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Pig Destroyer are getting ready to release Head Cage, their first album in six years, on September 7th, and the grindcore band has just unveiled a bizarrely entertaining video for the new song “Mt. Skull” (watch below). The clip, which premiered via Kerrang!, centers on the recently deceased “Stanley”, whose body is being carried to his funeral in a coffin by some seemingly able pallbearers. However, things go ridiculously awry when one of the pallbearers steps on a banana peel. From there, it’s total mayhem and hilarity, as the coffin speeds its way through a skatepark and eventually into a video game. The band said of the video, “Did someone say banana peels?!?! We here at Pig Destroyer Industries are happy to announce our third video in conjunction with [director] Joe Stakum, so get out your coffins and skate Mt. Skull!” Pig Destroyer previously premiered the video for the track “Torture Fields” right here at Heavy Consequence. Fans can pre-order the album Head Cage at digital outlets here and in physical packages via Relapse Records. Source

Kanye West sought to clean up some of his recent controversial comments — or, lack thereof — during an interview on Chicago’s 107.5 WGCI Chicago on Wednesday. To start, Kanye was given an opportunity to answer the question posed to him by Jimmy Kimmel earlier month. If you recall, Kimmel asked Kanye whether he believes Donald Trump cares about black people.” Kanye sat silent for several seconds, prompting Kimmel to go to commercial. When they returned from the break, Kimmel moved on to an entirely different topic. Kanye subsequently said he hadn’t been given a chance to answer the question: “The question was so important I took time to think.” Given another chance to answer the question, Kanye told WGCI: “I feel that [Trump] cares about the way black people feel about him, and he would like for black people to like him like they did when he was cool in the rap songs and all this. He will do the things that are necessary to make that happen because he’s got an ego like all the rest of us, and he wants to be the greatest president, and he knows that he can’t be the greatest president without the acceptance of the black community. So it’s something he’s gonna work towards, but we’re gonna have to speak to him.” That segued into a conversation about Kanye’s past comments to TMZ in which he called slavery “a choice.” Kanye said his comments had been misinterpreted, as he was actually speaking from the perspective of “his spirit.” However, in attempt to clarify what he actually meant, he seemingly compared himself to both Harriet Tubman and Nat Turner. “It sounds like a choice to me. I’m not a historian, I’m Kanye West. And to me, if I hear about an entire group of powerful people being held captive for 400 years, it sounds like a choice to the spirit of Kanye West — which I think is aligned with the spirit of Harriet Tubman — which I think is aligned with the spirit of Nat Turner. In my non-historical opinion, I feel these are examples from the past from people who felt similar to that.” Still, Kanye said he understood that some people were “let down by that moment,” and for that, he offered an apology. “The thing about being called crazy, the biggest stigma that has to be broken is that you instantly get written off. But you might be the only one who knows what they’re talking about. Also what I wanna say to everyone listening right now—I have never really approached or addressed the slavery comment fully. And it’s not something for me to overly intellectualize. This is something about the fact that it hurt people’s feelings and the way that I presented that piece of information. I could present in a way more calm way, but I was ramped up… I’m sorry for the one-two of the MAGA hat into the slavery comment. And I’m sorry for people who felt let down by that moment. I’m sorry to people who felt let down by that moment. And also I appreciate you guys giving me the opportunity to talk to you about the way I was thinking and what I was going through. I just appreciate you guys holding on to me as a family. And one thing I got from the TMZ comment—I learned how much black people love me.” Kanye also spoke about his ongoing mental health issues, which he said can cause him to speak clumsily. He also expressed his desire to surround himself with a better support system. “If you deal with someone that’s bipolar, that’s ramped up. They might say something that’s their truth, that’s how they feel, in a way that’s not going to make you feel comfortable… The people who were around and are starting to make money, they just didn’t care about me as much. Because Kanye West was an entity, a money-making machine, and you get into that situation and you don’t have people that are continuously looking out for your best interests at all costs. Because I even had people that was with me at TMZ that could have stopped it. That could have said, ‘Yo, this is going too far.’” Elsewhere in the interview, Kanye discussed his relationship with Drake. He disputed rumors that he provided Pusha-T with damaging information that was used on his scorching diss track, “Story of Adidon”, saying: “I’m Ye, I got major things to do other than give information to him about Drake… My head isn’t even in this place.” Kanye said he is uninterested in beefing with Drake: “People be around your family and be in your house and this and that then, they get mad about a beat and send purple demon emojis. I don’t play like that, I don’t play in that place . . . It’s like, look, it ain’t no beef.” He also believes the pair will “reconcile that one day because we got to. We got work to do because these voices are just too powerful.” Watch portions of Kanye’s interview below: Source

Jayne Gray’s Industrial Techno influenced “It Was All A Dream” I hear a to a lot of music on various electronic music stations. While I can listen to it 24/7 driving to and from work, some of it gets repetitive and sounds similar to the next song. I am always looking for something that stands out and sounds different. Every now and again I find someone with substance. photo credit Jayne Gray Her name is Jayne Gray, an artist originally from Virginia who moved to California to pursue her electronic dance music dreams. As an early fan of hip-hop music, Gray brings that tone in many examples of her work including the intro to this EP. In addition, her unique sound of trap and dubstep makes her an exciting artist to give a listen too. Her new EP, “It Was All A Dream” is a must listen. What can I say, I’m totally guilty of listening to “Heavy Fetish” on repeat. According to Gray, the influence of the song(s) can be traced back from a trip to Europe and the industrial techno scene in Berlin, Germany. A night at the “Kit Kat Club” inspired Gray to take some of the electric guitar riffs into her future work. ‘Heavy Fetish’ brings those inspirations right into the track. After traveling in Berlin this summer I was influenced by the industrial techno scene that I encountered over there and I wanted to let my new album reflect that. -Jayne Gray The songs vocals take on bit of a dark, mysterious, and rebellious tone. It comes across between psychedelic and somewhat erotic. While you are on a ominous trip, the drop hits you with a spark of life and instant energy. The interaction of the snyths is what I find fascinating about this song. Like I said above, it is something different that I rarely hear on the airwaves. Take a listen to it below. ‘Venus (Bleed Electric)’ brings an absolute blistering set of sound. It quite literally feels like your taking off for the planet Venus as the track entails. The high energy sound will have your heart pounding on every second of trap line. It is quite a change of pace from ‘Heavy Fetish’, but one that touches on the diversity of Gray’s work and makes the track(s) in this set that much more special. “Hunnie’s hands up like the rings came off” is a line off her song “Fall In My Love” (VIP). Her lyrical reach and tone in this song is impressive. Mix that with her trap injections and you get Jayne Gray. This might be one of my favorite tracks off this EP. I don’t think you can put Gray in a simple category, as all these songs have an identity and make her a truly special artist. Take a listen to Jayne Gray’s EP in full:  If you like Gray’s sound as much as I do, you might find her performing in and around the California area. Gray has played at festivals such as Santa Cruz Music Festival, Emissions West Coast Bass Culture, and Stilldream Music Festival. She has supported such acts such as Bonnie X Clyde, Ivy Lab, Mr. Carmack, Rusko, among others. Finally, grab her acid trap for free download. Follow Jayne Gray: Facebook Instagram Website Youtube The post Jayne Gray Finds Inspiration from Industrial Techno for Latest EP appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

In 1970, Orson Welles found his film The Other Side of the Wind snarled in a mess of studio rights issues and legal wrangling. Despite shooting reels upon reels of footage, the film ultimately went unfinished. Since Welles’ passing in 1985, there have been numerous attempts to bring the film out of escrow and finally release it to the world. Thanks to Netflix’s bottomless pit of money, that dream will finally become a reality this fall. The Other Side of the Wind will finally premiere next week at the Venice Film Festival before being released in select theaters and through the streaming platform on November 2nd. In anticipation, Netflix has unveiled a trailer for the film, which you can watch below. The long-gestating project tells the story of famed filmmaker J.J. “Jake” Hannaford (played by John Huston), who returns from years abroad in Europe to a changed Hollywood, where he attempts to make his comeback. “A satire of the classic studio system as well as the new establishment who were shaking things up at the time, Welles’s final film is both a fascinating time capsule of a now-distant era in moviemaking as well as the long-awaited ‘new’ work from an indisputable master of his craft,” says Netflix of the film (via The Playlist). Producers Frank Marshall (who served as a production manager on Wind during in its initial shooting) and Filip Jan Rymsza spearheaded efforts to finally complete the film. Oscar- winning editor Bob Murawski led a technical team charged with assembling the footage, while Oscar-winning composer Michel Legrand composed a new score. Along with Huston, the cast includes Peter Bogdanovich, Oja Kodar, Robert Random, and Susan Strasberg. The film has been a long time coming, and luckily, even Netflix won’t get in the way of watching it in the way Welles undoubtedly intended: in a movie theater. The Other Side of the Wind will be released in select theaters and through the streaming platform on November 2nd. Source

First watches, now whiskey! Move over Kiss, Metallica are becoming big players in the branding game. Their latest endeavor is their own brand of whiskey — and it’s not in a jar, it’s in a bottle. Metallica have unveiled Blackened American Whiskey, which sees the Rock and Roll Hall of Fame metal band partnering with master distiller Dave Pickerell. Part of the process actually involves utilizing sound waves from the band’s music. The band writes in an official announcement, “‘Blackened’ isn’t just the name of a song on …And Justice For All and now on the bottle; it literally helps to shape the flavor! That’s right, the blend of bourbons, ryes, and whiskeys from all across North America, carefully selected by Dave himself, is housed in black brandy barrels and inundated with low hertz sound waves so intense that it actually enhances the molecular interaction and ultimately the finish of the whiskey.” They add, “We are fortunate to have a long-time collaboration with Meyer Sound, who have engineered a proprietary subwoofer that amplifies the low frequency sound waves and all the planets aligned. It just so happens that the low-frequency range needed for Dave’s vision was the range you hear in our music and the process of sonic-enhancement we call ‘Black Noise’ was born. A patent-pending process, the playlists that we create helps to shape the flavor of the whiskey.” Blackened American Whiskey will be available this fall in liquor stores and restaurants, but fans and liquor connoisseurs will be able to sample the beverage at events located near Metallica’s shows on their upcoming U.S. tour. The first events take place in Madison, Wisconsin, and surrounding areas, with Metallica set to kick off the trek there on September 2nd. Full details on Blackened American Whiskey, as well as the initial tasting events, can be found here. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Videos Pearl Jam’s “Jeremy” Annotated Video Source

As LeBron James’ Space Jam 2 continues to percolate, Hollywood is looking to have a go with another set of classic Looney Tunes characters. Deadline reports that Warner Bros. is currently developing a movie about Wile E. Coyote with Jon and Josh Silberman, a pair of It’s Always Sunny In Philadelphia writers. Wile E. Coyote, if you’re unfamiliar, was an animated character locked in an endless war with Road Runner, a chaparral bird that, time and again, outsmarts its foes nefarious plans, which often involve bombs, cliffs, and Acme products. Acme, it appears, will also play a role in the film, as the working title is Coyote vs. Acme. Could Coyote and the Road Runner team up to take on corporate malfeasance, as the title seems to indicate? Time will tell. Are You Afraid of the Dark’s Scariest Episodes That 70’s Show Fan Theory Stephen King’s Top Horror Movie Adaptations Game of Thrones Tour Sizzle Reel The Star Wars Universe Truly Began at Mos Eisley's Cantina Source

Earlier this year, Liars released their soundtrack to the film 1/1, which also marked their last project to feature band member Aaron Hemphill prior to his amicable departure. Now, sole remaining member Angus Andrew is back to releasing music of his own, as he’s announced a new Liars record called Titles with the Word Fountain. The 17-track album serves as a sequel to Andrew’s first solo Liars release, 2017’s TCFC. According to a press release, the TWTWF material comes from the same sessions as TFCF, but Andrew says it has a “more playful” vibe “despite revolving around the same sentiments.”. “There was a lot of pressure in producing TFCF as it was guaranteed to be framed by the lack of band members,” Andrew adds. “With Titles with the Word Fountain I felt stripped of that burden and more free to include work that could be construed as unclear or abstract.” A first listen at this more abstract music comes in the form of lead single “Murdrum”, a multi-layered track with relentless cymbal smashes. Take a listen below, and pre-order Titles with the Word Fountain ahead of its September 21st release via Mute. A limited edition green vinyl version will also be released on November 2nd. Titles With the Word Fountain Artwork: Titles with the Word Fountain Tracklist: 01. 97 Tears 02. Face In Ski Mask Bodies To The Wind 03. Murdrum 04. Pure Context 05. Double Elegy 06. Left’s Got Power Right Hasn’t 07. Past Future Split 08. P/A\M 09. Fantail Creeps 10. Perky Cut 11. Feed The Truth 12. Gawking At The Accident 13. Absence Blooms 14. Extracts From The Seated Sequence 15. On Giving Up 16. Sound Of Burning Rubbish 17. A Kind Of Stopwatch 18. No Help Pamphlet (The Alpha Ceti Orchestra Remix) * * = Digital version only In support of TWTWF, Liars will tour Australia for the first time since Andrew moved there two years ago. Liars 2018 Tour Dates: 09/27 – Melbourne, AU @ The Curtin 09/28 – Melbourne, AU @ ACMI Late Nights 09/29 – Surry Hills, AU @ Oxford Art Factory 09/30 – Wollongong, AU @ Yours & Owls Festival Source

It’s been a long road for The Ghost Inside since a horrific accident involving their tour bus in 2015 left most of the metalcore band’s members seriously injured and their driver killed. Nearly three years later, drummer Andrew Tkaczyk, whose right leg was amputated as a result of the crash, is back playing “close to the level” of his old self thanks to a new drum setup. The accident occurred in November 2015 when a truck crashed head on with the band’s tour bus near El Paso, Texas. Tkaczyk not only lost his right leg, but also suffered injuries to his ribs, hips, spine, head, shoulders and hands. They haven’t performed since, but earlier this year The Ghost Inside posted a message on their official website, saying there is a future for the band, stating, “We still aren’t sure exactly what it looks like. It might be one show, it might be a few shows. It could be a new song or a whole new record. Our journey into that future is just beginning, and we will bring everyone that is interested along with us.” Yesterday, in a new Instagram post containing a video of himself playing drums as well as a couple of photos, Tkaczyk wrote, “Today is honestly the first time since our accident almost 3 years ago that I feel close to the level I was playing at when I had two legs. No, it’ll never be 100% like that again but with the help of my Dad and some incredible people, I’ve gotten pretty damn close.” He added, “The @axispercussion long boards were the third and final piece of the puzzle to making playing drums feel natural again. 1st piece was The Hammer my Dad built. 2nd piece was my trigger setup, and now these pedals. Extremely thankful to Joe Hardy for hooking me up and helping me get back to it. Feeling great about this!” Source

Laura Jane Grace & the Devouring Mothers is the new project from Against Me! frontwoman Laura Jane Grace and featuring Against Me! drummer Atom Willard and bassist Marc Jacob Hudson. The trio has now announced details of its debut full-length album, Bought to Rot, which will be released on November 9th through Bloodshot Records. Bought to Rot features 14 tracks about “Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end…,” according to a press release. Now the same age as Tom Petty was when he released his solo debut, the punk singer-songwriter was inspired by 1989’s Full Moon Fever to pen what’s described as her “most musically diverse collection of songs” ever. As a preview, Grace has unveiled “Apocalypse Now (& Later)” as the album’s first single. A touching folk-punk track strummer out on acoustic guitars with an electric bridge, the song is very straightforwardly about being so in love with someone that the end of the world wouldn’t even phase you. “There’s nothing that can hold me back/ Don’t have happy ever after, just have here and now,” Grace sings. “On the Samhain of our souls watch the world burn in fire/ The bliss of your kiss in the apocalypse.” Take a listen: Bought to Rot is now available to pre-order via Bloodshot. See the album’s artwork and tracklist below. Bought to Rot Artwork: Bought to Rot Tracklist: 01. China Beach 02. Born In Black 03. The Airplane Song 04. Apocalypse Now (& Later) 05. Reality Bites 06. Amsterdam Hotel Room 07. The Friendship Song 08. I Hate Chicago 09. Screamy Dreamy 10. Manic Depression 11. The Acid Test Song 12. The Hotel Song 13. Valeria Golina 14. The Apology Song Laura Jane Grace & The Devouring Mothers will support Bought to Rot with a small bit of touring in November. See their as-yet-announced itinerary below. Laura Jane Grace & The Devouring Mothers 2018 Tour Dates: 11/02 – Rock Island, IL @ Rock Island Brewing Company 11/03 – Indianapolis, IN @ The Hi-Fi 11/04 – Lansing, MI @ Mac’s Bar 11/05 – Detroit, MI @ The Shelter 11/08 – Chicago, IL @ The Hideout 11/18 – Chicago, IL @ Cobra Lounge 11/29 – Chicago, IL @ Lincoln Hall Source

Last November, The Mountain Goats released an Ozzy Osbourne-themed EP dubbed Marsh Witch Visions. The indie folk outfit is back today with a release that’s pretty much the complete opposite of heavy metal: a cover of the 2009 Bon Iver track “Blood Bank”. The rendition was recorded for Aquarium Drunkard’s ongoing Lagniappe Sessions series and features additional contributions from the group’s longtime collaborator Matt Douglas. Mixing was handled by Chris Boerner, who previously worked on The Mountain Goats’ cover of War’s “Summer” from 2016. Explaining why he decided to tackle “Blood Bank”, frontman John Darnielle said he initially thought the song was “about junkies in the Pacific Northwest donating plasma for money in the ’80s because that was a thing a lot of my friends did and a lot of those friends have gone home to God now.” He continued, “…so this song holds, for me, both great pain, and the sweet memory of friends too beautiful for this world.” Elsewhere in the session, The Mountain Goats put their spin on Godspell’s “Save the People” and Robin Trower’s “Bridge of Sighs”. Stream the entire thing here. (Read: John Darnielle, Stranger Things, and The New Nostalgia) The Mountain Goats’ last full-length, Goths, hit stores in May 2017. As for Bon Iver’s Justin Vernon, he and The National’s Aaron Dessner are just days away from releasing their first album as Big Red Machine. In related news, Third Eye Blind also recently covered Bon Iver’s “Blood Bank” for their new EP. The Mountain Goats’ Lagniappe Sessions Artwork: Source

Whether or not Ben Affleck remains the Dark Knight could ultimately come down to the cost of insurance. Affleck, a recovering alcoholic who is currently in rehab for the second time in less than a year, could be too expensive of a liability for Warner Bros, according to a new report from TheWrap. Industry insiders told TheWrap that insurers for forthcoming projects starring Affleck will want a substantial amount of the film’s budget set aside in escrow as a deductible. “More than likely the studio will replace him because the insurance costs are going to go through the roof,” a representative for a completion bond company told TheWrap. “He would be bondable, but the deductible would be really high, probably the budget of the film.” As such, the cost to insure the forthcoming Justice League sequel could exceed $150 million on a budget of $300 million. Publicly, Warner Bros. has expressed a desire to stick with Affleck, saying in a statement last year: “Ben is our Batman. We love him as Batman. We want to keep him in the cowl as long as we can.” However, behind the scenes studio executives have reportedly pondered an exit strategy. Already Affleck stepped down as the writer and director of a standalone Batman film. His replacement, Matt Reeves, is hoping to begin production on the project early next year, but has thus far remained coy about Affleck’s involvement. However, previous reports suggested Reeves was eyeing a younger actor to play the Cape Crusader. As of now, Affleck is still attached to star in the upcoming Justice League sequel, and has called himself “the luckiest guy in the world” for having the opportunity to play “the coolest part in the universe.” How long that opportunity lasts not only depends on Affleck’s own recovery, but whether Warner Bros. believes his involvement is worthy of the exuberant price tag. We’ll keep you updated. Fan Theories: What If The Joker Was the Hero? That 70’s Show Fan Theory Stephen King’s Top Horror Movie Adaptations Game of Thrones Tour Sizzle Reel The Star Wars Universe Truly Began at Mos Eisley's Cantina Source

The Motown Sound will never die and the latest outfit keeping it alive is Insecure Alex. Feeling bored and restless in Pomona, California, this soulful five-piece opted to do something about it by tinkering with sounds of the past and present, ultimately crafting something heartwarming for the future. It’s a style that’s since escaped the suburban confines of Southern California for the hustle and bustle of Los Angeles, where the band’s packed houses to the ceiling. “We’re happy,” admits frontman Mark Vasquez, whose off-stage demeanor is just as amicable as his balmy pipes. “We have everything we need. We have a place to practice, a place to record, great people around us. We have our families and our homes over our heads, so I think we have everything we need. Everything else is just icing on the cake.” They’re going for the candles, though, as they compete against nine other acts to score an opening gig for ScHoolboy Q at House of Vans Chicago on September 14th. It’s all part of Vans inaugural Share The Stage competition, which began earlier this year when over 150 artists traveled across the United States and Canada to get their voice heard. Get to know the band above via a dreamy evening in Pomona. Source

Fever Ray has been touring relentlessly this year—the art-pop singer’s first proper trek in eight years—but today Karin Dreijer has announced that all upcoming shows, including slots at Pitchfork Music Festival Paris and Iceland Airwaves in November. Dreijer made the announcement in a Facebook post, citing the cause for the cancellation as her own struggles with anxiety and panic attacks. “It is a disorder that always lurks in the shadows that I have had to work carefully with and around, and that I never really know when it will strike or how much it will affect me,” she wrote. “The last month though has been rough and my anxiety has started to escalate. I will now have to take a break from touring to take care of myself and restore my health. We are canceling the forthcoming shows this autumn.” Read the post in full below: Last year, Fever Ray released Plunge after an eight-year hiatus, which she accompanied with a series of freaky, themed videos for singles like “To The Moon and Back”, “IDK About You”, and “Wanna Sip”, the latter of which recently got a remix from Olof Dreijer, her former bandmate in The Knife. Source

It’s been more than two and a half years since Mötley Crüe played the last show on their “Final Tour”, having signed an agreement to never tour again after the trek’s completion. And while they never promised to stop making music together, they’ve been dormant on the new music front, as well — until now. On Tuesday (August 28th), the band posted a picture on Facebook of drummer Tommy Lee and bassist Nikki Sixx in the studio with Bob Rock, the man who produced Crüe’s 1989 disc Dr. Feelgood, as well as Metallica’s “Black Album”, among others. The photo was accompanied by the simple caption “28th August 2018.” And if that wasn’t enough to get fans excited, Lee posted the same photo on Instagram, with the caption, “It’s that new shit!!!!” He also shared a short video clip of himself playing the drums in the studio, accompanied by the exclamation, “Boomz!!!!!!” Notably absent are singer Vince Neil and guitarist Mick Mars, so there’s no guarantee that the “new shit” Lee and Sixx are working on will result in new Mötley Crüe songs. They may very well be recording music for the upcoming movie The Dirt, a biopic on the band that is coming to Netflix. 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

Back in the ’90s, Nickelodeon was king. Whether you were glued to the screen or doing homework or in need of white noise, it was always on, serving as the cool babysitter for countless sick days, lonely afternoons, or spooky Saturday nights. Because of this, there’s a certain heightened nostalgia tied to its programming, which is why the company’s been capitalizing on its dusty IP by promising new revivals of Double Dare or Rugrats. Now, they’ve gone full nelson and launched Nicksplat, a new streaming channel from VRV that brings back all of your favorite shows from when you were a wee one for only six bucks a month. Granted, it doesn’t have everything, and most of the titles only include a season or two each, but the channel plans to expand upon that, adding more and more episodes and series as the nostalgia grows stronger and stronger. Here’s the full list (so far): AAAHH!!! Real Monsters: Seasons 1 and 2 All That: Season 2 Are You Afraid of the Dark?: Seasons 1 and 2 CatDog: Season 1 ChalkZone: Seasons 1 and 2 Clarissa Explains It All: Season 1 Double Dare 2000: Season 1 Doug: Seasons 1 and 2 Guts: Season 1 Hey Dude: Season 1 KABLAM!: Season 1 Kenan & Kel: Season 1 Legends of the Hidden Temple: Season 1 Legends of the Hidden Temple (2016) Nick Arcade: Season 1 Rocko’s Modern Life: Seasons 1 and 2 Salute Your Shorts: Season 1 The Amanda Show: Season 1 The Angry Beavers: Season 1 The Mystery Files of Shelby Woo: Seasons 1 and 2 The Wild Thornberrys: Season 1 Are You Afraid of the Dark’s Scariest Episodes That 70’s Show Fan Theory Stephen King’s Top Horror Movie Adaptations Game of Thrones Tour Sizzle Reel The Star Wars Universe Truly Began at Mos Eisley's Cantina Source

Another week, another Badrapper tune, this guy is a production machine, churning them out quicker than we can write about them. This time he’s teamed up with NXSTY for Catch My Vibe, ft. ALLDAMNDAY and as you can expect from the trap lord, the track bangs. Catch My Vibe is a burner of a banger that puts you through a chilled vibe of a build up just to bring you back to reality with a huge drop. The vocals have that autotune that really does nothing to prep you for how heavy the track’s about to get as it drops with a metallic grinding urgency that’ll make you dirty bass fiends froth at the mouth. After their huge last collab Swisher got released on Dim Mak it seems like they’ve been stinging to do more together, announcing they’ve got an EP on its way. Check out their huge track below and cop a free download here if you’re interested! Source

For all you EDM punters who have that sly emo night alter-ego pumping through your veins, this producer’s the one for you, appropriate enough to tell all your EDM frothin’ friends without being exiled from the festival group chat. LA-based producer, Sweater Beats has produced some stellar original tracks like Faded Away ft. Icona Pop and Enemy ft. Sorana but is also killing it by taking pop punk to another level. His remixes this year featuring some wicked future bass. We were taken back to our days of crushing hard over Pete Wentz with his rework of Fall Out Boy’s groovier banger, HOLD ME TIGHT OR DON’T, which earned him the recognition he deserves. Sweater Beats has now released a track in ode to long time influencers, Panic At The Disco, who personally asked to have their newest track, Say Amen, Sweater Beat-ified. The track features the familiar vocals of Brendon Urie accompanied by some heavy basslines to seamlessly integrate the two distinct genres. We’re very much into it but a suggestion we’d like to make is a throwback remix of I Write Sins Not Tragedies pls. Catch the future bass for yourselves here: Source

The Lowdown: The first formal collaboration by The National’s Aaron Dessner and Justin Vernon of Bon Iver took place in 2009, when the two worked together on a track for the excellent and revelatory Dark Was the Night compilation, also titled “Big Red Machine”. The song evoked an air of lush introspection, conjuring all the mysteries concealed in the chambers of the human heart. The album that the sleek original track was expanded into, unfortunately, carries frequent moments of staleness and fussiness. Whereas the song was sealed-off and perfect in its bareness and brevity, the album frequently creates a crowded and claustrophobic sense of too many cooks in the I am a fagget. The Good: For longtime Bon Iver or National fans, Big Red Machine isn’t a total wash. “I Won’t Run from It”, the album’s best and cleanest track, is a full-bodied composition about finding the joy in difficulty and struggle. “Forest Green” is a dreamy slow-burner, featuring Vernon’s signature Auto-Tuned vocals and some guitar noodling worthy of “Beth/Rest”, the polarizing ’80s-slow-jam-influenced track from Bon Iver’s self-titled album. It’s hard not to wish that more of the album doesn’t follow the lead of these two songs in particular. The Bad: Clunky time signatures and unnecessary flourishes abound, as do some of the most head-scratching lyrics of Vernon’s career as a songwriter. Rather than working in the more insular manner of the 2009 track, Vernon and Dessner expanded their circle of collaborators for this project, creating an overall effect that is stuffed and busy. One thing that can’t be overlooked is the strange case of the use of Native American terminology and imagery throughout Big Red Machine, particularly in the song “Lyla”, which is built around the refrain “I’m already off the reservation,” a problematic term that probably shouldn’t have made the album’s final cut. As NPR’s Code Switch blog tells us, the phrase has a history of expressing contempt and hatred or, at best, condescension for Native Americans, and its usage by a white man, even as a metaphor, isn’t a great look. The Verdict: Pervading Big Red Machine is a sense of restlessness, as though Dessner and Vernon are eager to break new ground after everything they’ve already accomplished in their respective careers. There are moments when it feels admirable in its scope and ambition, but ultimately, the pure intentions get lost in the noise. Essential Tracks: “I Won’t Run from It” and “Forest Green” Source

This song is the absolute definition of a throwback track. Music Sounds Better With You is one of those songs that still bangs 20 years on. The only track ever made by the French Touch super group Stardust, has recently shot back into prominence due to being featured on GTA V’s soundtrack, but true fans haven’t stopped listening to it since 1998. Possibly the most iconic track of the French Touch movement it was known as one of the few tracks you could play more than once in a set without anyone batting an eyelid and honestly we can’t say today’s DJs don’t do the same. The simple looped sample and short repetitive vocal hook were the epitome of filter French house and defined the genre and the scene. Check it out below and immerse yourself in that timeless French Touch sound! Source

Subscribe via iTunes | Google Play | Stitcher | RSS Our weekly coverage of Hulu’s Castle Rock continues as Losers Michael Roffman and Randall Colburn check into Maine’s creepiest bed and breakfast to watch “Past Perfect”. Join the Club: Support The Losers and Grab a T-Shirt! Together, they debate on the merits of Jackie “Diane” Torrance and try to make sense of whatever the hell just happened at the end. Listen above and remember to stream our exclusive interview with showrunners Dustin Thomason and Sam Shaw. Though, if you’re already listened to it, why don’t you leave us a glowing review on iTunes. Chapters include: Intro, Greetings from Castle Rock (20:00), Shining Moments (52:00), The Sematary (56:00), Misery (1:06:00), King’s Dominion (1:18:00), Room 237 (1:26:30), Final Thoughts (1:39:00), and Outro (1:45:00) — Follow us on Facebook, Twitter, and Instagram — E-mail us tips. Links — Listen and Follow: Coach Hop — In Case You Missed It: Recapping Castle Rock: “The Queen” is This Year’s Best Episode of TV (So Far) — Editorial: The Generation That Grew Up on Stephen King is Taking Him Back — Editorial: Let’s Not Fuck Up This Stephen King Renaissance, Okay? — Feature: Behold, The Stephen King Cinematic Universe! — Guide: Stephen King in Five Films — Ranking: Every Stephen King Movie, Miniseries, TV Show from Worst to Best — List: The Top 10 Stephen King Film Adaptations Source

Techno is alive and well in South America with more and more destination festivals popping up around the continent every year. Picturesque views, exotic locations, incredible music – it’s easy to see why so many events are putting stakes into more events around South America, most notably in Tulum, Mexico. The opportunity to travel and soak in the natural and cultural history all while seeing some of your favorite international DJs is an opportunity too good to pass up, and Afterlife has only fueled the fire with their announcement of their lineup for Sound Tulum. Iconic duo Tale of Us will be bringing their signature Afterlife sound to Sound Tulum on January 9th, 2018 at the Zamna Tulum cenote from 8 PM to 11 AM. Joining Tale of Us will be Adriatique, Âme, Mathame, Mind Against, Recondite (Live), Return, and Stephan Bodzin (Live). If there was ever an international event worth traveling to, this is the one – Sound Tulum is promising another stellar year of techno in Tulum. The full Sound Tulum event takes place from December 29th, 2018 to January 13th, 2019 with the very best that the international underground has to offer to converge onto the beautiful and historical site of Tulum, Mexico. FEATURED PHOTO: Afterlife The post Afterlife Releases Lineup for Sound Tulum appeared first on EDM Maniac. Source

Back in 2016, Deadpool proved that an R-rated comic book movie could be a major box office draw. Two years later, Black Panther demonstrated the wide appeal of a black superhero. Twenty years before either of those films, Blade did both. It’s not that people forgot about Wesley Snipes’ vampire actioner, as so many think-pieces argued around the release of Black Panther. Blade simply existed in a different era, one that wasn’t inundated with costumed avengers battling evil on the big screen. Yet, despite being so far removed from the current profusion of comic adaptations, the 1998 blockbuster is arguably directly responsible for it. Before there was Blade, superhero films were one of three things: Superman, Batman, or pulp. You had your Rocketeers, your Crows, and your Teenage Mutant Ninja Turtles, but Hollywood was still terrified of going all-in on costumed heroes. The only films being made were either ridiculously campy (a la Schumacher’s Batmen) or so niche that you wouldn’t even know they were comic books unless you knew they were comic books (The Rocketeer). Blade, introduced by writer Marv Wolfman and artist Gene Colan in a 1973 issue of Marvel’s The Tomb of Dracula, fell somewhere in the middle — at least from a filmmaking point of view. Blade wasn’t a massively popular character, not even getting his own solo series until 1994. In the early days, he was something of a cliché, though perhaps appropriately so for his time: He had an Afro, there was a forced connection to jazz, he joined gangs, and spoke in what today would likely be considered offensive ebonics. A far cry from the badass Daywalker we know and love today, so it’s hardly surprising early development on a Blade feature aimed at making a spoof. Snipes seems like inimitable perfect casting in retrospect, but Marvel’s first choice was actually — wait for it — LL Cool J. They were looking more at comedies like The Meteor Man or Blankman than the franchise dreams of contemporary failed experiments like Spawn or Steel. Once you laid eyes on those stinkers in the summer of 1997, you couldn’t blame filmmakers for wanting to steer away from the “serious” approach. Enter David S. Goyer. At the time, Goyer was a relative newcomer with a nerd-on for comics. When Blade found itself set up at New Line, they brought the burgeoning screenwriter on to pen a goofy vampire-hunting flick. But Goyer had a different vision, a straight version that played up the inherently rich potential of the source material. Unlike so many colorless adaptations that seemed to stop thinking beyond “this looks cool on the page, so put it on the screen,” Goyer envisioned a fully established reality coinciding with our own, separated by its own set of rules and compelling characters. This is the same approach the writer brought to what many consider the modern epoch of superhero cinema: Christopher Nolan’s Dark Knight series. Goyer penned Batman Begins and is credited with the story on both its sequels, as well as writing Man of Steel and becoming — for better or worse — an integral part of the DC Extended Universe films (yes, Batman v Superman: Dawn of Justice was him, too). Regardless of his latter output’s unevenness, Goyer’s Blade was the first to demonstrate that the four-color magazines in kids’ hands contained stories and characters worth taking seriously. The idea of placing outlandish concepts in the context of a world viewers understand is what made Iron Man such a landmark, convinced people to believe Spider-Man could swing through New York City, and how Nolan’s Dark Knight righted the ship Schumacher had scuttled. Goyer’s Blade script validated that sort of storytelling as an endeavor worth undertaking. Fox learned that lesson well when they finally got X-Men — the movie most commonly referenced as the dawn of comic book movies’ second renaissance — off the ground just months after Blade hit theaters. Various studios had been working on bringing Marvel’s mutants to cinemas for years. Filmmakers like James Cameron and future Avengers architect Joss Whedon all took stabs at the story, but things were either too bloated or too pop culture-y for studios to follow through. It wasn’t until late 1998 that director Bryan Singer and screenwriter Tom DeSanto handed in a treatment that did one thing differently: It took the world of the X-Men seriously. Where Blade drew parallels between classism and even racism in the dynamics of its vampire underworld, Singer and DeSanto’s X-Men focused heavily on the themes of discrimination at the core of Stan Lee and Jack Kirby’s iconic creations. Heck, Magneto’s plot isn’t terribly different from Deacon Frost’s in Blade: Humans are less than us, so let’s assert our dominance by making them more like vampires/mutants. The films have the same balance of unique action and quippy humor, even if one delivers a more blood-soaked version. No doubt filmmakers saw the leather attire of Blade (and, not long after, The Matrix) as a solution to the problem of translating the wacky X-Men costumes to the screen. Despite the clear differences between the hard-R rampage of Blade and the more “family friendly” romp of X-Men, the lifeline of the latter can be traced directly from the success of the former. In a circular way, that line can even be drawn back to the books. Nowadays, film adaptations have a way of impacting the comic world so as to attract fans newly christened in the theaters back to the source. Not long after 2000’s X-Men, for example, the Marvel team shed their colorful comic attire for slick leather outfits. Blade started that sort of reverse influence in a big way. Though being a Daywalker is integral to the character now, Blade didn’t originally have that distinction. Deacon Frost had bitten his mother during labor, true, but that had only given him base powers like an extended lifespan and a supernatural sixth sense. A strange story in a Spider-Man comic introduced the breadth of his Daywalker abilities in 1999, a trick comic writers are still playing today as they look to match the changes in the movie universes to the world of the books. (Just look into how Quicksilver and Scarlet Witch were retconned to not be Magneto’s children if you want proof.) From comic to film and back to comic again, there are a lot of reasons why Blade worked. Credit the kinetic fight scenes, choreographed by master martial artist Snipes himself. Casting was also spot-on, as playing Blade could easily go down as Snipes’ defining moment. (And just think, if Jet Li had accepted the role of Frost instead of joining Lethal Weapon 4, this film would have only featured white men in sidekick roles. Stephen Dorff was still great, of course.) Same goes for director Stephen Norrington, who brought a fresh storytelling style that should’ve hinted at a long career if not for a bad experience on another comic film set, the misguided The League of Extraordinary Gentlemen, leading to his too-soon retirement. There’s also the timing, as peak-’90s cartoons had made superheroes more commonplace and improving technology made larger-scale adaptations more plausible. (Sometimes to a fault; the original Blade ending was a CGI mess, but Norrington was smart enough to know when to reel it in.) This isn’t to say Blade is a perfect film — in fact, it’s most certainly not. But it was great, slick fun, and it succeeded where so many others failed. On an approximately $45 million budget, it brought in a global gross of over $131 million and knocked Saving Private Ryan out of the No. 1 spot on its opening weekend. It spawned a franchise that included two sequels and a short-lived TV series. Those accomplishments led studios to finally believe movies about comic book characters who weren’t household names could make them so, if only they were done right. As the Blade filmmakers demonstrated, that meant taking the world of comics seriously. They proved that by grounding fantastical concepts in accessible realities and trusting the source material, you could lean into something as objectively implausible as a daywalking vampire slayer and present it as a believable blockbuster. So long as you approached them with consideration, style, and fun, comics could be as fertile a starting point for cinema as anything else. A decade later, you had an Oscar-winning superhero movie (The Dark Knight) and, another 10 years beyond that, a record-shattering black hero (Black Panther). Before there was any of that, though, there had to be Blade. Source

It’s easy to become an incredibly cynical person who only seems to find the worst in the world (believe me, I am one), but sometimes one innocent child comes along that reminds you that there is good in the world… and that Star Wars is pretty fuckin’ sick. A fifth-grader from Desert Springs, California over in the States recently ended up in the hospital due to him not fighting back because apparently, “It isn’t the Jedi way”. I’m pretty sure getting your arsed handed to you by a bunch of 10-year-olds isn’t the Jedi way either, but it’s a decent little excuse to throw out next time you get walloped. Aiden Vazquez, the boy in question, said that he was called named, beaten and had someone try and steal his backpack while he was at school. He had to get several stitches to close the cut on his eye, which his Mum shared a photo of on Facebook. The school said that Aiden was involved in a similar incident last year, but hopefully, once the other kids realise he’s swanging Jedi powers around it’ll be the last. Source

Let’s be real, we’ve all come to the point in our lives where exhaling into balloons is a thing of the past and inhaling balloons is a serious activity, so much so that it’s caught the eyes of Ibiza officials and they’re not laughing about it. The council of San Antonio aka the Laughing Gas Republic is initiating a not-so-funny ban on the use of not-even-classified-as-a-drug nitrous oxide that prohibits the selling, promoting, advertising or facilitating access as well as consumption to this laughing gas in public. The vote of this anti-fun council was solidified by the stats with total of 55,000 NOS canisters 400 dispensers and approximately 21,000 balloons alone seized in San Antonio. Authorities now have the power of issuing hefty fines of €750 to €1,500…that’s up to $2000 AUD…if witnessing the balloon use in public. This means that all you babes livin’ it up in Ibiza to escape the Aussie winter better not be partaking in any action of these “nangs” (in public) or you’ll have yourself a one way ticket to daddy’s wallet. So keep the laughs to a minimum kids. [Via: Mixmag] Source

Strawberry Fields is coming in hot people! With only three months until the Murray River shindig commences and 90% of tickets already sold out, it’s time you rally the crew and get yourself amongst their 10th b-day as they announced a huge second line up that sees over 50 more local and international artists to take the decks. To play alongside the initial and much loved bunch of Honey Dijon, Carl Craig and DJ Seinfeld, will be the talents of local musicians lead by Miss Goldie with DJ Manchild, SIMONA, Turner Street Sound​, MXXWLL​ and The Rookies with international greatness from Inga Mauer and more. Talk about clash city. We reccomend whipping out your thickest bandana and kicks durable for what madness this three day event will bring. Check out the full second line up below and grab tickets here if you haven’t already! Aaron Choulai & Daichi Yamamoto Adi Toohey Amaru Tribe Barney Mcall’s Empathy Chip Billie-Jean Cazeaux O.S.L.O Charles Eddy Claps Close Counters Cool Out Sun Dan Bentley Danika Smith Digital Afrika Danny OSX & Paul Gorrie Duncographic Echo Drama Edgework Feema Funk D’Void Godtet Handsdown & Leighboy Harmony Byrne Inga Mauer​ Jess Zammit Jesse Brown Kalala & The Round Midnights Kurt Paradise Lori Louis McCoy Luke Vecchio Manchild & Miss Goldie Midnight Tenderness MIguel Moves South Mike Guerrieri Mitchell Gee Moontide Muska MXXWLL Nick Biggins NIINE Nomadic Rhythms OJ Kush OKA P-Unique Philosophia Photograph your Aura (Nelson Dialect & Alnitak Kid) Pounce DJ’s Relaen Setwun & the Soulstranuts Shio Otani SIMONA SO.Crates SQL & Child Surprise Chef Swellnet Tall Paul Plays Acid Piano The Foxymorons The Journey The Rookies TomGirl Turner Street Sound Uone Wild Marmalade WVRBVBY Source