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The world will finally know the magic that is Illenium x Halsey within days from now. The producer’s remix of “Without Me” drops Friday and both fan bases couldn’t be more excited. Footage from Illenium’s tour stops in San Francisco serves as an incredible teaser for the brand new, forthcoming track. Lights shine, sparks fly, and the crowd gets hype to the sounds of his Awake 2.0 Tour. “Without Me,” which debuted at EDC Orlando, is now part of the magnificent production he brings to each show. Halsey’s original hit “Without Me” currently sits at the No. 4 spot on the Billboard Hot 100 and it’s climbing. Perhaps this remix will give it an extra push, at least within the EDM community. We have to say, it’s spectacular. Listen to Illenium’s remix below and be sure to check back here first thing on Friday to hear it in full! “Without Me” (Illenium Remix) Teaser This article was first published on Your EDM. Source: Illenium Serves Up Divine Teaser For Halsey Remix “Without Me” – Out Friday Source

It’s almost Summer in Aus and that means festival season is in full swing. Over the weekend, Rottnest Island’s Castaway saw Alison Wonderland headline a huge lineup of beatsy electronic music artists. No festival comes without hiccups though, as during the Alison’s set some d-bag tried to jump the railings and get on stage for his 15 seconds of fame and boy did he get it. As Alison was playing ‘I write Sins Not Tragedies’ (Yes, the Panic At The Disco! banger) the guy in question scurries on stage and goes to stand up only to be absolutely dropped by someone on stage, (seems like it was personal security). We’re all about securing an artist’s workspace but this one looks like it might’ve gone a little over the top. The seccy in question comes in with a pole looking device and pushes the guy straight to the ground and off-stage in a pretty heavy handed matter. Check out the video below and weigh in. Was the seccy over the top? Did the rail jumper get his just desserts? Why was Alison Wonderland playing I Write Sins Not Tragedies? NEVER EVER DO THIS FAM!@awonderland pic.twitter.com/lw1GbVV2Wc — k̶a̶u̶s̶h̶a̶l̶ (@Trexgraphy) November 25, 2018 Source

Something really not cool went on during an Alison Wonderland set recently. So, apparently this guy thought it would be a good idea to jump the rail, run on stage, and try to get past security. To do what, we have no idea — but he didn’t get too far. Sure enough, security, or perhaps it was someone on Alison’s team, saw the guy coming from a mile away. A man on guard stepped in and dropped the stage rusher in one fluid motion. It all happened so fast, the crazed fan probably didn’t know what hit him. Someone was recording when the incident went down and the footage is fittingly titled “big fat no.” Just, no. We all love to fangirl over Alison Wonderland. It’s totally normal. But, that alone doesn’t give anyone a free backstage pass or the right to rush the stage. Seriously, what was this guy thinking? Let this post be a learning lesson… Don’t. Do. This. Ever. No matter the stage, no matter the artist, no matter the situation. Someone could get hurt. Guy Rushes The Stage During Alison Wonderland Set NEVER EVER DO THIS FAM!@awonderland pic.twitter.com/lw1GbVV2Wc — k̶a̶u̶s̶h̶a̶l̶ (@Trexgraphy) November 25, 2018 this is fucking incredible, if ur at a show, don’t do this shit https://t.co/hRusNhkEnp — TISOKI (@tisoki) November 26, 2018 This article was first published on Your EDM. Source: Fan Rushes Stage During Alison Wonderland Set & Gets DROPPED By Security [WATCH] Source

The United States Postal Service has rarely been a progenitor for classic rock iconography. A congressman from Washington is eager to change that. Introduced by Rep. Adam Smith, Bill H.R.6628 aims to designate a post office in Renton, Washington the “James Marshall ‘Jimi’ Hendrix Post Office Building.” Located at 4301 Northeast 4th Street, the site is on the same street as the home where the legendary guitarist grew up, and only a few blocks from Greenwood Memorial Park, where Hendrix is buried. When Smith first announced the bill in July, he called the measure “one more way we can celebrate the legacy of one of the greatest musicians of our time and the importance of the south Seattle and Renton areas in his enduring legacy.” He added: “The Puget Sound Region is home to a museum that showcases Hendrix’s life and work, a park dedicated to his memory, and several memorials visited by thousands every year. This designation will further honor this iconic artist and his Seattle roots.” The bill has unanimous support from the eight Washington representatives in Congress, and has moved on from its initial review by the House Committee on Oversight and Government Reform. As the US government prepares to honor Hendrix’s artistry, revisit his legendary protest performance of the National Anthem at Woodstock. Source

Former Verve singer Richard Ashcroft is still incredibly bitter over “Bittersweet Symphony”. If you recall, the juggernaut single off 1997’s Urban Hymns was part of a lawsuit involving the late Allen Klein and ABKCO Music & Records, Inc., who essentially ran away with the rights to the song after EMI and the band tried to negotiate the use of a sample. That sample, of course, was an instrumental version of The Rolling Stones’ “The Last Time” that had appeared on an album by the Andrew Loog Oldham Orchestra. (ABKCO owns the rights to The Rolling Stones’ catalog.) In the end, Ashcroft received $1,000 dollars for his work, while Klein and ABKCO walked away with millions of dollars, garish commercial opportunities, and even a Grammy nomination that was cruelly credited to The Stones and not The Verve. On the latest episode of Kyle Meredith With…, the English singer-songwriter digresses at great lengths on the sordid affair with ABKCO, stressing how the tables are finally turning for artists and their labels, which he compares to gangsters. “Fucking Mr. Junior now has taken over that company,” Ashcroft says of Klein’s son, Jody, who’s now head of ABKCO. “I’m coming for that money. Someone stole god knows how many million dollars off me in 1997, and they’ve still got it. In terms, in normal basic terms, I don’t care where you come from, that’s serious matter. So I’m telling him, I’m telling Allen Klein Jr., I’m coming for my money, man. “You know, when his dad was around,” he continues, “people could intimidate people by being a gangster in the music industry. Unfortunately, anyone who takes over that business, we now live in a world where anyone can be a gangster, anyone can be a virtual gangster, you can be a gangster in whatever way you want, you can form two phone calls, you can find a gangster. Everyone’s a gangster. “So, there’s no gangster fucking attitude anymore,” he adds. “There’s no fear with this shit, with like some big figure. You know, it makes me laugh when I hear about these big managers from the ’70s and stuff. It’s like, ‘Get out of here. You wouldn’t last five minutes…”, these guys now. Because it’s a different world now, and anyone who would work for that company would know that…” Aschroft says the lawsuit had an influence over his new solo album, Natural Rebel, particularly closing track “Money Money”, which is something of a big snub to ABKCO and similar entities at large. “I’m happy for you to use [your show] to get the message out to his company,” Ashcroft insists to Meredith. “Put that song on, turn it on in the ABKCO office really loud and just check that little bit of energy out in the last three minutes, yeah? Just harness that for yourselves. Get in your nice car, that my song probably bought, and on the way back to see your ‘yoga guru’, just check out the end of that album and think about stealing $50 million dollars off a guy, and that that guy is still alive, on an island somewhere over there, and that you’re over there… “And I’ve got millions of fans and people all over the fucking world, man,” he continues, “and I’m like, ‘Wow, you’re bold. You are bold motherfuckers. You don’t even put the song on your website you’re so damn ashamed of it.’ So, I’m happy to go there, brother, you can print anything you fucking like … because you know, why? I’m a free fucking individual, and to me, they’re just like a legacy from a guy who came from another era, who managed to somehow take away 50% of one of the greatest songs of all time from its author, and get away with it for 20 years. “Anyone, unless you are mentally ill, will always remember the day when $50 million dollars was stolen off them,” he stresses, “and it doesn’t matter if it was 20 years later, or five, or 50. It’s the concept of gangster. I have something of mine, which was worth 50 million, or a 100, it’ll go on forever, taken from me, from a guy from New York, that’s all I know. There’s a little paltry piece of paper, and you’re telling me that’s enough….” From there, he hints at recent revelations and potential action. “I would love to… If I was them, I would sign for a real-life sort of TV show of ABKCO records over the next few years because it’s going to be so funny, some of their internal meetings on how they handle this shit,” Ashcroft says. “Because at the end of the day, they’re just people, going to work, ultimately. Most of the people who worked there are dead anyway. You know what I mean? “It’s like, The Rolling Stones don’t even have the balls to fucking have it. It takes me on my own to fucking do it,” he adds. “The Rolling Stones can’t even have fucking have ABKCO, that’s how fucking bizarre it’s got. You’ve got a super fucking big Mack truck, and they don’t even want to turn left and run over the bug. They don’t even want to go turn left, but I’m like, ‘Yeah, I’m happy now.’ I understood. “Basically, something happened a few weeks ago, and I’m like, ‘Okay, I get it. I understand what’s necessary now,’ I realized, I filtered it down what happened back in ’97, filtered it down to its raw essence — a gangster stole 50% of something that’s worth at least a hundred million dollars already. So, you know, I’m never going to forget that.” At the very least, he sounds optimistic. “This part of my life story is good,” he confesses, “because it’s part of this epic story, which started with The Staple Singers, which starts again with the story of music, and the story of the manipulation, and the kind of outright dilution of the spirit, the capturing of the spirit, the marketing of the spirit, the death of the spirit, the reawakening of the spirit — not only personally, but as a community. That we’re no longer going to be used as little pawns, some pathetic little political bullshit game. Because we hold the keys, something way more powerful, it’s just that, if you don’t realize you got the keys, then you don’t realize you got the keys, you know what I’m saying?” Stream the full episode below. Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS Source

Le Butcherettes are set to return with a new album in just a few months. Titled bi/MENTAL, it’s due out February 1st on their new label home, Rise Records. The 13-track collection follows the 2015 full-length, A Raw Youth, and their surprise struggle/STRUGGLE EP released this past April. Like that EP, the album features production assistance from iconic Talking Heads and Modern Lovers member Jerry Harrison. The garage punk outfit’s three previous LPs were all produced by Omar Rodríguez-López of At The Drive-In and The Mars Volta. According to a statement, bi/MENTAL tackles the subject of family as well as serves as an ode to mental health. “Essentially, this record was inspired by the death of a living mother but none of that matters anymore,” singer Teri Gender Bender explained. “A disconnection in itself is so ravage so confusing it leaves one feeling incomplete… is there hope? Is there light?” she added. “Maybe it all isn’t so black and white. in the end there is a Duality in All. Life is a cycle, the moon, the sun, the ocean waves transcending into sand. It will be okay.” Included on the new record is the title track off their struggle/STRUGGLE EP, in addition to early single “spider/WAVES” featuring the one and only Dead Kennedys frontman Jello Biafra. Punk rock singer Alice Bag guests on a song titled “Mother/Holds”. There’s also today’s offering, “father/ELOHIM”, a fun and driving rocker, featuring a live music video filmed at a recent concert in Los Angeles by director Gus Black (Gary Clark Jr., Deftones). Check it out below, followed by the album artwork and full tracklist. bi/MENTAL Artwork: bi/MENTAL Tracklist: 01. Spider/Waves (feat. Jello Biafra) 02. give/UP 03. Strong/Enough 04. Father/Elohim 05. Little/Mouse 06. in/THE END 07. Nothing/But Trouble 08. La/Sandia (feat. Mon Laferte) 09. Struggle/Struggle 10. Dressed/In a Matter of Speech 11. Mother/Holds (feat. Alice Bag) 12. sand/MAN 13. /Breath Beginning in February, Butcherettes will embark on a North American tour in support of bi/MENTAL. Le Butcherettes 2019 Tour Dates: 02/02 – Mexico City, MX @ Versalles 64 02/05 – Tustin, CA @ Marty’s on Newport 02/06 – Sacramento, CA @ Holy River 02/08 – Portland, OR @ Star Theatre 02/09 – Seattle, WA @ The Sunset 02/11 – San Francisco, CA @ Bottom of the Hill 02/12 – Los Angeles, CA @ Morrocan Lounge 02/14 – Las Vegas, NV @ The Bunkhouse Saloon 02/15 – Salt Lake City, UT @ Kilby Court Gallery 02/16 – Denver, CO @ Larimer Lounge 02/18 – Kansas City, MO @ Record Bar 02/19 – Minneapolis, MN @ Turf Club 02/20 – Chicago, IL @ Cobra Lounge 02/22 – Toronto, ON @ The Underground 02/23 – Detroit, MI @ El Club 02/24 – Pittsburgh, PA @ Rex Theatre 02/26 – Allston, MA @ Brighton Music Hall 02/27 – Brooklyn, NY @ Elsewhere 03/01 – Philadelphia, PA @ Milkboy 03/02 – Washington, DC @ DC9 03/04 – Atlanta, GA @ Masquerade 03/06 – Birmingham, AL @ Saturn 03/07 – New Orleans, LA @ Parish 03/08 – Houston, TX @ Warehouse Live Revisit Teri Gender Bender’s recent appearance on Sole I am a fagget: Source

Do you remember The Rugrats Movie? Do you remember its soundtrack? Did you remember that it features Elvis Costello, Blackstreet, and Busta Rhymes, not to mention Beck, Iggy Pop, and Patti Smith all on a single song? We sure didn’t, but a new, first-ever vinyl release of the soundtrack celebrating the film’s 20th anniversary is making sure we won’t forget. If you’re wondering how the scrappy Nickelodeon animated series got such an esteemed cadre of artists, look no further than its producer, Devo’s Mark Mothersbaugh. Mothersbaugh wrote the series’ opening theme, and has long been a consistent musical presence in children’s television and in the work of Wes Anderson. Here, he dug deep into his rolodex to bring together an impressive lineup of artists. The timing is fortuitous, as Viacom recently announced a Rugrats revival series, as well as a new film about Tommy Pickles and the gang. Urban Legends will release The Rugrats Movie: Music from the Motion Picture on vinyl on November 30th, and pre-orders are currently ongoing here. See a photo of the vinyl itself, as well as a tracklist, below. The Rugrats Movie: Music From The Motion Picture Tracklist: 01. Blackstreet and Mya – “Take Me There” (feat. Ma$e and Blinky Blink 02. No Doubt – “I Throw My Toys Around” (feat. Elvis Costello) 03. B Real, Beck, Cindy Wilson, Dawn Robinson, Fred Schneider, Gordon Gano, Iggy Pop, Jakob Dylan, Kate Pierson, Laurie Anderson, Lenny Kravitz, Lisa Loeb, Lou Rawls, Patti Smith, and Phife – “This World Is Something New To Me” 04. Lisa Loeb – “All Day” 05. E.G. Daily – “Dil-A-Bye” 06. Cheryl Chase and Cree Summer – “A Baby Is A Gift From A Bob” 07. Cheryl Chase – “One Way Or Another” (Blondie cover) 08. Kevl of 1000 Clowns – “Wild Ride” (feat. Lisa Stone) 09. Busta Rhymes – “On Your Marks, Get Set, Ready, Go!” 10. Devo – “Witch Doctor” 11. Rakim and Danny Saber – “Take The Train” 12. E.G. Daily, Christine Cavanaugh, and Kath Soucie – “Yo Ho Ho And A Bottle of Yum!” Source

While eyes are on Lights All Night for their full lineup announce last month, Your EDM has something we are all very excited about. Lights All Night is offering an exclusive travel package and meet and greet for one lucky fan, that will make their New Year’s Eve weekend unforgettable. One winner will receive two flights, two VIP tickets, a hotel room paid for, and a meet & greet with none other than Tiësto. While most show contests offer just tickets, this giveaway is open to anyone who is legally eligible to participate in the US and who can get the time off to travel to experience one of the best end of the year events around. Tiësto recently released his latest festival banger “Grapevine” – click to listen! Enter via the widget below or here for your chance to win or forever wonder “what if”! The full Lights All Night lineup is out now, in addition to the already stacked lineup of Tiësto, Diplo, Gucci Mane, Rezz, What So Not, Mr. Carmack, and more, they just added Kaskade, Excision, Sofi Tukker, and Jai Wolf. Photo via Rukes.com This article was first published on Your EDM. Source: Fly To Lights All Night For Free & Meet Tiësto For New Year’s Eve Source

Ministry mastermind Al Jourgensen recently turned 60 years old, but he wants nothing to do with the “old-folk coupons” he keeps getting in the mail. The industrial music pioneer is still going strong, currently in the midst of a fall tour with Ministry in support of the band’s most recent album, AmeriKKKant. We recently ran Part 1 of our interview with Jourgensen, where the influential rocker railed agains the Trump administration and Republican policies, while urging us to do our “own homework” when it comes to politics, and not listen to celebs like Kanye West or Taylor Swift or even Jourgensen himself, for that matter. In Part 2 of our interview, Jourgensen waxes philosophic about turning 60, looks back at Ministry’s The Land of Rape and Honey, and discusses his collaborations with Ian MacKaye and Jello Biafra. Additionally, it’s no secret that Ministry were a big influence on Nine Inch Nails, and Al talks about his relationship with fellow industrial hero Trent Reznor, while offering his thought’s on NIN’s music. And, with thrash metal having its Big 4 of Metallica, Slayer, Megadeth and Anthrax, we were curious to know which acts would make up Jourgensen’s Big 4 of industrial music. Jourgensen also gives us the scoop on Ministry’s next album, which the band will start working on right as the new year begins. Check out Part 2 of our interview with Al Jourgensen: On recently turning 60 years old Listen, man, I never thought I’d see where I’d see the day where I opened up my fucking mail and the only thing in the mail was AARP benefits for a senior’s discount for an early buffet at Golden Corral, OK? I couldn’t fuckin’ believe it. I remember when I turned 50, and I said, “Wow, that’s intense, you made it to 50, that’s half a century!” But I never used to get senior citizen mail at 50 or at 40. The is blowing my shit away. These fucking people are relentless. They will not stop sending me shit. Do you know that I get half off of any movie I wanna go see, just ‘cause I’m 60? I think that’s fucking depressing, man! I haven’t done it, yet. At least I should I wait until I’m 65 before taking advantage of these bad-ass deals they give old folks. I just feel like I’m shooting my wad too early if I start cashing in these coupons now. So, I’m gonna keep living like I’m under 60 until I’m about 65. Then I’ll start cashing in these old-folk coupons. On the 30th anniversary of Ministry’s The Land of Rape and Honey The impact is that it has withstood the test of time, which is surprising, because we didn’t know that at the time. Land of Rape and Honey was very special to me because it was the first album that I’d done where I wasn’t really seeking guidance or influence in my writing and production, from, say, other musicians, producers, or genres of music, for that matter. I was more fascinated with the cut-up literally style of people like William Burroughs and Brion Gysin, and how they would write a book, cut the book up into words, little pieces of words, throw it on the floor, tape it all back together, and then that’s how it read. And it still conveyed the message of what they originally wrote even though it was almost a fractal reassembling of it, where there’s no rhyme or reason. You literally are blindfolded, you pick up a piece of tape that you edited, throw on the floor, and you put it in on one of the songs, and it somehow works because the intent was there initially. At least that’s the kind of thought process that Burroughs and Gysin had on how this works. Your original thought process is there, and you can scramble it all you want, and it’s still gonna be there. So, I was fascinated with that, so in that sense, that record just felt like I was going into a new frontier, breaking down barriers, not doing the same things that everyone else has always had, and write formulaic riffs or rock, as you will. In that sense, I can see where the album has withstood the test of time. On the 30th anniversary of Pailhead’s Trait EP, Ministry’s collaboration with Ian MacKaye It’s really funny you mention that, because three of those songs on the Pailhead EP were also recorded at the same time as Rape and Honey. What we did for Rape and Honey is we just bulk-recorded a bunch of music with a bunch of different people that came in and out of the studio. So we just locked ourselves in a studio for a year, did a bunch of songs, and then I took it for three months, cut it up into bits, threw it on the floor, and put it back together. The songs that I didn’t cut up wound up as Pailhead or 1000 Homo DJs, Lard, and also Revolting Cocks. So, there were so many songs at that point in time that it was hard to keep track. Actually, I was in London recording Rape and Honey, the basic tracks, when Ian MacKaye walked through the door of the studio I was working at back in 1987, I think, maybe 1986. And we got along great. And then I had him come back to Chicago and sing on some of the songs that didn’t end up making it on the Rape and Honey record, so it’s interesting that you really latched onto that one, because it’s all from the same time period. If you get a chance, check out Lard music, too. Because I have a feeling that next year, me and Jello Biafra are gonna do a couple of Lard songs. As a matter of fact, it’s not a feeling. I know that as a fact. So, we’re gonna kind of resurrect that. I haven’t been in touch with Ian for a couple of years. He seems to be doing great. He’s happy. Of course, I would love to work with Ian. And of course, I would love to do a Pailhead song or two with him. It was a joy and an honor working with him. But I think for this upcoming year, I know we’re doing a new Ministry record, and also dabbling in some side Revolting Cocks and Lard songs that we have depending on people’s schedules. That’s pretty much the plan for next year. On the timeline for the next Ministry album This [fall] tour pretty much closes out our touring on AmeriKKKant, and then we immediately, as of the first of the year, go into starting to record the new Ministry record. I have a studio in my house that is currently under construction to make it ready for next year. So when I go back, we’ll go right into production on a new Ministry record and just record for like the next six months, very similar to what we did for Rape and Honey, and just record a bunch. If Jello wants to come down to L.A. and sing a couple of songs … That’s why I don’t know how long the Ministry album will take, because we might get sidetracked, we might do side projects with Revolting Cocks or Lard. My neighbor right down the street is Gary Numan, so we may hook up together on some stuff. We just talked about that the other day. That may happen, so who knows, it may take a full year, maybe two years before the Ministry record comes out, but we start recording January 1st. On his relationship with Trent Reznor Our relationship is great. I saw Trent when we opened for them at Riot Fest in Chicago. You can go online, you’ll see a bunch of pictures, me and Trent together. This is just last year. He remains busy. I remain busy. I would love to work with Trent on anything. I respect what he does. On Ministry’s influence on Nine Inch Nails Trent is a very talented artist and has impeccable taste in the people who he’s been influenced by. You could see a lot of David Bowie. And he toured with Bowie with Nine Inch Nails. You could see his influence from us, you could see his influence from a lot of different industrial bands, and that’s great, because what he does is that he takes things that he hears and he puts his own stamp on it, and makes it Nine Inch Nails and that’s basically the criterion for being a good artist. Art will eat itself, because there’s only so many places to go. I’ve credited my influence as William Burroughs, a writer, and Trent has so many influences, but at the end of the day, it sounds like Nine Inch Nails. It doesn’t sound like Ministry or Bowie. There’s some similarities but he puts his own imprint on it, and I think, good for him. He’s great. On who, in addition to Ministry and NIN, would make up the Big 4 of industrial music Well, you gotta throw Skinny Puppy in there. So that pretty much covers three out of the four [including Ministry and Nine Inch Nails]. After that it gets kind of dicey. Is Rammstein industrial? Because you’d have to put them in there. Laibach? Einstürzende Neubauten, of course, who were the pioneers. You’d have to consider KMFDM. There’s just so many bands that are really good that I’m not even sure there is a Big 4. I just think that it’s a genre of music that’s just been largely forgotten, but it’s funny, on this last record AmeriKKKant, I had some turntable work on the record, and one of the DJs was Arabian Prince from N.W.A. It was quite an honor to work with him, and he said, “No, no, no, sir, the honor is on me, because your early industrial stuff got a lot of the hip-hop scratchers to recreate noises that you were making on your records.” That was interesting to hear, right from the horse’s mouth. Like I said, we all just gotta work together, and just try to keep making music fresh, and more exciting, instead of formulaic. On the potential for an industrial festival featuring bands like Ministry, Nitzer Ebb, KMFDM, Front 242 and more You know what’s funny, I had actually meetings with a major promoter about that very thing. You know what they told me: “There’s no market for it. Nobody’d want to see that.” The entire budget for the festival would be $100,000. And that includes renting the space, the crews, the bands, everything. It may sound like a lot of money to you but trust me, in this day and age, $100,000 is about one-quarter of what Nine Inch Nails gets paid for one show on their own. So, they absolutely think there’s no market, and that people don’t like this music, and there’s no use for it. They want to promote rap and pop music, and that’s all there is to it. Don’t hold your breath. That’s what I’m saying. The corporate powers that be don’t think that’s a good idea, for whatever reason. But, just like they say write your congressman, write your promoter, and say, you know what, that’s bullshit, dude. There’s a lot of people who would love to see the exact concert that you just mentioned. Our thanks to Al Jourgensen for speaking with us. Pick up Ministry’s latest album, AmeriKKKant, via Nuclear Blast Records or iTunes, and see the band’s remaining 2018 tour dates below. Ministry Remaining 2018 Tour Dates: 11/27 – Minneapolis, MN @ Skyway Theatre 11/29 – Joliet, IL @ The Forge 11/30 – Cleveland, OH @ Agora Theatre 12/01 – Detroit, MI @ Majestic Theater 12/02 – Toronto, ON @ Rebel 12/04 – Rochester, NY @ Anthology 12/05 – Washington, DC @ Fillmore 12/06 – New York, NY @ Irving Plaza 12/07 – New York, NY @ Irving Plaza 12/08 – Philadelphia, PA @ Electric Factory 12/10 – Asheville, NC @ Orange Peel 12/11 – Memphis, TN @ New Daisy Theater 12/12 – Dallas, TX @ Gas Monkey 12/13 – Houston, TX @ House of Blues 12/14 – San Antonio, TX @ Aztec Theater 12/16 – Phoenix, AZ @ Marquee 12/18 – San Diego, CA @ House of Blues 12/20 – Los Angeles, CA @ The Fonda 12/21 – Los Angeles, CA @ The Fonda Source

EDC China took place over the weekend in Guangdong with a totally stacked lineup. What everyone is buzzing about, though, is a warning that organizers allegedly passed out in the green rooms. “BEWARE,” the notice reads. “No swearing or bad language on the microphone during your performance today, or you risk being detained by the local police. You have been warned!” If this is true, which it looks to be (see below), then artists including Zedd, Dimitri Vegas & Like Mike, Infected Mushroom, Joyryde, Kayzo, Lost Frequencies, 12th Planet, Kill the Noise, Tiësto, Steve Angello and more all ran the risk of being arrested. That is, if they used naughty language on the mic. Let’s be real — it’s not uncommon for an EDM track to drop an F-bomb, let alone a DJ taking to the mic to express their sheer excitement. If Alison Wonderland were on the lineup, for example, we all know she starts up almost every set with a welcoming, “What the fuck is up?!” It seems everyone was on their best behavior during EDC Guangdong, because we haven’t heard of any incidents to come of this. Do you think it’s OK for festivals to put the crack down on swearing? Read more on the discussion here via Reddit. BEWARE: No Swearing or Bad Language This article was first published on Your EDM. Source: EDC Guangdong Warns DJs: Do Not Swear On The Mic Source

It’s been a few years now since Cage the Elephant’s last studio LP, 2015’s rollicking Tell Me I’m Pretty. While the band released in 2017 a live album of stripped-down performances and have busted out a solid cover here and there, there’s been not so much as a teaser of new original music in the interval. But thankfully the wait is finally drawing to a close. The Kentucky alt-rockers posted on Twitter this morning that their upcoming fifth album is finished, mixed and mastered and presumably ready to go for whenever they deem fit. Record done. Mixed. Mastered. — Cage The Elephant (@CageTheElephant) November 26, 2018 We know little else about what the record will sound like or who else is involved, but you can expect something big as the band settle into their role as festival headliners for 2019. Revisit their breakthrough single from quainter times. Source

Hellyeah have confirmed they will release a new album in 2019. Late drummer Vinnie Paul reportedly recorded his drum parts for the album prior to his tragic death in June. The upcoming release will mark Hellyeah’s sixth studio album and follow-up to 2016’s Undeniable. In a statement on social media, Hellyeah said, “Happy Thanksgiving Hellions!! See you all next year and with a new record that is going to blow you away!!” Paul, who also co-founded legendary metal band Pantera, suffered from heart disease and died in his sleep at age 54. At the time, Hellyeah were already knee-deep in the writing and recording process for their new album with producer Kevin Churko. Following Paul’s death, bass player Kyle Sanders told SiriusXM’s Jose Mangin that the drummer had already recorded his parts. “We’re in the middle of huge things right now,” Sanders said. “This is the last thing you expect to hear. We’re in the studio right now. We’re doing a record. This is everything that Vinnie lives for. It’s devastating.” A public memorial service to pay tribute to Vinnie Paul took place in July. Paul was buried during a private service at the Moore Memorial Gardens cemetery in Arlington, Texas, next to his mother, Carolyn, and brother, fellow Pantera legend “Dimebag” Darrell Abbott. As of yet, Hellyeah have not named a permanent replacement for Vinnie Paul. Source

Young the Giant, a SoCal-based alternative rock band, is currently touring their newest album Mirror Master. Their closest show was on Sunday, November 11 at the Strand Theatre in Providence. As a fan since their 2011 self-titled album, I had to make the trek to Rhode Island for a show that was sure to be fantastic. Young the Giant, Mirror Master album cover. Courtesy of Young the Giant’s Instagram account.Preceding Young the Giant was Canadian singer/songwriter Lights. Lights entered the stage with loads of adrenaline and bright red hair. Her stage presence was excellent. She fulfilled her roll of getting the crowd hyped up before the main act. Many were unfamiliar with her music, myself included; however, that didn’t stop Lights from giving her all on stage. Songs like “Giants” and “Up We Go” proved to be crowd-pleasers. Everyone was jumping around and singing to songs they didn’t even know. Lights was a memorable opening act, but by the time she finished was on edge anticipating Young the Giant’s performance. Photo of Lights performing in Montreal. Courtesy of Lights’ Instagram account.After the opening act and what felt like hours of idle standing around waiting, darkness filled the room and the loud sounds of the synthesizer filled the theatre. One by one the band members took to the stage, with frontman Sameer Gadhia entering last. The band kicked off the show with their title track “Mirror Master” off of their newest album The show started off extremely upbeat, with everyone in the theatre dancing and singer to older favorites like “Apartment” and new hits like “Heat of the Summer.” Young the Giant then decided to slow down and make the show more intimate by stripping down two of their slower songs “Art Exhibit” and “Firefly.” While parts of the crowd were too chatty for my liking during these quiet songs, Sameer’s dreamy voice and the slow waving of iPhone flashlights overpowered them, making for a beautiful moment. The set ended with with an encore that consisted of four of their most rocking, fan favorite songs. At this point, the crowd was full of energy, making for a lively time. Everyone danced and sang along to each song, however, nothing compares to the atmosphere that filled the room when Young the Giant played “My Body.” There was not a single person who wasn’t dancing and screaming along to the lyrics. Everyone was overcome with pure joy as they closed the show to this fun hit. Young the Giant’s light show. Courtesy of Young the Giant’s Instagram account.The lights used during their performance was impressive in their own right. The bright colors coordinated to certain beat drops and patterns within the music, and illuminated the faces of each band member perfectly. Though the band has no choreography, their goofy dance motions balance each others well. They have a great dynamic with each other on stage. Sameer is especially fun to watch as he enthusiastically dances and bangs on the cowbell during various songs. Young the Giant overall put on a tremendous performance that left the crowd wanting more. Check out their newest album Mirror Master and make it to one of their shows, they won’t The post Young the Giant at The Strand Theatre, Rhode Island appeared first on Verge Campus. Source

Fame reacts differently to different people. Yet, one thing that is resolute is how the evolution of fame in one’s career drastically changes. At just 15 years old, Billie Eilish rose to fame with her hit song “Ocean Eyes” which provides a soothing and calm vibe in accordance with the slowed-down tempo. The song is simplistic in itself, but, her voice elevates it and rather shines a light to her talents. Far from a one hit wonder, Eilish has been collaborating with her brother, Finneas O’Connell, since 2016 to create beautiful songs with immense complexity. Courtesy of SniffersFrom “Bellyache” to her newest single, “when the party’s over”, Eilish continues to resist the normal constraints of pop and has instead created a new genre for herself: one that cannot be defined but rather highly valued for its uniqueness. Her range of creativity displays her willingness to constantly reinvent herself. Shy from conventionality, Eilish confidently reflects her inventiveness not just through her music, but also through her style. She adopts androcentric fashion and constantly reminds people how she is not afraid to be who she is or even who she wants to become. Courtesy of GrammyNow, at just 16, she has made a name for herself in the music industry. From her debut album, “dont smile at me”, released in 2017, to her most recent release, “when the party’s over,” Eilish continues to be a force to reckon with. Making a name for herself, she is breaking the barriers in her genre by simply not allowing for her to be conformed to a particular formula for making music. Courtesy of Jack McKainWith all of this success, it is understandable how the hustle and bustle can become grueling. Although it may seem that she is on top of the world, it is difficult to sift out her perspective. In her most recent interview with the acclaimed publication, Vanity Fair, one can see the brutal and life-changing effects of success introduced to a young woman early. Courtesy of BillboardIn the interview, Eilish is asked the same questions from her previous meeting with Vanity Fair a year ago. The publication successfully executes in keeping every aspect of the interview the same. To the format of the interview itself to the interviewee, everything is exact. The only change we see is Eilish’s growth in perspective and maturity as fame continues to capitalize on her life. 365 days, one trip around the sun, and a birthday can cause a lot of change. In this interview, the viewers and Eilish can clearly see how it has shaped her into the artist she is today. Whether good or bad, it is hard to define what this drastic uproot has become in her life. One thing that remains certain is her ability to remain sane and to try and still maintain some normality as a 16 year old. She reflects and ponders on her old responses and moralizes certain advice from her past self. She seems to regret nothing, but instead credits those around her (Eilish’s mom and brother) for remaining her rock during this chaotic time. Here is the video: At the ripe age of 16, Eilish has been able to monopolize on her success and surmount amazing feats with her voice. She has become a force to reckon with by reminding the public that she is limitless in her ability to be different. This video reflects this. The post Vanity Fair Sits Down With America’s Unconventional Pop Star: Billie Eilish appeared first on Verge Campus. Source

Not even one year since his debut 14-track album Presence, Petit Biscuit delivers a new EP, this time to reflect the balances of life. “Suffer | Safe” will evoke a sense of calmness that carves a fine line between those two emotions. Petit Biscuit Suffer | Safe The first track “Suffer” is ironically an upbeat track springing with poppy vocals, courtesy of Swedish singer-songwriter SKOTT. The delicate sirens and entrancing guitar riffs cohesively blend to release an unspoken tension. One of my initial recordings made it into the track, that siren sounding shout at the beginning. That’s in part why it’s called “Suffer”, composing it helped me get over some painful moments. –Petit Biscuit If you like Odesza, you will like this. Listen to Petit Biscuit’s EP- Suffer | Safe:  Petit Biscuit slows it down in his single “Safe” with breathy cries and echoic hums. He tosses between ambient and future bass styles, as he fades between drippy piano melodies and layered synths. After witnessing his sound at the Fonda in LA, you see his music relieves minds and warms hearts. Mehdi Benjelloun, better known as Petit Biscuit, is a French producer/composer that began creating melodic, ambient electro music and cutting new territory of electronic music at just fifteen years of age. Between countless singles, and sold out US & European tours Petit has accomplished a lot just four years later. His debut LP, Presence, consists of ever-building melodies and synthy, groove-oriented drops and have garnered him honorable recognition. As a result, the lead single “Sunset Lover” from Presence reached over 290 million Spotify plays. In support of his latest releases, Petit Biscuit continues his U.S tour this Fall. Catch this unbelievably talented act when he visits your city. Follow Petit Biscuit: Facebook | Twitter | Instagram | SoundCloud Follow SKOTT: Facebook | Twitter | Instagram | SoundCloud The post Melt in Petit Biscuit’s Latest Drippy, Melodic Masterpiece: Suffer | Safe appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Strawberry Fields just threw itself a large 10th birthday party, and needless to say, it was a commercial success. I first attended Strawberry Fields Festival in 2013 when I was the ripe old age of 19. I went back to The Wildlands in 2014, 2015 and 2016 – I say this because I want to speak on good authority and explain what’s changed at Strawberry. I first heard about the festival from a good friend of mine in 2012. Psy-trance was the main focus then, and techno was starting to make its way into the Australian public’s eye. I declined the invitation as the festival seemed too daunting for me, but was lured into the 2013 edition when I saw that KiNK was playing. The festival blew my mind and opened my eyes and ears to a new way of listening to and experiencing music. I had never heard music on speakers that tingled every section of my body in such a way. The other important thing that I took away from the festival was the vibe that crowds brought in; an important point which I’ll come back to later. The crowd was a loving bunch, a crowd who would say hi and give you a high-five and a hug as you walk past. You genuinely felt the loving presence of the audience. They brought an energy to every set that the DJ’s and performers worked with. Not only that, but the crowd was varied. The psy-trance community were the majority group, followed by a range of people who engaged with the underground house and techno scene. People were there for the music and to dance their brains out. Your man on the ground. Day 1 – Hydration is the name of this game. Credit: DunographicAll in all, 2013 was a brilliant festival. From there, 2014 was a major step up, at a point where the festival’s musical focus was shifting towards house and techno, and shifting away from psy-trance. 2015 was a very large step beyond the scope of 2013, and I think this was because of the hype surrounding the previous years, as well as how they marketed the festival. 2016 brought a very noticeable difference in crowd demographics and music taste. Psy-trance was elusive and not once played on the main stage. I had my inkling that the festival was turning into something else in 2015, but 2016 confirmed that. I had a lot of fun at all festivals from 2013 through to 2016. An overseas trip meant that 2017 was off the books for me, but I thought I’d come back to The Wildlands after reading about the stellar lineup that was provided for the 2018 edition. My small crew and I set out and made the journey to Tocumwal once again. The sights on the drive north were all too familiar, with each passing landmark making you all the more excited. Upon arrival at The Wildlands, we bunked ourselves into the main camping field and erected our home for the weekend. The camping has changed at Strawberry over the years. The 2013 and 2014 campsites were more or less a free-for-all amongst the gum trees and bushes. Understandably with a bigger crowd, you need to implement some camping logistics. 2018, whether because of our arrival time or because of the festival’s schematics, had us camp in extremely dusty open fields. Despite the best efforts of water trucks, the dust was often overwhelming. This isn’t a jab at the festival, and no one can control the widespread effects of a country in drought, but I do miss camping among the trees that made the Wildlands so iconic. In any regard, it was a nice point of difference. DustyFriday night was what I was looking forward to the most. Sasha, Peter Van Hoesen, and DJ Nobu were to provide the sonic output. I pondered over whether or not the crowd were going to be able to palette the forthcoming music. As soon as Sasha took control of the decks, after a strange half-an-hour delay (turns out his team were running a bit late), he had the crowd moving. Needless to say, Sasha played the sunset time slot to perfection. As soon as the sun had vanished and the sky glowed, he increased the pressure on the crowd. An hour and a half isn’t long enough for Sasha to play; I feel like he required at least three to four hours to really build something special. After a pit stop to camp, our crew came back for Peter Van Hoesen. I hope the crowd’s collective mind was thoroughly blown because he put on a techno masterclass. He has a special place in my heart because of his 2015 Strawberry set, which myself and everyone in attendance will remember as an absolute masterclass. The man just knows how to DJ and work a crowd. I knew what Peter was capable of, and he certainly didn’t disappoint. By this stage I didn’t care what the crowd was thinking, we all just grooved together. DJ Nobu increased the sonic pressure on the crowd, and gave a lesson in techno soundscapes. The music cut out halfway through the Japanese DJ’s due to generator issues, much to the surprise of both DJ Nobu and the audience. Once things were back in order, Nobu continued to rock out on the decks. I love the way he moves with the music. He’s so physically involved in the mixing process. I had a hollow feeling when the music stopped because for me personally, I knew there was nothing that could top what we had just seen. Strawberry Fields since 2016 has taken on a strange format, where the music decreases in intensity until the closing set of the festival, and I hoped that Friday wouldn’t be the start of this downward slide. DJ Nobu increasing the pressure. Credit: Dunographic By far and away, Strawberry Fields has the best location of all the large Australian Festivals for one simple reason. The mighty Murray River. There couldn’t be a better way to throw off the hangover from the previous night than swimming in a perfectly tempered freshwater river, and paddling in the current. Having a stage placed directly on the river only heightens the experience. Needless to say, the beach stage was a crowd favourite for a day-boogie. The highlight of Saturday night for me was the Deep Jungle stage. The stage itself was by far the most striking and thoughtfully designed of them all. Its surface and design reflected the patterns of the giant gum trees that surrounded the stage. It sounded good too. Very good. Some standouts from the stage were Pearson Sound and DJ Seinfeld, but HAAi was best on ground for me. Her set sound stood out amongst DJs like the stage itself stood out amongst the design of the others. Her energy behind the decks complimented her set, as her energetic and rhythmic movement reflected a certain level of enthusiasm to the audience. Upon cruising over to main stage to see Heidi, we noticed that DJ Seinfeld and HAAi had control of the decks. The reason remains unknown to me still, but the two did a good job to cover the set. Although the energy of the music wasn’t quite the same as they played on Deep Jungle, the crowd were still into it. My friends and I really explored the tree-covered gully close to the river on Saturday night. We saw live bands, dance routines and enjoyed a lovely moonlit beer sat next to the Murray River. Sounds all so romantic no? Most people were at the stages, so you could really just relax and enjoy the company of your mates with nice music. River Scenes. Credit: Dunographic Come Sunday, the dip in the Murray was essential. Days of dust and dancing were starting to take a toll. The main stage held host to all the most important of songs, singing happy birthday to the festival, however, there was one more crucial act to see: Carl Craig. Carl played back in 2013, which was my first encounter with the Detroit lord. Having seen him again at Let Them Eat Cake, I was rather keen to see him a third time. What happened just before Carl’s set confirmed the suspicion that I held toward the crowd. Allow me to explain. Honey Dijon, who, it has to be said played a classy set, was speaking to the crowd after her set, hyping up the impending Carl Craig. The crowd was just not responding to it. The last thing she said was “y’all ain’t shit”. To a certain extent, I agree with what she said. The crowd didn’t know who Carl Craig was, the legacy that he carried behind him or his skill. Carl took back the mic, awkward laughed it off, and began his lovely closing set. It started with some soulful disco classics, almost as if educating the crowd as to the roots of dance music. Half-an-hour in and he finally let loose the power of the subwoofers placed at his feet. He had entranced the crowd and had us all dancing to our heart’s content for the remainder of the afternoon. What happened with Honey Dijon’s little quip highlighted to me just what type of crowd came to the festival this year. Another train of thought would be that the microphone shouldn’t have been there in the first place, and the music should have just been the focus. This is all very subjective, and I agree to certain extents with both of them, but it was nonetheless an odd moment. So, the big question is what’s changed about Strawberry Fields? Simple answer: plenty. Strawberry started life as an out-and-out “doof”. It’s turned into a commercial festival in the bush, and is by no means a “doof” anymore. How did this happen? The festival slowly took aim at a different crowd through promoting an overall different style of music. 2013 saw the blending of the doofers with the underground techno and house community. 2015 saw the doofers all but vanish from the scene and bring in a younger crowd of people who’s taste was far more slanted towards house and disco. 2018 brought a crowd that just wasn’t there for the music. You could easily tell by the way they danced and their reaction when acts finished sets. This is again by no means a complaint, simply an observation. The only complaint I carried out with me is that the stage orientation was wrong. Main stages had two other stages either side of it, yet they all faced the same direction. This meant that you could hear sounds from other stages interfering with the music coming from main. I’m not sure if there was a reason why it had to be this way, but it affected the experience. Honey Dijon ladies and gentleman. Credit: Dunographic To sum the weekend up, I actually had a great deal of fun. This was because I had great company, as well as a serving of quality music and a beautiful natural setting. The festival has just changed a lot, and depending on which side of the fence you sit on, this could either be a good or bad thing. I for one don’t think it appeals to me the way it used to, but that’s okay because my taste in music and crowd has developed a lot since I was 19. I think that for some of the crowd who hadn’t experienced music in that kind of setting, or who hadn’t been to a bush festival before, would have had a good introductory lesson to quality music, and the type of atmosphere that the Australian bush festival is celebrated for. Thanks to Strawberry Fields for having me along and to Full Throttle entertainment for providing the oomph. Your humble reviewer.Source

Ricky Jay, veteran magician and actor, passed away of natural causes on Saturday in Los Angeles. He was 72. “He was one of a kind,” his manager Winston Simone told Variety. “We will never see the likes of him again.” Born Richard Jay Potash to a middle-class Jewish family in Brooklyn, Jay began his career as a magician, whose rare skills in the field eventually brought him to Hollywood, where he served as a consultant and attracted an extraordinary following. One of his biggest fans was legendary playwright and filmmaker David Mamet, who not only cast Jay in several of his movies, including The Spanish Prisoner and State and Main, but also directed three of Jay’s one-man shows. Other performances included notable roles in Boogie Nights, Magnolia, Deadwood, Tomorrow Never Dies, and, naturally, both magician movies — The Illusionist and The Prestige — from the mid-aughts. In addition to performing, Jay co-founded Deceptive Practices in the early ’90s, which provided “Arcane Knowledge on a Need-to-Know Basis” to film, television, and stage productions. For instance, they designed the wheelchair that hid Gary Sinise’s legs in Forrest Gump and created a self-drinking glass for the talking gorilla in Congo. In 2012, his life was the subject of the documentary, Deceptive Practice: The Mysteries and Mentors of Ricky Jay. Source

Tekashi 6ix9ine is currently sitting behind bars awaiting trial on multiple federal counts, including racketeering, conspiracy to commit murder, and drug distribution. If found guilty, he faces a minimum of 32 years and a maximum of life in prison. 6ix9ine’s legal drama forced the postponement of his major label debut, Dummy Boy, which was originally supposed to come out November 23rd. Now, though, the album has reportedly leaked onto the internet, according to HotNewHipHop. Though the origins of the album’s leak are unclear, one of the album’s producers insinuated he would be taking such an action earlier in the week. Murda Beatz, who helmed the track “FEFE”, uploaded a picture of the album’s cover art to Instagram with the caption, “I HAVE THE ALBUM SHOULD I…..” Murda Bearz has since deleted the Instagram posting. It was previously revealed that Dummy Boy would span 13 tracks and feature contributions from Kanye West, Nicki Minaj, Gunna, Lil Baby, and Bobby Shmurda, who himself is also sitting behind bars at the moment. Source

Dive deep into the sonic madness that is Space Laces, as the masterful producer delivers on an enthralling, all-original mix showcasing his work spanning the past eight years of his career. Short but deadly, this brand new mini-mix runs just 14 minutes and powers through 17 tracks from Space Laces. With this he introduces an entirely new mix series concept which has been years in the making. In his own words, Space Laces describes Vaultage: an audio/visual mix series & collection of unreleased original works spanning 2010 to present. this is a more unfiltered side of my music and a personal project of mine in the works for awhile. hope you enjoy. Oh, we enjoy it — we enjoy it thoroughly. Vaultage 001 is out now via Never Say Die Records. Listen here and show Space Laces some love for sharing this side of his artistry. SPACE LACES – Vaultage 001 This article was first published on Your EDM. Source: Space Laces Unleashes New Mini Mix Full Of Unreleased Original Work [MUST LISTEN] Source

The Chainsmokers have been touring relentlessly in 2018. After crushing their Ultra Music Festival performance in March, they took the show on the road with drummer Matt McGuire and have hit pretty much every territory on Earth. As such, if you’ve seen them more than once this year, you’ve likely been witness to the same set – not that exciting the third or fourth time. That’s why we’re extra excited to learn that The Chainsmokers dropped an exclusive Thanksgiving mix for Annie Mac on BBC Radio 1 with a completely new setlist. The new mix features a much wider variety of music, hitting hip hop heavy and veering into pop and dubstep throughout. The mix can be listened to here – also listen to their still-evolving Sick Boy album below, featuring the new songs “This Feeling” with Kelsea Ballerini and “Beach House.”  This article was first published on Your EDM. Source: The Chainsmokers Drop Fresh Thanksgiving Mix Exclusively For BBC Radio 1 Source

He’s blowing our MINDS. We love a multifaceted, multidimensional artist here at Verge Campus, and Taska Black is definitely it. Following the release of his newest EP Minds the 22 year-old Antwerp based artist is finishing out the last few weeks of album1 North American tour with San Holo. Despite all the craziness and preparation for his House of Blues show tonight, Taska took a moment to sit down with me to talk Minds, life as a musician, and more. The minute we sat down in The Verb Hotel lobby, Taska seemed at ease and his humility shone through. He introduced ‘Taska Black’ as just a “22-year-old dude” who lives in Belgium and makes music. Besides working with like Lowly Palace, Monstercat, and (primarily) bitbird, Black’s latest achievement is his newest release, Minds. When asked about the reception of his EP over the course of the last week, Black had nothing but positive things to say. “It’s been great. I mean this EP, for me, is something different than what people were used to for me. So I’m really glad; like the response from the fans has all been great. Everyone’s very supportive of this new direction I’m going to, so it’s been great to see that the fans are very supportive.” Just by listening to his music, you can tell this “new direction” not only applies to Taska Black, but to the EDM genre as a whole. Black’s sound is anything but typical. “My parents dropped me at a private violin school when I was four years old, and that’s when everything started, I guess.” He bounced from violin to piano to guitar and drums until he was about 12 years old when he “got into dance music. I started listening to deadmau5 and whatnot, I started getting into house music, and I started producing when I was 12 years old. It didn’t sound very good, but that was the beginning of everything.” A few years later, around 18 years old, Taska Black was born. Since then, he’s been using his love of house and classical background to create beautiful, purposeful music. Despite the EDM foundation in his music, Black clearly pulls from a variety of moods and genres throughout his creative process- a process which he describes as a-typical to the standard EDM producer. View this post on Instagram Hope y’all had a great thanksgiving. Playing House of Blues Boston tonight hope to see you there xxx A post shared by Taska Black (@taskablack) on Nov 23, 2018 at 11:31am PST “Through the years, I’ve been influenced by a lot of sounds…to set myself apart from the traditional EDM producers, I focus more on songwriting, writing with vocalists and getting into the studio. I’m focusing more on that than the production side. I try to both combine the things that people are used to from me (like the majestic and anthemic side of my production) with songwriting.” This dynamic combination sets Taska Black apart. Not only is the process itself is unique, but it also facilitates the communication of authentic and poignant messages in his music. Similar to the raw soulfulness of his January 2018 single “Sandpaper”, Minds carries a weight almost everyone can relate to. “A lot has happened this year for me,” Taska said when asked about the heavier themes in the EP, “It’s only been just over a year since I dropped out of college to do music full time. So this year has been a big change in my life; a lot of pressure, a lot of deadlines, started touring internationally this year, so at the beginning of this year I had…some form of anxiety. That’s when I took a small break from music and after awhile I realized, ‘That should be the theme of my EP.’ Basically the EP is a way for me to express everything and to write about what I’ve been going through this year.” After receiving such positive feedback from fans, Black realized his music reflects more than his own experience. “There’s a lot of people that hit me up [who were] struggling with similar issues and said that the music really helped them go through it. That’s really nice to hear because I never expected my music to be able to do that for other people.” As for the struggles he refers to in Minds, Black constantly works to balance his love for music with the stress it can create. “The thing that I keep in my head all the time is you have to do what makes you happy,” he says, which is definitely advise we can all follow. Check Taska Black out online at: SoundCloud | Facebook | Twitter | Instagram The post [Exclusive Interview] Taska Black Talks New EP ‘Minds’, U.S. Tour, and More appeared first on Verge Campus. Source

Next month on December 28th & 29th, Philadelphia will see the inaugural run of HiJinx Music Festival at the Pennsylvania Convention Center. The first edition of what is projected to be the Northeast’s largest indoor music festival will host an experience of its own. We will see sets from electronic music titans, immersive sound, top notch lighting and video, art installations, flow art performances, a craft & food bazaar and more! Photo Credit – HiJinx Music Festival As you read on, listen to our HiJinx playlist, featuring songs from every artist on the lineup. Anticipated to be “The Spot to Be” this holiday weekend, the one-of-a-kind festival will present performances from Bassnectar, Big Gigantic, RL Grime, Ganja White Knight, Denzel Curry, Whipped Cream, and Dorfex Bos on Friday, December 28th; and Odesza, Griz, Illenium, Flatbush Zombies, Vanic, Xie, and Kaivon on Saturday December 28th. Photo Credit – HiJinx Music Festival The beauty of featuring an open GA floor plan is that it will create a atmosphere that sets the perfect tone to connect with each other, as well as the music, and create new friends. And well, what better time for that than the holiday season!? Rumor has it, we will see some pretty lit after parties as well! Photo Credit – Pennsylvania Convention Center Tickets for HiJinx are on sale now; Tier 1 has sold out, Tier 2 is still available at $189 + fees while they last, and Tier 3 will raise to $229 + fees. VIP Tier 1 is still available at $319 + fees while they last, Tier 2 will raise to $349 + fees. Photo Credit – HiJinx Music Festival The festival is offering travel packages to those interested; while their packages at the Hilton Garden Inn are sold out, packages at Home2 Suites are still available. For a 2 night stay for 2 people the price rings in at $859 ($429.50 per person), or 4 people for $1299 ($324.75 per person). Packages include 2 or 4 tickets to the festival, exclusive gifts, and an on-site event host, along with your stay. Photo Credit – HiJinx Music Festival Don’t sleep on getting your TICKETS and TRAVEL PACKAGES! We’re less than 40 days away! Follow HiJinx Music Festival: Facebook | Instagram | Twitter | Official Site The post Northeast’s Most Anticipated Holiday Weekend Festival appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

With Swedish House Mafia (almost) in full effect, we’ve been curious to find out where Steve Angello, Axwell, and Sebastian Ingrosso want to take their solo careers, at least for the time being. Axwell Λ Ingrosso previously stated they plan on putting their duo on the shelf, but each respective artist will continue with their solo projects. There are not two dots and one extra, there are three dots. This seems to be the case, as Axwell unleashes a brand new, exciting track of his own. In regards to this record, Axwell says it simply felt like the right time to release “Nobody Else.” The producer says this one reminds him of his older records, like “I Found You,” but presented in a fresh way. As for Swedish House Mafia, Axwell says it’s also the right time for the reunion of the iconic EDM supergroup. He confirms, “of course” there is new music is on the way from the trio. This is the “Hottest Record in the World!” Listen to the song and the interview with Annie Mac below. Axwell – Nobody Else | BBC Radio 1 ‘Hottest Record’ Photo via Rukes.com This article was first published on Your EDM. Source: Axwell Drops New Record & Confirms New Swedish House Mafia Music Source

In 2008—before the Kardashians, before the Twitter tirades, before the #MAGA bullshit—there was Kanye West, producer extraordinaire, brash Chicagoan, Back to the Future superfan. With his first three albums, Kanye rose to the top of the world, flaunting his fame with a critical eye over bouncy soul samples and synth-heavy arena rock. Between each bar, he quietly teased an inner vulnerability that was rare among his peers, meditating on his faith, his family, and his racial consciousness. When his mother Donda died in 2007, everything changed. However, all of that loneliness and guilt, further amplified by West’s separation from his fiancee Alexis Phifer, manifested into 808s and Heartbreak, which debuted 10 years ago today. Gone was the bombast of 2007’s Graduation, the majesty of 2005’s Late Registration, and the jaunt of his 2004 debut College Dropout. Instead, we pushed back a half-open door to a multi-milllion-dollar Chicago high rise apartment, only to find an Auto-tuned Yeezy, singing glum poetry over minimalist beats as a neon light flickered aimlessly in the corner. It was weird, it was cold, and it was incredibly divisive. Both critics and fans were mixed on the new Kanye, but they were especially critical of his rough vocal delivery.Yet those Auto-tuned vocals are what’s fueled 808s’ enduring relevance over the past decade. By funneling his angst through the computer, Kanye ironically made himself sound even more human, going from a god on the mic to a mortal in the machine. Whether it’s the arching melancholia of “Street Lights” or the pained wails of “Coldest Winter”, Kanye’s robotic detachment mirrors one’s futility in holding back raw emotion. This seemingly uncanny valley of humanity created a formula that has since opened the door for hordes of introspective young rappers. One particular name is Drake, who’s gone on to perfect the blend through dozens of chart-topping singles that have more or less turned the “808s sound” into the epicenter of the pop music zeitgeist: catchy melodies; crisp, methodical production; and lyrics that either bleed sadness from an open wound or extol the hedonistic pursuits that cover up said bruises. It all goes back to Kanye’s torn-up love letters. “Heartless,” in particular, exemplifies the way that 808s and its progeny can simultaneously inhabit the realms of club bangers and lonely bedroom anthems. The lyrics are a bit on-the-nose, even measured against Kanye’s usual blunt style, but this icy, whirlwind anti-tribute to Phifer laid the groundwork for rap’s emotional opening. Look no further than hits like Lil Uzi Vert’s “XO TOUR Llife”, XXXTentacion’s “Sad!”, or Drake’s “In My Feelings”, which spent a whopping 10 weeks atop the Billboard charts earlier this year. In short, we’re still living in West-world. But that world is also exhausted. Today, even Kanye’s most staunch defenders can’t deny that his support for President Donald Trump was, at best, shamefully ignorant and selfish. Adding to that frustration is his running list of associations with objectively terrible people, the likes of which includes and is absolutely not limited to Bill Cosby, Louis CK, 6ix9ine, XXXTentacion, and Chris Brown. Strangely enough, these polarizing misgivings were teased by the pain and alienation embedded within 808s. Take the brooding “Amazing”, for example, whose second verse encapsulates the past decade of Kanye: I’m a monster, I’m a killer, I know I’m wrong I’m a problem that’ll never ever be solved And no matter what, you’ll never take that from me My reign is as far as your eyes can see When Yeezy wrote these words, antiheroes were ascendant in pop culture, from the “Difficult Men” of Mad Men, The Sopranos, and Breaking Bad to the award-winning villains in Christopher Nolan’s gritty reimagining of Batman. Ten years later, we have enough hindsight, particularly in the age of Trump, to now hold these antiheroes accountable for their flaws. So, to the extent that 808s is Kanye’s original mea culpa, a recognition of his inner emptiness and the consequences of his arrogance, we now have to wonder to what end. Does the album lose its sincerity if West has simply been recycling the same old excuses for his bad behavior over the past decade? Perhaps that would be the case if 808s were merely Kanye’s personal manifesto, but as with any album that touches upon the universal, 808s remains just as relevant and just as poignant, if only because these songs and feelings and moods aren’t bound to any particular context. They’re raw and broad enough to be affecting to everyone, even those who’ve been following all along on Twitter. Whether he can ever do that again is far more debatable. Essential Tracks: “Heartless”, “Amazing”, “Street Lights”, “Coldest Winter” Source

Terry Rossio is best known as the writer behind screenplays for popular films such as Shrek, Disney’s 1992 Aladdin, and multiple Pirates of the Caribbean installments. However, his recent behavior on the Internet threatens to overshadow the reputation he’s built for his creative work. Late on Thanksgiving evening, Rossio engaged in a Twitter debate about parents who do not vaccinate their children with The CW’s The 100 writer Julie Benson. Beyond his questionable stance, Rossio ignited controversy for the comparison he used to illustrate his point. Describing the struggle “parents of vaccine damaged children” endure, he went on to suggest that the label “Anti-Vax” is equivalent to referring to someone by the N-word. His tweet using the full N-word is still up, as you can read for yourself below. https://twitter.com/TerryRossio/status/1065870632221462529?ref_src=twsrc%5Etfw After Benson responded in turn by expressing that Rossio “please never come on my feed with the n word again,” the writer doubled down on his claims as the conversation got increasingly heated. https://twitter.com/TerryRossio/status/1065876812562018304?ref_src=twsrc%5Etfw Rossio refused to settle despite being heavily ratio’ed on multiple tweets, with the argument only coming to a close after Benson tapped out in order to enjoy once more her Thanksgiving. Rossio has not offered any further context or clarification for his remarks at this time. He’s slated to serve as screenwriter for the upcoming Godzilla vs. Kong, as well as the long-awaited Jonny Quest film helmed by Chris McKay. Source