that he was in the bush at a doof and his shoes would get dirty if he stepped out so stayed in the car and refused to play and demanded to go back to Melbourne because the “bush” wasn’t for him 5. Realising that Ive put on 36 earthcores over a 24 year period and still absolutely loving it 6. Perry Farrell from Janes Addiction cooking up the BBQ in my backyard after playing at earthcore in the mid 2000’s Take a look back at a beautiful gallery from 2014’s edition. RIP Spiro <3 Source

Danny Leiner, the director of stoner comedies Harold & Kumar Go to White Castle and Dude, Where’s My Car?, has died at the age of 57. According to The Hollywood Reporter, Leiner had been suffering from cancer. Leiner also directed episodes for a number of prominent TV series, including The Sopranos, The Office, Freaks and Geeks, Arrested Development, and Strangers With Candy. Harold & Kumar stars John Cho and Kal Pen paid tribute to Leiner on Twitter. “Danny was so sharp, so funny, and a great dinner companion,” Cho remarked. Added Penn, “He was such a funny, thoughtful, encouraging person.” I am so saddened to hear about the passing of Danny Leiner, who became my friend when he directed Harold and Kumar go to Whitecastle. Danny was so sharp, so funny, and a great dinner companion. To his friends and family, my deepest condolences. — John Cho (@JohnTheCho) October 20, 2018 Very sad to learn that our friend Danny Leiner passed away. We initially got to know each other when he directed Harold & Kumar Go To White Castle. Sending my love to his family & friends. He was such a funny, thoughtful, encouraging person. — Kal Penn (@kalpenn) October 20, 2018 Source

Calvin Harris and Sam Smith have wowed us all with their collaboration “Promises.” Now, we get to experience the incredible track through eight brand new, dazzling remixes. David Guetta, MK, Illyus & Barrientos, Franky Rizardo, Mousse T., and OFFAIAH all offer different perspectives on the smooth dance heater. Sonny Fodera offers two, a straight up remix and a special disco mix. Driving the sweet collaboration into new territory, the majority of these producers choose to keep it light and deep. There are some exceptions, like David Guetta. His previously released take on “Promises” is more fitted for the main stage. Most of the remixes, however, sound more like getting lost on the dance floor. Franky Rizardo and OFFAIAH build on that notion, each creating atmospheres worth obsessing over. There’s still plenty more to be heard. Enjoy “Promises” eight different ways here and let us know your favorites! Calvin Harris with Sam Smith – Promises [Remixes] This article was first published on Your EDM. Source: Calvin Harris Unleashes 8-Pack Of Remixes For “Promises” with Sam Smith Source

Getting tickets to upcoming shows has never been easier. All thanks to YouTube, which has partnered with ticketing website Eventbrite to make purchasing tickets an absolute breeze. Over 1 billion music fans per month flock to YouTube to hear music from their favorite artists. It only makes sense that a ticket link would be just a click, or a thumb tap away. Now, it is. Fans can seamlessly go from experiencing music online to seeing live performances in person with YouTube’s latest feature. According to a presser straight from the source, “YouTube now covers more than 70% of the US ticketing market.” The streaming giant promises to “continue to add new artists and venues of all sizes to our list in North America as well as expand globally.” With this, YouTube reveals its mission to bring artists and fans together in more ways than just music video discovery. This intuitive live show connection is a huge kickoff point. Seriously, look how simple this is… YouTube x Eventbrite Learn more via YouTube’s official blog This article was first published on Your EDM. Source: YouTube Just Made It Really Simple To Buy Concert Tickets Source

Steve Aoki just made music history in becoming the first EDM artist to be featured in the iconic Smithsonian Museum. His very own used pair of CDJs and a mixer are on display in the newly renovated Ray Dolby Gateway to American Culture wing. This section of the museum showcases eight installations centered around entertainment — sound, stadium and screen. According to a release, this specific acquisition is part of an “important narrative the museum is assembling through research and collections illustrating the evolution of turntable and DJ technology.” His gear joins that of greats before him, DJ Bob Casey and Grandmaster Flash, bringing the Smithsonian’s display of DJ equipment into the current era. Unlike many DJs and turntablists before him, Steve Aoki is the first DJ to be featured with a digital system. His showmanship on the stage has undoubtedly garnered some massive attention and off it he must have put in countless hours on these pieces of equipment. Which is exactly why we see Aoki’s equipment on display at the Smithsonian, signature jump and all. Read more here. Steve Aoki @ The Smithsonian Museum Look mom I made it into the @smithsonian what an absolute honor. Come find me this weekend if you’re there! pic.twitter.com/gcmiXZxd1c — Jaleo Aoki (@steveaoki) October 20, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Steve Aoki Becomes First EDM Artist Featured In The Smithsonian Museum Source

The Pitch: Based on the twin memoirs of Rolling Stone contributor David Scheff and his son Nic, Beautiful Boy charts the relationship between David (Steve Carell) and Nic (Timothée Chalamet) as the latter struggles with his addiction to drugs, most notably methamphetamines. As Nic’s behavior grows ever more unpredictable and dangerous, teetering through cycles of recovery and relapse, David reckons with his own desperate reactions to his son’s deterioration, struggling in futility to help him with the support of his wife Karen (Maura Tierney) and Nic’s mom Vicki (Amy Ryan). Just Say ‘Ehh’: Beautiful Boy comes courtesy of Amazon Studios, which has happily taken Miramax’s place as the go-to home for weepy American indies featuring solemn guitar music and pleasant, if unremarkable, performances from seasoned character actors and eager young stars. While Beautiful Boy is one of the studio’s better efforts (it’s certainly no Life Itself by any stretch of the imagination), it fits firmly into that realm of arthouse milquetoast-ery, achieving a kind of dull competence that neither offends nor inspires. Director Felix Van Groeningen (The Broken Circle Breakdown) tells the Scheffs’ story with a delicate touch, flitting back and forth in time to chart a slightly unconventional route through Nic’s addiction and David’s subsequent reactions. However, too little of it amounts to much, giving audiences only scraps to grab onto that aren’t firmly rooted in after-school special territory. David reaches out to Nic, Nic snaps at him and goes off to get high, rinse and repeat. While it’s handsomely presented, Ruben Impens’ tasteful cinematography highlighting the soaring highs and rock bottoms of Nic’s journey with subtly effective framing, it all amounts to a boilerplate addiction story with a bit more polish than usual. Spring and Autumn: Thankfully, much of said polish comes from the film’s positioning as a showcase for Steve Carell and Timothée Chalamet, two performers at different points of their careers but both at the top of their game. This isn’t the first time Carell has leaned hard in the direction of prestige fare – he’ll even try again in a matter of weeks with Welcome to Marwen – but he’s long proven himself a master at playing amiable everymen with a dark core of emotional turmoil simmering underneath. David Scheff offers Carell plenty of opportunity to show his remarkable, understated dynamism as a dramatic performer, his concerned father wounded and enraged in equal measure. Most enlightening is Carell’s willingness to lay David’s control-freak aspects bare, as well as the tremendous guilt he feels at potentially opening up Nic’s mind to drugs by bragging about all the hard partying he did in college. His is comparatively the less-showy role (by a hair), but Carell acts as a compelling center for the film’s focus on Nic’s addiction. As for Chalamet, the Internet’s current boyfriend makes a well-deserved meal out of Nic’s journey, which fits all the award-hungry hallmarks for a young actor as talented as he. More than ever before, there’s a great deal of James Dean in Chalamet’s portrayal of Nic, a rebel without a cause whose addiction seems to stem from an innate resistance to his father’s disapproval, and a rebellion against his life of comparative privilege. The film never delves too deep into his own motivations and wants, except in terms of the repetitive back-and-forth about whether he will ever get fully sober. However, Chalamet miraculously manages to transform that repetition into a grippingly emotional sense of frustration towards the cyclical nature of his addiction. His scenes with Carell are magnificent, the two men constantly dancing around what they need from the other (for David, it’s Nic’s sobriety; for Nic, it’s money and help from David to continue his habit). With Carell aging into the role of seasoned character actor, and Chalamet cementing his status as a star on the rise, Beautiful Boy serves as a wonderful canvas to show what both actors are capable of. That being said, one unfortunate casualty of the film’s singular focus on its two leads is the disappointing lack of material for its supporting cast – especially Tierney and Ryan, who both occupy the unfortunate role of ‘concerned-looking wife’. Much of their contribution to the film comes from occasional sidelong glances at Nic or David, or bickering phone calls with David across the country. They’re silent supporters of David’s quest to get sober, serving primarily as Madonna figures offering forgiveness from afar, which seems a waste of two incredible performers. The Verdict: Like a lot of Amazon’s recent efforts, Beautiful Boy works best as an actor’s showcase, especially as another stepping stone in Chalamet’s rise to boyish movie star. Unfortunately, addiction stories like these need to do a bit more work to hit audiences where it hurts, and the story of the Scheffs is treated with an emotional distance that doesn’t quite invite viewers into the depths of their despair. For all of David’s distress as to how little he can do for Nic, and Nic’s own downward slide to rock bottom, its exploration of the dynamics of addiction feels relatively shallow. Carell, Chalamet and their supporting players can only spit-shine a relatively rote addiction story so much; by the time the thrill of their work passes, it’s easy to find oneself waiting for more. Trailer: Source

Now that the full results of this year’s DJ Mag Top 100 have been revealed, let’s take an in depth look at how this year compares to previous years. The first thing to remember is how much of a shake up last year was: sixteen new entries, six re-entries, Swanky Tunes fell 72 places, Alan Walker rose 38, Marshmello and The Chainsmokers both made it into the top 10, and more. (See last year’s breakdown here.) Pop is out, authenticity is in This year’s list is a lot more tame in terms of movement, but it still reveals a lot about the way dance music (and “dance music” artists, especially) are viewed in today’s EDM climate. If there’s any clear indication of that, it’s that pop-leaning EDM DJs fell by large margins this year. The Chainsmokers are down 25 places, Alan Walker is down 19, Calvin Harris is down 25, Axwell Λ Ingrosso is down 20, Diplo is down 17, and Zedd is down 15. These are all significant drops. At the same time, Steve Angello moved up 24 places thanks to his album Human, Eric Prydz moved up 14 places to break into the top 20, Vini Vici moved up a massive 38 places, and Angerfist moved up 11. These are just a few examples of how authenticity is being weighted more heavily now than in more recent years past. Of course, there are always exceptions to the rule, as Vinai, Nervo, DVBBS and others also moved up the list this year. Women rise Last year, four women (or female groups) made it onto the list. This year, that number is up to six with the addition of Nina Kraviz and MATTN. While it’s not great (and honestly, we don’t have a specific number that would be “good”), things are at least improving and the list is becoming more representative. Nervo clock in, once again, as the highest ranked female DJs on the list. The Top 10 has a shake up Moving into our examination of the top 10, which we’ve already briefly touched on here, Don Diablo finally breaks in, and Oliver Heldens makes his return after being ousted last year. The Chainsmokers make a significant drop from #6 to #31, a fall of 25 places. We’ve actually been quite happy with their performance world wide this year here at Your EDM, especially with their singles and Ultra performance, so we’re not quite sure what this could be ascribed to aside from loss of interest. Martin Garrix and Dimitri Vegas & Like Mike retain their #1 and #2 spots respectively, as expected, but the biggest shake up in the top 10 comes at the #5 and #6 spots. For the first time since he entered the list at #1 in 2002, Tiësto finds himself out of the top 5. This marks the first time in many years that the top 5 also isn’t dominated by the Dutch, as French David Guetta takes the spot away. As usual, sentiment from the general public toward the poll remains mostly negative. But as we must remind that same general public, this poll hasn’t claimed to be an objective ranking of the best DJs any more than America’s Got Talent has claimed to be anything more than a reality show. The results are based on votes, whether a DJ promoted themselves or not, and your favorite DJs either didn’t care enough to promote or they didn’t get enough votes. It’s that simple. Lobbing your anger toward DJ Mag does nothing at all. View the complete DJ Mag Top 100 DJs list below. 100. Slander 99. Carl Nunes 98. Rave Republic 97. Nina Kraviz [New Entry] 96. Alison Wonderland 95. Paul Kalkbrenner 94. Bobina 93. Markus Schulz [Re-Entry] 92. Lucas & Steve 91. Solomun 90. Andy C [Highest D&B Entry] 89. Deorro [Re-Entry] 88. MaRLo 87. Cedric Gervais [New Entry] 86. Marco Carola 85. Wildstylez 84. DJ L [Up 14] 83. NGHTMRE [New Entry] 82. Tchami 81. Mosimann 80. Daddy’s Groove [New Entry] 79. Adam Beyer 78. KOYU 77. Breathe Carolina 76. Da Tweekaz 75. Ferry Corsten 74. Aly & Fila 73. Carta 72. MATTN [Highest New Entry] 71. Swanky Tunes 70. Brennan Heart 69. Radical Redemption [Down 25] 68. Mariana BO 67. Andrew Rayel 66. Mike Williams 65. Miss K8 64. Jay Hardway 63. Swedish House Mafia [Highest Re-Entry] 62. Florian Picasso 61. Richie Hawtin 60. Robin Schulz 59. Deadmau5 58. Steve Angello [Up 24] 57. Claptone [Highest House] 56. Will Sparks 55. Paul van Dyk 54. Martin Jensen 53. Carl Cox [Highest Techno] 52. Jeffrey Sutorius 51. Above & Beyond 50. Diego Miranda 49. ATB 48. Cat Dealers 47. Yellow Claw 46. Tujamo 45. Alesso 44. Zedd [Down 15] 43. Nicky Romero 42. Diplo [Down 17] 41. Axwell ^ Ingrosso [Down 20] 40. Calvin Harris [Down 25] 39. Kura 38. Danny Avila 37. Blasterjaxx 36. Alan Walker [Down 19] 35. Wolfpack 34. Vini Vici [Up 38] 33. Timmy Trumpet 32. Kygo 31. The Chainsmokers [Down 25] 30. Bassjackers 29. Angerfist 28. Headhunterz [Highest Hard DJ] 27. Nervo 26. Vinai 25. Quintino 24. DJ Snake 23. Ummet Ozcan 22. Fedde Le Grand 21. Skrillex Top 20 20. Eric Prydz 19. Vintage Culture 18. KSHMR 17. Lost Frequencies 16. DVBBS 15. Avicii 14. W&W 13. Alok 12. R3hab 11. Steve Aoki Top 10 10. Marshmello 9. Oliver Heldens 8. Afrojack 7. Don Diablo 6. Tiesto 5. David Guetta 4. Armin van Buuren 3. Hardwell 2. Dimitri Vegas & Like Mike 1. Martin Garrix Photo via Rukes.com This article was first published on Your EDM. Source: Breaking Down The 2018 DJ Mag Top 100 Source

Walk into any Starbucks or Gap and chances are you’ll hear music playing in the store. According to a new study from Soundtrack Your Brand, a business which offers legal streaming for businesses, only 17% of all stores surveyed are actually streaming legally. By law, a business is not allowed to use personal streaming services when music is played to benefit a business, e.g., entice customers to enter or stay longer. The study surveyed nearly 5,000 businesses from the US and Europe and uncovered some shocking data. As summarized by Billboard, “[…] 88 percent of small businesses [reported] they play music daily or at least 4-5 days per week, with 80.3 percent saying music is important to their business (of that, 42.8 percent noted it was very important). As such, 86 percent of business said they were willing to pay some amount for the music, but the study did not specify what exact price point businesses deemed most reasonable. Meanwhile, those that do pay for streaming are mostly technically paying for the wrong services — 83 percent (21.3 million) of small businesses who play background music use personal music services such as Spotify or Apple Music.” When the data is extrapolated, out of an estimated 21.3 million businesses who play music globally, music rights holders miss out on around $2.65 billion annually. Malintent is not always the culprit in these cases, either. Of those surveyed, over half didn’t know what they were doing was illegal. In the US, 71% of businesses believed the way they were playing music was legal. “Lack of innovation has driven small businesses to choose consumer services, as they are far more accessible and easy-to-use than most business alternatives,” said Andreas Liffgarden, who used to run Spotify’s business development and is now co-founder and chairman of Soundtrack Your Brand, in a statement. “We need a new generation of B2B streaming services, attractive to business owners, that make sure music makers get fair compensation.” via Billboard This article was first published on Your EDM. Source: STUDY: Music Industry Missing Out On $2.65B From Businesses Illegally Streaming Source

London house music DJ, Hot Since 82, hopes to develop a common ground for everyone around the world through his infectious house music. He just embarked on a extended trip to Mexico where he was able to bring the world together with his sound. Enjoy Hot Since 82’s film of his musical journey through Mexico. Music is the answer, as he conveys through his remix of, ‘Music Is The Answer’, originally`by another London based DJ, Joe Goddard. Fall into the track’s steady groove. Next, treat yourself to another satisfying Hot Since 82 remix. Hot Since 82 remix of Cristoph’s ‘Closer’ ft. Jinadu This time Hot Since 82 holds the honor of remixing Cristoph‘s ‘Closer’ featuring Jinadu. Cristoph is out of Newcastle (UK) and is a member of the Pryda family. This track was off the concept album titled ‘8-Track’ which launched Knee Deep in Sound, Hot Since 82‘s white-hot imprint. Listen to Hot Since 82’s remix of Cristoph’s ‘Closer’ featuring Jinadu: Also, enjoy Cristoph‘s original cut by clicking here and another one of his singles of the ‘8-Track’ titled, ‘Alone’. Listen to Cristoph’s ‘Alone’: Since then, Knee Deep In Sound has been giving us HOUSE and more of it. Make sure explore their catalog of the freshest cuts in house music by clicking here. For now, get to know the Founder of Knee Deep In Sound through his undeniable single ‘Renegade’ then diving into his summer 2017 mix. Listen to Hot Since 82’s ‘Renegade’: Listen to Hot Since 82’s Summer 2017 Mix: You will be able to find Hot Since 82 in Spain, Ireland, Netherlands, Washington DC or London for the remaining of the year. Check out his tour dates and locations by clicking here. Follow Hot Since 82: Facebook | SoundCloud | Website The post Hot Since 82’s tech house serves as common ground appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Try as you might to prevent it, leaks happen. While the DJ Mag Top 100 is still counting down on DJ Mag’s socials, the final list has already been leaked and has spread like absolute wildfire. The #1 DJ of 2018 has been revealed. This year’s top 10 DJs are… Top 10 10. Marshmello 9. Oliver Heldens 8. Afrojack 7. Don Diablo 6. Tiësto 5. David Guetta 4. Armin van Buuren 3. Hardwell 2. Dimitri Vegas & Like Mike 1. Martin Garrix Martin Garrix retains his top spot on the list, and Dimitri Vegas & Like Mike keep their #2 placement. Hardwell and Armin flip flop while David Guetta edges Tiësto out of the top 5 for the first time since he entered the list at #1 in 2002. Don Diablo breaks into the top 10 at long last at #7 and Oliver Heldens makes his way back in at #9 this year. Marshmello remains at #10 and Afrojack rounds out our top 10 at #8. The Chainsmokers, who were #6 in 2017, dropped dramatically to #31 this year. Go here for the full list while we break down the top 100 even further to see who the real winners and losers are this year. Photo via aLIVE Coverage for Insomniac This article was first published on Your EDM. Source: Leak Reveals This Year’s #1 DJ Source

It’s that time of year again for the DJ Mag Top 100 to be announced. Keep up with us as we count down to this year’s new #1 DJ. 100. Slander 99. Carl Nunes 98. Rave Republic 97. Nina Kraviz [New Entry] 96. Alison Wonderland 95. Paul Kalkbrenner 94. Bobina 93. Markus Schulz [Re-Entry] 92. Lucas & Steve 91. Solomun 90. Andy C [Highest D&B Entry] 89. Deorro [Re-Entry] 88. MaRLo 87. Cedric Gervais [New Entry] 86. Marco Carola 85. Wildstylez 84. DJ L 83. NGHTMRE [New Entry] 82. Tchami 81. Mosimann 80. Daddy’s Groove [New Entry] 79. Adam Beyer 78. KOYU 77. Breathe Carolina 76. Da Tweekaz 75. Ferry Corsten 74. Aly & Fila 73. Carta 72. MATTN [Highest New Entry] 71. Swanky Tunes 70. Brennan Heart 69. Radical Redemption 68. Marina BO 67. Andrew Rayel 66. Mike Williams 65. Miss K8 64. Jay Hardway 63. Swedish House Mafia 62. Florian Picasso 61. Richie Hawtin 60. Robin Schulz 59. Deadmau5 58. Steve Angello 57. Claptone 56. Will Sparks 55. Paul van Dyk 54. Martin Jensen 53. Carl Cox 52. Jeffrey Sutorius 51. Above & Beyond 50. Diego Miranda 49. ATB 48. Cat Dealers 47. Yellow Claw 46. Tujamo 45. Alesso 44. Zedd 43. Nicky Romero 42. Diplo 41. Axwell ^ Ingrosso 40. Calvin Harris 39. Kura 38. Danny Avila 37. Blasterjaxx 36. Alan Walker 35. Wolfpack 34. Vini Vici 33. Timmy Trumpet 32. Kygo 31. The Chainsmokers 30. Bassjackers 29. Angerfist 28. Headhunterz 27. Nervo 26. Vinai 25. Quintino 24. DJ Snake 23. Ummet Ozcan 22. Fedde Le Grand 21. Skrillex Top 20 20. Eric Prydz 19. Vintage Culture 18. KSHMR 17. Lost Frequencies 16. DVBBS 15. Avicii 14. W&W 13. Alok 12. R3hab 11. Steve Aoki Top 10 10. Marshmello 9. Oliver Heldens 8. Afrojack 7. Don Diablo 6. Tiesto 5. David Guetta 4. Armin van Buuren 3. Hardwell 2. Dimitri Vegas & Like Mike 1. Martin Garrix This article was first published on Your EDM. Source: DJ Mag Top 100 Being Announced Right Now Source

Overall, ADE has been an awesome experience for Martin Garrix and his massive following. With two shows scheduled and five brand new singles out, as well as a new photo book, it’s a week to remember. However, last night apparently an incident went down during his set that the crowd undoubtedly wishes they could forget. According to Redditors and many on Twitter, someone allegedly unleashed some sort of gas onto the crowd. Some say this is a common practice for pickpocketing, as a method to distract. “Some people threw tear gas and pepper spray into the audience and it got a lot of people sick,” one comment reads. “It scared Martin as well.” Martin Garrix just released a statement following the unfortunate incident. Here’s how it translates… I was shocked by the incident last night and I find it incomprehensible that there are people who do this kind of thing. The team is committed to ensuring the safety of all visitors. Last night was one of the most special performances I’ve ever done and I’m really looking forward to this one more time this afternoon. Let’s hope nothing like this happens tonight during round two. Everyone stay safe out there. Statement From Martin Garrix pic.twitter.com/QLDVAg93CO — MARTIN GARRIX (@MartinGarrix) October 20, 2018 pic.twitter.com/VhpDz5wUbv — inge (@justinnsizzler) October 20, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Martin Garrix Releases Statement Following Apparent Tear Gas Incident During ADE Show Source

Here’s some pretty good news from the set of Curb Your Enthusiasm: production has officially commenced on the show’s upcoming 10th season. HBO confirmed to TheWrap that production began Friday. After a five-year hiatus, Curb Your Enthusiasm returned in October 2017 for its ninth season. It was renewed for a tenth season in December of that year, with plans to begin production in Spring 2018. It’s unclear what caused the delay in production. (Read: The 10 Most Cringeworthy Moments on Curb Your Enthusiasm). In a statement included in the season ten renewal announcement, Larry David joked: “As I’ve said many times, when one has the opportunity to annoy someone, one should do so.” As standard, details on the show’s upcoming season are being kept under wraps, though Curb executive producer Jeff Schaffer previously told EW that the show’s entire cast was expected to return. Additionally, Larry will “catch up with a few more old friends from the Curb universe,” Schaffer promised. Season nine of Curb received Emmy nominations for Outstanding Comedy Series and Outstanding Actor in a Comedy Series (David). Source

Liam Gallagher openly admits to being a drunk tweeter, and early Saturday morning, the Oasis singer went on a particularly incoherent tweet storm about Radiohead. As best we can surmise, Gallagher was at a house party where Radiohead was a topic of discussion: “So I’m in this crazy house everyfucker is hanging on about the band radio play help,” he tweeted. He proceeded to rattle off names of Radiohead songs in a mocking manner: “Some tunecall creepy fuvker”, “Planet tickle”, and “The rapping in the middle of the bends taking the piss.” “How the fuck did these tedes get big,” Gallagher remarked at one point, before conceding that “Karma Police” is a good song. You can read Gallagher’s tweets below. Of course, this is not the first time he’s taken a swipe at Radiohead. In response to the 2011 release of Radiohead’s The King of Limbs, Gallagher remarked: “I heard that fucking Radiohead record and I just go, ‘What?!’” he said. “I like to think that what we do, we do fucking well. Them writing a song about a fucking tree? Give me a fucking break! A thousand year old tree? Go fuck yourself!” So I'm in this crazy house everyfucker is banging on about the band radio play help — Liam Gallagher (@liamgallagher) October 20, 2018 Some tunecall creepy fuvker — Liam Gallagher (@liamgallagher) October 20, 2018 Planet tickle — Liam Gallagher (@liamgallagher) October 20, 2018 I'm out — Liam Gallagher (@liamgallagher) October 20, 2018 Ffs — Liam Gallagher (@liamgallagher) October 20, 2018 The rapping in the middle of the bends taking the piss — Liam Gallagher (@liamgallagher) October 20, 2018 How the fuck did these teds get big — Liam Gallagher (@liamgallagher) October 20, 2018 Karma police that's it — Liam Gallagher (@liamgallagher) October 20, 2018 Karma police ffs — Liam Gallagher (@liamgallagher) October 20, 2018 Cmon ya whales Karna police — Liam Gallagher (@liamgallagher) October 20, 2018 What album is this fuvking karma police on — Liam Gallagher (@liamgallagher) October 20, 2018 Rite it's going off — Liam Gallagher (@liamgallagher) October 20, 2018 Source

“Religious experience” gets thrown around a lot when describing memorable concert experiences, but all too often, it’s simply hyperbole. Not the case for Florence and the Machine, who recently brought their High as Hope Tour to Chicago’s United Center. As one might expect, Florence Welch was in fine form, dancing and twirling about the stage to angelic heights. Hit after hit dazzled thousands of Chicagoans, who all left Earth’s miserable confines for an outstanding two-hour performance. This Must Be the Gig host and senior photographer Lior Phillips captured the entire night in all its majestic glory. Peruse her exhaustive gallery of photos below and consult the night’s full setlist shortly after. Follow Lior and Consequence on Instagram. Setlist: June Hunger Between Two Lungs Only If for a Night Queen of Peace South London Forever Patricia Dog Days Are Over 100 Years Ship to Wreck The End of Love Cosmic Love Delilah Encore: Big God Shake It Out What Kind of Man Source

This week, Jimmy Kimmel filmed his ABC late-night show from the Brooklyn Academy of Music in Brooklyn, New York. The guest list was chock full of New York City royalty, including St. Vincent, who performed a stripped-down version of her song “New York”, and Cardi B, who spoke to Kimmel about her broken vagina and what she’d do if she were to become mayor of the Big Apple. To wrap up the week, the mighty Wu-Tang Clan took the stage to perform a pair of tracks from their classic album, Enter the Wu-Tang (36 Chambers), which celebrates its 25th anniversary this year. All of Wu-Tang’s surviving members — RZA, GZA, Method Man, Ghostface Killah, Raekwon, Inspectah Deck, U-God, Cappadonna, and Masta Killa — were on hand for the fiery performance, which saw them revisit “Protect Ya Neck” and “C.R.E.A.M.” Additionally, RZA and Method Man played a game of “3 Ridiculous Questions.” Replay it all below. Earlier this week, it was revealed that a Wu-Tang Clan-inspired scripted series is in development at Hulu. Source

Around the early 2000s, New York’s post-punk revival scene was flourishing. Bands such as Interpol, Yeah Yeah Yeahs, and The Strokes were becoming staples in the community, and they incorporated the unvarnished instrumentation that came to solidify the genre. Just a couple of years later, however, indie rock took a less accelerated, more subdued turn. Death Cab for Cutie released Transatlanticism in 2003, and Arcade Fire released Funeral in 2004, both of which are seminal albums that marked this transition from fashionable indifference to sorrowful introspection. The Shins found a balance between the two, opting for neither garage rock nor reverb-drenched lamentations. The Albuquerque-based band blended these styles, resulting in masterfully crafted, hook-laden pop songs. Their second record, Chutes Too Narrow, is now 15 years old, and those pop songs prove as timeless as ever. Recorded in songwriter James Mercer’s Portland basement, Chutes Too Narrow feels like a personal record regardless of its universal relatability. Mercer’s voice is the centerpiece of every song, placing his innovative, memorable melodies at the forefront. His vocal hooks sensibly and unpredictably weave their way in and out of straightforward chord structures. Chutes Too Narrow is the musical proof that three-minute pop songs can be refreshing and substantial, and much of that proof lies within Mercer’s impressive vocal performances. Opener “Kissing the Lipless” exemplifies this, with Mercer singing in a quiet mid-register over an acoustic guitar. By the second verse, he opens into a bursting falsetto, only to return to a softer dynamic in the outro. “Fighting in a Sack” is another showcase of Mercer’s vocals, and despite being a verbally busy track, it doesn’t present itself as oversaturated or tedious. He makes use of each syllable to contribute to the brisk pace. Melodic excellence aside, Mercer’s lyrics are dense yet literal. Metaphors are packed into seemingly every inch of space, and nothing feels clichéd or trite. He explores a variety of topics, as well, ranging from failed relationships to misanthropy and religion. His lyrics aren’t obscure to the point where no meaning can be gleaned from them, and even though they’re not shrouded in a nebulous haze, they’re always worth pondering over. “So Says I” positions Mercer in a conflict of economic models, but he ultimately reasons that humanity is “a brutal kind” and, consequently, will never find utopia. Standout track “Saint Simon” shares a relatively similar sentiment. Mercer’s existential philosophy is the absence of one entirely. The ever-sought-after “meaning of life” will always be evasive, and religion, science, and philosophy will always try to come closer to finding it, but, as Mercer says, “There’s still so much that hides.” It’s why he leans toward uncertainty and even finds solace in it. The embrace of apathy is a recurring theme throughout the record, and it acts as a welcoming, poignant contrast to the bouncy, eager nature of the music. “Fighting in a Sack” is the microcosm of this formula. Over swift drums and a swung strumming pattern, Mercer contemplates outdated modes of thought (“Marionettes on weakening cables”) and the impermanence of our lives (“We know our fate, and it’s a lot to put us through”). However, The Shins don’t always adhere to this formula, staying hushed on songs such as “Pink Bullets” and closer “Those to Come”. They bring variety to the table, and they add contrast in the same way that the record’s lyrics juxtapose its instrumentation. “Gone for Good” is the twangy epitome of Mercer’s excellent use of dynamic variance. It directly follows one of the album’s louder moments, and, instead of coming across as inconsistent or jarring, it shows that Mercer’s musical assets exist on a spectrum. He isn’t a limited songwriter in the sense that he confines himself within one idea. He’s bursting with ideas, and Chutes Too Narrow lays them out in a beautiful, well-crafted pile. Chutes Too Narrow is The Shins’ most cohesive, superb record to date. It’s an album that shows the timelessness of masterful pop songs and exquisite melodies. Most early-2000s indie rock is still wonderful to listen to, but it sounds a bit aged. Chutes Too Narrow, though, beams with a vitality that transcends age. Essential Tracks: “Saint Simon”, “Gone for Good”, and “Kissing the Lipless” Source

Rising production talent, Edwin Klift has been actively pursuing his solo artist project for a relatively short space of time in the electronic scene but already has been caught the attention of major tastemakers and industry folk with his melodic and feel-good, electronic pop sound. Today, we have the privilege to premiere his third original this year, ‘I Wanted It To Be You’. This track immediately hits you with its punchy synth layers and the catchy top line melodies of Bailey Jehl. Edwin, one half of renowned tropical house duo, Edeema has adapted to the rise of the modern electronic pop blending both pop top lines with catchy vocal chop driven tunes to create a fresh original sound. This guy is definitely one of the most promising talents to come out of Norway and hence was picked up for this weeks’ New Music Friday Norway on this release. We can’t wait to share more exciting tunes from this young producer. This article was first published on Your EDM. Source: Your EDM Premiere: Edwin Klift Drops Stunning New Original, ‘I Wanted It To Be You’ Source