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With anticipation building for the release of a new Slipknot album in 2019, the Iowa-based masked marauders have been adding fuel to the fire over the past month, with a music video for the surprise new song “All Out Life”, and small details being dropped via their app, Touche. But we’ve finally gotten a real sense of what the as-yet-unnamed full-length will be about via founding member Shawn “Clown” Crahan. In an interview with Billboard, the percussionist says that the long-percolating new disc is all about “good vs. evil, or in this sense, evil vs. good.” “It’s about being a human being and experiencing what you have in correlating it to this world,” he revealed. “This world is ugly and it’s supposed to be, and it has to be in order for art to lead to grandness and beauty.” Crahan also revealed that Slipknot are once again working with producer Greg Fidelman, who helped the band with their last album 2014’s .5: The Grey Chapter, and that they have a number of songs under consideration for the final tracklist. What he wouldn’t give up was the release date, though with the group’s tour of Europe, which starts on June 7th in Finland, now scheduled, that could give some indication of when fans can expect new music. When asked about it, though, Crahan was a little cagey. “Nothing is in stone,” he said. “There are songs that are considered the album, but everything can change. We would never go do [concerts] without an album, but…we’re not following any rules this time, not that we ever did. We’re on an outline, and I think everybody’s going to be pleasantly surprised.” What will hopefully tide Slipknot’s beloved Maggots over until more new music is available is the 10th anniversary edition of All Hope Is Gone, the band’s fourth studio album, which arrives on December 7th. The deluxe reissue features new artwork and a bonus disc containing their 2009 headlining performance at Madison Square Garden. Source

It’s not entirely a secret that Kurt Cobain was a fan of hip-hop music, but some of his further thoughts on the genre have recently been uncovered in a rare 1991 radio interview. The tape comes from Roberto LoRusso, who at 21 was a disc jockey for his college radio station, CHRW in London, Ontario. On September 20th, 1991 — just four days before the release of Nevermind — LoRusso scored a sit down interview with the Nirvana frontman. By his own admission, the interview is rather terrible, the work of a novice journalist without much experience or preparation. For starters, it opened with him goading Cobain into doing a station ID before asking him how much he hated having to do boring radio interviews. Still, there are some interesting tidbits interspersed throughout. At one point, Cobain explained how despite signing a fairly lucrative major label contract with DGC (“It’s more money than I’ve ever had in my life… I can’t ask for any more”), he didn’t have a place to live at the time, and much of the contract payout had gone to other people. “$175,000,” Cobain told LoRusso. “33% tax bracket, 15% to our lawyer, 10% to our manager, $70,000 to Sub Pop, left us with about $20,000 to buy equipment. I don’t have a place to live at the moment.” (Read: In Utero at 25: Nirvana’s Insubordinate Masterpiece) Elsewhere, LoRusso brought up Cobain’s appreciation for hip-hop and distaste for white MCs trying to appropriate the art form. As Cobain explained it, “I’m a fan of rap music, but most of it is so misogynist that I can’t even deal with it. I’m really not that much of a fan. I totally respect and love it because it’s one of the only original forms of music that’s been introduced. But the white man doing rap is just like watching a white man dance. We can’t dance, we can’t rap.” There’s not much else of value in the talk, though it’s interesting to note Cobain’s demeanor as his band prepared to release what would go on to become one of the greatest records of all time. Take a listen below. Source

Deadbeats changed the game by releasing two compilation albums in 2017, but 2018 has been starkly quiet on that front… until now. We Are Deadbeats Vol 3 is officially on its way, out this Friday, November 30. Featuring tracks by Holly, Ducky, um.., Rome In Silver, and the debut original from Aussie phenom SIPPY, Vol 3 is set to be one of the most experimental and bass-heavy yet. The announcement is made along with the lead single from the compilation, “Keep It Simple” from Gentlemens Club. The single is also the first track on the compilation, so there’s a sense of symmetry here, as well. Among the shimmering synths in the intro and the almost hopeful tone, there lies a dark secret. Without much warning, the drop hits you like a ton of bricks, and you’re suddenly thrust into a bass-filled basement full of breaks and discordant sounds. If “Keep It Simple” is any indication as to what the rest of the compilation has in store (and we can tell you that it is), then you’re going to want to pre-save We Are Deadbeats Vol 3 right now – do it here. Check out the full tracklist below!  We Are Deadbeats Vol 3 1. Gentlemens Club – Keep It Simple 2. um.. – Oatmeal 3. Ducky – Leave 4. Blunts & Blondes – Smooth Skanka 5. Jaenga – Gold Rings ft. Camera Shy 6. Holly – MISSU 7. Sippy – Lithos 8. SoDown x Mr. Bill – Eskimo 9. Klutch – Hallucinations 10. Mersiv – Mind Sounds 11. Cozway x Bonnema – Radicals 12. Rome In Silver – Glass This article was first published on Your EDM. Source: Deadbeats Announces Compilation Vol. 3 With Lead Single From Gentlemens Club Source

Boston-based post-metal act Astronoid have just revealed that their sophomore album is on the way, and they are offering the first taste of the disc with a music video for the song “I Dream in Lines” (watch below). Their new self-titled full-length is set for release on February 1st via Blood Music, and continues the work that they started on 2016’s AIR, an album that landed on several year-end best of lists, including here at Consequence of Sound. Pre-orders for the new album, including colored vinyl packages, have begun at this location. “After the completion of our sophomore album, we feel we have ventured further out of our comfort zone and created something special,” singer/guitarist Brett Boland said in a statement. “The album encapsulates all the changes in our lives over the past couple of years. Astronoid is a testament to who we are as people, the music that consumes us, and the love in our lives. These songs hold a special place in our hearts and we hope that others can find the same solace in them that we have.” The album announcement was paired with a music video for the new song “I Dream In Lines,” the second track on Astronoid, a barrage of imagery and words meant to test your mettle a la the film The Parallax View. Astronoid will be hitting the road not long after the release of this new album on a tour with Between The Buried And Me and TesseracT. Those dates are listed below, and you can get tickets here. Astronoid Artwork: Astronoid Tracklist: 01. A New Color 02. I Dream In Lines 03. Lost 04. Fault 05. Breathe 06. Water 07. I Wish I Was There While The Sun Set 08. Beyond The Scope 09. Ideal World Astronoid 2019 Tour Dates with Between the Buried and Me and TesseracT: 02/08 – Athens, GA @ 40 Watt Club 02/09 – Winston-Salem, NC @ The Ramkat 02/10 – Louisville, KY @ Diamond Pub Concert Hall 02/12 – Wilmington, DE @ The Queen 02/13 – Lancaster, PA @ Chameleon Club 02/14 – Asbury Park, NJ @ Asbury Lanes 02/15 – Portland, ME @ Port City Music Hall 02/16 – Hampton, NH @ Wally’s 02/17 – Rochester, NY @ Anthology 02/19 – Cleveland, OH @ Agora 02/20 – Lansing, MI @ The Loft 02/21 – Milwaukee, WI @ Turner Hall Ballroom 02/22 – Des Moines, IA @ Wooly’s 02/23 – Omaha, NE @ Slowdown 02/24 – Boulder, CO @ Fox Theater 02/26 – Reno, NV @ Cargo 02/27 – Fresno, CA @ Strummer’s 03/01 – Pomona, CA @ The Glasshouse 03/02 – Tucson, AZ @ The Rock 03/04 – Odessa, TX @ Dos Amigos 03/05 – Corpus Christi, TX @ House of Rock 03/07 – New Orleans, LA @ House of Blues 03/08 – Pensacola, FL @ Vinyl Music Hall 03/09 – Greenville, SC @ The Firmament Source

AFK & Carbin’s “Boss” is undoubtedly one of the biggest bass tracks of the past twelve months, in large part due to the vocal sample that everyone knows by now: “I’mma die a boss and boy you betta believe that!” If you don’t know it, you probably haven’t been to any bass show in the past year. At the same time, an interesting trend has been popping up among the bass community. DJs across the board have been throwing lots of psytrance into their sets. It’s hard to trace the origins of the trend in bass music, though an argument can definitely be made for Kayzo, but it’s definitely injected some variety into the genre. To that effect, A Boy & A Girl have made a crazy and unexpected psytrance remix for “Boss” that has been gaining some major DJ support. It’s not hard to see why, either. Between the recognizable vocal sample and the new spin on a familiar track, fans are sure to go crazy when this drops. Elements of bass still pervade the track while the tempo is kept up and up and up, so it won’t alienate any hardcore fans that much. This remix is out today! Check it out below. This article was first published on Your EDM. Source: Your EDM Premiere: AFK x Carbin – Boss (A Boy & A Girl Remix) Source

Stephen Hillenburg, the creator of SpongeBob SquarePants, has died at the age of 57. In 2017, Hillenburg revealed that he had been diagnosed with ALS. The neurodegenerative disease causes the death of neurons which control a person’s voluntary muscles, leading to eventual paralyzation. The average life expectancy for those afflicted with ALS is between two and five years, and there is currently no cure. Hillenburg spent the early part of his life teaching marine biology before pursuing a career in animation. After cutting his chops on Rocko’s Modern Life, Hillenburg successfully developed his own animated series in SpongeBob SquarePants. The marine-themed cartoon starring a high-energy sea sponge premiered in 1999 and remains in production as of today. Now one of the longest-running shows in TV history, a total of 241 episodes of SpongeBob have aired to date in addition to two feature-length films. For his efforts, Hillenburg received 17 Emmy nominations, twice winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. Upon announcing his diagnosis, Hillenburg expressed his intention to remain active in the production of SpongeBob as long as possible. Season 11 of the series premiered in September 2017 and wrapped up just last week. Nickelodeon has already green-lit a 12th season in addition to a third feature film, which is slated to hit theaters in 2020. A SpongeBob-themed musical opened on Broadway last year. In a statement posted to Twitter, Nickelodeon wrote, “We are sad to share the news of the passing of Stephen Hillenburg, the creator of SpongeBob SquarePants. Today, we are observing a moment of silence to honor his life and work.” We are sad to share the news of the passing of Stephen Hillenburg, the creator of SpongeBob SquarePants. Today, we are observing a moment of silence to honor his life and work. — Nickelodeon (@Nickelodeon) November 27, 2018 Revisit the opening episode of SpongeBob: Source

Coldplay have returned with new music — and a new name. The British rockers have rebranded themselves as a world music group called Los Unidades. The surprise move comes in coordination with Global Citizen, with whom the group is releasing Global Citizen – EP 1 this Friday. As a first listen to the project and the “new” band, Los Unidades have shared their collaboration with Pharrell, “E-Lo”. First of all, there hasn’t been explicit confirmation that Los Unidades and Coldplay are the same thing. Parlophone (to which Coldplay is signed) initially teased the project with a tweeted poster featuring shadowy figures that look awfully similar to the members of Coldplay. The bottom of the poster includes some text — “Y02LPAC81ODL” — which is an anagram for “COLDPLAY2018.” Internet sleuths at ColdplayXtra claim to have discovered further proof by tracking down the trademark for Los Unidades, which lists the founding members as Chris Martin, Jon Buckland, Guy Berryman, and Will Champion — aka Coldplay. As for “E-Lo”, it clearly sounds like Martin’s voice on the track. Over an electronic beat that blends Latin and African rhythms, he sings of freedom and peace: “Hurt me outside, inside I’m free/ And there’s no enemy, everyone is my brother/ When the truth comes to set me free/ And we’re not going to fall in and out with each other/ When the day all the hands go free/ The sun’s gonna shine, the sun’s gonna shine one me.” In addition to Pharrell, Jozzy also features on the track. Take a listen via the animated lyric video below. “E-Lo” is a preview of Global Citizen – EP 1, out November 30th. It features three tracks led by Los Unidades alongside artists like Stormzy, Wizkid, Tiwa Savage, Dave Guetta, Cassper Nyovest, and Stargate, who also have a song of their own on the effort. Find the full tracklisting and artwork ahead. For more proof that Los Unidades is Coldplay, their manager, Dave Holmes, said in a statement, “It was a real honour to help further the Global Citizen movement by putting together this release alongside Chris and Parlophone. We’ve ended up with so many incredible performers, and we’re all extremely proud of the finished EP. May it be the first of many.” The EP comes in conjunction with Global Citizen Festival: Mandela 100, which Martin and Holmes co-curated. Taking place December 2nd in Johannesburg, South Africa, the event will feature performances by Beyoncé, JAY-Z, Eddie Vedder, Pharrell & Martin, User, Ed Sheeran, Femi Kuti, Tiwa Savage, Wizkid, and more. Global Citizen – EP 1 Artwork: Global Citizen – EP 1 Tracklist: 01. Stargate – “Rise Up” (feat. Nelson Mandela) 02. Los Unidades & Pharrell Williams – “E-Lo” (feat. Jozzy) 03. Cassper Nyovest & Los Unidades : “Timbuktu” (feat. Stormzy and Jess Kent) 04. Stargate & Los Unidades: “Voodoo” (feat. Tiwa Savage, Wizkid, Danny Ocean and David Guetta) Source

The DJ Mag Top 100 is announced every year in October in time with Amsterdam Dance Event and features many of the top performers in the world. Often, issue is taken with the list for the lack of women included (even though the list is completely fan voted & submitted). In response to this, years ago, DJane Mag became a thing in order to highlight specifically the women making a splash in the world of electronic dance music. The results of this year’s DJane Top 100 have just been revealed, uncovering a new cast of names to pay attention to. The top 10 is mostly recognizable names for US listeners: NERVO, Alison Wonderland, Nina Kraviz, Krewella, Rezz, Miss K8, Amelie Lends, Deborah De Luca, and Charlotte De Witte. From there, whether or not you know a name is mostly a coin flip. There are still plenty of recognizable names after the top 10, like Mija, TOKiMONSTA, Tigerlily, Cray, CloZee, Kittens, Peggy Gou, and so forth. But there are other names that also aren’t so familiar: ONYVAA, Rebekah, Celina Manuhutu, Maeva Carter, Brooke Evers, Blue Ivy, and more. What this highlights, in a roundabout way, is that women in dance music are perhaps underrepresented in the US, and are a much more global group than most people realize. This fact is emphasized even more by the 101-200 list of DJs, which are even more generally unrecognizable . Regardless, if you’re looking for a little more woman power in your playlists, check out these 200 women below! This article was first published on Your EDM. Source: DJane Mag Finally Reveals Top 200 List For 2018 Source

Aziz Ansari will kick off 2019 with a lengthy tour across North America. Dubbed “Road to Nowhere”, the trek officially begins February 6th in the Boston area before heading to cities like Vancouver, Denver, Los Angeles, Chicago, and Minneapolis. The Master of None comedian also has dates scheduled in Seattle, Las Vegas, Salt Lake City, Memphis, and St. Louis before closing out with as-yet-unannounced gig in New York City in May. Consult the full itinerary below. You can get tickets here. Aziz Ansari 2019 Tour Dates: 02/06 – Boston, MA @ Chevalier Theatre 02/07 – Boston, MA @ Chevalier Theatre 02/09 – Mashantucket, CT @ Foxwoods Resort and Casino 02/14 – Calgary, AB @ Grey Eagle Resort and Casino 02/15 – Vancouver, BC @ Queen Elizabeth Theatre 02/16 – Denver, CO @ The Buell Theatre 02/21 – Los Angeles, CA @ The Orpheum Theatre 02/24 – San Diego, CA @ Copley Symphony Hall 03/05 – Chicago, IL @ Chicago Theater 03/08 – Minneapolis, MN @ Cyrus Northrop Memorial Auditorium 03/09 – Pittsburgh, PA @ Heinz Hall 03/10 – Columbus, OH @ Palace Theatre 03/12 – Portland, OR @ Keller Auditorium 03/14 – Oakland, CA @ Paramount Theatre 03/16 – San Francisco, CA @ The Masonic 03/19 – Seattle, WA @ Paramount Theatre 03/20 – Salt Lake City, UT @ Kingsbury Hall 03/21 – Phoenix, AZ @ Comerica Theatre 03/22 – Reno, NV @ Silver Legacy Resort Casino 03/23 – Las Vegas, NV @ The Colosseum at Caesars Palace 04/17 – Memphis, TN @ Canon Center for the Performing Arts 04/18 – Atlanta, GA @ Fox Theatre 04/20 – Hollywood, FL @ Seminole Hard Rock Hotel & Casino 04/24 – Buffalo, NY @ University at Buffalo 04/25 – Windsor, ON @ Caesars Windsor Hotel & Casino 04/26 – Grand Rapids, MI @ DeVos Place 04/27 – St. Louis, MO @ Stifel Theatre 04/28 – Kansas City, MO @ Arvest Bank Theatre 05/?? – New York, NY @ TBD This new lineup of shows follows Ansari’s short “Working Out New Material” tour in September. It’s only his second official tour since being accused of sexual misconduct earlier this year. In an article published by babe, a photographer named Grace claimed Ansari was aggressive sexually and ignored “verbal and non-verbal cues to indicate how uncomfortable and distressed she was.” Ansari issued a response saying: “It was true that everything did seem okay to me, so when I heard that it was not the case for her, I was surprised and concerned. I took her words to heart and responded privately after taking the time to process what she had said. I continue to support the movement that is happening in our culture. It is necessary and long overdue.” Source

Origins is a feature that tasks artists with outlining the influences behind their latest release. The prolific and ever-innovative Kevin Devine has spent a good portion of 2018 reviving his Devinyl Splits series, which enjoyed its first run in 2015. Beginning in March, Devine’s has again been releasing a series of split 7-inch records every other month, with artists like Craig Finn and David Bazan sharing wax with the songwriter. The 10th and latest entry finds Devine joined by one-time Weakerthans frontman John K. Samson, who’s carved out an impressive solo career of his own with excellent LPs like 2012’s Provincial and 2016’s Winter Wheat. (Read: Standing in a Crowded Room: Kevin Devine Reflects on His Devinyl Splits Series) Samson’s song, a chilly, moving cover of Christine Fellows’ 2007 song “Saturday Night On Utopia Parkway”, has already hit the internet, and today we’re premiering Devine’s lovely contribution to the 7-inch. Called “I Wrote It Down For You”, the song marks Devine’s third original tune to emerge from the Devinyl series. Buoyed by droplets of piano and Devine’s tender finger-picking, the heartfelt track brims with longing lyrics that brim with the kinds of small, seemingly insignificant details that tend to flood our sepia-toned memories. Hear it below. Speaking to us after wrapping up the first Splits series, Devine explained the project thusly: “I wanted the partner to have free range to present what was most interesting to them. That’s the ideal. Sometimes it’s going to be what’s easiest with their touring schedule, their recording schedule, their life schedule … but my hope was to present the idea of doing a split, then let the other artist tell me what excited them. I wanted to make it as free and easy for everybody as possible.” Devinyl Splits No. 10’s silver 7-inch is currently available for pre-order, and the split will officially drop on November 30th. To offer some insight into “I Wrote It Down For You”, Devine has also shared with us a few of the song’s Origins. Some were conscious; others were not. Neil Young – “Unknown Legend”: The simplicity of the progression; the air, the openness; the long, patient hanging out on the chords; the lilting, half-step movement of the vocal melody over top; the willingness to let the song be itself and keep out of its way, to not get too clever, to let it feel good. I love this overall gear of Neil Young’s, but Andy from Manchester Orchestra actually pointed out the parallels between this specific song and mine — subconsciously arrived at, but visible and clear. Jesus & Mary Chain – “Just Like Honey”: “I Wrote It Down For You” started on bass before I transferred it to guitar for recording and live performance, and the approach was inspired by this song and the ’50s girl-group songs which inspired it. The “bomp / bomp-bomp / BA” percussive energy, the sweetness (and slight idiosyncratic twist) of the lyric, the way it moves itself along, classic-feeling, unencumbered by itself, making room for what’s being said. That felt like the clear priority for this song: directness, a platform for the lyric, the melody, the feeling. Pearl Jam – “Off He Goes”: More openness, more patience, more letting itself unfold, of a definite piece with the Neil Young thing. I’ve always loved this song and kinda wished Pearl Jam did more in its subtle vein; it really suits his strength as vocalist and beautifully captures a certain ambient, shuffling bittersweetness. It’s also a kind of conversation, and, like both other songs I mentioned, a character sketch. You see the person, feel the depth of care, the ephemerality of that kind of affection, admiration, the things you can and can’t keep. Devine, who just wrapped up a tour with Saves the Day, will participate in a tribute concert to late Frightened Rabbit singer Scott Hutchinson next month. Early next year, he’ll play a handful of European tour dates. Check out the full list of dates below. Kevin Devine 2018-2019 Tour Dates: 12/05 – Brooklyn, NY @ Rough Trade ^ 01/16 – London, UK @ The Camden Assembly Pub 01/18 – Berlin, DE @ Monarch Bar 01/19 – Ki, DE @ hansa48 01/20 – Hamburg, DE @ Hafenklang 01/21 – Koln, DE @ die wohngemeinschaft 01/23 – Luxemborg, LU @ De Gudde Wëllen 01/25 – Ac, DE @ Musikbunker-Aachen e.V. 01/26 – Müchen, DE @ Heppen & Ettilch ^ = w/ A Celebration Of The Songs Of Scott Hutchinson w/ Julien Baker, Ben Gibbard, Craig Finn Source

This feature originally ran in February 2016. We’re reposting it in celebration of Jimi Hendrix’s 76th birthday. It’s one of the odder contradictions about Jimi Hendrix: Despite being so enigmatic and galvanizing in front of a live audience, he actually hated being out on the road. In his defense, “the road” in the 1960s was an unforgiving and punishing place to be, especially when plotted out in advance by Hendrix’s manager, Michael Jeffery. One night he and his band, The Experience, would be playing a gym in Santa Barbara, California, and the next night they’d find themselves in an arena in Seattle, Washington. Patently brutal. Then there was the added anxiety of being far away from the recording studio — the place where he felt most at home. To Hendrix, touring was more stress than it was worth. It was just something he had to do to keep the black lights at Electric Lady Studios on. The rest of us of course know the truth. Hendrix was only on the scene for about four years of his life, but he absolutely made the most of that time. Amid a number of classic, immortal recordings, he also toured incessantly and performed an incredible number of live shows that still have the ability to shock and surprise nearly 50 years on. From the Fillmore East to the Fillmore West, from Woodstock and Monterey to Paris, London, and everywhere else that he and whatever group was backing him went, the possibility that real magic might present itself always hung heavy in the air. Below are the 10 concerts when the magician was at his most spellbinding. For more on Hendrix, subscribe The Opus, our new podcast dedicated to legendary albums and their ongoing legacy. Host Paula Mejia is currently busy dissecting Bob Dylan’s Blood on the Tracks, but come January, she’ll head straight into the distorted, wavy soundscapes of Electric Ladyland for more exciting episodes that’ll feature a diverse range of guests. __________________________________________________________ 10. The Olympia Theatre – October 18, 1966 Some concerts on this list are bound to get a little more shine due to their historic nature, like this gig at the Olympia Theatre in Paris from 1966. This was the first time that The Jimi Hendrix Experience, with Mitch Mitchell on drums and Noel Redding on bass, played together as a group in front of a paying audience — opening for the “French Elvis Presley”, Johnny Hallyday, no less. I suppose we could have put Hendrix’s last known gig at the Isle of Fehmarn on September 6, 1970, or maybe his performance at the Isle of Wight a few weeks earlier, but both of those are kind of shambolic and more than a little morbid. Even though this show was only 15 minutes long, you get a real sense of the kind of fire Hendrix was playing with around the time he first hit the scene. The band’s first single, “Hey Joe”, sounds great, but it’s the Howlin’ Wolf cover “Killing Floor” that will leave your jaw on the floor. (The above video shows Hendrix at the venue one year later.) __________________________________________________________ 09. The Café Au Go-Go – March 17, 1968 One of the great things about going to a live show is the feeling that anything can happen. The patrons of the small Café Au Go-Go Club in New York City couldn’t have known when they ordered their drinks that they were about to witness one of the great, public rock and roll jam sessions of all time that spring night. To be sure, Hendrix was known to play around town while in New York City, but this gig with Elvin Bishop on rhythm guitar, Paul Butterfield on harmonica and vocals, and Buddy Miles on the drums is some next-level stuff. It’s clear from the recording that the guys were just interested in messing around, but there are some real spine-tingling moments to be gleaned here like the pickup group’s all-instrumental rendition of “Little Wing” or the cover of T-Bone Walker’s “Stormy Monday.” __________________________________________________________ 08. The Atlanta International Pop Festival – July 4, 1970 Many of Hendrix’s greatest live shows came in outdoor spaces, like this one at the Atlanta Pop Festival on Independence Day in 1970. In many ways, this Georgia gathering was the spiritual sequel to Woodstock that the fiasco in Altamont failed to be. Like Woodstock, it was billed as “three days of peace, love and music,” and you needed a ticket to enter. And just like in upstate New York, the deluge of 300,000-500,000 people crying out slogans like “music belongs to the people” forced the organizers to open the gates and let everyone in completely free of charge. For his part, Hendrix actually delivered a set that was far more cohesive and tight than he had given the summer before, albeit without any of the iconic highlights. A rare performance of “Room Full of Mirrors” is a real gem from this show as is the extended “Red House” jam. __________________________________________________________ 07. The Berkeley Community Theatre – May 30, 1970 Loose is the operative word when it comes to describing this concert, which took place just outside the confines of the University of California. In the context in which it was performed, it’s actually an interesting contrast to the mania of the anti-Vietnam War demonstrations that were taking place right outside the venue. In his own way, Hendrix addresses the tension permeating the atmosphere in his intro to “The Star-Spangled Banner” when he asks the crowd to get on their feet and stand for the national anthem, reminding them that “we’re all Americans.” For their troubles, he then proceeds to knock them down back on their asses with seismic versions of “Purple Haze” and “Voodoo Chile (Slight Return)”. For real music nerds, it should be noted that this show was one of the very few instances in his career when Hendrix didn’t tune his guitar down a half step and instead played this entire gig in standard tuning. __________________________________________________________ 06. The Fillmore East – January 1, 1970 The one and only performance of the short-lived Band of Gypsys came at Bill Graham’s Fillmore East. The only reason this project came to fruition in the first place was due to a legal settlement between Hendrix and Ed Chalpin of PPX Recordings, whereby the latter would receive total rights to one release by the former. It was a messy situation all around and one that Hendrix wasn’t about to resolve by giving Chalpin the tapes that would make up Electric Ladyland, so instead he enlisted his old Army buddy Billy Cox to play bass and Buddy Miles of Electric Flag to play drums for a special live album project. It’s hard to say that Band of Gypsys was superior to the Experience, but this show isn’t without its merits. “Them Changes” with Miles on lead vocals is funky and fun in a way that Hendrix rarely was while performing live, but it’s the song “Machine Gun” that takes the cake. At a runtime of 12:40, it’s by no means succinct, but with that signature, simulated-gunfire riff and wandering, adventurous solos, it’s one of the most thrilling tracks in Hendrix’s canon. __________________________________________________________ Source

Metallica recently played an acoustic set at in San Francisco to benefit their All Within My Hands Foundation, and now the band has announced that the special gig was captured for an upcoming release, Helping Hands… Live & Acoustic at The Masonic, which will arrive on February 1st. The announcement and pre-order launch comes on Giving Tuesday (November 27th), an initiative to create an international day of charitable giving. Proceeds from the release will benefit Metallica’s All Within My Hands Foundation, which aims to “fight hunger and to assist in creating sustainable communities through workforce education.” A limited-edition vinyl version of the album, available for pre-order at Metallica.com, will be pressed on 140-gram colored vinyl. The tracklist includes performances of Metallica classics, as well as covers of songs by Deep Purple, Nazareth, Bob Seger and Blue Öyster Cult. The album, which is being mixed by Greg Fidelman, will also be available digitally and on streaming services beginning February 1st. Fans who order the vinyl will be given a digital download card. We were at the show at The Masonic where the album was recorded. Check out our photo gallery and recap of the gig here. Helping Hands…Live & Acoustic at The Masonic Tracklist: Disc One / Side A 01. Disposable Heroes 02. When A Blind Man Cries (Deep Purple cover) 03. The Unforgiven Disc One / Side B 01. Please Don’t Judas Me (Nazereth cover) 02. Turn the Page (Bob Seger cover) Disc Two / Side C 01. Bleeding Me 02. Veteran of the Psychic Wars (Blue Öyster Cult cover) 03. Nothing Else Matters Disc Two / Side D 01. All Within My Hands 02. Enter Sandman 03. The Four Horsemen 04. Hardwired Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

During the past year, King Princess has been rising since her song “1950” became an LGBTQ+ anthem. Musicians Harry Styles and Halsey both publicly expressed a liking to the song and it helped King Princess gain many new fans. On November 2nd, King Princess released a new track titled, “Pussy is God,” which is supposed to give us some insight into her possibly-forthcoming album. She also released a music video to go along with the song. This is her first release after released her EP “Make My Bed” in April of this year. As always, King Princess releases her funnily titled track with confidence. Although a seemingly silly name, the song is filled with love and passion, with a tender desire for someone. Jumping from her singles “Talia” and “1950,” this one seems more danceable and was written by King Princess, along with her singer/songwriter girlfriend (as the public knows it), Amanda Stenberg. The video features Wild West vibes, according to Vogue. Creative Director of the video, Claire Gillen, reveals that the video’s visuals reminded her of the iconic tornado scene from The Wizard of Oz due to the objects flying around King Princess. The Kansas aesthetic before Dorothy gets to Oz is just the tone that Gillen was in search of for beginning of the video. The video features King Princess playing bass guitar and seemingly floating and dancing with a flying toaster alongside her friends. It has a taste of ‘90s nostalgia and is green-screen heavy. The references themes from her first single, “1950,” and it captures queer expression. “You know that it’s God, baby, when you’re around her I’ve been praying for hours You know that it’s God, baby, when you’re around her She’s God and I’ve found her, oh” King Princess is known for advocating for LGBT rights and her songs explore lesbian relationships. She is also in a public relationship with singer/songwriter Stenberg who fans adore together. The 19-year-old mixes influences of blues-pop, some hip-hop, and different vocal samples throughout her music. She recently confirmed a 2018-2019 tour. King Princess 2018-2019 Tour Dates: 11/02 – Melbourne, AU @ Forum Theatre 11/03 – Newstead, AU @ Triffid 11/06 – Sydney, AU @ Metro Theatre 11/08 – Auckland, NZ @ Powerstation 01/17 – Minneapolis, MN @ First Avenue 01/18 – Chicago, IL @ Metro 01/20 – Toronto, ON @ Danforth Music Hall 01/21 – Montreal, QC @ Corona Theatre 01/23 – Brooklyn, NY @ Warsaw 01/24 – New York, NY @ Irving Plaza 01/25 – Boston, MA @ Royale 01/27 – Washington, DC @ 9:30 Club 01/28 – Philadelphia, PA @ TLA 01/30 – Atlanta, GA @ Terminal West 01/31 – Nashville, TN @ EXIT/IN 02/02 – Dallas, TX @ Granada Theater 02/03 – Austin, TX @ Emo’s 02/06 – Phoenix, AZ @ Crescent Ballroom 02/08 – Los Angeles, CA @ The Fonda Theatre The post LISTEN: King Princess Releases New Track, “Pussy is God” appeared first on Verge Campus. Source

This could be the nail in the Kings Cross coffin. Bayswater Road’s live and electronic music institution The World Bar appears to have called it a day with a very telling message placed on their sign. Edit: It has been confirmed Processed with VSCO with b1 presetThe sign reads: IT’S BEEN WILD GOTTA GO NOW STAY SAFE SYDNEY THANKS FOR THE GOOD TIMES This comes after the Cross has been increasingly becoming more residential, and just after a report was released saying that restrictions on Sydney venues have been ruining Sydney’s nightlife economy with a net of 176 177 venues having closed their doors since the lockout laws came into effect. (Read: Kings Cross isn’t ours anymore) World Bar owner Steve Ward has said in a presser “The obvious connection… is the effect of the lock out laws. It’s undeniable that they have had a huge impact on us, as well as Sydney’s live music scene.” He then went to go on to say that there is hope “We need the authorities to show true leadership and to make positive decisions for the music and creative communities and for everyone who likes to be social at night!” Their last event will be Wednesday November 28 (That’s tomorrow night) and is free with an RSVP, for the mean time, I guess all there’s left to do is party and reminisce on the good times that you won’t be able to have for much longer. There’s a lot happening right now in NSW, with festivals heading interstate, iconic venues shutting down and priority being given to events that promote gambling, but The World Bar’s parting words are ones that we’ve always lived by here at Stoney. The best way to rebel is to go out. Source

You might remember that not that long ago there was a report that looked to classify poppers (aka amyl) in a similar vein to heroin, thus criminalising the popular drug. Just last week, the report that was meant to lead to said decision was delayed after a release from the Therapeutic Goods Administration (TGA) said they’d need more information to make a full report, delaying it from November 29 to an unknown future date. Sniffing amyl is something you’ll see or smell at a lot of dance music events. It gives a small head rush and is also used to assist in anal sex (also something associated with electronic music and its history). Needless to say when the initial proposal by the TGA came out, there were a few raised eyebrows and a few more raised voices, so this delay is welcomed by a lot of parties. Read the latest release here and tell us if you think amyl should be criminalised! Source

You won’t find much about Toronto-based doom metal outfit Witchrot in their Facebook bio, which reads simply “hex, drugs, and rock n’roll.” You can, however, hear an EP from the band over at their Bandcamp (songs include “Druid Smoke Part i (The Keeper)” and “Druid Smoke Part ii (The Sacrificer”)). Just don’t expect to hear those songs live anytime soon, what with the band having announced it would be going on hiatus in what might be the most insane possible way. Just see the below post, which appeared on Facebook on Sunday morning. “Due to the unfortunate reality of our guitarist fucking my girlfriend of almost 7 years, WITCHROT will be taking an extended hiatus,” reads the post, which is signed by an individual named Peter. Peter goes on to say he is “ripe with hate” and on the verge of writing some “devastating, torturous music.” Oh, and the band’s drummer died. It doesn’t get more metal than this, ladies and gentlemen, and we haven’t even gotten to the attached photo. Bless you, Witchrot. Come back soon. [h/t @conortheconor] Source

I’ll just give you a second to truly unpack that headline. Okay, all good? Let’s dive the fuck in. An incident at student accommodation has left one young fella in extremely hot water, and probably wishing he knew when to shut the hell up. Apparently, Newcastle man James Mason was pulled up by cops and decided to be a bit of a cheeky whale, “f**k off you’re not searching me” before saying “ha ha, told you I had f*** all on us, you mugs.” Any normal person who had drugs on them would at this point, take a deep breath, thank the police officers and thank your lucky stars that you aren’t sharing a cell with some bloke called “Bubba”. What did Mr Mason do? Well, he took the opportunity to continuously swear and talk shit to the police officers, like an absolute fucking drongo. However, coppers then noticed that Mason kept adjusting his pants, and took him to the station to strip search. What they found there is either impressive or terrifying depending on your outlook. “He removed his trousers, pulled back his foreskin and pulled a white bag of powder from his penis. The defendant was asked what it was and replied that it was cocaine.” Spicy. Mason was then fined 120 pounds for possession of a Class A and drunk and disorderly behaviour. He was also told to pay £85 costs and a £30 victim surcharge. Definitely one of the dumbest criminal interactions we’ve ever seen, take a bow mate. Source

Los Angeles bass community is a breathing thriving creature, with eclectic artists of all ranges and styles, borrowing and inspiring one another. DialedIn is the very emphasis of this foundation, with a heavy, robotic sounding vibe to his tightly toned bass heavy jams. His latest release on Pantheon, “Follow Me” embodies the best of his own hard sound with the percussive fills and melodic vibes that become such a staple throughout bass music. Definitely a new best for DialedIn! This article was first published on Your EDM. Source: DialedIn’s New Single Will Make You Want To “Follow” Source

Risik has made her presence known with an enticing, bass friendly track you need to hear right now. “BORING” is quite ironic, because it’s anything but. The track is riddled with imagination and intricacies that we can only describe as Risik. Welcome to her world. Over the past two years, the dedicated producer has been quietly perfecting her craft, spending everyday and countless hours on some form of production. Her debut single, “BORING,” is an intensely satisfying first impression. From the heaviest hit, down to the tiniest blip, the attention to detail pays off in a big way. In her own words, Risik describes her musical journey thus far… “I’ve made probably hundreds of songs by now, but ‘BORING’ is definitely my favorite of the bunch so far and I’m so happy to finally be able to share it.” And, the brave step forward she’s taking with her artistry… “I feel very vulnerable because when I write, because I’m putting my entire soul into the piece… and putting my naked heart into the world is pretty scary! But I’m so glad I did, and I can’t wait to share more.” Listen and link up below. Risik – BORING Follow Risik Website | SoundCloud | Spotify | Facebook | Twitter This article was first published on Your EDM. Source: Risik Stuns With Debut Single “BORING” Which Is Anything But [MUST LISTEN] Source

If you’ve caught Rezz on her Certain Kind Of Magic tour so far, you already know that she’s got plenty of hidden gems peppered in throughout her set. Even though Rezz just dropped her sophomore album, Certain Kind Of Magic, earlier this year, we’re already getting new music from the talented producer. Aside from the Underoath collaboration she’s teased, Rezz has also been playing out a certain Porter Robinson remix in her sets… now, we’ll be getting that one to listen to at home. If there’s any suspicion as to what new music Rezz is referring to in her tweet, just look at the combination of her own logo with Porter’s kaomoji and it’s plain to see. Stay tuned – when this drops, you’ll be the first to know! New music this week 【=︿=】 — Rezz (@OfficialRezz) November 26, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Rezz Announces Porter Robinson Remix Dropping This Week Source

Recreational marijuana will be legal in Michigan next week. In the November 6th election, Proposal 1 passed with a “yes” by 56 percent. Now, the Board of State Canvassers have sealed the deal by certifying the marijuana legalization initiative with a unanimous vote. Now, all that stands between Michiganders and their weed is just 10 days. Under the state’s law, Prop 1 will take full effect on Thursday, December 6th. This means adults over the age of 21 will be able to consume marijuana legally — not just for medicinal purposes — in public or in the comfort of their own home. Michigan still has a lot to figure out in terms of its newfound commercial marijuana industry. Business licenses will reportedly begin to be issued in December 2019. Officials would like to make it clear, driving under the influence of marijuana is and will remain illegal. Moving forward, 12/6 might feel more like 4/20 for Michiganders. Source: MLive This article was first published on Your EDM. Source: Weed Will Be Legal In Michigan Next Week Source

Before the Miami City Council voted to approve Ultra Music Festival’s proposal for a festival in Virginia Key, the site was scheduled to be used that same weekend by Rapture Electronic Music Festival. Now, the week after the deciding vote, Rapture says its excited for the future. “They say that everything happens for a reason, and we now understand that more than ever,” Rapture wrote on social media. “Our search for a new location that will allow our original vision to continue has yielded us several amazing locations that we can honestly say are much better than our original home. We are doing this one for you, our fans; and want you to rest assure that nothing will stop Rapture 2019.” Whether Rapture’s comment about amazing locations being “better than our original home [Virginia Key]” is a dig at Ultra or just a benign statement is up for interpretation. What isn’t up for interpretation is that Rapture is clearly looking to the future and not letting last week’s vote kill their vibe. By all indications, Rapture 2019 is still a go. But, organizers will have to move quick if they want to keep that original March 2019 festival date. Last year’s festival featured headliners Luciano, Guy Gerber, Chris Liebing, Eelke Kleijn, and more. This article was first published on Your EDM. Source: Rapture Festival Excited For The Future, Despite Getting Kicked Out Of Virginia Key Source

Skrillex continues to operate more in the background than on his own productions lately, teaming up with Valentino Khan this time to produce a new track for Korean pop artist KEY. The song “Chemicals” comes out on KEY’s debut solo artist album, FACE. KEY comes from the KPop group SHINee and made this album as a way to prove his versatility as an artist. “In the past, I used to be a lot more concerned with chart performances and digital singles, but nowadays I’m more focused on proving that I’m able to put effort into my work and basically showing that I can do it,“ he said. The 10-track album contains a song co-produced by Skrillex and Valentino Khan. Skrillex is no stranger to KPop, having previously teamed up with Korean singers CL and G-Dragon on “Dirty Vibe” off his debut album Recess; we assume the experience is new for Valentino. The song heavily features KEY’s vocals – no surprise there – accompanied by lots of Skrillex-production idiosyncrasies like the vocal chops in the background and that all-too-recognizable Jack U snare. Fans are understandably frustrated with the lack of “pure” Skrillex material coming out lately, but the producer is definitely busier than ever. Maybe 2019 will be the year? We’ll see. Check out “Chemicals” below.  Photos via Jas Davis / Rukes.com This article was first published on Your EDM. Source: Skrillex & Valentino Khan Co-Produce New Single For KPop Star KEY Source

Halestorm, In This Moment, and New Years Day rolled into Hammerstein Ballroom in New York City on Saturday (November 24th), bringing with them a tour powered by three commanding frontwomen. The evening was headlined by Halestorm, with Lzzy Hale and company playing a number of songs from their most recent album, Vicious, including “Black Vultures”, “Do Not Disturb”, “Uncomfortable”, “Vicious”, and “Killing Ourselves to Live”. The band also broke out older favorites like “Love Bites (So Do I)”, “Freak Like Me”, and “I Miss the Misery” off 2012’s The Strange Case Of …, as well as “Amen” and “Dear Daughter” from 2015’s Into the Wild Life. Lzzy showed off her vocal versatility on a cover of Dolly Parton’s “I Will Always Love You” and the acoustic ballad “The Silence”, proving she can sing beautiful ballads just as well as she handles the band’s hard-rocking scorchers. In This Moment, as usual, brought the theatrics, with Maria Brink’s commanding stage presence and ever-changing costumes. The band kicked off the set with 2012’s “Blood” before launching into “River of Fire” from their most recent album, 2017’s Ritual. Brink and company covered Phil Collins’ “In the Air Tonight” and welcomed New Years Day singer Ash Costello for a duet on “Black Wedding”, among other highlights. They closed out their set with “Whore”, with Brink donning a “whore” dunce cap as she stood upon a high podium. New Years Day got the night started, warming up fans for an energetic night of music. In addition to playing their own songs like “Kill or Be Killed”, “Epidemic” (during which singer Ash Costello led the crowd in a sing-along), and “Defame Me”, the band also broke out a cover of the Pantera classic “Fucking Hostile”. They also performed their brand-new song “Skeletons” off their upcoming album. The tour is set to run until December 16th in St. Petersburg, Florida. See our photos of the Hammerstein Ballroom show, along with each band’s setlist below, plus check out our interview with Lzzy Hale, in which she talks about the importance of this particular tour, among other topics. Photo Gallery: Halestorm, In This Moment, and New Years Day at Hammerstein Ballroom in NYC All photos by Johnny Perilla Halestorm Setlist: I Am the Fire Love Bites (So Do I) Black Vultures Do Not Disturb Amen I Will Always Love You (Dolly Parton cover) Dear Daughter Uncomfortable Vicious Drum Solo Freak Like Me Killing Ourselves to Live Encore: The Silence (acoustic) I Miss the Misery Here’s to Us She Won’t Mind In This Moment Setlist: Blood River of Fire Adrenalize Roots Monster Jam (“For Whom The Bell Tolls,” “Creeping Death,” “Rock You Like a Hurricane”) Black Wedding (w/ Ash Costello) In the Air Tonight (Phil Collins cover) Big Bad Wolf Oh Lord Whore New Years Day Setlist Kill or Be Killed Fucking Hostile (Pantera cover) Epidemic Skeletons Scream Defame Me Source

Donald Trump says a lot of things. Agree to disagree, but most of them are complete bullshit, which was expected from him as a celebrity, but has become, well, something of a tiny nuisance for the Western world seeing how he’s now the President. Well, as he’s wont to do, Trump has kept that tradition alive, and on his latest trip to Tupelo, Mississippi, he just couldn’t help himself from letting everyone know he has something in common with their own hometown hero, the late Elvis Presley. According to The Wall Street Journal reporter Ken Thomas, Trump was quoted as saying, “Other than the blonde hair, when I was growing up they said I looked like Elvis … I always considered that a great compliment. We love Elvis.” For starters, thank god the current administration supports the King, but also, Trump’s probably not wrong. However, whoever was making these dubious comparisons were more than likely attributing Trump’s sociopathic tendencies to that of Presley’s. Though, to be fair, the two share far more in common now. After all, Trump loves slapping his name on things, he loves Las Vegas, and he loves falling asleep with fatty foods that will likely clog his arteries and lead to an embarrassing death. If we’re lucky, he’ll also do the “Jailhouse Rock”! President Trump, in Tupelo, MS, the birthplace of Elvis Presley: "Other than the blonde hair, when I was growing up they said I looked like Elvis…I always considered that a great compliment." pic.twitter.com/D5fmwr83wN — Breaking911 (@breaking9111) November 26, 2018 Source