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One of the leading names shaking up the house scene right now is LondonBridge. The Space Yacht founder is coming off a huge festival season and steady wave of releases with yet another standout track “Sabertooth Tiger.” It’s a jungle out there, but this track sets itself apart. Taking inspiration from old Kung-Fu movies, London molds a high-energy club track that is sure to make any booty bounce. And the best part is “Sabertooth Tiger” doesn’t take itself too seriously. Dance music should be fun and this is a shining example. The growl of the Sabertooth, though fierce, packs a pretty mean purr when its coming through your speakers. Mixed with LondonBridge’s signature house vibe, the groove is far from extinct. Ok, we’re just being corny now. Once you hear LondonBridge’s own story behind the track it will make even more sense… The inspiration of this track came after an afternoon of eating mushrooms and listening to Wu-Tang Clan. I went back to their album ‘Wu-Tang Forever’ and for some reason I just started saying “Sabertooth Tiger” again and again over one of their beats. Maybe it was the shrooms talking? Wu-Tang always used clips from old Kung-Fu movies on their records, so I decided to recreate a scene from a non-existent movie called “Sabertooth Tiger” and use it as the intro to the track. Once I had made that intro, the rest of the song fell into place. Listen to the latest killer release from LondonBridge via TONS & TONS right here and don’t forget to link up below. LondonBridge – Sabertooth Tiger Follow LondonBridge SoundCloud | Facebook | Twitter | Instagram | YouTube | Website | Space Yacht This article was first published on Your EDM. Source: LondonBridge “Sabertooth Tiger” Is A Fierce & Fun Party Starter [LISTEN] Source

Last month, Hardwell made the shocking announcement that he’d be taking a break from touring and making music for an indeterminate amount of time. “Being Hardwell 24/7 leaves too little energy, love, creativity and attention for my life as a normal person to do so,” he wrote in a statement. “This is why I have decided to clear my schedule indefinitely to be completely liberated from targets, interviews, deadlines, release dates, etc.” While fans were obviously disappointed, in the wake of many high-profile celebrity deaths this year attributed to depression, overwork, and mental health, his reasoning was understood. Yesterday, Hardwell performed his final show before beginning his break at the Ziggo Dome in Amsterdam during Amsterdam Dance Event. The entire show was played with the accompaniment of the Metropole Orkest, making for a once-in-a-lifetime journey through dance music. Watch all two hours below, including Hardwell’s tear-jerking final speech. “I will be back!” he says, through emotion-filled eyes. This article was first published on Your EDM. Source: Watch Hardwell’s Final Performance Before Hiatus At Amsterdam Dance Event Source

The Pitch: No one wants to read a biography about Fanny Brice. That’s a reality that biographer Lee Israel (Melissa McCarthy) stubbornly refuses to face, even as her rent falls months behind, her relationship with her agent (Jane Curtin) grows ever more strained, and her vet refuses to take a look at her sick cat until she’s paid up in full. She’s a writer with a subject no one seems to care about much anymore, and a person without the patience or social skills to navigate such a situation with anything like grace. Nearly friendless — save for the rakish, down-on-his luck charmer Jack (Richard E. Grant), with whom she reunites with in a bar — and desperate for cash, she takes the skill no one wants and makes it lucrative. She doesn’t write about Fanny Brice. She writes as her, using her diamond of a mind and a slew of typewriters to craft breathtakingly witty, absolutely fraudulent celebrity letters. A True Story of a Great Fake: Not all stories of the based-on-a-true-story variety are created equal, but this is the best kind of truth: the kind that’s almost too implausible to be fiction. Adapted by Nicole Holofcener and Jeff Whitty from Israel’s book of the same name, Can You Ever Forgive Me? treats the many contradictions of Lee’s life as a sort of tacit permission to embody those contradictions in the film. In one scene, you’re watching a slow-burn romantic comedy, the sort Nora Ephron — one of the personas Lee tries on — might concoct. In the next, the tempo picks up, and you’re suddenly neck-deep in the slick, assured world of the heist film, complete with a percolating score from Nate Heller. It dabbles in courtroom drama, in cringe comedy, and in the up-all-night delirium of the Before trilogy; the shifts are subtle, but palpable, as though the film itself is trying on the styles and lives its protagonist so nimbly adopts. It’s a clever magic trick, so minute that many of those shifts may be more felt than realized, and director Marielle Heller pulls it off because of what the film is above all: a character study, rendered most often as a duet. In McCarthy and Grant, Can You Ever Forgive Me? can rightly lay claim to two of the year’s most engaging performances, and Heller, Holofcener, and Whitty give the pair a hell of a feast. Their rich, thoughtful work grounds both the implausible (true) story and the subtly daring filmmaking in the cruelty, vulnerability, and heartbreaking humor of these two people, making even the most audacious turns seem not only plausible, but painfully honest. Restraint as a Virtue: Those surprised that Melissa McCarthy is more than capable of a dramatic, subtle turn simply haven’t been paying attention — even in Bridesmaids, the film’s climax hinged on her ability to bring emotional resonance to the forefront. But Can You Ever Forgive Me? makes better use of those skills than anything she’s done in years, and it does so by allowing her to pull back when others would push forward. As played by McCarthy, Lee is a deeply unpleasant person, but the intimacy of her performance makes clear how and why she lashes out: sorrow, grief, betrayal, and even love are all emotions that threaten the just-barely-okay bunker she’s built for herself, and when that bunker is threatened, the blades come out. McCarthy never overplays her hand, and her impeccable comic timing never abandons her, but her ability to keep the big emotional stuff to a 6 when she’s clearly feeling a 10 allows the audience to see the cogs of the coping mechanisms, and to feel the things Lee refuses to acknowledge — particularly in a brief, breathtaking scene in which she watches a lounge singer (Mx Justin Vivian Bond) in a drag bar, and in nearly every interaction she has with Lee’s beloved cat. But McCarthy isn’t the only one who knows how to hold back. Grant’s performance is every bit the equal of McCarthy’s, though Jack’s method of coping is based on looking and playing a part, rather than pushing away both emotions and the people who spur them. Heller and the film’s screenwriters don’t feel the need to hold the audience’s hand, either; the AIDS crisis is acknowledged with a brief reference to dead friends, then never leaves the background, and moments of affection and forgiveness can be summarized with a laugh, a smile, and a particularly sunny day (captured beautifully, as is the whole, by cinematographer Brandon Trost). That undeniable virtue makes the film’s stumbles all the more noticeable, sadly. (An on-the-nose courtroom speech is the single biggest offender.) Still, it’s an admirable pursuit, and one that draws the audience, slowly but unrelentingly, into the lives of these people and their almost unbelievable scam. The Verdict: Can You Ever Forgive Me? isn’t reinventing the wheel. This is a biopic, plain and simple — a very good one, and like the best of its ilk, one that centers on a specific period of time, rather than attempting an ill-fated chronicle of a rich life in full. Its moments of creativity and daring, while effective and elevating, never even approach the audacity of the subject on which they center, and it’s easy to wish that Heller had pressed down a bit more firmly on the gas. But the overall effect is so simply pleasing, the performances so honest and engaging, and the story, frankly, so worthy of an earnest what the fuck? that it’s hard to work up the steam for any kind of complaint. It all works, and works well. There are three elements that push past “well” and into the territory of “spectacularly”: McCarthy, Grant, and Lee Israel herself. It’s likely that the draw for many will be the woman who gets top billing, and rightly so, but she’s blessed with a fascinating role to play, and a hell of a story to tell. When up against the wall, Lee Israel turned her talent for understanding the sparkling minds of yesteryear into a doozy of a racket, trading on her incandescent wit. Equal parts champagne and campari, brimstone and breeze, she aimed to both deceive and delight. The film that tells her story, and the woman who fills her shoes, somehow capture that bitterness and effervescence in one. That’s a hell of an accomplishment, capturing her voice so astutely. It’s the kind of stunt only someone like Lee Israel could pull off. Where’s It Playing?: Can You Ever Forgive Me? is out now in limited release, and will expand in the following weeks. Trailer: Source

WHAT THE FFFFFFUUUUUUCCCKKKKKKKKK! If you’ve caught a Herobust show lately, you’ve most definitely heard the anthem of his current sound and entire headlining tour, “WTF.” And, if you haven’t, then what are you waiting for? We were able to catch up with the mind-blowing bass producer during his sold out tour stop at Elektricity in Pontiac, Michigan last Saturday. Honestly, it was one of the most insane shows we’ve witnessed this year. That busted sound met with the lively crowd Elektricity brings made for an unforgettable, bass heavy night for the books. 10/10 would recommend. Herobust opened up his set with brunt force, blasting us with his single “WTF” and sprinkling in the monstrous remixes along the way. It was then we knew this WTF VIP + Remixes pack would be one to look out for. For the atomic, 9-track release, Mastodon, Riot Ten, Subtronics, Kai Wachi, Pierce, Hekler, Ivory, and Gladez all have their way with “WTF” — plus there’s a VIP remix by Herobust himself to start it all off. Break your neck (figuratively, of course) to all the official “WTF” remixes and read up on our interview with Herobust below. Herobust – WTF VIP + Remixes  Herobust – “WTF” (Original)  How is the WTF Tour going so far? It’s awesome! It’s been great. Obviously the song, “WTF” is going off. Hearing everybody yell the words every night is cool. It’s cool to see something go from just a concept in your bedroom to seeing people across the world, in like China and Germany, yelling “What the fuck!” It’s awesome. It’s surreal. It’s dope. You have crazy, high-energy shows & a lot of them… What’s the key to not getting burnt out on tour? Picking your battles, honestly. When you’re touring there’s temptation to party every night. When you first start touring and you’re crazy excited about all of it, you do it every night. Then, you get to a point where you’re a month and a half to two months in and then you’re like — “I’m going to die.” You kinda can’t do it every night. I’ve been touring for a while so I’ve gotten better at it and with choosing my spots. If I have a lot of homies in a city coming up, I know that Thursday for example we’re going in. It’s just going to happen. So I’ll take it easier early on in the week. That’s physically. Other than that, it’s just about having fun with it. It doesn’t become a job if you keep it fresh and fun. The Jurassic Park intro — that was for the fans, obviously. But, it was for me, too. It was me having fun with it and keeping things different so it’s not the same thing every night. Tell me the story behind “WTF”… The idea was I wanted to make a song where all the sounds were generated from one vocal sample. That was the idea before I even thought to make it “WTF.” Once I figured that out, I was like ok, what phrase is going to make sense? I just knew the song was going to be kind of weird, so yeah, “WTF.” [laughs] Everybody knows that feeling when the drop hits and it’s shocking. It’s overwhelming. And, you’re just like, “WTF!” So, it totally started with the vocal sample. I recorded myself saying it in a couple of different ways. Then, processed it to make it sound like a lot of the sounds in the drops. That’s how it all came together. What makes you say “WTF” lately? Bailo for sure. Bailo is my support for the first part of phase two of the WTF Tour. The guy is absolutely playing monster sets. He has his own new wave, tons of unreleased music, and he’s relentlessly friendly. He’s amazing. Nicest dude ever — just pummels you with kindness. He FaceTimes you every 30 minutes I’d say, so don’t give him your phone number. I won’t… [laughs] What’s your favorite curse word? Is it fuck? Either fuck or shit. I say fuckin’ probably the most, ya know. When I’m trying to think I say, “um… fuckin’ yeah…” What can we expect with this WTF VIP + Remixes EP? I think all the artists featured on the “WTF” remixes are making bass music in exciting, new ways. I’ve always made bass music, but I’ve always put the hip hop swag into it because I’m from Atlanta. Now, with all the new riddim stuff that’s going on, there’s all these new waves being made — it’s super exciting. It’s fun to play out and fun to listen to. The “WTF” remixes are just crazy. How do you get your most off-the-wall ideas? A lot of times my most creative ideas come from limitation. The song “WTF” is actually a good example of this, because I told myself I was only going to make sounds from processing that one vocal sample. So, I had to resort to all these different techniques that I never would have come up with if I had no constraints and could use any VST or any DAW, whatever. I had to figure out a way to make this work. I had to be different. That’s actually something I do a lot. It’s a thing with art — limitations. Any advice for aspiring producers on breaking the mold, which you’ve done so well? From my experience, making your own sounds is key. For example, if you need a hi hat or a snare or a riser, you can find great samples for that. But, if you make them yourself, as you make a hi hat, you’re unknowingly applying all the preferences that you like about hi hats. The same with snares and risers or any sound. When you make everything yourself and have your hands on every little piece of the puzzle, when your song comes together your preferences congeal into a sound that is yours and your own. Versus, when you use samples from this company and that company — you can still write great music that way, but you’re actually applying their preferences in sounds. I can only speak to what worked for me. Having my hands on every little piece of the song is what really turned the corner for me in finding my own sound. When you get off the WTF Tour, what’s the first thing you’re going to do? I’m gonna spend time with my girl. Both of my girls — my girl and my dog are waiting at home. Well, they’re not waiting, they’re doing their thing. But, I love them very much and can’t wait to spend time with them! See all remaining WTF Tour dates here. This article was first published on Your EDM. Source: Herobust Drops Massive “WTF” VIP, Remix Pack & Talks All Things “WTF” [INTERVIEW] Source

With their fifth album, Chaos A.D., released October 19, 1993, Sepultura effectively announced to the world that metal could fuse with and absorb “native” musical elements from anywhere. Although Sepultura had previously flirted with the rhythms of their native Brazil, most notably on the song “Altered State” from 1991’s Arise, the band had otherwise stuck to emulating the straight-ahead jackhammer approach of its European and American influences. In fact, band members Max and Igor Cavalera, Andreas Kisser, and Paulo, Jr., had actively resisted the idea of blending heavy metal and samba, a move they would have seen as distasteful and a pandering to “worldbeat” stereotypes. But by the time the band decamped to the isolation of South Wales under the guidance of producer Andy Wallace, they finally felt comfortable allowing an array of Brazilian rhythms they were well familiar with to seep into their writing. (Ironically, this gaze back at the sounds of their home country coincided with the band’s relocation to the American city of Phoenix, Arizona.) On tunes like “Refuse/Resist” and “Territory,” the Latin sway merges seamlessly with violently heavy downtuned guitar riffs. “Territory” in particular, which opens with a Latin-tinged drum pattern from Igor Cavalera, showcases Sepultura’s increased proficiency at adding space and accents that sounded immediately exotic to metalhead ears. Early in the song, the band plays a stuttering riff that one can sing out loud, Beavis and Butt-Head style, only at a faster tempo and with shifting accents. Not long after, the band inverts the same riff — Sepultura had stuffed the previous album, Arise, with highly technical playing, but this one change in “Territory” was something altogether different, showcasing just how rhythmically adroit and subtle the band had become. And, in the most glaring example of the band exploring new avenues — what Andreas Kisser described as the “first time we put 100% Brazilian influence” in a song — the all-acoustic “Kaiowas” features pastoral, almost medieval acoustic guitars over thundering tribal drums. A tribute to Kaiowas people who committed mass suicide in response to the Brazilian government’s incursion on their land, the song was recorded in the open-air ruins of a castle in the Welsh countryside. At the song’s conclusion, one hears the sound of seagulls squawking overhead with church bells ringing in the distance — a shockingly picturesque moment right smack in the middle of a gnashing, caustic, highly abrasive album. By the same token, the fact that the band chose to keep the ambient sounds on “Kaiowas” highlights its newfound affinity for texture of all sorts. After touring the U.S. and Canada at the bottom of a bill with Ministry and Helmet in 1992, Andreas Kisser felt inspired to try and translate Ministry’s electronic vocabulary to the guitar for an organic take on mechanistic noise. Likewise, the influence of Helmet’s signature downtempo chugging rears its head, as well, with the band nodding to Helmet’s iconic “In the Meantime” riff not once but twice on the songs “Territory” and “Amen.” Coming off the progressive death metal stylings of Arise, the significantly slower tempos and more straightforward song structures on Chaos A.D. marked a huge, even drastic departure for Sepultura. Ditto for the album’s shades of hardcore punk and industrial, as well. Chaos A.D. also signified a decisive shift from a stereotypically “metal” lyrical outlook to topical subject matter. As Max Cavalera told MTV just before the album’s release, “We traveled a lot in different countries, which gave us a lot of knowledge to talk about different topics.” Cavalera had basically said the same thing after the release of Arise, but there’s no denying the expansion of scope on Chaos A.D., which deals with subjects like the bloody revolts then unfolding in various parts of the world (“Refuse/Resist”), the standoff at Waco (“Amen”), a massacre in a Saõ Paulo prison, and humanity’s long history of imperialistic conquest (“Territory”). In the video for “Territory,” the band addressed the Middle East conflict from an impartial perspective. “There’s people with the same thoughts as us in different countries. I think we could live in Jamaica or India, and it would still be part of us — the way we think and the way we play,” Max said in the same MTV interview. “You hardly see any of us getting pissed off or violent in real life, but you see us getting into that mode live.” Producer Andy Wallace opted to capture that live energy on tape, eschewing the band’s previous working method of building the songs in layers via successive rounds of overdubs. The result is the most raw and immediate album of Sepultura’s up to that point. (Fudge Tunnel’s Alex Newport, also a producer in his own right who would soon thereafter collaborate with Max Cavalera on the Nailbomb side project, also visited the studio to help establish guitar tones.) Wallace first came to prominence as an engineer on several Rick Rubin-produced projects like Run-DMC’s Raising Hell, The Cult’s Electric and, most notably, Slayer’s Reign in Blood. He had even mixed Arise, and by 1993 he was in the midst of a career hot streak that included credits like The End of Silence by the Rollins Band; Rage Against the Machine’s self-titled debut; Bricks Are Heavy by L7, Helmet’s Meantime, Fishbone’s Give a Monkey a Brain, and Nirvana’s Nevermind. After Chaos A.D., he would go on to work with Toadies, Bad Religion, Shudder To Think, Faith No More, and Jeff Buckley. By the time Chaos A.D. hit the public, the seismic shifts from the rise of alternative music had been underway for upwards of three years. The impact on metal artists was striking. Several key figures in thrash have spoken over the years about how the sea change impacted metal in a negative way, buying into the narrative that Nirvana and alternative music essentially killed the metal wave Sepultura emerged from. Chaos A.D., however reached gold sales in the U.S. even as bands like Metallica, Megadeth, Anthrax, and most of the bands in thrash metal movement abandoned the speed that had defined them for a simplified sound. Compared to, say, Metallica’s “Black Album”, it’s striking how Sepultura were able to simplify without compromising heaviness. The success of Chaos A.D. suggests that maybe those other bands had more of a hand in their own fate than they either realize or care to admit. In any case, the album established Sepultura as an international household name and put them on a shortlist of Brazilian artists recognized throughout the world. Today, from an international perspective, Sepultura can — and must — be mentioned in the same breath as the likes of Joaõ Gilberto, Caetano Veloso, Antonio Carlos Jobim, and Seu Jorge — an almost ludicrous achievement considering the giant stature of those artists in their home country. Though the band’s profile outside Brazil had been rising steadily for more than five years up to that point (thanks to an enthusiastic network of tape-trading metal fans who kept in touch by sending each other cassettes in the mail before the internet), Chaos A.D. clinched the band’s worldwide success. It also arguably started the ball rolling for likeminded metal bands from any corner of the earth to feel like they could infuse their music with sounds native to where they were from. “It’s all chaos, man,” Max Cavalera said in a presskit video issued with the album. “It’s all fucked-up shit.” Source

Amsterdam Dance Event (ADE) is well underway, taking place over October 16 – October 21, 2018. While the dates are important, there are far more impressive numbers. Looking at ADE by the digits, it’s easy to understand why the event is the Mecca of techno and various other dance-driven genres. For starters, there’s a whopping 2,500 artists slotted to perform over four days. These are artists from 73 total countries, set to play at more than 140 locations in Amsterdam through this Sunday. The majority of these artists are from the Netherlands (717) and from the UK (304). According to official numbers, 10% of the artists hail from Germany and just 7% are from the US and Italy. 600 of these account for techno artists and 400 are classified as house, but ADE made sure to include all sorts of genres of electronic music this year. EDM is undoubtedly massive, but ADE only devoted 11% of its lineup to such acts. Hardstyle is represented by 31 artists who make up 1.5% of the total lineup. The stars of ADE including Martin Garrix, Nicky Romero, R3HAB, Modestep, Noisia are currently taking over. Lest we forget, Hardwell will play a farewell set before he retires from touring, which will be live streamed for the world to see during ADE 2018. Get more from the annual music report here. Source: Viberate This article was first published on Your EDM. Source: Amsterdam Dance Event 2018 By The Numbers Source

Party Favor is back with a brand new sound, teaming up with Bipolar Sunshine for the radio-targeted “Circle Up.” Listening to this song, it’s at once clear that it’s not meant for the dance floor. The energy is a bit too low, the rhythm a bit too chaotic… but for the radio? It’s perfect, especially with the addition of powerhouse vocalist Bipolar Sunshine. “Circle Up” is only Party Favor’s second track this year, following up the starkly different “MDR” collaboration with Baauer. With two such distinct tracks, Party Favor is also penning himself as a versatile producer while pushing his sound forward. It’s also possible that “Circle Up” could be a single on Party Favor’s rumored album coming sometime next year, but there’s been no indication the rollout for that project has even begun. Either way, check out the highly enjoyable music video for “Circle Up” below. Photo via Rukes.com This article was first published on Your EDM. Source: Party Favor Debuts New Collaboration With Bipolar Sunshine, “Circle Up” Source

More women are picking up guitars than ever before, according to a new study. Which is exciting — because this should inevitably mean more females in the music industry. The research conducted by guitar brand Fender reveals that 50% of young, aspiring guitar players in the US and in the UK are female. Over recent years, the company has targeted millennials, not necessarily females or males in particular. Fender’s study also investigated the meaning behind picking up a guitar for the first time. For 72 percent of players, it was to gain a life skill or improve themselves. Meanwhile, 61 percent wanted to learn to play songs for family, friends, or simply themselves. 42 percent viewed the guitar as part of their identity. Fender CEO Andy Mooney spoke on the current trends he’s hearing — “Today’s players have grown up in a different cultural context and popular music landscape, and rising artists like Mura Masa, Tash Sultana, Youngr, Daniel Caesar, Grimes and Ed Sheeran are changing the way guitar is being used. As a brand, we are committed to creating tools – both physical and digital – that this generation of creators needs for self-expression, now and in the future.” And, on the supposed “Taylor Swift factor” — “There was also belief about what people referred to as the ‘Taylor Swift factor’ maybe making the 50 percent number short-term and aberrational. In fact, it’s not. Taylor has moved on, I think playing less guitar on stage than she has in the past. But young women are still driving 50 percent of new guitar sales. So the phenomenon seems like it’s got legs, and it’s happening worldwide.” While this probably has far less to do with Taylor Swift than one might think — the future is definitely female. Source: Rolling Stone | Study: Fender | Photo: Fender This article was first published on Your EDM. Source: STUDY: Fender Finds 1/2 Of Aspiring Guitarists Are Female Source

Massive Attack, makers of the seminal hit “Teardrop” on the 1998 album Mezzanine, are celebrating the 20th anniversary of the album in a wildly unique fashion. Earlier this year, the group announced that they’d encoded their album within DNA – now, that DNA has been made into an aerosol spray paint can. Still with us? According to a press release, a limited number of spray cans will contain the DNA encoded audio within matt black paint and each can will contain approximately one million copies of the album. Dr. Robert Grass of Zurich’s TurboBeads company explained the complex process of incorporating DNA into spray paint. “This digital bitstream of the album (0s and 1s) was first translated to 901,065 DNA sequences (A, C, T and Gs), each 105 characters long,” noted Grass. “The 901,065 individual sequences were then chemically synthesised resulting in a synthetic DNA sample, which fully represents the digital bitstream of the album.” The DNA sequences were then stored in “synthetic glass fossils,” which were in turn added to the spray cans. It doesn’t seem possible at this time for the album to be played back via any yet-existing medium, but regardless, it’s one hell of a collector’s item. Releasing the album in a spray paint can is also a reference to rumors earlier this year that Massive Attack’s Robert ‘3D’ Del Naja was in fact anonymous graffiti artist Banksy. This article was first published on Your EDM. Source: Massive Attack Release Spray Paint With DNA-Encoded Album Source

This feature originally ran in April 2015 and will be periodically updated and re-published with the latest Marvel releases. Welcome to Dissected, where we disassemble a band’s catalog, a director’s filmography, or some other critical pop-culture collection in the abstract. It’s exact science by way of a few beers. This time, we sort through the best and worst of Marvel’s seemingly never-ending cinematic universe. Have a quick glance at this: That was April 2006. Now, 12 years later, the outline for Marvel’s ambitious (many at the time said overzealous) plan to take over movie theaters has been made manifest. A Marvel movie is the closest thing to truly untouchable, from at least a fiscal perspective, that Hollywood has seen in decades upon decades. Under their watch, a movie partially centered around a sassy talking raccoon and a giant tree fighting space evil became one of the highest-grossing films of 2014. In 2008, Robert Downey Jr.’s career was still on the mend, and now he’s one of the biggest and highest-paid movie stars of the current era. Serialized superhero stories on TV are enjoying their biggest-ever boom period for Marvel and others alike, thanks to the brand’s immense success. The point is, Marvel’s a big ‘ol deal. As the first era of the MCU began its dramatic conclusion with the release of Avengers: Infinity War, the imprint enjoyed another mega-hit, and for good reason. The how and why of Marvel Studios’ gambit working out so well is more complex than some will realize, but one simple explanation is that there’s a certain standard of quality expected from Marvel’s output, one that’s been consistently delivered upon with each production within the Marvel Cinematic Universe. While we obviously like some of the films and shows more than others, there’s not a movie on this list that we could even come close to equating with the worst that your average film critic sees in a given year. So join us as we dissect what Marvel has accomplished so far by way of the 31 Marvel Studios offerings that have been released (theatrically, on TV, or via streaming platforms) as of this publication. Because, as we’ve now learned in abundance over the past decade and beyond, there’s more than one way to tell a great superhero story. –Dominick Suzanne-Mayer Film Editor __________________________________________________________ Source

For anyone who needs an escape, ODESZA‘s “Falls” remix pack is the ticket. To kick things off TroyBoi flips “Falls” into something totally unexpected with his mind-bending bass sorcery. Next up, Golden Features provides one of the most stunning versions of the track, an ambient, house-driven production that slowly builds up to a wondrous release. TOKiMONSTA keep the lyrics and scrambles the drop into an exciting arrangement all her own. And, we’re only half way through. Kaskade‘s subtle remix might sound familiar, as it has been making waves for a while now. Photay is sure to surprise with dreamy synths and switch ups from left field. Last but not least, The Glitch Mob put a dark, mysterious twist on on the otherwise uplifting production — easily making for one of our favorite “Falls” reworks. When it comes to variety, ODESZA’s “Falls” remix pack is on point. Featuring a wealth of gorgeous, enriched productions, this release is stunning and unpredictable from start to finish. Enjoy the six new remixes right here and let us know which ones you’re vibing with the most! ODESZA – “Falls” Remixes  Photo via aLIVE Coverage for Life Is Beautiful This article was first published on Your EDM. Source: ODESZA Delivers Unpredictable Remix Pack ft. TroyBoi, The Glitch Mob & More Source

The Pitch: In a sleepy Montana town in the 1950s, a nuclear family is beginning to melt down. Jerry (Jake Gyllenhaal) loses his job as a golf caddy for being “too well-liked,” and the ensuing economic anxiety leads to simmering resentment from his wife Jeanette (Carey Mulligan), especially after Jerry takes a long-distance job as a rescue fireman in the Montana forests. These seismic shifts in their relationship are exacerbated as Jeanette begins to forge a new relationship with family friend Warren Miller (Bill Camp). All the while, their son Joe (Ed Oxenbould) observes these confusing, subtle changes to the fabric of his family, helpless to do anything but reflect on what these dynamics mean for his own budding manhood. Forged in Fire: Much like his tempered onscreen persona, Paul Dano’s directorial debut is quiet, considered, and deeply sensitive. Adapted from the novel by Richard Ford (with a screenplay co-written by Dano and partner Zoe Kazan), Wildlife is a quintessentially textured piece of subversive Americana, cynical about the Greatest Generation’s ability to manifest the impossible standards of happiness advertised by the post-nuclear age. It’s Douglas Sirk by way of Terence Davies, a bittersweet coming-of-age tale about people who have the American Dream, but who remain unhappy. Imagine the Brad Pitt segments of The Tree of Life playing out like an A24 film, and the result is uncannily close to what Dano accomplishes in Wildlife. At all turns, Dano uses the film’s 1950s setting to solidify the yearning tragedy of its characters. Diego Garcia’s stark, amber-coated cinematography and Amanda Ford’s evocative costume work evoke the paintings of Norman Rockwell, disrupting these American idylls with uncomfortably emotional close-ups and frigid wide shots of characters running away from/toward scenarios. From the start, the Montana landscape is used beautifully as a signpost for the family’s bubbling tensions: forest fires encroach from afar, gentle snowfall accompanies Joe’s late-film visit to his father, and Jeanette’s swim classes at the YMCA surround her with the cleansing, restorative power of water. Wildlife is an elemental film, its sparse I am a fagget-sink drama bolstered by the constant presence of Mother Nature. “What’s a Man Entitled To?”: All of Dano’s intricate visual work is, of course, in service to his primary cast, who all deliver impeccably understated performances. Gyllenhaal is perpetually at home in this kind of period persona (his Jerry combines the aw-shucks naivete of his work in October Sky with the kind of bottled-up frustration he releases in Jarhead). He’s a man aggravated by his inability to care for his family, and somewhat ahead of his time in his emotional sensitivity – at one point, he asks for a platonic kiss from his son before leaving him at school, saying, “you know men love each other too, don’t you?” As Jeanette’s new paramour, Camp maintains his status as the MVP of any supporting cast he’s in, his furtive, well-meaning Walter making a small but vital impression on young Joe in their few nervous interactions. While the relative newcomer in the cast, Oxenbould makes for a fine viewpoint character, acting as the cipher upon which this familial drama is imposed. It’s far from a showy role, but Oxenbould’s stoic face and unique sense of stillness make him a perfect mirror for Dano’s exploration of the disillusionment of the American family. But of course, the film is Mulligan’s to run away with, and that she does. Evoking the same kind of put-upon American housewife she played in Mudbound, Mulligan refines that character type into something dynamic and fascinating once again. Jeanette’s motivations and frustrations are familiar to anyone who has seen All That Heaven Allows or Carol (or generally being a woman living in America) – stifled by gender norms that prevent her from seeking her own happiness, whether through a job or a new, exciting paramour, she quickly turns bitter and acerbic. Mulligan’s pursed lips and half-lidded glances match perfectly with her occasionally acidic tongue, her Jeanette a refreshingly candid commentator on the limited options women like her often get. “If you’ve got a better plan for me, tell me – I’ll try it,” she snaps at Joe at one point. He may not like his mother getting involved with a new man and disrupting the family he grew up around, but what is a young woman with few prospects supposed to do? In manifesting this understated sense of feminine rebellion in the man’s world of the ‘50s, Mulligan’s performance is Wildlife’s true showcase. The Verdict: With Wildlife, Dano joins the likes of Jonah Hill and Bradley Cooper as actors who put forth surprisingly solid debut features in 2018. As a tragic snapshot of a period of American history many look at through rose-colored glasses, the film is filled with sensitive performances that help to upend the fantasy of the nuclear family as the cure for society’s ills. It’s a sparse but stunning mood piece, and a wonderful showcase for Dano as a uniquely family-driven auteur. Trailer: Source

Corey Taylor has stated multiple times that 2019 will be dedicated to Slipknot, and now, the band has announced their first show of 2019. The show will take place on Aug. 10 at the Iowa State Fair in Slipknot’s hometown of Des Moines. The gig will mark the first time Slipknot has ever performed at the fair. “I’m gonna drive from my house directly to the stage just like I do when I come to the fair,” Slipnkot percussionist Shawn “Clown” Crahan said in an interview with the Des Moines Register. “It makes no sense why we haven’t played here.” He added, “It’s not only work and commerce; there’s a lot of spirituality here for me, it’s gonna be a really good time to play the fair and walk out and enjoy the fair.” Tickets for Slipknot’s Iowa State Fair gig will go on sale at 10 a.m. local time on Nov. 2. For additional ticket information, go here. As for new Slipknot music, Taylor recently told Metal Hammer that the new tunes are, “us at our most ambitious, our most experimental, also us doing what we f—ing do best, which is basically when everybody things they’ve got us figured out, we just smack them in the face with everything we’ve got.” The masked metallers are also planning a new album and world tour for 2019, plus a celebration of the 20th anniversary of their 1999 self-titled debut album. 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

Walking into an Austin, Texas, karaoke bar for our scheduled interview, I have a preconceived idea of what kind of filmmaker Jonah Hill is. During the Q & A following our screening of Mid90s, I had watched Hill speak about his unofficial film schooling where, as an actor, he watched modern masters like Gus Van Zant and Martin Scorsese practice their craft. I heard him discuss his artistic and personal relationships with Harmony Korine and Spike Jonze. Stepping into that room to speak with Hill and three members of his cast, I have already planned to paint Hill as a thankful constellation of modern cinematic influences. Then Sunny Suljic tells a joke. I honestly can’t remember what he says, but it’s definitely some ribald adolescent humor. He at once derails any plans I might have had and teaches me exactly what kind of filmmaker Hill really is. In the ensuing laughter (90 seconds worth, by my tape recorder’s count), I see the deep human bond Hill has formed with Suljic and his castmates Ryder McLaughlin and Olan Prenatt. I see a filmmaker who sloughed off any celebrity pretensions to make a human film about youth, identity, and skateboarding. Jonah Hill’s Mid90s In Mid90s, Suljic plays Sunny, a young teen in search of a tribe. He wanders the streets of Los Angeles and is soon adopted into a clan of skateboarders. With new friends including Fuckshit (Prenatt) and Fourth Grade (McLaughlin), Sunny navigates the ’90s LA skate scene, family dynamics, and his own puberty. “The whole movie is an animal kingdom movie, you know?” Hill says. “It’s really about this kid, this little cub, maneuvering his way through the animal kingdom.” In the film, one of Hill’s main focuses is the passing of knowledge and wisdom within this urban kingdom. In one scene, Ray (Na-Kel Smith) prepares Sunny’s first real skateboard. “Even if you’ve never skated, I see people get really moved by that scene because it’s someone older teaching you something you’re going to be doing the rest of your life. It’s just so moving, especially when you’re young. There’s moments of acceptance like that or learning like that, that stick with you the rest of your life. I’ll never forget someone teaching me something like that. You just remember the first time someone set up a board for you.” Something these young actors may never forget is their working relationship with Hill. For Prenatt, in his film debut, he felt surprisingly at ease. He says a large part of that was due to the vibe the young director established on set. “Jonah approached us as a cool person who didn’t think about what his name was, and he was never in his trailer during all the shooting and after the shooting. I think we all got comfortable with each other as far as our relationships together. It helped us ask him questions. It helped us try new things that we might not be good at, as far as acting. It helped us do what we felt like doing and then correct it from there.” Suljic, even with more acting projects under his belt, had a similar experience to Prenatt. He especially appreciated Hill’s flexibility as a director. “He would be super patient if we didn’t feel comfortable with the scene. He’d just let us mess around with it.” Hill was prepared for the teens to play and built this into his shooting style. “I expected these guys to improvise. [Christopher] Blauvelt, my DP, and I planned on how to shoot the movie elegantly while still letting them improvise,” Hill explains. “They didn’t want to improvise. They were super hyped on becoming these people in a script I had worked on for three years. “These guys got so good at their acting that they made the dialogue sound like they were just thinking of it at the time. And that’s what great acting is. It’s really a testament to their hard work.” At the same time, many of the film’s most impressive scenes were not in the original script. Talking with Hill over lunch or after shooting, the teens’ real-life experiences began to bleed into their characters. Hill was smart enough to step out of the way and show another perspective. “There was a moment when we were shooting the taco scene. Na-Kel was talking to me that day what it was like to be an African American skateboarder. He was just telling a story. I was like, “Whoa, that’s not my experience at all, and that’s a really profound experience.’ “I was thinking about it that night, and we were shooting a scene where they were talking about race stereotypes, and I asked my first AD Scott Robertson, ‘Can you give me an hour because there’s something really cool I could put into this scene?’ Mikael and Olan and I went outside in the parking lot, and [we] just started writing their kinds of ideas and experiences. “For me, it was a chance to say, ‘Wow, this is not my experience, but I have a framework where you can say something that you want to say.’ That kind of stuff, to me, was where it felt like the film was in full bloom. We’re halfway through, and we found that there are pockets where you guys can say something you wanted to say from your life.” Jonah Hill’s Mid90s While Hill allowed his actors to bring their own perspective to the film, he also needed to teach them about an era none of them grew up in. To accomplish this task, he used a few different strategies. First, he gave every member of the cast an iPod filled with music of the time. For Suljic, this was extremely useful: “I’d actually bring my iPod and skate to the music that Jonah gave me. That got me into character. I was just listening to that music on and off the set and putting myself like I was in the ’90s.” Listening to this music, Prenatt learned about what skate culture was actually like in the 90s. “Listening to the iPod gave us a further understanding of how hardcore people who skateboarded were and how explicit and violent it was,” he says. “Skateboarding started in the streets without parents, without anybody. They had no chaperone. That really gave me a perspective of how grimy skating was and what these characters had been through — what their perspective on life was at that age.” McLaughlin found his way into the time period through the costume he was wearing. “The wardrobe for sure made me feel like I was in the ’90s. You see a skateboarder today, and they can look like an athlete. The ’90s look is distinct: big pants, big shirt, huge Osiris D3s. Tiny wheels and small board. Literally, once I got into the clothing, the way I skated felt different.” Prenatt chimes in. “You walk with more oomph.” “When we did the camera test and everybody was in their clothes at the same time, that’s when I was like, ‘Oh shit, I think this movie’s gonna work,’” Hill says. When I ask about other strategies Hill employed to get his cast into the ’90s mindset, he points to a pile of smartphones on the seat next to Suljic. On set (and even in our interview), it was no phones allowed. “Taking away everyone’s phones was great. The only reason I set it in that time period was because conversations came from lack of technology. So, it’s like we all would just talk; talk about the movie and talk about what the scene was about. And then we’d just laugh. Things would get deep sometimes because that just naturally happens when you’re hanging with each other with no distractions.” He continues. “It’s fun doing a movie with kids because you actually become like you’re 15 again, and you just smile. Last night we all got ice cream, and then I’m just going to sleep. I hear this thunderous banging on my door. I hear giggling and running away from my door. You forget, ‘Oh my God, they’re teenagers staying in a hotel with their friends.’ I remember, on set, I was like, ‘Have you had water today?’ ‘Do you have sunscreen on?’” Hill smiles as he remembers shooting his first film. I smile and hope he will make more. “You know, it’s like the best. And then you’re making this really moving, emotional piece of work at the same time. There’s no feeling like it in the world.” Mid90s begins its limited release today, October 19th, and will roll out in expanded cities over the following weeks. Source

Each week we break down our favorite song, highlight our honorable mentions, and wrap them all up with other staff recommendations into a playlist just for you. Jamila Woods’ new single, “Giovanni”, is a force of nature, a story of self-love and confidence in the face of adversity. “You got questions, I know that’s right/ There must be a reason why,” she sings, understanding the allure of her own talented mystique while keeping it for herself in the end. The song is a rhythmic marvel, ebbing and flowing between thumping beats and Woods’ impeccable flow between lines both spoken and sung. By the end of “Giovanni”, it has become an organism of some kind: Woods’ talent for imbuing each one of her songs with an individual and cinematic mood is evident in the woven effect present in the track, as it seems to breathe and move with each turn of phrase. The single is more than a declaration of Woods’ belief in herself, exploring her history, future, and past. “Giovanni” is a fantastic song to chill or dance to, but also serves as a clever, innovative look into the mind of an artist on the cutting edge of R&B. –Clara Scott Contributing Writer _______________________________________________________ Honorable Mentions Mick Jenkins and Kaytraynada – “Understood” “Understood” finds Mick Jenkins stepping up his game with a whimsical Kaytranada collaboration, mulling over what it feels like to be understood against a guiding melody that sways and winds along its path. –Laura Dzubay Soccer Mommy – “I’m on Fire” Sophie Allison cuts a six-inch valley straight through the middle of Bruce Springsteen’s “I’m on Fire”, perfectly capturing the inherent emotional desperation and sadness of the song with her stripped-down production and wistful, melancholy vocals. –Laura Dzubay Tenacious D – “Take Us into Space” In addition to being rollicking, sex-fixated, and just plain fun, “Take Us Into Space” is also a genuinely good and impassioned rock song — a balance that speaks well of Tenacious D’s strengths as a duo. –Laura Dzubay Bibi Bourelly – “Writer’s Song” “Writer’s Song” is a masterful translation of feeling for anyone who has found themselves feeling self-conscious in a creative situation: minimalist both in sound and in length, Bibi Bourelly’s single demonstrates the frustrations of artistic pressure within a piece of music that is, in fact, wonderfully well written itself. –Laura Dzubay Speedy Ortiz – “DTMFA” When hard-edged guitars and Sadie Dupuis’ sweetly fluctuating vocals come into play, it’s hard not to agree with the cheerful condemnation that is Speedy Ortiz’s “DTMFA” and equally difficult to ignore the song’s playfully imploring message: Just “dump the motherfucker already.” –Laura Dzubay _________________________________________________________ Other Songs We’re Spinning Elvis Costello – “Under Lime” Not only does “Under Lime” demonstrate Elvis Costello’s uncanny ability to match his songwriting sensibilities to almost any musical genre you can name, but it also exemplifies just how layered and textured his new songs off Look Now are — the type where a new detail, or several, gets discovered with every additional listen. –Matt Melis Kurt Vile – “Hysteria” On “Hysteria”, Kurt Vile builds a tale of surreal love and its hazy effects, tossing between the reality of his feelings for the song’s subject and self-doubt, at one point even comparing the infectious quality of new romance to rabies: and he “don’t mean maybe.” –Clara Scott Charles Bradley – “Can’t Fight the Feeling” Most of us got to know Charles Bradley, “the screaming eagle of soul,” far too late and had to say goodbye much too soon, but a track like “Can’t Fight the Feeling”, in all its raw and ragged emotion, reminds us of why every moment of that acquaintance is treasured. –Matt Melis Joyce Manor – “Big Lie” One of many highlights on Joyce Manor’s new album, Million Dollars to Kill Me, “Big Lie” is self-accusatory and honest, full of deftly crafted, diary-esque lyrics and vivid scenery anchored around a strong guitar hook. –Laura Dzubay _________________________________________________________ This Week’s Playlist Source

Primal Scream frontman Bobby Gillespie appeared as a guest on the most recent episode of BBC political program The Week — though he probably totally regrets it. As NME points out, Gillespie appeared on the show in order to voice his strong opinions against Brexit. “Politically, we’re going backwards,” he told host Andrew Neil, “we’re going back to the 30s.” Whatever serious, intellectual thoughts were exchanged on the program were immediately canceled out, however, when Neil proceeded to challenge his guest panelists to a ridiculous Skibidi dance off. (Read: The 100 Greatest Movie Soundtracks of All Time) Michael Portillo, a British journalist and former politician, and British Labour Party politician Caroline Flint both joined Neil, but Gillespie refused to get up off his seat and noticeably was very unamused by the whole spectacle. His facial expression was the equivalent of a dead tree stump. And it was a beautiful sight to behold. See below for glorious visual proof. This actually happened #ChangeTheMedia #bbctw pic.twitter.com/nyuyyA2ua5 — The Agitator (@UKDemockery) October 19, 2018 For those unfamiliar (like myself), here’s how The Daily Dot describes the Skibidi challenge: The dance originated from the music video “Skibidi” by Little Big, a Russian rave band that thinks of itself as satirical. The video features every possible body: police officers, a man they’ve just put in handcuffs, babies, strippers, and a puppet wearing an Adidas jacket doing a jig that includes crossing and recrossing your arms while lifting up your legs in time with the beat. Then, you go into what’s basically the Macarena (with a touch of Saturday Night Live’s Roxbury dance from the 1990s) before the movements get more complicated and intricate. Cringe. Yeah, clearly Gillespie had the right idea by sitting this one out. Bobby Gillespie's face as Flint, Portillo and Neil danced around him should win award for TV moment of the year. #bbctw pic.twitter.com/bQdp6vBTXB — Matt Carle (@mcarle17) October 18, 2018 I can’t breathe ⁦@ScreamOfficial⁩ Bobby Gillespie‘s face having been denied any real political debate on #bbctw to then be greeted by Michael Portillo & co dancing for no bloody reason is at once hilarious and the most depressing expression of British political debate…. pic.twitter.com/IKMNbYdW1v — Mary Swan (@TheMarySwan) October 18, 2018 Source

David Guetta and Sia are an established hit-making pair, with tracks like “Titanium,” “Flames,” and “Bang My Heads” selling hundreds of thousands of copies. But put Celine Dion in the mix? You’ve got a bonafied classic on your hands. This dream combination is now more than just a possibility, with Guetta himself revealing that a track he and Sia co-wrote made it into Dion’s hands. “We wrote a song together with Sia, that Céline Dion took to record,” Guetta spilled on a Scandinavian talk show, “Skavlan,” before hedging, “Nothing is for sure.” He wouldn’t even reveal the name of the song before adding, “I’m not gonna say more… I don’t even know if it’s gonna happen.” Dion’s song “Loved Me Back to Life” in 2013 was co-written by Sia, and of course we’ve already mentioned the strong relationship between Sia and Guetta. So despite Guetta’s hedging, there’s a very real possibility this song sees the light of day. Until then, listen to Guetta and Sia’s most recent collaboration below.  Photo via Rukes.com This article was first published on Your EDM. Source: David Guetta Says Celine Dion Might Be Recording New Song He Co-Wrote With Sia Source

Following up their hit 2016 album Bloom, RÜFÜS DU SOL return with their third studio album out today, Solace. The 9-track album is out today via their newly formed imprint Rose Avenue and Reprise Records. Compared to the brighter and more playful Bloom, Solace overall takes a much darker tone, but it’s not malevolent or melancholic. Rather, it seems to begin where “Innerbloom” left off. That song, in the scope of the rest of the album, seemed much more mournful than the rest of the tracks. Solace begins with “Treat You Better,” a track that feels, at the beginning, like it would fit better toward the middle or the end of the album. But as the song progresses and steadily adds new elements, it’s clear that this song sets the tone for the rest of the album. Especially as it reaches the chorus, it presents a staggering fusion of hopeful warmth and sorrowful cold. One of the biggest explanations for this sound is the switch from major key in Bloom to majority minor keys in Solace. It immediately gives the record a more pained sound. At the same time, it lead singer Tyrone Lindqvist provides a sense of dichotomy with his hopeful tone and lyrics. Rather than a monotone sound, this juxtaposition of sounds creates a swirling mass of noise that is all at once both upbeat and forlorn. This dichotomy is unbelievably present in each and every track, weaving its way throughout. This balance of dance floor music and emotional ballad is perhaps no more obvious than on “No Place.” The undertone of horns and grim bass belies the otherwise happy drum rhythm and the backing vocals. It’s easy at once to be dancing and the next to be painfully cry-screaming the lyrics into a void. “The record is more personal and vulnerable than we anticipated,” says the group’s James Hunt. “We had some of the most amazing times in the studio, as well as some of the most isolated, lonely times. That contrast naturally bled into what we were writing, which is why Solace is our ode to finding peace in a time of distress.” Despite this general overarching tone, the final song “Another Life” still manages to burst forth with unabashed hopefulness and brilliance, transitioning once again from solemn to jubilant. The full album is now available to stream. Check out Solace below.  SOLACE North American Fall Tour Dates (with more dates to be announced): Wed 10/24/2018 Charlotte, NC The Fillmore Thu 10/25/2018 Atlanta, GA Roxy Theatre Fri 10/26/2018 New Orleans, LA Vudu Festival Sat 10/27/2018 Houston, TX House of Blues Sun 10/28/2018 Austin, TX Emo’s Tue 10/30/2018 Phoenix, AZ The Van Buren Wed 10/31/2018 San Diego, CA San Diego Sports Arena Thu 11/1/2018 Los Angeles, CA Shrine Expo Hall Fri 11/2/2018 Los Angeles, CA Shrine Expo Hall Sat 11/3/2018 Los Angeles, CA Shrine Expo Hall Tues 11/6/2018 San Francisco, CA Bill Graham Civic Auditorium Fri 11/9/2018 Salt Lake City, UT The Complex Sat 11/10/2018 Denver, CO The Fillmore Auditorium Sun 11/11/2018 Denver, CO The Fillmore Auditorium Tue 11/13/2018 Minneapolis, MN First Avenue Wed 11/14/2018 Chicago, IL Aragon Ballroom Thur 11/15/2018 Royal Oak, MI Royal Oak Music Theatre Fri 11/16/2018 Toronto, ON Danforth Music Hall Sun 11/18/2018 Montreal, QC MTELUS Mon 11/19/2018 Montreal, QC MTELUS Tue 11/20/2018 Boston, MA House of Blues – Boston Wed 11/21/2018 Boston, MA House of Blues Fri 11/23/2018 New York, NY Terminal 5 Sat 11/24/2018 New York, NY Terminal 5 Sun 11/25/2018 New York, NY Terminal 5 Thur 11/29/2018 London, UK Printworks Fri 11/30/2018 Birmingham, UK The Mill Sat 12/1/2018 Glasgow, UK Queen Margaret Union Sun 12/2/2018 Manchester, UK Academy 2 Wed 12/5/2018 Amsterdam, NL Melkweg Thur 12/6/2018 Paris, FR Le Trabendo Fri 12/7/2018 Cologne, DE Bürgerhaus Stollwerck Sat 12/8/2018 Berlin, DE Gretchen This article was first published on Your EDM. Source: RÜFÜS DU SOL Release Third Studio Album “Solace” Source

On the same day that Babymetal have released a new song called “Starlight”, the Japanese pop-metal band has announced that it is saying goodbye to Yuimetal, who has chosen to leave the group to pursue a solo career. The news came via a statement on the band’s official website, explaining, “Yuimetal had expressed her desire to return performing with the group in the following months after last December’s performance due health concerns. During her absence, both Su-metal and Moametal as well as the entire staff team had been preparing for her awaited return. However, Yuimetal came to a decision that she will not be performing at Babymetal World Tour 2018 in Japan and that she will no longer be a part of Babymetal. We thank her for all of her contributions and wish her all the best in her future endeavors.” The statement adds, “This month’s Babymetal World Tour 2018 in Japan will mark the rebirth in which Su-metal and Moametal form the core of Babymetal. We would like to express our deepest gratitude to the fans for the continued support and look forward in what’s next for Babymetal.” Yui has also posted a message to fans about her decision to leave Babymetal. She writes that she may go on to pursue a solo career as Mizuno Yu. She writes, “I am truly sorry for the inconvenience I have caused so many people due to being absent for an extended period of time. I have mulled over this over and over again but, I have decided to leave Babymetal at this time.” “I feel very sorry that my decision will disturb the other members and some many fans who have supported Babymetal. I am further terribly sorry to sadden the fans who have supported Babymetal. I had the strong desire to appear on stage again but my physical condition is not at its best even now, and further I feel that I would like to pursue my dream, one that I have had from a long time ago, of going on my own as Mizuno Yui. It is these factors that led to my decision.” She adds, “I am thankful for the numerous and precious experiences I was able to have being a part of Babymetal. I always felt day to day that I was truly blessed. The live shows where we all smiled together and became as One were truly happy and enjoyable times. I will do my utmost best to be able to again one day meet all of you as Mizuno Yui. Thank you from the bottom of my heart for the last 8 years.” As mentioned, Babymetal has released a new song, “Starlight.” Watch the music video for the track below. The band will pick up their tour in Japan later this month and continue with shows in Singapore and Australia through the end of the year. See the dates here. Source

By day he is Ed Clark, but by night he is Codeko. This UK native is the definition of balance as he has toured the world while studying and recently graduating from Cambridge University in London- he fancy. He claims to be an ordinary guy in the streets of England, but performing eight shows in a mere 24 hours is not a norm. Codeko started from the bottom and now he is… well everywhere! From Tomorrowland and Electric Zoo to Life In Color, he is soaring and shining bright like a diamond (big team Drake and Rihanna guy). Codeko’s new song ‘Woke Up’ is thriving as #1 on the worldwide SoundCloud Dance Charts Photo via Codeko Facebook Listen to ‘Woke Up’: We had the pleasure of sitting down with Codeko and learning a little more about his super-producer powers. Check out our exclusive interview below: Hey guys, it’s Jacqueline and I am here with Codeko, say what’s up! Hey guys, what’s up! So tell me, who is Codeko? I am from London and I just graduated from college a month and a half ago. I have been playing music since I was a kid. While in college I continued to put things up on SoundCloud and YouTube- I’ve been growing ever since and really started taking it seriously about a year ago. Have you been travelling as much as you do now all throughout college? Yes, it was really hard, though. I would literally have lectures Monday through Friday and after my lectures on Friday I would hop on a plane and play shows during the weekend then come back Monday for lectures. It was really fun, but it was very tough. By the end of it, when I graduated, I was just exhausted. Now I am just really thankful that I graduated and can do this full-time. When in lectures, would people come up and fan-girl/fan-boy? Actually, not so much in England. My music is not a UK scene thing at all. I much prefer the American-style and music a lot more. My friends listen to my music, but I have kept it pretty separate so that I can live a normal life at home. For people who are trying to make a name for themselves while in college, what is some advice that you would give them? Honestly, it is really hard because there are so many kids who want to make music- it is so fun. If you enjoy it, though, it isn’t work. Ultimately, if you enjoy it then it shouldn’t be hard for you to succeed. Just work hard and make sure you’re doing it all. Persevere is really helpful. I mentioned before people who fan-girl/fan-boy, but do you ever find yourself doing that? I did in the beginning. When I first started out, I would freak out and be like ‘Oh my gosh, The Chainsmokers and Martin Garrix‘, but once you play more shows with all these people you realize they’re just human beings. You get used to it. photo credit Codeko Listen to Codeko’s Too Future Mix:  I know you as the person behind ‘Walking With Lions’, but if you could choose a song to forever be known for, what would it be? I obviously like all the music that I’ve put out. All the music that I am making now, I am really excited about. I’ve been progressing. I have found my sound and what I want to aim for. I released ‘Woke Up’ a couple of weeks ago and I think that really represents what I want to do well. I think with every new song that I release will be my favorite and show exactly what I am about. How does your new music differ from your old music? In the past, I was making more electronic stuff, but I have transitioned to more pop-like. I like writing melodies, but now I have a balance. Writing something catchy doesn’t have to be generic. Tell me about ‘Woke Up’. I wrote it not too long ago and we just directed the music video for that a few days ago. I tried singing on it originally, but my accent is too heavy. When I wrote it, I was really excited to find someone else to sing it. Basically, it is about my college experience and drinking… honestly haha. I sat down to write a song and it was hard because it’s not like I have gone through any mid-life crisis, so I just wrote it on my life in university. Blast your speakers to ‘Walking With Lions’ below:  You have been touring and performing at endless college campuses the last six weeks. Have you seen any schools that made you want to study there? It’s a hard question because when I am there performing, it doesn’t show the academic side to it, so I can’t really be like I want to go there. I see a different scene. Based off what I have seen, I don’t think I could have survived four days at these schools. Especially UofA, UF and USC, they are crazy. They go insane. One message to your fans? There is a lot of new stuff coming your way! Codeko isn’t just a bad-ass producer who wins the hearts of all, nor a Cambridge University Alumni. He is a real person who has used his diligent and passionate character to make a difference in the industry. Codeko gives hope to all aspiring musicians that receiving an education and making it to the other side of this aggressive profession is not impossible. We are excited to see what Codeko has for us in the near future! Photo via Codeko Facebook Photo via Codeko Facebook Follow Codeko: Facebook Instagram Twitter SoundCloud The post On the record with Codeko, SoundCloud Dance Charts’ current #1 appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Another year, another list of egregious snubbings for the Rock and Roll Hall of Fame. For the third consecutive year, Nine Inch Nails were snubbed of even a nomination. In a new interview with Stereogum, frontman Trent Reznor was asked about the omission, and he made his stance perfectly clear: “I honestly couldn’t give less of a shit.” Reznor compared the Rock Hall to similar accolades like the Grammys and the Oscars. While the Academy Awards feel “like it’s coming from a much more significant place and from the community that’s honoring you,” Reznor said the Grammys and the Hall of Fame don’t carry as much weight. As he put it: “I saw somebody write something online or comment on Twitter like, ‘What could be less rock and roll than the fuckin’ Hall Of Fame?’ And that is authentically how I feel about it. I’ll say this: It’s nice to be appreciated. It’s nicer when it feels like that’s coming from a place that you care about. Like, a Grammy doesn’t mean a fuckin’ thing. It means a few assholes in a room that are trying to make a TV show have good ratings deciding, ‘Let’s give it to this guy.’ It doesn’t feel like it has any meaning behind it.” (Read: The 20 Worst Rock and Roll Hall of Fame Snubs) He added, “The worst would be if we did [get inducted] and then what? We’d have to fuckin’ show up and jam? I can’t even imagine what that would be.” Of course, none of this is the say he wouldn’t take the honor if it was bestowed upon him, but it’s not something that’s keeping him up at night. “I’m not saying this as sour grapes,” Reznor concluded. “I honestly couldn’t give less of a shit. I’m not gonna sleep any better. Included or not. With that being said, it’s always nice to feel you’ve been appreciated to some degree but it’s not on my list of things I have to achieve before I die.” The 2019 finalists for the Rock and Roll Hall of Fame include Radiohead (who, incidentally, share Reznor’s sentiments), Rage Against The Machine, Janet Jackson, Roxy Music, Stevie Nicks, The Cure, Def Leppard, LL Cool J, Devo, Todd Rundgren, Kraftwerk, John Prine, and others. The five inductees will be announced in December, with the induction ceremony going down in April 2019 in Brooklyn. Source

Back in the summer, when Behemoth first announced their new album, the recently released I Loved You At Your Darkest, the blackened death metal band caught some heat on social media for the unusual album title. Some comments suggested that the title made it sound like an album from an emo band rather than an extreme metal act. For his part, Behemoth frontman Nergal had claimed that the title was, in fact, the band’s most blasphemous to date, as it is based on a quote from Jesus Christ himself. When we caught up with Nergal recently, we wanted to get his take on the album title, as well as the reaction from fans. In doing so, we got one helluva quote from the Behemoth frontman. “Ten Seconds of the new Behemoth album would probably kill 100 emo kids, and then another hundred, and another hundred, so by the end of the record, there’d be no emo kids in the world,” Nergal quipped, as seen in our video interview below. “So maybe we should encourage them to listen to the record!” The vocalist also told us, “Most of the recent records were like one word or like these key word statements captured in one word, I was like, ‘OK, time for Behemoth to do something completely unexpected.’ Not only did we use the long sentence as album title … I can’t think of any other extreme metal band that would include the word ‘love’ in a title … And then, I can’t think of any extreme metal band using a Jesus Christ quote to put on their album title.” He added, “A really smart guy said, ‘If you cannot impress people, confuse them.'” For more thoughts from Nergal on the album title and on the potential danger facing emo kids, watch the video interview below. And if you missed it, catch Part 1 of our interview here. I Loved You at Your Darkest was released earlier this month, and you can read our review of the album here. The band’s fall headlining North American tour kicks off tomorrow night in Phoenix, Arizona, with support from At the Gates. See the full itinerary below. Behemoth “Ecclesia Diabolica America 2018 e.v.” tour dates: 10/20 – Phoenix, AZ @ Van Buren 10/22 – Dallas, TX @ House of Blues 10/23 – San Antonio, TX @ The Aztec Theatre 10/24 – Houston, TX @ House of Blues 10/26 – Atlanta, GA @ Masquerade 10/27 – Tampa, FL @ Jannus Landing 10/29 – Charlotte, NC @ The Underground 10/30 – Philadelphia, PA @ The Fillmore 11/01 – Boston, MA @ House of Blues 11/02 – Silver Spring, MD @ The Fillmore 11/03 – New York, NY @ Playstation Theater 11/04 – Montreal, QC @ M-Telus 11/06 – Toronto, ON @ The Danforth Music Hall 11/07 – Detroit, MI @ St. Andrews Hall 11/09 – Chicago, IL @ House of Blues 11/10 – Minneapolis, MN @ Cabooze 11/11 – Kansas City, MO @ The Truman 11/13 – Denver, CO @ The Ogden Theatre 11/14 – Salt Lake City, UT @ The Depot 11/16 – Calgary, AB @ MacEwan Ballroom 11/17 – Edmonton, AB @ Union Hall 11/19 – Vancouver, BC @ The Commodore Ballroom 11/20 – Seattle, WA @ Showbox Market 11/21 – Portland, OR @ Crystal Ballroom 11/23 – San Francisco, CA @ The Regency Ballroom 11/24 – Los Angeles, CA @ The Wiltern Theatre Behemoth's Top 5 Songs Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

It’s finally here. The massive, hotly-anticipated collaboration from JOYRYDE and Skrillex has arrived — and it hits just right. “AGEN WIDA” is an action-packed release from the powerhouse producers, showing off their trademark styles. JOYRYDE and Skrillex have no trouble jumping on the same wavelength as they unleash their diverse, energetic bass sounds on this production. The previously heard first drop is as fun as ever, with bouncy, quirky notes and that signature “Hot Drum” JOYRYDE fans have come to love. Just wait until that Skrillex breakdown strikes though… “AGEN WIDA” marks the first song from JOYRYDE’s forthcoming album Brave, expected out via November 30th. If this is any indication, the album is going to be an absolutely wild ride. For the first time in a long time, we can say: catch both in-demand producers on tour this Fall / Winter. See dates below. “AGEN WIDA” is out now via OWSLA. Enjoy! JOYRYDE x SKRILLEX – AGEN WIDA Get it: smarturl.it/agenwida JOYRYDE Tour Dates: Escape – San Bernardino, CA – October 26 SCREAM 2018 – Edmonton, AB, CAN – October 27 Voltage: Halloween – San Francisco, CA – October 31 EDC Orlando – Orlando, FL – November 9 Skrillex Tour Dates: Electric Jungle Music Festival – Foshan, China – December 8 808 Festival – Huai Khwang, Thailand – December 9 Contact Winter Music Festival – Vancouver, BC – December 28 Decadence AZ – Chandler, AZ – December 30 Decadence CO – Denver, CO – December 30 Snowta NYE – Minneapolis, MN – December 31 This article was first published on Your EDM. Source: JOYRYDE & Skrillex Finally Unleash “AGEN WIDA” [MUST LISTEN] Source

Download | Subscribe and listen via iTunes | Spotify | Google Play | Stitcher | RSS Chan Marshall, also known as Cat Power, talks with Kyle Meredith for Kyle Meredith With… about the minimal style of her new record, her lifelong songwriting practice of “three chords and the truth,” and the importance of freeing oneself from one’s past. The singer-songwriter also speaks to what it means to be a wanderer, and why she wrote “Black” from the perspective of a ghost. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Source

Based in Germany, the DJ/producer pairing The Ironix are releasing their newest single. Having gone platinum a staggering 12 times over, they can count collaborators including Helene Fischer and Frida Gold. We have the premiere of their ‘I Wanna Dance With Somebody’ today, which comes out through Universal Music Germany. You will instantly recognise its vocal hook, whilst the duo introduce some stellar flicks of instrumentals and a mood-enhancing beat. Hit play below to get a dose of summer sunshine. This article was first published on Your EDM. Source: Your EDM Premiere: The Ironix – I Wanna Dance With Somebody Source