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At long last, Martin Garrix has released his collaboration with Pierce Fulton and Mike Shinoda, “Waiting For Tomorrow.” The song has, in some form, been awaited since December 2015 when Garrix began sharing clips of the song on social media. It’s gone through many changes since it was first heard, but it sounds absolutely brilliant now. At time of writing, the song is experiencing a delay in the US, with the Spotify stream being unavailable to users and no YouTube link with a video up yet. It’s possible that, in a turn of dry irony, we have to wait for tomorrow to get it… which would honestly be a fantastic troll on Garrix’s part. We’ve already waited this long, what’s another day? Then again, we kind of want it right now, too. For those that can listen, check it out below.  Photo via Rukes.com This article was first published on Your EDM. Source: Martin Garrix Shares Mike Shinoda Collaboration “Waiting For Tomorrow” At Long Last Source

A rally has been planned to show support for an MP who is set to introduce a bill to NSW Parliament to remove the archaic Sydney lockout laws as early as next week. The bill will push to see if Deputy Premiere John Barilaro, who cited a need to remove the lockout laws next year sometime will actually back it after publicly stating the need for their removal earlier this month. “The Deputy Premier has two options: put up, or shut up. He can either support my bill, or stop paying lip-service to proposals he has no intention of really supporting.” – Shooters and Fishers MP Robert Borsak. The rally, organised by long-standing anti-lockout laws group Keep Sydney Open aims to show that people care about this city and it really is time to remove the lockout laws that have crushed the cities nightlife entertainment and economy. While their were some good intentions to the lockout laws in response to a handful of coward punches in Kings Cross in 2012, alcohol related violence was already in decline for the years pre-lockout laws. The laws were also seen as a somewhat blanket solution to all operators and in turn wiped out businesses and creative opportunities for musicians and artists. Moving forward, the removal of the lockouts laws along with more visible policing and education around violence, especially alcohol related violence would go a long way. The Keep Sydney Open lockout law rally will happen Thursday October 26th outside NSW Parliament. Be sure to hit ‘Going’ on the event page and invite friends along! Source

It’s been two years since the animation for Porter Robinson and Madeon’s “Shelter” was released. Adding to an already emotional and beautiful song, the animation upped the ante by introducing us to a character living in a world of her own creation, but also that of her father’s. In the end, the reality is much more somber than the world she’d created, but that’s life. In celebration of the animation’s two-year anniversary today, Porter Robinson shared some original concept art from the storyboard. We don’t know when we’ll be getting new Porter Robinson music, especially with how much focus he’s put on Virtual Self for the time being. But until that time, we know we have so much to look back on and enjoy. Watch “Shelter” again below. This article was first published on Your EDM. Source: Porter Robinson Shares Original Concept Art For “Shelter” 2 Years After The Animation Source

RÜFÜS DU SOL have delivered an emotive new album that paves the way for a new chapter for the Sydney born, LA-based band comprised of Tyrone Lindqvist, Jon George and James Hunt. There was already a strong inkling their third studio album ‘SOLACE’ was going to be a monster with electric cuts “Underwater” and “Lost In My Mind” showing both confidence and comfort for the band in knowing their unique sound was the one to share with fans. The new album ‘SOLACE’ is nine tracks of bubbling, simmering electronic indie-dance goodness with multiple tracks being fit for dance-floors or home listening to get you in the groove. Those wanting to catch RÜFÜS DU SOL can in Sydney at New Years Day jaunt Field Day alongside Peggy Gou, Duke Dumont, Tchami and more although sadly recently said they won’t be playing next years Splendour in the Grass festival. Check out the full track-listing of ‘SOLACE’ and a dive into the album stream below. RÜFÜS DU SOL Tracklisting 1. “Treat You Better” 2. “Eyes” 3. “New Sky” 4. “Lost in My Mind” 5. “No Place” 6. “All I’ve Got” 7. “Underwater” 8. “Solace” 9. “Another Life” Source

Wondering how the NFL got stuck with Maroon 5 as its Super Bowl Halftime performers? Per a report from US Weekly, Rihanna was actually the NFL’s first choice, but she declined to offer “because she supports Colin Kaepernick.” Kaepernick, the former quarterback of the San Francisco 49ers, has essentially been blackballed by the NFL for his decision to kneel during the National Anthem in protest of institutional racism and police brutality. US Weekly reports that the NFL offered the 2019 Super Bowl Halftime Show to Rihanna, “but she said no because of the kneeling controversy. She doesn’t agree with the NFL’s stance.” Thus, the NFL went with Maroon 5 as a fallback option. In an attempt to bring a bit more diversity to the performance, Cardi B is rumored to be joining Maroon 5 as a special guest. Source

Setting the Stage: Nine Inch Nails’ “Cold and Black and Infinite Tour” has been filled with surprises, with Trent Reznor and company mixing up the setlist each night, leaving fans to expect the unexpected. Sorry, kids, unlike most tours these days, you can’t check Setlist.fm on your phone to see what the band played at their last show to know exactly what songs are coming up at the gig you’re attending. And with four shows total in the New York City area, including two previous concerts at Radio City Music Hall over the weekend, the sold-out crowd at the beautiful and historic Kings Theatre in Brooklyn was abuzz with anticipation for what NIN had in store for them on Tuesday night (October 16th). Taking the Stage: Amidst the shadowy lighting and fog, Reznor and his NIN bandmates took the stage, launching into Now I’m Nothing”, a short song that opened sets on the band’s 1991 Lollapalooza stint but has never been properly recorded in the studio. From there, NIN segued into a rousing rendition of “Terrible Lie” — sweet lord, is this the night Reznor is going to go heavy on Pretty Hate Machine songs? Please, God money, let it be true! Up until this night, the band had barely been playing songs off their stellar 1989 debut album, but perhaps “Terrible Lie” was a sign of things to come. The Downward Spiral would be showcased on the next two songs — “Mr. Self Destruct” and the “March of the Pigs”, the latter of which had fans singing along with Trent during the piano breakdowns. Then came more from Pretty Hate Machine, with the tour debut of “Something I Can Never Have” followed by “Sanctified.” Damn, this is one helluva set, and we’re only six songs in! A quick side note: While growing up in Brooklyn in the ’80s, I wasn’t really exposed to industrial music as a kid. But when I went to the Midwest for college, I became friends with a tall skinny kid named Josh from Milwaukee who lent me a copy of Pretty Hate Machine, and from there I discovered Ministry, Front 242, Nitzer Ebb and all the other great industrial acts of the time. So, I will always hold Pretty Hate Machine in reverence as the gateway to a genre of music that became near and dear to my heart. Okay, back to the show. The rest of the set offered a nice mix of songs, with “Closer” and the tour debut of “I Do Not Want This” further representing the masterful Downward Spiral. Another highlight was “The Perfect Drug”, a song NIN first started playing on this tour, despite the track being 20 years old. However, it was the incredible one-two punch of “Wish” and “Head Like a Hole” to close out the initial set that got the greatest rise out of the audience, each song sending the crowd into a state of euphoria and worship. Yes, bow down, indeed! The show wasn’t over yet, as Reznor and his bandmates returned to the stage for a three-song encore that included a cover of Gary Numan’s “Metal” and the haunting set closer, “Hurt”. An unforgettable show, and to think, there was one more night to come… Night 2: We won’t break down the second night in Brooklyn (October 17th) with as much detail as night one, but it was just as special. When Nine Inch Nails kicked off this tour in Phoenix, Arizona, a month ago, the band wowed fans by playing the Broken EP in full for the first time ever. But that hasn’t been the case in the shows since, until Wednesday night, when the band did it again (save for the “Pinion” intro), among other memorable moments. Fans who attended both Brooklyn shows were treated to two unique sets that were equally majestic. Setlists for each show can be seen below. Legendary Support: NIN alone were worth the price of admission, but you’re not going to want to miss The Jesus and Mary Chain, a legendary band in their own right. And you’re not going to want to miss their first two songs, as they kick off their set with the classics “Just Like Honey” and “Head On”, giving the latter a rocked-up rendition that came off more like the Pixies cover than their own original. The shoegazing pioneers sounded in top form, proving why they’re one of Reznor’s favorite bands, as he mentioned during NIN’s set. Photo Gallery: Nine Inch Nails and The Jesus and Mary Chain at Kings Theatre in Brooklyn (click to enlarge and scroll through) Photos by Melinda Oswandel (@melindaoswandel) Nine Inch Nails Setlist 10/16: Now I’m Nothing Terrible Lie Mr. Self Destruct March of the Pigs Something I Can Never Have (tour debut) Sanctified The Lovers Shit Mirror Ahead of Ourselves God Break Down the Door Closer (with ‘The Only Time’ interpolation ) Find My Way I Do Not Want This (tour debut) The Perfect Drug Only Wish Head Like a Hole Encore: Home Metal (Gary Numan cover) Hurt Nine Inch Nails Setlist 10/17: Branches/Bones Wish Last Help Me I Am in Hell Happiness in Slavery Gave Up Physical (You’re So) (Adam and the Ants cover) Suck (Pigface cover) March of the Pigs Letting You Parasite (How to Destroy Angels cover) Reptile God Break Down the Door Me, I’m Not Copy of A The Hand That Feeds Head Like a Hole Encore: Shit Mirror Even Deeper The Background World Hurt Source

When the trailer for Boy Erased dropped this summer, it brought with it clips of a new song called “Revelation” from one of the film’s star, Troye Sivan, and Sigur Ros’ Jónsi. Now, you can hear the collaboration in full. Buoyed by gentle piano and the kinds of swelling atmospherics central to Jónsi’s work, the thoughtful, calming song achieves a kind of melancholic catharsis that’s as hopeful as it is heartrending. Hear it below. Boy Erased tells the story of Jared (Lucas Hedges), who is sent to a gay conversion camp by his Baptist parents (Nicole Kidman and Russell Crowe). Sivan co-stars as another denizen of the conversion camp. Sivan spoke about the song during a recent tour stop in New York City. “I got together with Jónsi of Sigur Rós and Leland. Joel [Edgerton, writer/director] showed us a scene from the movie, and I don’t want to spoil anything, but it’s this one moment of relief in the film,” he said. “It’s this one really sweet, tender moment where Jared does something that I would consider pure and beautiful and normal and romantic. He has that experience and the sky doesn’t fall down on him. The world doesn’t come crashing down, and it’s a ‘revelation’ to him. That person that he was with is a revolution to him, and it was just so inspiring. So, we started with these lyrics of ‘you’re a revelation, you’re a revolution’.” The soundtrack includes an additional original song by Jónsi, as well as a score by Danny Bensi & Saunder Jurriaans. It arrives digitally on October 26th and physically on November 2nd, which also marks the film’s theatrical release. Source

Download | Listen via iTunes | Spotify | Stitcher | Google Play | RSS Our third season of Filmography on the Master of Horror John Carpenter continues, as Film Editor Dominick Suzanne-Mayer is joined for this week’s episode, John Carpenter vs. The Monster Mash, by Halloweenies and The Losers Club contributor Mackenzie Gerber and CoS senior writer and Alcohollywood co-host and editor Clint Worthington. Follow on Facebook | Podchaser Together, they examine Carpenter’s understanding of monstrousness, the ways in which his filmmaking informs the scares of some of his creatures, the wildly differing returns he’s found on monster movies throughout his career, and much more. This week’s discussion is focused around the following features: Chapters: Introduction (0:09), The Monster Mash: A Discussion (1:56), Prince of Darkness (5:25), In the Mouth of Madness (18:20), Vampires (31:23), The Ward (45:01), Intermission (56:20), Sight [Cinematography/Editing] (56:24), The Lasting Image (1:12:48), Music & Score (1:16:31), Gin the Vermouth of Madness: A Cocktail Recipe by Clint Worthington (1:25:49), Closing Remarks (1:27:27) We’ll see you next Thursday, October 25th for the fifth and final installment of Filmography: John Carpenter. In case you missed it, full seasons are currently available surrounding the filmographies of both Wes Anderson and Stanley Kubrick. Source

People are hardwired to associate places with memorable moments. That’s why we all remember where we were when major events happened in our lives. However, for music fans, especially concertgoers, it comes down to more than just where we happened to be when we saw a show that changed our lives. We know that the venue — the layout, the atmosphere, the sound, the people — actually helped create that once-in-a-lifetime performance. It’s true that a terrific venue can’t always bail out a lousy set, but as we all know, it’s an essential ingredient for live music at its very best. With that in mind, we teamed up with Vivid Seats and asked 10 of our trusted music writers to recommend the 10 best venues in their respective cities. Below, you’ll find one of their picks from each of the 10 cities we looked at: Atlanta, Austin, Boston, Chicago, Los Angeles, Nashville, New York, Portland, San Francisco, and Seattle. For the entire slate of top venues in these cities, you can check out Vivid’s full list here or by clicking on the banner below. –Matt Melis Editorial Director _________________________________________________________ Atlanta’s The Drunken Unicorn Tucked inside MJQ Concourse on Ponce De Leon Ave, The Drunken Unicorn is literally underground and often hosts bands to match. It’s a fun and intimate venue that is super well-located and, with low cover charges, is always worth a visit. Don’t expect to get cell service — you could probably use the time away from your phone anyway — and definitely bring cash if you plan to buy drinks. Nicely enough, the bar is in a separate room inside MJQ and can be a great place to take a break if you’re waiting for a particular band to take the stage. –Isabella Gomez Event Slate and Tickets for The Drunken Unicorn: Click here or on the Vivid Seats icon below. _________________________________________________________ Austin’s Antone’s Nightclub Once you walk under the Antone’s marquee smack dab in the middle of downtown Austin, you’ll find yourself in a small, T-shaped space, where nearly every spot affords a good view of the stage. Billed as “Austin’s Home of the Blues,” with greats like Stevie Ray Vaughan once gracing its stage, Antone’s actually hosts musical artists of all stripes. Yet, if one wants to know a consistently great hub for blues and soul music, hop past the crowds of Sixth Street and go one block over to this Austin essential. –Brice Ezell Event Slate and Tickets for Antone’s Nightclub: Click here or on the Vivid Seats icon below. _________________________________________________________ Boston’s ONCE Somerville Perhaps the biggest complaint about the music scene in Boston is its lack of all-ages venues. Back in 2014, JJ Gonson opened two performance spaces at her restaurant Cuisine en Locale to help solve that problem. Rebranded as ONCE Somerville, the 9,000-foot event space looks like a middle-school dance ballroom on the inside, yes, but it offers food and drinks upstairs at the adjacent restaurant, and, most importantly, works to book the kind of shows that represent overlooked touring artists as well as the local acts that make up Boston’s own backyard. It’s a solution-in-progress for the city and one that’s quickly become a new home to concertgoers of all ages. –Nina Corcoran Event Slate and Tickets for ONCE Somerville: Click here or on the Vivid Seats icon below. _________________________________________________________ Chicago’s Schubas Tavern Originally a Schlitz brewery, Schubas has since metamorphosed into a quaint music venue that has seen countless artists — both acclaimed and undiscovered — appear on its stage during its enduring history as one of Chicago’s noted cultural fixtures. Complete with a full bar and food service, Schubas packs in any aspect of the live music experience one could crave under one roof. The charming corner tavern has earned a place in the heart of many a Chicagoan. –Lindsay Teske Event Slate and Tickets for Schubas Tavern: Click here or on the Vivid Seats icon below. _________________________________________________________ Los Angeles’ The Theatre at ACE Hotel This new kid in town has already made a sizable splash since arriving in 2014. Located just south of the heart of downtown, this throwback venue has already hosted the likes of Blood Orange, Nick Cave and the Bad Seeds, Slowdive and Red Hot Chili Peppers, who played there as part of a Bernie Sanders benefit. It’s also where the late Chris Cornell interviewed Led Zeppelin’s Jimmy Page onstage for Page’s eponymous 2014 book. With room for 1,600 people, it provides an intimate space for bigger artists to do something a little bit different from the norm. –Scott T. Sterling Event Slate and Tickets for The Theatre at ACE Hotel: Click here or on the Vivid Seats icon below. _________________________________________________________ Nashville’s The End The End is the Nashville venue most likely to leave you covered in sweat or beer … or both. The tiny dive bar primarily hosts punk, metal, and rock and roll acts. It’s rare to see a show here without a mosh pit or stage divers making the most of the sub-200-capacity room. The bar only serves beer, but it’s cheaper than any other venue you’ll find. The End is the punky, rebellious younger brother of the legendary Exit/In (more on that later), which sits just across the street, together making up the revered “Rock Block” of Elliston Place. –Carson O’Shoney Event Slate and Tickets for The End: Click here or on the Vivid Seats icon below. _________________________________________________________ New York City’s Elsewhere DIY is an important faction of any music scene, so it hurt when Glasslands shut its doors in 2014. But when the owners came back in 2017 with Elsewhere, they came back with a vengeance. The Bushwick club houses five different spaces, three of which serve as the main venues, including a rooftop. Hitting that sweet spot between Brooklyn chic and pretension, the huge space feels like a welcoming home to the hip and the lost. Add in eclectic bookings, the art gallery, cafe, and more, and it’s easy to see why the nascent club is becoming one of the city’s fastest rising locales. –Ben Kaye Event Slate and Tickets for Elsewhere: Click here or on the Vivid Seats icon below. _________________________________________________________ Portland’s Bunk Bar During the day, this venue serves as the hub for the growing Bunk Sandwiches empire. Once the sun sets, the tables are replaced by a stage and this spot in Portland’s industrial district becomes a hub for garage rock, old-school indie, and Americana artists. As the business is owned by a couple of indie rock lifers and music junkies, the bookers of Bunk Bar have an ear for young talent and a charm that allows them to convince acts that could fill rooms 100 times its size (e.g. Built to Spill, Drive Like Jehu) to perform there. –Robert Ham Event Slate and Tickets for Bunk Bar: Click here or on the Vivid Seats icon below. _________________________________________________________ San Francisco’s The Masonic The California Masonic Memorial Temple, known as The Masonic, sits atop Nob Hill, blocks from downtown San Francisco. The building is an architectural landmark for its façade’s 12-foot-high sculptures and the lobby’s 38-by-48-foot mural. The stately 3,000-seat rounded theater hosts a variety of shows, including pop and crossover acts like Troye Sivan and Kacey Musgraves, legends like Joan Baez, and comedians like Conan O’Brien. –Katie Moulton Event Slate and Tickets for The Masonic: Click here or on the Vivid Seats icon below. _________________________________________________________ Seattle’s The Sunset Tavern There’s no shortage of great, small-capacity venues in Seattle, but few create the same intensity between artist and audience as The Sunset in Ballard. Walking through the warm glow of the front bar, you’ll find a black door in the back of the room, leading to the performance space. The low ceiling and low stage put concertgoers face-to-face with the artists. This lack of divide gives a thrilling sense of spontaneity to the room, leading to some “you had to be there” performances from the likes of UK punks IDLES and Vancouver electronic superstar Grimes. –Dusty Henry Event Slate and Tickets for The Sunset Tavern: Click here or on the Vivid Seats icon below. Source

Making a definitive list of anything is difficult enough on its own, and no matter what criteria you choose to abide by, it’s still inherently biased. That being said, there are ways to at least alleviate the bias and make it less so. Rather than rank the top 100 music venues in America full tilt, Vivid Seats & Consequence of Sound have put out a ranking of the top 10 music venues in 10 specific American cities: Atlanta, Austin, Boston, Chicago, Los Angeles, Nashville, New York City, Portland, San Francisco, and Seattle. Criteria for rankings include location, capacity, notoriety, and more. See the top venue for each city below, and go here for the full list. Atlanta – Variety Playhouse Austin – The Moody Theater Boston – Great Scott Chicago – Metro Los Angeles – Hollywood Bowl Nashville – Ryman Auditorium New York City – The Bowery Ballroom Portland – Mississippi Studios San Francisco – The Fillmore Seattle – The Showbox This article was first published on Your EDM. Source: Vivid Seats & Consequence of Sound Rank The Top 10 Music Venues In 10 American Cities Source

Fresh Off of Their Performance at Mysteryland, Drishti Beats Releases Their Vibey & Groovy New Tune Drishti Beats is best described as a dynamic team of instructors and composers that create a unique musical foundation for the fulfillment of the yoga experience. Lowell cites the mission of Drishti Beats as helping people find a place of peace and comfort by “creating an emotional experience that can connect people. Fresh off their performance at Mysteryland, live downtempo yoga bass collective Drishti Beats gears up for the release of their hauntingly beautiful new vibey and groovy single “It’s All Good.” Produced by Drishti’s producer Ryan Golbus, “It’s All Good” combines elements of jam, downtempo electronica, atmospheric melodies, tribal beats, bass music, jazz instrumentation, and trip-hop. The song is intricately layered with lead singer Ariel Lowell’s melodic and poetic vocals, Alec Lowell’s poetic rap, and Ricardo Branco’s saxophone performance. Stream “It’s All Good” by Drishti Beats above, courtesy of Spotify. The post “It’s All Good” with Drishti Beats : Listen appeared first on Verge Campus. Source

First teased back in August, Martin Garrix’s 300-page photo book “LIFE = CRAZY” has finally come out during Amsterdam Dance Week. The launch of the book was celebrated at X BANK in Amsterdam yesterday, with the ground floor of the W Amsterdam hotel having been transformed into a Garrix pop-up store. The pop-up store will be open to visitors until Sunday October 21st. The launch, hosted by Kay Nambiar, featured a live Q&A of Martin Garrix and his photographer Louis van Baar, who shot all the photos for the book. The book is available now for 50 euros and ships internationally. Purchase here. Martin Garrix is the current #1 DJ in the world, as crowned by the DJ Mag Top 100 last year. The results of this year’s poll will be announced on Sunday, October 21 during a special awards ceremony at Amsterdam Music Festival in front of 35,000 fans, during the world-renowned Amsterdam Dance Event (ADE). Will Martin Garrix retain his title and be the #1 DJ in the world for a third year running? Tune in this weekend and find out. Photo via Louis van Baar This article was first published on Your EDM. Source: Martin Garrix launches book ‘LIFE = CRAZY’ at X BANK in Amsterdam Source

A number of actors have disavowed Woody Allen in the wake of resurfaced allegations that the filmmaker sexually assaulted his adopted daughter Dylan Farrow. Several of them, including Rebecca Hall, Timothée Chalamet, Selena Gomez, and Griffin Newman starred in his latest movie, A Rainy Day in New York, which has reportedly been shelved by Amazon. There is one actor, however, who would work with Allen again in a heartbeat: Vicky Cristina Barcelona star Javier Bardem. Variety reports that during a Monday masterclass at France’s Lumière Film Festival, Bardem called Allen “a genius,” saying he’d “work with him tomorrow,” despite the allegations. “Today, 11 years later, it is the same accusation,” Bardem said, pointing out that Allen has not been found guilty of any crime. “Public accusations are very dangerous. If some day there is a trial and it’s proven to be true, I would change my opinion, but at this moment, nothing has changed.” The European audience applauded Bardem’s remarks, which makes sense considering that the filmmaker has remained popular in Europe as his star has faded in the States. Though Allen considers himself the “poster boy” for the #MeToo movement, the resurfaced allegations have damaged more than his relationships with a number of actors. In additon to shelving A Rainy Day in New York, Amazon is said to be exploring means to cancel its existing content deal with Allen. Source

Have you ever gotten to a gig a realized that you forgot to download that awesome song you heard on SoundCloud earlier that day? Now you won’t have to worry as SoundCloud has just announced at ADE that it is partnering with Native Instruments, Serato, and more to integrate their music catalog into their leading DJ performance software. SoundCloud’s catalogue boasts an incredible 190 million tracks – now, DJs will have them all at their fingertips. However, if you want to use the feature, you’ll need to have a SoundCloud Go+ subscription (an additional $4.99 per month if you already have Pro or Pro Unlimited). In order to assuage fears of quality, SoundCloud announced yesterday that music uploaded in high bitrate or lossless format can now be streamed back at AAC 256 kbps via an opt-in setting exclusively on SoundCloud Go+. (AAC 256 kbps is comparable to a 320 kbps MP3.) “Until recently, digital workflows for DJs were limited to downloads and physical media, but streaming workflows are the future,” said Kerry Trainor, Chief Executive Officer, SoundCloud. “SoundCloud is committed to empowering creators with the best tools and resources to grow their careers, which is why we are excited to partner with these leading companies to help DJs take their workflow to the next level. Through these partnership, DJs will have the largest, most diverse streaming music catalog ever assembled instantly accessible within the tools they use everyday.” This article was first published on Your EDM. Source: DJs Will Now Be Able To Mix Songs Directly From SoundCloud Source

Arguably one of the biggest stories of the past month, if not this year, is that the Miami City Council has officially voted to not renew Ultra Music Festival’s contract in Bayfront Park. The desire to kick Ultra out of Bayfront is nothing new, but this marks the first time that the Council has successfully garnered the necessary support to make it a very real possibility. The support came largely from local residents who flocked to the city council meetings in droves, complaining of noise and the inability to sleep. Note: Ultra cuts sound off at midnight on Friday and Saturday, and at 11pm on Sunday. Now, in a thread on reddit, one user who claims to be a resident of the building “right across the street” claims that building managers were bribing renters with gifts to attend meetings and also providing shuttles to the meetings. The effort seems to stem from building developers. It’s hard to believe that property value can be so severely affected by events that go on at the park, but I can’t think of another reason why they would be so staunchly involved. Comment from discussion How does Ultra treat the residents of BFP and the area?. While Ultra plans to appeal the decision and bring an updated contract to the council at a future meeting, the council has made further plans to earmark 85% of the year at Bayfront Park for public events. This means only 55 days out of the year would be given to private companies for set up, event, and tear down. While that much time is plenty for Ultra on its own, it leaves very little for other events who would undoubtedly enter into some kind of territory war if the preliminary decision becomes permanent. Photo via EDMkevin for Ultra This article was first published on Your EDM. Source: Local Resident Claims Miami Property Owners Bribe Renters To Attend City Council Meetings Source

Next year is looking to be a busy one for Slipknot. The masked rockers have already revealed plans for a new album and world tour (with new masks!), as well as a celebration of the 20th anniversary of their 1999 self-titled debut. As fans breathlessly await all of this activity, vocalist Corey Taylor has offered a little sneak preview of what’s in store for the next Slipknot album. In an interview with Metal Hammer, the frontman is promising that their new material is “us at our most ambitious, our most experimental, also us doing what we fucking 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.” How that will play out on the finished album is anybody’s guess, but there are some hints in Taylor’s interview. He describes the album as, “‘What if the guys who made Iowa matured? What if the kids who made Iowa grew up?’” while also insisting that “some of this shit is just so hard and dirty fast.” Taylor also claims that he and the band have “written our heaviest song – one of them anyway – on this new album. It’s going to be fucking crazy. People are going to shit their pants when they hear it.” The one detail that didn’t come up is exactly when this new album will be released. But fans in Iowa will have a chance to ask Slipknot about that directly if they choose to stop by the Slaughterhouse Haunted Attraction that the band has set up in their hometown of Des Moines. Starting today, they are offering up a VIP experience that includes a guided tour of the haunted house by a member of Slipknot as well as meet and greet sessions with the band and some exclusive merch. Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Metallica’s Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Zayn, the former One Directioner-turned-totally-solo artist, has released what’s probably the most millennial of his latest tracks in “Fingers”. On it, the R&B singer struggles to overcome his nerves while sending a text to his crush. “My fingers ain’t working, but my heart is,” he sings over a tempered beat and some sensuous synths. “If you wanna let me know where you hiding/ I could come and love you.” Zayn’s vocals take the lead here, demonstrating an appealing confidence in the young star. Hear it below. “Fingers” follows the Timbaland-produced “Too Much” and July’s “Sour Diesel”, as well as other new tracks like “Let Me”, “Entertainer”, and a cover of Elvis’ “Can’t Help Falling in Love”. However, details on his forthcoming follow-up to 2016’s Mind Of Mine remain scarce. Earlier this year, he told Beats 1’s Zane Lowe that he’s “trying to keep it as mysterious as possible, but there’s a plan with the roll out.” Source

The Lowdown: With frontman Freddy Lim having been elected to Taiwan’s parliament a few years ago, Chthonic had to pump the brakes on their touring and recording career, but five years after their last proper album, the extreme-metal band returns with another blast of erhu-infused melodic death, thrash, and black metal, with lyrics rooted in Taiwanese folklore. Battlefields of Asura is every bit as symphonic as its predecessors, and features guest vocals from Lamb of God’s Randy Blythe on the track “Souls of the Revolution” and Hong Kong pop singer Denise Ho on “Millenia’s Faith Undone”. The Good: Battlefields of Asura contains no shortage of rad riffs. Strings and synths abound again, this time flanked by more guest vocalists and additional percussion — most notably the backing chants on “Souls of the Revolution” (feat. Blythe) and “Carved in Bloodstone,” and the thunderous toms on “Masked Faith”. The track “Flames upon the Weeping Winds” opens with an At the Gates tonality, laying a foundation for dancing synth strings and maintaining a relentless pace. The album’s intro and outro offer another new twist, drawing shades of classic composers such as John Carpenter and Hans Zimmer as well as experimental electronic artists such as Ben Frost. The outro in particular could be used on a modern horror score. The Bad: Despite the guests and new directions, few tracks stand out as compositionally different on Battlefields of Asura, which suffers somewhat from “everything is epic” syndrome due to an endless supply of sweeping accompaniment. It isn’t until the bluesy, percussive, cinematic interlude “Masked Faith,” the album’s eighth track, that a more dynamic range is introduced. The erhu, koto, shamisen, and other folk instruments that played a larger role in the past are sometimes missing or drowned out by synths. The Verdict: Whereas Chthonic’s last studio album, Bú-Tik, had a more seamless integration of Taiwanese folk elements with the metal, Battlefields of Asura‘s heavy tracks are not as varied. With that said, it’s still a strong inclusion in the the band’s canon. Essential Tracks: “Flames Upon the Weeping Winds”, “Souls of the Revolution”, “Masked Faith”, “Carved in Bloodstone,” “Millennia’s Faith Undone” Source

While Max Martin is the name most think about in relation to producers who dominated the ’90s and ’00s on the pop charts, sounds have changed. And now, Skrillex is the new name dominating pop and hip hop music. A new song out today from Mariah Carey’s album Caution, “The Distance,” featuring Ty Dolla $ign, includes writing credits from not only Skrillex, but also frequent collaborator Poo Bear as well as Norwegian hit maker Lido. The song is a soft ballad with subtle electronic elements that floats and glides atop whimsical, shimmering synths and a French-tinged synth melody.  Curiously, this isn’t even the first time we’ve written about Carey in the past month. The singer came under fire for her single “GTFO” which sampled Porter Robinson’s “Goodbye to a World” – but even “sampled” is a bit of an understatement. Following the outcry, Robinson’s name has been added to the writing credits of the song, though we’d be willing to bet most die-hard Porter fans aren’t aware of the update. This article was first published on Your EDM. Source: New Mariah Carey Song With Ty Dolla $ign Includes Writing, Production Credits From Skrillex, Lido, & Poo Bear Source

It’s been 20 years since Garbage dropped their sophomore album, 1998’s Version 2.0. But there was hardly any dust in the air at Chicago’s Riviera Theatre on Wednesday night as Shirley Manson and Butch Vig’s blockbuster outfit revisited the album in full. Similar to their recent tour surrounding the anniversary of their self-titled debut, this run finds the group eschewing any nostalgia in favor of unbridled angst and feverish energy, the kind often reserved for youngsters who’ve just left the garage. Senior photographer Heather Kaplan covered it all. Peruse her gallery of photos below and consult the night’s full setlist shortly after. As you’ll see, they even revisited their Bond theme and their covers of Big Star and The Seeds. Follow Heather and Consequence on Instagram. Setlist: Afterglow Deadwood Temptation Waits Wicked Ways (with “Personal Jesus” snippet by Depeche Mode) Special The World Is Not Enough 13x Forever Get Busy With the Fizzy Hammering in My Head Medication Thirteen (Big Star cover) Can’t Seem to Make You Mine (The Seeds cover) I Think I’m Paranoid Sleep Together Dumb Soldier Through This Lick the Pavement Push It When I Grow Up You Look So Fine Encore: The Trick Is to Keep Breathing No Horses Cherry Lips (Go Baby Go!) Source

The Pitch: Matthew Weiner, of Mad Men fame, has put his finger on a something big in the cultural zeitgeist with his new show, The Romanoffs, which is a fictional account imagining how claimed descendants of the Russian royal family live today. It’s the perfect time for such a dissection since DNA tests are becoming ubiquitous — hell, Elizabeth Warren released her DNA results just a few days ago. As our world becomes more globalized, many are looking backwards to understand their identity. So, why not explore this phenomenon with a backdrop of murder, high society, and an all-star cast (Aaron Eckhart, Isabelle Huppert, Christina Hendricks) Weiner seems to ask. In eight roughly 90-minute episodes to be released weekly on Amazon Prime, we’re invited to do just that. Not Your Granddad’s Family Reunion: The first time we get a glimpse at just how global, and oddly organized, this “Yo, I think Nicholas II might be by great-great-great uncle” phenomenon is, is in episode two, when Michael Romanov’s (Corey Stoll) wife, Shelly (Kerry Bishé), arrives on a cruise ship for the annual Romanov Family Society convention. In an homage to Game of Thrones, there are little people on stage mockingly acting out some of the everyday dramas the royal family were known for. There’s Bollock dancing, gowns, and fine dining. And since Shelly’s husband’s at home, there’s obviously a red-hot affair with another apparent heir. Before you feel too bad for Michael, you should know he’s having his own affair back home. In fact, he’s intentionally prolonging jury deliberations — aw shucks, he was stuck with jury duty alongside an irresistibly attractive woman, Michelle (Janet Montgomery). They have their own fling. There’s just a lot of flinging in this episode. While there may be some criticism to be had that Weiner almost seems to use extramarital affairs as a narrative clutch (we’ll never forget Playboy Don Draper, and episode one of The Romanoffs finds Aaron Eckhart chasing his aunt’s Muslim housekeeper), the real criticism is that removing Michael from his own family reunion makes the Romanov tie-in sort of irrelevant. Who cares about watching a descendant’s girlfriend learn more about the family (which by the way, anything informative to be gleaned by this show is only surface level)? For a show that’s about identity, the mirror in episode two sadly gets placed on the wrong character. Why So Serious?: In a recent interview, Weiner told Town & Country “This (show) is about wondering, who am I?” But maybe part of the problem with The Romanoffs’ initial reception is we’re all taking it too seriously. However, you’d have to forgive audiences for being confused on the tone. Episode one focuses on a somewhat insufferable, elderly Parisian woman named Anushka (Marth Keller) who’s at a point in her life where she needs a caretaker to help her about (although one gets the impression from her fine apartment decor that she’s employed a maid or two in her day). The agency sends over Hajar (Inès Melab), a young Muslim woman putting herself through nursing school. The racial tensions are immediate and brutal, but the two eventually find a fondness for each other. “So this is a serious drama,” the viewer may decide. Au contraire, dear viewer. It’s not until the episode’s final act that the rags-to-riches Cinderella story gives way to something of a farce. Weiner seems less interested in exploring issues of race or faith and more interested in using Hajar as a foil to the extravagance that is Anushka and family. The sweeter the comeuppance when one of them falls and Hajar prevails. But when the plot twist comes, and we learn this show is really more surface than substance, it’s hard not to feel a little disappointed. At least in episode one, Inès Melab is so committed to the role that it’s hard to turn away. But future episodes don’t maintain the same pull. The Verdict: If you’re the type of viewer who renews a streaming site just long enough to binge watch the latest hot show, this is now the one to renew your subscription for. There’s little to no history for the history buffs. The Romanov hook seems more like a writer’s prompt than an essential element of each episode. The tendency to build up tension with a hot, illicit affair hopefully doesn’t keep repeating after episode two, because Don Draper did it better, and really it’s just not the cultural moment we’re in. Since the show doesn’t seem all too sure of its own identity, it’s probably best to just drop in for the episode or two that features cameos by actors you love. When’s It Playing?: A new, hour-long episode of The Romanoffs drops every Friday on Amazon’s Prime Video. Trailer: Source

We’ve been on a total Thoreau kick since he rebranded from EDM to hip hop. Though, that rebrand only seems skin deep since most of the production for his tracks is still produced electronically. That being said, we dig the new sound a lot and every track gets put in my playlists. Thoreau’s new song out today, “Prom Nite” with KARRA, is the first collaboration from Thoreau since the rebrand. While we’ve enjoyed his solo work, the duo vocals on “Prom Nite” are absolutely beautiful and makes us think these two could actually work as a long-term duo. The harmonies of their voices alone are wonderful, and there seems to be a natural chemistry between the two. “Prom Nite” was written and produced by Thoreau with co-production from Reid Stefan. Check it out below. This article was first published on Your EDM. Source: Your EDM Premiere: Thoreau – Prom Nite Ft. KARRA Source

This year, the surviving members of The Beatles are celebrating the 50th anniversary of their iconic White Album with an expansive deluxe reissue. Due out November 9th via their own Apple Corps Ltd. and Capitol/UMe, it boasts a generous helping of previously unreleased material, including 27 (!) early acoustic demos and 50 (!) session takes. Ahead of its official release, one of those acoustic compositions has been unearthed. The track is a stripped-back rendition of “While My Guitar Gently Weeps”, originally recorded on July 25th, 1968. As Rolling Stone notes, this version features just George Harrison on guitar and Paul McCartney on harmonium; at certain points, one can even notice the way Macca is still growing accustomed to the chords. Harrison can also be heard singing lines that were later swapped out: “I look from the wings at the play you are staging / As I’m sitting here doing nothing but aging.” Considering The White Album’s place in music history’s canon, it’s a fascinating look at the early stages of the masterpiece. Take a listen below. The deluxe edition of the reissue also has new mixes of the album’s 30 original tracks, helmed by producer Giles Martin and engineer Sam Okell in stereo and 5.1 surround sound. It will be available as a super seven-disc box set; three-CD deluxe set; a four-LP deluxe vinyl set; a two-LP standard vinyl set; or digitally. Pre-orders are now ongoing. Source

Matthew E. White’s got something new up his sleeve: A trio of EPs, each featuring a slew of different artists covering a new, fiercely political song he wrote, “No Future In Our Frontman”. The hope is to encourage voter turnout, with proceeds from the project going to charities benefitting voter participation and registration. A spacey, straightforward slice of art-pop, the track serves as a rebuke to our messy president, with White singing that “there is no harmony in his Babylon, and I refuse to sing along.” Artists that will share covers of the track include Natalie Prass, Kevin Devine, PC Worship, Bedouine, and more. “I believe that Donald Trump is a corrupt, depraved and incapable leader. Along with being unconscionably egomaniacal, his presidency regularly traffics in our worst prejudices, peddles bigotry, and violently disregards truth by both encouraging ignorance and actively participating in deceit,” says the CoSigned artist in a statement. “This song is an acknowledgement of our current political disaster and a call for resistance.” Hear his version below. The first of the three EPs arrives tomorrow, October 19th, with a new release dropping digitally every following Friday. On November 2nd, a few days before the November 6th primary elections, an album-length compendium of the covers will be released via Domino Records. A 7-inch release of White’s version can be purchased here. Source

There’s still a little more than four days to go until Nightmare On Rezz Street drops, but the enigmatic producer has already revealed what’s in store for fans. The Nightmare project will be a full mix of unreleased and original music. Fans know that full mixes from Rezz are rare, excluding live set rips from festivals. And to put the cherry on the cake with the unreleased music is a sweet surprise. Though many casual listeners might not be able to identify the tracks by name or synth, we’re sure the Cult is already buzzing with theories on which ID they’ll finally get to hear. Nightmare On Rezz Street drops Monday, October 22. This article was first published on Your EDM. Source: Rezz Reveals Identity Of ‘Nightmare on Rezz Street’ Project Source