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Julian Casablancas just really, really loves Christmas. The Strokes frontman already recorded a cover of the Saturday Night Live holiday original “I Wish It Was Christmas Today” back in 2009 (dubbed “Christmas Treat” on his solo album Phrazes for the Young). Now he’s back almost a decade later with another adaptation of the song, this time performed with The Voidz. Where his original take was spirited and rollicking, he opts on this new demo for something a little more spooky. The band drag the tempo to an ivy drip crawl, and Casablancas’ vocals are morose and heavy like molasses. There’s also some shifty percussion and chugging distortion that altogether twist the original’s buoyant holiday cheer into a mood that is drab and defeated. Take a listen below. In related news, Casablancas’ other band, The Strokes, are plotting a “global comeback.” Source

It’s the end of the year, and that means it’s time for lists. Best albums. Best tracks. Breakout artists. Etc. At EDM Maniac though, we think bigger, and this year was groundbreaking for dance music. Everyone from the starry-eyed EDMers to the most die hard techno snobs had their mind blown in 2018. Huge celebrations. Tragic heartbreaks. Looking back it’s hard to believe how much stuff happened, and if 2019 goes bigger then we’re all in for one hell of a year. 1. RIP Avicii There is not a dance music fan alive today who didn’t feel something when they heard of Avicii, a.k.a. Tim Bergling’s passing. Whatever you may think about his music (even though I believe deep down everyone loves his tracks) electronic music is where it is now because of Avicii. He’s the one who brought it from the nightclub to the stadium, and half the people populating Neon Garden at EDC wouldn’t have even considered listening to dance music before they heard “Levels”. Bergling was the icon of a generation, and he continues to help people even today. For it was his death that reignited the conversation about self care in this scene, and that applies to everyone no matter what genre is their favorite. RIP Tim. A beautiful soul gone too soon. 2. Ultra Migration Ultra Music Festival recently announced the phase 1 lineup for the 21st edition of their flagship event. For the most part, the roster looked similar to other years in that it was inundated with the best artists in the world, but there was one major difference: the venue. Just a few months ago, Ultra’s request to renew its contract with Bayfront Park was denied after serious pushback from the surrounding community. Luckily they were able to relocate to Virginia Key, just a 15-minute drive south from the original location. This of course is good news, but it will mark an interesting period for Ultra because a move to a new venue is always incredibly hectic for organizers. It takes years to iron out all the factors that come with a change in venue, so we’ll see how well Ultra is able to adapt. 3. The Return of Swedish House Mafia Speaking of Ultra, in 2013 Swedish House Mafia played their “final” set ever on Ultra’s main stage to close out the festival. It was a huge moment for everyone there, and everyone in the EDM community. 2013 was when big room house and every other subgenre of similar size what at the top, and SHM were the paragons of those genres. As such, their disbandment really was a huge blow to the scene at the time….at least to everyone who didn’t understand that it was a marketing tool. Well it may not have been a marketing tool at the time, but the important part is that 5 years later for the 20th anniversary of Ultra, SHM reunited and EDMers around the world rejoiced. Now in 2019, they will tour the world. They already have several dates locked down including a headlining set at Creamfields as well as three dates in Stockholm with more international dates expected. 4. Drumcode Festival Adam Beyer‘s illustrious label, Drumcode, is one of, if not the most recognizable brand in techno right now. Beyer’s utter dedication to the craft (he’s been DJing for over 30 years) has attracted a series of incredible talents including Enrico Sanguilano, Nicole Moudaber, Alan Fitzpatrick, Ida Engberg and more. Finally in 2018 after years of Drumcode takeovers at ADE, EDC Vegas and pretty much every other large festival in the world, Adam Beyer announced and pulled off his very own Drumcode festival. This event gathered the actual greatest techno has to offer, and it will return next year. 5. Festivals back in LA LA got some huge news this year as well in the form of multiple events returning to city limits. For years Angelenos were forced to drive many miles to enjoy an outdoor dance music festivals, but no longer. In 2018 alone LA hosted the Dirtybird BBQ, AMF Festival, Secret Project, and the return of HARD Day of the Dead. The final item on that list was particularly special because it was the first HARD event at LA Historic Park in over five years. Best of all, no medical tragedies occurred at these events, so there really shouldn’t be any reason they wouldn’t return. Swedish House Mafia photo provided by Ultra All other photos provided by Rukes The post 5 Biggest Moments for Dance Music in 2018 appeared first on EDM Maniac. Source

Proof that Cardi B is doing just fine without Offset? Today, the Invasion of Privacy star has released her epic music video for “Money”. Directed by Jora Frantzis, the clip takes a seemingly mundane trip to the bank and turns into it the most sensual, lavish adventure, complete with sexual acrobatics and Cardi herself serving up one masterful outfit after another. If Bank of America somehow became a posh strip club and French art museum all in one, this is the setting of the “Money” video. (Read: The Top 50 Songs of 2018) Check it out below. Also keep an eye out for a cameo from Cardi’s daughter, Kulture. One of Cardi’s outfits includes a headpiece that looks quite similar to one Nicki Minaj wore in her clip for “Ganja Burn”. Although neither rapper commented on the headpiece, it’s believed Cardi may have worn it as a subtle jab at Minaj, as they’ve been feuding for months. “Money” is the first solo single since Cardi released Invasion of Privacy back in April. The LP, named one of our favorites of 2018, recently earned a Grammy nomination for Album of the Year. Cardi was also recently on Carpool Karaoke. Source

Ozzy Osbourne is set to headline a special Ozzfest New Year’s Eve concert on December 31st at The Forum in Inglewood, California, and while he promises it will be a good time, the Prince of Darkness himself won’t be toasting the new year with champagne, let alone any illicit drugs. In fact, the metal legend wonders why he ever spiraled into a world of drug and alcohol abuse in the first place. “I don’t drink alcohol anymore,” he told the Orange County Register while promoting Ozzfest. “I don’t smoke tobacco. I don’t use drugs … I’m doing good right now. I now think, how did I think going into a bar and getting (really) smashed and doing all that cocaine was (really) fun?” Knowing Ozzy, we’re assuming the newspaper substituted the word “really” for a certain profanity. He continued, “I have come to think that if right now you had a gun, a bag of cocaine and a gallon of booze and you said ‘Take your pick,’ I’d pick up the gun. It’s not worth it. I don’t believe in making New Year’s resolutions, so I won’t be making one this year, I just hope that God keeps me alive.” Elsewhere in the interview, Ozzy reiterated that his “No More Tours 2” trek is not a farewell tour, despite being billed that way. “People have gotten that all wrong,” he said. “The tour should have been the “Ozzy Osbourne Slowing Down Tour”. What I’m actually doing is not going out on January 1st and coming back on December 31st. I’ll still tour, but not as extensively like I have been for the last 50 years.” He added, “I mean, I have grandchildren now and I’m 70 years old and I don’t want to be found dead in a hotel room somewhere. I’m going to do it at a more leisurely pace and do some shows in Vegas … but I’ll never stop. The whole lifestyle I have lived, it has all come down to the fact that there are people who want to hear me and as long as they want to hear me, I’m there.” Read the full interview here. The Ozzfest New Year’s Eve bill also features Rob Zombie, Marilyn Manson, Jonathan Davis, Body Count, Zakk Sabbath and more. Full details and tickets are available here. Source

Ultra Music Festival dropped its Phase 1 lineup yesterday and it’s pretty damn stellar. With acts like Rezz and Zeds Dead making their main stage debuts, and Illenium and Griz making their Ultra Miami debuts, plus so many more acts still to be announced, there’s a lot to look forward to. Aside from the artists, though, the phase 1 announcement also revealed stage takeovers from Martin Garrix’s STMPD RCRDS, Odesza’s Foreign Family, Armin van Buuren’s A State Of Trance, and Richie Hawtin’s PLAYdifferently. It also lists out the stages: Ultra main stage, RESISTANCE, Live Arena, Ultra Worldwide, and UMF Radio. This is a far cry from the eight stages in Bayfront Park, but what’s more interesting is actually what’s missing… Arcadia. Arcadia, for those unaware, is the brand that brings the large Arcadia Spider to Ultra Music Festival. It’s been one of the main attractions of the festival for years, but is it possible it’s not returning in 2019? Buried in the lineup announcement, and not seen anywhere else but on the Resistance website, is this little bit of information: “This year RESISTANCE will be hosted on its very own island in the Historic Virginia Key Beach Park, as it takes on a larger role than ever within the festival.” Looking at satellite imagery, it’s tough to discern which island could host all of Resistance, but it seems clear that Ultra has new plans for the brand that don’t include Arcadia. This is definitely a sad moment, but knowing Ultra, they probably have something very special planned in its stead. A representative for Ultra had no comment at time of publishing. H/T EDM Tunes | Photo via aLIVE Coverage for Ultra This article was first published on Your EDM. Source: Arcadia Spider Might Not Be Returning To Ultra’s RESISTANCE In 2019 Source

What happens when you combine environmentalism, permaculture, spirituality, health, community, and music in one of the most lush tropical settings this planet has to offer? You get Envision Festival, a groundbreaking experience aimed at changing the way we understand our fundamental connection with nature. One of the co-founders, Josh Wendel, took some time to talk with me about his journey, Envision, and the effect he hopes it will have on attendees. PHOTO BY ERIC ALLENA: What made you decided to pack up and relocate to Costa Rica? J: Ever since I was young I’ve had a vision of living off the land and have always been called to the tropics. I stumbled upon this particular area in Costa Rica, found the perfect spot of paradise, and instantly fell in love – now it’s home! A: What inspired you to get involved with sustainability and environmental consciousness? How did that inspiration manifest itself into Envision? J: It’s been a vision since I was young to find what living in harmony with nature really meant. The draw and appeal to Costa Rica is that you can grow tons of types of food all year round with no need for an AC/heater unit. My personal perspective is that Envision is a reflection of a lot of the different values and concepts that have been woven throughout my life – natural food, healthy eating, permaculture, sustainability, music, artistic expression. Envision is a crash course of how all of those different practices and lifestyles can come together in a tropical setting. A: Transformational festivals with an emphasis on consciousness and environmentalism have become more popular in recent years. What sets Envision apart from the rest? J: It’s the nature of the beast – we work with what’s more readily available for us to build with, like bamboo. All of our booths, stages, and such are built out of natural materials because they are easy to find in Costa Rica and they don’t have to be shipped in/shipped out. There’s no carbon emissions from transportation or anything like that. We didn’t really have a choice – we had to do it like this. Everything we build is built intentionally. We take a lot of propriety to make sure the experience is felt throughout the entire festival. Personally, I’m not the biggest fan of the term transformational festival – it is not the festival’s obligation to “transform” you and you shouldn’t expect some automatic radical transformation after attending. It’s about how you take what you experience and use that to reflect internally, making whatever changes you see fit in yourself and in the world around you. A: The 2019 lineup is extremely fresh and diverse – how do you decide which sounds to curate each year? J: That’s a good question. To be honest, one of my biggest passions is curating the lineup. It’s all about the balance. I’m a music buff and DJ – I’m always looking for new music to add to my repertoire. Some music is just so appropriate for Costa Rica, like Latin funky house, etc., that it matches the vibe and fits perfectly into the lineup. One of my favorite aspects is slipping in artists that no one has heard of and catching attendees by surprise. Every stage we curate has a story. How you present the music depends on how it’s received in the environment you’re in. It’s all about curating the schedule and lineup so each artist hits attendees at the moment when they are at their most receptive. Artists that have a draw and also fit the vibe and feel for Envision are easy to choose for the lineup. These are inspired artists that have been and always are pushing the envelope with their sound. A: What do you hope attendees walk away from Envision with? J: Envision is a sample pack of different concepts and conversations, fundamentally. Several of us founders have our own farms and grow our own food. We don’t expect people to quit their jobs and move to Costa Rica to do the same. Our hope for every type of person who attends is that they find something that allows them to question our current paradigm, the status quo. After all, you never know who is going to walk into Envision, and what kind of power they have to make a difference in the world. My favorite part about Envision is creating a positive experience so that people leave happy, fulfilled, inspired, and motivated. That’s the way I believe we can make a positive change. I want the ripples from Envision to be felt across the world. PHOTO BY JESS BERNSTEINEnvision Festival is set to take place February 28th – March 3rd, 2019 in Costa Rica. Tickets and more info are available here – don’t miss out on this truly one-of-a-kind experience. FEATURED PHOTO BY MANUEL PINTO The post Interview with Envision Festival Co-Founder Josh Wendel appeared first on EDM Maniac. Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS This Friday’s special trio edition of Kyle Meredith With… features guests from Wild Nothing, Bodega and Houndmouth as they all celebrate the new releases of their albums this year. Wild Nothing’s Jack Tatum explains why he feels Indigo is a “pop manifesto.” Bodega’s Ben Hozie digresses on how the history and weight of New York City punk influenced the band and their debut Endless Scroll. And finally, Houndmouth discusses how their new record Golden Age was prompted both by the split of longtime member Katie Toupin and also the experience of parenthood. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Wild Nothing: Bodega: Houndmouth: Source

The Chainsmokers and NGHTMRE hit us with a straight up banger this year with their collab “Save Yourself” — and they certainly didn’t hold back. Today, NGHTMRE comes at us again with his own VIP of the already massive track. Nothing could have prepared us for this savagery. The incredibly sick original marked The Chainsmokers well overdue return to EDM and it was well received. As it turns out, a collaboration with NGHTMRE was exactly what some fans needed to fall in love with the crossover pop duo all over again. Now, that original has burned to the ground and this VIP remix is rising from the ashes. “Save Yourself” is tastefully turned up to the max, with theatrics and over-the-top sounds that somehow fall perfectly into place. Hardened by the fierce new rhythm and softened by vocals from Andrew Taggart, and a touch of future bass on top, NGHTMRE’s VIP remix offers an assortment of styles in one. This VIP is sure to amp up your weekend! Happy New Music Friday! The Chainsmokers & NGHTMRE – Save Yourself (NGHTMRE VIP Remix) Get it: http://smarturl.it/saveyourselfvip Photo via Rukes.com This article was first published on Your EDM. Source: NGHTMRE Drops Insane Dubstep VIP For His Collab with The Chainsmokers [MUST LISTEN] Source

Just a few weeks after ULTRA announced its inaugural move to Historic Virginia Key, ULTRA Music Festival has finally dropped their jaw-dropping first installment of the 2019 lineup which will mark its 21st edition. They will commence this journey at Miami’s beautiful Historic Virginia Key Beach Park & Miami Marine Stadium on March 29, 30, and 31st. As Ultra Music Festival has been voted the worlds #1 festival by DJ Mag, there are high expectations for a breathtaking lineup. With high expectations, they surely delivered. Dance music’s finest will be joining Florida as Armin Van Buuren, Alesso, Afrojack, The Chainsmokers, Rezz, and Zeds Dead are just a few set to take the stage. In addition, ULTRA veteran David Guetta will also make his way back to Miami to deliver a completely unexpected show that’s been kept firmly under wraps. To make things even better, ODESZA will be making their return to ULTRA with a set full of surprises as well as deadmau5 premiering his brand new Cube 3.0 stage production which will surely be a mau5 worldwide debut. ULTRA is known for their surprises and this year will be no exception. Get your tickets here! The post Ultra Music Festival Releases Jaw-Dropping Phase One Lineup appeared first on EDM Maniac. Source

Prismo has had a great 2018 so far with some fine hits like “First Time,” “Energy,” and “Solo.” Before the year is up, he’s following it up with one last single “Blame,” the perfect cherry on top of a sweet year. “Blame” is a slow and sensual track, leaning heavily on the vocals in the track, but also exploding with energy in the drops. The brilliantly melodic synths and harmonious bassline do well to keep the vibe right and feet moving, all while still keeping the content of the song sincere. Prismo says of the track, “‘Blame’ is about caring for someone so deeply that you wish you could take the burden of their guilt and pain. It hurts to see the people that I love suffer, and sometimes I just wish I could suffer for them. I want the blame and the burden to fall on me.” Listen to “Blame” below and grab it here if you dig it. This article was first published on Your EDM. Source: Your EDM Premiere: PRISMO – Blame Source

Just a few weeks ago, the stacked Phase One ULTRA Australia lineup was released and now they are back again with another incredible wave of artists who are set to dominate Australia on Saturday February 23rd & Sunday February 24, 2019. To make things even more exciting, Ultra Australia will first touch down in Melbourne on Saturday at Flemington Racecourse and then rapidly move things a bit north to Sydney on Sunday at Paramatta Park. International superstars like Slushii and Illenium will take the stage that weekend as well as The Chainsmokers (LIVE), Martin Garrix, and Marshmello as they make their inaugural ULTRA Australia Main Stage performances. Nicole Moudaber and Techno group Dubfire will be playing a special B2B set for the first time in Australia as they join Adam Beyer as headliners on the RESISTANCE stage. For tickets to this momentous weekend, click here! ULTRA AUSTRALIA 2019 – LINEUP (IN ALPHABETICAL ORDER) Headliners: Adam Beyer The Chainsmokers (LIVE) Dubfire b2b Nicole Moudaber Illenium Marshmello Martin Garrix Support: Illenium Slushii Additional Support: Sunset Brothers Tigerlily Will Sparks The post ULTRA Australia Releases Phase 2 Lineup appeared first on EDM Maniac. Source

A lot of producers are squeezing in one last track before the end of the year, and it’s got to be a smash to remember them by, right? KREAM and Cazztek don’t have anything to worry about with their new single “Enough,” featuring Shoffy, as it’s just what the doctor ordered. With a surefire Brooks or Mesto vibe going on, “Enough” is a poppy yet electrifying house tune that’s guaranteed to keep you moving. The percussive line is recognizable but fresh, and all of the synth work is catchy and infectious. In KREAM’s words regarding the new single, “We made ‘Enough’ for our sets. We tend to surprise people with how dark our shows are since we typically release more pop-leaning dance music, but ‘Enough’ is a true representation of what we enjoy playing out. It was great collaborating with Cazztek and transforming Shoffy’s indie-pop vocals into a hard-hitting house track.” Check out “Enough” below and grab it here if you dig it. This article was first published on Your EDM. Source: Your EDM Premiere: KREAM & Cazztek – Enough (with Shoffy) Source

Alice Glass has contributed to Fever Dreams, a new synthwave-themed compilation from Adult Swim. Her solo offering is dubbed “I Trusted You” and sees the former Crystal Castles member mourning a devastating betrayal. “The holidays are depressing so I thought I’d give you one of my most depressing songs,” Glass wrote on Twitter, later adding that she was “spreading Christmas tears.” Keeping in line with that last remark, Glass has also shared a music video for “I Trusted You”, which features her somberly singing while surrounded by holiday decorations. Depressing, indeed. Check it out below. i'm releasing a video for I Trusted You on Friday. the holidays are depressing so I thought i'd give you one of my most depressing songs pic.twitter.com/yHTBIInpay — ALICE GLASS (@ALICEGLASS) December 20, 2018 This latest track is one of many Glass has released this year. Previously, she dropped “Cease and Desist”, “Forgiveness”, and “Mine”. She also hit the road for a tour alongside Zola Jesus. Aside from music, Glass featured prominently in the headlines earlier this year after accusing former Crystal Castles bandmate Ethan Kath of years of sexual, psychological, and physical abuse. Kath went on to file a defamation suit against Glass, but it was later dismissed. In May, Glass was then awarded nearly $21,000 in legal fees. As for Adult Swim’s Fever Dreams, the full compilation can be heard here. Source

The Fenway faithful were out in full force on September 2nd. The Red Sox were paying a visit to the Chicago White Sox for a quick weekend series, but the legendary ballpark was playing host to a band that has long-been heroic to many, even those of us on the opposite coast. Pearl Jam’s ascent to its standing as the great rock band of its generation (a telling title for an era so musically defined by guitars, bass, and drums) can be traced from small clubs to arenas and, over the past decade plus, hallowed sports shrines like Fenway Park and Wrigley Field. Lesser bands would easily get swallowed up in the history and mythology stored away in such places. But on this night, the first of two sold-out Boston shows, the band once again proved its ability to make any place with a stage its home. Songs as old as “Release”, “Why Go”, and “Oceans” continued to connect with fans, let alone generational anthems such as “Jeremy” and “Alive”. Eddie Vedder further cemented his status as a masterful crowd worker, donning and performing in a fan’s homemade Sox jersey without it coming off as lame or pandering. His cover of Tom Petty’s “I Won’t Back Down” was perfect for a band that has never backed down from anything, not to mention a fitting tribute to a late icon who took the same stage at Fenway almost four years earlier to the day. Whether the three-plus-hour spectacle was your first Pearl Jam show or your tenth, you left feeling you watched something special. Anyone watching any other band on any given night would be so lucky as to feel the way fans do leaving a Pearl Jam show. Consequence of Sound’s Band of the Year did not spend 2018 in an album cycle, and it hasn’t been in a true one for more than five years. They are living in an age in which popular music continues to move further and further away from the rock and roll paradigm in which they operate. They exist with little or no regard to the musical climate and landscape around them. And yet none of that matters. In 2018, Pearl Jam somehow managed to be both one of the biggest bands on the planet and also one of popular music’s proudest outsiders. Every bit the rule-breaking iconoclasts they were in 1992, they do what they want how they want to do it, complete with a commitment and earnestness that’s lost on bands more than half their age. Rock is dead, some say. But if that’s the case, Pearl Jam is still the band in arguably the best position to resurrect it. They are, as they have been for many years, still among the very best bands in the world. “To see a whole show by Pearl Jam, holy shit, I’d go see them every time now,” says Buffalo Tom frontman Bill Janovitz, who watched both of the band’s Fenway shows from wings of the stage. “I wondered what I was doing not going to see them all those years.” Janovitz brings a unique perspective in evaluating Pearl Jam’s sustained run of rock and roll dominance. Buffalo Tom shared a bill with the band in 1991 for a Boston show sponsored by now-defunct WBCN, this just months before the release of Ten. Janovitz kept sporadic touch at best with the band over the years, but even that loose connection warranted a text from Vedder on the eve of the Fenway shows. “Hey Bill, Ed V here,” the text read. “How about Taillights Fade in Centerfield of Fenway Park?” Vedder has gone on record about his admiration for Buffalo Tom. About two years prior to the Fenway shows, Janovitz and Vedder linked up courtesy of a mutual friend, current Cubs and former Red Sox general manager Theo Epstein, for Epstein’s annual Hot Stove Cool Music fundraiser concert at The Paradise. There, Vedder told concertgoers how he had played “Taillights Fade”, from Buffalo Tom’s 1992 release, Let Me Come Over, on repeat while on tour with Pearl Jam in the band’s earliest days. “That band, they’re very pro,” Janovitz says. “They’re real players. There’s a powerhouse engine in them. They’re just a really well-oiled machine. I just went with it. I didn’t try to steer their arrangement of it or overthink it too much. So by the time we played it with the crowd there, it was literally awesome.” The fact that Vedder still remembers a song that brought him comfort more than 25 years ago is telling, and it’s no doubt part of the secret to Pearl Jam’s success. Through it all, the band have never lost sight of the people and things that have helped them get to where they are. It would be easy and almost understandable for them to do so, but Pearl Jam is the rare monolithic band still grounded by its punk rock ideals. It’s why wherever they go, they extend an olive branch to their friends and heroes: Janovitz in Boston, Robert Pollard in Dayton, Neil Young in Toronto, to name but a few. When the band played a run of hometown shows this summer at Seattle’s Safeco Field, it was Mudhoney’s Mark Arm and Steve Turner that got the call. “It was amazing, and it usually is at Pearl Jam shows,” says Arm, whose relationship with band members Jeff Ament and Stone Gossard dates as far back to their days in the Seattle proto-grunge band Green River. “Their fans love Pearl Jam. You’d be lucky to have an audience that’s that impassioned and into it.” Robin Chan is just one of the band’s many fans whose loyalty can be counted not only in years but frequent flyer miles. He has seen Pearl Jam perform 19 times, mostly in his native Massachusetts but also in Chicago, Seattle, Berlin, and Stockholm. “I’m kind of spoiled by them,” he says. “I expect other bands to put on shows like they do, with 10 songs in their encore and stuff like that.” True enough, it takes seeing Pearl Jam live to fully understand why the band is so unique. Few bands in music history approach their shows like singular opportunities to create a special experience. In 2003, the band delivered on a promise to perform every song in their catalog over the course of three consecutive shows in Mansfield, Massachusetts. Chan, who attended those shows, recalled how the band also opened up for themselves on those nights, playing acoustic sets of songs that they would not be playing later in the evening. Bill Janovitz soundchecks with Pearl Jam at Fenway, Photo by Eddie Vedder That’s but one example of the band’s live commitment, but talk to any Pearl Jam fan anywhere and they can tell you similar stories of their generosity. Fans who attended the band’s Wrigley Field show in 2013 will tell you about how they played well past their curfew until 2 AM after a near-three-hour rain delay. Those who saw the band in Santa Barbara in 2003 can probably recall in vivid detail Chris Cornell joining them onstage for a rendition of Temple of the Dog’s “Hunger Strike”. Arm explains this as a byproduct of a band that even after almost three decades still hasn’t lost its sense of self. “I don’t think those guys take anything for granted, just how lucky they are to be in the position that they’re in,” he says. “They do their damndest to give back.” Pearl Jam at Fenway Park, Photo by Bill Janovitz But beyond a catalogue of classic records and legendary live performances, perhaps the thing that resonates most about Pearl Jam in 2018 is the band’s humanity. In a time where partisan political griping continues to bring out the worst in people, Pearl Jam shows feel like increasingly rare opportunities for people to rally around what they have in common instead of what divides them. “It’s pretty incredible the way they bring people together,” Chan says. “I’ve struck up so many random conversations with fans at their shows. There’s just this genuine love for the band that is palpable. The enthusiasm is contagious.” “I don’t know how to predict trends in the music business, but I do feel there will always be a desire from music fans to go out and have that large-level communal experience,” Janovitz says. A lot has changed around Pearl Jam since 1992. Alternative rock and grunge have long since passed them by. So too, tragically, have many of the band’s peers, from Kurt Cobain and Layne Staley to, most recently, Cornell. But through it all, Vedder, Ament, Gossard, guitarist Mike McCready, and drummer Matt Cameron have stood strong through cultural shifts, tragedy, and potentially career-threatening political stances. Theirs has not been the path of least resistance, but it’s only served to make them arguably the very best at what they do. Any artist looking for the secret to sustained success should delve into this band’s career arc like a study guide. “I think Pearl Jam, when all is said and done, will be left up there with the giants,” Janovitz insists. Source

NBC’s The Good Place is one of the most innovative and rewarding comedies currently on the air. Now, TBS is preparing to roll out a similarly-themed fantasy-comedy called Miracle Workers. The big-budget limited-series stars Steve Buscemi as God and Daniel Radcliffe as an overworked angel in the Answered Miracles Department in Heaven. According to the official plot synopsis, “Radcliffe will play Craig, a low-level angel responsible for handling all of humanity’s prayers.” Meanwhile, Buscemi’s God “has pretty much checked out and is ready to move on to his next project. To prevent Earth’s destruction, Craig and fellow angel Eliza (Geraldine Viswanathan) must answer a seemingly unanswerable prayer: help two humans fall in love.” Miracle Workers premieres February 12th on TBS. Watch the newly unveiled trailer below. Source

Donald Moffat, veteran character actor with iconic roles in John Carpenter’s The Thing and Tom Clancy adaptation Clear and Present Danger, has passed away. He was 87. According to The New York Times, Moffat died from complications of a recent stroke in Sleepy Hollow, New York. He was only six days away from his 88th birthday. Born December 26th, 1930 in Plymouth, Devon, England, Moffat was both a professional of the stage and the screen, the former of which saw him receive two Tony nominations in 1967 for both Right You Are (If You Think You Are) and The Wild Duck. A few of his most memorable roles on the screen include M.T. Garry in The Thing, Lyndon B. Johnson in The Right Stuff, the corrupt president in Clear and Present Danger, and, yes, Talmidge “Tal” Cregg in The West Wing. He is survived by his wife, four children, 10 grandchildren, and three great-grandchildren. Source

System of a Down bassist Shavo Odadjian has started his own lifestyle brand, 22Red, with a focus on cannabis, streetwear and music. The musician describes himself as an avid cannabis user, and his 22Red line features pre-rolls and vapes, using lab-tested compliant cannabis. The clothing line includes t-shirts and hoodies, which are already available at 22Red.com, with hats, sunglasses, and other apparel coming soon. As part of the 22Red brand, Odadjian is also working on an as-yet-unnamed music project that he describes as “bass-driven hip-hop.” In the recently published first part of our interview with Odadjian, he talked about the current state of System of Down. In Part 2, below, he discusses his introduction to cannabis and whether it has influenced his musical creativity, while also offering insight into his new music project. On the role cannabis has played in his life and his creative endeavors Well, I started using cannabis in my early 20s. I had tried it once at a Guns N’ Roses and Metallica concert, first time ever. I think it was like in ’92 at the Rose Bowl in Pasadena. After that, I didn’t smoke for a while. But then I started smoking when I was about 21, and that’s when I started smoking every day. That’s when I had met Daron [Malakian] and we had started System of a Down, and he smoked every day, and I was with him every day, so I smoked with him every day. I think it did kind of open up some creative juices, but I was always creative, even before I started smoking. Creativity, I think, is within you. I don’t think you need a drug or anything extra to bring it out. But I do think it does take away some inhibitions, at moments. Some [cannabis] strains do get you a little creative. If it’s like a hybrid with a 60-40 or 70-30 split, like 70 percent Sativa, 30 percent Indica, I think that gets you more creative, like the Maui Wowies and stuff like that. So, knowing all that, the lifestyle is my lifestyle, so why not take part in it. I’m not just [starting this company 22Red] because I have a name. It just so happens that I do have a name, but it’s a passion of mine. It’s been a passion forever. It’s just like music. Again, I don’t think you need [marijuana to be creative]. I just think it could help every now and then. I sometimes smoke and I zone out in my room, and I plug my guitar in and I record everything I do. If I plan to write, I won’t be able to write anything good. I just need to kind of jam and let things come. And if something cool comes out, I record that moment, and then I bring that moment back, and I put a beat behind it. And that’s how the new stuff has been coming along — the new stuff I’m going to release off of 22Red. That’s how it’s been happening. It’s been just creative juices flowing, and that’s just been helping a lot. Shavo Odadjian wearing 22Red shirt, photo by Greg Watermann On the current project he’s working on through the music-production side of his 22Red company I’m actually working on one main project right now. The way it happened is that I got together with these two guys, really cool young guys in their late 20s, early 30s. And the plan was for me to learn the program Logic Pro X real quick, get a crash course in it, and kind of go on my self, the way I did my old stuff on ProTools when I recorded Achozen with RZA. So anyway, I met these guys at a friend’s studio, and they were going to give me Logic lessons, so I could get in my room, and get in my studio and work, ‘cause I’m really vibing music right now. I was really inspired. And as one of the guys would come over, he would hear some of the stuff I’ve done, and he was like, “Maybe you should hear some of my stuff.” And I was like, “Maybe we should connect, let’s collaborate.” And ever since then we’ve been in the studio, making amazing music. We don’t really have a name we’re going by yet. It’s bass-driven hip-hop, but I can’t really explain it. You guys need to hear it. I’ve thrown a couple of little samples here and there on my Instagram of some of the riffs and beats, but I don’t want to give too much away, because I want it to be a surprise, ’cause I think a lot of people are looking forward to what I have, because I haven’t really released anything in a really long time. And vocal-wise, I have a lot of friends in this industry, and I want to bring them out. I want to get Serj on there, RZA on there, B-Real on there, and a couple of surprise guests who I don’t want to mention, but they’re gonna really shock the world. I have a friend who hasn’t been doing it for a bit, who’s really respected, and I’m going to bring him in. So, I’m going to make a cool collab album with original music — just a really cool vibe of music. Hip-hop nowadays is like mumble rap, so I want to bring good music back. I don’t want it to be like 4/4 beat, boom, boom, boom, and someone talks over it and it becomes a freakin’ hit. I mean, I don’t get it, but maybe I’m tool old, now. Is it age or is it taste? I don’t know. It’s both, right? Because I don’t understand how mumble rap is so big, and how people are into three words. And the words don’t have substance — they’re talking about their drugs, they’re talking about their plastic cups — so I want to bring substance back. Each time we work, each track we come up with, I feel like I want to stop and put vocals over it, ‘cause I kind of do it like System did, with the music first and then vocals. And I have some songs with vocals, but the songs keep getting better, so since they’re getting better, I don’t think we’ve done our best work yet. So, I’m still writing. I’m still in that crazy writing and recording zone. Things are just coming out of me. For the latest on Shavo Odadjian’s new lifestyle brand, visit 22Red.com and follow his Instagram account. You can also catch System of a Down headlining the Sonic Temple and Chicago Open Air festivals in May. Source

One of the many running meta gags in Spider-Man: Into the Spider-Verse is how the ol’ webhead is going to release his own Christmas album. Well, that joke is now a reality, thanks to Sony, which just dropped A Very Spidey Christmas EP. Naturally, the album features an assortment of the film’s multiple Spider-Men, from Miles Morales (Shameik Moore) singing “Joy to the World” to Peter Parker (Jake Johnson) calling for a sing-a-long with “Deck the Halls”. Star Chris Pine, whose Spider-Man is a little harder to explain, is on double duty, singing “Spidey-Bells (A Hero’s Lament”) and “Up on the House Top”, the latter of which segues brilliantly into Norman Osborne’s (Jorma Taccone) spoken word retelling of “The Night Before Christmas 1967”. Like the movie, which we recently named one of the top 25 films of 2018, it’s hilarious. Stream the whole thing below and consult artwork and tracklist shortly after.  A Very Spidey Christmas Artwork: A Very Spidey Christmas Tracklist: 01. Shameik Moore – “Joy to the World” 02. Chris Pine – “Spidey-Bells (A Hero’s Lament)” 03. Jake Johnson – “Deck the Halls” 04. Chris Pine – “Up on the House Top” 05. Jorma Taccone – “The Night Before Christmas 1967 (Spoken Word)” Source

Neon Indian has written and directed a new short film called 86’d. The 12-minute visual highlights “five seedy stories” that “transpire over the course of one late-night order at a 24-hour deli.” The project’s premise has a mysterious, gritty tone to it, and as does its official theme song, which was also done by Palomo. Dubbed “Heaven’s Basement”, it’s a funky, ’80s-leaning track that sounds a little like Prince but remade for an episode of The Twilight Zone. Hear it for yourself below. Update: 86’d has been released in full below. It stars Lindsay Burdge, Mitzi Akaha, Buddy Durress, Larry Fessenden, and Chase Williamson. Palomo’s last Neon Indian album came in the form of VEGA INTL. Night School from 2015. Last year, he contributed to an Adult Swim dream pop compilation, as well as scored the sci-fi flick Everything Beautiful Is Far Away. Most recently, Palomo performed at Mom+Pop’s 10th anniversary concert in October, taking the stage alongside Courtney Barnett, Tom Morello, and Sleigh Bells. Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | Podchaser | RSS “Hey, world! Guess what. I’m Michael Myers’ sister! I’m so fucked!” We’re done waiting. Only a river of blood can bring us back together. It’s up to you. It’s always been up to you, Halloweenies. Bring us home. Bring us home for Rob Zombie’s 2009 surrealist sequel, Halloween II. Join hosts McKenzie Gerber, Michael Roffman, and Consequence Film Editor/Filmography host Dominick Suzanne-Mayer as they ride into Haddonfield on white horses for shouting matches, book signings, and sexy farm parties. So, grab your copy of Dr. Loomis’ new book and listen above Chapters include: — Introductions — Mr. Sandman, Bring Me a Tweet (10:20) — Smith’s Grove Archives (16:30) — WKNB (50:45:00) — Michael Myers Was 21 (58:25:00) — September Girls (1:09:30) — Buds and Bobs (1:21:30) — And One of Them Was Annie! (1:31:30) — One Good Scare (1:37:25) — Getoutnow! (1:39:00) — Overall Thoughts (1:42:30) — Outro (1:48:00) Source

Last weekend saw Weezer as the focus of an incredible Saturday Night Live sketch. Now, frontman Rivers Cuomo has released a new solo song. Titled “Two Broken Hearts”, it plays out as a mellow and melancholy break-up song. The music video that accompanies the track, however, is a whole other beast entirely. Edited together by Audrey “Nikki” Enloe, it’s filled to the brim with Bitmojis (Cuomo as a Bitmoji is pretty endearing) and a number of ridiculous memes (Elon Musk getting high, Tom Cruise laughing, sad cats). Check out the beautiful thing below. Weezer is due to release their Dave Sitek-produced Black Album on March 1st. Head here to revisit its latest single, “Zombie Bastards”. Source

Earlier this month, M. Ward and Zooey Deschanel reunited as She & Him for a trio of holiday concerts. For those who weren’t able to snag tickets to these gigs, the collaborative duo offered up a festive performance on the Late Late Show with James Corden. Surrounded by snow-covered trees and dim yet warm lighting, Ward and an especially sparkling Deschanel played “The Christmas Song”, a seasonal classic that appeared on their very first holiday album, 2011’s A Very She & Him Christmas. Catch the video replay below. Source

Consequence of Sound recently named Mitski’s Be the Cowboy as the best album of 2018. On Thursday night’s episode of Jimmy Kimmel Live, the talented singer-songwriter performed two of the album’s tracks for a national audience. Specifically, she rattled off renditions of “Two Slow Dancers” and “Nobody”. Replay both clips below. (Read: Top 50 Songs of 2018) Earlier this month, Mitski announced a US tour that kicks off in March. Find the full list of dates here, and grab tickets here. Source

Beyoncé is the queen of surprise releases — but, unfortunately, a newly unveiled album of the singer’s music is not of her own doing. An collection of early, previously unreleased Beyoncé music surfaced Thursday night on digital streaming platforms. Two albums titled, Have Your Way and Back Up, Rewind, were released under the moniker “Queen Carter” and consisted primarily of old songs, demos, and other rarities. Upon their discovery, both albums were quickly taken down. Beyoncé wasn’t the only victim of an unauthorized leak, however. An album of unfinished SZA music called Comethru, credited to the name Sister Solana, also surfaced on Thursday. “These are random scratches from 2015. Def not new new!” SZA said of the leak in an Instagram post. “But…creative? And Scary?” TDE President Terrence ‘Punch’ Henderson added that the tracks are “old songs” that were “stolen and leaked.” They, too, have been removed from DSPs. so I almost passed out until I realized it’s old music…so who is releasing Beyoncé’s old music as Queen Carter on iTunes?? I WANNA FIGHT pic.twitter.com/ZvsqffJpUf — CPS (@so_caly86) December 21, 2018 A @SZA project titled ‘Comethru’ under the alias, ‘Sister Solana’ has been mysteriously released on Spotify. One track features Kendrick Lamar. pic.twitter.com/SGSy8TfC9L — Pop Crave (@PopCrave) December 21, 2018 Source

Over the last year or so, Lin-Manuel Miranda has been steadily dropping tracks inspired by his hit Broadway musical Hamilton. The Hamildrops series has featured contributions from The Decemberists, Nas, and “Weird Al” Yankovic, among others. However, Miranda has saved his biggest collaboration for last. The final Hamildrop comes in the form of a remix of the song “One Last Time” featuring none other than the 44th President of the United States, Barack Obama. Aptly titled, “One Last Time (44 Remix)”, the reworking includes a passage of George Washington’s farewell address as recited by President Obama. The remix, which also features Hamilton star Christopher Jackson, was produced by Grammy Award-winning gospel singer, BeBe Winans, along with Grammy and Tony award-winning producer/orchestrator Alex Lacamoir. Take a listen below. Of course, the origins of Miranda’s Tony Award-winning musical date back to Obama’s time at the White House. Miranda first debuted his song “Alexander Hamilton” during a 2009 visit to the White House, a performance which inspired him to write the Hamilton musical.Years later, as Obama prepared to leave office, Miranda returned to the White House in 2017 to perform “One Last Time” in the president’s honor. Source