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Flamin’ Hot Cheetos may be the least of Lil Xan’s concerns. The SoundCloud rapper was forced to cancel a scheduled concert in St. Louis on Wednesday night due to a shooting threat at the venue. According to TMZ, a man posted a series of disturbing photos and videos threatening Lil Xan. In one video, he is seen firing two AK-47s into a lake. He captioned the video by writing, “Lil Xan said he wants a fade with me. I’M COMING TO YO OWN SHOW TO SMACK TF OUT OF YOU TOMORROW OCT 10 AT @thepageantstl.” In a subsequent photo posted the day of the show, the man is seen holding three guns. “hi Lil Xan see ya later at your show,” reads an accompanying caption. The venue ultimately decided to cancel the concert, citing security concerns. TMZ reports that the man is a St. Louis-based producer who has beefed with Lil Xan in the past. In a statement, a representative for Lil Xan stressed that “this was an old situation that has been taken care of internally. There is no reason to fear safety at any of Lil Xan’s shows moving forward.” St. Louis Police told TMZ that they are not investigating the threats because no one filed a report. Source

Two of the most iconic bass players in thrash metal, Anthrax’s Frank Bello and Megadeth’s David Ellefson, have just announced the forthcoming release of Get It Out, the debut album from their collaborative project Altitudes & Attitude. Out on January 16, 2019 via Megaforce Records, the full-length is a continuation of the work that the pair did on their self-titled 2014 EP, and features drumming from A Perfect Circle’s Jeff Friedl and guest appearances from KISS founder Ace Frehley and former Ozzy Osbourne guitarist Gus G. Along with the album announcement, the band has unveiled the first single, “Out Here”, which can be heard in the lyric video below. According to Bello and Ellefson, Get It Out was a long time coming, the product of four years of writing and recording sessions undertaken in those rare moments when the men weren’t busy with their day job bands. “The album has the perfect title,” Ellefson said in a statement. “This is music that has been living inside of us for so long. There’s a big musical part of each of us that doesn’t get heard anywhere else.” The two started working together in 2010, holding bass clinics for Hartke Amps. Looking for music to back up their demonstrations, they started cooking up some material and found that they worked well together. After the debut of Altitudes and Attitude in 2014, the pair continued to gather material, with Bello even trying out the songs at open mics around New York. According to the press release announcing the new album, it sounds like this is a necessary outlet for the Anthrax member. “A lot of these lyrics are about the inner struggles of my life, and about the rage that has built up from my life experiences — my brother’s murder; my father abandoning my family when we were young, leaving us with no funds to pay the bills,” Bello said. “The ups and downs of life in general. I’ve always had an anger inside that music really helps me deal with.” Altitudes & Attitude are set to embark on a promotional tour in support of Get It Out starting in January. Following performances on the ShipRocked cruise alongside Papa Roach, Bullet For My Valentine and Suicidal Tendencies, Altitudes & Attitude will hit the UK for four shows. Dates can be seen below, while the band’s Get It Out album can be pre-ordered at iTunes. Altitudes & Attitude 2019 Tour Dates: 1/26-1/31 — ShipRocked Cruise 2/7 — Nottingham, UK @ Rescue Rooms 2/9 — Manchester, UK @ Academy 3 2/10 — London, UK @ Underworld 2/12 — Norwich, UK @ The Waterfront Get It Out Album Artwork: Source

Download | Listen and subscribe via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS The Lowdown: After following up an improbable AAA #1 single (2015’s “Pretty Pimpin”) with a collaborative record with Courtney Barnett, reigning king of slacker rock Kurt Vile returns with his first solo record in three years, one recorded in fits and starts during two years in which Vile became a Jeopardy! answer, opened for Neil Young, and suffered a self-described mental breakdown. The Good: Originally scheduled for a Spring release, Bottle It In’s October arrival feels like fate; marrying Vile’s languid whatever’s-clever-ism with reflections on aging, success, and the possibilities of happiness, the record exudes the same subtle gloom shared by that first fall day when the sun sets before six p.m. This bittersweetness also results in some of Vile’s most direct songwriting; whether he’s penning a love letter to Philadelphia parking hacks (“Loading Zones”), shaking off loneliness (“Yeah Bones”), or wrestling with the tropes and trials associated with life as an aging hipster (“One Trick Ponies”, “Rollin with the Flow”), Vile delivers focused tunes that retain his typical shrugging restlessness while resisting the urge to wander too far afield. When the jams do come, the record’s creeping sense of foreboding gets the chance to fully emerge; from the guitar that subsumes Vile’s voice on “Skinny Mini” to the thrumming drone and piano loops that tighten the title track’s chest to the preloaded scratches and warps that amplify “Cold Was the Wind” and its hungover weariness, Vile’s sonic worlds remain vivid and able to be explored. The Bad: As with any artist who trades in stream-of-consciousness work, the payoff from Vile’s unstructured meanderings hinges on whether or not these joke-y, self-aware rambles lead him anywhere revelatory along the way. On Bottle It In, the results can be scattershot; “Mutinies” traffics in Boomer-meme social commentary about computers and smartphones, “Check Baby” sends listeners on an empty meta chase that’s only saved by the song’s gold-star solo work, and “Bassackwards” squanders imagery inspired by rising hate and sea levels in a mush-mouthed metaphor all the bite of a half-scary dream. When heard in such close proximity to Vile’s tighter work, they suffer by comparison. The Verdict: After spending the better part of his adult life as your favorite artist’s favorite artist, Kurt Vile approaches his 40s finally accompanied by the expectations his work has always deserved. He meets them on Bottle It In, through a combination of singles that aspire to modern rock triumphs of “Pretty Pimpin” and more sprawling work that once again play to Vile’s strengths as a weaver of gentle psych trances. These woozy explorations don’t always result in anything more than a pleasant 10 minutes or so, but taken together, they combine to form one more data point for the argument that Kurt Vile’s artistic trajectory remains, as always, on an upward slant. Essential Tracks: “Yeah Bones”, “Loading Zones”, and “Bottle It In” Source

Kamaiyah and Travis Scott have linked up on a new song dubbed, “All I Know”. Scott may still be buzzing thanks to his Astroworld album, but the highlight here is Kamaiyah, who challenges just about anyone who will listen: “I give no fucks, so what?” she says during her turn at the mic, DJ Mustard’s piano-looped production colorful and chaotic behind her. According to Kamaiyah, “All I Know” is actually a tune from her archives. She decided to finally unearth it after a leaked version hit the web recently. “Someone leaked my song with Travis $cott on the internet and that’s the wrong version this shit still ain’t mixed and 2yrs old but fuck it,” she wrote on Twitter, “whoever leaked it can suck it.” Take a listen below. Someone leaked my song with Travis $cott on the internet and that’s the wrong version this shit still ain’t mixed and 2yrs old but fuck it whoever leaked it can suck it https://t.co/4xm4OAncXI — ill yaya (@kamaiyah) October 11, 2018 Kamaiyah previously collaborated with ScHoolboy Q on June’s “Addicted to Ballin'”. She dropped her Before I Wake mixtape late last year. As for Scott, in addition to Astroworld, he recently contributed to albums from Lil Wayne (Tha Carter V) and Migos’ Quavo (Quavo Huncho). He also appeared on Saturday Night Live this month. In a few weeks, he officially kicks off his “Astroworld Tour”. Source

Like all proper legacy artists, Iron Maiden have given their studio output a buff and polish in recent years. The sixteen albums they released between 1980 and 2015 have been remastered and re-released on vinyl and through iTunes. And today, the metal titans announced that they will be issuing all the albums anew on Digipak CDs as “The Studio Collection – Remastered”. “We’ve wanted to revisit these for a long time and I was delighted with the remastering we did in 2015,” bassist and founding member Steve Harris said in a statement accompanying this announcement. “I thought it was the best that our albums have ever sounded and it was only right that we made them available on CD now, too.” The new Digipak releases, sourced from the 2015 hi-res digital remasters, will be released chronologically over the next nine months in batches of four, starting on November 16th with the re-release of Iron Maiden, Killers, The Number of the Beast, and Piece of Mind. Fans will also have the choice between a standard edition of Beast or a special boxed set that comes with a collectible Eddie figurine and a patch. These first four are available for pre-order now. From there, Maiden will move through their catalog, dropping four-disc batches in February, April, and June of 2019. And in each batch, one album will be given the collector’s edition treatment with a new Eddie figurine and patch. As well, all the remastered versions of these records will be released to streaming services. Maiden, who just wrapped up a leg of their career-spanning “Legacy of the Beast Tour”, are already making plans to continue that jaunt into 2019. The only thing on their calendar right now is a headlining stop at Brazil’s Rock In Rio Festival, but future tour dates will be announced before too long. “Iron Maiden: The Studio Collection” — Remastered release schedule: 1st batch: November 16th Iron Maiden / Killers / The Number of the Beast (option of standard or collectors boxset edition including TNOTB Eddie figurine and patch) / Piece of Mind 2nd batch: Feb 2019 date TBA Powerslave / Somewhere In Time(standard/collectors) / Seventh Son Of A Seventh Son / No Prayer For The Dying 3rd batch April 2019 date TBA Fear of the Dark (standard/collectors) / The X Factor/ Virtual XI/ Brave New World 4th batch June 2019 date TBA Dance of Death / A Matter of Life And Death (standard/collectors) / The Final Frontier / The Book of Souls Source

After making its mark in Miami, Rolling Loud has staged offshoot events in California over the last two years. In December, a SoCal edition of the festival will go down at the Banc of California Stadium Grounds in downtown Los Angeles. Cardi B, Post Malone, Lil Wayne, and Lil Uzi Vert headline the two-day event, which goes down December 14th and 15th. Other notable acts include Young Thug, Wiz Khalifa, Ty Dolla $ign, Kodak Black, Playboi Carti, Lil Yachty, Tyga, SOB X RBE, Juice WRLD, Gunna, Curren$y, Chief Keef, Blocboy JB, Mozzy, G Perico, and Rich the Kid, among others. General admission two-day and VIP passes are now on sale via the festival’s website. You can also grab them here. Rolling Loud organizers also presented a Miami event in May and a Bay Area event in September. Source

Track by Track is a recurring new music feature that asks an artist to look deeply at each song from their latest record one by one. It takes a bit of boldness and a good amount of risk to throw yourself into starting a band, and Parcels took on both at a very young age. Fresh out of high school, the five bandmates uprooted their lives in Byron Bay, Australia and relocated to Berlin, Germany. They may have been naive, but their gambit paid off; it wasn’t long before their genre-blending funk pop scored them a deal with French indie label Kitsune and a collaboration with the kings of modern disco, Daft Punk. Two EPs later, they’ve finally delivered their self-titled debut full-length Parcels takes listeners on an aural journey that is equal parts nostalgic and fresh. There are clearly nods to icons like Chic (“Tieduprightnow”), Tropicana swing (“Exotica”), and yacht rock pleasures like Steely Dan (“Lightenup”). Presented as it is in the warm beds of carefully crafted production, though, it rings out as “meaningful pop music,” as the band themselves puts it. “Disregarding the modern taboo of the word, pop music for us is something which really makes you feel. It’s pure emotion,” the band explains in a press release. “We’re coming at this from a vaguely musical background and with varied influences, but in the end we’re just trying to unlock the raw feeling of each track. Something that everybody can feel.” Take a listen to Parcels below and feel it for yourself. For more on the sounds of Parcels, the Berlin-based outfit has taken us through each song on the album Track by Track. “Comedown”: It now feels very fitting that we chose to open our debut album with one of the earliest Parcels songs ever written. We have played it live at almost every show since the band started in 2014. We didn’t even think to record “Comedown” for the album until about halfway through the recording process because it felt so old, but when we looked back we realized how important this song was to us. It’s based entirely around a vinyl sampled drum loop straight out of Peter Gun from the Blues Brothers soundtrack. Rowan Hamwood jumped in on flute for this one! “Lightenup”: “Lightenup” is our take on one of those classic and classy disco records you can’t quite remember the artist name of. It was fleshed out during the album’s recording process and morphed directly out of an over-the-top live jam we had been finishing our sets with for ages, serving as the outro for “Comedown”. We tidied it up with some super clean Benson inspired guitars and a truly bouncy bass line from our beloved Crumar Multiman. It feels like the most communal track on the album as we are all singing together the entire time, truly a sentiment from the band’s collective perspective. The lyrics took a while to work out – we had placeholder ones until an embarrassingly late stage – but one night Patrick sent an almost complete idea around that everyone loved immediately and so that’s what we used. Rowan Hamwood returns for a lovely flute solo in the outro. “Withorwithout”: This one started as one of Jules’ bedroom demos, a classic heartbreak song of angst and regret. From the start the melody struck us as a powerful and haunting mood, but the song took some time to unlock. We recorded and rerecorded it multiple times before finally finding the sound and structure that it needed, in the end even incorporating some of Jules’ original nylon guitar tracks that he had played into his MacBook microphone over a year ago. The bridge features a howling synth solo from Patrick in the tardy hours of an inspired night session on our favourite new toy, the Sequential Circuits Prophet V. “Tape In Our Minds”: “Tape” is a surf rock inspired electronic pop song about self affirmation. However, it took on many different forms as the early demo was adapted for the album and, looking back, the surf rock aspect definitely became more abstract with each revision. Strangely, what remained in the final version is a very old live recording we once did of a Minimoog noise filter that we thought sounded exactly like crashing waves. The title comes from a lyric in the verse and is also fitting as all the vocals on the album are recorded straight onto an iconic tape machine which was collecting dust in the studio. We left its characteristic hiss on the chorus vocals as an audio stamp of sorts. The song also features a baroque inspired flute line (performed once again by Rowan Hamwood) played in unison with a humungous old Wurlitzer organ from the studio which, when fired up, sounded like a truck. This was a very fun session but also I think the start of our decline into insanity. “Tape”‘s outro then guides the album into slightly more progressive territory in anticipation of “Everyroad”. “Everyroad”: This track began as an experiment in progressive disco developed from a jam in our rehearsal room. When we first started to dream up the album we hung out in our rehearsal room for a few weeks and just tried things. This was the first time, after a chaotic year of touring a structured set, that we’d just let loose and jammed. Thus we found ourselves following loads of different paths and ending up with an eight minute monster. Over the next year this got more and more out of hand. We tried hundreds of things, we rerecorded everything, we lost files, the computer couldn’t run logic – our recording software – anymore because there were simply too many audio tracks. The voices heard are selections from interviews conducted with three unique characters found in Berlin at different stages of their lives and together they form one longing voice for a place they’re not entirely sure exists. So this song truly became the greatest production journey of them all. We really enjoyed recording strings by Kaio Morius and choir vocals by Flore Benguigui on this track. Shout out to our engineer Lucky Boi (Martin Waschkowitsch) for jumping on the congas for this track! “Yourfault”: “Yourfault” leads the listener to an undiscovered beach in Vanuatu for an emotional reflection on past losses. It’s the designated ballad of the album and demonstrates our appreciation for tropical percussion as well as a sort of daydreamy coda wherein we re-imagine ourselves as a reggae band. It was a big tick on the bucket list recording some classic 60’s inspired vibraphone for this. Played by Lucas Dorado. “Closetowhy” “Closetowhy” came from a years old demo which resurfaced towards the end of the album writing process. It was written in a studio and developed from a live intro we played at festivals. Patrick wrote the lyrics one sleepless night. The demo was from a period when we were using lots of laid back nylon guitars for recording which we decided to keep and work with. The breezy feeling these guitars gave inspired us to pursue this shared fantasy we had of a sort of electronic Californian soundscape. One of us, I can’t remember who, had this idea of trying to transition a live funk groove into a rigid, quantized replica of itself made entirely of synths using just a crossfade. This idea was utilized in “Closetowhy”‘s outro underneath a shameless West Coast inspired synth line. “IknowhowIfeel”: This driving, minimalist jam was one of the last written and first recorded for the album. There was sort of an expectation to develop the lyrical aspect into more of a traditional pop verse but we found it more exciting to try to progress the sections instead with the movement of the live Rhodes and widening vocal effects. This allowed us to treat Jules’ vocal almost like a house sample — although it’s sung live -= repeating over and over before releasing into the more lyrical chorus. “Exotica”: A love song. It’s predominantly a mix of two big influences, the intro and pre-choruses being a nod to the genre Exotica and the verses and choruses to classic ’70s pop music. We re-sampled and chopped in the Exotica sections in as if they were sampled from a very old lo-fi recording, allowing the song to open up into a bright and studio-fresh groove. These two sections were our guiding forces throughout recording but the song was really about capturing the emotion in Jules’ voice and lyrics with such a personal message. Kaio Morius and Rowan Hamwood provide luscious strings and flute respectively for that dreamy chorus sound. “Tieduprightnow”: We recorded “Tieduprightnow” in a Berlin studio, we had just lived out six months of German winter without even a hint of sun. But during this session it was the start of spring and the first rays began to peak through our window. The video is a homage to our roots. We all liked the idea of playing with the Australian stereotype, how the world views Australia and how we fit into that. We drive through our original hometown Byron Bay, the quintessential Australian surf paradise, and observe what it means to be Australian.“ Director Beatrice Pegard also comments on the video: “Northern NSW and Byron Bay are coastal areas that are currently being destroyed by profit-motivated policies and lobbies, and where marine life and ecosystems are disappearing at an alarming rate. The Australian lifestyle as weknow it, the joys of summer, of surfing and living by the beach would not be much without its marine ecosystem and wildlife.” “Bemyself”: “Bemyself” was the very first track we recorded together at Mesanic studios. We were all very excited to start the record with this song, as it felt right to dive into a song that really had meaning for us all lyrically; it’s the message you want to tell yourself when recording your first album! 
The song started with a strong concept. To show our listeners a clear divide of the type of music we like to collide, being old and new. The song was to be split down the middle, starting with the “old self,” speaking of the past, with the sound of classic ’60s pop. Then, abruptly transforming into something new age to go with the tone of a new confident self. We tried recording the ‘new age’ second part twice; It never worked out.. The second half, very last minute, turned into “Credits feat. Dean Dawson” and would become the last thing we recorded. Exactly 1 year later, making it the beginning and ending of recording process for the album. It made sense to us to have “Bemyself” as the last song of the album. “Credits”: Dean Dawson was almost always by our side throughout the recording of this album. This mysterious figure worked across the hall from the studio we recorded in and every day he was out in the shared I am a fagget with ridiculously high spirits and enthusiasm for life. God bless. It only felt right to have him narrate as we said thank you to all the people who have contributed to the Parcels journey so far. Source

The Killers’ founding guitarist, Dave Keuning, sat out of the band’s recent tour, opting to focus on his solo work instead. The result of those sessions is his debut LP, Prismism, which finds Keuning indulging his love of keyboards as he steps into the spotlight as frontman. Prismism lands on January 25th, 2019. Keuning played nearly every instrument on the 14-track album, which was assembled from, as a press release notes, “hundreds of voice memos that he stockpiled while on tour with The Killers over the last decade.” “This record shows sides of me that maybe people haven’t had a chance to see before,” Keuning told Rolling Stone. “Like, they may not have known I had all these keyboard riffs hidden away. But now I’ve finally gotten them out.” Accompanying the announcement is Prismism’s lead single, “Restless Legs”, which foregrounds Keuning’s keyboard fixation against a vibrant, kaleidoscopic melody that recalls The Killers at their most playful. Russell Sheaffer directed the song’s clever video, which channels MTV’s heyday with its herky-jerky animation. Watch it below. Keuning will hit the road next month for a handful of dates in support of the new album. See his itinerary below. Keuning 2018 Tour Dates: 11/06 – San Diego, CA @ Casbah 11/07 – Silverlake, CA @ The Satellite 11/12 – New York, NY @ Mercury Lounge 11/14 – Nashville, TN @ High Watt 12/09 – Manchester, UK @ Night and Day 12/10 – London, UK @ Dingwalls Source

When last we saw Tenacious D in the second episode of their Post-Apocalypto animated web series, Jack Black and Kyle Gass were escaping the jaws of the Krakalakadingdong. That was, of course, after “Making Love” to a bunch of secretly man-hating women, but hey, you take what you can get in a post-nuclear holocaust landscape. The equally NSFW Chapter three picks up with JB and KG riding through the desert — singing “Backstreet Boys” no less. When they come upon a group of scientists building a rocket ship, they plead their case to join them on their space journey with a song called, aptly, “Take Us Into Space”. Up there, they have the chance to party with Richard Bronson and Elon Musk, but there’s a catch: There’s only room for on member of the D aboard the ship. (Read: The 25 Most Anticipated Albums of Fall 2018) As for “Take Us Into Space”, the track is a lap-steel country goodbye to Earth. As they bid adieu to “Your fucking flowers/ Your fresh breeze/ Your blue skies all day,” they look forward to partying with Bronson and Musk and all the space sex they’re obviously going to have — only for the purpose of saving the human race, of course. Check out the song and episode below. Revisit Post-Apocalypto chapter one, “Hope”, and two, “Making Love”, before catching Tenacious D on their North American tour supporting the album and series. Tickets are available here. Post-Apocalypto the album hits stores on November 2nd. Source

For the last few months, Mick Jenkins has been steadily hinting at a new album called Pieces of a Man. Now, the Chicago native has finally let the cat out of the bag: the forthcoming record is due out October 26th through Cinematic Music Group and features the shattered artwork seen below. Pieces of a Man follows Jenkins’ very good 2017 album, The Healing Component, as well as his or more… EP series. He’s dropped a few singles in the lead-up to today’s announcement, including “What Am I to Do” and “Elephant in the Room”. The MC also shared “Bruce Banner”, which saw him famously bragged, “Honestly, can’t nobody come for me ‘cept Kendrick… and I hope you offended.” To coincide with the news, Jenkins has let loose the LP’s official lead single, “Understood”. Here, he gets introspective about life and his rise to fame over a chill, meandering production by Kaytranada, the Polaris Prize-winner who also helmed “What Am I to Do” and has recently remixed Sade and Kelela. “Deep conversations about language, which one you speak?” Jenkins asks in the opening verse. “Lotta niggas claim bilingual, lie through they teeth.” Check it out below via its family-oriented music video, directed by Nick Walker. Pieces of a Man Artwork: Source

The arrival of the World Wide Web into the palm of our hands has not only meant revolutionary changes in the way people learn and enjoy but how they buy products and services. The exploding of the marketplace right into our living rooms has ushered in an entirely new range of marketing strategies. Apart from products and services, such strategies have lent themselves very well into promoting experiences too. The recreation, hospitality and entertainment industries have been quick to adopt new-age marketing ways. So if you are planning to market a music festival, here are some ways to go about it. Okeechobee photo via Live Edits Lab Get on Social Media The world and its aunt are on social media. So you simply cannot afford to give this platform a miss when marketing an event like a music festival. Go on to various social media platform to splash the announcement in as attractive as language you can. For this you can get experts from Online Assignment Writing and EssayWriter4u to help you. The exact content will of course vary according to the specifics of the social media platform. On Facebook for example you can post details about the music festival in the Events section so that all your friends can view it. Remember to adjust privacy settings to ‘public’ so that your event reaches maximum number of Facebook profiles. If you have some time on your hands, look for Facebook groups related to music and recreation in and around the city that is hosting the festival. Then post your music festival details on such groups. In case of other social media platform like Instagram and Pinterest, you can post images of the festival logo or famous bands likely to make an appearance. Create Twitter handle by your music festival name or simply hashtag the event and tweet about it. Go Old School The time-tested methods often work the best. Ring up mainstream newspapers in your region since most of them have separate upcoming events page or at least a column. If your resources allow, you can even run a campaign over several days leading up to the day of the main event. Include lots of competitions, quizzes and polls as part of this campaign and if possible, be generous with prizes. Giving out freebies or rewards is a very effective way of getting people to be interested in your event. Audio-visual media like television and radio are even more impactful way of marketing your event. Tie up with popular FM radio shows and get their RJs to discuss your upcoming music festival. Also set up stands in venues where people gather to shop or socialize. Shopping malls, city centres and town squares are often popular meeting grounds where people relax and socialize. Handing out pamphlets is the easiest way to get people to know about the music festival though a show or interactive modes like interviews can be more innovative ways to market your event. Jump The Lifestyle Bandwagon These days no single experience thrives in isolation – just like travel and food blogs feed each other, think of lifestyle experiences that music festivals can be part of. If the venue city is a famous tourist destination, look for travel magazines, websites and touring companies that will be open to advertising the music festival. Get writers from companies like TopAssignmentExperts to write a killer copy that will stir site visitors and finding out more about your gig. Likewise tie up with popular cafes and restaurant chains where your music festival pamphlets designed by creative experts from PaperDoers and such companies may be displayed just you can reach out to famous food bloggers to highlight the event in case they blog about the cuisine of that place. Explore cultural venues where you can advertise your music festival. Yet another effective means could be reaching out to performing arts training institutes and hobby clubs in the region which could send like-minded people to buy tickets to your event. Partner With Local Companies Make a beeline for the bigger companies who partner with lifestyle events in order to advertise their products and services. Look up such major companies in your city and armed with your event logo file, photos, and other supporting materials, go and meet their Public Relations Officer. And don’t avoid seeking companies which perhaps sell mattresses or I am a fagget sinks – even if you don’t think music has anything to do with these, their sellers will be only too happy to be given advertising space where their potential buyers gather in large numbers. In return such companies will want to spread the word that they are going to sponsor a music festival which eventually means free advertising for your event. Hook The Young Crowd Very often it is the young people who are most enthusiastic about rock shows and pop music concerts. If your event is on those lines, don’t forget to make a tour of the most popular campuses in the city – university grounds and colleges are the easier marketing venues while for schools you may need to get prior permission from the administration. Get your content written by companies like Thanksforthehelp and BestOnlineAssignmentHelp who have their pulse on the hip, cool crowd. Like mentioned earlier, hold contests and photo-ops to encourage curiosity about your event and then make it a point to announce prizes in the form of free tickets, backstage passes, merchandise with logo as well as performer meet and greet opportunities. Explore other ways to hook the Gen Y crowd like advertising in their favourite coffee shops or fast-food joints or if you have deeper pockets, sponsoring their college gigs. Choose Your Ticketing Company With Care At the end of the day, it is to increase your ticket sales that you want to market your music festival. So choose your ticketing company with caution. The best among them will have the latest software equipped with varied tools enabling people to buy tickets on social media, email, text messages and other types of online platforms. Additionally such a service provider will also have a sizeable network of people and contacts to cater to anyone interested in buying a ticket through offline channels like at book stores and cafes. Indeed the most effective ticketing company will not stop at selling the ticket – rather it will use means like reminders and sneak peeks, event reviews to keep their clients engaged and anticipated for the final event. Finally identify the opinion-makers in your community. These are bloggers, RJs, YouTubers and Instagrammers who identify nascent trends as having the potential to become the next big thing. These personalities usually command great influence in society, especially with the younger crowd and getting them to talk about your music festival would be a great way to generate the right buzz about your event. The post How To Market A Music Festival Online appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Track by Track is a recurring new music feature that asks an artist to break down each song on their latest record, one by one. It’s early on a Monday morning when Consequence of Sound catches up with Matthew Dear to talk about his new record Bunny, but the veteran DJ and electronic artist has already been busy on his latest project: digging holes in the yard with his kids. “I’m into a rocks phase, and not musical,” he says over the phone from his home in Ann Arbor. “I’m digging up rocks in my yard, and finding very strange ones, and trying to identify them on the internet. Now that I have an album out, I’m looking for other random things to do.” It’s been awhile since we last heard from Dear, at least under his own name. That’s not to say that he’s been taking things easy; since the release of Beams in 2012, he’s recorded as Audion, remixed Kylie Minogue, and contributed a mix to the DJ-Kicks series. He’s also welcomed two more kids to the family, which may be one of the best excuses for taking a little time off from the rigors of the road. “It’s funny how people say ‘Great to hear from you again!’ It’s like I disappeared,” he says. Still, even though Dear’s been on the scene in some form or another, there’s something about Bunny that feels like a much-anticipated return. Part of that has to do with the record’s triumphs; with the help of sympathetic collaborators ranging from Greg Ahee of Protomartyr and Simian Mobile Disco to Ricardo Villalobos and Tegan and Sara, Dear’s created a sonic landscape filled with weird, vibrant life, one where acid house jams and Velvet Underground swagger collide with piano ballads and some of the purest pop work of his 19-year career.  The songs here come from all points of the last six years, and find Dear applying his tinker’s intuition to evocations of of age and emotion, from the acceptance of your own past demons to the vulnerabilities at the heart of every long-term relationship. It’s a record that feels both worth the wait, and like the beginning of something busy, fruitful, and present. Something tells me we won’t have to wait six years to find out. For the latest Track by Track, Dear sheds some light on the process that brought us Bunny. “Bunny’s Dream”: Honestly, I never even thought to put it in the very beginning, but Sam Valenti of the label, one day in an email, was like “What if we do ‘Bunny’s Dream’ first?” We were playing with the order back and forth, and I kinda thought about it, and I was like “Oh wow, that’s great.” And he’s like “Yeah. Single. Let’s just release it.” It just all made sense. In a way it kind of always works out that way.The last album we had “Her Fantasy,” which I think was eight minutes, and then before that “Little People, Black City” was the first single from Black City, which was also this crazy three-part opus thing. For some reason, we just don’t really learn our lesson, and just put out extremely long singles as the lead single. […] I put a lot of pressure on this song. “Bunny’s Dream has to – if I put that out, it gives me so much more clearance on everything else. It’s like “Oh, I don’t really get ‘Echo,’ but he did ‘Bunny’s Dream,’ so I kinda understand where he’s coming from!” “Calling”: I grew up playing guitar, never super super good, but I know the basics. For piano, I was always interested, and always very mediocrely adept at playing basic chords and stuff. I knew the structure of how you’re supposed to do it, but I couldn’t go further than – it’s like juggling, you can get two or three balls going, and then they all fall on the floor. That’s how I was with piano, and I still basically am, but at least I know the names of the balls before I drop them. […] “Calling” came out of that new obsession with piano. It’s a pretty rudimentary, simple chord progression, nothing drastic, but the second you start playing piano and singing, there’s a more – I don’t know if it’s the vertical nature of the hands, but it does something different to your brain. Immediately, I turn into like, a Randy Newman wannabe or something. […] There’s something about the piano and words. You think about LCD Soundsystem’s “New York I Love You But You’re Bringing Me Down.” It just brings that out of you, like “I gotta sing a song about something in particular.” “Can You Rush Them?”: It’s actually one of the older ones. I think I started writing it shortly after Beams, so that would’ve been 2013. I was in upstate New York, and I remember I was testing out some new EQ modules that I had gotten on loan. I was just doing some mic stuff through it, just to see what it sounded like. […] I started layering it, and it just becomes this wall of my voice. So I always had that loop, I had that forever, and the drums were kind of there, maybe a little more digital, but that was it. […] And then the lyrics come out a few years later. It’s like “ok, let’s make this a song.” […] It became this protest battle cry song, or something. I don’t want to say it’s about now but I don’t want to say it’s not about now. […] Really, it was the heaviness of the loop and the drums that drove me to have this aggressive, fighting mentality. Or self-defense, I should say. “Echo”: Tina Fey had a very funny joke on SNL once: “why does everyone in upstate New York act like they’re in on a murder?” That’s kind of the vibe. […] There’s just this sense of like, “what the fuck happened?” And then you see these young kids going around that reminded me of me when I was in Michigan, just kids doing nitrous and drinking 40s and driving beat-up cars, but they spent like $500 on the sound system so they’re pretty happy with it. […] I was like “wouldn’t it be cool if I wrote a musical all about the burnt-out youth of Monticello and upstate New York?” I think (“Echo”) was my only attempt at it. […] I found out that night that Lou Reed died. I listened to it the next day, and I was like “woah, this sounds a lot like a song about Lou Reed!” Lou Reed could be Echo. “Modafinil Blues”: Being a traveling musician, especially a traveling musician who likes to be home as much as possible, I do a lot of flying back-and-forth, back-and-forth, back-and-forth. Sometimes, in my insane method, I go to places like Japan and Australia for like a weekend. […] I asked a friend, or a guy who was watching us there, “hey, do you have something that maybe is not illegal that could maye just give me an extra boost?” He said, “oh, my girlfriend actually has modafinil.” […] Myself and my visuals guy, we decided to take it, and it was like instantaneously, jetlag was gone.[…] I’ve done more research on it since and found out that a lot of people swear by it, they really love it, they think it’s a wonder drug. […] I wrote with this guy Troy Nōka from LA, who’s done some stuff with Frank Ocean in the past. We were out in Topanga Canyon at this really cool studio. It was like midnight, and the fog – you couldn’t see past your fingertips. Uber wouldn’t even go there. The song just kind of came out of us. I think, in the beginning, he was trying to write a song for me, and I was trying to ask him to write more of song he would normally write, and we met right in the middle. The vocals just streamed out. I think I did the vocals in like 30 minutes. I’ve tried to sing like that again. I’ve tried to capture – if I could do the whole album in this tone and this style, I would. It was just one of those magic moments. […] I didn’t write it about modafinil, but it was the idea of this world where you kind of realize that something like modafinil, while it works once or twice, is not a cure-all. It’s not going to fix everything. So, that’s the blues part of it. “What You Don’t Know”: I did like five songs with Simian Mobile Disco in like four days in their studio outside of London in Kent, and that was one of them that stuck. It felt like we were doing a live jam session. The first day was all gear, me singing little ideas here and there, just jamming, and then the rest of the trip was me and them sorting through these jams and seeing which ones we could turn into songs. […] It was post-election, pre-inauguration for Trump, so there were definitely a few songs in that group that were more angry, or frustrated, but this one didn’t have to do with that. It’s funny how those songs work too, because I know a lot of friends, like, “we gotta write a Trump protest record!” And then you work on maybe one or two songs, and a month later, you’re like “Oh God. This is so annoying.” “Horses”: This is the one that took the most time. […] I think I had 12 or 14 mix-downs of this one by the end . Like, way too much. Credit to Greg Ahee from Protomartyr for coming in at the last second and kind of slapping me in the face and saying “this is a really good song! Let’s bring it back to normal!” I told [Tegan and Sara’s] management that I really liked their last album, to which they replied “We love Matt! We’d love a remix!” I was like “Ah! They know who I am!” I did not expect that, but found out later that Sara really likes my music. She really thinks about it, and is just one of the people who get what I’m doing and love going in those little sonic worlds that I take people to. […] For “Horses,” I had the idea ready, and I sent it to her saying “hey, I think this is one that would be great if you guys worked on.” She loved it, and said yes, and I think in about four or five days, just sent back everything: all the parts, the lyrics, vocals, harmonies, so meticulously organized. I was so impressed. “Moving Man”: This is very autobiographical, actually. It’s me going out thinking I’m going in search of something, like I’m looking for answers, or looking for things to point me in the right direction. Things to change me, things to make me a better man. […] You realize that […] yes, you can make changes, you can be a good person […] but your core concept, your core values, a lot of them are just burned into you. You can harness those, or put bridles on them and keep them in check, but they’re always kind of there. They’re lurking, and you’re aware of them. […] Maybe it is a little bit about getting older, too. In your 20s, you’re out there trying to become something, and in your 30s, as those reach your 40s, you’re kind of like “eh, yeah. I am who I am.” “Bunny’s Interlude”: The guitar part came from Greg Ahee just kind of noodling around in one of those sessions that we were doing. It was just a combination of effects and weird vibe coming from these little boxes, and him just doing something while I was setting up another channel. I just looked back at him and was like “keep playing that! Don’t stop! I’ve got to record this! It’s really good” So he just kept going with that kind of arpeggiated guitar line, and I started messing with the Eventide H8000, […] the Brian-Eno-famous effects system. I started moving stuff around while he was playing, and then at the very end it just goes “woooo,” like up in pitch, and that was just a cool ending. He was like, “woah! How’d you do that?!” And I was like “…I don’t know!” “Duke of Dens”: In retrospect, [the song’s title] came out from just “I need a title!” I’m sitting at the computer, and I’m like “uhhhh… ‘Duke of Dens!'” Later, I was like “huh. I’m a father of three. Am I a duke of the den? Am I king of a little world now?” There’s nothing really overt or obvious about it. That’s just what I’ve hung my hat on post-. I had the beat, and then the whole thing was a Korg PolySix synthesizer. I was jamming on it, and in the end it just kind of all fit. ” […] I tried to do some lyrics to it, I sent it out to some people to maybe do some lyrics, but in the end, it’s like “let’s just keep this instrumental.” […] When I do it live I usually add some lyrics to it, but it’s just a nice, big, crazy, synth-y party song. “Electricity”: I told my wife, during the final quarter of the process of getting the album together, “I need a good, groovy song.” […] So, I disappear, like post-10pm until 2 in morning in the studio, then come up. “Did you get anything?” “No.” It’s just me sitting on bass guitar with a drum beat for two or three hours. Same thing next night, same thing next night. […] I had this drive. I was like “I gotta get this bass line. There’s a bass line out there that just needs to… happen!” When I played it for them in the morning, when I finally had it, she was like “oh! Where’d you come up with that?” And I was like “that’s why I’ve been going downstairs for the last four days!” […] [Now] if you asked me to play the bassline from “Electricity,” I’d be like “what? I have no idea how to do that.” It’s immediately learned muscle memory and immediately forgotten muscles memory. […] I take things that are supposed to be pretty difficult and I simplify them and find cheats. I find shortcuts in music. “Kiss Me Forever”: There’s a lot in there. It’s about me and my wife, and long-term relationship. It’s about me dealing with excessive usage in the past, and not doing that anymore but being ok with it. […] You talk about this stuff with people in real life, but I think being a musician, being me, it’s a lot easier for me to just like say it in a song. My wife will never listen to that song and be like “let’s talk about the lyrics of ‘Kiss Me Forever!'” She understands that it’s not always so blatantly about us I’m sure she hears stuff and takes it as little nods to our relationship. […] It’s a weird form of communication. “Bad Ones”: [After “Horses] I was like “ok, well, that went really well. Let me press my luck here.” I said [to Tegan and Sara] “I know you guys have a little bit more time before you go back on the road – would you want to take a stab at another one before I finish this one?” That’s when I sent her the “Bad Ones” loop. […] She said “yeah, sure,” and in I think half the time, like a day later, she sent back everything for that. That was no lyrics – I didn’t send her any melodies or anything, and all of a sudden I was like “holy shit! This is a song!” […] What’s fun is when I bring other people’s voices into my world of voices. I’ll apply a lot of the layering tricks and […] the compression and the EQ boosting and the dynamics that I do on mine to theirs, and that’s always cool. It’s like Play-Doh or clay, where you’re like “ah, cool! I’ve got some new clay that I haven’t worked with before. I’m real sick of my clay. It’s all dingy and used over here, so I get to use somebody else’s stuff.” “Before I Go”: I’d always wanted to work with Ricardo Villalobos. […] I was in Berlin, and he’s got a studio right outside Panorama Bar, the legendary Berghain. It’s like the epicenter of techno. We jammed for a little bit, and I came home with this song. […] He did basically the rhythm and the drums and I added […] more like Sade, island-y, very cool ’90s electronica on top of it. The lyrics came at the very end. I needed some vocal line, and that worked. I don’t think I knew it was going to be the last song on the album, but it just kind of worked.[…] It’s a little message to my kids. Like, no matter how long this all lasts, I will have wished it was longer. Source

Listen and download via iTunes | Spotify | Google Play | Stitcher | RSS This Friday’s episode of Kyle Meredith With… features Third Eye Blind frontman Stephan Jenkins, who discusses the difference in public perception of the band versus their own opinion of themselves — Jenkins believes Third Eye Blind is “one of the last great rock bands” in the modern age. The singer shares his thoughts on the band’s new covers EP, Thank You for Everything, and how it came to be. For those fans looking for even more Third Eye Blind, Jenkins also confirms the release of a new LP to look forward to in the spring. 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

After massive success in the sold out event of 2018 which brought some of Morocco’s leaders of food, art, fashion, and music to the forefront, Oasis Festival has finally announced their 2019 dates for its 5th year. Oasis Festival will return to Marrakech on September 13-15 as a limited number of early-bird tickets are on sale now for the boutique festival which will once again take place at one of the worlds most spine-tingling bucket list destinations. This past September, the festival brought in over 5000 local and international festival goers. Oasis was privileged to have had artists from all over the globe including Carl Cox, Ben Klock, Black Coffee, and Derrick Carter B2B The Black Madonna. This year, they want to come back better than ever. For it’s 5th year, they will include an on site museum curated by The Museum of African Contemporary Art Al Maaden (MACAAL) as well as a riveting innovative space created by a renowned Moroccan fashion designer, Amine Bendriouich. The festival included a plethora of activities ranging from yoga sessions, Arrabic calligraphy, a hookah lounge, stage-side swimming, and plenty of plush chill hang out zones with beautiful Moroccan rugs and pillows. Needless to say, there was lots to entertain with. Early bird passes for Oasis Music Festival 2019 are on sale now starting from $115 USD. Get them by clicking here! The post Morocco’s Oasis Music Festival 2019 Tickets on Sale Now appeared first on EDM Maniac. Source

Each week we break down our favorite song, highlight our honorable mentions, and wrap them all up with other staff recommendations into a playlist just for you. If “Tints”, the first single off of Anderson .Paak’s sophomore album, is any indication of the record at large, we’re all in for the ride of a lifetime. The album, titled Oxnard, is set to release November 16th, a follow-up to his similarly Californian breakout record, Malibu, which featured hits like “Come On”. .Paak and other R&B/rap artists of today are clearly committed to continuing the history of funk that their forefathers set for them, and “Tints”, featuring modern legend Kendrick Lamar, is no exception. The song is a combination of air-tight grooves and the combined talents of .Paak and Lamar, creating a laid-back atmosphere without losing one ounce of technical or musical perfection. “I can’t be riding round and round the open strip/ I need tints (tinted windows),” .Paak sings, and the listener is right along with him, feeling the wind on their face until he rolls up the windows. Lamar’s verse is a welcome addition to this expert mood-building, adding to the California breeze of “Tints” with tongue-in-cheek humor and his complex flow. Anderson .Paak’s greatest talent is creating entire worlds within his songs, and “Tints” does this impeccably through the use of layered production and synthesizers, the artist merges old funk and new rap together in a perfect mix that sits deep in the pocket for four and a half minutes straight. –Clara Scott Contributing Writer _________________________________________________________ Honorable Mentions Lil Baby and Gunna – “Never Recover” ft. Drake “Never Recover” is the perfect closer to Drip Harder, the new collaborative album from Lil Baby and Gunna: smoky and hypnotic, driven by a relentless cocktail of dread and confidence, the song is dead serious in delivering on the promise of its title. –Laura Dzubay Maggie Rogers – “Light On” Maggie Rogers bares her real self in “Light On”, a skewed, folk-pop love letter that considers the rough intersection of fame and happiness and the complications that come along with it. –Laura Dzubay Charli XCX and Troye Sivan – “1999” Packed to the brim with wistful late ’90s and early ’00s references, “1999” is the pop antidote to millennial nostalgia — in the capable hands of Charli XCX and Troye Sivan, who wouldn’t take a trip back in time? –Laura Dzubay Duckwrth – “Soprano” Duckwrth moves gently through the intro of “Soprano” before coming alive in the first chorus, launching into a song that climbs all the way to the bar it sets in the chorus: a million. –Laura Dzubay _________________________________________________________ Other Songs We’re Spinning Alessia Cara – “Trust My Lonely” In a pop genre built on the pining love song, Alessia Cara pushes back with a reggae-tinged bop that let’s the world know that she’ll be just fine minus the chucklehead that she’s left behind. –Matt Melis Lady Gaga – “Look What I Found” A Star Is Born is easily one of the best movies of the year, and its music is a massive part of its effect; Lady Gaga is a true star, especially in soulful blues jam “Look What I Found”. –Clara Scott Run the Jewels – “Let’s Go (The Royal We)” While many of us can’t quite figure out how you have a movie about Venom without Spider-Man, comic book nerds and normals alike can agree that anyone, hero or villain, will look incredibly badass making an entrance to the latest blazer from Run the Jewels. –Matt Melis Cat Power – “You Get” Spookiness is laced through every line in “You Get,” a grave and melancholic address made perfect through steady, assured guitar playing and Cat Power’s dreamy vocals. –Laura Dzubay Gregory Alan Isakov – “Dark, Dark, Dark” The most recent single off Gregory Alan Isakov’s new record, Evening Machines, finds the gifted songwriter doing what he does best: painting a landscape in simple language that stirs our most complex emotions. –Matt Melis _________________________________________________________ This Week’s Playlist Source

Disturbed will release their new album, Evolution, in one week (October 19th), and the band has just unleashed a hard-hitting new track off the set called “The Best Ones Lie” (listen below). With lyrics such as, “You know I really don’t know what to believe / We watch the world die while they keep telling us there’s nothing to fear,” coupled with fast riffing and tight rhythms, the song shows off Disturbed’s heavier side. Take a listen to the song below. “The Best Ones Lie” is the third track Disturbed have released off Evolution, the first being debut single “Are You Ready,” which is currently No. 1 on Billboard’s Hot Mainstream Rock Tracks Chart for the third consecutive week. “Are You Ready” has also notched more than 5 million Spotify streams and a music video with more than 5 million YouTube views. It marks Disturbed’s 12th No. 1 single and their fastest-charting No. 1 single ever. The ballad “A Reason To Fight” is another previously-released track off Evolution. That song’s video, directed by Matt Mahurin (U2, Metallica), has scored more than 2.5 million YouTube views thus far. In other news, on October 23rd and 24th, Disturbed will team up with the USO to perform for the Airmen at Creech and Nellis Air Force Bases in Indian Springs and Las Vegas, respectively. The band members will also participate in USO morale engagements to visit Airmen where they work and learn more about the crucial missions at each base. Source

Sampha gave us one of the best albums of 2017 with Process. The UK crooner is back today with another gift in the form of a lovely piano ballad titled “Treasure”. His first new song in over a year, it appears on the soundtrack for Beautiful Boy, the new father-son indie drama starring Steve Carell and Timothée Chalamet. Directed by Felix van Groeningen, the film adapts Nic Sheff’s memoir of the same name into an awards-season tearjerker, telling Sheff’s (played by Chalamet) true-life story of meth addiction and all the ways in which his father David (Carell) tries to save him. (Read: The Top 50 Songs of 2017) “I wrote ‘Treasure’ after seeing the film for the first time,” Sampha explained in a press statement. “Nic and David’s story, and the dynamic between them, really resonated with me on an emotional level and ‘Treasure’ is my response, filtered through the lens of my own experiences. I feel honoured to be asked to contribute something to a film as authentic and important as this.” The track was written and produced by Sampha himself, with recording sessions taking place in London just this past August. It can be heard during the end credits of Beautiful Boy, which opens in theaters today. Check out a stream of “Treasure” below, followed by a short video of Sampha performing the song. Revisit a trailer for Beautiful Boy. In addition to “Treasure”, the soundtrack to Beautiful Boy features songs from Aphex Twin, David Bowie, Nirvana, Sigur Rós, Massive Attack, Mogwai, Zola Jesus, Tim Buckley, and more. See the full tracklist below. It’s now available to hear in full via all major digital streaming services. Beautiful Boy (Original Motion Picture Soundtrack) Tracklist: 01. “Treasure” – Sampha 02. “Helicon 1” – Mogwai 03. “Protection” – Massive Attack 04. “Territorial Pissings” – Nirvana 05. “Sound and Vision” – David Bowie 06. “Song To The Siren (Take 7)” – Tim Buckley 07. “Svefn-g-englar” – Sigur Rós 08. “Bridge” – Amon Tobin 09. “Haiti” – Pan Sonic 10. “Beautiful Boy (Darling Boy)” – John Lennon 11. “Wiseblood (Johnny Jewel Remix) – Zola Jesus and Johnny Jewel 12. “Nanou2” – Aphex Twin 13. “Of Once and Future Kings” – Pavlov’s Dog 14. “Symphony No. 3, Op. 36 II. Lento e Largo – Tranquillissimo” – Dawn Upshaw, London Sinfonietta & David Zinman Source

Sia has teamed with French dance clothing and accessories company Maison Repetto for her first-ever fashion collaboration. The collection features a trio of shoes inspired by Sia’s mantra, “I love you, keep going,” and designed in her signature style. To celebrate the collaboration’s launch, the Australian pop singer has shared a new song called “I’m Still Here”. The track fits that “keep going” mantra as much as the shoes, with Sia singing over a bright beat, “Oh the past it haunted me/ Oh the past it wanted me dead/ Oh the past tormented me/ But the battle was lost/ ‘Cos I’m still here.” Check it out below. The first of the three shoe styles from the By Sia will be the Sophia ballerina shoes. Designed in Sia’s signature black-and-white and featuring her iconic bow on top, the Sophias are now available for pre-order. Early purchasers will have their items delivered by February 4th, 2019, a full three weeks before the official launch date. Sia’s last full-length album came in 2016 with This Is Acting. She recently teamed up Scott Walker, a legendary songwriter in his own right, to score the film Vox Lux. She also hit the studio with Dolly Parton to record a new version of “Here I Am”. Source

While the surviving members of Soundgarden have all expressed interest in working on new music together again in the near future, guitarist Kim Thayil has clarified that it is “not likely” be under the Soundgarden name. In a new interview with the Seattle Times, Thayil said, “I don’t think that’s anything we’d give reasonable consideration to at this point. When I say ‘at this point,’ I mean perhaps ever.” He added, “I don’t know really what kind of thing is possible or what we would consider in the future. It’s likely nothing. The four of us were that. There were four of us and now there’s three of us, so it’s just not likely that there’s much to be pursued other than the catalog work at this point.” For now, Thayil will be working with Sub Pop and A&M to put together Soundgarden compilations that may contain live or previously unreleased material. In a recent interview with Rolling Stone, both Matt Cameron (drums) and Ben Shepherd (bass) conveyed interest in having the surviving members make music together in some capacity. “We would certainly love to try to continue to do something, figure out something to do together,” said Cameron, while Shepherd added, “We’re going through natural healing, then thinking about the natural next step.” Soundgarden frontman Chris Cornell died at the age of 52 on May 18th, 2017, after taking his own life following the band’s show in Detroit. Pearl Jam’s “Jeremy” Annotated Video Alice in Chains' Top 5 Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Source

BROCKHAMPTON, our 2017 Rookie of the Year, recently filmed a new session for triple j’s Like a Version cover series. Rather than go the expected rap route, however, they opted to take on a mellow R&B hit from one of the genre’s greatest singers. The Texas-bred boyband selected “Un-thinkable (I’m Ready)”, Alicia Keys’ 2009 Element of Freedom single which originally featured Drake on background vocals and OVO producer Noah “40” Shebib behind the boards. As the track’s an intimate affair, BROCKHAMPTON dimmed the studio lights, lit up a few candles, and relegated the smoldering vocals to the group’s Bearface as the other members lounged about motionless. (Read: The 25 Most Anticipated Tours of Fall 2018) The minimalist theme continued on later, when BROCKHAMPTON performed their own “San Marcos” track while seated in a circle (so boy-band) and accompanied by strings. The song is taken from their stellar new album, Iridescence. Catch both performances below. To promote Iridescence, BROCKHAMPTON are currently touring North America on their “I’ll Be There” trek. Source

Leonard Cohen’s The Flame, a posthumous collection of poetry and lyrics, made headlines yesterday when it was revealed that the late songwriter had written a scathing poem about Kanye West in 2015 called “Kanye West Is Not Picasso”. It’s…something. Today, it was announced that an audiobook of the collection is on the way. It features an incredible lineup of readers, from Margaret Atwood and Maggie Hoffman to Seth Rogen and Will Patton. It also features Academy Award-nominated actor Michael Shannon, who was given the enviable task of reading “Kanye West Is Not Picasso”. Shannon’s gravely drawl is a perfect fit for the boiling prose, and there’s something almost cathartic about hearing him spit out verses like, “I am the Kanye West of Kanye West/ The Kanye West/ Of the great bogus shift of bullshit culture/ From one boutique to another.” Listen to his take below. As for West, he’s apparently off to Africa after visiting the White House yesterday and subsequently giving a “keynote” atop a table at a Georgetown Apple Store. Source

September Mourning, the multimedia music project fronted by Emily Lazar (aka September), are back with a brand-new song, and they’ve teamed up with Heavy Consequence to premiere the track and its accompanying video (watch below). Along with the new song, September Mourning are also releasing the latest issue of their comic book series, which accompanies the band’s music. “‘Empire’ is a song for anyone who has ever felt emotionally misled,” frontwoman September tells us. “As if one moment you believe in something or someone with your entire being, only to suddenly realize that everything you felt was based on a false truth. The song coincides with the comic books and September’s realization that in her quest for being the hero, she must do things that seem completely opposite of that… that the lines between good and evil are sometimes very blurry.” The video features orbs with images of fans who shared selfies with the band on social media. Their images represent souls who appear and disappear throughout the video. Issue #3 of the September Mourning comic book arrives digitally on October 17th via Image Comics, with a description as follows, “September Mourning, half-human, half- reaper, is joined by a blind girl and a dead girl. Together they form the Trinity. The last best hope for humanity to escape the control of Destiny, the eater of souls.” The song “Empire” is available at iTunes and Amazon, while the comic book can be pre-ordered here. In addition, a graphic novel compiling issues 1 through 4 of the September Mourning comic book arrives in January and can be pre-ordered at this location. September Mourning Comic Book Issue #3 Cover Artwork: Source

Today marks the release of Elvis Costello & The Imposters’ Look Now, the outfit’s first new album as a unit since 2008’s Momofuku. Subscribers of Apple Music and Spotify can stream it below. Costello was inspired to make the album after last year’s “Imperial Bedroom & Other Chambers Tour”, saying in a press release that “I knew if we could make an album with the scope of Imperial Bedroom and some of the beauty and emotion of Painted From Memory, we would really have something.” As a taste of the album, he shared two singles, “Under Lime” and “Unwanted Number”, and teased collaborations with Burt Bacharach and Carole King. In a new interview with Rolling Stone, Costello called Look Now an “uptown pop album,” adding that the texture of his work with the Imposters has evolved considerably over the last 40 years. “This is a different group than the group I started out with,” Costello told Rolling Stone. “We have strengths in different areas than that first group, because obviously, the three of us that have played together for forty years should’ve learned something, you know?” Our own Ryan Bray praised the album in his B review as “an intricately detailed and meticulously crafted affair, one longer on arrangements and musicianship than rock and roll spit and vinegar.” He added, “There’s a swanky, sophisticated cool coursing through Look Now that punches it up in even its hushest moments.” Look Now Artwork: Look Now Tracklist: 01. Under Lime 02. Don’t Look Now 03. Burnt Sugar Is So Bitter 04. Stripping Paper 05. Unwanted Number 06. I Let The Sun Go Down 07. Mr. & Mrs. Hush 08. Photographs Can Lie 09. Dishonor The Stars 10. Suspect My Tears 11. Why Won’t Heaven Help Me? 12. He’s Given Me Things Deluxe Special Edition Tracks: 13. Isabelle In Tears 14. Adieu Paris (L’Envie Des Étoiles) 15. The Final Mrs. Curtain 16. You Shouldn’t Look At Me That Way In support of Look Now, Costello & The Imposters will embark on a lengthy American tour beginning in November. See the full itinerary below, and grab tickets here. Elvis Costello 2018 Tour Dates: 11/02 – Bethlehem, PA @ The Sands Bethlehem Event Center 11/04 – Washington, DC @ DAR Constitution Hall 11/06 – Asbury Park, NJ @ Paramount Theatre 11/07 – Verona, NY @ Turning Stone Resort Casino 11/09 – Wallingford, CT @ Toyota Presents Oakdale Theatre 11/10 – Boston, MA @ Boch Center Wang Theatre 11/11 – Buffalo, NY @ Shea’s Performing Arts Center 11/13 – Detroit, MI @ The Fillmore Detroit 11/15 – Minneapolis, MN @ Northrop Auditorium 11/17 – Grand Rapids, MI @ 20 Monroe Live 11/19 – Memphis, TN @ Orpheum Theatre 11/21 – St. Louis, MO @ Peabody Opera House 11/23 – Thackerville, OK @ WinStar World Casino 11/25 – Denver, CO @ Fillmore Auditorium 11/27 – Phoenix, AZ @ Comerica Theatre 11/28 – Anaheim, CA @ House of Blues Anaheim 11/29 – Los Angeles, CA @ The Wiltern 12/01 – San Francisco, CA @ The Masonic 12/03 – Seattle, WA @ Paramount Theatre 12/04 – Vancouver, BC @ Queen Elizabeth Theatre 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 third episode, John Carpenter vs. The Man, by The A.V. Club‘s Katie Rife and Daily Grindhouse‘s Mike Vanderbilt. Follow on Facebook | Podchaser Together, they examine Carpenter’s perceptions of latter-20th century America, the emergence of some of his most prevalent themes and filmmaking approaches, and how the director’s politics have manifested in his work in subtle, unsubtle, and really unsubtle ways. This week’s discussion is focused around the following features: Chapters: Introduction (0:09), The Man: A Discussion (0:35), Assault on Precinct 13 (4:18), Someone’s Watching Me! (17:05), Escape From New York (33:57), Escape From L.A. (45:04), Intermission (58:01), Sight [Cinematography/Editing] (58:04), The Lasting Image (1:12:02), Music & Score (1:16:53), Closing Remarks (1:29:46) We’ll see you next Thursday, October 18th for part four 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

FIDLAR have proven to be a surprisingly resilient and shape-shifting band since they landed in a splash of beer back in 2013. Their 2015 follow-up, Too, was thematically rich and sonically adventurous, and their recent singles have found them tackling of-the-moment issues with a refreshing lack of pretension. It’s all been building to the release of their third LP, Almost Free, which is due out on January 25th via Mom + Pop Records. The band hit the studio with Grammy-nominated producer Ricky Reed (Twenty One Pilots, Phantogram), and the album’s latest single, “Can’t You See”, is a funky slice slice of radio-friendly rock, withElvis Kuehn offsetting Zac Carper’s bleeding rasp with his starry-eyed falsetto. Lest you worry that the band has been enticed away from the booze-soaked punk of yore, rest assured that previous singles “Alcohol” and “Too Real”, both scorching and intimate, are also on the album. (Interview: FIDLAR: Stupid Decisions) Guitarist Elvis Kuehn says “Can’t You See” is “about believing you need external things to be fulfilled, when really that comes from within yourself. Play it loud while driving around Los Angeles and it’ll make sense.” Hear it below. “A lot of the vibe was, ‘Well, why can’t we do that? Why can’t we have horns? Why can’t we have key changes? Why can’t we have a harmonica loop?’” Carper said of the album in a press release. “It was about taking the ceiling off. Having it be limitless. Ain’t no rules.” Pre-order the album here and get a bonus 7-inch flexi disc of “Can’t You See” and non-album track, “Are You High?”, which was released earlier this year. Check out the artwork and tracklist below, and peep their current slate of North American tour dates here. Almost Free Artwork: Almost Free Tracklist: 01. Get Off My Rock 02. Can’t You See 03. By Myself 04. Flake 05. Alcohol 06. Almost Free 07. Scam Likely 08. Called You Twice (feat. K.Flay) 09. Nuke 10. Too Real 11. Kick 12. Thought. Mouth. 13. Good Times Are Over Source