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Yep, two of the biggest names in the biz just released their own jaw-dropping collaboration, “Save Yourself”. The Chainsmokers, notorious for their catchy melodies and consistently fun songs, have combined forces with Bass God NGHTMRE to produce a track that makes you want to sing along and simultaneously break your neck. Two things that are easily done separately but together…a dangerous combination! NGHTMRE & The Chainsmokers Team Up on “Save Yourself”  “Save Yourself” has been dropped as an ID earlier this year at huge events such as EDCLV and Ultra Miami. Finally, after releasing it months later, it’s just what everyone has been waiting for. With Drew Taggert’s poppy vocals, and NGHTMRE’s classic head-banging drop, it gives EDM fans a run for their money by continuing to transcend genres. Also, make sure to listen The Chainsmoker’s new episode of Nice Hair featuring NGHTMRE with tracks by Ekali, ZHU, San Holo and more. The Chainsmokers Nice Hair Follow NGHTMRE: Website Facebook Twitter Instagram Soundcloud Spotify Follow The Chainsmokers: Facebook Soundcloud Twitter The post The Chainsmokers & NGHTMRE’s Collaborations Go Hard appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Within Temptation are back and armed with a new set of tunes. The Dutch symphonic metal band will release their new album, Resist, on December 14 via Spinefarm Records. It marks their follow-up to 2014’s Hydra. The band broke the news in a new cover story for Metal Hammer magazine. Singer Sharon Den Adel told the publication that the new album was written, in part, as a reaction to today’s popular music. “Sometimes it feels that today’s pop music lacks a rebellious edge,” she said. “Our main goal was to collect pieces from sounds we did like then roughen the whole thing up as much as we could, allowing us to shape a new musical world that is heavier, dirtier and more futuristic than we’ve ever created before. Resist is our new take on metal; our way of giving a fresh lease of life to the rebellious edge of modern music.” Resist will mark Within Temptation’s seventh studio album and first on Spinefarm Records, inking a global deal with Universal Music Germany. “We are beyond excited to have signed to the biggest record label,” Sharon said. “Combining our strength with such a thriving, forward-looking force in the music industry, we are sure that we can make magic happen.” Within Temptation will kick off a new run of 2018 European tour dates on Oct. 11 at Grand Hall Siberia in Krasnoyarsk, Russia. For information, visit Within-Temptation.com. Source

Last month, Kevin Gates announced his first tour since being released from prison in January. The US fall trek is titled “Lucas Brasi 3”, and now we know why: The Baton Rouge rapper is on the verge of dropping a new mixtape of the same name. Due out September 27th, Lucas Brasi 3 follows his three-song single, Chained to the City, from May, and is the third installment in his Lucas Brasi Story mixtape series, which began back in 2013. It’s also his first official ‘tape since serving nine months behind bars for felony gun possession. With just a few weeks to go before Lucas Brasi 3 arrives, Gates has shared not one, but two songs today. The first is a hard-hitter called “Money Long” and sees the MC bragging, “You say your money long? But my dick long.” The other offering, “Great Man”, is decidedly more on the tender side, with the 32-year-old rapper reflecting on heartache and how he’s evolved from a “caveman” to “a great man.” Take a listen to both below; there’s also a cinematic music video for “Great Man”. “Money Long”: “Great Man”: “Money Long” and “Great Man” Artwork: Gates’ “Lucas Brasi 3 Tour” officially kicks off October 2nd; find the full itinerary here. Source

Origins is a recurring new music feature which invites an artist to dissect the influences behind their latest song. Quite a bit has changed since Together Pangea dropped their fourth studio album, Bulls and Roosters, in August 2017. Not only have the Southern California natives spent a lot of time with Depeche Mode and other ’80s-era synth icons, but they’ve also, like us, witnessed firsthand America’s first full year under the Trump administration. Both experiences inform their new EP, Non Stop Paranoia. Due out October 26th, the forthcoming effort features lyrics that reflect “anxiety and paranoia in the age of misinformation,” vocalist/guitarist William Keegan explains to Consequence of Sound. “De-evolution in the form of rampant conspiracy theory born from the erosion of trust in our sources of information.” (Read: The 100 Best Pop Punk Bands) As an initial look at Non Stop Paranoia, Together Pangea are premiering a new track called “Hi Fi Television”. Wrapped in wiry, frizzy guitars, it’s a pounding and punchy two-minute burst of bundled energy — think of the inside of one’s mind just as they are reaching their breaking point. “I drip with fascination, it’s constant aggravation,” Keegan sings in the opening seconds, as the band’s punk roar melds with ’80s aesthetics. “These are my insides turn them out.” Take a listen below. Together Pangea spoke further to CoS about what gave rise to the track’s creation; these include episodes of panic attacks, shouting matches, and the infamous Alex Jones. Electric Six — “Danger! High Voltage”: Jack White sings in the chorus of this Electric Six song from the early aughts. He sounds super crazed and manic, that always just kind of stuck with me. I tried pretty hard to sound like he does in this song. I felt like that style totally fit with the lyrics in our song. It also just kind of suits the crazy atmosphere of the current times. Panic Attacks: If you’ve never had one I’ll try to describe it a little bit. It’s like you’re body is telling you that you’re in some kind of mortal danger. Your heart will be racing and your palms will get all sweaty. It feels like you’re definitely going to die. It’s as if you’re about to get knifed in an alley but you’re really just standing in line at the grocery store. Alex Jones: The lyrics to our song allude to, if not directly, the dissemination of misinformation, and Alex Jones has got to be one of the larger culprits of this. I first heard of Alex Jones right after 9/11. He was part of the inside job, loose change, truther crowd. I remember hearing about Bohemian Grove from him. If you haven’t heard of it, Google it. It’s fun to read about if you like reading about conspiracy theories. Which I do. I actually drove to Bohemian Grove with an old girlfriend. I was stopped at the front gate by a cop. I said I was lost and he said, “You know where you are.” That was like ten years ago, he’s gotten even wackier since then. He’s said some pretty repugnant things. His crazy shit used to be kind of entertaining, now its just hurting people. Oh yeah, he also played himself in Richard Linklater’s Waking Life. In the movie he was driving down the street yelling at people through a bull horn. He’s still basically doing that same thing just on a larger scale. He seems to think that rage is a part of masculinity. He definitely has the opposite of Big Dick Energy. De-Evolution: Mostly how public discourse has devolved into a bunch of screaming matches. Everybody’s acting like wrestlers screaming at the camera to hype up a match. It wasn’t that long ago that people could have calm and well reasoned discussions. It feels like we’re in another dark age with all of the misinformation that’s floating around disguised as fact. I blame the internet but what do I know? Maybe everyone always feel like they’re living in the craziest times, but things have been way worse and they’ve always gotten better. So we got that to look forward to. Also DEVO. Duh. Ahead of their new EP’s release, Together Pangea will kick off the second leg of their tour with Alkaline Trio. Together Pangea 2018 Tour Dates: 10/04 – Santa Ana, CA @ The Observatory # 10/05 – Los Angeles, CA @ The Wiltern # 10/06 – San Francisco, CA @ The Warfield # 10/08 – Portland, OR @ Crystal Ballroom # 10/09 – Seattle, WA @ Showbox Sodo # 10/11 – Salt Lake City, UT @ The Complex # 10/12 – Denver, CO @ Fillmore Auditorium # 10/14 – Las Vegas, NV @ Brooklyn Bowl # 10/15 – San Diego, CA @ House of Blues # 10/16 – Tempe, AZ @ The Marquee # 10/18 – Santa Cruz, CA @ The Catalyst # # = w/ Alkaline Trio Source

A new Halsey emerged from the pop stratosphere when Rhode Islander Mary Halsey went viral last month for a spirited rendition of Missy Elliott’s “Work It”. Halsey got an added boost when Elliott herself praised the woman’s performance on Instagram, calling the woman her “funky white sister.” Now, the two have finally met in person thanks to, who else, Ellen DeGeneres, who brought out Halsey—clad in the same floral print shirt from her initial video—for a performance before surprising her with an appearance from Elliott, who joins Halsey for the final bars. It’s very, very sweet. “She know all the words, and I forget my own words,” Elliott said of Halsey. “It’s amazing.” Watch the interview and performance below. Source

The Highly-Anticipated Sequel is Here Noah Da Don is back and ready to make his mark with his highly anticipated new mixtape “Ricardo’s Way 2.” The brand new mixtape follows up “HUH!” his previous smash hit and video. “Ricardo’s Way 2” is being released on Friday, August 3. Making moves off vibes and big on “going with his gut,” Noah Da Don, born in Washington, D.C. NW is the NEXT “Nod Worthy” artist to emerge out of the DMV. His most recent mixtape was dropped by DJ Self, Noah Da Don, explains, “People were calling me. DJ’s were telling me this was the one.” Checking the numbers, he watched his latest hustler’s anthem quickly jumped to a staggering amount of downloads, becoming one of the hottest new singles to drop. After releasing his last video, Noah claimed the ears of a more diverse fanbase, creatively building his visual platform on MTV and Revolt. Keep your eyes and ears open for performances by Noah Da Don in your city. Noah just signed a deal with Ghazi’s EMPIRE for distribution. With the release of “Ricardo’s Way 2” Noah firmly claims his spot as the new king of the DMV. The post Noah Da Don Shows Us How to Do It Ricardo’s Way 2 : Listen appeared first on Verge Campus. Source

The rock troubadour known as Amigo the Devil is set to release new album, Everything Is Fine, on October 19th, and we’ve got an exclusive premiere of the infectious new song “Everyone Gets Left Behind”, featuring drumming from Brad Wilk of Rage Against the Machine and Prophets of Rage. Amigo the Devil, whose real name is Danny Kiranos, offers a unique brand of folk rock that has resonated with the hard rock and metal community. In fact, his album is produced by Ross Robinson (Korn, At the Drive-In) and he is managed by DevilDriver’s Dez Fafara. Everything Is Fine is available for pre-order at this location, while his tour dates can seen at the bottom of this post. In addition to the song premiere, Amigo the Devil took some time to answer a few questions about the track itself, working with Brad Wilk and Ross Robinson, what fans can expect from the album, and his plans to support Everything Is Fine on the road. Take a listen to “Everyone Gets Left Behind” and read the Q&A with Amigo the Devil below: Tell us a bit about the song “Everyone Gets Left Behind”, and the inspiration behind it… Any cool stories about the song creation or the recording process for this? You ever wake up still drunk, spins worse than Wheel of Fortune and your blood feels like it’s boiling? Yeah, me neither… but how frustrating to know that a year ago, something like that would be so easy to power through? Although a hangover is where the idea of the song started, it’s not where it ended. The core of the song is easy, growing up was a mistake. I don’t mean a mistake as in something regrettable but more as a consequence of time…something we didn’t mean to do. It’s so easy to look into the past and think how much better everything was, but how much of that is because we’ve already lived it and subconsciously know that it worked out? In the end, I wanted it to be a modern day “memento mori” type deal where everyone should remember their mortality, their youth, their whatever the middle part is. Tracking this song in itself was such a blast that I almost forgot what a grumpy bastard I can be sometimes. Brad Wilk from Prophets of Rage is playing drums on this track. Talk a bit about working with Brad and how he came to get involved with the project? Brad got involved through Ross. It was a situation where Ross called me and said, “Hey, I think Brad Wilk is gonna do the drums” in such a casual tone that I assumed it was a different Brad with the same last name but it clearly wasn’t. I did a little jump, squeal “yessss” gesture with my arm. At the studio, we tracked this song live together and since I didn’t have all the lyrics written yet, half the time I’d be mumbling or humming random shit which always sounds ridiculous. I was already nervous considering this was the first time I’d ever played alongside a drummer on this project but he’s so kind and collected that it was easy to go all out. An unexpected side effect of the whole experience came afterward when I was listening to Rage records and it was a whole different experience. I had now felt the way he hits and kept up with his tempo firsthand so it felt even more personal. That could be placebo but I’m sticking to my story. On the new album, Everything Is Fine, you worked with producer Ross Robinson. What was it like working with Ross and what did he bring to the table? My previous experiences with recording up until Ross were kind of like putting together IKEA furniture. I’d bring all the pieces to the studio with the instructions, screw some things together backward, throw shit across the room, undo it and start again but in the end we always ended up with the extremely functional dresser we set out to create. Ross takes all the pieces you have, scratches off the identifying labels, burns the instructions and puts them into a viper pit where you’re not allowed to dig for them until you know why that piece is crucial. By the end of the process we had so many new pieces built from anything we could, might as well be old t.v.’s and stale bread for Christ’s sake…it didn’t matter what or how only the why. This doesn’t mean that working with other people was a negative experience at all. For example, we did our first EP with [Converge’s] Kurt Ballou and at the time I had no idea what I was doing, he wasn’t sure what I was doing because I couldn’t communicate it and nonetheless, he was incredibly patient and helped guide me through the process of those first five songs on the Manimals EP From there, it seemed like everything was going to build into this wealth of knowledge that I could spread across the table in the future. I was wrong. Ross destroyed the table and everything on it and helped me rebuild it with purpose. I’ll never write another song the same again. So I guess that’s what he brought to the table…a brand new, better table. What made Ross perfect for the project considering he’s predominantly known as a metal producer? I got my start in heavy music playing in and listening to the genre across the board; from grind to noise, thrash, hardcore…if it was heavy I was happy. Even the first tours with Amigo were with heavy bands. One of the first tours this project went out on was with Nomads, Sleepwalkers and Rotting Out. From there, we started hopping onto festivals like Southwest Terror Fest that were so damn kind to us. Heavy Metal Shop in SLC is the only reason we were able to play our first shows up there so I’m in debt to Kevin and Patrick basically forever. Metal, in general, has always been a kind genre to us and a huge inspiration for this project in general so when I got offered the chance to work with someone that revolutionized it time and time again, it was a no brainer. Once you look behind what he does sonically and realize why what he does matters so much, it’s easy to disconnect from the fact that it isn’t the same sounds as other bands he’s done in the past. I wanted fire on this record and I wanted someone who wasn’t scared to burn the whole fucking thing down just to get a little spark. A lot of people miss the fact that a lot of the heaviest music out there isn’t because of the tones or tempo, it’s because of the truth and rage behind it. Ross knows how to get that out of people whether you’re willing to let it out or not. What can fans expect on the album Everything Is Fine when they pick it up on October 19th? I think it explores a wider range of sounds than the old recordings. Growing up in Miami, I was exposed to a lot of music other people weren’t and was also restricted from finding a lot of music I enjoy now until later in life. That variety is showcased a lot more in these songs which is exciting for me to finally have a chance to present. I can easily say it’s the most honest complete record I’ve written to date because it’s the only complete record I’ve written to date. But jokes aside, it was a completely different experience tapping into a well for more than 3 songs at a time since all we had released until now were EPs. There are a lot of easter eggs in there, ramblings that got left in…we broke a lot of shit while recording this! There was a wild paranormal experience while tracking Edmund Temper that I’m sure I’ll mention at some point but it still gives me chills to think about. Dig deep and you’ll find a lot more than the music on this one. What’s next for Amigo The Devil? I guess we’re on tour for the next million years or so. We’ll be playing Sing Out Loud (St. Augustine), Crucial Fest (SLC) and Aftershock (Sacramento). We have a full U.S. run with Harley Poe October 17th through November 18th, and then U.K., Amsterdam and Paris in December. As far as announced dates that’s about all I can put out there right now but there’s a lot in the works for early next year with some incredible friends. I’ve never been one to plan anything too far ahead but hell, looks like I have some adapting to do! Amigo the Devil Fall 2018 Tour Dates: 09/22 – St. Augustine, FL @ Sing Out Loud Fest 09/28 – Salt Lake City, UT @ Crucial Fest 10/14 – Sacramento, CA @ Aftershock 10/18 – Houston, TX @ White Oak 10/19 – Dallas, TX @ Three Links 10/20 – Austin, TX @ Mohawk 10/22 – Mesa, AZ @ The Nile 10/23 – Los Angeles, CA @ The Echo 10/24 – San Diego, CA @ Brick by Brick 10/25 – Tustin, CA @ Marty’s on Newport 10/26 – San Francisco, CA @ Thee Parkside 10/27 – SLO @ Sweet Springs Saloon 10/28 – Las Vegas, NV @ Beauty Bar 10/31 – Denver, CO @ Marquis 11/01 – Kansas City @ Riot Room 11/02 – Chicago, IL @ Beat I am a fagget 11/03 – Pontiac, MI @ Sanctuary 11/04 – Cleveland, OH @ Grog Shop 11/05 – Toronto, ON @ Sneaky Dee’s 11/07 – Pittsburgh, PA @ The Funhouse 11/08 – Rochester, NY @ Flour City Station 11/09 – Boston, MA @ Great Scott 11/10 – Brooklyn, NY @ St. Vitus 11/11 – Philadelphia, PA @ Kung Fu Necktie 11/13 – Baltimore, MD @ Metro Gallery 11/14 – Richmond, VA @ Strange Matter 11/15 – Nashville, TN @ The High Watt 11/16 – Ashville, NC @ The Mothlight 11/17 – Atlanta, GA @ Masquerade 11/18 – Orlando, FL @ Will’s Pub Source

With so much of 2018 being dominated by huge names like Drake, J.Cole, and Travis Scott, it’s tough not to overlook those that have the quality or substance in their music, but may not have the big-name record label to push their product. With hip-hop reigning as the most popular music genre today, it’s even easier for artists to be “slept on.” ​ Although it may seem like it’s on the decline, Soundcloud remains the easiest and most authentic outlet for discovering those under-the-radar artists. So, we knocked out the hard work for you and came up with 10 SoundCloud hip-hop artists you’d be wise not to sleep on. _________________________________________________________ NAO For Fans Of: Solange If you ask NAO herself what genre she is, she’ll tell you “wonky funk.” However, most classify her as a soul/funk/R&B artist from East London. She released her debut album just two years ago, so she’s still under the radar, but she is as talented as any other singer I’ve heard within’ the past few years. Having already played at the Glastonbury Festival and received a Brit Nomination for Best British Female Solo Artist, NAO has made a name for herself overseas, but what about the US? So far this year, she has already released a couple of singles that have her name buzzing around the States. Her recent singles, “Complicated” and “Another Lifetime”, are exposing more people than ever to her music. It’s about time. __________________________________________________________ Ye Ali For Fans Of: 24hrs Ye Ali is one of the more established artists on this list. Residing in Los Angeles, he has already worked with numerous hip-hop artists, not only as a singer but also as a producer. At one time, Ali was only known as a songwriter-producer, but now he finds himself pushing to be fully appreciated for the new style of trap beats and R&B grooves he’s brought to the game. Ali did reach some mainstream success with his hit single “Talk Less”, which samples Ashanti’s hit “Rock Wit U (Awww Baby)”. His previous project, Passion & Patience, features not only that hit single, but a couple of other chill-vibe R&B songs. Between that record and his 2016 release, Private Suite, Ye Ali’s SoundCloud is full of quality R&B vibes that you’ll want to experience again and again. __________________________________________________________ Lala Romero For Fans Of: Azealia Banks Los Angeles singer-songwriter Lala Romero is one of the hottest R&B/soul artists on the west coast right now. However, despite being introduced to a big market, she still isn’t as known as she should be. Currently signed to Silent Giant Entertainment, Romero emerged on the scene with her 2017 album, Palm Tree Dreams. Her hit single “Angels in the City” sampled the Tyrone Davis hit “In the Mood”. She also puts her innovative touch on the classic Dre and Snoop hit “Nothin’ but a ‘G’ Thang” in the album’s title track. There’s so much potential in Romero. She has an incredible voice and has such an effortless flow; if she utilized these talents to their full potential, Romero could become one of the most enterprising and resourceful artists in hip-hop. __________________________________________________________ Mark Battles For Fans Of: Wale It’s kind of frustrating that Mark Battles has to even be on this list. As a rapper-songwriter from Indianapolis, Indiana, the odds may be stacked against Battles with a smaller market, but he’s still working with some top names in the hip-hop world, including Tory Lanez, French Montana, and King Los. Battles is a relatable artist who talks about things that everyone either thinks or goes through at some point. He has a very raw and straight-forward delivery that sets him apart from other hip-hop artists. In May of 2017, Battles released a collaboration album with Tory Lanez (Day 2) that garnered some mainstream success, but perhaps didn’t showcase his full potential. His most recent release, Fortunate, may be his best project to date. Not to mention, he released the Vasi World EP earlier this year prior to the announcement of the Vasi World Spring Tour. Fly America is on the rise and Battles is leading the way. __________________________________________________________ Nyzzy Nyce For Fans Of: Wiz Khalifa Having started his career as a battle rapper in Fort Wayne, Indiana, Nyzzy Nyce has since evolved into one of the most innovative artists in hip-hop. He’s spent the past few years out in Los Angeles working with some very talented producers, including Twigg and AmpOnTheTrack. His style is unmistakably diverse, which may be one of his most overlooked traits as an artist. He has stoner anthems like his most recent single, “Smoke All Day (Roll That)”, songs for the ladies like “Blow Pounds”, and club bangers like “Stone Cold Steve Austin”. Nyzzy has already achieved some notoriety by having songs appear in television shows like American Horror Story, Being Mary Jane, The Grand Hustle (T.I.’s show on BET), and several others. His upcoming album, Nyce to Meet You, is expected to be released soon and will likely include some of his latest singles. __________________________________________________________ Source

In his music video for “Fall” last week, Eminem was chased down by his critics. Now for his new clip for “Lucky You”, the Detroit rapper, along with collaborator Joyner Lucas, is confronted by a massive group of hooded men who mimic his every move. It’s a bit amusing as well as eerie, but I’m guessing the main idea trying to be conveyed here is that Marshall Mathers has inspired a whole generation of MCs, many who shamelessly copy his style? (Although maybe not new album Kamikaze, ’cause it’s not good.) Yeah, something like that. (Read: The Top 20 Richest Rappers in the World) Watch it down below. Prior to the release of the “Fall” visual, collaborator Justin Vernon publicly distanced himself from the track. Source

Earlier this summer, Gorillaz dropped an album that kind of came and went — The Now Now, remember? — and they’re still out their promoting the damn thing. Today, they’ve shared their new music video for “Tranz”. Now, on the surface, it doesn’t look like anything too special: 2D, Noodle, Russel Hobbs, and Murdoc stand-in Ace are all playing the song. However, that’s the thing, it’s actually the group’s first-ever “live performance” music video. Directed by Gorillaz co-founder Jamie Hewlett and Nicos Livesey, with support from Blinkink and Paris-based creative production team Eddy, the video finds flavor through hand-held animation, stop-frame needlework, and claymation. Watch below. Gorillaz kick off a new leg of North American tour dates next month, and you can grab tickets here. Source

There’s an ephemeral quality to late night television, the sense that it evaporates immediately as it airs. That’s a consequence, of course, of maintaining a nightly output that gives way, over the years, to thousands upon thousands of hours of content. Such is the case for Conan O’Brien, who, across more than 4,000 episodes in 25 years, has produced some of the most memorable and bizarre content to ever emerge from the format. Let us rejoice, then, that it’s all being collected in one place. (Read: Conan O’Brien’s 10 Most Memorable Music Performances) In a video posted to his Team Coco YouTube channel, O’Brien reveals that the complete online archive of his late night shows will be available for streaming on a new, “state of the art” website that will arrive this January. This is quite the achievement considering it will encompass his work both on NBC and TBS, subsidiaries of two separate entertainment conglomerates. As Ars Technia points out, however, there’s also the issue of musical performances and whether or not licensing arrangements will prevent them from being included in the archive. In O’Brien’s very first episode of late night, which the host posted to YouTube this morning, there is no musical act included. That said, it’s still worth a watch. John Goodman, Drew Barrymore, and Tony Randall are his guests, and O’Brien’s charm is evident from the get-go, with the opening sketch finding him confidently strolling through New York as everyone he passes tells him he better be as funny as David Letterman, his predecessor. It’s wild and, for longtime fans, quite nostalgic to see the old set, the old credits, and an Andy Richter that looks so incredibly young. Give it a watch below. The announcement comes on the heels of O’Brien’s current TBS show downsizing to a 30-minute format that will feature no musical performances. Source

Country legend and marijuana supporter Willie Nelson is no stranger to the political ring. Whether he’s performing on the White House’s South Lawn for President Jimmy Carter or getting Virginia Governor Terry McAuliffe in trouble for taking a picture with pot on the table, ol’ Willie isn’t afraid to cross music and politics. However, when he plays a rally for Texas Democratic gubernatorial candidate Beto O’Rourke later this month, it’ll be his first-ever public performance in support of an active candidate. The concert rally is set for September 29th at Austin’s Auditorium Shores. Joining Nelson will be his sons Lukas and Micah, as well as Joe Ely, Carrie Rodriguez, and Tameca Jones. There’s also a fair chance the progressive politician joins Nelson on stage, as he did so back in July during Nelson’s annual Fourth of July Picnic. At that show, Cedric Bixler-Zavala’s former bandmate came out for the finale of “Roll Me Up and Smoke Me When I Die” and “Will the Circle Be Unbroken”. “My wife Annie and I have met and spoken with Beto and we share his concern for the direction things are headed,” said Nelson in a statement. “Beto embodies what is special about Texas, an energy and an integrity that is completely genuine.” O’Rourke’s grassroots style campaigning has him just four points behind Republican incumbent Ted Cruz. Registration to the newly announced rally is open to everyone via his campaign website. On October 7th, the Senate hopeful will also appear alongside Spoon, The Polyphonic Spree, Sarah Jaffee, and At the Drive-In off-shoot SPARTA during the Buffalo Tree Festival. Source

Later this year, Massive Attack will reissue their third album, Mezzanine, in honor of its 20th anniversary. Along with a remastered version of the 1998 original, the reissue will come packaged with a second album featuring previously unreleased Mad Professor dub remixes sourced from the first Mezzanine recording sessions. These were intended to appear on a Mad Professor Mezzanine remix album that never materialized. (Read: Top 50 Cover Songs From Movies) “All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period – “Metal Banshee” – a dub version of “Superpredators” which was a cover of Siouxie and the Banshee’s “Metal Postcard” – and “Wire”, a track they recorded for the soundtrack of the film Welcome to Sarajevo,” a statement reads. The reissue will be available as a 2xCD set (November 16th) or a 3xLP vinyl box set (November 30th). As Pitchfork notes, they are also set to come with exclusive images from Nick Knight and the English outfit’s own Robert Del Naja; these will be housed in a “heat sensitive box”, which changes color when exposed to heat. Pre-orders can be found here. Source

The following review is part of our coverage of the 2018 Toronto International Film Festival. “But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas?” President John F. Kennedy said in his famous September 12, 1962 “Moon Speech,” a portion of which features into the post-lunar landing montage in First Man. “We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.” This is an argument that’s as sound for making a big-budget, A-list historical biopic in 2018 as it is for space programs in the ‘60s. Why does an winner adapt James R. Hansen’s book about Neil Armstrong into a screenplay? Why does wunderkind director Damien Chazelle step away from his musical influences to tackle something so different in tone — and arguably even more challenging to film than a dance number in the middle of a freeway? Why would formidable talents like Ryan Gosling and Claire Foy sign on to play the first man on the moon and his wife, Janet, respectively? For the challenge. For the application of some of Hollywood’s best talent. For the glory. In that context, First Man is certainly, much like the Apollo 11 mission itself, an impressive feat, an incredible collaboration between some of the finest creative and technical minds in their industry. It’s well-translated from the page, a thoughtful, slow-burning take on an impossibly well-known story that keeps audiences engaged, even though the ending was spoiled long before many of us were even born. The acting is every bit as sound and nuanced as you’d expect from consistent heavyweights like Gosling and Foy. (Corey Stoll’s brash Buzz Aldrin also brings a welcome touch of comic relief, without reducing the second man on the moon to a punchline or sidekick comic fodder.) The way that Chazelle films the inside of a cockpit (claustrophobic, sensorily overwhelming, fraught with potential danger) and space (stark, haunting, stunning) are both testaments to what’s possible with the latest advancements in technology and vision in filmmaking. That said, it’s hard not to wonder why this particular film, as well-crafted as it is, was made now. It’s not that Neil Armstrong doesn’t deserve a high-caliber biopic. It’s not even that First Man is a run-of-the-mill Hollywood profile in courage. Armstrong’s stoicism, for example, is treated as one facet of a complete, complicated human being, as opposed to the defining hallmark of a one-dimensional American hero. Foy is given more to work with as Janet than most supporting0role wives have enjoyed in the genre, which is at least a small step for female characters in big films inspired by true stories about men. (Although a thoughtful reflection on what it means and feels like to be the wife of an astronaut does fall short of — I’m so sorry — being a giant leap for womankind on onscreen.) By the time that protests against the money being put into the space program are portrayed as something between background noise and antagonism, though, it’s clear that First Man is, at its core, very much a traditional paean to American excellence and glory. (This makes the brewing “scandal” surrounding the lack of a planted American flag in the film particularly bizarre; First Man is so laden with Americana that such a scene would have been downright redundant.) This isn’t a celebration of underappreciated heroes from history like Hidden Figures, nor is it a narrative that uses historical events to create a commentary or allegory on modern times. It’s a story about already well-known public figures and events that, no matter how well it is told, is still being told in almost the same way that it always has been. This leaves First Man about as far removed from the zeitgeist as we are from the time period that it portrays. At a time where everything from fairly serious documentaries like Fahrenheit 11/9 to provocations like Assassination Nation are at least starting to grapple with the concept of America as something other than the greatest, freest, and most accomplished nation on Earth, a film like First Man begins to feel like a failure to read the room at best. It is, again, not a bad film by any means, but if you happen to be someone who believes that art doesn’t — or shouldn’t — exist in a vacuum, the purpose of a film like this at a time like this is at least something that should inspire some questions. Why do we flock to films like First Man? What do we still need from them? What do they say to us? And what does that say about us? Trailer: Source

Prior to the launch of their reunion tour, Smashing Pumpkins’ Billy Corgan, James Iha, and Jimmy Chamberlin hit the studio with producer Rick Rubin, marking the first time the band’s classic lineup recorded together in nearly 20 years. Following the release of “Solara” over the summer, the Pumpkins have unveiled a second new song called “Silvery Sometime (Ghosts)”. Listen here (scroll to the 1:52:40 mark) and check out a teaser of the song below. According to BBC Radio’s Lauren Laverne, who premiered the song, the Pumpkins will release a full-length album produced by Rubin in mid-November. It will mark the band’s first album featuring Corgan, Iha, and Chamberlin together since 2000’s Machina/The Machines of God. No word on if Kanye will show up on it. (Read: The 25 Most Anticipated Albums of Fall 2018) Kingdoms of my kingdom come. Friday pic.twitter.com/SsicDWH17t — Smashing Pumpkins (@SmashingPumpkin) September 13, 2018 Source

Mariah Carey has revealed that a new album is on the way, her first since 2014’s Me. I Am Mariah…the Elusive Chanteuse. In anticipation, the vocalist has shared a new single, “GTFO”. The release will also mark her first since Carey forged a deal between her Butterfly MC Records and Epic. (Read: The 100 Greatest Debut Singles of All Time) Drake collaborator Nineteen85 helmed the single, which layers Carey’s honeyed vocals over a wash of fuzzy, dreamlike beats. The song’s dreamy flow clashes compellingly with the song’s profane refrain: “How ’bout you get the fuck out?” Carey coos. A music video for the track is expected tomorrow. “I wanted to give my fans and everyone a first listen that wasn’t so serious,” says Carey in a press release. “I’ve had so much fun making this album, and I wanted the first moment to reflect that light-hearted spirit.” Hear it below. The press release also promises a “kickoff single” called “With You”, which will apparently premiere on October 5th. Source

Joshua Homme is back with season three of his show “Alligator Hour” on Apple Music’s Beats 1, and we’ve got an exclusive preview of the Queens of the Stone Age frontman chatting with actor Colin Hanks about his love for Faith No More singer Mike Patton. In the new episode, which premieres today (September 13th) at 1 p.m. ET / 10 a.m. PT, Hanks brings in music from the band All Them Witches, and also discusses how he shares music with his co-workers on a film or television set. At one point, the conversation turns to Faith No More, and particularly Mike Patton. Homme starts talking about his love for Faith No More’s 1995 album, King for a Day … Fool for a Lifetime, saying, “The reason I love this album is because at this point in Faith No More, Faith No More exploded. See, I toured with them when I was 19 and … Mike Patton was a big influence on shaping some of my outlook, because they had done really well, but it was really uncomfortable for him to do so well.” He continues, “And so as a as a kid that grew up on all punk rock, coming from the desert, it was like, do well, but don’t do too well — that punk rock guilt … but watching Mike Patton do these crazy … like choke down an eight-inch dildo … or piss in a shoe and drink it during the show … and sing wonderfully at the same time and watch them pull apart the strings of success … trying to figure out how to navigate who he was because he was quite young, as well, at the time.” Hanks then chimes in, “I always loved how … he was both sides of that coin… He had an amazing singing voice, a gorgeous voice, but then he would … destruct it, as well. ‘Let’s see how far I can tear these vocal cords of mine.'” Check out more of the conversation about Faith No More and Patton in the player below, and tune in to Josh Homme’s full “Alligator Hour” episode with guest Colin Hanks, beginning at 1 PM ET today, at this location.  In other news, QOTSA recently wrapped up their Villains tour, which included a benefit show at the MONA in Australia. Watch a video from that performance below: Source

With her recent Kanye-produced album, K.T.S.E., Teyana Taylor made a strong argument that she is far more than the woman with the killer dance routine in the “Fade” video. Last night, she continued to hammer that point home with an appearance on Fallon. The G.O.O.D. Music singer delivered a two-song medley, a well designed play to show off all of her strengths. Opener “Gonna Love Me” demonstrated the buttery depths of her late night crooning, while “Rose in Harlem” put her fiery fierceness display. For the latter song, she was joined by a trio of dancers wearing a sheer red fabric over their heads. Check out the replay below. Source

The incomparable Reverend Al Green is back today with his first new song in a decade. Green’s release is a cover of “Before the Next Teardrop Falls”, which was previously made famous in the ’70s by Freddy Fender. A soul legend who rose to fame in the early ’70s, Green has recorded his rendition as part of Amazon Music’s newly launched “Produced By” series, which pairs up songwriters with various producers. (Read: The 100 Greatest Singers of All Time) The Reverend was joined in the studio by Matt Ross-Sprang, a fellow Grammy winner and past collaborator who’s also produced for John Prine; Ross-Sprang also lent a hand on the acoustic guitar. The recording session went down at Sam Phillips Recording Service in Memphis. Check out the cover below, followed by a statement from Ross-Sprang. “As a lifelong Memphian, I’ve always been a massive fan of Al Green and his Producer Willie Mitchell,” explains Matt Ross-Spang. “Together they created some of the most enduring soul music. Sonically speaking, Willie and Al also really invented a distinct sound that separated them from STAX or Motown. Growing up in a such a rich musical heritage I became captivated by these records and long dreamed of working with Al Green. I’ve always loved the Linda Martell version of ‘Before the Next Teardrop Falls’ and kept it back pocket as a great cover idea for him. It follows in the footsteps of Willie and Al reinterpreting country songs like ‘For the Good Times’ and ‘Funny How Time Slips Away.’ I still can’t believe we actually got to do it!” “Before the Next Teardrop Falls” Artwork: Earlier this week, the “Produced By” series gave us a new Margo Price song dubbed “Leftovers”. Source

Forbes has released its annual listing of rap’s highest paid artists. For anyone that’s been following the genre, there aren’t many big surprises; still, the amount of money that’s being pulled in is staggering and only furthers the idea that rap is the most popular genre in the music industry at the moment. The second most glaring statistic to note: Women have been shut out of the upper echelon of the earning brackets. Working down to the highest spot, we encounter Lil Wayne at No. 18 with $19 million, and he’s followed closely by Travis Scott’s $21 million at No. 15 (though I see that changing following the release of Astroworld). Chance the Rapper, known for his philanthropic ways in Chicago, snagged the No. 14 spot with a hefty $21.5 million. Despite his run of bad back-to-back albums, Eminem nearly cracks the top 10, earning $23 million and a No. 13 placing. DJ Khaled somehow makes $27 million (No. 11) on the strength of #majorkey catchphrases. Within the top 10, mere half-millions separate some of the rap game’s hottest stars. Kanye West barely inches his way into this grouping with $27.5 million at No. 10. He’s followed by Future, Mr. Worldwide himself Pitbull, and Nas, who according to Forbes, is making his first-ever appearance on the list thanks to his various ownership stakes in Lyft, Genius, and Mass Appeal. (Read: The 25 Greatest Hip-Hop Debuts of All Time) Dr. Dre, label master and Beats honcho, is at No. 6 with $35 million under his belt. J. Cole makes just a bit more ($35.5 million) to put him ahead at No. 5. Toronto’s hometown hero and new HBO executive producer Drake made $47 million to bring him to No. 4. The top 3 is comprised of two hip-hop heavyweights and one that’s a bit of a surprise considering his relative inactivity in the studio. Top Dawg’s top dog Kendrick Lamar nabs the No. 3 spot with a whopping $58 million, while to slip into No. 2, Diddy drew in $64 million courtesy of his many beverage offerings. The top spot goes to Jay-Z, who is miles and miles in front of Diddy at $76.5 million. With business ventures in all facets of media and beyond, as well as a more than healthy music career alongside forever-partner Beyoncé, it’s a bit of a no brainer he’s claimed the throne. Find the full ranking below. 20. Swizz Beatz ($15 million tie) 20. Russ ($15 million tie) 20. Meek Mill ($15 million tie) 19. Logic ($17 million) 18. Lil Wayne ($19 million) 17. Lil Uzi Vert ($19.5 million) 16. Birdman ($20 million) 15. Travis Scott ($21 million) 14. Chance the Rapper ($21.5 million) 13. Eminem ($23 million) 12. Migos ($24.5 million) 11. DJ Khaled ($27 million) 10. Kanye West ($27.5 million) 09. Future ($30 million) 08. Pitbull ($32 million) 06. Nas ($35 million tie) 06. Dr. Dre ($35 million tie) 05. J. Cole ($35.5 million) 04. Drake ($47 million) 03. Kendrick Lamar ($58 million) 02. Diddy ($64 million) 01. Jay-Z ($76.5 million) JAY-Z and Beyonce Tour Reel Travis Scott's Top 5 Videos Food References in Drake’s Music Eminem’s Highest Charting Songs J Cole - KOD Tour Source

Aerosmith first found success with “Walk This Way” in the ’70s, and then teamed up with rappers Run-DMC in the ’80s for a version of the song that helped the legendary Boston rockers revive their career. Now, the Rock and Roll Hall of Fame act has given the classic cut the classroom treatment, teaming up with Jimmy Fallon and The Roots, using children’s instruments on last night’s Tonight Show. The performance is the latest in Fallon’s classroom instruments series, which has featured Metallica, Madonna and more in previous segments. The Aerosmith edition includes band members Steven Tyler rocking apple and orange shakers, Joe Perry on ukulele, Joey Kramer on a Fisher Price drum, Brad Whitford shaking a maraca and Tom Hamilton on tambourine, plus The Roots and Fallon playing items like kazoos, bongos and more. The performance even featured Fallon and The Roots’ Tariq “Black Thought” Trotter sporting Run-DMC outfits, and a couple of instruments housed in Adidas sneakers as an homage to the hip-hop act. Aerosmith will be playing their regular instruments, we presume, when they perform during their recently announced Las Vegas residency in 2019. Those shows begin April 6th at the at the Park Theater at the Park MGM resort in Sin City. Source

Former First Lady Michelle Obama is drawing closer to the release of her new memoir, Becoming. In anticipation, she’s announced a book tour that will take her to arenas all over the US. Yes, FLOTUS is literally playing arenas. The tour officially kicks off in her hometown of Chicago on the same day Becoming hits shelves — November 13th. Along with the Windy City, the 10-date itinerary includes stops in Los Angeles, Washington, DC, Philadelphia, New York, and Dallas. With the help of a slew of moderators (who’ve yet to be announced), Obama will reflect on her memoir, which traces the arc of her life, both personal and private — from growing up in the South Side of Chicago to life in The White House. She may even dish on her and her husband’s many music friends, such as Beyoncé, Chance the Rapper, JAY-Z. (Read: Why Music Became More Political During Obama’s Administration) “This fall, I’d like to share that fuller story with all of you on my book tour,” Obama said in a statement. “It’s the story of my humdrum plainness, my tiny victories, my lasting bruises, my ordinary hopes and worries. It’s the story of who I am, truly, and I’m proud of it — blemishes and all.” She added, “I hope that this tour will inspire others to reflect upon and share their own stories – all the joys and sorrows, all the scars and renewals – so that together, we can better recognize that each of us, in our own way, is in a constant process of becoming.” Consult her full schedule below. Tickets go on sale beginning Friday, September 21st. You can also grab them here. Michelle Obama 2018 Book Tour Dates: 11/13 – Chicago, IL @ United Center 11/15 – Los Angeles, CA @ The Forum 11/17 – Washington, DC @ Capital One Arena 11/24 – Boston, MA @ TD Garden 11/29 – Philadelphia, PA @ Wells Fargo Center 12/01 – Brooklyn, NY @ Barclays Center 12/11 – Detroit, MI @ Little Caesars Arena 12/13 – Denver, CO @ Pepsi Center Arena 12/14 – San Jose, CA @ SAP Center 12/17 – Dallas, TX @ American Airlines Center Obama released a Facebook video to coincide with the news. Check that out below, followed by a full synopsis for Becoming. In her memoir, a work of deep reflection and mesmerizing storytelling, Michelle Obama invites readers into her world, chronicling the experiences that have shaped her—from her childhood on the South Side of Chicago to her years as an executive balancing the demands of motherhood and work, to her time spent at the world’s most famous address. With unerring honesty and lively wit, she describes her triumphs and her disappointments, both public and private, telling her full story as she has lived it — in her own words and on her own terms. Warm, wise, and revelatory, Becoming is the deeply personal reckoning of a woman of soul and substance who has steadily defied expectations—and whose story inspires us to do the same. Source

There is no doubt the sound of techno has the derivatives of German efficiency and preciseness written all over it. Which probably why a group of filmmakers bundled their resources into the creation of new music documentary that traverses the situations and moments that gave rise to techno thriving into what it is today. One of many highlights of the ‘Sounds of Berlin’ documentary is Detroit techno legend Juan Atkins reflecting on legendary artist Kraftwerk and their influence on his music telling filmmakers, “Germany has always been a quality standard. You have a group you have here called Kraftwerk from Düsseldorf that had that strong influence on my music. It brought me the preciseness of this Germany way of thinking that’s applied to the electronic music and that was the beauty of Kraftwerk”. Other artists interviewed in the video are Dr. Motte, Dimitri Hegemann, Marc Houle, Monolink, Pan-Pot, Mathias Kaden and Nela to name a few and all give their insights into what the scene was like from their perspectives at the time – which makes for a very well rounded view on the roots of techno music and the driving forces behind it. The documentary was teased four months ago and is finally out now, so get around it and let us know your thoughts on the hour long outing below. Source

While our throwback track series heavily revolves around those certified club bangers that’ll fill a dancefloor in seconds, there are times where it’s necessary to shine some light on some electro cuts that really hit us in the feels. None fit the bill more than British synth-pop band Ou Est Le Swimming Pool and their emotional head-bobber ‘Dance The Way I Feel’, an electro-pop anthem that told the story of a troubled individual working through heart-break coupled with rippling chords and a timeless pace and feel. The track was such a hit it managed to come in #3 place in Australia’s Triple J Hottest 100, only beat by Little Reds ‘Rock It’ and Angus and Julia Stones ‘Big Jet Plane’ The songs impact was ultimately felt when lead Charles Haddon jumped to his death following a performance at European festival Pukklepop in 2010 aged just 22. What could have been right? Be sure to reach out to your mates and see how they are going! Source

When considering the advent of electronic music, it’s easy to argue that electronic music labels were once simpler beasts. Selling hard copy music was much easier, the early internet didn’t offer streaming or charting and any musical revolution would be heavily localised before growing over time. Case in point, Factory Records. Factory Records was established in Manchester in January, 1978 and run out of one of the founding members’ living rooms. After their early years, which mainly centred around the post-punk legends that were Joy Division, the label started to make a name for itself as one of the great, if not extremely notorious, early electronic labels. A key part of their marketing strategy was lighting up Manchester’s music scene by throwing outrageous parties. In ‘81, Factory Records opened The Hacienda night club with New Order, Joy Division’s evolution following the death of lead singer Ian Curtis. The club was at capacity almost immediately with Factory Record-centric parties, elevating their label roster and status. This was where New Order would premiere ‘Blue Monday’, possibly one of the biggest electronic hits of all time. Keen to innovate, Factory Records released the single on a floppy-disk shaped record, which turned out to be a massively costly endeavour, with each single only earning the label 5 pence per copy sold. Soon after, The Hacienda was running at a loss, due to low cover charges and even lower bar sales due to an ecstasy influx. It was soon losing tens of thousands of pounds a month and the label, one of the greats, was bankrupt by ‘92. This is just a small piece of the Factory Records story, but it goes ways to illustrate some of the risks and tips in establishing an electronic music label. A big question to ask when considering the endeavour is – when your music mimics the future, with futuristic sound innovations, should labels keep up with an innovative practise? What can we take from the tale of Factory Records and apply to starting an electronic label in 2018? First of all, you really have to consider why you’re doing what you’re doing. Factory saw a gap in the market to fill, and despite the fact that in many ways they did this spectacularly badly, the passion for the label’s sound was there, the audience existed and the time was right. Sometimes you might find that you’ve identified a gap in the market and everything may be lining up, but even if there’s no glaringly obvious business reason to establish your label, being inspired by music, a musical community and your idols can be more than enough of a reason to get started. Nominated for best Australian Indie label of 2012 and having all-encompassing publishing and agency wings, Sweat It Out! Was founded by the late AJAX, one of Australia’s all-time legendary DJs. On their roster you’ll find artists like RUFUS, What So Not, Motez, Yolanda Be Cool, Polographia and more. Matt Handley is the Director of A&R at Sweat, a key part of the label’s innovation and day-to-day management. For him, the catalyst for establishing the label was the wider electronic community’s inspiration from AJAX’ work and music, Sweat being a key part of his legacy. “More than anything it was AJAX getting sent so much new unsigned music by people that looked up to and loved him”, Matt Says. “It felt like the right thing to do.” When looking at many great independent labels, even harking back to the Factory Records days, you’ll find that their rosters run with a sense of aesthetic consistency, even if they don’t zero in on a specific sub-genre of dance music. Even if you are operating to a more targeted genre theme, the nature of an artist’s evolution means that you’ll need to give your label genre room for flexibility. “Definitely for Sweat It Out we probably would say we don’t really have a sound, or at least, we are non-genre specific,” says Matt. “We’ve always said as long as we love it, whether it’s reggae or rave, for basement or the radio, we will be down to sign it.” Consider a ‘vibe word’ or a common value that characterises your artists and use it as a guide for building your roster. “Overall the one thing we look for in the music we sign, and this is from AJAX, is what he called ‘schtick’, that is, what is it that makes the music interesting and different,” Matt explains. When listening or seeing a potential artist for the label he’ll ask, “What is it’s schtick? And if we can answer that in the positive…we sign it.” Of course, when you’ve identified your dream roster, you’ll need to make sure that your key artists are keen to collaborate with you, and perhaps most importantly, you’ll need to ensure they have an audience. In this case, you actually want to take a tip from Factory Records and The Hacienda. Throw a goddamn party, just with slightly more strategy. Sweat It Out has indeed established themselves as a great label, they’re also famous for some of Sydney’s best dance parties. The two are mutually beneficial. “It’s definitely a great way of spreading the vibe and getting the name out there, and it’s also a lot of fun,” Matt says. In promoting your party you can also learn to identify your key audience, find out more about them through ticket sales information and also hit the dance floor to meet them, learning about what they’re looking for and what makes them dance. This could also help with acquiring your artists and building your roster. “It showcases the artists on the label and also entices artists to be on the label because they see fun parties happening [in Sweat’s case, all around the world] that they could be a part of.” So community building should for the most part be a key element of your label strategy but of course, it’s crucial to be digitally savvy and ahead of the curve of innovation as well, lest ye be stuck with the floppy disk records. This can be a huge hurdle for emerging and established labels. “The music industry and the technologies around it are constantly changing, so that’s probably the most challenging hurdle – the fact that the goal posts will forever be moving.” You might be releasing digitally, on vinyl or even cassette (you do you), but you’ll still need a firm grip on industry trends and what tools your competitors are utilising. Regularly scan electronic music media sites with both small and large followings to see what they’re talking about or if they have new software or platform announcements, identify your competitors and major labels internationally and then go on a ‘like’ spree, paying special attention to how they’re releasing their music and what tools they engage with to promote it. Talk to your audiences, friends and even consider getting an industry mentor, with whom you can pick their brain and also share the information you’re discovering. It’s easy to be intimidated a saturation of great projects in the label world but don’t be afraid to start small and localise your efforts. And when you’re working away at your couch office, just don’t forget what inspired you in the first place. Source