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It seems every time we hear a new track from Grandtheft he takes on new form. This time around he lays down a chilling trap beat with an assist from Cadence Weapon, out now via Deadbeats. “Jackson Pollock” rocks heavy bass, deep, menacing vocals and an overall, trapped out atmosphere. Less is more with this savage beat, as Grandtheft allows Cadence Weapon’s commentary to power the track forward. These guys take a confident approach with their collab and sell it with conviction. Jackson Pollock, an artist known for his own style, gained massive attention for his unique style of dripping paintwork and overall expressionism. Similarly, these musicians paint a picture through sound — and this work of art is sure to turn heads. This the real thing. This is not a copy. This the ace of spades. This no gin and tonic. Listen here. Grandtheft – “Jackson Pollock” featuring Cadence Weapon Get it: https://deadbeats.lnk.to/JacksonPollock This article was first published on Your EDM. Source: Grandtheft Delivers Trapped Out Work Of Art with “Jackson Pollock” ft. Cadence Weapon Source

VINAI have formulated a response after coming under fire for using some insensitive and arguably racist language while touring in Shanghai and Taipei. The original videos shown here, which were uploaded to the guys’ Instagram story, come across as disingenuous and even mockatory. Now, they have issued an apology: Hey guys …we are sorry we made a huge mistake and offend some of our fans which was NEVER our intention. Every friend of ours knows how much we love china and our fans. We sincerely apologize if we didn’t come across that way…people said that we are racist but we are not, we are against this…we are all the same It sounds like this is a really bad joke gone terribly wrong. At least the guys of VINAI are taking full responsibility for their actions, apologizing to those they may have offended, and moving forward. Let’s just hope the Asian EDM community is receptive to their message. See below. VINAI Issue Statement This article was first published on Your EDM. Source: VINAI Apologize Following Use Of Insensitive Language In Asia Source

The Martin Garrix Show never skips a beat. The latest episode features Martin Garrix at Amsterdam Dance Event 2018, which proved to be a massive success for the superstar DJ/producer yet again this year. Being named the #1 DJ in the world is only just scratching the surface on his amazing week had at ADE. So much so, that his very own series has dedicated multiple episodes to the preparation and the festivities that followed. See the episode This particular episode, “The Start of ADE 2018,” shows exactly what happened during this year’s kickoff. Amsterdam Dance Event week marked the release of Martin Garrix’s own book, Life = Crazy. Plus, he hosted a label party with STMPD RCRDS. Again, this is only the beginning of Martin’s unique ADE 2018 experience! Enjoy! The Martin Garrix Show – The Start of ADE 2018 This article was first published on Your EDM. Source: The Martin Garrix Show Documents Amsterdam Dance Event 2018 [NEW EPISODE] Source

Nicolas Roeg, the idiosyncratic filmmaker behind iconic cult pictures such as 1970’s Performance and 1976’s The Man Who Fell to Earth, passed away on Friday night. He was 90. “He was a genuine dad,” his son Nicolas Roeg Jr. tells the BBC. “He just had his 90th birthday in August.” Born in North London on August 15, 1928, entered the film industry around 1947 after completing National Service. He began his career making tea and operating the clapper board at Marylebone Studios, eventually going on to work as a camera operator on a range of films, including 1959’s Tarzan’s Greatest Adventure and 1960’s The Trials of Oscar Wilde. Prior to directing, Roeg cut his teeth as a cinematographer, building a resume by adding his keen eye to a number of major productions: 1962’s Lawrence of Arabia, 1964’s The Masque of the Red Death, 1966’s Fahrenheit 451, 1967’s Far from the Madding Crowd, and 1968’s Petulia. In 1970, Roeg made his directorial debut with Performance, sharing a co-director credit with Donald Cammell. Starring Mick Jagger and James Fox, the gangster picture was actually completed in 1968, but was held back for two years over its violent content, the likes of which earned the film an X rating when it was finally released. It didn’t take long for him to followup Performance, and by 1971, he had already released Walkabout. The survival film set in the Australian Outback featured his own son Luc in a pivotal role and won critics over despite bombing at the box office. Roeg’s controversial filmmaking style persisted in 1973 with the now-iconic horror film, Don’t Look Now, which starred Julie Christie and Donald Sutherland as a married couple coping with the death of their daughter. The graphic sexual content was falsely rumored to be real, earning the film another X rating in the UK. It’s now considered one of the most terrifying entries of the genre. Following this, Roeg would go on to work with musicians again, similar to Performance, specifically on 1976’s David Bowie sci-fi stunner The Man Who Fell to Earth and 1980’s Art Garfunkel psychological thriller Bad Timing. The former has since been considered a masterpiece for the genre, while the former prompted distributor Rank Organisation to remove its logo from the production altogether. Bad Timing would wind up being a fitting name, at least for its distributors, as it marked the beginning of a three-film partnership between Roeg and British producer Jeremy Thomas. Things improved considerably with the following two pictures: 1983’s Eureka starring Gene Hackman and 1985’s Insignificance which would nab Roeg a Palme d’Or nomination at Cannes. Following his work on 1986’s Castaway and 1988’s Track 29, Roeg would go on to adapt Roald Dahl’s darkly comical children’s fantasy book The Witches in 1990, collaborating with The Jim Henson Company. It would mark his final major studio picture with only three pictures following in its wake: 1992’s Cold Heaven, 1995’s Two Deaths, and 2007’s Puffball. “I don’t look back on any film I’ve done with fondness or pride,” Roeg told The Telegraph in 2013. “I look back on my films, and on the past generally … I can only use the phrase, ‘Well, I’m damned.’” Roeg is survived by his six children Waldo, Nico, Sholto, Luc, Max, and Statten. Source

Sick and tired of the same old bass music? Psyntimental has a newly released treat just for you with their Computer Based Science EP, which dares to be different. Psyntimental is best absorbed with an open mind, so move forward if you have that intact. Their vast and unapologetically raw soundscape covers a lot of ground, as each of their nine tracks offers up a journey of its own. One of the EP’s true gems, “!ll Sh!t” with Fendz finds an untamed blend of in-your-face trap and bass. “Tripping Over the Ocean” takes a more melodic approach, presenting a digital anthem to take note of. “Mental Rezistance” with Rezistor creates yet another unique space, approachable on its surface and gnarly to its core. That’s just scratching the surface. This Michigan-based duo has been making waves in the underground bass music scene for a while now. However, it cannot be guaranteed that they’ll stay underground for long. Just this year, Psyntimental were dubbed the Untz Challenge IX winners by fan vote. The contest brought their musical vision to Electric Forest, Summer Camp, Imagine Festival, Camp Bisco and beyond. Their brand new Computer Based Science EP marks the dawn of a new era for Psyntimental, as they begin to infiltrate the bass music scene on their own terms. There’s no doubt, we’ll look back on this release years from now and hear the early makings of an act about to blossom into something much bigger than is able to be currently imagined. Psyntimental – Computer Based Science Follow Psyntimental SoundCloud | Spotify | Facebook | Instagram This article was first published on Your EDM. Source: Psyntimental Take Unorthodox Approach To Bass Music With New EP [LISTEN] Source

Funk is Alive with Yakul Combining genres such as neo-soul, pop, experimental electronica, hip-hop, funk, and R&B with deep grooves, Yakul’s “Bad Karma” is a bright composition teeming with live instrumentation and alluring vocals bound to leave the listener in a state of sonorous bliss. Featuring frequent Tom Misch collaborator Rob Araujo over a jazzy drums-and keys structure paired with passionate lyrics, the result is palatable and timeless. Over 300,000 Spotify plays, the band’s artistry will only continue to flourish. Yakul’s affinity for formulating skillful and harmonious sonic architecture has undoubtedly laid the foundation for their own promising future. Brief history on Yakul, a Brighton based 4-piece making forward-thinking neo-soul. Influenced by the likes of J-Dilla, D’Angelo and the Soulquarians, they put a unique spin on the music they’ve grown up with. Marrying together thoughtful, soulful lyrics with deep grooves and jazz-infused progressions, Yakul seamlessly blends genres to create something fresh and original. Stream “Bad Karma” above, courtesy of Soundcloud. The post THERE’S NO “BAD KARMA” WITH YAKUL’S LATEST SOUL-FUNK : LISTEN appeared first on Verge Campus. Source

Following his Debut, North Carolina’s Own is Ready for the Takeover In 2018, new North Carolina recording artist Wondr made a big introduction with his debut single, “White Aston”. As his debut continues to ascend over 500k, the 24-year-old act is giving fans more new music with follow-up effort, titled, “All For You”. On “All For You”, Wondr praises his love interest with promises of glitz and glamour as the rising star sets out to become a mega-star. Mid-tempo, smooth vibe, and catchy hook, Wondr delivers a passionate series of lyrics that comes in perfect time for that upcoming Valentine’s Day season. A real charmer, Wondr will definitely have ladies screaming for more once they hit the play. A great way to close out the year. Deciding to pursue music in High School, Wondr honed his skills inside the New York City Underground Hip-Hop scene. Wondr has accumulate an impressive 1.5 million streams on Spotify with great songs like his previous release, “Mood”. Recently relocating to Los Angeles to discover a new sound, Wondr is currently in the studio, preparing a huge 2019 release. Enjoy, “All For You”? Follow Wondr daily for up-to-the-minute info on upcoming new music via Instagram. The post Premiere: WONDR Has Something For “All For You” : Listen appeared first on Verge Campus. Source

It’s been three years since Madeon released his debut album Adventure and one of the greatest songs of that year, “Imperium.” Next to “Home,” it remains my favorite song on the album, and one of our favorite producers of 2018 has just taken it to the next level. Blanke is climbing the ranks quickly in the bass realm in 2018, and this evil edit is sure to help speed things along. “Imperium” was never really a hard song to remix, with its addictive synth lines and electro stylings, but Blanke clearly outdid himself with this one. The flip is darker and more electro-focused than we would have anticipated from blanke, but of course, we’re not complaining. Check out the flip below and grab the free download if you dig it. Photo via Rukes.com This article was first published on Your EDM. Source: Blanke Just Dropped An Absolutely Ferocious Flip Of Madeon’s “Imperium” Source

Diplo is looking fab on the cover of King Kong Garçon‘s very first issue. While the front spread is sure to turn heads with his half-drag look, it is what he says inside that also has our attention. The superstar DJ/producer, Major Lazer member, and 1/3 of the sensational new act LSD gets real about being a topping the charts and where music is at right now. This is a guy who has been around the block so to speak in the industry, so we’re all ears with what he has to say. On the current state of music… “The audience doesn’t digest albums in the old ways… to top that, a lot of the producers are also artists and traveling all over the world anyway. It’s not like we all live in Hollywood like it used to be… but I also see in LA that everyone seems to write the same song.” Before he topped the charts… “Everything from the first half of my career wasn’t really noticed because we were just making a new path. But in the inner circles, I know that [Usher’s] ‘Climax’ inspired a lot of creators and producers, and that was equally as important as it being a chart success.” And on his massive collabs with Sia, Dua Lipa, and more… “I think being friends makes songwriting stronger. It’s a bit easier to agree on making the right decisions to make the best song. You can be honest.” To read the full issue, order yours on KingKongMagazine.com. Here we go. My first print cover story — and what a cover it is. Daddy @diplo does the damn thing in drag for KING KONG GARÇON. Available to pre-order now. Out on November 19. Overwhelmed and grateful, to say the least. pic.twitter.com/dY8PpGGhc7 — Bradley Stern (@MuuMuse) November 1, 2018 Source: Just Jared | Photo via Jas Davis This article was first published on Your EDM. Source: Diplo Gets Done Up In Drag & Talks Music For King Kong Mag Source

EDC Mexico has quickly become the biggest EDC event outside of EDC Vegas (sorry, EDC Orlando). Next year marks EDC Mexico’s sixth year, and Insomniac has booked quite a huge lineup to celebrate. First, the big news: Skrillex makes his long anticipated EDC return. The beloved artist hasn’t played a solo EDC set since EDC Brasil in 2015. And while Jack Ü played EDC Mexico in 2015, there’s just something special about a solo Skrillex set. Fans are already speculating if he’ll also play EDC Vegas, but baby steps, eh? The lineup is packed for a two-day event. Big artists include REZZ, Kaskade, DJ Snake, Excision, RL Grime, Alison Wonderland and San Holo. Some artists are a welcome surprise: Polo & Pan, Rebolledo and Pachanga Boys (which features Rebolledo as a member). Insomniac Records even appears on the lineup, so we think EDC Mexico will have a specially curated stage. EDC Mexico hits the Autódromo Hermanos Rodríguez on February 23-24. Check out the full 2019 lineup below: Cover Photo: Jake West for Insomniac Events This article was first published on Your EDM. Source: Skrillex, Kaskade, REZZ and More Headline EDC Mexico 2019 Lineup Source

Two months ago, in an interview with The Daily Star, Alesso appeared to confirm that Rihanna was working on a dance album with many top producers such as Calvin Harris, David Guetta, Martin Garrix, and Diplo. He was quoted as saying, “I’ve heard she wants to take over the dance music charts, we have some mutual friends, so we’ll see what happens with that. She has the voice that fits on any record, she makes every record sound great. Whether dance, house, ballad, Rihanna can do it all. It will be great.” Now, in a new interview with iHeartRadio, Alesso is walking it back a bit. Speaking of female vocalists, a while back you said something about potentially working with Rihanna on her new album and how she wanted to make something that was very dance-centric. Well, it was all a mistake talking about Rihanna because people like to rephrase what I said. To clarify, no I never confirmed her [album], but rumors are rumors. I feel it’s best I just leave no comments around it and no I can’t confirm anything. I learned my lesson not to speak about the big artists. It’s hard to believe what Alesso says one way or another at this point. He may just be covering his behind, or The Daily Star might really have misquoted him, though we’re leaning toward the former. A tweet from Diplo following the Daily Star interview supports that assumption, at the very least. the first rule of fight club is you do not talk about fight club https://t.co/S5kubaGC0N — Diplo (@diplo) September 28, 2018 Regardless, Alesso says he has plenty of his own music ready to drop in 2019, and at least one more before the end of the year. Listen to his last single “Remedy” below. This article was first published on Your EDM. Source: Alesso Clarifies Previous Rumors About Working With Rihanna Source

Steve Aoki and BTS shook the world with their new collaboration “Waste It On Me,” and the track’s music video may just shake the world even more. The video dropped Monday, and it features an all Asian-American cast. The “Waste It On Me” video is a who’s who of Asian American celebrities. Aoki appears prominently, but the video follows Hollywood film and TV star Ken Jeong on a quest to woo model Devon Aoki, Steve Aoki’s half-sister. Other cameos come from actors and actresses such as Ross Butler, Jamie Chung, Leonardo Nam, Vincent Rodriguez III and Jimmy O. Yang. YouTube personality Tiffany Ma even makes an appearance. The BTS members are noticeably absent, but the star-studded cast makes up for it. Watch the “Waste It On Me” video below: Cover Photo: Rukes This article was first published on Your EDM. Source: The New Steve Aoki and BTS Music Video Features an All Asian-American Cast Source

NGHTMRE and ASAP Ferg have cooked up some heat in the studio and a music video to go with it. Now, it’s just a waiting game until they unleash the collaboration they’re calling “Nightmare On Ferg St.” The new song is sure to combine the best of both worlds and, from the looks of it, this collab is going to be quite epic. In the photo below, both artists are pictured atop a graffiti-ed vehicle on the outskirts of a city. Although we have no idea what “Nightmare On Ferg St.” might sound like, the imagery is quite menacing. “Made some magic with @asapferg yesterday,” NGHTMRE recently shared on social media. Ferg echoed and elaborated on that notion, “Just wrapped up our video for ‘nightmare on Ferg st’ song and visual coming soon!!!” All signs point to a sure trap hit. NGHTMRE x ASAP Ferg Photo via Rukes.com This article was first published on Your EDM. Source: NGHTMRE & ASAP Ferg Tease New Collab “Nightmare On Ferg St.” Source

Earlier this fall, Behemoth frontman Nergal told us that “ten seconds of the new Behemoth album would probably kill 100 emo kids.” And while it could be debated whether Fall Out Boy are an emo band, they certainly have been associated with the scene. That all said, Fall Out Boy drummer Andy Hurley is a big-time metalhead, and he had the chance to jam with a makeup-less Behemoth on their song “Ora Pro Nobis Lucifer” during the meet-and-greet soundcheck of the Polish extreme metal band’s show in Portland, Oregon, on Wednesday night (November 21st). The moment was captured on Nergal’s Instagram account, with the frontman writing, “Have u heard about @falloutboy ?! Andy has joined us during meet and greet soundcheck and jammed ORA PRO NOBIS with us!! Nailed it BIG FUCKIN’ TIME!” Behemoth’s North American fall tour wraps up tomorrow night in Los Angeles. See our video interview with Nergal below: Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS This Friday on Kyle Meredith With…, Kyle offers up a special trio of interviews with legends Todd Rundgren, Uriah Heep, and The Guess Who. Rundgren discusses his forthcoming memoir, The Individualist, his recent collaborations with The Lemon Twigs, and the two anniversaries surrounding 1968’s Nazz and 1978’s The Hermit of Mink Hollow. Uriah Heep’s Mick Box chats about the group’s 25th album, Living the Dream, how they’re always finding their classic sound, writing topical songs, and plans for their upcoming 50th anniversary. And last, The Guess Who’s Garry Peterson and Rudy Sarzo weigh in on the band’s new album, The Future Is What It Used To Be, writing songs about America, and an interesting coincidence that put their current singer in a seat on a plane next to a former singer. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Todd Rundgren: Uriah Heep: The Guess Who: Source

Since dropping his masterful CARE FOR ME LP back in April, Saba has teamed for a handful of one-off collaborations. Last week he released the shuddering IDK-collab “Beautiful Smile”, and the week before we unveiled “Stay Right Here”, a soulfully mellow meditation with Xavier Omär and Mick Jenkins. His latest track sees him reuniting with his whole crew, however, as he’s joined the Pivot Gang on a new banger called “Blood”. Produced by daedaePIVOT and SqueakPIVOT, “Blood” features nearly all of the the Pivot Gang, a group of independent rappers and producers out of Chicago’s west side. “Blood” rides for three action-packed minutes on thrumming low-end and choppy percussion. “This Pivot shit realer than blood/ I’m sending the temperature up/ Said 15 minutes of fame/ I spent 14 at the bank,” Saba spits for the hook, before Joseph Chiliams, MFnMelo, and Frsh Waters all trade confident, compelling verses. The tracks comes ahead of the second annual John Walt Day, which takes place tomorrow night at Chicago’s Concord Music Hall. The evening is in support of the John Walt Foundation, a non-profit aimed at empowering the youth in arts, named after Saba’s cousin and fellow Pivot Gang member, whose recent passing hung over the reflective, morose tone of CARE FOR ME. Listen to “Blood” below, and get tickets to John Walt Day. Source

Bauhaus have released The Bela Session, a remaster of group’s earliest studio sessions from 1979. The collection marks the first time “Bela Lugosi’s Dead”, which helped to canonize the goth rock genre, is available on streaming services, as well as the first time it’s been available on vinyl in over 30 years. Take a listen below via Apple Music or Spotify. The EP also includes four other tracks, three of which have never before been previously released in any format. The remaster was helmed by Mandy Parnell (Björk, Brian Eno), who worked from the original analogue tape at Black Saloon Studio. The Bela Session arrives as part of a whole suite of celebrations for Bauhaus’ 40th anniversary. The band is currently on the road playing their debut album In The Flat Field in its entirety, and their whole catalogue is in the midst of being reissued by Beggars Arkive on colored vinyl. The Bela Session Artwork: The Bela Session Tracklist: 01. Bela Lugosi’s Dead 02. Some Faces * 03. Bite My Hip * 04. Harry 05. Boys (Original) * * = Previously unreleased Source

Anything goes at a rock show. Well, almost anything… One couple decided it would be a good idea to have sex at a Machine Head show on Wednesday night, which took place at the House of Blues in San Diego. They didn’t choose to “do it” in a bathroom stall or up in the balcony — they chose to get it on in the front row. “San Diego! HOLY… FREAKIN… SH*T!!!??” the band took to their social media after the show. “When a guy and gal get ejected for having sex during ‘Davidian’ (in the front row no less!?) you know it’s gonna [be] complete insanity! *no joke!*… WOW, what a welcome back you gave us, we are blown away! Epic circle pits, the jumping was crazy, boobies, sing-a-longs, crowd-surfing-mania, couples having sex!!?” They continued, “San Diego, after an 11 year break from each other, you are officially ‘un-fired!’ Hands down the best show we have EVER played in your amazing city, and one of the wildest and rowdiest of the entire tour! Thank you all so much for an UNFORGETTABLE night of raging!!” As for the couple, they were thrown out of the show. Not sure if they finished. San Diego! HOLY… FREAKIN… SH*T!!!?? When a guy and gal get ejected for having sex during "Davidian" (in the front row no less!?) you know it's gonna complete insanity! *no joke!*… WOW, what a welcome back you gave us, we are blown away! Thank you San Diego!! pic.twitter.com/gDBqLWs2wM — Machine Head (@MfnH) November 22, 2018 pic.twitter.com/Ms19NtQMNC — Matt Ewins (@matt_ewins) November 23, 2018 Source: Consequence of Sound | Photo via aLIVE Coverage for Life Is Beautiful This article was first published on Your EDM. Source: REPORT: This Show Was So Turnt A Couple Got Thrown Out For Having Front Row Sex Source

They used to call him Baba Yaga, but now they’re going to call him Figura Deystviya. John Wick star Keanu Reeves has a voice role in the upcoming Toy Story 4, according to series co-star Tim Allen. Allen, who has long voiced Buzz Lightyear, revealed the casting news during an appearance on The Tonight Show Starring Jimmy Fallon. While he didn’t reveal exactly who Reeves would be playing, he did hint that it would be “a great part.” He continued, “Actually, a little inside story [about Reeves]: Even he said — gentle, wonderful guy that he is — ‘This sounds too much like Buzz Lightyear.’ And his character does have an edge to that. And the guy said, ‘So we calmed him down a little bit.’ They reminded me his toy is only that big.” The actor gestured that Reeves’ toy is a small one, and with the intense description you might expect him to be joining the ranks of the Green Army Men. Keep in mind, though, that a toy company trend over the last few years has been to produce highly-articulate 4-inch action figures (as opposed to the standard 6-inch). Whatever Reeves’ CGI plaything ends up being, it will be the first time he’s voiced a major studio animated project. Other new cast members bringing their talent to the fourth Toy Story film include Tony Hale as Forky, Jordan Peele as Bunny, Keegan-Michael Key as Ducky, and Patricia Arquette in an unidentified role. The toy chest gets reopened on June 21st, 2019. Watch Allen’s Tonight Show appearance, in which he also reveals the far darker original opening to The Santa Clause, below. Here’s the latest teaser for Toy Story 4, which gives us a first look at Ducky and Bunny: Source

After six years of radio silence, Mike Skinner revived his grime project The Streets in December 2017 with a pair of songs, “Burn Bridges” and “Sometimes I Hate My Friends More Than My Enemies”. The UK rapper has shared more material since then, and it’s all served to hype up an even bigger upcoming release: The Streets’ first album since 2011’s Computers and Blues. Speaking to Q Magazine earlier this month, Skinner noted that he plans to drop a larger music project in 2019, which he’ll support with a series of festival performances and a film. A press release today appears to confirm most of these plans, as it tells fans to “expect news of this [film] and a new album to come soon.” To tide fans over, Skinner has shared a new single titled, “Call Me in the Morning”. It’s a thumping and skittish number featuring guest contributions from Chip and Grim Sickers. “Call Me In The Morning” finds “3 artists from 3 generations giving 32 bars in their own unique form,” Grim described in a statement. Check it out below via its corresponding music video, directed by Skinner himself and starring all three artists. “Call Me in the Morning” Artwork: Skinner is scheduled to embark on a lengthy UK tour beginning mid-January. You can get tickets here. The Streets 2019 Tour Dates: 01/17 – Birmingham, UK @ O2 Academy 01/18 – Birmingham, UK @ O2 Academy 01/19 – Birmingham, UK @ O2 Academy 01/21 – Glasgow, UK @ O2 Academy 01/22 – Leeds, UK @ O2 Academy 01/24 – Manchester, UK @ O2 Apollo 01/25 – Manchester, UK @ O2 Apollo 01/26 – Manchester, UK @ O2 Apollo 01/28 – Newcastle, UK @ O2 Academy 01/29 – Sheffield, UK @ O2 Academy 01/31 – Bournemouth, UK @ O2 Academy 02/02 – London, UK @ Academy Brixton 02/03 – London, UK @ Academy Brixton 02/05 – London, UK @ Academy Brixton 02/06 – London, UK @ Academy Brixton 02/07 – London, UK @ Academy Brixton Source

Download | Listen and subscribe via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS The Lowdown: The 1975 are a band for our times. After the overstuffed sprawl of 2016’s I Like It When You Sleep, For You Are So Beautiful yet So Unaware of It, a record that in spurts revealed Matt Healy’s immense talent as a songwriter, A Brief Inquiry into Online Relationships makes good on the band’s promise. The first of two planned records in a six-month period, the album is a chaotic, scattered document of modern society that manages tremendous insight into a life lived online that sidesteps condescension or generalization. With ambition being an understatement, the band combines melodramatic power ballads, glitchy Auto-Tune, jazz crooners, and stadium-sized Britpop in a way that feels like a pointed response to the algorithmic flattening of modern pop. With a willingness to fail, and they occasionally do so throughout, the 1975 approach moments of profundity that are rare for a rock band in 2018. The Good: For all the uncertainty that pervades this album, the band have never sounded as accomplished in their approach, capturing the inherent chaos of our times with a deft hand. Whether it’s the frenzied stream-of-consciousness of “I Love America and America Loves Me”, which sounds like 22, A Million combined with trap beats, or the heartbreaking acoustic guitar on ballad “Be My Mistake”, where Healy chronicles infidelity and isolation, the band’s willingness to go all-in on whatever style they try works wonders. Songs like “Surrounded by Heads and Bodies” and “How to Draw/Petrichor” are loose compositions that play with structure in ways more inventive than the ambient interludes on their last album. On top of that, Healy’s writing has never been sharper, between the self-deprecating “Give Yourself a Try”, which encourages genuine improvement while acknowledging mistakes, and the swooning romanticism of “It’s Not Living (If It’s Not with You)”, a tragic love song about the lure of addiction that references Healy’s struggles with heroin without glorifying it or sounding like a PSA. Then there’s the two peaks of “Love It If We Made It” and “I Always Wanna Die (Sometimes)”, two career highs that reveal The 1975’s true potential. The former shouldn’t work, a 2018 update of “We Didn’t Start the Fire”, where Healy shouts out a frantic list of topical signifiers through a bullhorn, a juxtaposition of horrendous tragedies like the drowning of Syrian refugees with direct quotes of President Trump, mimicking the constant wave of a social media news feed where terrors sit side by side with the mundane in a clinical detachment. Healy doesn’t provide the solution to the constant struggles of our times but offers a resilient glimpse of hope. On the latter, the album’s closer, they reach Oasis-level heights on a go-for-broke anthem about suicidal thoughts that’s revealing, tragic, and optimistic all at once. The Bad: What makes the album’s missteps so interesting is the band’s willingness to push boldly into new directions rather than rewriting their previous hits or sticking to a formula. “The Man Who Married a Robot” is a 2018 rework of Radiohead’s “Fitter Happier” right down to having the Siri-app read aloud the lyrics. The song tells the story of a man who spends his entire life online and occasionally finds something touching to say about modern loneliness but can’t escape its dorm-room poster faux-deep template. Another big swing is “Mine”, a tender jazz ballad about a fear of commitment that veers a little too closely to Michael Bublé and is upstaged by the rousing Michael Bolton-inspired ballad “I Couldn’t Be More in Love” that directly follows it. Apart from “Inside Your Mind”, where Healy retreads the familiar trope of fantasies of violence, his grand gestures make the album’s issues at least compelling. The Verdict: A Brief Inquiry into Online Relationships stretches the definition of what a rock album can be in 2018. Through empathy and a willingness to engage, Healy, a self-described “millennial who baby boomers like,” writes songs for a largely misunderstood generation without playing into the trap of lambasting an entire group of people. That their failures are so interesting attests to their ability to push forward, and though the album isn’t perfect, its best songs measure up against nearly everything else released this year, full of insightful messages that go deeper than Instagram captions. The 1975 don’t presume to have all the answers, but their sincerity and vulnerability make for a tremendous record that speaks to the state we live in. It’s their best work yet. Essential Tracks: “Love It If We Made It”, “It’s Not Living (If It’s Not with You)”, and “I Always Wanna Die (Sometimes)” Source

Tiësto‘s mega-collab with Dzeko, Post Malone, and Preme just hit a huge milestone. “Jackie Chan” has officially gone platinum — which means it has been purchased or streamed equivalent of 1 million times over. Previously, Tiësto achieved platinum success with his singles “Red Lights” and “Feel It in My Bones” featuring Tegan & Sara. Then came “Jackie Chan,” which made waves early this year and is still making its mark. The commercial success of the hit single doesn’t only boast huge sales, but Spotify records, Billboard charts, and beyond. The worldwide DJ/producer kept it simple with an upload on social media, “Jackie Chan is now @RIAA Certified PLATINUM in the US! Thank you.” What more is there to say?! Tiësto has still got it! This is arguably his biggest track of all time. “Jackie Chan” Goes Platinum Jackie Chan is now @RIAA Certified PLATINUM in the US! Thank you pic.twitter.com/K1oX4NqRSr — Tiësto (@tiesto) November 15, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Tiësto’s Hit Collab “Jackie Chan” with Post Malone Goes Platinum Source

The Pitch: Hirokazu Kore-eda has established himself as one of Japan’s pre-eminent chroniclers of family and the knotty, intricate ways in which we define it. Shoplifters, this year’s Palme D’Or winner at the Cannes Film Festival, continues the conversations he started with films like Nobody Knows and Like Father, Like Son, telling a patient, often oblique story of what binds people together. Kore-eda takes his time outlining the dynamics of Shoplifters‘ core characters, allowing viewers to rely on their own expectations of what constitutes a traditional family. We open with middle-aged Osamu (Lily Franky) and pre-teen Shota (Jyo Kairi) performing an elaborate shoplifting con in a local grocery store. They steal essentials — food, toiletries, etc. — but pay for a bundle of croquettes on the way home. There’s a warmth there, a sense of tradition and scrappiness that, when coupled with the small, cluttered home in which they sleep, allows one to grasp their plight and sympathize with Osamu’s desire to spend what little money he has on treats. On their way home, they stumble upon a small, wounded girl, Yuri (Miyu Sasaki), who they take in for the evening. There Yuri meets the rest of the family, which includes a woman, Nobuyo (Sakura Ando), who appears to be Osamu’s wife, and her sister Aki (Mayu Matsuoka). Love ≠ Loyalty: These aren’t thieves with a heart of gold, however; we soon learn that Osamu and Nobuyo are padding their pockets with the pension of Hatsue (Kirin Kiki), the eldest member of their clan. We also catch glimpses of a dark history, with small details calling into question just how all of these people know each other. “You don’t grow up to care about others,” Nobuyo cryptically notes, alluding to the emotional drain of a painful upbringing. And it’s true: Self-preservation looms over every touching moment of connection, as does the sense that love is a luxury when you’ve spent your entire life struggling. By viewing his characters through this lens, Kore-eda manages to paint an aching portrait of how love and loyalty are not mutually exclusive. Simultaneously, he ponders the potency of bloodlines, depicting how chosen families are often healthier than biological ones. “Maybe it’s stronger when you choose them yourself,” Nobuyo ponders at one point. But as with biological families, chosen clans are prone to different expectations, and Kore-eda deepens his narrative by showing the ways in which his characters desire opposing things from each other, whether it be devotion or an acknowledged title. Too Much Of a Good Thing?: It’s moving stuff, even if Kore-eda threatens to dilute his themes by overindulging in them. Shoplifters overstays its welcome somewhat as the third act rolls on, with an epilogue that seems to exist only to absolve characters that don’t quite deserve it. The empathy is admirable, but one wishes for a touch more restraint, especially in the wake of such an emotionally devastating climax. But to do so would perhaps resonate as cruel in a movie that takes great pains to continually illustrate joy in the face of poverty. Kore-eda manages to turn the family’s boxy, claustrophobic living quarters into a refuge, and the film’s buoyant soundtrack exudes more whimsy than woe. Scene Stealers: Franky and Ando craft beautiful, conflicted characters out of Osamu and Nobuyo. Both are willing to indulge the pair’s unsavory qualities, but they’re even more willing to give them the benefit of the doubt, to admit that a feeling can be both real and hollow. Love is not an absolute. Neither is selfishness. And as their relationship comes into focus, every action, smile, and fight takes on more dimension and weight. They are neither heroes nor villains; they are gorgeously, heartbreakingly, terrifyingly real. The Verdict: The real villain here is poverty, a cancer that infects whatever purity there is to be found in Shoplifters. Osamu, Nobuyo, and Aki all work, but Kore-eda takes pains to dig into the systemic machinations that screw over the injured and pit workers against each other. Aki, meanwhile, resorts to dressing up as a schoolgirl at a peep show, where she masturbates for faceless men behind screens. Years of making more with less has impacted each of these characters, souring their innate goodness without entirely killing it. By demonstrating that, Shoplifters emerges as an oddly hopeful film, a story that reminds you that even the most wounded, selfish people can show you how to love. Where’s It Playing?: Shoplifters is now playing in New York and Los Angeles, and will expand into limited cities in the coming weeks. Trailer: Source

With his rhythmic vocal chops and romantic builds, Super Duper is establishing a name for himself in the melodic electronic scene. If you’re an avid listener of Jai Wolf, Big Wild or Odesza, then Super Duper is right in your neighborhood of music. Drawing inspiration from hip-hop, 80’s, and 90’s music, Super Duper generates a new wave of future bass. His latest EP, appropriately titled: VHS embraces these eras of music and cohesively bridges these styles together. The five-song collection is an instrumental piece produced without lyrics. VHS says so much without saying anything at all. Super Duper carries an emotional touch within these songs that will evoke feelings of warmth, love, lost, and hope. Already he’s released numerous singles, two EP’s, and just wrapped a tour with French prodigy Petit Biscuit. We’re very excited to see what’s next for Super Duper. photo credit Super Duper Listen to Super Duper’s recent stirring single, “Vessels to You” as you enjoy our exclusive interview after his show in Los Angeles at the Fonda. Welcome to Los Angeles! I know you’re visiting from Nashville, are you originally from there? I’m from Tennessee, originally east Tennessee. I’ve been in Nashville for about 6 years, so I claim it as home. It’s a good place to have a chill normal life. Still has a music hub. Country will always be king there, but I am from a small little group of people wanting to do anything but country. You know pop/electronic music in Nashville. And it is starting to happen, needs to grow a little bit more. But, it’s kind of nice to be a big fish in a small pond. Yes, definitely. I was just going to mention the genres in Nashville seem to be predominately rock/country. So do you have any electronic venues or spots that you like to go to in Nashville? There used to be a few electronic venues that closed sadly. So now, the venues are kind of generic, they’re going to host anything and everything. Which is kind of good, so the bigger rooms that are mostly reserved for rock or country are now going to do edm shows and pop shows. It is kind of a nice mixed bag wherever you go. Do you have any specific places in mind? Probably my favorite venue in Nashville is The High Watt. It’s a small room but it’s nice because it’s intimate, and you feel like it is packed out. Also love Exit/In; it’s kind of like a classic venue. Tons of comedians have gone through there. There’s also all these bands’ names on the wall. So it has a lot of history to it. OK, lets talk about your music! How did you get involved with producing music? Who or what inspired you to create a futuristic/melodic style? I didn’t start off in music producing. I started writing music for commercials, and did that for about 7 years. I was working out of a music house in New York and just cranking out tracks like every single day. I loved it, and it really taught me a lot about audio production. But I wanted a creative outlet that was specific to me and what I was into; not just something the client wants. So I started the Super Duper thing. At first I didn’t take it very seriously; it was just beats essentially. But then I discovered the Soundcloud world and fell in love with that. I saw so many people taking their instrumental music seriously, and it really inspired me. I think a specific turning point was when I heard the TNGHT EP with Lunice and Hudson Mohawke. Heard that, and was like “wow this is so compelling, I love this.” I also grew up playing in bands with some more indie-rock kind of lanes. I’ve always been a fan of M83, AIR, and Sigur Rós. So I thought it’d be really cool to take TNGHT, like have really awesome beats, drums and combine it with something more emotional. I tried to find my own lane with that weird blend. Really cool. Do you play any instruments? I can play piano, but I would never be like ‘I am a keys guy.’ But I can write really well. So I would say the computer is my instrument. I know that is kind of cliche, but that is the truth. You know, I can play keys, I can play guitar just enough. So are you making melodies from the keys or the guitar, or what is your creative process like? What programs do you use? I use Logic to write, but my creative process changes. For the most part, I am sitting down trying to find a sound that inspires me and then I go from there. So usually I am going through vocals samples, then I find a synth, and then I’m like “okay that’s where this should go next.” I just need a starting point, then I react and write around that. Got it! So after releasing numerous singles, and VHS being your second EP; how would you describe this record? What type of feelings do you want listeners to take away from it? For the VHS EP I wanted people to feel nostalgic. I feel like that term is thrown around a lot but I wanted it to be specific to me. So I love 80’s music but I also really love 90’s music. So if I could kind of push the needle forward a little bit and bring that music into it, that felt really fresh and inspiring. I really wanted features on the songs. I wanted to get some vocalists but it just never worked. So now it feels more like a cohesive package with all these songs together. It’s more mellow, there’s not big drops that are going to work in a club setting. It’s more like headphone music, but for me that is what I resonate with. That’s what I listen to on a daily basis. So it was kind of a project for me, I guess? But I’m glad it is resonating with someone. Yes, definitely it resonates with me and the rest of your fans. I know there aren’t any vocals but the music already makes you feel something automatically. Sometimes you don’t need lyrics. So we just got to see you perform live. Is there anything you’d like to share to your fans, that haven’t seen you live, about your performances? Thank you, I appreciate that. If you haven’t seen me live, I guess I would describe it like this: I do a little bit on stage as far as musicianship. I try to have a drummer with me, so if you’re looking for ‘hey you better impress me’, then watch the drummer. But if you’re there to have a good time, then watch me dance around and get into it. I can’t actually help it; playing on a huge system, it is hard to restrain myself. Haha. I try to play a few synth leads, and trigger some vocal samples that mix in and out of songs to have it sound more like a DJ set. But I’m playing all originals. So, I’m trying to make it my own unique thing. That’s cool. I could already feel the energy from you. It was very receptive back and forth between you and the crowd. So going off that, how did you get to be apart of Petit Biscuit’s tour? Honestly, I think it’s just mutual fans of each other’s music. You know he’s all the way over in France but that is the amazing part about Soundcloud. You connect with people you never even met before but Soundcloud kind of brought everyone together in this community of electronic music. So yea, he was a big fan of one of my songs, it was time to tour, and it worked out. That’s awesome. Are there any artists right now that you would like to potentially collaborate with? Yes this guy, he goes by Jim-E Stack. Really, really cool. Again I hear some 80’s/90’s influenced in his music. He has a track with Charlie XCX, but for some reason not a ton of people have heard of him yet. He is still under the radar. But he is amazing. And then I always would love to work with Sasha Sloan, she’s amazing. Her melodies, her top lines are incredible. Yea those two people would be my top choice, for sure. Cool, well I hope we get to see something like that, later down the line. And finally the last question is how did you come up with the name Super Duper? Yes, so in college. I was in a small college town: Murfreesboro, Tennessee. I wanted to throw a party for Halloween, but didn’t want a bunch of folk singer-songwriters. I love singer-songwriters, but it’s not really a party vibe. So I knew a rapper, my roommate was a drummer, and I made beats. So I was like guys lets come up with a hip-hop group. Just for fun for the party, just to make sure everybody has a good time. So we put it together in a week. We wrote 5 songs, rehearsed them in a week. Then I was making a flyer and was like “oh yea, we don’t have a name, Super Duper, cool lets go.” So we did it, and it was a ton of fun. Afterwards, I was like guys we should totally do it. We should make this a real thing, but no one was into it. So after that I was like ‘alright,’ then I kind of revitalized it a few years later. It’s just me, kind of the same approach. I always wanted to take M83, hip-hop beats, and combine them. And so that’s what I did. But yea, it is kind of a goofy name. Either you hate it, or you love it. I kind of like being in that polarizing place instead of just like forgettable. So for now it works. photo credit Super Duper It was a pleasure meeting with Super Duper and getting a chance to get inside the mind and heart of a true talent. Show him some love by following him on social media handles linked before. Follow Super Duper: Facebook | Twitter | Instagram | Soundcloud | Spotify Collaborative Editorial With Miggs Rosales and Frankie Spinosi. The post Speaker Side Chat with Nashville’s New Wave Producer, Super Duper appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Just four days ago, Tisoki dropped a new track called “Push It.” Now, he’s out again with another called “All Like That,” both on Never Say Die. What a blessed Thanksgiving miracle, eh? Like “Push It” earlier this week, “All Like That” is a certified banger. While Tisoki may primarily produce dubstep, we’ve heard him branch out before. He’s even done bass house before this year, on “Bring It Back” out on Monstercat. Though, “All Like That” is another beast entirely. Where “Bring It Back” had a distinct Eptic vibe, “All Like That” is more akin to Joyryde, especially in those tribal-esque drums in the intro. The intro plays with the intersection between bass and house brilliantly, churning out chunky bass synths along with a high-paced tempo and background sirens that keep the energy at a fever pitch the whole time. But it’s really the second drop that sold me on this tune… I won’t spoil it, but you’ll see why. Check out “All Like That” by Tisoki below, out now on Never Say Die! Grab the track here.  This article was first published on Your EDM. Source: Your EDM Premiere: Tisoki – All Like That [Never Say Die] Source