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Ultra Music Festival will not return to Bayfront Park in 2019, according to several news sources. The City of Miami Commission voted against a 5 year agreement for the festival to remain at Downtown Miami’s Bayfront Park. If the contract would have been approved, Miami would have received a minimum of $2 million each year from Ultra, more than double what Ultra had paid them previously. It’s unclear where the festival will return to in 2019. It’s also noted that a new deal could be reached. This story is developing. UPDATE: Ultra has released a statement regarding today’s decision. SOURCE The post Ultra Music Festival Kicked Out Of Miami’s Bayfront Park appeared first on EDM Maniac. Source

Fabric is pulling out all the stops for its forthcoming 19th birthday celebrations with Helena Hauff, Ricardo Villalobos and Kölsch. Ricardo Villabos and the high-flying Helena Hauff have been added to an already juicy line-up for the club’s latest Forms events throughout October and November. They’ll be joined by fabric’s usual suspects Terry Francis and Craig Richards, alongside the previously announced DVS1, Sonja Moonear and Joy Orbison for a 30-hour marathon on October 20. Elsewhere, on November 16, Kölsch will take control of Room One for an open to close journey through house, techno and everything in between, with the line-up for Room Two still to be announced. And finally, Green Velvet helms a Reptile Dysfunction takeover of Room One on November 30, with support from Mele and Doorly. The club has been through the wringer in recent years, with a forced closure in late 2016 and then the subsequent reopening under incredibly strict licensing rules, which included a 21 age limit for all attendees. It’s been a price worth playing though, as the club has continued to thrive despite the watchful eyes from local authorities. You can grab tickets for all the events, here. The post Fabric celebrates its 19th birthday with Helena Hauff, Ricardo Villalobos and Kölsch appeared first on HBF. Source

Meet Shade Valintino Singer and hip-hop artist, Shade Valintino celebrates the start of a new season with the release of the new single “Beautiful Bad”. The “Beautiful Bad” release will also be accompanied by a campaign which will focus on inspiring women of all nationalities, shapes, and sizes to embrace themselves, including all of their flaws and scars as beautiful. Alex Cantres (Shade Valintino) was born in Astoria Queens and raised in Long Island, NY. At birth doctors gave Shade Valintino only one week to live. Shade beat those odds and has continued to defy the odds his entire life. At the age of fifteen Shade Valintino was thrust into fatherhood and by the age of sixteen, he was the father to two children. This gave him the motivation and desire to do better and pursue his dream of having a music career. Shade Valintino is a rare talent who has the determination to be successful. He is a singer, rapper and songwriter who has a signature dance move that is hard to mimic. Shade Valintino’s last single featured Jaquae from Love and Hip Hop. Shade Valintino’s solo debut album was released April 6 of 2018 and was entitled “Small Budget Big Dreams.” With the release of “I Got It” and “Beautiful Bad” Shade will solidify his place as one of hip-hop and R&B’s up and coming stars. Shade has performed from Boston down to Austin, Texas. Opening for the likes of Wu-Tang, The Lox, Uncle Murder, and Shade was most recently added as direct support on The Diplomats: Dipset Forever 2018 summer tour. Shade Valintino has that once in lifetime voice, personality, and style that will leave a lasting impression on the modern music scene. Stream “Beautiful Bad” by Shade Valintino, courtesy of Spotify. Watch “Beautiful Bad” above. The post Shade Valintino Inspires Natural “Beautiful Bad” : Watch appeared first on Verge Campus. Source

California’s only overnight beach festival is right around the corner. Oceano Music Festival is taking place October 11-14th at Pismo State Beach. This weekend will include 70+ hours of nonstop House and Techno music across 2 incredible stages and will include 4 days of breathtaking beach camping. It doesn’t get much better than this! There will be more than 50 artists in attendance that will deliver their stellar performance right on the beach. You’ll be able to find Sports, Art, Yoga, Cuisine, and fashion vendors all at your fingertips. For more information and tickets, click here! The post Oceano Music Festival Invades Pismo State Beach appeared first on EDM Maniac. Source

Origins is a recurring new music feature that tasks an artist with revealing what inspired their latest single. Reunions have become more and more commonplace in our hyper-nostalgic modern culture, but few reemerged with a roar as loud as Live’s was when its original lineup reformed in late 2016. The alt-rock titans spent 2017 unleashing their myriad hits on the road, as openers for Guns N’ Roses, and at established festivals like Lollapalooza, Arroyo Sec, and Voodoo Experience, each performance as fresh and ferocious as they were two decades prior. This past summer, they hit the road alongside Counting Crows to the delight Gen-Xers everywhere, and early next year they’ll play the acclaimed KAABOO Del Mar festival’s Cayman expansion. And they’ll have new tunes to share with fans thanks. The first of the band’s fresh output came earlier this summer with the rowdy “Love Lounge”, which emerged with rumblings about a new EP. This week, Live announced more details, including that the EP is called Local 717 and is slated for an October 12th release. Produced by co-founder and lead guitarist Chad Taylor, Local 717 marks the band’s first effort since 2014’s The Turn, and its first with co-founder and lead singer Ed Kowalczyk since 2006’s Songs from Black Mountain. (Read: Lightning Crashes: Live on Reuniting, Burying the Hatchet, and Throwing Copper) “I’m really proud of what we have been creating in the studio,” Kowalczyk told Rolling Stone upon the release of “Love Lounge”. “[It’s] a testament to our shared love of music, each other, and our fans.” Consequence of Sound is stoked to premiere the EP’s second single, “Be a Giver, Man”. Taylor’s dynamic riffs twist and crackle beneath Kowalczyk’s bravura vocals on the vibrant track, which urges listeners to “be the light where no one goes.” Meanwhile, the song’s walloping percussion comes courtesy of Jane’s Addiction drummer Stephen Perkins. Hear it below. For more on how “Be a Giver, Man” came about, Kowalczyk and Taylor dug into some of the song’s Origins. Giving: “Be a Giver, Man” is a song in response to what we all can see happening in the world around us. Mainly, that we live in a culture of acquisition — an “I gotta get mine” type of worldview is dominant. What the song is trying to do is to be an invitation to see things the other way around. To see that giving, whether it’s dollars to a charity or a smile to someone feeling down, is a magical and miraculous process. — Ed Kowalczyk Stephen Perkins of Jane’s Addiction: Stephen Perkins of Jane’s Addiction, photo by Philip Cosores And by the way, that wicked percussion in the bridge is Stephen Perkins of Jane’s Addiction! Which is perfect because we were going for an intense but super fun production on this song overall and no one is as intense and fun as Jane’s Addiction! — EK Meditation: I typically reserve Sundays as my spiritual retreat. Some people might go to church but my meditation practice is me alone with my guitar. I crank my amp and literally play, without intent, until I forget about time. The bullshit that typically fills my head drifts away, and I find peace within the noise of the guitar and amp. On this particular winter Sunday, when I returned to my conscious body, I was playing the riff that would become “Be A Giver, Man.” — Chad Taylor Demos: I immediately filmed a video of me performing the riff and saved it for my next writing session with Ed. This one had something extra special, but even I couldn’t foresee Ed’s intense melody and the hooky counter guitars that are now essential to the song. Add in Stephen Perkins’ percussion and the track just comes to life. As soon as I heard the song in its finished form, I thought ‘this isn’t the same old LIVE, we’ve taken ourselves to a new place.’” Above is the initial video clip I saved for Ed. Local 717 Artwork: Source

With the new album Beastland on the way from Author & Punisher — the one-man industrial metal band masterminded by Tristan Shone — Heavy Consequence and Consequence of Sound are teaming up with the artist to bring you the exclusive premiere of the track “Ode to Bedlam” (listen below). Author & Punisher is an act like none other in the metal scene, with Shone fashioning homemade robotic instruments to create his unique and pummeling sound. Beastland, due October 5th, is Author & Punisher’s eighth album overall and first for Relapse Records. Shone tells us of the multilayered song, “‘Ode to Bedlam’ is a track inspired by a book The Fifth Season by N.K. Jemisin — a brilliant dystopian fantasy focusing on elements of racism, planetary demise and tribalism, among other things. Like the novel, the track is heavy and dark, but also meandering, eventually finding a triumphant finale.” He adds. “Along with being a somewhat political album, albeit in an abstract prose, Beastland is an one that explores the emotional and physical pain of our downfall, where I’d like to think I take an analytical approach, rather than one of pure cynicism and despair.” Beastland is available for pre-order digitally at this location and physically at the Relapse Records store. In support of the album release, Author & Punisher is out on the road through early December, playing Europe and North America. A full list of dates can be seen below. Author & Punisher 2018 Tour Dates: 09/27 – Los Angeles, CA Cold Waves LA @ 1720 10/12 – Rotterdam, NL @ RVLT Festival 10/13 – Helsinki, FI @ Blowup Vol. 4 10/14 – Tallin, EE @ Sveta Baar 10/15 – St. Petersburg, RU @ LES 10/16 – Moscow, RU @ Model T 10/17 – Malmo, SE @ Plan B (w/ Conan) 10/18 – Copenhagen, DK @ Pumpehuset (w/ Godflesh) 10/19 – Oslo, NO @ Bla 10/20 – Gothenborg, SE @ Sticky Fingers (w/ Godflesh) 10/24 – Lisbon, PT @ MusicBox 10/25 – Porto, PT @ Maus Habitos 11/03 – Athens, GA @ Moogfest @ Georgia Theatre 11/04 – Chapel Hill, NC @ Local 506 11/05 – Richmond, VA @ Richmond Music Hall 11/08 – Cambridge, MA @ Sonia % 11/09 – Montreal, QC @ La Sala Rossa * 11/10 – Toronto, ON @ Baby G * 11/11 – Detroit, MI @ El Club * 11/12 – Oberlin, OH @ Dionysus Disco * 11/13 – Chicago, IL @ Empty Bottle * 11/15 – Pittsburgh, PA @ Spirit Hall * 11/16 – Philadelphia, PA @ PhilaMOCA * 11/17 – Brooklyn, NY @ Market Hotel * 11/18 – Baltimore, MD @ Metro Gallery # 11/20 – Nashville, TN @ The High Watt # 11/23 – Fayetteville, AR @ George’s Majestic Lounge # 11/24 – Wichita, KS @ Barleycorn’s # 11/25 – Kansas City, MO @ Record Bar # 11/26 – Denver, CO @ Larimer Lounge # 11/27 – Salt Lake City, UT @ Urban Lounge # 11/28 – Boise, ID @ Neurolux # 11/30 – Portland, OR @ Mississippi Studios ^ 12/01 – Seattle, WA @ Chop Suey ^ 12/03 – San Francisco, CA @ Rickshaw Stop ^ 12/04 – Fresno, CA @ Strummers ^ 12/05 – Los Angeles, CA @ The Echo ^ 12/08 – San Diego, CA @ Casbah (Record Release Show) % with The Body and Uniform * with The Body and Uniform plus Intensive Care # with The Body ^ with The Body and Uniform plus Street Sects Source

J. Cole has never been cagey about his admiration for one of hip-hop’s legendary MCs, Nas. Back in 2013, he released a track called “Let Nas Down” in direct response to hearing the rapper didn’t like his 2011 single, “Work Out”. Just this past August, J. Cole rapped over Nas and the Bravehearts’ “Oochie Wally” for his freestyle “Album of the Year”. Despite this, he’s apparently not so comfortable with his former idol after abuse allegations were levied against him by his ex-wife, Kelis. Speaking in a new interview for Billboard, J. Cole said learning about the allegations personally “hurt” him and caused him to distance himself from Nas. “It feels weird because I fuck with Nas, but I just have to be honest. I came up seeing too much fucked-up shit for that to be acceptable. I don’t care who it is. I don’t fuck with people abusing women, and I don’t fuck with people not taking care of their kids,” he said. Nas has denied the allegations, stating bluntly, “I do not beat women.” He also flipped the accusations, saying it was Kelis who was abusive and claiming she violated court orders regarding visitation rights for their son. Regardless, J. Cole said he believes race plays a major issue in how “cancel culture” works: “That’s tough because we’re talking about black women. If it was a white woman involved with these allegations, then sadly — I’m realizing as I’m talking to you — maybe people wouldn’t cancel them just as quick, but labels would be forced to cancel, because white outrage is way more powerful than black outrage, unfortunately. When white people start getting outraged about this type of shit, then maybe something will happen.” Elsewhere in the interview, J. Cole also distanced himself from former presidential candidate Hillary Clinton. Despite performing a Get Out the Vote concert for the Democrat days before the 2016 election, he revealed he himself did not vote. “Because Hillary Clinton wasn’t somebody that was motivating me to go vote,” he said. “If it was Bernie Sanders, I would’ve showed up and voted. I would’ve been the first one in line, no bullshit. No disrespect to Hillary.” He added that he wouldn’t have campaigned for Sanders, either, stating, “…I don’t care to lend my voice for a politician at the end of the day.” Source

Volume 4 continue to soar with the latest new single Volume 4 is incredible, edgy, and the missing piece of R&B that hasn’t been seen since Destiny’s Child. Storming through the East Coast, the beautiful foursome of Brittany “Janelle Gee” Garcia, Tamia “Frenchiee” Corpening, Karissa “K.Riss” Hayden, and Diera “DK” Taylor create a buzz with the new single, “Mood”. An anthem, “Mood”, Volume 4 describes how to rule the world and secure the bag at the same time. Catchy, sexy, and charismatic, the new group is quickly becoming one of the hottest new sensations of 2018. “Mood” follows Volume 4’s previous efforts “Body Work” and “Catch A Vibe”. Listen to “Mood” by Volume 4 above, courtesy of Spotify. The post Volume 4 are in a “Mood” : Listen appeared first on Verge Campus. Source

Two of music’s great eccentrics collaborate on new song “High” Back in 2016, news broke that Atlanta rapper Young Thug and glam rock legend Elton John hung out after publicizing their love for each other’s music. At the time, the encounter merely blessed us with an incredibly wholesome set of instagram pictures. Two and a half years later, a collaborative effort between the two has surfaced. Young Thug’s new On The Rvn EP is a quick six song, 20-minute jaunt, with additional lyrical assists coming from Jaden Smith and 6LACK. The majority of the project’s runtime is head-bob-inducing but all too familiar. Any of the first five tracks would fit snugly into Thug’s last mixtape Slime Language, released just over a month ago. The immediate standout is clearly final track “High,” a long-rumored song based around a generous sampling of seminal Elton John hit “Rocket Man.” Vocals ripped from an a cappella performance of the song make up the majority of the song’s chorus and bounce around in the periphery of the beat during Young Thug’s verses. Thug harmonizes with Elton on the hook, stretching and warping the refrain “I’m gonna be high/like a rocket man” in his signature syrupy, auto-tuned style of crooning. The verses are peppered with the aggressive posturing that’s common in Thug’s music, but it’s the more reflective and sincere lines that truly land. Over somber piano keys and spacious 808s, Thug touches on being financially able to take care of his family, drug addiction and rocky relationships. “She let me back in like she never cried/she let me back in like I never lied/I look like a cat with eleven lives,” he raps. On his most high-profile collaboration yet, Young Thug combines his penchant for amorphous vocalizations and sticky flows with a level of emotional depth that keeps him from getting washed by one of the biggest stars in the history of music. Thugger has been pumping out releases over the past few months, and this final track off his new EP offers much reason for optimism for whatever direction the shape-shifting artist heads in next. The post Long-Rumored Elton John Collab Surfaces on New Young Thug EP appeared first on Verge Campus. Source

Nowadays, there are two songs pervading the global consciousness in innumerable, life-changing ways. One is “Zendaya is Meechee” — the other, Lady Gaga and Bradley Cooper‘s soaring, catchy ballad from their upcoming film A Star is Born, “Shallow”, is finally out in full for the universe to absorb. Audiences first heard the song in snippets from the film’s infamous teaser trailer, in which director-star Cooper plays a grizzled, alcoholic musician who discovers Gaga’s underappreciated songbird. The song, which Gaga co-wrote with collaborators Mark Ronson, Andrew Wyatt and Anthony Rossomando, is a touching slow burn of a ballad that highlights Gaga’s incredible range, while showing off Cooper’s heretofore unknown musical chops. Watch the music video for “Shallow” below. The track premiered on Apple Music’s Beats 1 Radio, where Gaga spoke about the film and her collaboration with Cooper. Listen below. A Star is Born comes to theaters October 5th, and its official soundtrack rolls out that same day via Interscope Records. Source

Pack your bags for a trip to San Francisco. Kaskade will return to Bill Graham Civic Auditorium for an incredible open to close set. Unlike years past, this year’s event will be one night only on Monday, December 31st. Sign up for presale tickets for when they go on sale 10/3 at kaskademusic.com. The post Kaskade Announces New Years Eve San Francisco appeared first on EDM Maniac. Source

With the world constantly changing, Andrew Rayel finds his harmony by pioneering great music. We have been keeping up with his music for quite some time now, so it was nice to get a chance to talk to him about his adventures as a DJ/Producer and head of A&R for inHarmony Music. First, get excited to turn on his latest Armada release with Garibay,“Last Summer”, that stretches Rayel’s spectrum of sound by warmly entering the pop realm. As the season changes to fall, you can look back on this past summer while being washed with these blissful vibes. This radio friendly single creates its own branch of electronic music by uniquely mixing underground sounds with mainstream melodies, in perfect harmony. Tell us about your recent single with Garibay ft Jake Torrey, “Last Summer,” What was the inspiration for the track and how did the collaboration come about? Andrew Rayel & Garibay ft Jake Torrey ‘Last Summer’ ANDREW RAYEL: We started our collaboration back in December of 2017. I knew I wanted to do a track as a summer anthem which was gonna be more pop, slower, more influenced by radio. I fell in love with his sound. I thought it would be great to combine my sound with Fernando’s and his expertise in the pop world. We did it in two days in December: the first day, we did the lyrics and vocals; the second day was the production of the track itself. Ninety percent of it was done after two days. It took another five months to craft the last 10% to make it perfect. I was very happy to work with Fernando [Garibay] because his vision of music is very strong and deep and he has great concepts, so it’s not like the usual things with other artists. With him it was completely different. We listened to a lot of other songs he enjoyed. We had in our minds a very clear vision of how we want the sound and what the song is gonna be about. Watch the official music video for “Last Summer”:  You recently celebrated your 26th birthday, since your career started at such a young age and your touring schedule has been so rigorous, what are some activities on your bucket-list for the remainder of your 20’s? ANDREW RAYEL: ‎I’m 26, but I feel like I haven’t don’t a lot of stuff in my life. I’ve never been skiing, for example. Two years ago, I was on a mountain on vacation for the first time. I love nature in general but I’ve never really hiked properly, so all the activities related to nature I haven’t done. I’ve never jumped with a parachute, never been to a lot of countries even though I’ve visited 40 to 50 countries. I like to think there are a lot of things I haven’t done. I’ve never been to an NBA basketball game, never been to a professional soccer game in a proper soccer stadium even though I’ve had chances. With my schedule, in terms of sports, I haven’t done many of them which I’d love to go to the stadium and watch proper teams play. photo credit Andrew Rayel We often see you playing music live from your studio in Moldova. How does it feel when you’re home? Are you a hometown hero or just one of the locals? photo credit Moldova facebook ANDREW RAYEL: Everyone back home knows me but people don’t really bother me in my hometown where I was born. Everyone knows me but a lot of them are really nervous to approach me even though I see their eyes looking at me. I feel pretty good that a lot of them are very educated and they don’t jump on me because they know I’m coming home to see my parents. As head of A&R for your label, inHarmony Music, what captivates your attention about a new artist? How do they get your attention and what are some key aspects of their music or personality that make you want them on your label? ANDREW RAYEL: It’s always different and it’s definitely not personality at all. It’s pure music at the beginning. If a track is melodic, sounds fresh and is properly mixed and mastered to a decent level and it matches my vision of music in general, and if I can see playing it in my sets, I see this person being an artist on my label. But, there should be a lot of consecutive tracks of the same quality or growing quality. If I see an artist is consistent, I’ll make him an artist for the label. Then I can say he captured my attention completely. Because there are artists who deliver one great track but then not be consistent. You have to be consistent. If I see all these qualities: great music, is consistent, wants to achieve something, he’s dedicated to create great music, he’s definitely got my attention, then he has a chance of being supported. I’m talking about signing a whole artist, because I can get 20 great tracks from one great artist. I don’t just wanna sign an artist who’s a one-track artist. A lot of guys come to me, we work on one track, some people make the mistake to go to a smaller label for a weaker track, but for me, I’d say, let’s skip the weak one and let me release the next good ones. I don’t want to invest in an artist if he’s going to go to a lesser label for the weaker releases. photo credit Andrew Rayel Where do you see your career in 10 years? What are some of your big-picture goals? When we look back at the next 10 years of your career, what do you feel your next endeavors will include? ANDREW RAYEL: Growing the label [inHarmony Music] to a level where it can sustain itself without me being involved. To be a separate entity that grows and develops on its own with established artists. Have a big show and brand and I’d do every once in two years, Find Your Harmony and something else maybe, that would be just me finding my harmony in music and collaborating with all my dream collaborators with AAA dream artists, not from the trance world, because I’ve done that already. But I mean in different genres. Collaborations with big vocalists or artists like Hans Zimmer or Beyonce, that’d be the big picture. Being one of the top 10 DJs in the world and being able to stay there. You never know. The world is changing. The world is moving very fast and you never know. What’s important now might not be important in a few years. Tune into Andrew Rayel’s latest Find Your Harmony Radioshow ep. 122. Get the full Andrew Rayel experience by catching him at one of his stops along his international tour that is heading through Turkey, Peru, Mexico, Netherlands, Slovakia, Las Vegas and capping off the year in New York at the Marquee. Keep up with Rayel’s next moves by following him on his social media handles linked below. Andrew Rayel at Tomorrowland (ASOT Stage) Follow Andrew Rayel: Official Facebook Soundcloud Twitter Spotify inHarmony Music Instagram The post Andrew Rayel on New Sound, Life, Label and Progression appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Paul McCartney is currently touring in support of his latest solo album, Egypt Station—and will appear in his first 60 Minutes profile this Sunday—but today he’s got some altogether unrelated news. He’s written a children’s picture book, and it has a hilariously hokey name. It’s called Hey Grandude!, and it’s being released in September of 2019 via Random House Kids. In a video posted to his Twitter account, McCartney says the book was inspired by a nickname, Grandude, given to him by his own grandchildren, of which he has eight. It follows the titular character, who he describes as “kind of magical,” and his own grandchildren as they go on adventures. He says he’s written it for “grandfathers everywhere.” In 2005, McCartney released High In the Clouds, a children’s book co-written with Geoff Dunbar and Philip Ardagh. Hey Grandude! marks his first picture book. See the video announcement below, which features some of the book’s artwork. "I’ve written a new children’s picture book. It’s called Hey Grandude! Why? Well… I’ve got eight grandchildren…" Hey Grandude! will be published next September by @PuffinBooks in the UK and @randomhousekids in the US. Pre-order HERE: https://t.co/YIRHai7aTu pic.twitter.com/dFDC5zRDQ0 — Paul McCartney (@PaulMcCartney) September 27, 2018 Source

The story of Cliff Burton is the story of two deaths. There is his own tragic passing, which happened on September 27th, 1986, in the early morning hours when Metallica’s tour bus skidded off the road in Sweden. As has become part of metal lore, the vehicle rolled down an embankment and threw the 24-year-old out of a window, ultimately landing on top of him. He died instantly. But there was another death, 11 years earlier, that is little discussed but had a major impact on Burton’s life and career. In May of 1975, his older brother Scott was killed by a brain aneurysm at the far too young age of 16. To hear their parents tell it, Cliff, who was 13 at the time, used that as a motivating factor to dedicate himself to music. As Jan Burton put it in an interview published on a Metallica fan site, “He said to a couple of people, ‘I’m gonna be the best bassist for my brother.’” That small stretch of time between those bookended deaths changed everything about metal and heavy rock, for good and for ill. Burton threw himself at the task of becoming a great bass player, practicing for hours at a clip and surpassing the abilities of some of his earliest teachers. He became a fixture on the Bay Area music scene, playing in bands with future Faith No More members Jim Martin and Mike Bordin, as well as the well-regarded ensemble Trauma. It was that last outfit that helped introduce him to his future Metallica bandmates, who were allegedly blown away when they heard an early version of the solo that would become “(Anesthesia)—Pulling Teeth,” from the group’s debut Kill ‘Em All. James Hetfield and Lars Ulrich convinced him to step in for the recently departed Ron McGovney, and set in motion the band’s legendary and rocky path into musical infamy. Listening to “(Anesthesia)” today, it’s not hard to understand what drew Hetfield and Ulrich to Burton. It’s not a fleet-fingered showcase a la Thundercat or Stanley Clarke, but it still carried dynamism and power through his use of effect pedals, particularly the wah-wah pedal that gave a wobble and punch to the song. Its depth and speed also revealed a player who could keep up with the speedy power chords that would mark all three of the albums Burton recorded with Metallica. He could hold his own with his bandmates no matter how heavy or knotted up the arrangements became. Burton was a presence on those first three Metallica albums, distinguishing himself as a vital piece of the puzzle. He sat nicely in the pocket, doubling up on Hetfield’s rhythm guitar parts, but in moments like the chromatic solo that opens “For Whom the Bell Tolls” or his proggy and throbbing solo work on “Orion”, he could burst through a song’s mass like a battering ram. His contributions to the songwriting and his mere presence as this positive, leveling force within the band, not to mention his willingness to put the work in, helped propel Metallica to levels of success around the world that were unheard of at the time. And, as is oft-repeated but still worth mentioning, they did it without the support of the dual forces of commercial radio and MTV. When that was ripped away from the world on September 27, 1986, nothing would be the same for the group after. The surviving members threw themselves into their music with even greater force, culminating in the majestic achievement that is …And Justice For All and a music video for “One” that catapulted them to crossover fame. Nothing that happened after that, from the megaton success of “The Black Album” to the cringeworthy behavior on display in the documentary Some Kind of Monster would have occurred were it not for Burton’s death. Again: for good and for ill. For their part, Metallica forged ahead to become the biggest metal band on the planet, though it’s evident that the loss still weighs heavy on them. In a video released to promote a book about the making of Master of Puppets, Kirk Hammett wiped away tears when talking about his old friend. His death still looms large among the group’s fans, as proven by their successful efforts to have the bassist’s hometown of Castro Valley, California, proclaim February 10th “Cliff Burton Day” on what would have been his 56th birthday. Over three decades later, no one who knew him or had their lives affected by the music that he made can really let Burton go. He still looms large over Metallica in a way that Jason Newsted or Robert Trujillo never could. For all their talents, it is hard to compete with the legend that Burton was and still remains. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Videos Pearl Jam’s “Jeremy” Annotated Video Source

Kanye West’s busy 2018 is about to get busier. Following his five-part Wyoming Series, which included his solo LP ye and his Kids See Ghosts collaboration with Kid Cudi, the rapper has confirmed a new album called Yandhi will drop this Saturday, September 29th. Ye has been teasing the record over the last few days via social media. Last week, he posted an image similar to the album art of Yeezus, except this was of a mini disc jewel case with a purple sticker instead of a blank CD with a red sticker. Many speculated this meant Yandhi would serve as a sequel to that 2013 effort, but while that hasn’t been entirely confirmed, a new tweet has promised the Saturday release. “We’re releasing Yandhi Saturday night,” Kanye tweeted. “We know it will come in number 2 to my brother Lil Wayne and that’s lovely. The universe needs Ye and Wayne music at the same time.” Yeezy is of course referring to Weezy’s long-awaited Tha Carter V, which is set to finally be revealed tonight (September 27th) after years of being shelved. For such a renowned egotist, the statement is remarkably gracious, and who can argue that having new albums from two of hip-hop’s greatest is a bad thing? we’re releasing Yandhi Saturday night We know it will come in number 2 to my brother Lil Wayne and that’s lovely The universe needs Ye and Wayne music at the same time — ye (@kanyewest) September 27, 2018 Update: Kanye played a snippet of new music while visiting the offices of FADER earlier today. Additionally, he revealed both XXXTentacion and 6ix9ine are featured on the album. NEW YE. via @andycohn pic.twitter.com/WhyE8V3fcx — TKDMEDIA (@mediatkd1) September 27, 2018 This may not be the last 2018 hears of Kanye West, either. In recent weeks, he’s teased a sequel to his Watch the Throne collaboration with Jay-Z, as well as a new LP alongside Chance the Rapper called Good Ass Job. In fact, the same day he first teased Yandhi, he appeared at Chance’s Open Mike Event in Chicago to reveal the album title to fans: JUST SAW KANYE WEST. HE WORKING ON THAT NEW ALBUM @TeamKanyeDaily @kanyewest pic.twitter.com/WlljSkqdql — Carlos Tapia (@cdtapia28) September 18, 2018 Source

Prog-rock impresarios Muse are stringing up their guitars once again, this time for their new single “Pressure”. Leading up to the release of their new album Simulation Theory, due out November 9th from Warner Bros. Records, “Pressure” gives us a sampling of what kind of bombast to expect from the band’s next LP. This is, of course, just the latest in a string of singles released ahead of the album. We previously heard “Thought Contagion”, “Dig Down”, “Something Human”, and “The Dark Side”. By all measures, “Pressure” is classic Muse – driving power chords, catchy hooks, pure wall-of-sound nerd rock. The addition of horns to the song’s central riff is a novel change to their usual sonic arsenal, filling out their already robust sound even further. The music video for “Pressure” is suitably arch to match the song’s power-pop sensibilities. The Lance Drake-directed affair is a big, silly, over-the-top ’80s throwback, featuring everything from a John Hughes-y school dance to Terry Crews zapping gremlins with a Ghostbuster-like proton pack. Watch the retro music video for “Pressure” below. Simulation Theory Tracklist: 01. Algorithm 02. The Dark Side 03. Pressure 04. Propaganda 05. Break It To Me 06. Something Human 07. Thought Contagion 08. Get Up and Fight 09. Blockades 10. Dig Down 11. The Void Source

1. You don’t have to worry about how you’re getting to and from EDC. The folks over at HomeBass understand the struggle of waiting for an Uber or taxi after the festival that may never come. With Uber’s surge pricing and the lines to get out of the parking lot, why not skip the madness and hop on a HomeBass shuttle on-site which will take you back to the resort, safe and sound. 2. Because the party doesn’t stop after EDC. From midnight to 5am, HomeBass is bringing you the ultimate after hours. This gives you the valuable option of showering after the festival in your hotel room, and heading downstairs right to the party. On Friday, throw on your alien attire for the most out of this world after party you’ll ever experience. On Saturday, wear your most wild onesie, because we’re getting down with the wild things on day 2 featuring Crizzly. To finish out this epic weekend, the Sunday Back to the Future after party is the only place to be. 3. You can pregame, relax, unwind, and rewind at the HomeBass pool parties featuring talent like Bijou! Where else can you walk outside your hotel room to a pool party with only EDC-goers? HomeBass rented out the entire resort to make sure those surrounding you are festival family only. Don’t forget your swimsuit! 4. Because where else can you have brunch with DJs from Dirtybird Records and more as they wake you up with the greatest jams and discuss how they make their amazing beats? HomeBass knows how to focus on detail, as they even have a build your own Bloody Mary bar so you can sip while listening to Sage Armstrong, Worthy, and many more. 5. Because no other resort in Orlando has taken care of ALL the details. HomeBass has goat yoga, a cotton candy workshop, a gem and festival hair beauty bar, karaoke, mixology class, and a rehydration station sponsored by Pedialyte. Enough said. 6. You can learn how to shuffle with Vanesa Seco and Sofla Shufflers. HomeBass knows what the people want! And what the people want is shuffling. Join these influential shuffling masters so you can get your booty on the dance floor fearlessly at EDC. 7. You can learn how to break into the EDM industry with us at EDM Maniac Presents: Breaking In Seminar. This is one of the things I’m most excited about, as I’ve learned there really is a place for everyone in the EDM industry, and finding your talents and what you can bring to the table is the first step. Let us guide you to the light at this valuable seminar, because HomeBass is more than just a party. 8. You can WIN a stay at next year’s resort by decorating your hotel room door. HomeBass wants to see your creativity this year! Leave it all at the door and they will choose who has the funniest and most creatively decorated doors, and of course the greatest door of all will be the grand prize winner receiving one free double deluxe pool view room 4-night stay and 4 VIP resort and shuttle passes. 9. You can see Florida in ways you never have before. HomeBass has complimentary shuttles going to and from some awesome excursions including Ziplining & Tree-trekking, ATV & Mucky Duck Riding, Paddle boarding & Kayaking, and Airboat Riding. Whether you’re visiting from out of state or out of the country, these excursions will truly show you the beauty that Florida has to offer. 10. Because HomeBass cares. After meeting the creator and operational director of HomeBass, I can truly say I felt a sense of family. I was blown away by their thoughtfulness and selflessness during the creation of this epic event. HomeBass really is more than just a party. It’s a place where you can go to feel special, loved, worthy. HomeBass donates a percentage of the proceeds to Give Kids the World Village, and they also donate their time to this wonderful organization. Let HomeBass dazzle you as they did me. Come find your home. Resort and shuttle passes HERE. Follow them on instagram for lineup announcements and more: @homebass_orlando. (Resort and shuttle passes are 90% sold out so don’t wait! Grab your passes today.) Featured photo by: Billboard.com The post 10 Reasons HomeBass is Our Top Pick for EDC Orlando appeared first on EDM Maniac. Source

All signs are pointing to Lady Gaga’s starring role in A Star is Born taking her to the next level in Hollywood. While speaking with the pop/film star, Ellen DeGeneres even told her to prepare for an Oscar. On today’s episode of Ellen, the two talked about what it was like to take on the iconic role of Ally and working with director/co-star Bradley Cooper. Gaga revealed that she’s had a bit of trouble letting go of Ally, saying she immediately dyed her hair blonde after filming to “get out of it as soon as possible.” “There’s some tremendous emotion and tragedy,” she said. “So I wanted to get her out, but to be honest she’s still there.” Ellen also asked about what it was like to not have to wear makeup for the role, and Gaga explained how it created a differential between her and the character. While Gaga was gung-ho about becoming a pop star, Ally is someone more jaded by the industry. “It was freeing then terrifying, freeing then terrifying. But you know what, it was perfect for the character. It’s exactly who Ali is,” she explained. “In many ways it was wonderful for me because I got to experience a real challenge with this role, because in a lot of ways Ally and I are nothing alike.” She also had heaps of praise for her co-star and director, Cooper. She recalled sitting down with him at a piano for the first time and singing Creedence Clearwater Revival’s “Midnight Special”. “I heard his voice and stopped dead in my tracks and said, ‘Oh my gosh, Bradley, you can sing.’ And he’s a great songwriter; he wrote on all his songs in the film.” All in all, Gaga said working on A Star is Born has been “one of the most filling artistic experiences of my life.” Check out the interview below, as well as a game of Burning Questions in which Gaga reveals her favorite body part (her nose), he first celebrity crush (Adrien Brody), when she had her first kiss (14), and her guilty-pleasure reality show (90 Day Fiancé). A Star is Born opens October 5th. Watch the trailer below. Source

The Black Queen are back with their second album, Infinite Games, which arrives tomorrow (September 28th), and they’ve teamed up with Consequence of Sound and Heavy Consequence to premiere the video for the new track “Your Move” (watch below). The trio is led by Greg Puciato, the fearless frontman of The Dillinger Escape Plan, the acclaimed metal band who called it a career at the end of 2017 after a 20-year run. Musically, The Black Queen is a stark contrast from DEP, exploring electronic and ethereal sounds that range from moody to poppy. The group is rounded out by Steven Alexander Ryan (Nine Inch Nails/A Perfect Circle technician) and Josh Eustis (Telefon Tel Aviv), having formed in 2015, releasing their debut album, Fever Daydream, in 2016. Of the ambient track “Your Move”, Puciato tells us, “We wanted a lot of negative space in the song so that the musical movements could be as small and nuanced and slow morphing as possible.” He adds, “Lyrically, the song is a reference to the intoxication felt when encountering someone similar, and realizing that you have the mutual ability to be open and vulnerable and unguarded with each other.” Watch the video for “Your Move” below, followed by a brief Q&A with Puciato about the song, the new album and the overall vibe of The Black Queen. The album Infinite Games is available for order at TheBlackQueen.com, and the band’s upcoming tour dates appear at the bottom of this page. Can you discuss the track “Your Move” both musically and lyrically? The song originated from a demo that I made on an airplane on the way back from India when I was there with Dillinger in late 2017. I took a bit of a half nap, couldn’t really sleep but managed to get into the perfect midway zone, where abstract ideas form and you’re still able to grab them, and managed to grab one. The structure was fully intact, the lyrics were fully intact. That’s always a great but rare feeling. Got home, sent it to Steve and Josh, and with this one, Josh really ran with it. He gutted it musically, rebuilt it over a few days, and we went with the approach that we refer to as being “blown outta the airlock”. A vacuum. We wanted a lot of negative space in the song so that the musical movements could be as small and nuanced and slow morphing as possible, so as to force the listener to slow down and get zoomed really far in. Lyrically, the song is a reference to the intoxication felt when encountering someone similar, and realizing that you have the mutual ability to be open and vulnerable and unguarded with each other in a way you don’t seem to be able to with many others, but then the resultant crushing stalemate when you realize that those same traits will keep it from ever progressing beyond a certain point. Recognition of damaged self in another. The video for the track is dark, grainy and somewhat creepy, focused on a single subject throughout. Can you talk about how the visual pairs with the song? The video is a collaboration between Steve and I, and is a mirror of the song, as far as the pace being glacial, the amount of negative space, and the topical focus on being in a state of simultaneous excitement and hopeless frustration, being in a state of heightened sensitivity but also ultimately frozen and struggling to move. Infinite Games is the band’s second album, following Fever Daydream. Can you discuss the musical progression from the first album to the new one? We became much more confident. The first record we spent a lot of time learning to speak the same language as bandmates, and figuring out what the natural cross-section of our Venn diagram was, stylistically. The resultant album was more obvious, more heavy-handed, more musically nail on the head. The largest most obvious parts of our overlapping interests. This album we’ve had more time together, so we’ve realized more of them, and we have the relationship with each other to further explore nuance and vulnerability. On the surface, the RNB element is much more pronounced, as is the experimental element. The Black Queen is such a musical departure from the Dillinger Escape Plan. When did your interest in electronic music begin, and who are some of your influences? I don’t really care about genre, to be honest with you. I’m not so much of a consumer. I just output my signal and try to stay honest emotionally and artistically. I have no real interest in a certain genre of music too much. If I hear something and like it, I like it. I’m not some encyclopedia of anything as a listener. This band was a result of three people being friends, and having similar views in that regard, and feeling interested in exploring the freedom that came from those views, not a result of saying, “Hey, let’s make a band that sounds like this.” When you work with different people, the Venn diagram changes, and the result changes. I’m more influenced by the idea of an artist, or by my abstract impression of them that I’ve formed in my brain, than what they actually are or even sound like. Like the Art of Noise, or Tangerine Dream, but this is all from a long time ago. I’m just as influenced by Maxwell’s Embrya album as any of that, or Seal “Prayer for the Dying”. Keith Jarrett’s Koln concert. As I said, this song to me was meeting someone and having a blissed-out night with them that you don’t want to end, and then being sucked out of the airlock, or frozen in the UFO tractor beam in the instrumental bridge section. We didn’t discuss anything musical really at all when putting it together. Most references are either autobiographical or conceptual. In Dillinger Escape Plan, you were known for your fearless and often dangerous stage antics. How would you describe The Black Queen live experience? Well, to me it is about being fearless, yes. Addicted to potential self-harm maybe. But not just in performance. This band feels the same to me in that regard but in a different way. So to me, the live performance is the same. Go up there, tear my skin off, see what happens. If I’ve got any skin left at the end I’ve failed. The Black Queen 2018-2019 Tour Dates: 09/28 – Los Angeles, CA @ 1720 10/05 – Bristol, GB @ Thekla 10/07 – Glasgow, GB @ SWG3 Studio Warehouse 10/08 – Leeds, GB @ Brudenell Social Club 10/09 – Manchester, GB @ Deaf Institute 10/10 – Nottingham, GB @ Nottingham Contemporary 10/11 – London, GB @ Bush Hall 10/12 – Tilburg, NL @ Poppodium 013 10/15 – Sint-Niklaas, BE @ Sint-Niklaas De Casino 10/16 – Frankfurt, DE @ Zoom 10/18 – Cologne, DE @ Blue Shell 10/19 – Paris, FR @ Supersonic 10/20 – Milan, IT @ Legend 54 10/22 – Vienna, AT @ B 72 10/23 – Munich, DE @ Backstage Halle 10/24 – Leipzig, DE @ Werk 2 10/25 – Prague, CZ @ Chapeau Rouge 10/26 – Warsaw, PO @ Klug Hybrydy 10/27 – Berlin, DE @ Gretchen 10/28 – Hamburg, DE @ Nochtspeicher 10/30 – Copenhagen, DK @ Stengade 10/31 – Oslo, NO @ Parkteatret 11/01 – Stockholm, SE @ Nalen 11/03 – St. Petersburg, RU @ Mod Club 11/04 – Moscow, RU @ 16 Tons 01/18 – Sydney, AU @ Landsdowne Hotel 01/19 – Melbourne, AU @ Northcote Social Club Source

Byron Bay outfit Tora just put out a couple of remixes for their latest tune Wouldn’t Be The Same ft. Keelan Mak and one of the artists commissioned was none other than Sydney’s own Mookhi. The resulting remix was a gloomy almost spooky chilled out vibe that makes use of distorted vocals and a super basic beat to really turn Wouldn’t Be The Same into something completely new and exciting. Being the absolutely top human being she is, she’s given us a quick run through of how she did it via this sweet little vid! We took it one step further and asked her for a few tips and tricks to consider when attempting to remix a big tune, so check out the video, read the tips below and let us know if they helped! Tip #1 – Strip it back How I approach a remix might be considered unconventional, but I don’t know, I don’t ever think there’s a right or wrong with music. I know a lot of people may take a good listen of the original and jot down ideas to plan their overall concept, but I find this a bit overwhelming. I like to start with simplicity so I have room to grow with my own direction. I recommend taking just 1 single stem or element of the original and simply play with ideas – like a child. Physical application of ideas may seem like it eats up time, but in the long run you’ll find things come more fluidly; you’re less analytical and maybe less critical of your process. Tip #2 – Consider the listener’s experience This ones a tough one. The original has already established ideas, conventions, impressions and expectations with the listener. You have a choice, you can either explore what’s already established, or create a completely new listening experience. With recontextualisation, I’d recommend finding out the original key before changing it as there may be some chords/scales or modes that will clash (but that may be the effect you’re going for, who knows?). Identifying the emotional source of the original could encourage you to explore the opposite sentiment also. Tip #3 – Make mistakes What people don’t consider is that you can’t force yourself to make a mistake, it just happens. It becomes a mistake once you call it one. What you can do is force yourself to further explore that mistake with a “try it for the lols” attitude – no inhibition or expectations. Having that connection to your intuition sometimes gets clouded by those nagging critical thoughts. I feel exploring a mistake, however lame or stupid it may seem, resets you a bit, and allows you to connect to that powerful intuition of yours. Source

UK based label Liquid Rituals are notorious for bringing up heavy Wave producers from all around the world. It’s no surprise that their newest release Limit found them team up once again with Perth killers SKELER and Ytho for some of their dirtiest stuff to date. The two producers hail from Perth, carrying the Wave flag for Australia and making quite the name for themselves overseas via the Liquid Rituals label. In a chat with FUTUREMAG, SKELER made the point that Australia is lagging behind with the wave genre, and with help from Ytho he hopes to bring it into the mainstream. “Australia unfortunately always seems to take it time when picking up new genres, however there is no doubt in my mind that it will take off here as it has done around the world. I’m very much on the lookout for new Australian producers making Wave.” This new one is exactly what wave is about, heavy on the bass side of things but to also easy enough to listen to without your brains being blown out. Similar to Dubstep and Eurobass, Wave is less focused on the rap and hip-hop side of things and perhaps easier to get down to in da club. Check it below and tell us if you’ll be jumping on the wave train, you can grab a copy here if you are! Source

Major Lazer have always been on the fringe of afro-beat influence and their latest single ‘tied up‘ has taken it one step further and become full afro-RnB-banger! Serving as the third single in as many weeks from Major Lazer’s afrobeat DJ mixtape it’s an evolution in sound from their Peace is the mission album. Featuring Mr. Eazi and Raye, the song utilises the duality of vocals and creates a soulful energy that pushes a love song style vibe and gets the heart moving. The good times aren’t without a little bit of sadness after Diplo recently announced to Complex that “Next year marks our last album” for Major Lazer. That being said, he indicated there will be “…a lot of stuff (happening) between now and then.” In last week’s release, Orkant/Balance Pon It they utilised the energy of South African artist Babes Wodumo to create a track that exemplifies fun and and high energy. Comparatively All My Life ft. Burna Boy is a lot more low key with a completely different energy and filled with brass sounds that go perfectly with Burna’s smooth laid back voice. At this rate, we can’t wait to check out the next season of releases they’ve got planned, so keep any eye and ear out to experience some true afro beat goodness at the hands of a bunch of talented collaborators x Major Lazer! Check out the tune Tied Up below and tell us what you think! Source

The Lowdown: “Is that my echo?” Prince asks of the empty space that opens Piano & A Microphone 1983, before unloading both barrels into a propulsive, syncopated version of “17 Days”. The nine songs on Piano & A Microphone are not mere echoes of the late icon’s power; instead, this recording offers further glimpses of rougher facets of Prince’s multi-planed brilliance. Saved on a single cassette tape pulled from the artist’s infamous Vault at his Paisley Park home studio in Minnesota, this 35-minute collection documents a solo writing session, including alternate takes, loose covers, never-released song sketches and free-associating grooves. The decision to posthumously release recordings sparked controversy since Prince, who notoriously valued his privacy and creative control, may have never intended for the public to hear this intimate session. While Piano & A Microphone is captivating sonically, it’s also propelled by this intriguing tension: Can we learn anything more about Prince’s creative process through this time capsule, or are we merely trespassing? The Good: Well, it is Prince. It’s all good. This tape, however, showcases Prince’s virtuosity in a light that many fans may not have heard before. It’s neither Prince as guitar hero, nor as the supreme art-pop stylist. It’s Prince in a room with his purest instruments: his mind and his voice.And what an astounding voice. On “Wednesday”, which was intended for Jill Jones’ character in the film Purple Rain but ultimately cut, Prince sings in his most natural, gentle falsetto, descending through lyrics “contemplating suicide” to the deepest nadir of his register. Piano displays his exceptional piano-playing—influenced by jazz and Joni Mitchell—and his extemporaneous composition. On irresistible opener “17 Days,” for example, Prince beatboxes, ad-libs, dreams up new melody and rhythm ideas and abandons them, as in a restless but engrossing conversation. The song segues into a contemplative rather than pleading take on “Purple Rain”—which would come out the following year, exploding Prince’s star into a supernova. The first seven tracks on Piano are a continuous medley, as recorded. For those of us who never got a chance to see Prince in concert, especially his recent piano-based sets, this throwback recreates some of that magic. The Bad: Yes, this recording has versions of “Purple Rain” and a bit of Joni Mitchell’s “A Case of You”, but the tidbits of these songs here serve as filler. These tracks don’t stand alone and would make more sense if this session were packed with a comprehensive box set. They do, however, offer insight on how Prince worked through a writing session and returned to beloved songs, perhaps to get through to his own new ideas. Sometimes, too, you work hard and even those new ideas don’t quite take flight. While it’s fun to hear Prince’s humor and elasticity on “Cold Coffee and Cocaine” and interesting for fans to eavesdrop on the free-floating experimentation of “Why the Butterflies”, there’s good reason why these two songs were never again recorded or performed. The Verdict: Even though this recording is 35 years old, it’s a bittersweet taste of what could have been the next phase of Prince’s career. He’s the artist at a piano, doing unpredictable, funkified versions of standards, like the sniffing, moaning, down-home blues he made of gospel classic “Mary Don’t You Weep”. Prince’s takes on both the American songbook and his own might send you back with more appreciation for the originally released versions. Yet, his spontaneous grappling with these songs is often compelling on its own. Despite its intimacy, Piano & A Microphone doesn’t feel like trespassing on Prince because it doesn’t truly expose him. This recording doesn’t reveal the nuts-and-bolts inner workings of one of the greatest artists of all time. How could it? We get to listen as a visionary works with simple tools — and in the end, Prince’s genius remains as mysterious as ever. Essential Tracks: “17 Days”, “Wednesday”, and “Mary Don’t You Weep” Source

Everyone’s most favorite and eclectic Arizona festival is back and is feeling large and in charge. Relentless Beats is amazingly proud to bring Goldrush Music Festival back to dominate September 29 and 30th and will be taking a stand at none other than Rawhide Western Town in Chandler, Arizona. Distinctly showcasing incredibly talented international artists across 4 stages, Electronic legend Deadmau5 will be headlining Saturday night and future bass savant Illenium will run the show Sunday night. With artists like Slander, Louis the Child, and Deorro added to the already stacked lineup, you already know this will be a weekend to remember. Although the festival is right around the corner, there are still tickets up for grabs and you know this is the perfect event to bring in the fall season. Get your tickets here. If you’re looking for some music to get you goin’, we have the perfect materials for all your pre-party festivities. Check out Spotify playlists from Goldrush performers Saymyname, Yookie, and Sacha Robotti. Click on their pictures below. The post Goldrush Music Festival Set to Dominate Arizona for Second Annual Event appeared first on EDM Maniac. Source

We’ve all been there, listening to the 1am dance sizzler that you just have to get your hands on. You put your mobile device above the heads of many revellers, pull your device down, to then have pesky ads fill your retinas, as you get a quick glance of the song you confirm with mates is a certified banger. All that is now something of the past, as Apple is announcing their take over of Shazam is going to come completely ad free. It makes sense that the seeking of the application has been in Apple’s sights since the birth of the (iOS) App Store with Shazam being a very popular part of the discovery of music since the get-go. As of October 2016, it was said to have had 30 billion ‘Shazams’ since it had launched on the App Store on the 10th of July 2008 – easy to see why its was sought after to the tune of $400 million dollars by the tech giant. On the acquisition of the app, Apple Vice President of Music,Oliver Schusser said “Apple and Shazam have a long history together. Shazam was one of the first apps available when we launched the App Store and has become a favourite app for music fans everywhere… With a shared love of music and innovation, we are thrilled to bring our teams together to provide users even more great ways to discover, experience and enjoy music.” Fun fact: The earliest versions of Shazam was used back in 2002 in the UK, where a user would call in a number, hold their mobile to the song being played, then 30 seconds later a text would come through with the name of the song after it automatically hung up, there’s been just a little progress since then! Source