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Room 25, the excellent new album from Noname, has been out for less than a month, but already it’s getting something of an overhaul. Noname has announced that she plans to change the album’s cover art following allegations of assault levied against its artist, Bryant Giles. “In light of recent allegations, I will be working to replace the cover artwork of Room 25,” the Chicago MC wrote on Twitter. “I do not and will not support abusers, and I will always stand up for victims and believe their stories. My heart goes out to Ellie, her family, and all survivors of abuse.” In light of recent allegations, I will be working to replace the cover artwork of Room 25. I do not and will not support abusers, and I will always stand up for victims and believe their stories. My heart goes out to Ellie, her family, and all survivors of abuse. — Noname (@noname) October 15, 2018 According to police reports, Giles was arrested on October 8th for domestic battery. The allegations have since been circulated throughout the Chicago community and beyond by Shea Vaughan-Gabor, who describes herself as a close friend of the alleged victim and Giles’ ex-girlfriend, Ellie, and former friend and artistic colleague of Giles. In a series of social media posts, Vaughan-Gabor called Giles a “sociopath” and “rapist and domestic abuser.” She specifically alleged that Giles raped Ellie while she was asleep, as well as punched her during a heated conversation. Vaughan-Gabor’s posts also included police report records and photos of Ellie’s alleged injuries. She says Giles has since been released on bail and that a trial is set for November. Giles has not yet addressed the allegations. pic.twitter.com/wOX2Nr8yBW — Shea Vaughan-Gabor (@martiniscorsexy) October 14, 2018 Room 25 Original Artwork: Source

The Pitch: On a remote Welsh island in 1905, Malcolm Howe (Michael Sheen) has started a better world. Free from the tyranny of taxation and religious repression, Howe promises his followers a good life run by work and moral decency, just as long as they obey the rules. However, when he and his followers kidnap the daughter of an affluent family to demand a ransom in exchange for money they need to sustain Howe’s flock, the ex-missionary Thomas Richardson (Dan Stevens) is sent to the island to gather his sister and bring her home. Soon, however, Thomas discovers that there’s a reason Howe’s flock is so devoted to the cause. A reason they’ll do just about anything to protect and uphold. Blood and Bone: Director Gareth Evans, best known to moviegoers for the jaw-droppingly violent Raid movies, is a filmmaker who works on an almost elemental level. His movies are all mud and flesh, bone and sinew, bracing violence and raw, uninhibited emotion communicated through that same violence. There’s no understatement to his work, and that lack is unnervingly effective in a film like Apostle. Unlike so many stories of cult panic, Apostle is transparent from its earliest moments about the fact that something deeply wrong is happening on the island, and it’s to the benefit of the film’s sense of tension. It’s not a question of whether things will go bad for poor, poor Thomas, but just how badly they’ll go before long. When the film eventually ratchets up the brutality, interpersonal and otherwise, Evans gets to ply his particular trade, one at which he’s among the very best working today: grossing an audience the fuck out. Apostle certainly metes out its brutality in a way that the Raid films never attempted, but what’s going on between the lines is what matters more than a handful of scenes guaranteed to haunt you in the months to come. Even when Apostle is quiet, which is fairly often (especially in the film’s first half), it’s always building. Evans is an exceptional action filmmaker, but here he also proves himself an equally adept storyteller. Apostle may be a freakshow after a while, but it’s also a trenchant exploration of Thomas, who’s voyaged into the heart of darkness before and reluctantly finds himself doing it yet again. A Sense of Place: One of Apostle‘s great achievements is the way in which it uses its early-20th century setting as a crucial piece of the storytelling, rather than the easy setup for isolationist terror that the era often finds itself purposed into. There’s quite a bit of invocation of the Salem Witch Trials and the like throughout Apostle, but Evans setting his film so late in history ends up lending a disturbing immediacy to the film. As much as it’s a flight through the panics of the occult, it’s also far more terrified of the things men do to one another in a fit of piety-fueled hubris. It’s no accident that the film’s most brutal scenes have a great deal of emotional weight behind them; this is a film not just about the violence of perverted religion, but the people harmed by it. For a movie as grisly as Apostle, this is hardly inconsequential. Evans keeps the action confined almost entirely to a small village on an island, and there Apostle excels as well. There’s a rich sense of place that the film maintains even as its dramatic stakes escalate, and for a film primarily shot against open fields and skies, there’s a remarkable claustrophobia established as Thomas continues to learn just how unforgiving the territory can be. This muted, period-era palette may have returned into vogue in horror in recent years, but there’s a good reason for that. The old world, after all, was pretty fucking terrifying. The Verdict: Apostle is uneasy viewing, even for the strongest constitutions out there. That’s not just because of the plentiful viscera onscreen, or because it’s yet another case study in Evans’ ongoing interest in the endless methods of abusing a human body onscreen, but because there’s something unfortunately timeless about Apostle‘s tale of decent people victimized by the whims of savage men. While Stevens finds a wealth of intensity as Thomas, he’s largely a vessel for Evans to drag through a vicious world where the rules are inviolable under sight of God, except for when it suits the individual people who claim to stand in His name. This is punishing filmmaking, both in its sense of overwhelming despair and in its all-too-physical violence, but what sets Apostle apart from being an especially well-shot exploitation feature is its interest in the ideals behind the violence we perform on one another. Evans’ screenplay is full of blustering invective about sin and decency and freedom, but what Apostle ultimately seems to argue (in its increasingly unhinged way) is that freedom itself is only as valuable as the people who enjoy it. Apostle is a horror movie in a much older sense, the kind of movie that rattles you down to the bones and isn’t simply shaken off as you turn off the TV or walk into the parking lot. It’s brutal, sometimes excessively so, but it’s telling a story as old as time, on an almost operatic level. By its conclusion, Apostle seems to realize that violence is the very engine on which this entire world runs. Where’s It Playing?: Apostle is now available for viewing through Netflix. Trailer: Source

Last month, Bob Dylan announced More Blood, More Tracks as the latest installment in his ongoing Bootleg Series, a collection featuring “every surviving take” from the original sessions for his 1975 classic Blood on the Tracks. Now, fans of that seminal album have another project to look forward to, as a New Yorker profile on Call Me By Your Name and Suspiria director Luca Guadagnino reveals that he’ll direct a feature adaptation of the album. As the profile outlines, Call Me By Your Name producer Nathan Heller acquired the film rights to the album and brought the project to Guadagnino, who would only make it if the adaptation was written by The Bridges of Madison County and The Fisher King screenwriter Richard LaGravenese, who, at the time, Guadagnino had never met. LaGravenese produced a 188-page script set in the 70s that swirls around the album’s core themes. From the New Yorker: The usual stream of Guadagnino’s friends came around, including the screenwriter Richard LaGravenese. Guadagnino calls LaGravenese “this guy that I totally and completely love!,” and LaGravenese calls Guadagnino “the first director who has allowed me to write fully emotional moments.” A producer of “Call Me by Your Name” had acquired the theatrical rights to “Blood on the Tracks,” the album by Bob Dylan, and had asked Guadagnino to make it into a movie. Sure, Guadagnino had said, but only if LaGravenese, whom he had never met, wrote it. (LaGravenese had previously written “The Fisher King,” “The Bridges of Madison County,” and, most exciting to Guadagnino, Demme’s adaptation of “Beloved.”) Somehow, the moon shot landed. LaGravenese cleared his schedule and, between April and July, hunkered down to produce a hundred-and-eighty-eight-page screenplay following characters through a multiyear story, set in the seventies, that he and Guadagnino had invented, drawing on the album’s central themes. “When they’re repressing, we dramatize the repression, and what that does to them,” LaGravenese says. “And we dramatize what happens when you let your passions take over too much.” With the project, Guadagnino continues to distinguish himself as one of Hollywood’s strangest and most flexible directors. He’s apparently made magic from his surprising remake of Dario Argento’s horror classic, so there’s no reason not to be optimistic about his journey into the Dylan universe. Fans of Dylan long suspected that Blood on the Tracks was inspired by the disintegration of Dylan’s marriage from his wife, Sara. However, in his 2004 memoir, Chronicles, Vol. 1, Dylan said the album has nothing to do with his own personal experiences, but were inspired by the short stories of Russian playwright Anton Chekhov. Below, watch the video for the album’s opening track, “Tangled Up In Blue”: Source

Earlier this month, Chance the Rapper promised to donate $1 million dollars to mental health service providers all across Chicago. The announcement came just a little over a year after the charitable MC pledged $2.2 million to local public schools. Now, for his latest act of generosity, Lil Chano has raised money by posing an undercover Lyft driver. A partnership between Lyft and Chance’s SocialWorks program New Chance Fund, the fun campaign saw the rapper shuttling random passengers around Chicago. Some suspected their driver — barely incognito in sunglasses and a beanie — to be that Coloring Book rapper, but others were left completely in the dark until Chance revealed his identity at the end of the ride. (Read: The Top 20 Highest Paid Rappers in the World) “I always had a dream to get into music or poetry or something…” Chance told one clueless rider. “I’ve never performed in front of anyone before.” Encouraged by his passenger, he then continued to play his clandestine part by stuttering out an amateurish freestyle. Chi-town passengers using the Lyft app have the option to round up their fare to the nearest dollar, donating to his New Chance Fund, which provides assistance to area public schools. In a statement about the video, Chance noted, “Together, Lyft and I have been giving back with Round Up & Donate for SocialWorks’ New Chance Fund. Now, we’re having some fun in my hometown, Chicago, as I go undercover as a Lyft driver. I hope this video encourages even more folks to give back just by taking a Lyft.” Watch the segment below. Source

Listen and download via iTunes | Spotify | Google Play | Stitcher | RSS Kyle Meredith sits down with Joan Jett and Kenny Laguna for this Monday’s episode of Kyle Meredith With…. Jett discusses her experience fronting Nirvana at the band’s 2014 induction into the Rock and Roll Hall of Fame and her later collaborations with Dave Grohl. She explains the process behind her and The Blackhearts’ new single, “Fresh Start”, which can be found on the soundtrack to Runaways doc Bad Reputation, in addition to a group effort with Miley Cyrus and Laura Jane Grace on a cover of The Replacements’ “Androgynous”. 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

If you’re wondering why David Draiman’s face looks a bit naked these days, it’s because he removed the double labret talons that have pierced his chin throughout most of his career. Apparently, the Disturbed singer reached an age where he felt it was no longer a good look for him. When asked about the missing piercings in a video interview with the German website Deutche Welle, the rock frontman explained, “They’re kind of a pain in the butt, to be honest. It just felt weird walking around like a 45-year-old Hot Topic kid. I just felt it was time.” In the same interview, Draiman was also asked about his comments over the summer that he sees Disturbed’s upcoming album, Evolution, as their “Black Album”, referring to Metallica’s multiplatinum 1991 self-titled disc. “It’s simply a matter of something that every rock and metal band aspires to – they all want to write that record that takes them to the next level,” answered Draiman. “That’s what the ‘Black Album’ did for Metallica and that’s what I’m hoping this record does for us.” Disturbed’s new album, Evolution, arrives this Friday (October 19th). The band has revealed cities for a 2019 North American tour, with venues and dates expected to be announced soon. 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

This year saw Janet Jackson make her triumphant return with “Made For Now”, her first single since 2015 acclaimed album Unbreakable. The R&B legend also appeared on The Tonight Show to perform the track, marking Jackson’s first late-night TV stint in nearly 15 years, and she served as the subject of Discography, Consequence of Sound’s own podcast celebrating historic music catalogs. The momentum of 2018 has all led up to last week and perhaps the biggest news of her career yet: a coveted Rock and Roll Hall of Fame 2019 nomination. With Jackson and her career-spanning catalog firmly back in the spotlight, Discography fans have launched an official Change.org petition, calling on her label to finally launch a proper archival campaign the Grammy-winner deserves. Classic acts from that same time have received countless reissue packages dedicated to their iconic work, complete with outtakes, demos, alternative mixes and the like, but believe it or not, fans have been without any modern, massive Jackson re-releases — even from her most popular eras, 1989’s Rhythm Nation and 1997’s Velvet Rope. Subscribe via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS “We as fans are saddened by the fact that none of the classic albums (Control, Rhythm Nation 1814, janet. The Velvet Rope etc) have never been re-issued, remastered nor re-released,” the petition pleads. “While Ms. Jackson keeps setting trends and breaking records with her tour, there is a whole generation of music lovers waiting to be introduced to Miss Janet’s back-catalogue of music. “Millions of fans have been requesting for a special or limited release of any vinyl, album or tour for decades now,” continues the petition, which is less than 100 signatures away from its goal. We feel it’s the right time to do so, and we feel that as loyal fans we deserve to enjoy and purchase the albums we love as remastered and repackaged items, as well as on vinyl.” A search online proves the petition true: For well over a decade, fans on various forums have wondered about and asked for a complete reissuing of Janet’s catalog. As the petition notes, maybe now finally “it’s time” labels honor their requests. Check out the petition here. Revisit her “Made For Now” performance on The Tonight Show, followed by the most recent episode of Discography, which takes a look at the artist’s B-sides (which will hopefully have a place on a future reissue). JAY-Z and Beyonce Tour Reel Travis Scott's Top 5 Videos Food References in Drake’s Music Childish Gambino’s Top 5 Songs Janelle Monae’s Top 5 Songs Source

Car Seat Headrest brought their reworked Twin Fantasy to Seattle’s Showbox this past weekend, closing out their high-energy show with an unexpected (and absolutely delightful) cover of OutKast’s immortal “Hey Ya”. (In Photos: Car Seat Headrest at Chicago’s Riviera Theatre (9/8)) The cover emerged organically out of another cover, Dexys Midnight Runners’ “Tell Me When My Light Turns Green”. Frontman Will Toledo leans into the thing, too, cycling through Andre 3000’s verse before segueing into the song’s famous call-and-response section. Watch some fan-shot footage of the cover below. Elsewhere in the set, Carseat covered Darude’s Sandstorm”: .@carseatheadrest PLAYED SANDSTORM FOR ME pic.twitter.com/ZBQWsqKQ1J — Phillis (@Yr_Goth_Mom) October 14, 2018 Car Seat Headrest will continue the party in 2019, as they’ve just announced a new batch of headlining tour dates. Check them out here. Source

Oh, bloody hell. Weeks after announcing that director Cary Fukunaga would be replacing Danny Boyle for the much-troubled Bond 25 sequel comes word now that the franchise’s producers are already working on ways to replace their lead star Daniel Craig. According to The Daily Mail, executive producer Barbara Broccoli wants Richard Madden as the next 007. “It’s seriously looking like he [Madden] is going to get the job,” their source says. “Not only is he on top of Barbara’s list, but she is preparing to offer the role.” Their source goes on to insist that both Broccoli and the Game of Thrones star may meet to close the deal “in the next few days,” which, of course, would put the kibosh on the long-running speculation that Luther hero Idris Elba would play the secret agent. It would also end an incredibly frustrating run of rumors and hubbub surrounding Craig’s replacement. Over the past year, we’ve seen everyone from Elba to Tom Hiddleston to Jamie Bell linked to the role, all of which has been for naught. God willing, the 25th Bond adventure is set to steal our hearts on February 14th, 2020. Source

The timeline for Slipknot’s next album is starting to take shape, as frontman Corey Taylor reveals in a new interview that summer 2019 is the target date for its release. Along with the new disc, Slipknot plan to hit the road for a tour and debut new masks, as they do with each new album cycle. “Next year is a big year for Slipknot,” Taylor told Resurrection Fest TV [via Lambgoat]. “We’re definitely thinking about a big world tour… [a new album] absolutely, probably summer. It all depends on when we get in the studio. Right now, the plan is for us to be in the studio early next year — like, first couple of months next year. So, a couple of months to get that going, a couple of months to get production, new masks, new outfits, new everything, and hopefully be able to come and start touring in the summer when the album comes out.” He added, “Right now, we have 20 songs that we’ve demoed — and they are really, really good. So it’ll just come down to which ones come out the best. We take that, we make the album out of that, put the album out. However, the way we’re talking right now, we’re trying to find ways that everyone can hear all the songs. So we’ll put the album out, and then maybe we’ll release something after that. It’s something that we’re really trying to think of, giving the audience more, giving the fans more of us.” He concluded, “But it’s gotta make sense, it’s gotta be Slipknot. It can’t just be something that throw out there because we can. It’s gotta have art, it’s gotta have content, it’s gotta have passion to it.” Watch the full interview with Corey Taylor in the video below. Source

Solange released A Seat at the Table in October 2016, with the album easily solidifying itself as the one of the year’s best and the subsequent performances behind it becoming captivating artistic events. It looks like we’ll be blessed with a follow-up to that record soon, as Solange plans to release a follow-up full-length later this year. The news of the album’s imminent arrival comes from a New York Times interview in which journalist Ayana Mathis says to expect a release “this fall, probably sometime soon.” We shouldn’t expect an exact date, however, as Solange will likely go the route made famous by her sister by dropping the album “fully formed at some mysterious and unexpected moment, like a meteor cratering into the culture.” Recording took place in New Orleans, Jamaica, and Topanga Canyon in California. Though Solange is still working on exactly how the project will come together — “I like to be able to tell the story in 13 different ways, then I like to edit” — the sound is locked in. “There is a lot of jazz at the core,” she explained. “But with electronic and hip-hop drum and bass because I want it to bang and make your trunk rattle.” (Read: How Many Songs Off New Albums Should Bands Play?) The artist said she was also impacted by the unique outdoor performance of the Seat track “Scales” she delivered at Donald Judd’s Chinati Foundation in Marfa, Texas last year. That project, she said, helped her expand the scope of her current one: “I realize how much wider, figuratively and literally, my work could be if I took myself away as subject.” Earlier this year, Solange told Billboard that she’d been “jamming” with Steve Lacy of The Internet. It’s not yet clear if that collaboration led to anything that will be present on this new effort, but it sounds like we’ll be finding out sooner rather than later. Source

The Smashing Pumpkins are one of the greatest music video bands of all time: “1979”, “Today”, “Zero”, “Tonight, Tonight”, “Ava Adore”, “Stand Inside Your Love”, the list could go on forever. Sadly, they’ve been a little weak with the medium ever since their 2007 reunion. Though, perhaps they just needed to wait for the right moment and song. Alas, that time has come as the band has returned with their first great music video in 15+ years for easily their strongest single in just as much time, “Silvery Sometimes (Ghosts)”. Directed by Billy Corgan and longtime visual collaborator Linda Strawberry, the seasonal clip finds the band finally indulging in their obvious Halloween roots. There are costumes. There are candles. There are tricks. There are treats. There is Mark McGrath. It’s an aesthetically pleasing experience that beautifully matches the song’s mood. So, warm up your PSL, grab a handful of candy corn, and watch below. The Rick Rubin-produced Shiny and Oh So Bright, Vol. 1: No Past. No Future. No Sun. hits stores on November 16th. To celebrate, the band’s announced a string of intimate anniversary shows, all of which you can peep down below. You can grab tickets here. The Smashing Pumpkins 2018 Tour Dates: 10/16 – London, UK @ Wembley Arena 10/18 – Bologna, IT @ Unipol Arena 11/28 – Madison, WI @ The Sylvee 11/30 – Chicago, IL @ Aragon Ballroom 12/01 – St. Louis, MO @ Stifel Theatre 12/02 – Tulsa, IK @ Brady Theater 12/04 – San Antonio, TX @ Sunken Garden Theater 12/06 – Tucson, AZ @ Rialto Theatre 12/07 – Phoenix, AZ @ Mesa Amphitheatre Source

The National and CHVRCHES may represent one of modern music’s more fruitful friendships, as the pair not only collaborated on a track from the latter’s Love Is Dead (“My Enemy”), but have also appeared in each other’s live performances and music videos. That trend continued at Austin City Limits this past weekend when The National welcomed CHVRCHES singer Lauren Mayberry onstage to assist them in performing Sleep Well Beast’s “Guilty Party”. Mayberry takes the lead in the early going before Matt Berninger steps in, making the piece a blissful duet. Watch it below. CHVRCHES continues to promote last year’s Love Is Dead with TV appearances on Ellen and Kimmel. The National, meanwhile, have been stumping for Texas Senate candidate (and former rocker) Beto O’Rourke. CHVRCHES recently appeared on an episode of our podcast, This Must Be the Gig, which you can stream below. Download | Listen and subscribe via iTunes | Google Play | Stitcher | RSS Source

Big tings and bigger tings are where Major Lazer are at. Their video clip revealing yet again how the trio are keeping the good times rolling with the teaming up of Nigerian singer Burna Boy in the afrobeat influenced single All My Life. The video follows two individuals who look to be making their way through life in Africa, and their struggles. A male taking on a supposed coming of age ritual/fight and the female slaying it in the local dance scene, all coming to an end in the night scene of their hometown. No shortage of sultry moves and vibrant colours, as you could expect. The Jamaican superhero that frequented the track art, a TV series featuring Terry Crews and the occasional music video clip over 8 years ago could be hanging up his combat boots soon, but till then we will wear them out with a music video coming out from the boys every week without any signs of slowing down so far. Check the video below and let us know which of the recent videos you like the most. Source

The Lowdown: It’s been a long time since John Carpenter scored a movie. It’s been an even longer time since he scored a Halloween movie. Now, exactly 40 years after the 1978 original, and 36 years since he last sat behind the keys for the franchise (see: 1982’s Halloween III: Season of the Witch), the Master of Horror returns to Haddonfield, Illinois. Much like The Shape we’ll see in David Gordon Green’s forthcoming reboot, Carpenter sounds angry and brutal, as if he’s been sitting in a room, not seeing the wall, looking past the wall, looking at this film, inhumanly patient, waiting for some secret, silent alarm to trigger him. Death has come to your little ears — and that’s hardly fancy talk. [Check Out: Five Fun Facts You Never Knew About Halloween] The Good: As every die-hard fan knows, the music is what saved Halloween. When Carpenter initially showed a scoreless cut of the film to producers, they mostly shrugged and yawned, which is why he spent a whirlwind three days knocking out what has now become one of the most iconic scores in the history of film. Naturally, that sort of urgency wasn’t necessary for Green’s reboot, and couldn’t possibly be replicated, but that energy lingers throughout this entire score. From beginning to end, there’s a dreadful anxiety to the mix that insists upon Carpenter’s willingness to break out, as if he’s trying to stab the celluloid with each piano note. It’s unnerving, to say the least, but that’s what you want. Not since Carpenter’s organ-heavy score for 1981’s Halloween II has he come off this menacing. This is angry music, no doubt informed by the rage on both sides of this dueling narrative. Each track revolving around The Shape comes wired with industrial percussion, shuddering bass, and suffocating synths, only dulled out occasionally by flourishes of midnight piano. And whereas Laurie’s theme was once meditative and melancholic, it’s now hypnotic and empowering, offering a necessary evolution from the worrier to the warrior. In between, Carpenter tosses a blanket on the scenery with balmy textures akin to his recent soundscapes on both volumes of Lost Themes. [Read: 10 Essential Horror Movie Scores] The Bad: While a few tracks come close, it would have been interesting to hear Carpenter bring “The Myers’ House” theme into the 21st century. That track has always been an essential cut off the first two scores and really adds a moody pace to the proceedings. Then again, perhaps that kind of patience doesn’t belong in Green’s film. Also, it would appear we still haven’t learned from The Phantom Menace. This sucker is littered with spoilerific track titles on par with “Qui Gon’s Noble End”, none of which we’ll list here. So, those looking to get a head start listening might want to wait or look away. It’s astounding the studio let him get away with some of these track names. The Verdict: There was never any doubt that Carpenter would deliver something exceptional. If his recent work with both Lost Themes albums proved anything, it’s that he clearly hadn’t lost his touch when it comes to music. The problem with those two volumes, however, is that they often sound as if he’s still stuck in the past, waltzing around motifs that wouldn’t make it past 1988. But Halloween is assuredly modern. In fact, it’s arguably the most modern score he’s ever composed, cutting with a minimalistic edge that might make Trent Reznor and Atticus Ross blush. Even so, the score never loses that Carpenter charm, keeping a tight grip on its origins without sneezing from all the dust. He came home, alright. Essential Tracks: “The Shape Returns”, “Prison Montage”, “Say Something”, and “The Shape Is Monumental” Source

Daft Punk hasn’t blessed us with new music in years, but they certainly haven’t stopped producing. Half of the iconic duo, Thomas Bangalter recently lent his musical talents to the film Riga (Take 1)‘s original soundtrack — and now we get to hear part of the masterpiece. In an upload from Ed Banger Records, the label shares a cut of a track called “Riga (Take 5)” and it’s pure acidy techno bliss. The 2017 French feature film isn’t easy to come across and the soundtrack is even more rare. This unreleased vinyl described as “mental techno recorded in a single take” has been heard by just a fraction of Daft Punk’s vast fanbase. Not for long though, as “Riga (Take 5)” is making waves on the internet, including r/DaftPunk. The description of the content reads as follows: THOMAS BANGALTER – Riga (Take 5) » 14’41’’ of mental techno recorded in a single take. Taken from Riga (Take 1) original soundtrack Limited edition one sided 12’’ Made in Latvia not an #edbanger release Shoutout Ed Banger Records for letting fans in on a glimpse of this rare release! Thomas Bangalter – “Riga (Take 5)” This article was first published on Your EDM. Source: Rare Recording From Daft Punk’s Thomas Bangalter Surfaces [MUST LISTEN] Source

The first Rezz Rocks went down last night and it looked nothing short of incredible. We say “first” because we expect there to be many more. And, we say “nothing short of incredible,” because just look at the videos below — including one that features a new ID. As footage of the epic night at Red Rocks begins to flood our Twitter feed, we’re delighted to hear the sound of unreleased music. The top video shows off what fans believe is a new ID from Rezz, perhaps even a new collaboration. While her music can often times feel relaxed and hypnotic, this one goes in hard. The glitchy surprise is just one way Space Mom took her production to the next level last night. She brought along the “biggest LED screen Red Rocks could have” and a “floating eyeball visual with tentacles.” So much yes. “Best night of my life. Can’t believe this. Thank you so much,” Rezz echoed on socials following the performance. She has announced plans to upload the entire set in high quality for the world to see, so be on the lookout. In the meantime, there is much to be seen. Watch below and dig through even more Rezz Rocks footage here. Rezz Rocks ID don’t watch if u don’t want to hear some unreleased @OfficialRezz and see some cute ass dance moves !! pic.twitter.com/X7zysprn56 — moonmoons (@ShawnnBEAM) October 14, 2018 More From Rezz Rocks… So @OfficialRezz dropped Silent Hill at Rezz Rocks and we were all sh00k beyond belief pic.twitter.com/M4byXH0lZ0 — Big Daddy is in Denver (@AngelikaMorris) October 14, 2018 UNREAL. Thank you @OfficialRezz for killing RezzRocks last night pic.twitter.com/qZpyUTCPub — elise (@EliseHollingsw1) October 14, 2018 I'm still speechless, Rezz Rocks will never be forgotten.. pic.twitter.com/xhtASTuSV7 — dylan @ rezz rocks (@PortersWorlds) October 14, 2018 I want to be able to dance like @OfficialRezz #RezzRocks pic.twitter.com/Pvu3UiXtNj — Bloody Dorito (@NeoDorito) October 14, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Rezz Blasts Red Rocks with Heavy New ID [WATCH] Source

The NSW Government has passed even tougher laws around drink driving and drug driving that’ll mean on the spot loss of license and increased fines for even low-range driving offences and first time drug detections. The laws set to be introduced at the end of 2018 as part of the Governments ‘Road Safety Plan’ follows a reported 55 deaths due to alcohol related crashes and 81 deaths due to someone with illicit drugs in their system in New South Wales last year according to the Transport NSW web site. That means regardless of you holding a full license, if you record anything over 0.05 will mean an on the spot fine of $561 and a 3-month suspension. Heavier still are claims of ‘alcohol interlock programs’ for those being caught blowing mid-range, that is anything over 0.08. Alcohol Interlock Programs are those that require a breathalyser test before being able to turn on your car or motorbike. In short; – On the spot $561 penalty, plus a 3 month licence suspension for low range drink driving and drug driving first offences. – Expansion of the alcohol interlock program to mid-range drink drivers – Vehicle sanctions for high risk, repeat offenders – in addition to other penalties – including licence plate confiscation and vehicle impoundment. How does this compare globally? Similar limits in terms of the ‘ranges’ dealt with but offences very from convictions with small fines such as those in Canada to jail time in the states depending where you find yourself. Check out how many standard drinks in beers below Check out how many standard drinks in wine below Check out how many standard drinks in spirits below Still unsure how many drinks you’ve had? Calculate your blood alcohol concentration here In short driving is a privilege and you should always take care of you and your passengers so these laws might have an affect on that. Alternatively it’d be great to see the NSW Government look at improving driver education through subsidised advanced courses and support for new and on-going drivers. What about go-karting for kids?? Source

EARLY EVENING: “Don’t park too close to the venue, we don’t want to draw any unnecessary attention. Please be respectful of the local residents and keep the noise down when approaching and leaving. Most importantly, enjoy yourself and look after your mates.” “Turn left up the street… Can you hear that? Yeah, that’s it. That’s gotta be it, mate. Alright, park it here somewhere and let’s just walk the rest of the way like the thing said.” It’s an indistinguishable but instantly recognisable sound. For the initiated, it’s a reticent din, a monotonous patter that draws you in, calling you closer. The distance beckons, pulling you along as you walk the path into what most would consider your run-of-the-mill, barren industrial area – some revellers know better. That metronomic thud. Static in the air… The warehouse, that’s where it’s coming from. “I knew I shouldn’t have worn these. Seriously, they’re that dirty already”… “Oi! Do you need a hand carrying that?” The journey in is half the fun. Electric. Invigorating. Excruciating. Be it through industrial desert, or desolate bush, the sound guiding you and your mates, leading you towards the night ahead. Supplies in tow. The esky on its last legs, slowing you down. “Which way did we come from? Where are we even going?” It doesn’t matter once you see it. This must be how those tourists feel when they set eyes upon the Acropolis. The Mecca of the evening. “Hey, how’s your night going?” … “Find it alright? Just a tenner please, boys” “Cheers.” “Enjoy…” You walk up to the door. No doorhandles. Crouching down, you peer through. Nothing… Can you feel it? Yep. The vibration, pulsating through the building’s skeleton. Dark. Smoky. There’s something sweet in the air. Like you can taste it. Feel it. You reach out into the shadows as your hand brushes velvet, then pull back a curtain to reveal the belly of the whale. This is you for the evening, where the weak become heroes – deep inside the carcass of what was once a bustling factory; visions of a buzzing warehouse, now nothing more than an empty shell filled with smoke, sweat and sound. Florian Kupfer. Undisclosed warehouse. 2018. Photo: Thomas Clarke. ~ It’s a pilgrimage that has evolved, more on impulse or perhaps instinct than anything, as a natural progression for Sydneysiders looking to reclaim their once burgeoning nightlife scene. It’s a call taken up by those who’d rather swap the confinement and mundanity of a now gentrified club circuit for plumes of thick fog and shrouded, cavernous, open rooms. Mixing the unmistakable scents of rented smoke machines with the waft of fast-warming cans of beer, amidst a sea of bodies, all smiling, all dancing; the warehouse has blossomed as a legitimate response to Sydney’s current nightlife predicament – sporadic and spontaneous, its nature is self-effacing and lends itself to (for lack of a better turn of phrase) owning the time, rather than the venue. In other words, it’s the being there rather than the whereabouts… whether you actually own the keys is beside the point. There are a number of reasons as to why the warehouse celebrates a disavowal of, and disregard for, the concept of ownership, but none more-so than legislative measures effective February 24, 2014. Lockout laws transformed the locus of Sydney’s nightlife from one of insular centrality to what can only be described as an effective urban, industrial sprawl. Kings Cross was crossed out. Today it’s been replaced by that building out back by the old ‘Kings Furniture’ store , or at a crossroads somewhere deep in the inner West. The hub was dismantled, the remaining parts and partygoers strewn across our Portside capital and left to their own devices. With nowhere else to turn, they turned to ‘nowhere’. Whether it’s a gutted, low-lit showroom that still lingers with the mystique of its retired, wheeler dealer salesman or a fairytale scene expertly hidden under a main road bridge – the setting itself is primarily a foil for those often intangible elements that make a night so great. The beauty of the warehouse is that it encompasses and envelopes these, and conjures them into moments. Anyone who’s been to one has a story, the reminiscings of a time or place or song that they can’t quite forget: “We had these fuck off JBL speakers that sounded fantastic. They were huge and way to [sic.] loud for the space they were in. I could hear them at the service station down the road. There were people everywhere. Dancing, chatting, and laughing.” – The Eviction Party, 1995. The Eviction Party. 1995. Photo: Sydney Rave History. “The first one I attended was under a bridge in a suburb I’ll keep close to my chest for obvious reasons. A generator and decks at one end draped in fairy lights that glittered all night; two of my mates selling ‘coffee & vodka’ and cans of beer at a makeshift espresso martini bar at the other. There would’ve been a couple of hundred people, all of us hidden beneath a freeway underpass.” – Name withheld by request, The Tunnel 2017 Organic and spontaneous, there is an innate sense of freedom to be found in the warehouse. It’s occupation of the peripheral is liberating; while the fact that everyone who attends is in essence a contributor to the evening breeds something else entirely. There is a divinity that surrounds the music in this element, transcending the way a song may normally be received in a club setting. The crowd is there. Purposeful, absorbed and engaged in a sense of unity that’s hard to pin down and wholly unattainable outside of its realm. It’s for these reasons that every weekend (almost without fail) you’ll see pins being dropped routinely by enthusiastic DJ’s and party organisers across the city, attempting to spread the good word and breathe new life into a scene that’s been nestled firmly behind the 8 ball for some years. Dope Tings Crew. 2018. Photo: Thomas Clarke. ~ THE BELLY OF THE WHALE: “Oi mate, can I borrow a lighter please?” “I don’t smoke mate, sorry.” “All good brother, cheers.” Packed like sardines, but still with room to move. Room to breathe. The room is alive and you breathe it in. Energy. Bouncing off the walls, between bodies. Coursing through your veins. Are you shaking? Nah, you’re just that close to the speakers, mate. Life-affirming. The bloke next to you says something, maybe a question. “…” You smile and nod. No one can hear anything but the music. The sweetest sound. This beautiful night. “How gooooooood!” “Just unreal…” “Mate, this is best ever.” That’s when you hear her. Sade. Smooth like Kahlua. “I couldn’t love you more”. You knew he’d play this. We all did. “Time was runnin’ out”. Where is everyone? They need to be here for this. You spin ‘round, but don’t recognise anyone. They’ll be close you think. You make some room, shuffle over a little and look again. Those hands, that hat. It’s them… How good. ~ You might hear it on the grapevine as a passerby muffles the new-age adage, “This is where we’re going tonight… bring some comfortable footwear.” The warehouse has become, for all intents and purposes, a parable of renaissance. Its emergence has been an all encompassing, immersive transition, and one that’s particularly reminiscent of the halcyon days of Sydney rave culture in the early to mid 90’s. There are no gimmicks here, and the recipe is simple – space, smoke, sweat, sound; channelling the otherwordly and summoning the ethereal. “But how does one get the knowledge of the raves? That too is half the fun. Trying to get the right phone number, then getting tickets with no address on them, then find a map in one of the shops/clubs/pubs around Darlinghurst, or ring the 0055 for instructions on how to find the place to get the map.” – Lotus, 1992. What we’re witnessing is undoubtedly a revival of culture, sound and style, but while the resurgence of the warehouse aesthetic might represent a quasi political reaction to the restricted freedom of youths across the city, it’s also unmistakably a natural progression for up and comers paving their own way and seeking a new path. The government imposed nightlife void may have been replaced by pretty shopfronts or conversely, what the naysayers refer to as ‘the dubious goings on of those doing business illegally in abandoned buildings under the cover of darkness’, but what rings true is the fact that the revellers know better, and have claimed these empty spaces as their own. Sabotage. 1995. Photo: Sydney Rave History. “We just stumbled on the spot by chance, out of sight, easy to find… plenty of room. It’s a bloody nice tunnel.” – Tunnel Party Curator, name withheld by request. “For those that came down last time, you know the vibe, you know the drill. Keep it hush, invite your nearest and dearest.” – Night At the Wax Museum, April 2017. Perhaps the greatest dilemma facing this fledgling trend is the fine line it seems to tow. Is the ‘illegal’, ‘outlaw’ reputation of this scene undermining the legitimacy of its intentions? The main problem lies in whether or not ‘the warehouse’ itself and the ideas it represents are a detriment to initiatives seeking positive change, those such as Keep Sydney Open and Reclaim the Streets. For all the defiance that the warehouse symbolises in challenging the status quo – in its current form, it is an important outlet and a very necessary evil. If you’ve ever attended one, then you appreciate its significance. The scene itself nurtures harmony and camaraderie, built on values that substantiate a mutual respect between party organisers and partygoers. Leave no trace. Look after your mates – foundations that are a stark contrast to what politicians would have you believe about established Sydney nightlife trends. These are foundations from which change could very well be born. To cultivate an environment where those in attendance feel safe, and are safe is something not many establishments are able to achieve. Somehow, the warehouse does this exceedingly well. It gives back to those who deserve it, those who’ve built it; such is its nature. The question now revolves around whether change is really necessary for the initiated. What good is a $10 drink when you could spend $10 and have the night of your life? I know where my money’s going… ~ HEADING HOME: “Where the hell are we?” “…” “Absolutely no idea.” “Let’s find a cab and go back to mine.” When the dust settles and the cans are lukewarm, when the lights switch on and you can’t find your keys, when you finally retire and swim up for fresh air – when the night’s ending and you reminisce about that time, that place, that song. All under one roof raving, you head off back into the distance… beckoning until next time. Source

Boutique Victorian festival Hopkins Creek has announced their third edition, to take place in their familiar crater in Tatyoon from November 30 to December 3. Employing the natural mystique and wonder of a magnificent volcanic crater in Victoria’s western districts, Hopkins Creek once again intends to capture the benefits of intimacy within a setting that appears remarkably infinite. With two previous and hugely successful festivals under their belt, the crew at Hopkins Creek have decided to do it all again. Bolstering a lineup with hugely talented domestic artists, as well as a much larger contingent of internationals, Hopkins is on track to achieve similar success. Unsurprisingly becoming one of Victoria’s premier festivals, this year’s edition features artists from a range of genres such as Ciel, Freda & Jackson, Mitsuki, Sleep D live, Ben Fester, and Sunnyside. Recently adding luxury camping, a fishing themed bar and dance-floor, a complete ban on plastic bottles, as well as an unlimited BYO, Hopkins has taken on board the feedback from previous year’s revellers to ensure a complete experience that is focused on quality over quantity. With volunteer spots completely full and tickets already onto their 3rd release, you’ll need to be quick to ensure your spot in the crater this December. Purchase tickets here. Full lineup below. Full Lineup: Adi Toohey Adriana Angophora (Live) Ben Fester Ciel (CAN) Colette & GSM Emma Stevenson Ess O Ess (UK) Fantastic Man Freda & Jackson (Live) Jess Zammit Josh Keys Maria Moles & Adam Halliwell Millú Mitsuki (JAP) Multi Culti Norachi (Live) Paramida (GER) Ryan Berkeley (Live) Sagamore Samo DJ (SI) Sleep D (Live) Sunnyside Turner Street Sound Zeitgeist Freedom Energy Exchange + many more. Keen for a taste? Dive into a mix from Ciel below; Source

The Chainsmokers dropped a new-ish ID at Q-Topia in Atlanta over the weekend and the certified banger has everyone talking. Aazar proves to be a perfect pairing for the duo as they unleash absolute madness on the crowd in the video below. The Chainsmokers have played out this collaborative ID known as “Silence” in part since Ultra Miami 2018, but now we get to hear the absolutely insane drop they’ve come up with. This and the duo’s collaboration with QUIX are two of their most anticipated unreleased tracks yet, as The Chainsmokers prove time and time again they just keep getting better. Last month they revealed the production with QUIX is coming “soon” and via Insta story they confirmed this one is also coming — wait for it — “soon.” Whenever they drop, you’ll hear it hear first. The Chainsmokers have showed us their traditional dance music side, their pop side, even their country side — but we have to admit we love when they get bassy. Watch here and let us know if you feel the same! The Chainsmokers, Aazar – Silence (ID @ Q-Topia Atlanta) The Chainsmokers, Aazar – Silence (ID @ Q-Topia Atlanta) from EDM Photo via Rukes.com This article was first published on Your EDM. Source: The Chainsmokers Unleash Crazy, Much-Anticipated ID [WATCH] Source

Ariana Grande and Pete Davidson’s relationship has ended almost as quickly as it began. According to TMZ, the 25-year-old pop singer and 24-year-old SNL comedian have broken up, calling off their engagement of five months. Grande and Davidson announced their engagement in May — just a few weeks after they began dating. Soon after, the couple moved in together, adopted a pet pig, and Grande named a song on her latest album, Sweetener, in Davidson’s honor. TMZ reports that the couple broke up over the weekend, “acknowledging that it simply was not the right time for their relationship to take off. We’re told the two still have love for each other, but things are over romantically.” Source

ADE will be sort of like Christmas morning x 5 for Martin Garrix fans, as he hints at five new productions over Oct 17 – Oct 21. Our first clue comes from the Martin Garrix Hub, a reliable source for all things related to the superstar DJ/producer. The cryptic video share features a large “Plus” sign before glitching out into five symbolic squares. In Swedish House Mafia fashion, this looks like Garrix is revealing five new tracks coming soon. It’s the same symbol found on his official website, the gif transitions into five distinct static boxes. An earlier tweet from the Hub with multiple “hi five” emojis also reinforces the idea of “five” having something to do with Garrix’s announcement. The tracklist for the EP was uploaded to r/MartinGarrix, though with no official source it was difficult to take it as credible information at the time. However, Martin Garrix has since tweeted, confirming that the leak was legitimate, meaning that we’ll finally be getting one of the most sought-after Martin Garrix collabs ever… “Waiting For Tomorrow” with Mike Shinoda. It’s safe to say there are just three days between us and new music from Martin Garrix. Stay tuned. Martin Garrix ‘Plus’ besides the fact that every single surprise upcoming week got leaked I'm still STOOOKED to share it with you guys ahah pic.twitter.com/LF2Bs4A1Nh — MARTIN GARRIX (@MartinGarrix) October 14, 2018 Martin Garrix ‘Plus’: Leaked from Martingarrix Photo via Tomorrowland This article was first published on Your EDM. Source: Martin Garrix Confirms Leaked Plus EP Tracklist [DETAILS] Source

Something — well, a lot of things — felt broken about the first two weeks of Saturday Night Live’s 44th season. And while last night’s episode by no means put all worries to bed, I’m sure Lorne Michaels and cast are sleeping a bit easier this morning. Weekend Update punched its weight again, old friends Seth Meyers and Paul Simon brought a warm, familiar feeling to the episode, and, though I never really put much thought into it before last night, I now know what a giant bayou biscuit wearing a MAGA hat looks like … So, I got that going for me, which is nice. If you didn’t quite stay awake, you didn’t miss a return to the golden age of sketch comedy by any stretch, but there were a few moments you’ll want to check out. Here are last night’s highlights. _________________________________________________________ 01. Kanye, Kanye, Kanye First off, I’m not laughing at you, Kanye. It’s not particularly funny watching anyone have weekly mental breakdowns for the entire world to see, nor should Donald Trump (and every other old, white, hip-hop illiterate Republican) be exploiting an obviously ill person for political gain. But the gag here is less about the absurd shit Kanye West (Chris Redd) spouts these days and more about how Alec Baldwin’s Trump (still not all that funny) and others, like Jim Brown (Kenan Thompson), get far more than they bargain for when they try to shoulder in on the rapper’s limelight. The best revelation? Trump realizes, “Oh, my god, he’s black me.” _________________________________________________________ 02. Welcome Back, Seth … Really!?! We’ll leave it to you to decide where Seth Meyers ranks among the greats (and not-so-greats) to have sat and delivered the real fake news on Saturday nights, but there’s no denying that it felt good to see the former anchor and head writer behind the “Weekend Update” desk once again. Meyers’ love for the fake news format and SNL in general was tangible throughout the show, and to see Colin Jost and Michael Che join Meyers on his old Really!?! segment was a fitting way to welcome the comedian home. That said, what’s a Seth spotting without Stefon? The segue image of Meyers lying and looking lovingly at a framed picture of Bill Hader’s beloved Update character was a cruel tease. _________________________________________________________ 03. Simon Says So Long As Paul Simon bids farewell to the music business, one last stop at Saturday Night Live made a lot of sense. After all, Simon served as the show’s second-ever host way back in 1975, acting as a Julio of all trades in an episode that saw him reunite with Art Garfunkel, deliver his monologue in a turkey costume, and defeat basketball legend Connie Hawkins in a game of one-on-one. Forty-four seasons later, a visibly grateful Simon, joined by the yMusic ensemble, treated SNL fans to “Can’t Run But” and a stirring version of Garfunkel’s signature “Bridge over Troubled Water” that should remind us all not only of what a profound talent Simon is but also what a unique contributor to the pop-culture world he’s been for all the years that Saturday Night Live has been on the air. Paul Simon on Saturday Night Live Source

Forty years ago, director John Carpenter and co-writer Debra Hill terrorized audiences with Halloween. Starring Donald Pleasance and a then-unknown Jamie Lee Curtis, the indie horror went on to conquer the box office and change the genre forever. Much has been said and written about the film and its production, from documentaries to podcasts to countless editorials, and yet there always seems to be more to glean each time the seasons change and the pumpkins appear on doorsteps. As such, in celebration of the film’s 40th anniversary (October 25th) and in anticipation of David Gordon Green’s forthcoming reboot (October 19th), we’ve strung together five fun facts that you can bring to your next rewatch with your bowl of candy. Some might even call you a Halloweenie. __________________________________________________________ 05. Laurie Strode Was Never Michael’s Sister Halloween H20: 20 Years Later, Dimension Films Before you write hate mail to David Gordon Green and Danny McBride for ignoring the sequels, know that Michael Myers and Laurie Strode were never supposed to be related. In fact, that whole conceit came out of necessity, as Carpenter told Consequence of Sound in 2017, “[Halloween II] hard to write. I just didn’t think there was any more story after the first one. And I had to come up with a story, so I’d get a six-pack of beer and sit down at the typewriter every night. I mean, it was horrible. It was awful. I’m not really a fan of the sequels. But what the hell, they pay me. They pay me money, so I can’t knock it.” __________________________________________________________ 04. Jamie Lee Curtis Hates Horror Movies Halloween, 1978 Despite being the ultimate Scream Queen, Jamie Lee Curtis actually hates horror movies. Well, maybe hate is too strong a word, but she certainly doesn’t enjoy them. “I scare easily,” Curtis told People in 2015. “In fact, that’s what my tombstone should say: ‘Scared Easily’ … I just can’t watch thrillers or violence or anything with the possibility of ominousness. I’m too jumpy.” It should be noted that, following Halloween, Curtis made a name for herself starring in 1980’s The Fog, 1980’s Prom Night, 1980’s Terror Train, 1981’s Roadgames, and 1981’s Halloween II. __________________________________________________________ 03. Eyes Without a Face Inspired The Shape Eyes Without a Face, 1960 Yeah, yeah, everyone by now knows that Michael Myers is actually wearing a William Shatner mask. Hell, it’s the first piece of trivia you get on any Google search — right after: “The movie was originally called The Babysitter Murders!” and “Halloween was Jamie Lee Curtis’ first film!” — but what you traditionally don’t learn is that the look itself dates back to 1960. Ahem, specifically, Georges Franju’s unnerving psychological horror film, Eyes Without a Face. Carpenter is a big fan of the oldies and one look at this black and white stunner says it all. On a related note, the film also did wonders for Billy Idol. __________________________________________________________ 02. Carpenter Wrote the Theme in an Hour That spooky theme? The one that’s so iconic it’s recognized by people who haven’t even seen the goddamn movie? Well, Carpenter wrote it in less time than it takes to watch the flick. “That theme was done in like an hour,” he told Consequence of Sound in 2017. “We moved on.” In other words, speed kills, sure, but not in the recording studio. Then again, Carpenter previously admitted in one of the past commentaries for the film that he had the music in his head the whole time, so maybe it was just a matter of sitting down and carving out the pumpkin. Either way, it’s impressive. __________________________________________________________ 01. Carpenter and Hill Got Fucked Over John Carpenter and Debra Hill, 1978, Trancas International Films Despite being the masterminds behind what’s become an unstoppable franchise — even if producer Irwin Yablans did suggest adopting the holiday — both Carpenter and Hill made very little on the original film. Now, this is frustrating, even decades later, because the little-indie-that-could not only wound up being a commercial success, but became the highest grossing independent film at the time of its release. (It grossed $70 million worldwide on a $300,000 budget.) This is why the two stuck around for the 1981 sequel, and why Carpenter would later demand to be paid $10 mil to direct 1998’s Halloween H20: Twenty Years Later, which Dimension Films declined. Ah, Hollywood. Source