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While The Chainsmokers may not be playing the Super Bowl Halftime Show in February, they’re still getting the chance to play during another halftime show for a game that’s being called a “Super Bowl Preview.” So, that’s something. (Cue meme.) The Kansas City Chiefs and Los Angeles Rams are set to duke it out tonight at the L.A. Memorial Coliseum. Both teams are 9-1 and are electrifying this year’s NFL with two star QBs, Jared Goff and Patrick Mahomes, as well as runningbacks, Todd Gurley and Kareem Hunt. More reasons why this game is going to be so good here. But during halftime, The Chainsmokers will take the field with recent collaborator Kelsea Ballerini to perform their penultimate newest single, “This Feeling.” While both Drew and Alex are from the east coast originally, they both call Los Angeles their home now so it’s safe to say who’ll they’ll be cheering on. The game will broadcast live tonight on ESPN. Kickoff is at 5:15 PST/8:15 EST. Tickets are more information are available here. This article was first published on Your EDM. Source: The Chainsmokers & Kelsea Ballerini Set To Perform During Hometown Football Halftime Show Source

Queensrÿche will return with a new album, The Verdict, on March 1st, 2019, and now, fans have an idea of what to expect from the fresh set. The veteran rockers have unleashed the album’s first single, “Man the Machine,” which you can stream in the lyric video below. “We are excited to reveal the first full song ‘Man the Machine’ from our upcoming album, The Verdict. This is just a small taste of what is to come, and we look forward to unveiling more tracks and videos as we approach the official album release date of March 1st, 2019 via Century Media,” singer Todd La Torre said in a statement. “For exclusive footage, sneak peek audio teasers, exclusive merchandise and album preorder packages, we invite you to join our official Pledge Music Campaign here!” Queensrÿche recorded The Verdict with producer Zeuss (Rob Zombie, Hatebreed, Iced Earth) at Uberbeatz in Lynwood, Washington, and Planet-Z in Wilbraham, Massachusetts. The band will hit the road in early 2019 for a headlining tour with Fates Warning. The Cringe will appear on select dates. Find the full roster of tour dates below. Queensrÿche 2019 Tour Dates with Fates Warning: 03/02 – Orlando, FL @ The Plaza Live 03/03 – Ft. Lauderdale, FL @ Culture Room 03/05 – Atlanta, GA @ Masquerade 03/07 – Baltimore @ Sound Stage * 03/08 – Uncasville, CT @ Mohegan Sun ^ 03/09 – New York, NY @ Irving Plaza * 03/10 – Worcester, MA @ Palladium * 03/12 – Cincinnati, OH @ Bogarts 03/13 – Detroit, MI @ Diesel 03/14 – Chicago, IL @ Concord 03/15 – Milwaukee, WI @ The Rave 03/16 – Medina, MN @ Medina Entertainment Center 03/17 – Davenport, IA @ Rhythm City Casino Resort ^ 03/20 – Dallas, TX @ House of Blues 03/21 – Houston, TX @ House of Blues 03/22 – San Antonio, TX @ Aztec 03/23 – Albuquerque, NM @ El Rey 03/26 – Tempe, AZ @ The Marquee 03/27 – San Diego, CA @ Observatory 03/28 – Los Angeles, CA @ Fonda 03/29 – San Francisco, CA @ Slim’s 03/30 – Sacramento, CA @ Ace of Spades 04/02 – Portland, OR @ Crystal Ballroom 04/03 – Seattle, WA @ Neptune *w/ support from The Cringe ^Queensrÿche only Source

Instagram is done being fake. The social media platform is fighting against illegitimate followers, comments and likes from third-party services by removing them completely. The company announced this move as part of Instagram’s policy change today. Moving forward, using third-party services to gain followers and enhance engagement is against the app’s Community Guidelines and Terms of Use. Users who have enlisted in such third-party services will receive the following message that starts: “We’re removing inauthentic likes and follows.” “It looks like you may have shared your username and password with an app offering followers or likes,” the notice continues. “We’re removing activity like new followers from these apps to protect our community from inauthentic activity.” These users are also prompted to change their password. According to Instagram, the platform will take even more measures to prevent fake activity in the coming weeks. This will not only protect its users and influencers, but the businesses who actively use the app to advertise, by promoting a more fair social community. Source: The Verge This article was first published on Your EDM. Source: Instagram Is Deleting Fake Likes, Followers & Comments Source

Slander and Spag Heddy have finally teamed up with their new collaboration “Running To You,” out now. It goes as hard as one could imagine and then some, offering dubstep fans a perspective they’ve been waiting for. Lighter elements counter the heavy, as the producers work in vocals from Elle Vee. Soon though, the soft, melodic moments are overturned by punchy drums and stabby synths that completely take over the production. This one is sure to encourage headbangers everywhere. Upon the track’s release, Slander released the following statement: “‘Running To You’ is finally here! We’ve wanted to work with Spag Heddy for a while now, and finally getting this one done with him was a truly amazing experience. For this song, we tried to blend our sounds together as seamlessly as possible by taking the listener from a deeply emotional moment straight into a heavy one!! We thought this duality of emotion really made the track feel special since it’s very two-faced and doesn’t sit in any traditional genre category. We hope you guys enjoy this rollercoaster! Also, be sure to check out the rest of Spag’s music! He is a mad man!” “Running To You” marks the second single off of Slander’s forthcoming Headbanger’s Ball EP. Listen here. SLANDER & Spag Heddy – Running To You  Photo via Rukes.com This article was first published on Your EDM. Source: Slander & Spag Heddy Unleash Melodic Banger “Running To You” [LISTEN] Source

With selections from Iggy Pop, Brian Eno, Lou Reed, and Underworld, the soundtrack for Danny Boyle’s Trainspotting has gone on to become one of the best to ever hit the big screen. Now, Irvine Welsh, the author behind the books that inspired both Trainspotting and its 2017 sequel, is gearing up to release his own debut album of original music. In an interview with The Scottish Sun (via FACT), Welsh revealed that his first-ever full-length will be of the acid house variety, which he hopes will inject more “fun and humour” into what he describes as a currently “joyless” dance music scene. “Hopefully people are going to jump around and have a bop, but you’re not going to have your ears bleeding,” he told The Scottish Sun. “And you’re not going to want to be stripped to the waist, salivating and banging your head off the floor.” “It’s not really banging, full-on mad stuff, but it’s a lot of classic acid house — swirling effects and noises and boomy basslines,” Welsh added, “some of it is pretty groovy.” A number of album songs are also expected to feature the Scottish author-turned-DJ singing in a German accent. (Read: The 100 Greatest Movie Soundtracks of All Time) Although the forthcoming LP will technically be Welsh’s first, he’s no stranger to the genre. The soundtracks of both Trainspotting and T2 touched on acid house/electronic music with the inclusion of acts such as Underworld and Primal Scream. It was reported last year that Welsh was developing a TV series focusing on rave culture. In recent months, Welsh has also been playing DJ sets. One such performance, at this year’s FILBA (International Festival of Literature in Buenos Aires), was described as “a set in which he combined hits from the 80s and 90s with some electronic themes.” Welsh’s love of music actually goes back even before the launch of his literary career. As The Telegraph wrote in 2003, Welsh left his Edinburgh hometown for London “in the hope of becoming a rock musician.” As part of the ’70s London punk scene, he played guitar and sang in the bands The Pubic Lice and Stairway 13. Neither a title nor a release date for Welsh’s new album has been confirmed. In the meantime, watch a short clip of a recent DJ set in Mexico City below. Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS This Monday on Kyle Meredith With…, Kyle Meredith speaks with renowned country and blues musician Lucinda Williams about her latest release, Vanished Gardens, an Americana jazz collaboration with Charles Lloyd. They also delve into two coinciding anniversaries: the twentieth anniversary of her landmark album Car Wheels on a Gravel Road and the tenth anniversary of Little Honey. 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 Source

The Rolling Stones will return to the US next spring for a new leg of tour dates. The US jaunt is a continuation of the band’s “No Filter Tour”, which kicked off in 2017 with dates across Europe. As of now, the upcoming US jaunt spans 13 dates, kicking off in Miami on April 20th. Check out the full itinerary below. Tickets to the newly announced shows go on sale November 30th at 10:00 a.m. local time. You can also get tickets here. The Stones have also hinted at a new music in the works. “We have some stuff down, which is very interesting. “I’m going to sound like Trump — ‘It will happen; don’t worry about it’ — but it’s in the early stages,” guitarist Keith Richards told The Wall Street Journal earlier this year. “We have some stuff down, which is very interesting. It’s more difficult for us to write together the further apart we are, but it also has its benefits in that we come back to it from a different angle.” In September, frontman Mick Jagger shared a short video of himself playing harmonica with the caption, “New tunes.” Rolling Stones released a covers album of blues music entitled, Blue & Lonesome, back in 2016. Their last original recordings, “Doom and Gloom” and “One More Shot”, were included on the 2012 greatest hits album GRRR!. The Rolling Stones 2019 Tour Dates: 04/20 – Miami, FL @ Hard Rock Stadium 04/24 – Jacksonville, FL @ TIAA Bank Field 04/28 – Houston, TX @ NRG Stadium 05/07 – Glendale, AZ @ State Farm Stadium 05/11 – Pasadena, CA @ The Rose Bowl 05/18 – Santa Clara, CA @ Levi’s Stadium 05/22 – Seattle, WA @ CenturyLink Field 05/26 – Denver, CO @ Broncos Stadium at Mile High 05/31 – Washington, DC @ FedEx Field 06/04 – Philadelphia, PA @ Lincoln Financial Field 06/08 – Foxborough, MA @ Gillette Stadium 06/13 – East Rutherford, NJ @ MetLife Stadium 06/21 – Chicago, IL @ Soldier Field Source

If you’re thinking of rushing Corey Taylor at a concert, forget about it. During Stone Sour’s show on November 16th in Moscow, Russia, a fan jumped onstage and ran toward Taylor only to get smashed to the ground by a security guard. Taylor was performing Stone Sour’s 2003 hit “Bother” when a concertgoer tried to approach him on the stage. As soon as the fan started heading for Taylor, a security guard body-slammed him, seemingly before Taylor even knew what was happening. Upon witnessing the tackle, Taylor said, “Sucks to be you, dude!” And after wrapping up the tune, Taylor went on to exclaim, “Don’t come on my stage, motherf–ker.” Even with the overzealous fan causing a stir, Taylor seemed to enjoy the show. Afterwards, he thanked the Moscow audience on Twitter: Moscow, what a gift. You were INSANE!! All my love to you and yours!! See you again soon!! https://t.co/Y8X5JHkvgV — Sofa King Awesome (@CoreyTaylorRock) November 17, 2018 The moral of this story is that no matter how big a fan you are of whoever is on the stage, don’t even think about approaching them in that situation. It’s just not smart. If you need any more proof that rushing the stage is a bad idea, let’s remember the Lamb of God fan in Prague, Czech Republic, who climbed onstage during the show, tumbled back into the crowd, hit his head on the ground and later passed away. Frontman Randy Blythe spent five weeks in a Czech Prison due to that incident, which, in the end, was proven not to be the Lamb of God singer’s fault. Blythe was eventually found not guilty of manslaughter. And, of course, the most tragic incident is the slaying of legendary Pantera guitarist Dimebag Darrell, who was gunned down onstage by crazed concertgoer in 2004 while playing a Columbus, Ohio, gig with his band Damageplan. Source

Having already been sentenced to four years probation for the use of a child in a sexual performance (after managing to avoid the sex offender registry) and, last week, pleading guilty to disorderly conduct for a separate assault charge on a New York police officer, rapper Tekashi 6ix9ine continues to find himself in trouble with the law. Tekashi has now been arrested by Federal agents on racketeering and firearms charges in conjunction with a joint investigation between the NYPD, Homeland Security, and the Justice Department’s Bureau of Alcohol, Tobacco, Firearms and Explosives. According to Vulture, Tekashi’s recently fired manager, Kifano “Shottie” Jordan, bodyguard Faheem “Crippy” Walter, and a third unidentified associate were also arrested. Racketeering is defined as “the act of getting involved in a dishonest and fraudulent business dealing or offering a service to solve a problem that wouldn’t otherwise exist.” The details of the arrest were not disclosed and are expected to be revealed during the defendants’ arraignment later today. Sources tell TMZ that 6ix9ine was arrested Sunday night by ATF agents in New York City. Tekashi just announced his debut album Dummy Boy yesterday, featuring tracks with Nicki Minaj, Kanye West, and Bobby Shmurda. This article was first published on Your EDM. Source: Tekashi 6ix9ine Arrested by the Feds on Racketeering Charges Source

Ghost are set to play a show at the Wagner Noel Performing Arts Center in Midland, Texas, tonight (November 19th), and in advance of the show, a group of community members gathered near the venue over the weekend to pray, citing the Swedish metal act as “a worship band for Satan.” Local pastor Larry Long told CBS 7, “We’re not here to protest. We’re just simply here to pray, to pray His protection, to plead the blood of Christ over our community. This kind of band will bring spiritual influences into this area. We’re concerned about it, because we believe the devil is real, just as we believe God is real.” He added, “The fact that they describe themselves as a worship band for Satan, is, I think quite shocking. And I think most of our community would be surprised to learn that. They cover their faces with masks that look like devils in their concerts, and they are all about worshipping and brining glory to Satan. And it’s just not the thing I think most of Permian Basin would be happy to have in our community.” When the venue was contacted by the TV station, it responded, “Shock rock has been a part of the heavy metal landscape from the early days of Ozzy Osbourne, Alice Cooper and Marilyn Manson. Each performer bringing to the stage their own version of a cruel world. Ghost, with their album’s No. 3 spot on the Billboard charts, is continuing in those metal bands’ footsteps.” Ghost’s current North American tour runs through a December 15th show in Brooklyn, NY. The band will embark on a European tour in early 2019, before serving as support on Metallica’s tour of Europe in the spring and summer. See our recent interview with frontman Tobias Forge (aka Cardinal Copia), as well as the band’s tour dates, here. 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

Knife Party’s Rob Swire and Gareth McGrillen are now on their 8th episode of their new podcast, ‘Knifecast,’ and it seems the two are getting more and more comfortable with speaking into the void. In addition to the guests they bring on the show, they also play a lot of great music, including some unreleased cuts and WIPs. On the latest episode, the duo introduce Knifecast with a demo song called “Ghost Town.” To our great pleasure, the song features vocals from Swire. It’s a funky and electro-filled tune that sounds a lot like some of Nero’s newer work. Which, on that note, a Nero x Knife Party collaboration? That would be great. Swire remarks that certain bits of the song still need work and there’s still much to do, but for now, it’s sounding pretty great. Check out the demo below! Photo via Rukes.com This article was first published on Your EDM. Source: Knife Party Share Demo Of New Song “Ghost Town” On Knifecast Source

LeBron James was the most coveted NBA free agent this past summer until finally signing with the Los Angeles Lakers. Now, pop music’s counterpart, Taylor Swift — whose record contracted with longtime home Big Machine expired earlier this month — has announced her new label home. Swift has officially inked a multi-year agreement with Universal Music Group’s Republic Records. The deal marks the first time the singer has switched labels in 13 years — the singer has released all six of her albums through Big Machine, including 2017’s Reputation. Swift’s Republic deal includes two important stipulations, as the Grammy-winner noted in a Tumblr post. While Big Machine will retain ownership rights to her first six albums, her new contract will allow Swift to own all her masters going forward. Secondly, Swift has requested that Republic and UMG share any possible sales of their shares in Spotify — which went public earlier this year — with all their artists. “I asked that any sale of their Spotify shares result in a distribution of money to their artist, non-recoupable,” wrote Swift. “They have generously agreed to this, at what they believe will be much better terms and paid out previously by other major labels.” The “Shake It Off” singer has been particularly outspoken about streaming services, and even engaged in something of a feud with Apple Music over their “shocking, disappointing” royalty policies. Since signing with Big Machine when she was just 15, Swift has sold over 40 million albums worldwide and earned 10 Grammys, so it comes as no surprise that a record label bidding war arose during her free agency this month. The Nashville-based Big Machine has kept a steady focus on country artists, such as Florida Georgia Line and Reba McEntire. Republic, meanwhile, specializes in more pop-oriented acts, boasting a roster of Drake, Lorde, Nicki Minaj, Ariana Grande, The Weeknd, Florence and the Machine, and Post Malone. Read Swift’s full statement on the signing announcement below: I’m ecstatic to announce that my musical home will be Republic Records and Universal Music Group. Over the years, Sir Lucian Grainge and Monte Lipman have been such incredible partners. It’s so thrilling to me that they, and the UMG team, will be my label family moving forward. It’s also incredibly exciting to know that I own all of my master recordings that I make from now on. It’s really important to me to see eye to eye with a label regarding the future of our industry. I feel so motivated by new opportunities created by the streaming world and the ever-changing landscape of our industry… I also feel strongly that streaming was founded on and continues to thrive based on the magic created by artists, writers, and producers. There was one condition that meant more to me than any other deal point. As part of my new contract with Universal Music Group, I asked that any sale of their Spotify shares result in a distribution of money to their artist, non-recoupable. They have generously agreed to this, at what they believe will be much better terms and paid out previously by other major labels. I see this is a sign that we are headed toward positive change for creators – a goal I’m never going to stop trying to help achieve, inwhatever ways I can. I’m so happy to have Sir Lucian Grainge as a partner in these efforts. I want to express my heartfelt thanks to Scott Borchetta for believing in me as a 14-year-old and for guiding me through over a decade of work that I will always be so proud of. I’m extremely grateful to get to do what I love, especially with the people I’ve been fortunate enough to work with. The best thing I’ve been lucky enough to receive is the dedication, trust, and loyalty of the fans who have cared about the words and melodies I’ve written. My biggest goal moving forward is to make you proud. I’m so excited. I can’t wait to show you what I’m making next. Source

Lady Gaga is just weeks away from launching not one but two Las Vegas residencies. One, entitled “Lady Gaga Enigma”, will focus on her pop smash hits. The other, “Lady Gaga Jazz & Piano”, will strip down those songs and place them alongside classics from the Great American Songbook to showcase Gaga’s true vocal talents. Her longtime friend and trumpeter Brian Newman will serve as bandleader for “Jazz & Piano”, and a new collaborative cover demonstrates just how powerful that show will be. Taken from Newman’s new album, Showboat, their cover of Nina Simone’s classic “Don’t Let Me Be Misunderstood” is a bluesy remake lush with smoky, inky horn blasts. Gaga takes it all over the top with her jaw-dropping performance, her vocals wrapped in a jazz-era moodiness as she belts for the ceiling. Take a listen below. “Enigma” opens December 28th, with the limited “Jazz & Piano” launching for just four shows beginning January 20th. You can get tickets to the shows here. Newman also played trumpet and was bandleader for Gaga’s collaborative album with Tony Bennett, Cheek to Cheek. His album Showboat is out now via UMG Recordings. Source

This Christmas, get ready for a whole new take on the man in the red suit. No, we ain’t talkin’ Santa Claus; Deadpool 2 is making a return to theaters this holiday season in a brand new PG-13 cut dubbed, Once Upon a Deadpool. As a press release puts it, this recut version is a “reimagining of Deadpool 2 filtered through the prism of childlike innocence.” In this case, that prism is none other than The Princess Bride star Fred Savage, who has been forcibly added to the film in an homage to that 1987 classic. While much of Once Upon a Deadpool repurposes footage from the original film, a fresh subplot involving Savage and additional reshoots are also included. Take a look at how Deadpool “convinces” Savage to participate and some of the other new scenes in the Once Upon a Deadpool trailer below. “Fox has been asking for a PG-13 basically since the start in 2006,” star Ryan Reynolds told Deadline. “I’ve said no since 2006. Now, this one time, I said ‘Yes’ on two conditions. First, a portion of the proceeds had to go to charity. Second, I wanted to kidnap Fred Savage. The second condition took some explaining…” Indeed, $1 of every ticket sold will go to the charity Fuck Cancer, renamed Fudge Cancer to be as PG-13 friendly as the new cut. Starring Reynolds, Savage, Josh Brolin, Zazie Beetz, Morena Baccarin, Stefan Kapicic, Brianna Hildebrand, T.J. Miller, Leslie Uggams, Karan Soni, and Jack Kesy, Once Upon a Deadpool will see a limited 12-day release from December 12th through the 24th. Source

Last week, The Chemical Brothers unveiled the robot rave-filled music video for “Free Yourself”, their first new single in three years. The UK electronic music duo is back today with the announcement of a new album No Geography is scheduled for a Spring 2019 release through EMI. Additionally, the two-piece has mapped out its first tour dates in four years. No Geography will mark the Brothers’ ninth full-length to date and follow-up to the Grammy-nominated Born in the Echoes from 2015. Although an official release date and tracklist still remain under wraps, the new album is expected to include “Free Yourself”. As for their upcoming tour dates, Tom Rowlands and Ed Simons have already lined up short stints in both North America (May 2019) and the UK (November 2019). The last time the pair played live was back in 2015. You can get tickets here. Check out a tour announcement video below, followed by their full tour schedule. The Chemical Brothers 2019 Tour Dates: 05/12 – Mexico City, MX @ Pepsi Center WTC 05/15 – Los Angeles, CA @ Shrine Expo Hall # 05/16 – Los Angeles, CA @ Greek Theatre # 05/17 – San Francisco, CA @ Bill Graham Civic Auditorium 05/24 – London, UK @ All Points East Festival 11/21 – Leeds, UK @ Leeds First Direct Arena 11/22 – Manchester, UK @ Manchester Arena 11/23 – Glasgow, UK @ Glasgow SSE Hydro 11/28 – Cardiff, UK @ Cardiff Motorpoint Arena 11/29 – Birmingham, UK @ Birmingham Arena # = w/ The Black Madonna Revisit the futuristic clip for “Free Yourself”: Source

Before the weekend hit, Consequence of Sound provided you an early look at Janelle Monáe’s appearance on PBS’ Austin City Limits with video of her performing “Make Me Feel”. The episode aired on Saturday, and you can now watch the entire thing below. The eight-song performance leaned heavily on material from Monáe’s latest record, Dirty Computer, which many are looking at to top numerous end of the year lists. Alongside album tracks “Crazy, Classic Life”, “Screwed”, “Django Jane”, and “Pynk”, the funky R&B star also delivered longtime favorite “Tightrope” and “Come Alive” from 2010’s The ArchAndroid. She also paid tribute to her late mentor and musical icon Prince by mashing up “Purple Rain” with her Miguel collaboration “PrimeTime” off The Electric Lady. Check it all out below. Source

Carl is ready to rise up on new single “I Depend On Me”, the single’s title, provides a melodic drive paired with an irresistible beat — resulting in an electrifying tune. The pulsating beat tempts listeners to dance — and to do so with unabashed joy. “Dance music has always spoken to my soul and whenever I listen to it,” Thornton says, “my spirit automatically comes alive. It has a way of making me feel empowered, joyous, and with a complete zest for life.” Thornton was born in North Carolina, but at just three years old, his parents moved to Long Island, New York, which is where young Carl was raised. He began singing at age seven and started his humble beginnings in the elementary school chorus. It didn’t take long for Carl to realize that singing was what he wanted to do forever. In fact, it came as an epiphany while he was on stage at his very first performance. From that moment on, he knew that singing was what he wanted to do with his life. His talent didn’t stay in one place for long — his remarkable voice has taken him all over the world to places like Austria, Germany, France, Italy, and Spain. He’s also traveled to Holland, Istanbul, Dubai, Portugal, and China — all locations for which he was contracted to tour in 2016. It didn’t come easy though. Like all artists, Carl went through his fair share of challenges. But in the end, he continued to realize that the only thing he wanted to do was sing — and not just any kind of music. Carl has a unique talent for dance music. The genre has always been the favorite of the young artist. “[So] when I decided to start recording, dance music was a natural fit for me,” Thornton says. Where some artists fail to find their passion for a niche, Carl Thornton certainly found his within dance music. The post Carl Thornton Sings & Shine on New “I Depend On Me” : Listen appeared first on Verge Campus. Source

Canada-meets-Cali on this New Trap Sensation In a flurry of ethereal synth arpeggios and intriguing samples, “One Of Them” immediately catches the listener’s attention. Setting the tone with an ominous vibe, recording artists BLKBRST and HIGHSOCIETY craft a suspenseful build-up, giving the release a sense of urgency. The drop is a firestorm of pumping gritty bass and driving grooves, reminiscent of acts like k?d, Rezz, and Black Tiger Sex Machine. The combination of punishing and melodic elements gives the track a sense of contrast and individuality. “One Of Them,” with its unrelenting energy, is sure to ignite floors, arenas, and headphones alike. BLKBRST on working with HIGHSOCIETY: “I met James (HIGHSOCIETY) through a mutual friend when I was living in California and kept in touch once I left, we never had the chance to sit down and write a track together but he is very talented and I always wanted to collaborate with him. We have bounced tracks back and forth giving each other feedback on them, and I ended up sending him this one, and he got back to me instantly, We were both super stoked on the drops that I had written but the intro and some other parts needed work. James jumped on the opportunity and wrote a crazy intro and breaks, and that dope post drop nod to them. This track was a huge learning step for me and I am incredibly grateful to have been able to work with him on it.” HIGHSOCIETY on BLKBRST genius musical sound: “I have been watching my friend BLKBRST grow in his career over the last year or so, and when he sent me the demo for this song, I thought I could help take it to the next level. I liked the vibe of the drops but thought it needed more of an identity so I incorporated some of my favorite futuristic/sci-fi vibes. I am a firm believer in helping to lift up newer artists so I’m happy to be contributing to BLKBRST’s world domination!” Follow both BLKBRST & HIGHSOCIETY on Instagram for daily updates and information on new music. Stream “One of Them” above, courtesy of Soundcloud. The post BLKBRST X HIGHSOCIETY Collab on New “One of Them” : Listen appeared first on Verge Campus. Source

Deep Cuts is a new feature in which we look past the hits and dig into the buried gems of our favorite back catalogs. Few modern rock bands have a discography that can match the scope and quality of the The Smashing Pumpkins’ catalog. Since the outset of the ’90s, William Patrick “Billy” Corgan Jr. has repeatedly emerged as more than just one of the most prolific and versatile songwriters around. His role as a self-proclaimed “auteur of data” for the band’s music has yielded some of the most vital musical statements of a generation. That the Pumpkins have almost as many official compilations as studio albums (seven and ten, including the newly released Shiny and Oh So Bright Vol. 1/LP: No Past. No Future. No Sun.) should come as no surprise. Try to quickly tally up the total tracks from their LPs to date without a calculator and you might find yourself in some trouble. But it’s more than sheer number of songs. While Corgan’s — and to a lesser, but no less crucial, extent James Iha’s – creative potency hasn’t always produced pure gold (or even “silvery” output), the band have rarely, if ever, had to favor quantity over quality to pad out a record. _______________________________________________________ Download | Listen and subscribe via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS _______________________________________________________ Iffier eras and incarnations notwithstanding, for the Pumpkins, it’s always come down to the transformative power of great standalone songs. As Corgan himself put it back in 2012: “At the risk of self-aggrandizement, I’m a pretty good songwriter.” In truth, he could be accused of underselling himself there. To coincide with the release of their 10th album, we delve deep to whittle the resurgent alternative rock heroes’ lesser-known gems — from heart-stung lullabies to life-changing anthems with face-melting guitar solos — down to an all-killer top 10. These are the very best of the band’s deep cuts. –Brian Coney Contributing Writer _______________________________________________________ Source

It’s been awhile since we’ve heard anything new from saxophone wizard, Grant Richard Kwiecinski a.k.a GRiZ. His last release, Chasing the Golden Hour – Part 2, a 10 track mix tape, was released back in 2017. Last week however, he blessed his fans with two beautiful new singles: “It Gets Better” (featuring DRAM) and “Can’t Get Enough”. GRiZ ‘It Get’s Better’ The energy embedded within “It Gets Better” is indescribable. The song begins with a heartwarming children’s choir singing alongside a regal piano melody. DRAM’s vocals soon enter and add another level of depth to the track. Once the drop comes though, its game over. A smooth, silky sax plays over a groovy funk beat that only GRiZ could produce. The message behind the song is important to note as well. No matter how tough times get, GRiZ wants us to remember that we should stay positive. Life can be difficult but that’s what makes it so precious. Without a doubt, this song can definitely turn any mediocre day into a great one. Listen to “It Gets Better” below: “Can’t Get Enough” accompanies “It Gets Better”, on this most recent release. This track incorporates heavy influences of blues and funk. It’s gritty, powerful and even features the vocals of the man himself, GRiZ. Watch the lyric video for Can’t Get Enough below:  As a fan, it’s hard to wait for new content from your favorite artists. However, quality music takes time and I’m thankful that GRiZ put such an incredible effort into these tracks. We can’t wait to see what he drops next. Follow GRiZ: Website Facebook Twitter Instagram Soundcloud Spotify The post GRiZ Teams Up with DRAM on Warm New Single “It Gets Better” appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Get ready all you peener and sweetie fans, because puberty is coming again. Netflix has renewed its animated series Big Mouth for a third season. The wild, clever comedy was created by Nick Kroll and Andrew Goldberg, who mined their own awkward pubescent years to tell hilarious yet enlightening tales of growing up. Kroll stars as Nick “Big Mouth” Birch, Maurice the Hormone Monster, Coach Steve, Rick the Hormone Monster, and Lola, while comedian John Mulaney voices Nick’s best friend, Andrew. Jessi Klein (Jessi), Jason Mantzoukas (Jay), Jenny Slate (Missy), Fred Armisen (Nick’s dad, Elliot), Maya Rudolph (Connie the Hormone Monstress), and Jordan Peele (the Ghost of Duke Ellington) also star and are expected to return. Season two of Big Mouth debuted on October 5th to more rave reviews. In addition to tackling topics like contraceptives, developing breasts, and drugs, it also introduced concepts like the Shame Wizard (David Thewlis), Depression Kitty (Jean Smart), and Human Resources. Source

Tekashi 6ix9ine is currently without a manager, booking agent, or publicist, but he’s still is moving forward with plans to release a new album this coming Friday, November 23rd. He’s now revealed the album’s titled — Dummy Boy — along with its 13-song tracklist. Kanye West and Nicki Minaj both appear on two tracks, including one together (“Mama”). Minaj is also featured on the album’s hit lead single, “Fefe”. Other guest contributors include Gunna, Lil Baby, and Bobby Shmurda. See the full tracklist below. Dummy Boy marks 6ix9ine’s debut studio album and follows the release of his Day69 mixtape, which was released back in February. Dummy Boy Tracklist: 01. Stoopid (feat. Bobby Shmurda) 02. Fefe (feat. Nicki Minaj and Murda Beatz) 03. Tic Toc (feat. Lil Baby) 04. Kika (feat. Tory Lanez) 05. Mama (feat. Nicki Minaj and Kanye West) 06. Waka (feat. A Boogie Wit Da Hoodie) 07. Bebe (feat. Anuel AA) 08. Mala (feat. Anuel AA) 09. Feefa (feat. Kanye West) 10. Kanga (feat. Gunna) 11. Tati (feat. DJ SpinKing) 12. Wondo 13. Dummy (feat. Trife Drew) Revisit the video for “Fefe”: Source

In an interview with British Vogue that also touched upon his religious beliefs, Zayn Malik seemed to confirm the long-standing rumor that his collaborator and friend Taylor Swift actually does sometimes travel inside a giant suitcase. When asked about relationship with Swift and her ability to avoid paparazzi, the former One Direction member’s eyes went wide. “She was traveling around in a suitcase,” he revealed. Last summer, the suitcase theory was spread across the internet after various outlets reported that a fleet of cars carrying several security guards arrived outside Swift’s apartment in New York City’s Tribeca neighborhood to carefully transport a human-sized suitcase into one of the cars. It would now seem that the theory might hold some weight, so don’t expect any paparazzi shots of the Reputation star anytime soon. Check out an image of last summer’s mysterious suitcase transport below and decide for yourself. Taylor Swift in a suitcase, photo by JCNYC / Splash News/JCNYC / Splash News Source

A small festival in Casino, on the outskirts of NSW has been hit with a quote 10 times larger than previous years to have NSW Police in attendance in what is being considered as an inadvertent way to halt the event and has led to a showdown at the Land and Environmental Court. Last year Bohemian Beatfreaks, under the parent company Rabbits Eats Lettuce paid around $16,000 to have a number of Police on-ground in what is largely seen as a requirement for festivals to proceed in New South Wales (sort of like paid security, but you need them otherwise your event won’t happen), but with just a week until the start of the 3-day festival, the quote was increased to $200,000 to have up to 70 officers on-site – to put that in perspective, that’s one officer for every 42 people. This follows the NSW Police withdrawing their support citing a number risks at the festival and putting the event into the ‘extreme’ category even without any serious incidents since the local Richmond Valley Council had begun approving permits since 2015. A spokesperson for the event Mr Lamir-Pike told ABC that “It seems as though they’ve given us a hefty $200,000 user-paid police quote to try and price us out because they feel that they might lose this court case,” adding “We have a dedicated emergency manager on site who was in the Victorian police force for many years and our medical facility can accommodate pretty much anything except for surgery,” Mr Lamir-Pike believes the quote is excessive considering the capacity of around 3,000 and sees NSW Police somehow comparing his event to Defqon 1 earlier this year that saw two tragic deaths even with over 150 officers in attendance including undercover police and drug detection dogs. The court action comes as two warehouse events were raided and shutdown over the weekend in Sydney with a third warned not to proceed as well as a major ramp up in police presence and drug detection dogs at Summer Dance, coincidentally the same week that the Lockout laws were to be voted on in NSW Parliament. Is this all just one last push by the NSW Liberal Government to cripple the industry, before facing an election next year, with nearly three attempts to table a vote, on the heels of a damning report by their own Parliamentary committee about the state of music? To support the festival, head to their Facebook page here! >> Festivals around Australia already do a lot to keep patrons safe, check out an exhaustive list of things they do here >> Check out a list of recent drug possession statistics at music festival here that show music festivals aren’t as dangerous as some might think >> Read up on the double-standards of the raves vs music festivals Source

The world doesn’t need another Twilight takedown, so I’ll begin here by saying this: Twilight, more than any superhero movie or Star Wars reboot, makes me remember what it was like to be a teenager. Not in the sepia-toned ways prompted by recent nostalgia-heavy hits like mid90s or Lady Bird, which tend to gaze back at one’s teens with a sense of wistfulness, wonder, and well-meaning pity. Twilight is much more immediate than all of that, a movie made specifically for teens that carries with it no sense of retrospective wisdom. Twilight takes the mile-high emotions and starry-eyed declarations of its players so, so, so seriously, which is, of course, both its biggest strength and most embarrassing weakness. No adult should ever have reviewed this movie, and no adult should review it now. I, being an adult, acknowledge that this isn’t an ideal way to begin this piece. Watching Twilight for this review was my first encounter with the franchise. It will almost assuredly be my last. I hate this movie. It’s everything I imagined it would be after years of reading blisteringly cruel reviews and watching my tween nieces and nephews consume the books with hearts pumping in their eyes. As a self-consciously smug film buff in 2008, a starving artist emerging from a liberal arts education that filled my head with the lofty words of Joseph Campbell, Susan Sontag, and Harold Bloom, I took a small amount of pleasure in the critical backlash to Catherine Hardwicke‘s adaptation of Stephanie Meyer’s bestselling YA novels, one that cloaked itself in the superiority of knowing that the film’s box office pull ($69.5 million in its opening weekend alone) was merely another sign of the rising vacuity of our times. Let me assure you that that phase has passed; if anything, the last decade has taught me that we inevitably return to the pleasures we found as youths, thus spurring on my reignited love of professional wrestling and schlocky dating shows. I still pursue high art, but I’m also the first in line to see the latest Fast & Furious sequel. That said, I still hate Twilight. The story is fine by virtue of being so boilerplate: Thoughtful, beautiful teenager Bella Swan (that name!) moves to an idyllic mountain community, where she falls for a mysterious stranger, Edward Cullen (again, that name!), who just so happens to be a vampire in a large vampire family. The push and pull of their emotions is illustrated by his inability to control his appetite for blood; their longing for each other has life-and-death stakes, giving it the electric sense of danger so integral to young love. It’s also not afraid to lean fully into horror, with a band of evil vampires opposing the good ones — the evil ones feed on humans, to be clear, while the good ones feed only on animals — and targeting Bella, who the Cullen family has sworn to protect. That’s all fine, but Hardwicke’s queasy direction is cloying, frenetic, and riddled with disorienting, black-and-white cutaways that aim for PG-rated erotica and fail, as all PG-rated erotica inevitably must. You can’t place all the blame at her feet, however, as the studio didn’t have much faith in the project, with the entire thing having been shot in 44 days on a $37 million budget. Also, at least it has a look; much has been made of the film’s ubiquitous blue hues, but they certainly help conjure the story’s chilly, overcast milieu. Honestly, if anything stands out as truly egregious, it’s the Cullens’ powdered faces, if only for the fact that their skin never looks like skin. They are cartoons, ones that linger on the verge of humorlessness. Truly, the film’s best scene comes when Bella arrives for a dinner party with the Cullens, who are doing everything in their power to approximate a human’s idea of a dinner party. It’s a beam of sunlight in a dreadfully portentous world, one that works infinitely better than the eye-rolling antics of Bella’s overexcitable high school pals (among them a young Anna Kendrick!) and the whiplash mood shifts of Edward, whose behavior around Bella is frustratingly inconsistent. Of course, everything about Edward is frustrating, largely due to Robert Pattinson‘s huff-and-puff performance. Having never seen the Twilight movies previously, I had no preconceptions about the guy, so unlike many of my fellow film snobs, I readily accepted what many consider the advent of his shift into indie darling: David Cronenberg’s Cosmopolis. Just last year I was screaming “Oscar!” at his sweaty, transcendently anxious performance in Good Time. But, holy moly, he is stunningly bad in Twilight. Kristen Stewart is, too; as Bella, she’s all breathy sighs and performative longing, but her pitfalls can be blamed on the atrocious writing more than anything. “I’m more a suffer-in-silence-type” is a slice of dialogue no actor could make work. Pattinson, however, mugs and hisses and emotes in ways that display not a lack of talent so much as a sense of bewilderment — “What do I do with this shit?” seems to be the question underlying his every move, and his public reactions to the franchise more or less confirm that suspicion. And then there’s the scene. You know which one. Edward and Bella, having circled each other time and again, finally confess their love to each other in a grey forest, Edward leaping nimbly between branches while telling her, hilariously, that Bella is his “own personal brand of heroin.” He adds that he’s also “the world’s most dangerous predator,” a line that only gets funnier when the sun causes his face to break in a CGI patch of stupid, swirling glitter. An adult should never review this movie, because no adult could watch that scene and not laugh. At the bad writing, the bizarre logic, and perhaps most of all, the big, dumb emotions. But think about it: we’re laughing at it because we recognize it. I do, at least. As pre-teens, we are nothing if not earnest about our feelings. We’ve yet to be numbed, to be cautious, to be scarred; love is not only real and possible, but it must be articulated, it must be scooped from your inner recesses and flung at the object of your affection. And the fantasy is that they’ll bathe in it, the hyperbole of their own declaration eclipsing yours. Watching Twilight, I was floored by how earnest all of this was, how seriously everyone involved took what is clearly a horrible, unhealthy, doomed relationship. And is there anything more teenage than that? It’s impossible to find a scene like that in this age of irony and synergistic franchise planning, where studios aim to capitalize on modern trends of loose, self-aware comedy, while also angling to appeal as much to adults as teens. Twilight is aggressively, unabashedly not for adults, a fact that, as this wonderful Refinery29 piece on the movie points out, really seemed to irk the (mostly white, male) critics of the time. No shortage of their reviews speak derisively of the teengirl fanbase that kept it alive, which is a bizarre reaction. I don’t say that in a poptimist kind of way, as I truly don’t think there’s anything of cinematic worth to take away from this film. But there really wasn’t much to take from 1989’s The Wizard, another film that only a kid could love (and, boy, did I love it). To hate something because it speaks to kids and not you is to reveal your own insecurities: You don’t get it, therefore you don’t get them, therefore you are old. But we do get it, we just don’t relate to it anymore. We’d all be better off recognizing that. Twilight helped kick-start the surge in YA adaptations’ popularity, and I genuinely don’t think it’ll get lost in the morass of so many new, genre-flecked titles. Because no matter how bad the writing is (and dear god is it bad), Meyer’s book, and by extension Hardwicke’s movie, treats the blind, stupid, hormone-driven idiocy of horny teens with a reverence that perhaps no other story has managed. Your 13-year old self would’ve loved it. I know mine would have. Source