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It’s Thanksgiving here in the U.S. — but for Skrillex it’s “ThanksWorking.” The producer is slowly but surely chipping away at his “Sicko Mode” remix for Travis Scott and it’s shaping up to be an absolute banger. OWSLA’s fearless leader just offered up a little teaser for us, which is more than enough to be thankful for. In just a few mere seconds it’s easy to pick up on the recognizable bass heard in the original track, but with a twist. “Sicko Mode” is pretty sick as it is, but Skrillex packs in the bass and the bounce. Hopefully he’ll not only use this remix as a weapon during his live sets, but also put out an official release — because we need it in our lives ASAP. Skrillex was in the news this week after a woman was awarded $3.8 million in a lawsuit against him. Listen here and let us know what you think so far! Skrillex – “Sicko Mode” Remix  Photo via Watchara This article was first published on Your EDM. Source: Skrillex Shares Working Preview Of His “Sicko Mode” Remix [MUST LISTEN] Source

On Thursday’s episode of The Tonight Show, Bob Dylan made his first late-night appearance in over three years — but it wasn’t anything like you’d expect. In the two-minute segment, Dylan takes host Jimmy Fallon to a private performance by the Big Apple Circus. They watch the acrobats from the stands as they sip Dylan’s new whiskey line, Heaven’s Door. It all seems a bit abstract and surreal, especially as the music legend is noticeably mute the entire time and Erik Satie’s “Gymnopédie No. 1″ plays in the background. (Classic Album Review: Bob Dylan: Blood on the Tracks) The whole thing ends with Dylan mysteriously disappearing and Fallon wondering whether it was all just a dream. “What was in that whiskey?” he asks. Watch below. Dylan launched his Heaven’s Door whiskey earlier this year. “We both wanted to create a collection of American whiskeys that, in their own way, tell a story,” he explained in a statement at the time. “I’ve been traveling for decades, and I’ve been able to try some of the best spirits that the world of whiskey has to offer. This is great whiskey.” In related news, Dylan is the focus of our inaugural season of The Opus, a podcast series that explores legendary albums and their ongoing legacy: how they shape lives, shake rafters, and ingrain themselves into our culture. Below, check out the most recent episode, in which contemporary songwriters Beth Orton and Kevin Morby join host Paula Mejía to unpack Dylan’s singular lyricism and More Blood, More Tracks, the epic collection of Blood on the Tracks outtakes that was released earlier this month. Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS | Follow via Facebook Source

Dr. John celebrated his 78th birthday on Wednesday (November 21st) — or at least he thought so. A newly uncovered birth announcement has actually revealed the renowned New Orleans piano player to be a year younger. According to The Associated Press, a music writer for Nola.com and The Times-Picayune discovered a newspaper clipping noting Dr. John’s birth year to be 1941, not 1940 as has been long thought. Not only that, but his official birth date has also been off by one day; it’s officially November 20th. Dr. John, born Malcolm John Rebennack, was said to have tacked on an extra year to his age early on in his career so that he’d be allowed to perform in the clubs of New Orleans as a teen. Then it just stuck around permanently. “Mac has rolled with it since his teenage years,” said his publicist Karen Beninato, who helped dig up his real birthday. The incorrect 1940 birth year was perpetuated in interviews and writings penned by Rebennack himself. In his very own memoir, 2005’s Under a Hoodoo Moon, the six-time Grammy winner and Rock and Roll Hall of Famer claimed to have been born shortly before “Thanksgiving 1940”. The recent discovery kind of gives a new meaning to Rebennack’s 1973 smash hit, “Right Place, Wrong Time”. Dr. John’s 77th birthday is today, New Orleans music historian @JohnWirt1 wrote in @NOLAnews, not 78th tomorrow as previously thought. Young Mac Rebennack, touring with a local hit "Storm Warning" at 17 years old, added a year to his age and the rest is music history! pic.twitter.com/oLIGl8DDFu — Dr. John (@akadrjohn) November 20, 2018 Thanks for all the well wishes for Dr. John's 77th birthday yesterday, and his former 78th birthday today! #RefriedConfusion pic.twitter.com/Kc7R5lhZ72 — Dr. John (@akadrjohn) November 21, 2018 Source

Shortly before embarking on their current North American tour, Machine Head announced it would be the last outing to feature the band’s current lineup, as guitarist Phil Demmel and drummer Dave McClain will be exiting the metal group. While Machine Head have been receiving love from fans throughout the trek, with a few shows left, one couple at the band’s San Diego show on Wednesday night (November 21st) decided to give the metal veterans a little more than they’d bargained for, by having sex in the front row while the band was performing. Machine Head mentioned the debauchery when thanking fans after the show on Twitter and Facebook, writing, “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! Epic circle pits, the jumping was crazy, boobies, sing-a-longs, crowd-surfing-mania, couples having sex!!?”⠀ ⠀ The band added, “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!!” 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 Machine Head’s last-ever tour featuring this lineup wraps up tomorrow night (November 24th) in Santa Cruz, California. While the future of the band is up in the air following the trek, frontman Robb Flynn has vowed to continue Machine Head with a new lineup. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Oneohtrix Point Never has dropped off his new EP, Love in the Time of Lexapro. Take a listen below via Apple Music or Spotify. The new effort follows producer Daniel Lopatin’s impressive 2018 album, Age Of, and The Station EP from July. It contains a pair of new songs and alternate, collaborative versions of two Age Of tracks. (Read: Top 25 Albums of 2018… So Far) The two previously unreleased originals are titled, “Thank God I’m a Country Girl” and “Love in the Time of Lexapro”. The latter title track has been an audience favorite on Lopatin’s Age Of tour, but has never been properly recorded and released until now. Also included is a rework of Age Of’s “Last Known Image Of A Song” from veteran Japanese experimental musician and composer Ryuichi Sakamoto (The Revenant), as well as an updated take on Age Of highlight “Babylon” featuring additional contributions from (Sandy) Alex G. Love in the Time of Lexapro Artwork: Love in the Time of Lexapro Tracklist: 01. Love In The Time Of Lexapro 02. Last Known Image Of A Song (Ryuichi Sakamoto Rework) 03. Thank God I’m A Country Girl 04. Babylon ((Sandy) Alex G & OPN) Source

Sigur Rós frontman Jónsi has released his new solo triple album, Frakkur 2000-2004. Stream it below via Apple Music or Spotify. As its title indicates, the collection of music was recorded between 2000 and 2004, under the Icelandic musician’s solo moniker, Frakkur. Delving into more experimental works, he used the project as an outlet to see “how far he could push things outside the bounds of his day job” leading Sigur Rós. Much of this Frakkur material was created by Jónsi on his own, either at his Reykjavik home, his boyfriend’s house in Boston, or while on the road touring with Sigur Rós. All of these early recordings were once thought to have been completely lost by Jónsi. However, a burned CDR that was gifted to a friend was somehow tracked down, retrieved, and mastered to produce this special release. The 24-track, 108-minute effort collects material a specific period, each recorded in a different way. The oldest group of recordings, titled 2000-2001, was made on the musician’s first PC laptop (lovingly dubbed “The Tank”) and recounts a tale of unrequited love. The second roundup of material from 2002-2003 was made on a Yamaha RS-7000 (named “The Grey Machine”) using samples of beat-up toys he’d purchase from secondhand stores. Jónsi describes that period of time as “filled with blinding sunlight and pure fun creative energy.” As for the last piece of the triple album, 2003-2004 was helmed using the program Logic (introduced to Jónsi by partner and collaborator Alex Somers) as well as a Yamaha VSS-30 toy keyboard. Frakkur 2000-2004 Artwork: Frakkur 2000-2004 Tracklist: 01. SFTLB1 02. SFTLB2 03. SFTLB3 04. SFTLB4 05. SFTLB5 06. SFTLB6 07. SFTLB7 08. SFTLB8 09. SFTLB9 10. TB1 11. TB2 12. TB3 13. TB4 14. TB5 15. TB6 16. TB7 17. TB8 18. PP1 19. PP2 20. PP3 21. PP4 22. PP5 23. PP6 24. PP7 Source

Havyn is pioneering a whole new genre, starting with “Slide”. Havyn brings out all the vibes on “Slide.” There isn’t a dull moment in the song and no better introduction to Havyn’s unique style and self-defined genre. Opening with an airy sense of mystery, the moody keyboard, trap bass, and electric guitar all blend perfectly to create a wave of sound. Meticulously crafted and beautifully mastered, “Slide” is the exact vibe you need right now. “Slide” is just the newest single for Havyn, who has already accumulated over 100,000 streams across Spotify and Youtube and his song “Adieu” secured a place on Spotify’s Fresh Finds playlist. So while today may have been the first time that you’ve heard of the genre of “Surf Trap”, it surely won’t be the last. Surf Trap’s tropical reverie is an escape from all the noise, which is exactly why Havyn started making music in the first place. When he was a kid he opened GarageBand like so many of us did and after twenty or so minutes venturing into the world of production he had a beat. After that moment whenever his parents fought or he was overwhelmed with life he would put on his headphones and get to work, cocooning himself with a blanket of sound. And after studying music production in Australia for four years he moved to Los Angeles to record his debut album. His album, the conveniently named Surf Trap, took two years to make, but Havyn’s almost ready to share it with the world. Partially recorded in Sound City Studios, the album features artists Rakeem Miles, Sebastian Graves, and Swedish artist, LYNEA. Traversing a variety of genres and colored by his time in Australia and his new sunny home in LA, Havyn is ready to break new barriers and make some waves with Surf Trap. You can find more from Havyn on Instagram, Facebook, or SoundCloud. The post Premiere: Havyn’s New Sultry Single “Slide” Perfectly Showcases His Surf Trap Style appeared first on Verge Campus. Source

Carter Reeves is a name to remember for years to come, not only because this California artist has a catchy musical sound, but also because he has a talent that is hard not to notice. Since the launch of his solo career in 2017, Reeves continues to vary his musical style, which proves the flexibility with which he can integrate a new musical environment. His new single ‘Fine,’ out today, sees him team up with rising label CloudKid and it exudes charisma and charm. It showcases the continual evolution of his pop-styled sounds. With his incredibly strong vocal and catchy underlying beat that lead to his electro-pop chorus, this new track is infectious from beginning to end! We’ve been loving Carter Reeves’ solo efforts, so take a listen for yourself below! This article was first published on Your EDM. Source: Carter Reeves – Fine Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS | Follow via Facebook Our debut season of The Opus continues to dissect Bob Dylan’s Blood on the Tracks, exploring how the legendary album and its ongoing legacy has sharpened lives, shaken rafters, and ingrained themselves into our culture For the second episode of the season, two extraordinary songwriters and musicians, Beth Orton and Kevin Morby, join host Paula Mejía to unpack Dylan’s singular lyricism, the magic of being let into the recording process through the More Blood, More Tracks sessions, and the stories of love and rupture that these songs tell. (Read: The 10 Best Covers of Bob Dylan’s Blood on the Tracks) Listen above and join us next week for the third of four episodes revolving around Blood on the Tracks, specifically how the songs have inspired other mediums, and even had a hand in creating an entire bootlegging culture. The Opus is a co-production of the Consequence Podcast Network and Sony. For more Dylan, check out More Blood, More Tracks, the latest installment in Dylan’s Bootleg Series, which is currently on sale. The deluxe edition includes more than 70 previously unreleased recordings from the sessions behind Blood on the Tracks, specifically outtakes, studio banter, false starts, and alternate versions of “Tangled Up in Blue”, “Simple Twist of Fate”, and “Shelter From the Storm”. Stream a preview of the collection below via Spotify. Source

Ryan James Ford is currently one of the most exciting producers in techno. I know this claim gets thrown around quite regularly, but in the case of the Canadian producer and DJ, it’s valid. His sonic is something truly unique and sits on a level high above other productions. He first came to my personal attention with his MDR 17 EP on Marcel Dettmann Records. To be released on the Berlin Don’s record label is truly saying something about your production skills. Ryan has the ability to blending hard, pumping techno music with soft and emotional ambient in a way I’ve haven’t heard before. I highly recommend listening to the tracks embedded throughout this interview. Ryan has his own record label titled SHUT, which in a way suits his style as I couldn’t think of any other appropriate space for his music apart from MDR. Once again, I implore you to just listen to the music, it’s sensational. Ahead of Ryan’s debut Australia DJ sets in Sydney and Melbourne, I had the chance to ask some questions. FS: I believe that most DJ’s and producers have a ‘eureka moment’ when they heard a song or certain DJ and techno music suddenly clicks for them (mine was a Marcel Dettmann DJ set). Do you remember yours or has electronic music always been a part of your life? RJF: Pretty hard to pick a specific moment. I started with local raves in the ’90s in my hometown when I was in high school. I remember this guy Trevor gave me a tape that he received (who knows who from). It was a recording of an early UK hardcore/ Jungle radio show, maybe from Kool FM. I’ll never forget the feeling I had when I first heard that tape, so magical. I wore that tape out in my yellow Sony Sports Walkman. FS: Explain your ideal techno experience. How would you best enjoy a session out listening and dancing to electronic/techno music? RJF: I’m a big fan of the end of the night, the sun rising in a warehouse (hockey rink, community centre, rugby hall, all ok), in my hometown back in the mid-nineties. The diversity of the crowd, the sense of discovery, and the community were pretty amazing. Basically, this is the feeling that comes out when I make a song, even if I try not to. End of rave (night) comedown music… also, don’t forget the after party. FS: For you personally, what has been the craziest or most bizarre realization you’ve had about your progression through your career in electronic music? RJF: I love pizza as much now as I did before! Haha. FS: You’ve been running your own recording imprint, SHUT, for 2 years now. What made you decide you would start a label just as a home for your own music? Have there been some challenges you’ve faced along the way in regards to running SHUT? RJF: I just figured that I wanted to do something that I was in control of from beginning to end. Artwork, tracks, finishing, etc. I had the opportunity to do the label and have it distributed so I decided to give it a go. It’s definitely hard for me to pick the tracks that should be on an EP. One of the most interesting parts of doing a record with someone else is to see which tracks they pick and put together. It’s always a different combination than what I expected, which is fun. FS: The artwork on SHUT has a distinct ‘comic book’ theme. Can you explain where the inspiration for this comes from? RJF: It’s not comics, it’s skateboarding! I grew up being into skateboarding, the ideas and aesthetics involved from it. There have been so many amazing artists that have come from skateboarding. The Gonz, Ed Templeton, Sean Cliver, Neil Blender, Alex Olson, too many to name… Skateboarding totally rules everything else totally sucks! Haha! Just kidding. FS: Your productions are very uniquely produced and do by no means follow any trend in techno music. Tracks like Lidya Birkett are infused with ambience and emotion. What do you draw on within yourself when writing your music? RJF: I don’t try for any specific sound. I just start somewhere and see where it goes from there. If I try to make a ‘type’ of song it never works or feels right. I try to maintain some sort or spontaneity when producing as it would be boring otherwise. FS: I’m always curious about producers track naming process. You’ve said in the past that you’ve got a system for naming tracks that suits you. Could you expand on that system for us? What language are these names in? RJF: There is always some sort of mystery with names in general. I think people always put their own meanings into them and that is fine by me! That’s what’s most important, the listeners perspective. FS: Do you think that people’s productions say something about themselves? If so, what does your music reflect about you as a person? RJF: It must say something, but how to decipher it would be complicated… FS: You’re coming down to Australia from Berlin to play a show with Bunker in Melbourne. Have you been to ‘the land down under’ before? If not what are you looking forward to about your trip? What are some stereotypes that you hear about Australians in Europe? RJF: Never been before and am super excited to come to Australia as it seems like such an amazing place. I always love to explore new places and meet the locals. It really opens you up to a new perspective on life which is important. I’m from the edge of the Canadian Rockies, I knew many Australians in the ski town’s and ski resorts, surprisingly they love snow! FS: What is your go-to music that you listen to when you need cheering up? RJF: Radiohead – Idioteque, Bjork – Joga, Fever Ray – When I Grow Up, Bad Brains – P.M.A., Outkast – Two Dope Boyz (In a Cadillac), Nirvana – Dumb, Autechre – Vletrmx, Gang Starr – Moment of Truth, Tricky – Overcome, Portishead – Strangers, FS: Random question: You win the lottery. What are you going to do with all that money? RJF: Buy the following records: Prince ‎– The Black Album Warner Bros. Records ‎– 92 56771 – Canada Pressing Caustic Window ‎– Caustic Window LP Rephlex ‎– CAT 023 AFX* ‎– Analogue Bubblebath 5 Rephlex ‎– CAT 034 Polygon Window ‎– Portreath Harbour Warp Records ‎– WAP146 Aphex Twin ‎– Syro Warp Records ‎– WARPLP247X Ryan James Ford’s Australia shows are as follows: Melbourne – December 14th at Bunker presents Ryan James Ford @ The Sub Club Sydney – December 15th at Hex Yellow 005: Ryan James Ford Source

Disney’s latest live-action remake comes in the form of The Lion King from director Jon Favreau. Donald Glover and Beyoncé headline as all-star cast, playing Simba and Nala, respectively. Other notable cast members include James Earl Jones as Mufasa, John Oliver as Zazu, Chiwetel Ejiofor as Scar, Billy Eichner and Seth Rogen as Timon and Pumbaa, and Eric Andre and Keegan-Michael Key as the hyenas. Beyoncé, Elton John, and Hans Zimmer contributed to the film’s soundtrack. This evening, Disney rolled out the first trailer for The Lion King, which you can watch below. “Everything the light touches is our kingdom. One day the time the sun will set on my time here – and will rise with you as the new king,” Earl Jones’ Mufasa says overtop scenes of the impressive CGI landscape. We then get our first look at Simba as the film’s iconic theme song plays aloud. The Lion King hits theaters next July. Source

Nicki Minaj was set to perform a set at Djakarta Warehouse Project China over the weekend — but there was just one problem. As it turns out, the whole thing was a scam (allegedly). The unauthorized music festival apparently wasn’t a legit DWP event. “The event rumored to take place in Shanghai on 17th & 18th of November 2018 is an unauthorized use of DWP trademark,” the company officially stated online. “DWP as a brand, has no association with the event.” So, the rapper reportedly flew 6,000 miles to perform her 90-minute set, only to find out organizers were duping fans and the artists. Although there was a crowd of people there at $400 per head, and many excited to see Nicki perform, the rapper refused to go on. Minaj later took to Instagram to address her fans: “I’ll be back you guys for my real fans, in Shanghai, in China. I love you so much. And I’ll be back with a better partner this time, okay?” .@NICKIMINAJ has a message for the China fans! pic.twitter.com/QwF71EFk9P — Nicki Minaj News (@NickiReignsCom) November 18, 2018 Source: NME This article was first published on Your EDM. Source: REPORT: Nicki Minaj Flew To China For A Fraudulent Music Festival Source

Insensitive and disrespectful, and possibly racist, language from VINAI while on tour in Shanghai and Taipei has elicited outrage from the Asian EDM community. The videos were posted to the duo’s artist and personal Instagram stories. In Taipei, they can be heard shouting, using mocking language while a man talks through a loudspeaker at some kind of public campaign event. The unintelligible mumbling draws some of the random passerby ahead of them to look back in confusion. In the Shanghai video, the duo are seen attempting to greet random passerby with “Nihao,” translating to “hello” in English. The tone is entirely disingenuous, as is the obvious desire for attention that is apparent by the filming. There’s also the same unintelligible, guttural noise from the first video in the second, again drawing confused looks from passerby. (Note: the hand gesture made is a common South Korean gesture mimicking a small heart. It’s spread to many Asian countries to show love and affection.) We really thought we’ve moved past this kind of insensitive behavior in foreign countries in 2018, let alone filming yourself doing it and posting it to your own social media. How VINAI thought this was funny or appropriate is beyond us. We’ve reached out to representatives for VINAI and have yet to hear back at time of publishing.  This article was first published on Your EDM. Source: VINAI Shown Using Racist And Disrespectful Language While Touring In Asia Source

Director Jim Foster Dive Deep in Society’s Darkest Hours in New NSFW Mass of Man is a fast-rising star known for his dark imagery and uncensored approach in his music. Continuing to establish his presence, Mass of Man unveils his most dark and intense video today in-support of the new single, “Victims”. Directed by Jim Foster, Mass of Man touches on one of America’s most tragic and sickening acts of violence in mass shootings. Addressing the point-of-view from not only the lives taken but the broken shooter. The video re-enacts a mass shooting. Its unapologetic, uncensored, raw, not for the faint of heart but a must-see video. The video addresses many of unanswered questions that arise in every incident involving mass shootings. Controversial, Mass of Man is hoping the new video will help shed light on how serious of an issue bullying is, and how emotionally detrimental it can be for young people. Not the first time the recording artist has used powerful images in a music video to drive home the emotionally charged message of his music. Mass of Man turned to songwriting in High School as a form of therapy dealing with being bullied. “Victims” is produced by the talented OH NO! ØKTAPUS. “Victims” follow up Mass of Man’s previous singles, “Fallen Angel”, “Stay Alive”, and “Brave”. “Victims” is available on all major streaming services via own imprint. For more on Mass of Man, follow the rising star today via Instagram for up-to-the-minute news. Watch “Victims” above at your own discretion. This video is NSFW. The post Premiere: Mass of Man Speak For All “Victims” During Tragedy : Watch appeared first on Verge Campus. Source

Lollapalooza is more than just a Chicago staple now. The festival is taking over South America with three seperate iterations in Chile, Argentina, and Brasil, and they all feature stellar lineups. Lineups for all the stops in South America were just announced yesterday, featuring a steady cast of headliners like Kendrick Lamar, Arctic Monkeys, Twenty One Pilots and Post Malone. Other artists to appear on every lineup include Sam Smith, Tiësto, Dimitri Vegas & Like Mike, Steve Aoki, Macklemore, Odesza, Greta Van Fleet and more. Tickets available via the links below. Chile | Argentina | Brasil This article was first published on Your EDM. Source: Lollapalooza Announces Lineups For Chile, Argentina, Brasil In 2019 Source

A lawyer for Tekashi 6ix9ne says he isn’t actually a gangster, he just pretends to be one. Now, TMZ reports that the 22-year-old rapper has been moved to a federal facility that is regularly used to house witnesses who cooperate with the feds. Whether or not that means 6ix9ine is striking a plea deal remains to be seen. He certainly has some compelling reasons to do so, however: he is facing a minimum of 32 years and a maximum of life in prison on a number of federal charges, including racketeering, conspiracy to commit murder, and drug distribution. What’s more, 6ix9ine has had a falling out with his manager Shotti (Kifano Jordan) and other associates. Prior to his arrest, he fired his entire team, including Shotti, alleging that they had stolen money from him. Shotti, along with Ish (Jensel Butler), Crippy (Faheem Walter), and Mel Murda (Jamel Jones) were arrested on similar federal charges. In a preliminary hearing, 6ix9ine’s lawyer accused Shotti of stealing nearly $2 million from the rapper. Meanwhile, prosecutors revealed that Mel Murda was caught on a wire threatening to put a hit out on 6ix9ine in retaliation for his firing. 6ix9ine’s lawyer would only tell TMZ that the transfer was done for “”security reasons,” as the rapper allegedly received death threats from rival gang members. He was previously placed in general population at the “notoriously brutal” Metropolitan Detention Center in Brooklyn. In related news, the release of 6ix9ine’s new album, Dummy Boy, has been delayed “until further notice.” Source

Did Swedish House Mafia just reveal another tour stop? The group’s iconic logo has appeared in Glasgow, Scotland. The three large dots symbolizing Axwell, Sebastian Ingrosso, and Steve Angello have been popping up across the globe, and with a purpose. So far, Swedish House Mafia have announced tour dates in Stockholm and Mexico City in 2019. As fans patiently anticipate a world tour, we can pretty much guarantee there are plenty more dates yet to come. While the top image is quite vague, the posters below seem to tell more of the story. Three McDonald’s symbols, similar to the three Nike swooshes we’ve seen before. Plus a code, WA4. Which, could mean anything, but it’s coincidentally enough part of the address to Creamfields. Ever since the group reunited at Ultra Music Festival in Miami this year, we’ve been anticipating a full fledged return. The fact that we can wake up to Swedish House Mafia news like this is such a rush! The next countdown on Swedish House Mafia’s official website ends on November 28, 2018 at 11:00 UTC. Stay tuned for what’s next. Swedish House Mafia Signs In Glasgow @swedishousemfia logo has appeared in glasgow pic.twitter.com/oNjF2oyas6 — exodusk (@milesmcgovern) November 20, 2018 Just seen this… thoughts? @swedishousemfia at @Creamfields 2019? : @electrojunkie98 pic.twitter.com/shf7CwfZn6 — Amy-Martine (@amymartine) November 12, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Swedish House Mafia Signs Hint At Huge Tour Stop In Glasgow Source

Tekashi 6ix9ine’s new album Dummy Boy was originally supposed to be released this Friday, November 23rd. However, following his arrest on federal racketeering charges, the album has been delayed indefinitely. “Due to circumstances beyond our control we have postponed the release of Tekashi 6ix9ine’s Dummy Boy until further notice,” a post on Instagram reads. 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. As 6ix9ine is facing a minimum of 32 years in prison, it’s anyone’s guess when Dummy Boy will finally see the light of delay. Source

Happy Thanksgiving! Turkey! Gravy! Cranberries! Bob’s Burgers! The National! They’re back! As has become tradition around these parts, the sad-eyed indie rockers have again collaborated with Loren Bouchard’s hit animated comedy, sharing a brand new song, “Save the Bird”, to follow last year’s cover of “Give it to Teddy”. The Bob’s Burgers crew sent the lyrics to “Save the Bird”—it’s inspired by the series’ recent Thanksgiving episode—to The National, who then produced this gorgeous, atmospheric track that leavens Matt Berninger’s mournful baritone with some chirpy gang vocals from the band. Piano drives the track, but its the woozy, drunken horns that make the track. (Read: Tina Belcher Chooses Girl Power over Stink Bombs on Bob’s Burgers) “We’re honored to continue our Thanksgiving tradition with Bob’s Burgers with “Save The Bird,” which was recorded at Public Hi-Fi in Austin and in my secluded dojo in Los Angeles,” Berninger said in a statement. “It’s especially thrilling to have our brass section finally get credit for something. Also, I’d like to thank Tom for doing the dishes.” Hear it an animated clip starring the band below. Over the years, the indie rockers covered original songs from the animated show, made cameos as animated characters, and even contributed to the series’ soundtrack. Source

It’s hard to shake the feeling that tonight’s Bicep live show at Mayfield Depot is a dry run for where the Warehouse Project might be heading next year. It’s no coincidence that the duo’s live debut is being promoted by both WHP — who are in need of a new home next year — and MIF. MIF is, for the uninitiated, the Manchester International Festival, a bi-annual city centre soiree which isn’t happening until next year, with tonight’s show billed as something of a rave-centric amuse bouche. Bicep, tonight’s main course, don’t really need an introduction; they’ve arguably soundtracked a generation of shitty student house parties. Their debut album topped many of last year’s end-of-year lists and tonight they’re debuting their new live show in Manchester for the first time. It’s easily a sellout (well, it’s not really, as Mayfield Depot could easily house a small city). That’s actually the most striking thing about this often overlooked leviathan of a venue. The old train station, as it’s known to the locals, has been dormant for quite a few years until recently, where it’s dusted down every so often for the odd arty endeavour from the likes of Massive Attack, or as a makeshift food hall for a street food event. The sprawling space is the exact opposite of The Warehouse Project’s current home, Store Street. There’s plenty of space to mooch around, in fact, there’s so much mooching space you could feasibly get lost and end up in Carlisle on a mad one. It’s bang on 11:45pm as Bicep take to the stage, facing each other across a large table housing a glowing sea of machines. If you’ve seen the duo DJ before you’ll know they don’t exactly go bonkers on stage. Instead, they let the music do the talking, standing almost motionless nodding along to the wide angled soundscapes of their opening hitters, including the duo’s epic remix of Isaac Turner’s ‘Higher Level’. Swaying gently amongst a sea towering LED screens, the Northern Irish duo has the crowd in the palm of their hands as they unleash fan favourite ‘Just’, teasing the track’s now iconic riff over and over again before its long-awaited breakbeat kick drum rears its head; bathed in blue light, like a scene from Cocoon, it draws out a joyous roar from the crowd, one of many throughout the night. The duo weaves through their debut album’s best bits with aplomb, including the dense, trippy rave fog of ‘Glue’ and which then segues neatly into ‘Opal’, as the duo stretches its mesmerising melody to almost breaking point. For us, it’s when the duo deviates from their usual four-on-the-floor fare that the magic really happens. The final goodbye comes in the form of ‘Aura’ which is sped up and then fed through the duo’s machines coming out as a bonafide future rave classic. Before our eyes, the track’s main hook is dancing along on a sea on lasers that are strafing the crowd in front. It’s a quite a finish, so much so as we leave, one punter declares, ‘that was the best three minutes of my life’. While he may have peaked way too early — it’s hard to argue with his critique of tonight’s show, which proves to be an excellent dry run for what might be coming in 2019 in Manchester. Photo credit: Manox. The post Bicep live review: The Northern Irish duo dazzle at Manchester’s Mayfield Depot appeared first on HBF. Source

Sometimes they come back, especially lawsuits: A jury has ruled that Sonny Moore, aka Skrillex, must pay fan Jennifer Fraissi $1.6 million in damages for injuries that date back to a 2012 concert at Los Angeles’ Belasco Theater. According to Fraissi’s original February 2014 complaint (via SPIN), Moore gestured for the crowd to come forward, trapping her as he leapt off the stage, “incurring significant injuries and damages, including, but not limited to, a stroke.” Now, nearly five years later, the jury has awarded Fraissi a total of $4,525,402, which includes the aforementioned $1.6 million from Moore, 1.8 million from his touring company Lost Boys, and $450,00 from the Belasco Theater. Although Moore’s attorney Barry Thompson argues that evidence includes “video proof that [Skrillex] never made physical contact with Ms. Fraissl,” Moore has been incredibly sympathetic, telling TMZ: “There is nothing more important to me than my fans and their safety at my shows — I want them to have fun and enjoy the music.” Nevertheless, Thompson says they are currently deciding whether to appeal. . Source

Saint Nicholas is not coming this year. Instead, a much darker, ancient spirit. His name is Krampus. He and his helpers did not come to give, but to take. He is the shadow of Saint Nicholas. He is also back on vinyl. The Warriors aren’t the only ones coming for your name this Black Friday. Waxwork has also announced a Christmas-themed reissue of their previously sold-out score for Michael Dougherty’s 2015 horror comedy, Krampus. Whereas the original release came on candy cane swirl vinyl, this reissue comes pressed on “Dark Elves” picture discs and arrives wrapped in gingerbread-scented jackets, which should bring more holiday cheer than fear. Don’t worry if you’re naughty or nice, everything else will arrive as expected: Douglas Pipes’ original score, artwork by Justin Erickson, and a 12” x 12” booklet featuring liner notes from Dougherty and Pipes. Pre-orders begin on Friday over at Waxwork’s official site with shipments to go out in early January. Take a quick peek at the artwork below and consult the full tracklist shortly after. Krampus Tracklist: Side A: A Cold Wind Dear Santa Family Reunion Auld Lang Syne The Wish Special Delivery Bells, Bones, and Chains ’Tis The Season Into The Storm Side B: The Snow Beast Unholy Night Oh Christmas Tree Season’s Eatings Omi’s Story Side C: All Through The House Creatures Are Stirring Elfen Elegy Side D: The Shadow Of St. Nicholas Sacrifice When The Christmas Spirit Dies Cloven The Bell End Credits Source

Over the weekend, Bill Maher pissed off comic book fans when he published a scathing essay on the medium in light of Stan Lee’s passing, arguing that “Donald Trump could only get elected in a country that thinks comic books are important.” Needless to say, his thoughts went through the grapevine, far enough to elicit a response from Lee’s own production company, Pow!, who called his comments “disgusting.” However, Maher remains nonplussed. On Wednesday, the Real Time host appeared on Larry King Now, where he plead ignorance on the outrage, arguing that he “doesn’t follow every stupid thing people lose their shit about.” He went on to digress, “But talk about making my point for me: Yeah, I don’t know very much about Stan Lee and it certainly wasn’t a swipe at Stan Lee.” King went on to interject, insisting Lee “was a really nice guy,” to which Maher doubled down: “Yeah, fine. I am agnostic on Stan Lee. I don’t read comic books. I didn’t even read them when I was a child. What I was saying is, a culture that thinks that comic books and comic book movies are profound meditations on the human condition is a dumb fucking culture. And for people to get mad at that just proves my point.” Watch the discussion below. Source

By now you’ve heard the story about the the festival that got slapped with hundreds of thousands of dollars of “necessary improvements” by the government. Bohemian Beatfreaks was (in our opinion) unfairly targeted by the NSW government, after hearing nothing but glowing reviews from past punters and police involved in with past iterations of the event, they were sent to the Land and Environment Court. They ended up getting the “upgrades” required drastically reduced, from almost $200 000 to a measly $100 000, but made the executive decision to completely change it to another area in QLD. That’s right, a completely different state. While the government didn’t explicitly tell them they had to change states, it seems pretty obvious that the company at hand, Rabbits Eat Lettuce, felt they had to move. Some of the main conditions they were faced with were: surrounding the event site with chain-link perimeter fencing additional security search points inside the venue (between the Campground & event area) with table-top and pat-down searches over 30 user pay police at the cost of $105,000 alone Read the full Facebook post from the Bohemian Beatfreaks below and tell us what you think is next on the chopping board. Source

On November 30th, Meek Mill will release his new album, Championships. As a preview, the Philadelphia rapper has let loose two teaser tracks: “Oodles O’ Noodles Babies” and “Uptown Vibes” featuring Fabolous and Puerto Rican rapper Anuel AA. Take a listen to both below. Championships serves as Meek Mill’s first full-length effort following his release from prison earlier this year after the Supreme Court of Philadelphia overturned his controversial, heavily-criticized sentence. He previously shared his Legends of Summer EP, which included the Miguel-featuring single “Stay Woke”. Meek’s last album was Wins and Losses in 2017. Source