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On “Barbie Dreams”, the latest single off Nicki Minaj’s Queen, the fiery MC roasts the various male rappers and athletes who’ve made a pass at her. In the song’s accompanying video, directed by Hype Williams, several of these rappers pop up — as puppets (!). Watch the colorful visual below. Earlier today, Minaj addressed her newly reignited feud with Cardi B. Source

Whilst the local scene has predominantly been trail-blazed by the club aficionado’s there is a bubbling and sexy af group of artists laying down what can only be described as love making sauce. The fittingly named Sydney artist LOVER and his debut ‘Eagle To The Prey’ on the Mammal Sounds label is just that with a tantalising cut of thuddy drums, a catchy guitar riff and soapy vocals explained further in detail below. “We also spent a lot of time on different vocal takes and styles – trying to find the balance between an RnB vocal and a pop vocal approach. Once we were happy with the vocal takes, the mixing process started and from there mastering, all of it being done in the same room it was recorded and written in.” At a nicely packaged two and a half minutes you can slurp down a coffee and a damn fine local tune to boot! Source

Shelving is a somewhat tentative joke around a group of mates – it’s hilarious to suggest at any given opportunity but no one actually wants to have to press a dirty pinga inside their anus. That is, of course, unless you’re this Dutch bloke who took a bunch of GHB with his partner and then boiled and peeled 15 eggs before shoving them all into his rectum. Wild. Obviously, this was a recipe for disaster as old mate began to experience some pretty intense stomach pains, which would be expected if he ate the eggs let alone shoved them up his poop flower. They managed to get themselves to a hospital, where he had a CT scan and emergency surgery after doctors suspected he was suffering from abdominal sepsis. “Visible in the CT scan were a perforation in the sigmoid [pelvic colon] and a considerable amount of air and fluid in the abdominal cavity,” the doctors reported. “Therefore, we deemed an emergency laparotomy [a surgical incision into the abdominal cavity] necessary.” Old mate was forced to stay in intensive care for a few days while they made sure none of the eggs had hatched, but he was eventually let go with the all clear. We’re guessing he won’t be rushing to do that again. Image: Medical News Today Source

Australia will be spoilt for choice this summer with yet another bustling festival lineup to add to the plethora of choices making the rounds. This time it’s annual ‘do in the park Let Them Eat Cake with their take on the best dance/electronic and beats on offer with Glasgow heavers BICEP leading the charge in ‘live’ mode. Joining them will be Motor City Drum Ensemble (Sydney date here), as well as groove weapon CC;DISCO, Midland (who’ll be dropping ‘Final Credits no doubt), Soulection boss Joe Kay, Peggy Gou and many, many more. The festival takes place New Years Day within the Weribee grounds and runs from 11:00am – 10:30pm meaning you’ll get a day time boogie and night time soiree. Check out the fully stacked lineup below and register for tickets so you can snap them up September 18th when they go on-sale. Let Them Eat Cake New Years Day Lineup Bicep (Live) (IRE) Motor City Drum Ensemble (GER) Ama Lou (UK) CC:Disco! (AU) Chaos In The CBD (NZ) DJ Boring (AU) DJ Tennis (ITA) Esther Silex (GER) Flava D (UK) Joe Kay (USA) Kahn and Neek (UK) Midland (UK) Moxie (UK) Nightmares on Wax (DJ set) (UK) Opiuo (AU) Peggy Gou (GER) + more TBA Source

Setting the Stage: While Ozzy Osbourne has promised not to retire after this trek ends, his current road trip is being called No More Tours 2 for a good reason. The Prince of Darkness says this is it as far as extensive touring is concerned. He may play a one-off show here and there once this lengthy trek wraps up, but for many fans, this can be the last chance to catch the metal legend in concert. On the drive in to the Northwell Health Theater at Jones Beach on Saturday (September 8th), things were looking iffy. A steady rain had been coming down for hours, and this is the same venue where a Marilyn Manson / Rob Zombie show had to be canceled due to flooding earlier this summer, and where the Five Finger Death Punch / Breaking Benjamin concert was plagued by stormy weather just a few nights ago. Thankfully, the rain turned into a drizzle as opening act Stone Sour took the stage, and the weather would mostly cooperate for the rest of the cool and damp night. Taking the Stage: While you’d expect to see Osbourne’s backing band hit the stage and build up the momentum until his grand entrance, Ozzy himself came out first, greeting the crowd, and telling them the crazier they get, the longer he’ll remain onstage. Kicking things off with “Bark at the Moon”, Ozzy’s voice wavered a bit at first but a few songs in, the metal icon was in top form. From the get-go, it was evident there was something special about this tour. The stage backdrop is absolutely magnificent, highlighted by a giant cross made up of video screens. At times, it looked like an incredible medieval sculpture; at other times, it projected stunning imagery. As great as Ozzy sounded, his backing band deserves as much praise. This is what a metal band should look like: the long-maned virtuoso Zakk Wylde back in the lineup where he rightfully belongs; the steady yet animated bassist Blasko holding down the low end; keyboardist Adam Wakeman adding extra atmosphere to the songs; and drummer Tommy Clufetos delivering a thunderous beat to Ozzy’s classics. And here’s the thing: Zakk’s got a custom Ozzy denim vest; Blasko’s sporting an Ozzy t-shirt — they look and feel the part, showing their fandom of Ozzy just as much as the thousands of fans in the sold-out venue. Having just recently said farewell to the road with his band Black Sabbath, Ozzy’s solo hits made up the bulk of the setlist, including staples like “Mr. Crowley”, “Suicide Solution”, “No More Tears” and “Shot in the Dark”. But a little Sabbath crept in, as well, including “Fairies Wear Boots” and the epic “War Pigs”. Wylde was given his own showcase during a portion of the concert that saw the Black Label Society frontman walking into the audience and playing a medley of songs, tossing the guitar behind his neck, hitting the strings with his teeth and just playing with a whole lot of talent overall. It was a good 20-minute portion of the show that concluded with a monster drum solo from Clufetos. The main set closed out with Ozzy’s best known solo song, “Crazy Train”, complete with insane locomotive visuals on the video screens. But it wasn’t over yet, as Ozzy and company returned to the stage for his ballad “Mama, I’m Coming Home” and the scorching set-closer, Black Sabbath’s “Paranoid”. We caught Slayer on their farewell tour at the same venue in late July, and now witnessing Ozzy on his last run, it’s great to see these veteran metal acts upping their game as they say goodbye to their adoring fans. They could have easily phoned it in and banked on the intrigue that a final tour brings, but each of these acts are performing at higher levels than they have in years. Stellar Support: It’s not an easy task opening for Ozzy, but Corey Taylor and his band Stone Sour provided strong support. A headliner in their own right, Stone Sour got things started on this rainy evening with a high energy 10-song set, of which half the songs came from their latest album, 2017’s Hydrograd. Along with the hard-rocking new cuts, the band delivered their hit ballads “Bother” and “Through Glass”. Guitarist Josh Rand was seated while performing, with Taylor explaining that Rand blew out his knee at the beginning of the tour. The charismatic Taylor, sporting an Ozzy Osbourne shirt, expressed much respect for the Prince of Darkness throughout the set. Ozzy Osbourne Setlist: Bark at the Moon Mr. Crowley I Don’t Know Fairies Wear Boots (Black Sabbath song) Suicide Solution No More Tears Road to Nowhere War Pigs (Black Sabbath song) Guitar medley: “Miracle Man”/“Crazy Babies”/“Desire”/“Perry Mason” Drum solo I Don’t Want to Change the World Shot in the Dark Crazy Train Encore Mama, I’m Coming Home Paranoid (Black Sabbath song) See fan-filmed video of Ozzy Osbourne at Jones Beach below, followed by pictures of Stone Sour (photo passes were not given out for Ozzy’s set). Stone Sour Photos (click to enlarge and scroll through the gallery): Source

French native Jeremy Underground has delivered a white hot debut for BBC 1’s Essential Mix with the DJ stuffing some 20 plus tracks into the groovy, house ridden offering. Jeremy Underground has long been a curator first and foremost not yet diving into the foray of music production and instead focusing on the brilliance of mixing which explains a romping 9-hour b2b with fellow disc-jockey Motor City Drum Ensemble who is set to play Australian shows come New Years Eve/New Years Day. The DJ isn’t without drama after being called out by a nightclub last year for ‘ridiculous demands’ and ending up in a social beef that has since simmered. Those looking to top up their own sets with dance-floor groovers should dive into the tracklist below; Jeremy Underground – Essential Mix: Mirage – Summer Grooves (Edit) [Flamingo] Output – Move For Me [Tuff City] Rocket – Come Together (Edit) [RFC Records] Al-Tone Edits – Remember Me [Lighthouse Records] Eumir Deodato – Whistle Bump (Alkalino Edit) [Warner Bros.] Cultured Pearls – Mother Earth (Hoff’s Optimistic House Edit) [WEA] Scott C – Thanks For Calling [Pittsburgh Tracks] Flip Groove – Get On! [Kool Groove Records] newban – Magic Lady [Guinness Records] The Cool Notes – Hold On (Disco Version) [Boogie Times Records] Ralph White – Fancy Dan (Edit) [M7] DJ Nozaki – Uzkzowz (No Way Back Mix) [Unknown To The Unknown] The Tyrrel Corporation – Six O’Clock (UBQ’s 6AM Club Mix) [Cooltempo] Your Planet Is Next – Youngman [Studio Barnhus] DJ Pierre – Jesus On My Mind (Gospel Vocal Pitch) [Twisted America Records] Pleasure Zone – Fantasy (Edit) [Trax Records] Lauren Flax – It’s Ours (Jimmy Edgar Remix) (Edit) [Unknown To The Unknown] Mr. G – Transdimensional [Phoenix G.] Sugar Holmz – Throw Your Hands Up [Total Rhythm Records] Formula – Spiritual Vibe Remix [Trance Fusion] Groove Junkies – Release My Body [Faze Trax] Brawther – Four Fourty [My Love Is Underground] Norm Talley – Change (Mike Huckaby Remix) [Third Ear Recordings] Random Noise Generation – Falling In Dub (Detroit After Dark Mix) Nightwind – You’re Someone Special [Wind Song Productions] Al-Tone Edits – Heaven (Lighthouse Records) [Lighthouse Records] Atle Lauve – Du Er Sa Deilig [Preservation Records] MAW – Pienso En Ti (I Think Of You) (Smooth Out House Mix) [MAW Records] Seville – Show Me The Way [Kayo Records] Source

On September 1st, the Fonda Theatre in Los Angeles, California was filled by great music and unforgettable memories as Ookay took over the place with a massive SOLD OUT show presented by Goldenvoice. The event began at 9pm with support from Mikinna and Sawage. Photo credits: ThatDROP.com / Miggs Rosales Before the show began, thatDROP got a chance to exclusively interview the Electronic Dance Music Producer, Ookay. . 11 year old twitter viral kid who was surprised by his parents with Ookay Live in LA concert tickets was also actively present in the event – dancing his heart out by the VIP lounge area. Birthday surprise a HUGE success! Corbin had no idea that we had this planned. Denver to Los Angeles just to see @Ookay at the Fonda Theater. Still have one more surprise to come in 24 hours. LOL pic.twitter.com/Os5QChQLIl — Corbin aka XCobra (@neosco09) August 31, 2018 Ookay even wanted to personally met him before the show began and here’s how it went: Photo credits: Nate Vogel Jauz also made a surprise birthday stage appearance where in the whole crowd sang him a happy birthday: HAPPY BIRTHDAY @Jauzofficial THANKS FOR COMING OUT AT @Ookay pic.twitter.com/U8RhmLR5s1 — Ruthie (@ruthhanne) September 2, 2018 Noah Cyrus later made a surprise stage performance during their original track “Chasing Colors” and left the crowd screaming for more. Before the show ended, Ookay brought his family on stage to personally thank them and his fans for a night to remember and it was amazing! A brand new music video from Ookay that was dropped today, are you ready?!  Download ‘Fight 4 U’ for free Photo credits: ThatDROP.com / Miggs Rosales Follow Ookay: Instagram Twitter Facebook SoundCloud The post Ookay Stays Hot After Sold Out LA Show by Dropping New Music Video appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

With Hurricane Florence targeting the continental United States, J. Cole has canceled the inaugural Dreamville Festival, which was set for this weekend in Raleigh, North Carolina. “We’re working to get another date, but right now safety is most important,” J. Cole said in a tweet announcing the festival’s cancelation. “I appreciate everybody that was headed to rock with us. 30,000+ were expected.” Along with J. Cole, the festival promised performances from SZA, Big Sean, Young Thug, Nelly, Rich the Kid, Teyana Taylor, Saba, EarthGang, and Rapsody, among others. “All tickets will be refunded,” according to J. Cole. Mannn. Due to this Hurricane heading to NC, we have to cancel Dreamville Festival. We’re working to get another date, but right now safety is most important. I appreciate everybody that was headed to rock with us. 30,000 + were expected. All tickets will be refunded. Bsafe — J. Cole (@JColeNC) September 10, 2018 Source

Nicki Minaj and Cardi B got into a much-publicized scuffle at a Harper’s Bazaar ICONS Fashion Week event on Friday. In what was described as an “epic brawl,” the hip-hop rivals left the event in distress, with Cardi sporting a bump on her face, a torn dress, and a wig that was torn from her head. She also at one point lobbed her shoe at Minaj. Later, in an Instagram post, Cardi addressed the brawl, indicating that it had to do with comments Minaj made about Cardi’s daughter. “But when you mention my child, you choose to like comments about me as a mother, make comments about my abilities to take care of my daughter is when all bets are fuckin off!” she wrote. Now, on her Queen Radio show on Beats 1, Minaj offered up her perspective. Here are her comments on the situation, in which she denied making comments about Cardi’s child. The transcription come via Pitchfork: “The other night I was part of something so mortifying and so humiliating to go through in front of a bunch upper echelon… people who have their life together. The way they passed by looking at this disgusting commotion. I was mortified. I was in a Gaultier gown — off the motherfucking runway — and I could not believe how humiliated it all felt because we… made ourselves look — and I’ma get back, but before I go, I wanna say that I would never discuss anyone’s child. And it’s so sad for someone to pin that on me because I’m the bad guy and they’re gonna believe them…. I would never talk about someone’s child or parenting…. It’s so crazy to me that people always need to make Onika the bad guy. If you’re right in whatever you’re doing… just speak your truth. I just want people to know that Onika Tanya Maraj has never, will never… speak ill on anyone’s child. I am not a clown. That’s clown shit. The other thing is to tell the world something just because you look fucking dumb. You knew that when that footage came out, you was about to look fucking dumb, so your publicist—also looking fucking dumb…—they hurried up and put out a statement. I’m such a ill-ass bitch I didn’t even feel the need to defend myself that night. I just want everybody to marinate for two minutes…. But we did hear this woman say that nothing’s off limits… because she has built her career off of sympathy and payola.” Minaj also had plenty of harsh words for Cardi, though, saying the rapper “built her career off of sympathy and payola” and needs to get “some fucking help.” She added: “The world gave you a blessing, of a beautiful bundle of joy, and the only thing on your mind after you [gave birth] was to attack people and to stop their bags…. And you wanna let your publicist write something about stopping bags? Do you know what it is to sit in your room for hours and days at a time writing raps? You came into my fucking culture! I never had a DJ to play my fucking songs.” […] “This is about, get this woman some fucking help. This woman is at the best stage of her career and she’s throwing bottles and shoes?… You n**as don’t care until somebody’s fucking dead…. This shit ain’t fucking funny. You put your hands on certain people, you gonna die. Period.” Minaj has been at the center of multiple controversies lately, from her one-sided feud with Travis Scott to the postponement of her “NICKIHNDRXX Tour” to her continued promotion of convicted sex offender 6ix9ine. Source

Tool frontman Maynard James Keenan has offered a new update on the band’s long-awaited new album, while also reaffirming his promise that the album will finally see release in 2019. In a tweet posted Monday afternoon, Keenan shared the following status update: “Scratch Vox tracked awhile ago. [Adam Jones] deep in Guitars now. Final Vox after. Step back. Adjust. Mix. Adjust. Re-Adjust. Master. Adjust. Re-Adjust. Long Way 2 Go But Much Closer.” The tweet were accompanied with the hashtags #TOOL and #2019. Update- Scratch Vox tracked awhile ago. AJ deep in Guitars now. Final Vox after. Step back. Adjust. Mix. Adjust. Re-Adjust. Master. Adjust. Re-Adjust. Long Way 2 Go But Much Closer. #TOOL #2019 — Maynard J Keenan (@mjkeenan) September 10, 2018 Back in June, Keenan went on record promising a 2019 release for Tool’s new album, and it seems like the band continues to make positive progress towards that goal. As for Keenan’s bandmates, guitarist Adam Jones, drummer Danny Carey, and bassist Justin Chancellor held a series of musical clinics over the summer, during which they touched on the in-the-works album. They revealed that every song on the effort is over 10 minutes long, and that the drums have been fully tracked. At the time, Chancellor had planned on finishing the bass parts after Tool wrapped up their summer festival appearances, with Jones tracking guitars afterward. Keenan, who said back in April that he was already done with lyrics and melodies, was to go into the booth last. Tool also shared a snippet of new music in a promo video for the music clinics, which you can watch below. Source

Introducing Giulia, a London based vocalist on the road to stardom. Born and raised in Milan, Italy, Giulia found her calling in music when she moved to London in 2015. Escaping from Milan helped her get a sense of who she really was and what she actually wanted to do with her life. She followed her dream of making music and in May 2018 she received a diploma for her vocal work at the Institute of Contemporary Music Performance in London. This past week she released her debut single “Not an Option” in collaboration with producer and musician Lunah, and we are both thrilled and impressed by her talent and drive. Photo by Ben McConnachieGiulia’s amazing vocals are the powerhouse of the track and work seamlessly with Lunah’s complex beats, making this single an unforgettable debut. For more on Giulia and her new life as an up and coming pop-star, check out the Q&A below: What made you want to pursue music? At first, I was actually quite scared to pursue a career in music, although it’s always been my passion, but moving to London and surrounding myself with musicians helped make that ambition become a reality. How did you meet Lunah and what made you want to work with him? We met at a show in London and he explained that he was a photographer and producer and was looking for artists to work with. Being creative is the main thing for me, and working with Lunah proved to be the most authentic way that I could express myself artistically. During this creative process, all the pieces of the puzzle started to fit together! Can you tell us about how the creative process has been with him while working on the single? First of all, we spent a few days in the studio, songwriting and referencing tracks that inspired us. Slowly we built a song that started to define a sound that really worked for both our musical intentions. Wine also helped… Do you plan on maintaining that musical relationship with him and having him produce for you in the future or do you foresee yourself becoming more independent? The relationship that we’ve built from working on these tracks has helped to create something really special that I would love to grow as we continue to write together. https://www.instagram.com/p/BjEsZ2uDnBd/?taken-by=hellogiulia_ If you could collaborate with anyone in the industry, who would you choose and why? The Weeknd, because I really love the way he brings a visual aspect to his art. For example, he recently worked with Es Devlin on a concept and set design that encapsulated the vibe of his musical journey for his performance at Coachella; this really inspires me. How do you think your Italian background has influenced your music or who you are as an artist? Actually, it’s more that American and British pop cultures have always had an effect on my musical influences. Even when I was young, I would sing Madonna in front of the mirror pretending to be on the stage with a brush in my hand as a microphone. It’s inevitable that my Italian roots have had an impact on the way I sing and I hope this is something that everybody will embrace. Since this is your first release ever, what has been the most difficult part about getting to where you are now? Particularly, at the moment in the music industry, I feel like it’s sometimes difficult to be fully confident in every aspect of what you create. This whole journey has taught me that as long as I’m true to myself and what I want to say as an artist, each element will fall into place. Happiness is key! Who are your musical influences? What artists are you currently listening to? I remember listening to artists like John Coltrane, Michael Jackson and David Bowie as part of my Mum’s record collection when I was younger. Although these memories have always stayed with me, my tastes in music have diversified somewhat. The music that influences me now is closer to the sound of Anne Marie, Mabel and Lany. What can we expect next from you? I really wish I could say more, but you’ll have to wait and see! Keep up with Giulia on Instagram and Soundcloud for more good stuff to come! The post [Exclusive Interview]: London Based Artist Giulia Makes Her Debut with New Single “Not an Option” appeared first on Verge Campus. Source

Foo Fighters are well known for their onstage antics, whether that be recreating past pratfalls, Rickrolling the audience, or inviting John friggin’ Travolta onstage. Lately, they’ve been covering David Bowie and Queen’s “Under Pressure” with guest vocals from random audience members, and at their September 8th show in Vancouver—their first after a brief postponement—a 16-year old girl named Madi Duncan took the stage alongside Foo Fighters superfan Roxanne Engli. Madi was noticed by Dave Grohl and Taylor Hawkins after they saw her holding a sign requesting a duet. Engli wasn’t initially invited, but her enthusiasm won over Hawkins, who proceeded to dance with her while also providing harmonies. Madi, meanwhile, didn’t disappoint; despite some mic issues, she delivered an energetic performance of the song and made a valiant effort at hitting those high notes. She wrote about her experience on Instagram (via Spin): “A lot of people are aware (or maybe not) of my struggles with mental illness and have been very supportive of me throughout it all, but something that you may not know is how much Foo Fighters helped my younger self during the worst time of my life.” Read her full post below: Watch a clip below, and check out the remainder of their current leg here. Source

In a new interview, Corey Taylor said that he has already started writing new Stone Sour music, even though he will be focusing on Slipknot next year. “[Stone Sour have] so much good material that we’ve got that we’re working on,” Taylor told Australia’s HEAVY Podcast Interviews. “We started writing new music pretty much as soon as we got on the road.” Taylor added. “We just can’t be stopped. We’re gluttons for punishment at this point. The cool thing is that knowing that we’ve got all this great material, we can kind of enjoy the rest as much as we can because we know when it’s time to really start ramping up the demo machine, we’re going to have all this cool stuff to listen to. There’s no pressure for us to just run right in.” Don’t expect to hear the new Stone Sour tunes before Slipknot, though. “Obviously, I’m going to do Slipknot next year, and it will allow the audience to miss [Stone Sour], which is the best thing in the world you can have,” Taylor said. Elsewhere in the interview, Taylor discussed how his rocky childhood helped draw him into music. “It was either that or trying various different ways to off myself, basically,” Taylor said, “because at the time, there [weren’t] the resources that the world has to offer now. We’re talking about 35 years ago, and it was tough, man. It was tough growing up that way. You hold onto a lot. Whether it was being bullied or abused – which I had both in healthy proportions – it kind of fostered a horrible anger in me, and it wasn’t really until Slipknot that I was able to tap into that and really unleash it.” Taylor also commented on Stone Sour’s slot on Ozzy Osbourne‘s farewell tour. “We’re direct support for Ozzy Osbourne, handpicked by him for this tour that we’re doing in America right now,” he said. “That’s like being knighted.” Stone Sour’s latest album is 2017’s Hydrograd. Slipknot’s upcoming release will mark their follow-up to 2014’s .5: The Gray Chapter. 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

Nobody appreciates a live concert experience like college music fans, which is a fact Prime Social Group makes good of with their Breakaway Music Festival. The multi-city event brings top charting hip-hop, EDM, and dance pop artists to major markets around the country. After putting on wild shows in Columbus, Ohio and Grand Rapids, Michigan earlier this summer, Breakaway is hitting Nashville, Tennessee and Charlotte, North Carolina come the fall. Wiz Khalifa and GRiZ will headline in each city, while Lil Pump, 3LAU, NGHTMRE, and Lil Skies will also appear at both events. In Nashville on October 5th and 6th, they’ll share the stage with Quinn XCII, Gryffin (live), Russ, Illenium, Sheck Wes, Mike Floss, and, DJ Diesel aka Shaquille O’Neal (!!). The Charlotte fest on October 12th and 13th, meanwhile, will feature Juice WRLD, Louis the Child, Machine Gun Kelly, Hoodie Allen, Lost Kings, Frank Walker, and more. Regardless of which city you attend, you’ll be sure to come away from Breakaway with a memorable experience. We want to make sure that happens by giving away one (1) pair of VIP passes to EACH festival. That means one winner for Nashville, and another for Charlotte. Enter for your choice — or both — by filling out the widgets below. a Rafflecopter giveaway a Rafflecopter giveaway Winners must provide their own transportation and accommodations. Entry automatically enrolls you in the Consequence of Sound newsletter Source

855-JEZ-DIOR The rock & roller with the hip hop persona is taking on the music scene one track at a time, and he’s doing his best to keep that consistent progression moving forward in all of his work. The son of musician Steve Dior of The Sex Pistols and the New York Dolls, music has always been engrained in Dior’s blood. In 2013, Dior released his mixtape Scarlett Sage, which would be just the beginning of an intriguing musical career. With elements of grunge rock and modern hip hop flowing into each other, Dior offers listeners an interesting and independent route to take in terms of sonic creation. In 2014, he released his EP Funeral, and in 2016 he dropped his EP Youthnasia. And he’s not stopping there. The young rapper is excited to expose his latest project which he will be taking on tour as well this year. With a lot of new elements, the artist is ready to share with the world a sound that he finds more fitting to the Jez Dior name. Dior has now released 3 new singles over the course of this past summer including, “Cocaine“, “Come and Go (feat. ROME)”, “Kiss You Good”, all tracks the embody a very new aura in comparison to his past pieces of work. The artist has gone through a lot of change in the past few years, transforming his sound on the borders of hip hop and alternative rock and everywhere in between. Following in the footsteps of some of his inspirations including Oasis and Blink-182 and more from the rock era, he finds himself creating a sound of his own that he can brand with his name. Processed with VSCO with ke1 presetI had a chance to text the artist himself with the number above to ask him my questions, and we really had a great conversation ranging from talking about his new music, to personal and sonic change, to style and more! Check out our interview below to hear what he had to say: Be sure to check Jez Dior on his socials to keep up with what he’s up to! Instagram | Twitter | Facebook | Site The post Text Interview with Jez Dior – New Releases, Changes, Fashion, & More! appeared first on Verge Campus. Source

The following review is part of our coverage of the 2018 Toronto International Film Festival. When world-weary and exhausted detective Erin Bell (a barely recognizable Nicole Kidman) quite literally stumbles into a murder scene, she’s told that it’s not her jurisdiction. She’s also somewhat condescendingly encouraged to get some rest. But she vows that she will get to the bottom of the crime. As we flash back between Bell’s days as a young, semi-idealistic cop on her first big undercover mission with her partner Chris (Sebastian Stan), winding through a nonlinear narrative reminiscent of ‘90s indie cinema, it quickly becomes clear why Bell is so invested in the case. Something went terribly wrong on that first mission years ago. This murder is connected to it. Now she’s on the hunt for revenge — or maybe absolution. It’s a story that we’ve seen countless times before: a grizzled detective, physically and emotionally wrecked from too many years spent straddling the line between good and evil in an effort to uphold the former, is faced with a new, brutal case that drags them right back into the absolute depths of violence and moral ambiguity. Yet we’ve never seen it quite like Destroyer tells it. The most obvious difference is, of course, the gender of this neo-noir’s protagonist. It’s rare that a woman is placed in the role of the genre’s archetypal anti-hero, and rarer still that it’s handled so smoothly, without any posturing about bad-assedness or hand-wringing about likability. Bell is every bit as flawed a human as her male counterparts, and the men in her life are for the most part accessories or catalysts for her journey. Even her choices as an admittedly lacking mother avoid any of the burdens and bullshit that are usually foisted upon female characters. Destroyer is far more intriguing than a simple exercise in role reversal, though. Perhaps part of what makes it feel so fresh is also its almost uniformly talented cast and crew. Julie Kirkwood’s cinematography is bleakly stunning. Director Karyn Kusama (Girlfight, Jennifer’s Body) further cements her already formidable reputation as a gifted and groundbreaking filmmaker with this effort. Stan, Scoot McNairy (Bell’s long-suffering co-parent) and Shamier Anderson (Bell’s long-suffering partner) all bring a great deal of humanity to their relatively small supporting roles. Toby Kebbell and James Jordan bring appropriate menace to Destroyer’s seedy underbelly, and Tatiana Maslany as a woman running out of time and options is as magnetic as ever. Bradley Whitford has some fun nibbling on the scenery in his sole scene. And Kidman — a star who is already rightfully celebrated for her intense performances and chameleonic ability to inhabit almost any role — still manages to defy expectations here. The differences in her bearing as the broken current-day Bell and her younger, more optimistic self is so immediately clear that it renders the (somewhat gimmicky and distracting) makeup that she wears as the elder Bell almost redundant. These elements don’t always blend together perfectly. The final scenes meander, which slightly dulls the film’s final gut punch. It’s likely that the big, climactic reveal won’t perfectly weather repeated viewings. Even though it never becomes more than the sum of its parts, though, those parts are more than significant on their own. It’s also quite possible that Destroyer will have a legacy that goes beyond its good quality as a film. Between its structure, its worldview, and its anti-heroine, Destroyer is almost impossible to ignore. Love it or hate it, it will still leave an impression and it will undoubtedly inspire discussion. It has the potential to nudge the boundaries of what’s possible for complicated characters — particularly complicated female characters — in complicated stories just a little wider for the current crop of filmmakers, writers, and performers. It adds even more nuance and ambiguity to a genre that thrives on such things. It also has the potential to inspire the next wave of storytellers, opening their minds to the possibilities of filmmaking, paving the way for even more boundary-pushing, genre-redefining, complex storytelling in the future. Destroyer will end up on its fair share of top ten lists this year. But it will be even more interesting to see what top influences lists it starts surfacing on in the years to come. Source

Jordan Peele appears poised to become this era’s Master of Horror. According to Bloody Disgusting, the Oscar-winning screenwriter behind Get Out is reportedly in talks to deliver a new reimagining of Clive Barker’s Candyman through his own Monkeypaw Productions. Currently, he’s hard at work on his follow-up, next year’s highly anticipated Us, but the news does have some weight. If you recall, Peele has expressed interest in the franchise, as recently as last year while speaking to Consequence of Sound ahead of Get Out. “When we talk about blaxploitation or Tales from the Hood or Leprechaun in the Hood, I think those fall into parody town for me,” he said. “They don’t scratch my horror itch as well as something like Candyman does or People Under the Stairs, which were ironically brought to us by white filmmakers.” Perhaps he’s looking to offer his own perspective on the Books of Blood short story? We’ll see. Then again, Peele has his work cut out for him, what with Us, that remake of The Twilight Zone, and whatever he still plans to do with The Hunt and Lovecraft Country. It’s good to be on top. Source

A group of women scattered across the country, connected by Twitter and music, managed to take down a Chicago-based band of alleged sexual abusers. This collective effort, which resulted in canceled shows and the eventual disbanding of The Orwells, happened in just six days. The Orwells, a rock band from Elmhurst, Illinois, that shot to stardom in 2014, came under fire after reports of sexual assault, homophobic language, violence, and a pattern of targeting underage fans circulated on Twitter, Reddit, and a Facebook page for Chicago’s DIY music scene. The allegations largely centered on vocalist Mario Cuomo, who was accused by multiple women of assault and sending unsolicited nude photos to underage girls, and brothers Henry (drums) and Grant (bass) Brinner. Guitarists Dominic Corso and Matt O’Keefe were not mentioned in the accusations. The band “emphatically” denied all allegations in a statement and did not respond to Consequence of Sound’s multiple requests for comment. Rather than remaining amongst local fans, the details and collective pain of these incidents spread through social media. In group chats, female fans of The Orwells and other Chicago groups discussed why the abuse was tolerated and decided to take matters into their own hands. One group in particular urged a Chicago venue to cancel The Orwells’ hometown show and collected a massive Google doc to share victims’ stories anonymously. This grassroots effort through which nine women toppled one of Chicago’s most popular indie groups offers a unique blueprint for other #MeToo efforts in music. *** Genevieve Martinez lives a world away from Chicago in South Florida, but started to listen to Chicago indie rock band Twin Peaks in 2014. She created a group chat with seven other female fans on Twitter circa May 2016 (though some had met at a show and exchanged contact information), and they would occasionally travel to shows together. “We all had similar tastes in music and similar personal beliefs, so we all hit it off pretty quickly. Our group chat evolved from talking about music to discussions on politics, feminism, social issues, and mental health,” Martinez, 24, told Consequence of Sound. “They’re all some of my closest friends!” She learned about The Orwells by association and tried listening to them in 2015, “but was super put off by their awful personalities in the interviews I would watch.” Martinez said that she always had a bad feeling about the band – which became known for raucous shows and drunken behavior — and “wasn’t very surprised when I started hearing bad stuff.” In a growing group chat on Twitter, Martinez and others would discuss rumors about members of the band hooking up with underage fans, sending explicit messages they expected would be reciprocated, and generally acting inappropriately. “We found out through some people that it was common knowledge in Chicago what terrible people The Orwells were. Several months ago was when we started entertaining the notion of publicly outing them,” she said. In June 2017, Martinez tweeted: “It is with great happiness that I can finally say with full courage Fuck. The. Orwells.” That tweet caught the eye of Rita Hess, a Chicagoland area resident and ardent supporter of her local music scene. While Hess generally kept to herself at shows, she too had heard about illegal behavior from The Orwells and slid into Martinez’s DMs. “The Orwells’ abuse was not only a well-known scene secret, but it was something that happened to so many women WITHIN the scene. Girlfriends of band members, friends of girlfriends of band members, to the women that are in the front row every show, etc.,” wrote Hess, who was confounded that no one spoke up. “People were SO close to the abuse. They saw what happened to their friends and knew these awful dudes lived nearby. I think they didn’t want to start even more trouble.” Amanda, who was not involved in the group chat, told Consequence of Sound that Cuomo pursued her sexually from age 15, sending her unsolicited nude photos and manipulative texts. They had consensual sex, although Cuomo (who was in his 20s) never asked her age, despite knowing Amanda was still in high school. “It’s very tricky to understand how I feel about it,” said Amanda, now 19. “Even though I thought I wanted to do it when I was 15, I don’t think I was mentally prepared to do that. Especially with someone who was so much older than me at the time, especially someone who didn’t care to ask my age, especially someone who tried to get me drunk in order to have sex.” The group chat was an important resource and place of solace for Hess. “From day one of our friendship, they had my back with what I was saying about The Orwells and encouraged me to speak out,” she said. “They had created legitimate friendships with other bands’ members and heard things from them that made us believe we were doing the right thing by speaking out.” *** The women in the group chat felt obligated to do something, but believed that stories of negative interactions with The Orwells weren’t theirs to tell. They spent significant time discussing how to avoid “outing” victims and speaking for others without consent. Then, a girl they knew posted a photo of a graffiti-covered door at Cole’s on N. Milwaukee Avenue in Chicago that read “The Orwells are rapists” and “The Brinners are twin rapists.” Hess rushed to the bar to get a full-frame photo. “This was shocking to us because up to that point we had only heard rumors of Mario’s violent behavior and relationships with underage girls. This was the first time we had seen anything about rape or the Brinner twins,” Martinez said. “This was the moment we became serious about wanting to expose The Orwells. We mused on why nobody had spoken up about them when their behavior and acts were common knowledge for many years. We became frustrated because all we really had were secondhand accounts and rumors.” Hess, Martinez, and others began tweeting and retweeting the image hoping to make waves. The group spent a couple weeks feeling helpless, like they were getting nowhere. “People knew exactly where the door was. They might have even known the people who wrote that and why,” Hess added. “I think the door really exemplified the idea of the ‘scene secret.’ It was literally the writing on the walls. It was there. We all saw it. We knew it. We just needed people to listen.” On Aug. 23, Hess saw Chicago venue The Metro promoting an Orwells hometown show in November. She tweeted at the venue, noting the band’s history of abuse and how no one was talking about it. Hess also tagged Twin Peaks and several prominent Chicago bands, who (along with several others who weren’t tagged in the tweet) denounced The Orwells’ behavior. Hess’ tweet was retweeted by friends, fans, bands, and several other women who would soon come into the group chat fold. Actress and social media maven Busy Phillips also called on SiriusXM to stop playing the band. @AtlanticRecords @AutumnTone are The Orwells still on your labels? They’re abusive & have a history of sexual assault, sexual relations with minors, homophobia, racism, etc. — ri (@ritacita) August 26, 2018 The show was canceled on Aug. 27, although it’s unclear whether Metro or The Orwells are responsible for the cancellation. Western Springs, IL, resident Bess Connelly hadn’t had firsthand experiences with The Orwells but had heard stories about Cuomo and the Brinners for several years, including a friend’s personal experience with Henry Brinner. She, too, called for the Metro show to be canceled. “When they announced the show at Metro, it sort of hit me that something actually needed to be done this time because it would be so unfair for them to still have a thriving career when they have abused and manipulated so many people,” Connelly, 21, wrote. Akron, Ohio, resident Riley Kmet, 20, noticed Hess’ call for a cancellation and tweeted about her own experiences with The Orwells – she had also received unsolicited nudes from Cuomo when she was 17 and said a friend was raped by a member of the band. I want y'all to know that I was a FAN. Like the BIGGEST FAN. They knew me and my TEENAGE FRIENDS because we always went to shows and they called us "the whorewells". I Saw their UGLY PINK DICK on my PHONE SCREEN when I was SEVENTEEN. — rusty (@rileyemmy) August 26, 2018 “The Orwells were one of my favorite bands until more and more of my friends throughout the years had uncomfortable experiences with them that subsequently made it harder and harder to enjoy their music,” she told Consequence of Sound. “It felt important to tweet about it because I had so many friends from Twitter who still loved The Orwells, and I wanted them to know the truth about the band they’re choosing to support.” Martinez reached out to Kmet, who joined a chat with Hess and another woman named Emma (who was not interviewed for this article) about how to proceed. *** As tweets about the Metro show and accusations of sexual assault percolated around social media, women began to reach out to various members of the group chat to share their stories. Kmet decided to compile the stories into a Google doc, which is 39 pages long as of publishing, that other members of the chat could edit as stories flowed in. The format was easy to edit and share and something that all the women had experience with through school. The Google doc featured emails and screenshots from social media. A few stories featured screenshots of texts from Cuomo — including what appears to be an admission that he slept with a 15-year-old — and another account featured a picture of bruises and bite marks left by him. One woman wrote that she lost her virginity to Cuomo through anal sex, during which he refused to wear a condom; multiple women said Cuomo had propositioned them before they were 18. Many of the anonymous accounts belonged to friends of the women from the group chat, and many others are still unshared.Their document was quickly shared – so much so that Google docs was overwhelmed and duplicate documents had to be created. “We weren’t expecting any sort of response. It just seemed overwhelming once the stories started piling in,” wrote Chicago-based Madeline Heuer, Kmet’s best friend and a document editor. “The scenario we are now in is 100% because of social media. I have read every story in that document, and they all sadden me … It was 100% the fault of the perpetrators in The Orwells.” “Reading through all the accounts has brought me a deeply disturbed feeling I cannot shake. I will say that I have received messages that say they have felt a little less powerless in the wake of this,” Kmet wrote. “Hearing the stories of all the other girls, while hard, has helped a lot of people feel less isolated, ashamed, and at fault for what they experienced and has brought healing to many lives. Hearing that makes me feel so inspired and honored to have somehow helped these victims find a little peace in their lives.” On Aug. 29, The Orwells announced that they were breaking up. “I did NOT expect that all this would happen in just six days. I mean, as soon as people started to finally talk about it, it was like the floodgates had been opened, and people just started talking and it didn’t stop,” Martinez wrote. *** The rapid succession in which a popular band succumbed to the voices of its victims is unheard of – a clear result of the social media age and mounting #MeToo politics. While the speed and success of their work surprised the nine members of the group chat, most questioned why it took so long for The Orwells to be held accountable. Connelly said she felt confident that the group could get the Metro show canceled but couldn’t have predicted that the band would break up. “It makes me wonder if all of this happened one or two years ago, would it have had the same results?” Kmet echoed that sentiment, adding: “I am so proud of what the unified effort of women has made happen in a week.” She wondered why other bands in Chicago’s music scene, particularly those that are friends with The Orwells and knew of their behavior, didn’t speak out sooner. At the very least, those musicians should have unfollowed or stopped supporting The Orwells, she said. Local bands Modern Vices and Twin Peaks were quick to denounce The Orwells’ behavior on Twitter, and both retweeted the link to the Google doc. Twin Peaks were praised for doing so, but urged people to keep the focus on the women involved. “I hope that the disbandment of The Orwells through the hard work and courage of women in the community will be a powerful lesson to all of us: listen to the stories of women, amplify their voices, and allow them to dictate the narrative,” Twin Peaks’ vocalist/guitarist Caiden Lake James told Consequence of Sound. “I’m grateful to have been shown a clear path in outing predators without sacrificing the privacy of those who have been victim to their predatory behavior.” Being involved in Chicago music with The Orwells’ “scene secret” was horrible, Hess said. “It hurt so badly to see band members stand up for abused women in other communities but never ours. They condemned other communities’ abusers but never ours. I started to feel like if, God forbid, something happened to me at a Chicago show, that I wouldn’t be able to speak out in fear of staining the scene’s reputation.” On social media, multiple Orwells fans expressed disappointment about the way in which the band has been judged in the court of public opinion. “Innocent till Provin [sic] Guilty! I’m sure the Band did NOT the first to do this! …. Happens with fame! Slander the Band without Court hearings NOT GOOD judgement!!! [sic],” tweeted Chicago-based fan @jerryranda1. Chicago resident Eric Kolkey, a former tour manager who worked with The Damned, Ramones, Iggy Pop, and others in the ‘70s and ‘80s, suggested that some of the incidents in the Google doc are par for the course in rock ‘n’ roll. In a private Facebook group for fans of The Orwells, Kolkey wrote about his experiences on tour. “We had women throwing themselves at band members. Really beautiful girls! We had groupies who would have sex with any guy holding a guitar. Sometimes they liked it and sometimes they had buyers’ remorse,” Kolkey wrote. “What we did not have back then was the ability to destroy a band and its members by telling some anonymous tales that could be broadcast to the world in seconds and have everyone reading these tales to believe them immediately without question. All it takes is a few stories without proof and in a few days your target is ruined.” Marie Chatelot, a French Orwells fan and admin of the same private Facebook fan group, said she has attended approximately 30 shows and been to multiple parties with the band. “They always treated us with a lot of respect. I’ve always felt safe with them,” she told Consequence of Sound, noting that she had seen the band flirting with girls. “I was first shocked to read the testimonies of all these girls, and quickly I was very surprised how people immediately reacted to this Google doc and were convinced that it was the only truth,” Chatelot wrote. “To me, making allegations on the internet just discredits the authenticity of the facts. None of the victims ever filed a report to the police, which would have validated the accusations.” However, the social media response has encouraged some of The Orwells’ younger fans, including Heuer and Kmet, to renegotiate things they took for granted as teenagers. “We saw what went down when we were 15, but now that we are 20, we realize how fucked up some of the stuff we witnessed was,” Heuer said. “It saddens me that this was an underground secret for so long, but I also know that there probably was not any sort of opportunity for the victims to share all their stories in one place until this document happened,” she continued. “I believe that this has sparked many women and men to not only observe the behaviors around them, but to speak up on those behaviors and, hopefully, call out any bullshit before it becomes a pattern of abuse like the case of The Orwells.” Hess said there’s a healing vibe among members of Chicago’s DIY music scene. “Our scene is incredible and is even better now that this horrific abuse has been exposed and we’ve come together from it,” she said. “It’s time that women, POC, LGBTQ folk, and more are included in shows, it’s time that venues listen to why bands are saying they won’t work with other bands, and it’s time that fans VET the people they listen to.” Source

Noname’s sophomore album, Room 25, is coming this Friday, September 14th. The Chicago MC has been teasing the impending release for a few weeks now and previously shared the album’s tracklist. Today, she confirmed a release date as well as the album’s artwork: ROOM 25 – SEPT 14 pic.twitter.com/vtYlkylGet — Noname (@noname) September 10, 2018 Room 25 serves as the follow-up to Noname’s spectacular 2016 debut, Telefone. Room 25 Tracklist: 01. Self 02. Blaxploitation 03. Prayer Song 04. Window 05. Don’t Forget About Me 06. Regal 07. Montego Bae 08. Ace 09. Part of Me 10. With You 11. no name Revisit the Telefone track “Diddy Bop” below: Source

Ghost have unveiled the latest video in their webisode series, and the new clip reveals the band’s 2019 European tour dates. The video, called “Chapter Four: The Accident,” shows nun Sister Imperator getting into a car accident while rocking out to “Miasma” on her car radio. “The Accident” marks the fourth in Ghost’s webisode series, following “New Blood,” “The Cardinal” and “Back on The Road.” After the crash, Papa Emeritus Zero visits Sister Imperator in the hospital. Watch the full clip below. Ghost will kick off their “A Pale Tour Named Death” tour in Lyon, France, on Feb. 3, and remain on the road through a Feb. 23 show in Stockholm, Sweden. Ticket pre-sales start Thursday (Sept. 13) at 10 a.m. CET, and general on-sale begins Friday (Sept. 14) at 10 a.m. CET. Ghost are touring behind their latest album, Prequelle. In other news, Ghost recently announced a concert in Milwaukee, Wisconsin, on Oct. 31 to honor the band’s fan Jeff Fortune, who collapsed at the venue and later passed away after seeing a Ghost concert in the city this past spring. T-shirts with Cardinal Copia and Fortune wearing Michael Meyers costumes will be on sale at the show, with all funds raised going to Fortune’s family. Ghost will be back in North America to begin a headlining tour on Oct. 25, starting with a show in Grand Prairie, Texas. Those dates are also listed below, with tickets available here. Ghost’s 2018 North American and 2019 European Tour Dates: 10/26 – Tulsa, OK @ Cox Business Center Ballroom 10/27 – Kansas City, OK @ MO Arvest Bank Centre at the Midland 10/29 – Louisville, KY @ Palace Theatre 10/30 – Indianapolis, IN @ The Murat Theatre 10/31 – Milwaukee, WI @ Riverside Theatre (special show to honor fan who died) 11/01 – Chicago, IL @ Aragon Ballroom 11/02 – Peoria, IL @ Peoria Civic Center 11/03 – Madison, WI @ The Sylvee 11/04 – Ames, IA @ Stephens Auditorium 11/06 – Omaha, NE @ Orpheum Theater 11/08 – Albuquerque, NM @ Kiva Auditorium 11/09 – El Paso, TX @ Abraham Chavez Theatre 11/10 – Phoenix, AZ @ Comerica Theatre 11/12 – San Diego, CA @ Spreckels Theatre 11/13 – Sacramento, CA @ Sacramento Community Center Theater 11/15 – San Jose, CA @ City National Civic Center 11/16 – Los Angeles, CA @ The Forum 11/17 – Las Vegas, NV @ The Joint 11/19 – Midland, TX @ Wagner Noel Performing Arts Center 11/20 – Austin, TX @ Bass Concert Hall 11/21 – New Orleans, LA @ Orpheum Theatre 11/23 – Orlando, FL @ Walt Disney Theater 11/24 – Miami Beach, FL @ Jackie Gleason Theater 11/25 – Clearwater, FL @ Ruth Eckerd Hall 11/27 – North Charleston, SC @ North Charleston Performing Arts Center 11/29 – Mobile, AL @ Saenger Theatre 11/30 – Atlanta, GA @ Roxy Theatre 12/01 – Jacksonville, FL @ Florida Theatre 12/02 – Charlotte, NC @ Ovens Auditorium 12/04 – Richmond, VA @ Dominion Energy Center 12/05 – Wilkes-Barre, PA @ FM Kirby Center for the Performing Arts 12/07 – Laval, QC @ Place Bell 12/08 – Toronto, ON @ Sony Centre for the Performing Arts 12/10 – Baltimore, MD @ The Hippodrome 12/11 – Upper Darby, PA @ Tower Theater 12/13 – Albany, NY @ Palace Theatre 12/14 – Boston, MA @ Wang Theatre 12/15 – Brooklyn, NY @ Barlcays Center 02/03 – Lyon, FR @ Tony Garnier 02/05 – Amsterdam, NL @ AFAS Live 02/06 – Antwerp, BE @ Lotto 02/07 – Paris, FR @ Zenith 02/14 – Stuttgart, DE @ Schleyerhalle 02/15 – Bochum, DE @ Ruhrkongress 02/17 – Hannover, DE @ Swiss Life Hall 02/18 – Hamburg, DE @ Sporthalle 02/20 – Gothenburg, SE @ Scandinavium 02/21 – Oslo, NO @ Spektrum 02/23 – Stockholm, SE @ Ericsson Globe Ghost 2019 Europe Tour Full Poster Source

Next week, Paul McCartney will launch his “Freshen Up Tour” with a leg of Canadian tour dates before headlining Austin City Limits in early October. As revealed last month, McCartney will return to the US for a number of dates, which he’s added to today. Newly announced stops include New Orleans, Louisiana on May 23rd; Fort Wayne, Indiana on June 3rd; and Phoenix, Arizona on June 26th. Tickets for these trio of shows go on sale September 17th at 10:00 a.m. local time. Coming in support of his newly released solo album, Egypt Station, check out McCartney’s full touring itinerary below. You can also grab tickets here. Update: McCartney has also shared a video for the Egypt Station track “Fuh You”, which you can watch below. Paul McCartney 2018-2019 Tour Dates: 09/17 – Quebec City, QC @ Videotron Centre 09/20 – Montreal, QC @ Bell Centre 09/28 – Winnipeg, MB @ Bell MTS Place 09/30 – Edmonton, AB @ Rogers Place 10/05 – Austin, TX @ Austin City Limits 10/12 – Austin, TX @ Austin City Limits 10/31 – Tokyo, JP @ Tokyo Dome 11/01 – Tokyo, JP @ Tokyo Dome 11/08 – Nagoya, JP @ Nagoya Dome 11/30 – Copenhagen, DK @ Royal Arena 12/03 – Krakow, PL @ Tauron Arena 12/05 – Vienna, AT @ Stadthalle 12/06 – Vienna, AT @ Stadthalle 12/12 – Liverpool, UK @ Echo Arena 12/14 – Glasgow, UK @ SSE Hydro 12/16 – London, UK @ O2 Arena 05/23 – New Orleans, LA @ Smoothie King Arena 05/27 – Raleigh, NC @ PNC Arena 05/30 – Greenville, SC @ Bon Secours Wellness Arena 06/01 – Lexington, KY @ Rupp Arena 06/03 – Fort Wayne, IN @ Allen County War Memorial Coliseum 06/06 – Madison, WI @ Kohl Center 06/11 – Moline, IL @ TaxSlayer Center 06/26 – Phoenix, AZ @ Talking Stick Resort Arena Source

The Texas GOP recently tried to mock Ted Cruz’s Democratic opponent for Senator, Beto O’Rourke, for once being in a punk band with Mars Volta/At the Drive-In’s Cedric Bixler-Zavala. Let’s see what kind of snooty remarks they come up with when they see the bill for the inaugural Buffalo Tree Festival, which features Beto scheduled alongside some top indie talent. Presented by The Homegrown Festival alongside The Polyphonic Spree’s Dylan Silvers and The Dallas County Democratic Party, Buffalo Tree is scheduled for October 7th at Dallas, Texas’ Main Street Garden. On the music side of things, Silvers’ band will perform alongside Spoon, The Polyphonic Spree, Sarah Jaffe, The Tontons, Bobby Sessions, and others. At the Drive-In off-shoot SPARTA are on the bill as well, an interesting booking just two steps away from O’Rourke’s own short lived musical career. In addition to the Democratic Senatorial candidate, Congressional candidate Colin Allred (Texas’ 32nd district), gubernatorial candidate Lupe Valdez, and Commissioner of Agriculture candidate Kim Olson are all scheduled to appear. More artists and speakers are expected to be announced in the coming weeks. Tickets are just $10, and free for anyone under 18. Find tickets and more info at the festival’s website. Source

We always love to see artists in the EDM world giving back to their community. Today, GRiZ announced the 5th annual GRiZMAS shows which will take place at the Masonic Temple in Detroit on December 14th and 15th. For fans in the midwest, this is always a marked event on their calendar. GRiZ enjoys giving back to his community while specifically focusing on the youth as he assists in funding music education in public schools. He was awarded with the Spirit of Detroit award by the city council as he continues to fight for the success of children. The first night will take stand on December 14th and will include a comeback of the fifteen-piece GRiZ Live Band which debuted at Red Rocks Amphitheater in 2017. GRiZ will happily be closing out the year in Detroit as he’s had a fantastic 12 months of countless hours of work in the studio as well as performances around the world. He was seen at Electric Forest, Air + Style, Lightning in a Bottle, and more. Tickets will be on sale Friday, September 14th @ 12pm ET. Get your presale tickets here starting Tuesday, September 11th @ 12pm ET with password: grizmas. The post GRiZ Announces Fifth Annual GRiZMAS Show appeared first on EDM Maniac. Source

Kate Bush writes some of modern music’s most gorgeous, literary, and complex lyrics, and now a portion of them will be collected in a new book, How To Be Invisible: Selected Lyrics. The cloth-bound book will be out December 6th via Faber, and will feature an introduction from Cloud Atlas author David Mitchell, a longtime fan of the singer. “For millions around the world Kate is way more than another singer-songwriter: she is a creator of musical companions that travel with you through life,” Mitchell says in a press release. “One paradox about her is that while her lyrics are avowedly idiosyncratic, those same lyrics evoke emotions and sensations that feel universal.” (Read: 10 Pop Albums for People Who Hate Pop Music) Mitchell, who contributed to Bush’s 2014 Before the Dawn performances, has previously spoken about Bush’s lyrics. “Her songs read like scenes from short stories, or the stories themselves (odd ones),” he wrote in 2011. “It’s hard to think of a novelist, let alone another singer-songwriter, who takes on such diverse narrative viewpoints with Bush’s aplomb: a foetus during nuclear war (‘Breathing’), a weather-machine inventor’s daughter (‘Cloudbusting’), a suicide bomber (‘Pull Out the Pin’) or a dancer whose partner turns out to be Hitler (‘Heads We’re Dancing’).” Earlier this summer, hundreds of Bush fans recreated her “Wuthering Heights” video, and the singer saw her song “Running Up That Hill” covered by First Aid Kit. Source

Welcome to Dissected, where we disassemble a band’s catalog, a director’s filmography, or some other critical pop-culture collection in the abstract. It’s exact science by way of a few beers. This time, we sort through the best and worst of Fox’s landmark sci-fi series. “Sorry, nobody down here but the FBI’s most unwanted.” Oh, how modest you were Special Agent Fox Mulder. The truth was out there, alright, and that truth was simple: Everyone wanted The X-Files. For close to a decade, Chris Carter’s long-running sci-fi series scared millions of Americans every weekend and for zero fees. Well, that is until 1998’s Fight the Future, and eventually 2008’s I Want to Believe, but still… From little green men to vampiric Sandlot stars, a benevolent T-1000 to inbred hooligans, The X-Files is to The Twilight Zone as Pepsi is to Coca-Cola. It’s the sci-fi of a new generation! Well, at least it used to be. Today, the series turns 25, which is why you ought to crank up some Mark Snow, grab a fresh bag of sunflower seeds, line up a handful of sharpened No. 2 pencils, and start flipping through our own files. –Michael “Spooky” Roffman Editor-in-Chief _________________________________________________________ Season Nine 2001-2002 Number of Episodes: 20 Most Valuable Writer: Chris Carter takes home this trophy, though it’s not exactly a triumphant win. Marching onward despite David Duchovny’s departure, Carter attempted to save face, working with Season Eight’s acceptable contingency plan of pairing Robert Patrick’s John Doggett and Annabeth Gith’s Monica Reyes with Gillian Anderson’s Special Agent Dana Scully. To his credit, he managed to write a few inspired episodes with exciting possibilities (“Provenance”/”Providence” and “Improbable”), trumping a few of the misfires from veteran writers like Vince Gilligan (“Sunshine Days”, “Jump the Shark”) and Frank Spotnitz (“Dæmonicus”, “Jump the Shark”). Most Memorable Guest Star: One could make the argument that Duchovny’s short-lived return was by far the most memorable guest appearance of the entire season, but that’s a smart-ass answer. A fair response would be Lucy Lawless’ promising and equally short-lived turn as Super Soldier Shannon McMahan, a role that was cut short due to Lawless’ own high-risk pregnancy. She appeared in two episodes: “Nothing Important Happened Today” and “Nothing Important Happened Today II”. Outside of that, credit is due to Adam Baldwin’s fantastic other Super Soldier Knowle Rohrer, in addition to a recurring role by Cary Elwes as FBI Assistant Director Brad D. Follmer and Burt Reynolds as God. No lie. X Marks the Spot (Best Mythology Episode): “William”, with story by trio Duchovny, Spotnitz, and Carter, rounds up the best of the very few mythology spotlights in Season Nine. Duchovny triple-downed by also directing and guest starring in the episode, and his appearance served as a preview for the two-part then-series finale, “The Truth”. The title alone should hint to the weight of this episode, and it delivers as best as it could, uncovering the deep, dark secrets a badly disfigured man holds. Chris Owens’ previously thought-to-be-dead Jeffrey Spender returns to the fold, initially sending a jolt to Scully, who believes he wants to hurt William. Not the case, so it would seem, and it’s his information that sparks theories of alien invasions, setting up in many ways what’s to come in the forthcoming mini-series. Monster of the Year (Best Monster-of-the-Week Episode): The last great Monster-of-the-Week for the initial series run centered on John Doggett and his missing son. Written by David Amann and John Shiban, “Release” was less about monsters, per se, and more about the actual horrors of human beings. Jared Poe stars as Rudolph Hayes, a wunderkind FBI cadet with an uncanny (and mysterious) ability to solve crimes. He helps Doggett link several present cases to what happened to his son, which offers some closure for our underrated hero, solidifying him as one of the best characters The X-Files ever produced. Bad Blood (Worst Episode): “Jumping the Shark”, an episode used to wrap up the ill-fated spin-off series, The Lone Gunmen, falls incredibly short. The episode features our three hackers in a race against time to prevent a biological outbreak. Naturally, they contain the virus, but they trap themselves with it. By episode’s end, they’re buried in Arlington Cemetery, having earned the spot due to their duty to the country, and like a scene out of A Nightmare on Elm Street, the entire cast attends the funeral. With only five episodes left, many felt this was a wasted opportunity, and longtime fans of The Lone Gunmen felt cheated. However, comics would later retcon the decision, a move that prompted Carter to bring ’em back for the upcoming mini-series. Closing Statements: Season Nine is a fleabag of mostly not-so-great episodes. Had this been the first of a series, it’s possible they could have eventually found their footing. But with a tired production team and audiences increasingly straying with the departure of Duchovny, it was already doomed. Patrick and Gish were never really given a real shot to maintain the X-Files sans Scully and Mulder, but maybe that was never meant to be. And while Patrick’s Doggett became a fan favorite on the show, most would agree that Gish’s Reyes lacked some serious attention. Of course, with the mini-series (not to mention 2008’s I Want to Believe), it’s obvious that Duchovny and Anderson have and always will be The X-Files. Plain and simple. –McKenzie Gerber _________________________________________________________ Source