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Here’s the thing: The Music Modernization Act is a good thing. It updates outdated modes of royalty payment, and ensures artists are paid what they’re due when it comes to consumption of their work. The Senate unanimously passed it last month, and, on Thursday, President Donald Trump will make it official. What’s annoying, of course, is that Donald Trump, who recently declared that he likes Taylor Swift’s music 25% less after her democratic endorsement, will sign it into existence. What’s even worse is that, according to Billboard’s sources, he’ll be joined by a Tweedledee and Tweedledum in Kanye West and Kid Rock. Outgoing Academy President and CEO Neil Portnow — you know, the guy who infamously told female artists to “step up” — and Recording Industry Association Of America President Mitch Glazier will also be on hand. Billboard sums it up quite well: “Neither artist has been a particularly vocal advocate of the bill, but they have both shown ardent support for the president.” That tends to be how things work these days. West will be at the White House for a lunch date with Trump and White House senior adviser Jared Kushner, where he’ll reportedly discuss criminal justice reform and job scarcity in Chicago. Source

We’re as amped for Thom Yorke’s score to Luca Guadagnino’s upcoming remake of Suspiria as much as we are the film itself, and today the Radiohead frontman has given us yet another taste of the atmosphere he’s conjuring with “Volk”. “Volk”, which follows the classical “Suspirium” and bluesy “Has Ended”, is notable for several reasons, not the least of which being that it’s the first Suspiria track we’ve heard to feature no vocals. It’s also indebted to Goblin’s original, synth-driven score much more than its predecessors, with the majority of the six-and-a-half-minute track propelled by seesawing synths and piercing atmospherics. It takes on several forms throughout its runtime, evolving from something almost playful to something infinitely more menacing. Stick around for the final 30 seconds, which evoke the heavy, labored breaths of something large and terrifying. Take a listen below. In his review of Suspiria, Dan Caffrey had this to say about Yorke’s score: Just as notable as Suspiria’s entrancing choreography is its score. Composed by Yorke, there are a handful of nods to the horror-synth attacks of Goblin (who scored the original 1977 film). But there’s also a delicacy at play whenever Yorke highlights the film’s more internal character moments. Contemplative piano takes us into Susie’s (Dakota Johnson) past as a Mennonite, and jazz drums smoothly hiss during strolls taken by Susie’s roommate, Sara (Mia Goth), through the school’s cavernous halls. If Yorke truly was “making spells” when dreaming up Suspiria’s music, not all of them were frightening. Yorke’s soundtrack to Suspiria will be available across digital platforms, as well as a 2-LP gatefold package pink vinyl and 2-CD set. Pre-orders are ongoing here ahead of its October 26th release. The film itself premieres in theaters in Los Angeles and New York on October 26th before opening wide on November 2nd.Source

It seems all is not PLUR in the electronic music scene of late. From the multiple allegations of sexual assault made against dubstep DJ Datsik to Jack Master’s controversial behaviour at this year’s Love Saves the Day in Bristol, U.K, the industry that once valued Peace, Love, Unity and Respect (PLUR), appears anything but. PLUR first emerged on the streets of Brooklyn in 1990 as PLUM (The Peace, Love & Unity Movement). American DJ Frankie Bones adopted the phrase in a bid to bring the UK’s burgeoning rave scene to the streets of New York. Pre-Bones, the word “rave” held little meaning in the U.S; the culture that was blowing up across the pond was yet to begin in Bones’ stomping ground. But after a crucial visit to a London warehouse rave in early 1990 – so the legend goes – Bones pledged to introduce New York to the scene. “I knew there was no way to start a rave scene there without a cause” Bones told edmsauce. New York was living through its most homicide-plagued stretch to date. Amidst racial tension, territory wars and the crack epidemic, violent crime rates were peaking. The gay community was living in fear of the AIDS epidemic, fighting back against government indifference and societal discrimination. Neighbourhoods were segregated and the streets were dangerous. New York’s youth was in desperate need of, if not a movement, a revolution. And a revolution they got. On July 4, 1990, Frankie’s brother and Storm Rave collaborator Adam X painted “Peace Love Unity” on a train car. PLUM took a shared love of music and transformed it into an environment where people could come together to celebrate life, love and music without fear of judgement or violence. It was about making everybody welcome. During New York’s bleakest years, the movement worked to create a sense of belonging that sorely lacked on the streets. And it worked. While the city lived in fear, the “love thy neighbour” mentality of America’s first ravers gave rise to a scene that blossomed on both coasts of the U.S and beyond. Events held in warehouses hid not merely an illegal party scene, but a camaraderie between people from different social classes, race and sexual orientation. Quite the distance from a culture shrouded in accusations of drug use, sex and underage partying, the rave became a haven for those who felt scared and discriminated against. It was a counterculture for kids looking for acceptance and camaraderie; a credo that shed a positive light on a misunderstood community. With the addition of Respect, PLUM evolved into PLUR and the motto soon became synonymous with the international rave scene. Almost thirty years since its extraordinary beginnings, PLUR has undergone numerous different iterations of itself as rave culture has emerged from the underground to find a place in the mainstream. Each generation has their own imaginings of PLUR. While the nineties ravers sought to create an ethos akin to brotherhood, the noughties saw ravers band together to fight the RAVE act of 2002 and against the damning headlines of the media who wrote off the community as drug-addicted. Around the same time, festivals like Electric Daisy Carnival emerged from the underground to reach a broader audience, defining themselves in association with PLUR. The explosion of raving almost ten years later saw a whole new generation of ravers arrive to the community, and with them, a lack of knowledge regarding the scene’s roots. Today, the rave scene has more to do with Kandi beads and secret handshakes than it does with the original mandate: to unite and share kindness in a musical sanctuary. Once a calling card to all who wished to take part, the current PLUR explosion has become so absorbed in the aesthetic, that the code of unity and mutual respect is all but forgotten. Rave showboating has transformed festivals like EDC – whose origins stem from underground warehouse raves – from a musical sanctuary to a commodified fashion statement. Perhaps the term PLUR has become lost in translation over the years. Perhaps, even, the mandate is outdated. But as irony would have it, we need PLUR now more than ever. While the ravers of today may be ignorant of PLUR’s origins – a glimmer of hope in a world plagued by discrimination and hostility – there could be no more relevant acronym in today’s culture. No doubt, we are experiencing a time of extreme social unrest and political division. Sexual harassment, racism, gender inequality and environmental degradation have all come to a head over the last few years. We could be in no greater need of a code of peace, love, unity and respect than we are now. But you don’t need flashy outfits, Kandi beads or secret handshakes to lay claim to the PLUR movement. PLUR is about meeting new people, sharing a moment and treasuring that mutual love. PLUR is not synonymous with colourful bracelets. It’s acceptance, diversity and consideration. In other words, an ethos that desperately lacks today. While ravers should feel free to express themselves, the focus must be on the way we treat each other, not the way we dress. If we are to rescue PLUR from the superficial, we must stop equating the movement with the aesthetic. Source

Unless you’ve had your head under a moderately sized rock for the last week, you’ve probably heard about one of the greatest stunts that acclaimed street artist Banksy has ever pulled. After his famous Girl With Balloon painting sold for around $1 million, a shredder was triggered remotely and to snooty art buff’s dismay everywhere, the painting was half shredded. There’s a theory that the painting wasn’t fully shredded so that people couldn’t collect a strip and try and flog it for a bloody uge fee, however that hasn’t stopped owners of the original print version from trying to follow the stunt and double their money. According to MyArtBroker, it’s a trend that won’t pay off as Banksy’s stunt was a once in a lifetime piece of art history. We've had a number of #Banksy print owners contact us today asking if they shred their artwork will it be worth more. Please, Please DON'T. The events of the last 24hrs are a very unique piece of art history. #GirlWithBalloon — MyArtBroker (@myartbroker) October 6, 2018 “We have refused to list this item for a number of reasons,” My Art Broker stated. “One of them being we just can’t believe the stupidity involved and the opportunistic vandalism.” “This person today seems to have done is needlessly ruin a print worth around £40k and reduce its value to almost nothing. “We strongly recommend nobody else takes valuable art and tries to cash in on what history will judge a simply brilliant stunt.” Apparently, the value of the painting before it was shredded was an astronomical $70K, since the shredding it has gone down to $1.80. Jesus Christ. Source

In what has been in the works literally forever, Soundcloud has finally made it so you can actually get paid as an independent artist. After trialling their Souncloud Premier program for years through an invite-only beta test it’s finally been given the go ahead. The best part? Anyone can do it. So what do you have to do to get paid? Make a Soundcloud Pro account (This costs money) Upload your original content (DJ mixes currently not included) Get over 5000 monthly streams Sign up to Soundcloud Premier (free with Pro account) Profit! The income will fluctuate as it’s directly correlated to ads played, so it won’t be a flat amount per stream, but it’s definitely a step in the right direction. It seems Soundcloud’s trying their darnedest to keep up with Spotify as this announcement comes just after Spotify announced that you can directly upload to the platform for free and gain a bit of dinero from doing so. Check out the full press release here their ~quirky~ video below and tell us what you think, is this encouraging you to use Soundcloud at all? Source

The Pitch: If you think Thanksgiving dinners with your conservative relatives are bad enough, be thankful we’re not (yet) in a world where our President requires everyone to sign a loyalty oath by Black Friday. This news distresses the politically-anxious Chris (Ike Barinholtz), who’s always looking down at his cell phone to find a new horror to be mortified by, much to the chagrin of his sympathetic but exhausted wife Kai (Tiffany Haddish). However, as his relatives come to visit for Turkey Day, including his understanding sister Alice (Carrie Brownstein), overbearing mother Eleanor (Nora Dunn), quiet stepdad Hank (Chris Ellis), loudmouth conservative brother Pat (Jon Barinholtz) and his Tomi Lahren-esque new girlfriend Abbie (Meredith Hagner), the normal work of avoiding politics at the table inevitably strains under the weight of this new policy. This is made even worse when, on the expiration day, two federal agents (Billy Magnussen and John Cho) come knocking on Chris’ door. Raging Election: If The Oath is a Thanksgiving feast, timeliness is the can-shaped cranberry sauce that infuses every dish on the table with sweet, sumptuous flavor. Barinholtz, who also wrote and directed the film, is clearly operating from a desire to unpack the strange, infuriating, confused emotions that most Americans felt in November of 2016. For many, Thanksgiving is a dreaded political battleground where younger progressives butt heads with older conservatives, forced into the same room by familial tradition. In these situations, just turning on the news is a political act, a tactic The Oath uses to great effect. In such politically divided times as these, partisan rifts feel like canyons, and The Oath’s first two acts do a fantastic job of capturing that boiling stew of political resentment and conversational restraint that so often soils the family table. Intriguingly (but with little surprise), Barinholtz doesn’t let either side truly off the hook. His Chris is the very model of a self-righteous, news-addicted liberal, someone whose heart is in the right place but whose justifiable fury at the actions of his government manifests in self-destructive rage and a distinct loss of perspective. Yes, his brother’s ultra-conservative girlfriend keeps sharing alt-right talking points from “@fatasspatriot,” and his family is infuriatingly unconcerned with news reports of riots and activists being gunned down in the streets. But his own refusal to sign the Oath quickly turns into a crusade, one he occasionally prioritizes over the safety of his family. The Urge to Purge: The Oath is clearly modeled after The Purge, with more than a little Get Out in its deft interweaving of wry humor interspersed with its ‘70s social thriller attributes. Barinholtz proves himself a fine director of mid-range, claustrophobic thrills and ensemble comedy in equal measure, keeping the focus on this extended family as a microcosm for a nation in crisis. Barinholtz and Haddish, in particular, get to plumb layers of performance heretofore unseen. Barinholtz’s signature intensity is front and center as the increasingly manic Chris, but modulated into something scarier and more desperate. Haddish is refreshingly restrained, taking a break from the over-the-top characters she’s played since Girls Trip to portray someone much more grounded. (Don’t worry; she still gets to explode in the way only she can, and the rarity makes each outburst all the sweeter.) Unfortunately, while The Oath crackles as an incisive satire of politically-fraught Thanksgiving family dynamics in its first two acts, the third goes off the rails in ways that don’t entirely satisfy. It’s really difficult to say too muchmore without spoiling the twists and turns The Oath attempts to take, but one may be left both entertained and perplexed by the hard right turns the story takes in an effort to lend the small-scale familial conflict some larger stakes. While these curveballs are entertaining in their own right, and Barinholtz and company make a meal out of the increasing intensity of the proceedings, at times these scenes feel born of an entirely different movie. (That said, one particular reaction from Dunn’s inquisitive mother in this section offers one of the film’s biggest, most unexpected laughs.) As the scope of the family’s conflict expands outside their own squabbles, the focus shifts elsewhere to mild disappointment. The Verdict: For much of its runtime, The Oath is a pitch-perfect extrapolation of the polarized, divided times the nation is going through, and the many ways in which they influence the average home. The Thanksgiving table is a perfect battleground for these heavily entrenched political lines, with Barinholtz’s smart, nuanced script pulling no punches. While the satire definitely loses some of its bite in its wild, unpredictable closer, the film still takes Barinholtz and Haddish to fascinating places as performers – neither of them have been as intense or vulnerable onscreen to date. It would have been nice for the rising stakes to tie more closely into the conflict of the first two acts, instead of dumping those discussions for a Trump-era version of Mrs. Miniver. But as is, The Oath remains a refreshingly stark, incisive commentary on the deep-seated emotions modern politics brings out in everybody right now. Where’s It Playing?: The Oath vows to make your next family Thanksgiving even more awkward starting this Friday, October 12th. Trailer: Source

Golden Features has just dropped what is possibly his biggest remix to date. This time, he’s been given the reins for Odesza’s massive tune Falls. We’re not going to lie, the remix has quite a few very ‘Golden Features’ elements. It’s got those dark underlying themes and it’s mixed in with a heavy house beat. In saying that it also embodies all of what we love about Golden Features. So strap yourself in for what’s a bit of a journey, because this tune is more than just his dark heavy beats. It uses the instrumentals from Falls almost to perfection to make sure that the true Odesza anthem is respected and pushed beyond being a club banger. This comes following his huge album dropped the other month which you can also listen to in full below! Before you do that though, get around his huge remix that may just eclipse the original! Sect Album Stream: Source

It’s a great time to be a fan of Fleetwood Mac: Earlier this year, the legendary rock band parted ways with their longtime singer, songwriter, and guitarist Lindsey Buckingham when they couldn’t decide on touring. He wanted to chill out until November 2019, they wanted to tour, well, now, which, um, they’re doing … with Mike Campbell and Neil Finn. At the time, that was the story everyone was going with and it made sense. However, eyebrows were certainly raised when Buckingham later admitted — during a campaign fundraiser for Democratic congressional candidate Mike Levin, no less — that “there were factions within the band that had lost their perspective.” Hmm. Now, in a new interview with Rolling Stone, Buckingham says he was fired over the phone this past January by Fleetwood’s manager Irving Azoff only two nights after the band performed together at a MusiCares benefit in New York City. “Stevie [Nicks] never wants to be on a stage with you again,” Azoff told Buckingham, while he and his wife watched the Grammys. Azoff then went on to list things that “Stevie took issue with,” namely some kind of outburst on Buckingham’s behalf during their introduction music (“Rhiannon”) and the way he smirked during Nicks’ thank-you speech. Buckingham contends that using “Rhiannon” as the intro music “undermined the impact of our entrance. That’s me being very specific about the right and wrong way to do something,” and that his smirk was part of a running joke he has with Nicks. “I may or may not have smirked,” he admits, “but I look over and Christine and Mick are doing the waltz behind her as a joke.” It gets better: At the time of the call, Buckingham thought Nicks would be the one exiting stage left, but after not getting a response from the band over e-mail, he called back Azoff, who told him he was “ousted” and that Nicks gave the band an ultimatum that boiled down to: “Either you go or she’s gonna go.” So, as you can see, nothing has changed with this outfit. Source

Myself, William, and Verge Campus Texas collectively have an exciting announcement: we’ve officially launched our first podcast. The podcast is titled “Willy Mo and Don’s Music Update,” where William and yours truly will bring you the newest and freshest tunes out there. We’ll be coming to you guys live every other week to keep you updated on the latest and greatest in the music industry. C’mon now, I know you guys want to hear me and Willy shoot the shit about your favorite albums for 20 straight minutes. The first episode is out now on SoundCloud, click here to listen. The post Willy Mo and Don’s Music Update: Episode 1 Out Now appeared first on Verge Campus. Source

For the first time ever, next year’s Grammys will allow for eight, not five, Best New Artist nominees. Unfortunately for Cardi B and Post Malone, however, they won’t be eligible for any of those coveted spots. According to The Associated Press, both artists have been disqualified for the award by the Recording Academy. In Cardi’s case, her ineligibility stems from the fact that she earned Grammy nominations in the past — she nabbed Best Rap Song and Best Rap Performance nods for “Bodak Yellow” at the 2018 Grammys. AP noted that Cardi had also been submitted for consideration for a 2018 Best New Artist award (she wasn’t ever officially nominated and the Grammy ultimately went to Alessia Cara). Post Malone has never before been up for a Grammy, but after deliberation, the Academy’s members decided he was beyond the level of popularity and success usually reserved for Best New Artist status. In making their ruling, they pointed to Post Malone’s chart-topping 2016 debut album, Stoney, on which hits like “Congratulations” and “White Iverson” appear. In a 2017 post explaining the process of selecting a Best New Artist nominee, the Academy described the category as having “the most complicated set of rules of any” other. Their definition is as follows: Essentially, a “new artist” is defined for the GRAMMY process as any performing artist or established performing group who releases, during the eligibility year, the recording that first establishes the public identity of that artist or established group as a performer. A GRAMMY nomination in a performance category in a prior year disqualifies an artist from competing in this category, unless the nomination came from a single or a guest spot on another artist’s recording, and the artist hadn’t yet released a full album. Indeed, the rules here are hard to nail down — what exactly does it mean to be an artist with “an established public identity”? How does one go about measuring that? I distinctly remember the shock when Bon Iver scored the Best New Artist award in 2012… five years after the release of their landmark debut, For Emma, Forever Ago. The 2019 Grammy nominees will officially be revealed on December 5th. The awards ceremony itself goes down February 10th. Source

It was the dropkick heard no where because it didn’t actually connect. Over the weekend, Insane Clown Posse’s Shaggy 2 Dope tried to kick Fred Durst off the stage during Limp Bizkit’s set at Camden, New Jersey’s Rock Allegiance Festival. Though he muffed the move, Bizkit’s DJ Lethal was pretty pissed at the attempt, going on a Twitter tirade calling Shaggy a “bitch ass clout chaser.” Now, though, cooler heads have prevailed thanks to an unlikely mediator: former wrestling star The Iron Sheik. As The PRP points out, the Sheik sent out a tweet that, while mocking Shaggy’s failed flying move, called for peace between his “brothers.” “THE SHAGGY TOO DOPE YOU ARE A GOOD MAN BUT YOUR DROPKICK IS FUCKING DRIZZLING SHITS,” he wrote (caps are his). “ALSO @djlethal IS MY BROTHER I DONT LIKE TO SE MY BROTHERS FIGHT BUBBA.” That was apparently all Lethal needed to keep his blood from boiling, as he responded on Instagram with laughter and an acceptance of a truce. “Thank you mr #ironsheik for making a funny situation even funnier,” Lethal wrote, adding, “#truce we don’t need anymore violence in these times. There are bigger issues in this world.” Sheik responded to Letha’s post, writing, “BUBBA I LOVE THE PEACE NOT THE WAR UNLESS THE SON OF A BITCH JABRONI DESERVE TO GET SUPLEXED. THIS WAY THE SHAGGY GOOD MEN. GOD BLESS YOI.” Check out the tweet and Lethal’s response below, as well as an Instagram Live stream Lethal sent out the day following the incident. So are we all good here now? Can we move on? Source

In late August, what can be described as glitchy, melodic riffs materialized in the form of a new single by Party Thieves with Gladez, ambitiously titled “Death Blow” on Hiiigher Records. Party Thieves and Gladez trustfully fall back to the trap genre with their new single’s explosive energy and a dedication to obscure electronic sounds. Party Thieves and Gladez latest single, “Death Blow” is offered as a free download. Party Thieves & Gladez ‘Death Blow” Listen to and download for free “Death Blow’: Beginning with a slow, melodic build-up, “Death Blow” uses melodic conventions in their single to highlight the much-dirtier breakdowns, which are the trademark of their new single. Gladez‘ noticeable contributions are the original trap elements you hear through the single. Although clear glitch and metallic influences can be found, the foundation of the new single possesses a strong foundation within filthy hip-hop parameters. The Theft Army movement will no-doubt be pleased with this eclectic entry into the years-long catalog that Party Thieves have pumped into fruition. photo credit Party Thieves Enjoy the rest of Party Thieves’ 2018 catalog of music featuring a remix of The Chainsmokers, their Anarchy EP and other party-stealing trap and dance music.  Accompanying the release of Party Thieves and Gladez’s new single is this creative video. Get the new single, “Death Blow” and check out the links below for information on the Party Thieves’ tour and Gladez’ rising. Follow Party Thieves: Facebook | Twitter | SoundCloud Follow Gladez: Facebook | Twitter | SoundCloud The post Party Thieves strengthens The Thief Army with 2018 releases appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Halestorm continue to churn out hard-rockin’ hits off their latest album, Vicious, and now they’ve unveiled a spooky video for the sexually charged single “Do Not Disturb” (watch below). The clip starts out with a Rocky Horror vibe, as a young couple caught in the rain make their way into what appears to be a creepy bed and breakfast with a vamped-up Lzzy Hale acting as host. While Lzzy attempts to seduce the couple, the rest of the staff (played by the other band members) attempts to terrorize the two lovebirds. It ends with a surprising twist which you can witness for yourself. “‘Do Not Disturb’ is based off a true story of mine about a very fun night I had overseas that all started with the pickup line, ‘I think we should make out,’” said Lzzy about the video. “And since it’s October… the boys and I decided to spooky-up the story with a few…minor exaggerations.” Halestorm kick off the third leg of their tour with In This Moment and New Years Day on November 16th in Norfolk, Virginia. Dates can be found here, while tickets can be purchased here. Source

Listen and download via iTunes | Google Play | Stitcher | RSS Kyle Meredith talks to new star Alice Merton about her sudden rise to fame with the soulful European chart-topper “No Roots” and the press tirade that followed. The singer explained that her new single, “Why So Serious”, began as a response to the press’ questions about being a one-hit wonder and embracing her individuality through music and a small team. Merton also discussed her German-Canadian-English heritage and how a mixed national identity gives her a special perspective on current politics. 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

This year’s Austin City Limits Festival took place last weekend in a state whose Senate race has been heating up substantially the last few months. According to a report from Consequence of Sound’s own David Sackllah, The National were the most politically engaged performers at the event, dedicating part of their set to Texas Democratic Senatorial candidate Beto O’Rourke, who is hoping to unseat alleged Zodiac killer Republican incumbent Ted Cruz in November. Prior to taking the stage, The National brought out Julie Oliver, the Democratic Candidate for the U.S. House of Representatives Congressional District 25, to talk about the upcoming midterms, which she called “the most important elections of our lives.” The indie rockers later dedicated their 2005 Alligator track “Mr. November” to Oliver, Beto, and other Democratic candidates. “I’m the new blue blood/ I’m the great white hope,” frontman Matt Berninger sang, and at many points, howled, on the rousing song’s chorus. “I’m the new blood/ I won’t fuck us over/ I’m Mr. November.” Catch a replay of their performance below. If Beto O'Rourke beats Ted Cruz… I think there's a 110% chance that the victory party plays The National's Mr. November. — Mike Cunningham (@hammradio) September 28, 2018 Beto has pulled in plenty of support from the indie rock music community as of late. Not only did Spoon, The Polyphonic Spree, Sarah Jaffee, and At the Drive-In off-shoot SPARTA rally behind the politician at the Buffalo Tree Festival in Dallas, but Willie Nelson staged his first-ever political performance in support of Beto last month. Despite vowing not to take any corporate PAC money, Beto has raised an astonishing $10.4 million in just a single quarter. As The Daily Beast reports, his “cash on hand total is over $14 million and he has outraised Cruz in the last four reporting periods.” Source

Verne Troyer, the actor best known for his turns in the Austin Powers franchise, passed away earlier this year at the age of 49. There was speculation at the time that Troyer had taken his own life, and now, per a report from The Hollywood Reporter, the Los Angeles County coroner has officially ruled his death a suicide. Troyer died from alcohol abuse or, as the coroner puts it, “sequelae of alcohol intoxication.” In April, we reported that the actor had been admitted to a Los Angeles hospital after a friend found him “extremely upset, drunk suicidal.” Troyer had previously hospitalized for alcohol addiction and had publicly acknowledged his struggles with alcohol abuse. “Verne was also a fighter when it came to his own battles. Over the years he’s struggled and won, struggled and won, struggled and fought some more, but unfortunately this time was too much,” read a statement from Troyer’s family upon his death. Source

Book a white suit, grab your pearls, and start shining those shoes because Italian disco juggernaut Giorgio Moroder is heading out on tour for the first time in his long and storied career. At 78, he’s ready to travel and he’s announced a string of European dates that begin next April. “It is something I have always wanted to do,” Moroder tells The Guardian. “Fans kept reaching out to me, asking if I would ever do a real tour. Back in the days it was unthinkable for producers to ever leave their studios. That territory was reserved for the singers. Today, DJs and music producers have become the superstars of popular dance music, so the time feels right.” As you can see in the photo above, Moroder has done his fair share of concerts, though only as a DJ. This jaunt will find the maestro behind the piano, the vocoder, and some synths with a full live band and vocalists. He even plans on synchronizing some of his set to Donna Summer performing on video. In recent years, Moroder has really made a comeback. In 2015, he released Déjà Vu, his first album in 23 years, and earlier this summer, he returned to film and television after a three-decade hiatus by scoring USA Network’s Queen of the South. In fact, he spoke to Consequence of Sound about the latter. Consult the full itinerary below and dress accordingly. Grab tickets here. Giorgio Moroder 2019 Tour Dates: 04/01 – Birmingham, UK @ Symphony Hall 04/02 – London, UK @ Eventim Apollo 04/04 – Glasgow, UK @ Royal Concert Hall 04/05 – Manchester, UK @ O2 Apollo 04/08 – Dublin, IE @ 3Arena 04/10 – Brussels, BE @ Ancienne Belgique 04/12 – Tempodrom, DE @ Berlin 04/13 – Düsseldorf, DE @ Mitsubishi Electric Halle 04/14 – Frankfurt, DE @ Jahrhunderthalle 05/15 – Budapest, HU @ Papp Laszlo Arena 05/17 – Milan, IT @ Teatro Ciak 05/18 – Florence, IT @ Nelson Mandela Forum 05/19 – Rome, IT @ Auditorium Parco della Musica 05/21 – Amsterdam, NL @ Paradiso Source

As Ellen DeGeneres has her finger on the pulse of everything that’s hot, viral, and buzzing, it was only a matter of time before 16-year-old pop prodigy Billie Eilish booked some airtime on the daytime TV show. Even without a debut album under her belt, the rising musician has already played multiple big-name festivals and earned the cosigns of Dave Grohl (and his daughter), Khalid, and Florence and the Machine. For her Ellen debut on Wednesday, Eilish lit up the room with a swaggering performance of her hit “you should see me in a crown”. The stage was set up so that Eilish sang from her very own throne, which was encased within a glass box guarded by spiders. It also takes quite a bit of guts to wear your name from head to toe. Suffice it say the audience (or at least home viewers) was left nearly speechless. Catch the replay below. (Read: The 25 Most Anticipated Tours of Fall 2018) #Watching Billie Eilish on #Ellen Let's just say it's ……..different and leave it at that. — Delilah (@MsKindleFire) October 10, 2018 Eilish is set to embark on her “The 1 By 1 Tour” beginning October 23rd. Grab tickets here. Source

With her prominence over the last two years, it’s easy to forget Maggie Rogers has yet to release a full-length on a major label. Well, that’ll change on January 19th, 2019 when the folk pop singer-songwriter finally drops her first album on Capitol Records, Heard It in a Past Life. Fans are already plenty familiar with a handful of the songs on the 12-track release, including “Give A Little”, “On + Off”, “Fallingwater”, and her career maker “Alaska”. Also included is the new single “Light On”, a vulnerable yet muscular track that dances on sea-sawing synths. Speaking of the song in a press release, Rogers says, “This song is a letter to my fans about the last two years of my life. There was so much change that happened so fast, I wasn’t always sure how to make all this stuff feel like me. I was really overwhelmed for a while, and scared too – my life became so public so fast and there were times I wasn’t sure that this was all for me. But I never had doubts about the music. And every night I got on stage and was reminded why I love doing this. This is the most vulnerable I’ve felt in a song and its me saying thank you for all the light my fans brought me when I couldn’t find it for myself. I love music more than anything else in the whole world and I always have. This song is me actively choosing this life – in my way and in my time. I couldn’t be more excited that ‘Light On’ is out in the world today.” Take a listen below. Pre-orders for Heard It in a Past Life are going on now. Find the “Light On” artwork and album tracklist below. “Light On” Artwork: Heard It in a Past Life Tracklist: 01. Give A Little 02. Overnight 03. The Knife 04. Alaska 05. Light On 06. Past Life 07. Say It 08. On + Off 09. Fallingwater 10. Retrograde 11. Burning 12. Back In My Body Rogers previously announced a North American headlining tour that kicks off October 15th in San Francisco and stretches into early November with a pair of Boston shows. She’ll also open for Mumford and Son during a select run of December shows. Find her updated itinerary below, and grab tickets here. Maggie Rogers 2018 Tour Dates: 10/15 – San Francisco, CA @ The Fillmore 10/16 – San Francisco, CA @ The Fillmore 10/18 – Santa Ana, CA @ The Observatory 10/19 – San Diego, CA @ The Observatory 10/21 – Phoenix, AZ @ The Van Buren 10/23 – Austin, TX @ Stubb’s 10/24 – Dallas, TX @ House of Blues 10/26 – Kansas City, MO @ The Truman 10/27 – Milwaukee, WI @ Turner Hall Ballroom 10/29 – Minneapolis, MN @ First Avenue 10/30 – Chicago, IL @ The Vic Theatre 11/01 – Toronto, ON @ The Phoenix 11/02 – Montreal, QC @ MTELUS 11/03 – Portland, OR @ State Theatre 11/05 – Boston, MA @ Royale 11/06 – Boston, MA @ Royale 12/07 – Philadelphia, PA @ Wells Fargo Center * 12/09 – Boston, MA @ TD Garden * 12/10 – New York, NY @ Madison Square Garden * 12/14 – Washington DC @ Capital One Arena * 12/17 – Toronto, ON @ Scotiabank Arena * * = w/ Mumford and Sons Source

Attention Bass Heads all around the globe,Black Tiger Sex Machine releases “Snakes”, the debut single from their recent album New Worlds . Black Tiger Sex Machine and YOOKiE reunite to create one massive collaboration that drips with filth. Black Tiger Sex Machine X YOOKiE ‘Snakes’ for Bass Heads Listen to Black Tiger Sex Machine X YOOKiE’s ‘Snakes’: “Snakes” rumbles with bassy static and bursts with alarming sirens. Following their 2017 release “Lions”, BTSM and YOOKiE create another animal-titled track that soars with darkness. The beautifully chaotic soundscape surrounds the vocal phrase: “King Cobra”. BTSM and YOOKiE are undeniably Kings of the Bass Jungle because they continue to slay each track they create. Signed to Montreal’s bass record label Kannibalen Records, BTSM is known for their hauntingly dark electronic music style. Their state-of-the-art tiger helmets and unique live performances also largely identify the Canadian trio. They have performed at renowned festivals such as Lollapalooza, Electric Forest, SXSW, Lost Lands, Paradiso, and others. Catch BTSM on their Ceremony Tour through North America this Fall! For tickets visit their website here. Bass Heads rejoice! Black Tiger Sex Machine Ceremony Tour Catch Black Tiger Sex Machine’s set at EDC LV 2018 to get a taste of what they will be feeding us bass heads. Follow Black Tiger Sex Machine: Facebook | Twitter | Instagram | Soundcloud Follow YOOKiE: Facebook | Twitter | Instagram | Soundcloud The post Bass Heads, time to eat: Black Tiger Sex Machine & YOOKiE collaborate on “Snakes” appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS Welcome back to another episode of This Must Be the Gig, the podcast that gives you an all-access pass to the world of live music! On this week’s episode, host Lior Phillips checks in with Devon Welsh, just before a recent show in Chicago. The former Majical Cloudz frontman released his first album under his own name, and the accompanying is a must-attend. Lior and Devon chat about the courage it took to step out on his own, singing for a metal band as a teenager, using a rental sedan as a tour vehicle, and a childhood meeting with ’90s alt rockers Live. This episode was brought to you by our friends at Vivid Seats. Listen above and subscribe now to keep your finger on the pulse of the live music world. Follow the series on Facebook | Instagram | Twitter Source

Over the summer, System of a Down made big headlines when vocalist Serj Tankian and guitarist-singer Daron Malakian came clean on internal issues that first led the group to go on hiatus in 2006, and, have ultimately resulted in the band not recording a new album since reuniting in 2011. Malakian revealed that Tankian was responsible for the band’s five-year hiatus, and he also suggested that that the lead singer was holding up the recording and release of a new album. For his part, Tankian admitted that he spearheaded the hiatus due to his disinterest in the band at the time, and also confirmed that there were creative differences and financial considerations getting in the way of a new disc. This November will mark 13 years since the last System of a Down album, 2005’s Hypnotize, but if it was up to bassist Shavo Odadjian, the band would have already released a new album or two. In a new interview with the Kevin & Bean radio show on KROQ, Odadjian reveals that the band is sitting on a wealth of material. “We have material from the last 10-12 years,” Odadjian said. “We all write. So I personally have a lot, Daron Malakian has a lot, and I know Serj has a lot, but I don’t know what’s going on.” He continued, “We still love each other. No one’s done anything wrong. No one’s angry, it’s not like someone’s done something to someone and they can’t take it back. Nothing like that’s occurred. I think it’s just an artistic thing.” The bassist added, “But I don’t hold grudges, but it’s hurtful because I really do want to play and I want to make music and make a record. I didn’t join a band and didn’t get famous to stop playing music.” When one of the hosts suggested that System of a Down go the Metallica route and hire a band psychiatrist, Odadjian answered, “I’ve had that conversation. That would be cool, like maybe someone has to sit in the middle and be like, ‘This is what it means,’ and ‘This is what he means.’” The full interview with Odadjian can be heard below. For now, System of a Down have a handful of shows lined up this fall, including a headlining gig at the Aftershock festival in Sacramento, California, this weekend. Tickets for the band’s shows can be found here. 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

With Spotify, Apple Music, Amazon Music, and the like streaming an infinite supply of music for affordably prices, you’d think that music piracy would be a thing in the past. Or, at the very least, unpopular. Well, you’d be wrong. Dead wrong. On Tuesday, the International Federation of the Phonographic Industry (IFPI) released its annual Music Consumer Insight Report, which states that 38% of consumers still acquire their music via copyright infringement. More specifically, the IFPI reports that 32% of all consumers grab their new Drake albums via ripped streams, 23% of ’em use cyberlockers such as BitTorrent, and another 17% simply use a search engine like Google. “People still like free stuff,” David Price, director of insight and analysis at IFPI, told The Guardian, “so it doesn’t surprise us that there are a lot of people engaged in this. And it’s relatively easy to pirate music, which is a difficult thing for us to say.” The good news, at least for the music industry, is that the report also states that 86% of all consumers do actually use streaming sites such as Spotify or even YouTube, with 28% paying for the services and another 20% using free audio streaming sites. Anyone else feeling a brush of nostalgia for Kazaa? Source

For over a month now, rumors have been swirling over a new version of Deadpool 2 set to hit theaters this December. The general consensus is that Fox has thrown its hat into the crowded Christmas release schedule this year with a PG-13 re-edit of the summer hit, allowing the studio to rake in some of that sweet, sweet, age-unrestricted Marvel money. While the idea of a “family edit” is definitely goofy enough to fit within the series’ free-for-all universe, it also feels a little dated in its way. Yes, parents of America, your angelic children have absolutely not seen either Deadpool by now, for they were waiting for a version with less violence and swearing to enjoy around a crackling holiday fire with the whole family. Regardless, once Ryan Reynolds teased a Princess Bride riff featuring an adult Fred Savage on Twitter, it was clear that something was in the works. Now, MCU Cosmic has broken a scoop about what Fox is telling theater owners to expect come December 21st. According to MCU’s unnamed sources, “[Fox] describe it as an ‘adapted version’ for those who were unable to get into the previous movie due to age restrictions. This means it is an edited version of Deadpool 2, and not a brand new movie. However, this ‘adapted version’ will feature fifteen minutes of new footage as well as a new character.” If true, it seems reasonably likely that the 15 minutes will be put together from some kind of homage framing device involving Savage and Deadpool telling a gentler version of the story. Following with rumors that it’ll be retitled The Deadpool Before Christmas, it jumps into a crowded fray that already includes Bumblebee, Mary Poppins Returns, Holmes and Watson, and Spider-Man: Into the Spider-Verse. With that said, movies shooting PG-13 (or TV-friendly) alternate scenes is a fairly common Hollywood practice. Call this craven all you want, but let’s not pretend The Deadpool Before Christmas won’t rake in the dollars come December 21st. Source

slenderbodies returned to Austin last weekend for their first ever ACL performance. The guitar playing duo, Max and Benji, shared their warm, lucid tunes Saturday afternoon on one of their biggest stages yet. Their airy vocals, intricate guitar riffs and chill electronic beats floated through the crowd, uplifting everyone after a bout of morning showers delayed the festival’s opening. The slenderbodies duo met in college at UCSC but didn’t start crafting music until they were in separate cities, 380 miles apart. slenderbodies’ most popular track “anemone” has over 16 million streams on Spotify. Their signature woozy guitar licks and strong lyrical imagery recall Glass Animals. slenderbodies released their second EP fabulist: extended earlier this year and finished a quick headlining European tour before heading to ACL, bringing their indie pop around the world for the first time. Though the California-based duo is known for their smooth, sexy jams—their sound even being compared to light and warm equatorial air—Max and Benji are down to earth and a charmingly silly pair. At the end of their set, they thank the crowd and put down their electric guitars, as Max holds his arms open wide for Benji to jump into. They embrace, and Max carries him off stage, an improvised exit they later explain only worked because of how much Drake and Josh they watch. Hug me brotha! We had a great time interviewing slenderbodies after their ACL weekend 1 show. Catch them this Saturday at 12pm on the HomeAway stage. Scroll to read our Q&A and listen to a few of our favorite tracks. Julia: ACL is huge. How do you guys feel playing here? Max: It’s pretty surreal, I feel like it will hit me later, and I’ll be like wow I did that. And then I’ll freak out. Benji: I feel like that’s gonna happen this week, and then we’ll be way more nervous for next weekend’s set. J: Y’all were great. Max, I loved when you picked Benji up at the end and walked off stage holding him. It was the perfect ending. Max: We watch a lot of Drake and Josh, so it works. J: Are Drake and Josh your stage-presence inspiration? B & M: Yes. Benji: He’s definitely Drake, I’m definitely Josh. Sorry man. Max: I’m fine with that actually. J: I read in previous interview that you guys start songwriting in the forest, talking to each other on guitars. Can you talk a little about that? Max: Yes, so for a lot of our new music, we went to this cabin in Mendocino, which is this little tiny town on the coast of California, just north of San Francisco. And we rented this Airbnb for like 14 days. We’d go out every morning and grab our acoustic guitars and just start jamming something in the woods, until we found something that we wanted to pursue for the day. Benji: Usually we start with guitars, and then we’ll start mumbling things, and that kind of develops into words. And then we’ll sit down and talk about what we really wanna talk about, and that kind of develops into lyrics. J: You studied jazz theory right? Benji: Yeah I learned jazz theory when I was younger, so I do a lot of jazz improv. And I had a guitar tutor, and we’d play together all the time. But at this point I’ve taken it and tried to make it my own as much as possible. J: Since the writing process starts outside with guitars, is nature the basis of your sound? Benji: Nature’s a big influence in terms of an inspiration. We always say you have to have some sort of input before you can output anything. And I think tour is a good way to balance being able to bring in a lot of new experiences so that when we’re back home, we’re like let’s go out somewhere in nature, bask in our new experiences and put out new ideas. J: A lot of your new music talks about different women… or the same woman? B & M: Yeah we have one girlfriend together! J: Wait, no, that’s not what I meant! B & M: We don’t, we don’t! They’re gonna see this interview and freak out. Benji: We were both raised by strong women, I was raised by a single mom. And his mom is a really strong woman. And we’ve had a lot of female friends and intimate partners who have pushed us to be more and to grow so we wanted to pay our respects to that. Max: And it’s a lot about women in general and being able to appreciate the role of a woman as a man in a deeper way. Benji: I think it’s great that there’s more push for equality now, but we want to just push that even more to the forefront, especially in regard to these women in our lives who have inspired us. I think it was a great place to start. Photo by Anne-Marie HalovanicJ: Who would be your ideal artist to collaborate with? Max: Radiohead. If we could just pick one, Radiohead. It would be a sick collaboration. I’d have a lot of fun with that. J: What’s your favorite Radiohead song? Max: Weird Fishes, House of Cards, anything off In Rainbows. J: Who are y’all seeing this weekend? Max: Paul McCartney, Hozier, Khalid, and a handful of other people. Benji: I saw David Byrne, it was great. We both saw Manchester Orchestra. It was amazing, that band changed my life. Listen to slenderbodies on Apple Music and Spotify. You can find upcoming tour dates on their website. The post Interview: Nature & Strong Women Inspire slenderbodies’ Lucid New EP appeared first on Verge Campus. Source