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The Pitch: The late Stieg Larsson’s Millennium Trilogy, which began with The Girl in the Dragon Tattoo, is a literary phenomenon that’s so far yielded three cinematic adaptations of mixed success and quality. Whatever the failings of those films, this must be said: They’ve attracted some great female performers, because the character on who they center is incredibly compelling. Noomi Rapace and Rooney Mara have both taken a turn as Lisbeth Salander, and now it’s Claire Foy’s turn. And because it’s Claire Foy’s turn, The Girl in the Spider’s Web cannot honestly be called a colossal waste of time. It’s merely a moderate waste. Spider’s Web bears the subtitle “A New Dragon Tattoo Story,” so called because the novel on which it’s based was written after Larsson’s death by David Lagercrantz. But while the action skips ahead considerably from the events of the first story, the adaptation requires only a passing familiarity with the players to comprehend. Salander (Foy) is a defiantly queer, taciturn computer hacker and vigilante with a deeply troubled past, who acts as an avenging angel for abused women and children. Mikael Blomkvist (Sverrir Gudnason), a journalist with a very busy love life, has been at times her friend, collaborator, lover, confidante, and chronicler. When the former is hired by a brilliant client (Stephen Merchant) to steal a program called Firefall (Firefall!) that controls every nuclear weapon on the planet at the push of a button — yes, that’s really what it does — things go badly, and when they do, she’s forced to turn to the latter for help. That’s not an easy ask for Lisbeth. We know this because we see her struggling to glue a back wound together without help, even though her hacker buddy (Cameron Britton) is right there. (The wound is on her tattoo, naturally.) But when things go wrong, for Lisbeth, they go very, very wrong. The incredible wrongness, in this case, involves a nefarious group called the Spiders (get it?), a mysterious blonde (Sylvia Hoeks) from her past, a tourism-hating NSA agent (Lakeith Stanfield), and a human MacGuffin in the form of a small genius child (Christopher Convery). Shit blows up. Things are hacked. The tattoo, it is a dragon. Queen of Making It Work: Let’s not put too fine a point on it. There are exactly three reasons to watch The Girl in the Spider’s Web. One: You’re a Millennium completist. Fine, watch the thing. Two: It’s six years in the future, and TNT is on, and they know drama, and you really don’t want to do laundry, and lo, this thing comes on. Fine, watch the thing. Three: Claire Foy is in it. The recent Emmy winner (for The Crown) does her level best to deepen, and then fill, this shallow, leaking basin of a story; her pauses are pregnant, her stares pointed, and her silences dynamic and varied. When left to her own devices, Foy lends the movie the tension that director Fede Alvarez (also one of the screenwriters) seems to assume will just arrive automatically. There’s more going on in one of Lisbeth’s silent walks than in nearly all the scenes that don’t include her, combined. She handles the action set pieces well, but in her moments between, the film suddenly comes to life. It’s a hell of an accomplishment in a film unworthy of such a performance. Lisbeth Salander spends nearly two hours of runtime either chasing or being chased, but she doesn’t get really get anywhere. Unforgivable: On the other hand, Gudnason, Britton, Stanfield, and most vexingly, Vicky Krieps are given fuck-all to do besides (in order) look mournful, look nervous, look frustrated, and look beautiful. The film’s screenwriters are right to focus on Lisbeth, but wrong to hand actors of the calibre of these four a bunch of paint-by-numbers milquetoast bullshit. If Alvarez had spent one-tenth of the time on character development that he spends on unnecessary drone shots, he’d have spent many hours on character development, and we might have something worth seeing. Alas, the drone shots are endless — nearly as endless as the stark gray interiors with gorgeous windows overlooking a gray landscape. We need lots of that. But a decent scene for Vicky Krieps? Nah, why bother. It’s a Film About Geniuses, Don’t Overthink It: If Spider’s Web wants to reduce Lisbeth Salander to an action hero and little else, that’s it’s prerogative. It’s a baffling call, but let’s roll with it. One of the great pleasures of a smart action film is watching our protagonists and villains alike outwit, as well as outrun, each other. And in Lisbeth, the film has a character with off-the-charts intelligence. Why, then, is this thing so stupid? That’s not to say that the characters, Lisbeth and her friends in particular, don’t sometimes do clever things. When something blows up in the film’s first act, Lisbeth makes a run for a conveniently full bathtub and survives the blaze beneath the water’s surface. An enemy crosses a bridge toward her, and the solution is a button-push away (no hacking required, thank god). When she needs to bust someone out of an airport lockup, she sets a fiendishly complex plan into motion, and watching it unfold is one of the film’s most genuine pleasures — though to call it implausible would be to do a disservice to Bigfoot and the moon-landing-was-faked theory. Yet the film is better summed up by a moment when Blomkvist, a professional journalist with many internet-ready devices at his disposal, smashes the glass of a framed copy of his own magazine to check the text of his own story for a fact. Does it make sense? No. Is it what a human being would do? Of course not. Is it kinda dramatic? It’s supposed to be. “Abuse is bad.”: That’s about as much thought as The Girl In The Spider’s Web puts into the question of the cycle of abuse, survivor’s guilt, and a lifetime of trauma. It’s there as a substitute for anything resembling complexity in its villain; it’s there because it’s creepy and fucked-up. It’s not there because Lisbeth Salander is an avenging angel, because the movie has almost no interest in that aspect of the character. It’s all just window dressing, and that, in short, is fucked. The Verdict: There’s a scene in The Girl in the Spider’s Web in which Lisbeth Salander is defeated by a child at chess. She doesn’t realize it at first — the child in question simply gets up and walks away from the board, probably off to stare moodily out a window. She asks him why he doesn’t want to finish the game, and he looks at her in surprise. “Oh,” he says. “Checkmate.” Startled, she looks down at the board. It is, indeed, checkmate. She knocks over her King, and the story moves on. The kid is smart. Lisbeth is surprised, but also not surprised, and probably lots of other things. She might need to stare out a window, too. There’s a parallel in there somewhere, between The Girl in the Spider’s Web and that scene — the kid so aware of his own victory that he forgets to actually finish the game, the extraordinary woman bested and startled by a genius child, the limpness of a conclusion willingly foregone. It’s there, but it’s tempting to get up from the board and walk away from it, leaving the actual connection unexplored. That’s what the movie does, so it’s only fair. The Girl in the Spider’s Web does not give a single fuck about any of its characters, or any of their thoughts, feelings, actions, and reactions. It does not even care about making them behave in a way that’s recognizably human. It just wants your money, please. Y’all like those Dragon Tattoo books, right? Here you go, here’s your fuckin’ movie. All sales final. Where’s It Playing?: International wide release, starting November 9th. Trailer: Source

Conan O’Brien is the longest tenured late night host in the biz, but his world is changing. While TBS’ Conan isn’t going away, it is going smaller beginning in January, dropping down to a 30-minute format while axing musical guests and even Jimmy Vivino and the Basic Cable Band. While that means less of Conan on TV, it also gives him more time for other projects, and that includes a brand new podcast coming to Earwolf. The comedian is launching a 36-week podcast series called Conan O’Brien Needs a Friend. As the title suggests, the pod will find Conan looking to turn some of his favorite late night guests into actual friends. In a trailer, the host recounts how all his friends work for him and how all those congenial celebrities he talks to on the couch “get in a black SUV and they leave” when the cameras turn off. Now, he’s looking to turn them into “someone who would meet me at a Denny’s and grab a bite to eat.” (Read: Conan O’Brien’s 10 Most Memorable Music Performances) “After 25 years of extensive market research we have learned that people want to hear my voice without seeing my face,” O’Brien said in a statement. “So rejoice, America.” Conan O’Brien Needs a Friend kicks off November 19th with Will Ferrell as the inaugural guest. Future announced episodes will find O’Brien chatting with Kristen Bell, Bill Burr, Dax Shepard, Nick Offerman and Megan Mullally, Wanda Sykes, and a New Year’s Eve episode with Marc Maron. You can hear on Apple Podcasts, Spotify, Stitcher, and Google Podcasts. You can listen to an introductory trailer and a preview of the first few interviews via iTunes. Team Coco recently launched a complete archive of all of Conan’s late night shows across both NBC and TBS. Source

The niece of Sister, Sister actress Tamera Mowery was among the 12 people killed in a mass shooting in Thousand Oaks, California on Wednesday night. Alaina Housley, a freshman at Pepperdine University, had gone dancing with a group of girls at the Borderline Bar in Thousand Oaks. The gunman, a Marine veteran named Ian David Long, opened fire shortly before Midnight local time, according to the New York Times. “Our hearts are broken,” Mowery and her husband Adam Housley said in a statement. “We just learned that our niece Alaina was one of the victims of last night’s shooting at Borderline bar in Thousand Oaks.” “Alaina was an incredible young woman with so much life ahead of her and we are devastated that her life was cut short in this manner. We thank everyone for your prayers and ask for privacy at this time,” the statement added. In addition to the 12 people killed, over 20 people were wounded in the shooting. The gunman took his own life after being confronted by police, the Times reports. Source

Chow Mane has been rapping “Ever Since” he first heard Tha Carter III. Chow Mane, who just premiered his new music video through Earmilk, is ready to break out of whatever box he may be put in. “Ever Since” is a bouncy, feel-good, Hip-Hop jam anthem and the video is like a psychedelic journey through a botanical garden. Since his Mooncakes EP, which mainly focused on his experiences as an Asian-American, Chow Mane has been trying to defy the notion that he is nothing more than an “asian rapper.” With this new single and his upcoming project, due out next year, he seems to be doing just that. We got a chance to speak with him about finding his identity and the making of the “Ever Since” video. Catch the full interview after the break. How ya doing today? Good! Been traveling a lot these past few weeks and meeting a lot of creatives, eating a lot of good food. What was your inspiration behind “Ever Since”? A lot of different things came together for “Ever Since”. In high school I used to sing and play keyboards in a rock band in addition to rapping, so I wanted to bring some melody back into my songwriting and make something infectious and unique. The falsetto was something I used to do when I was younger, and for “Ever Since” I was really trying to use the same voice crack to higher pitch you hear a lot in country music. Future’s verse in “King’s Dead” was a big inspiration behind that. The subject matter was in general about the momentum I’ve been picking up in the last year. A lot of people I knew back in high school or earlier that didn’t really fuck with me like that have been reaching out and asking for things. I made the melody before the lyrics, and just wrote what was on my mind – so you see references to David Lynch as I had just watched Twin Peaks S3 and Ralo as I was listening to his tapes heavy. Where was the “Ever Since” video filmed? “Ever Since” was filmed in the Berkeley Botanical Gardens out in Berkeley, CA. Tim Slew from Soundlapse made the trip down from Portland to work on the project. You can see cameos from some guys in my collective (Anton Doty & Sahih Rankz) and some other friends. “Ever Since” has a different feel to it than a lot of what you’ve released previously. Is this the musical direction you think you’re heading in? And if so, what made you make this change? I wouldn’t say that “Ever Since” is the definitive sound of the direction I’m headed in, but I’m definitely moving away from the style that I delivered on “Mooncakes”. On “Mooncakes” I was rapping a lot about my experience as an Asian American because that was the concept of the project. On “Ever Since” and on my upcoming album, “SIMMERING,” I’m touching on a lot more diverse subjects, and bending a lot more genres to create more dynamic songs. I still love producing and rapping over raw hip-hop tracks, but I have a lot more ideas beyond that. What originally made you want to rap? My uncle used to pick me up from school a lot when I was a kid because my parents were both working. On the drive home, he’d always be playing hip-hop radio, or one of his CDs (mostly g-funk tapes). I learned about cadence and delivery mostly from old Snoop and Too $hort songs as a kid, and I started writing my own raps around 2008 after hearing Wayne’s “Carter III”. I loved writing punchlines and playing with words. What made you stick with it? Once I started writing and rapping, I didn’t stop. I learned how to produce in 2010, my sophomore year of high school. After that, it was just a process of writing and practicing, trying out different styles. I made beats in the style of a lot of camps – Odd Future, Raider Klan, Jet Life, HBK/P-Lo, 1017 Bricksquad – before I found my own. How do you feel being a Chinese-American rapper has affected the way your music has been received? A lot of people are initially skeptical when they hear that I rap. That usually changes after they hear me flow. Not always, though. I remember one of my early shows in Santa Cruz, a white kid came up to the front row during my set and tried to hand me a calculator haha. Since a lot of my catalog is from the “Mooncakes” project as well, I also have to tailor my sets depending on the crowd. For example: If I see a lot of Asians, I know they go crazy when I drop “ABG,” but if not, most of the time people just nod and scratch their heads. In general though, I want to cross that barrier so that my race isn’t a factor in determining if my music is good or not. Except for songs where I’m specifically referencing something about my heritage, I think most of the music I’m working on transcends racial barriers, and I’ve gotten a lot of love from all races performing those tracks. Did the under-representation of Asian rappers ever deter you from your musical dreams? (or empower you) Not at all, if anything I think it gives me a unique perspective and voice. Even if we put “Asian” aside, I think that my music is pretty unique for hip-hop in general, let alone for “Asian” rap. You’ve said you didn’t want to be boxed in as an “Asian Rapper”, did you feel that that’s how you were looked at after Mooncakes? Definitely. It was dope that the project was championed by a lot of Asian Americans. The title track, “Mooncakes”, struck a lot of chords because it shed light on an experience that many Asian Americans shared: family of refugees/immigrants, lot of people in a house, working as a child, focus on family values, etc. At the same time, a lot of people who never lived that experience couldn’t relate, and saw me as someone who was only rapping about the Asian American experience. Even though I released “Cozy” and the “Little Luvin'” EP, songs from “Mooncakes” were still the tracks that were the most associated with me, because they were the most championed. Has the desire to break out of the box, so to speak, forced you to try and explore new things in your songwriting? Or did you always have much more to write about and just felt that sharing your experiences that involved your ethnicity was the right thing to do at the time (Mooncakes)? I’ve always wanted to explore new things. I’m a fan of artists who take risks in their music, and I think it’s great that hip-hop is starting to incorporate all these different sounds. A lot of the songs on “Mooncakes” like “ABG”, “Kamikaze” and “Dumplings” were actually written and produced in 2015, but were put on the project because they fit the concept. I have other songs from that same era that don’t fit that concept but will be put out soon, including a song called “Crows” I’m releasing on Dec 4th as a part of my “Lighthouse” EP! While still under-represented in Hip-Hop culture, over the past year there has been a surge in Asian artists like Rich Brian or Joji, both within their collective 88Rising. How has seeing them blow up affected you? Are you a fan of their stuff? Do you consider yourself to have a similar audience? I think 88rising artists are dope, and make great music. Definitely a fan. Neither Rich Brian or Joji are Asian American though, actually, so I think I’m able to provide a perspective that they may not be able to. I think the music I make and am making is also stylistically pretty different from any artist on 88rising – my flows, production, and wordplay are very influenced by my growing up in Northern California and listening to a lot of hip-hop (mostly Bay Area & Southern) and psychedelic/experimental rock. What are some of your other big Hip-Hop influences? Currently: Andre 3k, Curren$y, Allblack, Gucci, Future, Mac Miller, Guapdad 4000 What’s next for you? I have a 2 song EP called “Lighthouse” coming on Dec 4th, some videos on the way, and my first independent album “SIMMERING” in early 2019. Anything else you’d like to speak on? Really thankful for the opportunity to talk! I have a Youtube cooking series that I might release later this year or early next year, so keep an eye out for that. Subscribe to my channel and follow me on social media to stay updated! Find more from Chow Mane here. The post Interview: Chow Mane On Sidestepping Stereotypes And New Video For “Ever Since” appeared first on Verge Campus. Source

Only three years ago, Marshmello was just releasing his first originals on Soundcloud. Now, he’d made $44 million over the past two years, flies private, has a helmet worth $55,000, and is on the cover of the Forbes 30 Under 30 issue. Marshmello is an anomaly in music, rising faster and with more force than any other artist in recent memory. But, to say that it was all just “right time, right place” isn’t doing justice to the genius of the Marshmello brand. “For us it was, how do you create a brand that is accessible to everybody, that everyone can be and relate to?” says Marshmello’s manager, Moe Shalizi, who also landed on the new 30 Under 30 list. “The concept we had in mind with Mello was, How do you create a universal character?” The mask certainly affords Marshmello a certain degree of anonymity and universality, despite his identity being officially revealed as Chris Comstock, fka Dotcom. Marshmello has yet to make any public acknowledgement of his identity, and he doesn’t need to. He’s been portrayed by anyone from Shawn Mendes, to Will Ferrell, to Tiësto, and they are all at the same time both Marshmello and not Marshmello. Shalizi claims that Marshmello is on track to make $50 million next year, and it’s entirely believable. Between his six-figure fees at clubs and festivals, to his side ventures in “Cooking with Mello” and his weekly gaming videos with Twitch superstars, he has more sources of revenue than he can count. “We always talk about taking Marshmello public one day,” says Shalizi, referring to turning the DJ’s business into a publicly traded company. “He can do anything.” What a feeling…we made it to@the cover of @Forbes in 3 years mellogang! pic.twitter.com/JexUs8TmGY — marshmello (@marshmellomusic) November 8, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Marshmello Features On Cover Of Forbes’ 30 Under 30 Issue Source

There are many opinions towards Ariana Grande, but, one that we can all agree on is her strength and resilience towards adversity. Over the past couple of years, Grande has witnessed a lot of strife. From her past relationships to the Manchester shooting, she has lived a tumultuous life. At just 25, she has gained the wisdom and experience of an elder and thus, has continued to be an example of strength in the music industry. An amazing role model for young girls and even for adults, Ariana reminds us to be optimistic even in the most trying times. Courtesy of Entertainment TonightOn November 3, 2018, Grande released her new single, thank you, next. After the shocking death of the late, Mac Miller, many people criticized Grande. Furthermore, the sudden announcement of breaking off her engagement with her then fiancé, Pete Davidson, was also a huge shock. There was a lot of speculation on why the courtship ended so suddenly as well as why the whirlwind romance brewed so rapidly. Amidst all of the gossip, Grande trumped all of the tabloids and continues to positively surprise the public by not bashing on her exes. Here’s the song: For many years now, she has remained in the spotlight. Being the woman who has constantly reached success, she has also witnessed a lot of despair. Through thick and thin, she remains positive and continues to display her humble attitude through her catchy songs. Thank you, next completely emulates her grateful nature. Most people toward their exes display animosity and disgust. Yet, Grande is one of the few who appreciates her past relationships. With this song, she reflects on her past loves and provides the wisdom that she has gained through each. Furthermore, she gives and rawness that makes you feel like you are truly a part of her life. From Big Sean to Pete Davidson, she does not exclude anyone on this jivey track. Courtesy of NMEHer song emulates this with its groovy beat and catchy tune. While listening, you wouldn’t consider that this is about her failed relationships. Similar to her song, get well soon, she spins misery into happiness and shines a light on how to climb out of the darkness. Whether you like Grande’s music or not, you cannot deny her strength. 2018 has been a crazy ride for her and 2017 even crazier. Yet, she continues to persevere and move on from a tragedy. Dominating the music industry and holding her head tall, this 5’0 singer can defy anything. The post thank you, next: A Song That Appreciates Past Relationships appeared first on Verge Campus. Source

The infectious new single ‘October’ by UK born producer Cobble is now out for release and we love it. Coming as the first in a futuristic hip-hop/electronic series, we are proud to present the official video to this wicked cut today. Direction is by Stella Foster and production from Ryan Jafarzadeh, whilst the dancer and choreographer featured is Julia Vandoorne. The striking dance film perfectly complements the off-beat yet dynamic energy of Cobble’s ‘October,’ and its soulful vibes make for an expressive display of movement from Vandoorne. You can check out the film in full here. This article was first published on Your EDM. Source: Your EDM Premiere: Cobble – October (Official Video) Source

This past week, Action Bronson released his latest full-length White Bronco. The album marks the Queens rapper and culinary personality’s first independent release following a split with Atlantic Records, which released last year’s Blue Chips 7000. Today, the notoriously boisterous live performer announced a corresponding national tour slated for next year in support of his new LP. The 14-date itinerary begins February in Boston, and runs across the country including stops at New York, Philadelphia, Detroit, and Oakland – as well as a sole Canadian show in Toronto – before wrapping up at The Novo in Los Angeles a month later. Fellow New York rappers Roc Marciano and Meyhem Lauren will be joining Bronson for the duration of the tour. Find Bronson’s full itinerary below, and grab tickets here. Action Bronson 2019 Tour Dates: 02/11 – Boston, MA @ Paradise Rock Club 02/13 – New York, NY @ Irving Plaza 02/14 – Brooklyn, NY @ Warsaw 02/16 – Philadelphia, PA @ Franklin Music Hall 02/20 – Toronto, ON @ The Danforth Music Hall 02/21 – Detroit, MI @ Saint Andrews Hall 02/27 – Sauget, IL @ POPS – MJP 03/03 – Salt Lake City, UT @ The Depot 03/07 – Seattle, WA @ Neptune Theatre 03/09 – Portland, OR @ Roseland Theater 03/11 – Oakland, CA @ Fox Theater 03/13 – San Diego, CA @ House of Blues San Diego 03/15 – Santa Ana, CA @ Observatory 03/16 – Los Angeles, CA @ The Novo Revisit White Bronco’s luxuriously pretty title track below. Source

Elohim is easily one of 2018’s brightest rising stars. From joining Alison Wonderland and The Glitch Mob on tour, to releasing her debut sophomore Elohim, she’s been winning over the hearts and minds of fans all year. Now with only a little less than two months left in the year, she’s just put out a new track co-produced by Skrillex, “Connect.” While the track is no “Sleepy Eyes” or “Hallucinating,” it no doubt symbolizes a sort of “I made it” moment when you get Skrillex to co-produce one of your songs. It’s also out via Skrillex’s label OWSLA. “Connect” features a bit less of the Skrillex production idiosyncrasies than we’re used to, but honestly, that only makes it better in our minds. The track is all Elohim, simply bolstered by Skrillex’s skill in the studio. It’s a dreamy, synth-laden adventure and we can’t get enough. Check out “Connect” by Elohim, co-produced by Skrillex, below!  This article was first published on Your EDM. Source: Elohim Teams Up With Skrillex For New Track “Connect” Source

There are a number of reasons for a band to drop off a tour, including the recent partial toe amputation that forced High on Fire off their planned trek with Municipal Waste, but font size is certainly a new one. Yes, that’s right, Bad Omens have apparently dropped off their support stint on the newly announced Amity Affliction and Senses Fail co-headlining trek because they weren’t happy with the size of their name on the tour poster. The “Misery Will Find You Tour” was just announced a couple days ago in a press release, with The Amity Affliction and Senses Fail co-headlining, along with support from Bad Omens and Belmont. But today, Both Senses Fail and Amity Affliction broke the news about Bad Omens, stating, “We have to let you know that Bad Omens have pulled out of this tour. They were unhappy about the size of their name on the artwork and felt the need to pull out the day after we announced.” The statement continued, “Both The Amity Affliction and Senses Fail are working hard to find a replacement and we look forward to sharing that with you as soon as possible.” MISERY WILL FIND YOU TOUR UPDATE pic.twitter.com/nlgtoVNhi7 — Senses Fail (@SensesFail) November 8, 2018 The North American trek kicks off January 4th in Anaheim, California, and works its way east before returning to the West Coast for a tour-closing show February 9th in Los Angeles. Full dates can be seen below, along with the original tour poster in question. UPDATE: Ash Avildsen, the founder of Bad Omens’ label, Sumerian Records, has lashed out at the co-headlining bands for publicizing the supposed reason behind the news. older bands bullying younger bands, both privately in deal points and publicly on the internet. cool story guys. take notes from the movie business- bullying people in the industry will no longer be tolerated-no matter who your manager or agent is, or how “powerful” you are. — Ash Avildsen (@ashavildsen) November 8, 2018 Amity Affliction, Senses Fail + Belmont 2019 Tour Dates: 01/04 – Anaheim, CA @ House of Blues Anaheim 01/05 – Las Vegas, NV @ Brooklyn Bowl Las Vegas 01/06 – Phoenix, AZ @ The Van Buren 01/08 – Dallas, TX @ Gas Monkey Live! 01/09 – Houston, TX @ House of Blues Houston 01/11 – New Orleans, LA @ Joy Theater 01/12 – Orlando, FL @ House of Blues Orlando 01/13 – Tampa, FL @ The Orpheum 01/15 – Atlanta, GA @ The Masquerade 01/16 – Charlotte NC @ The Underground 01/18 – Baltimore, MD @ Rams Head Live! 01/19 – Worcester MA @ The Palladium 01/20 – Philadelphia, PA @ Franklin Music Hall 01/22 – New York, NY @ PlayStation Theater 01/24 – Montreal, QC @ Club Soda 01/25 – Toronto, ON @ Phoenix Theatre 01/26 – Detroit, MI @ Majestic Theatre 01/27 – Cleveland, OH @ House of Blues Cleveland 01/29 – St. Louis, MO @ Delmar Hall 01/30 – Chicago, IL @ Concord Music Hall 02/01 – Denver, CO @ Summit Music Hall 02/02 – Salt Lake City, UT – The Complex (Grand Room) 02/04 – Seattle, WA @ The Showbox 02/05 – Portland, OR @ Crystal Ballroom 02/07 – Sacramento, CA @ Ace of Spades 02/08 – Santa Cruz, CA @ The Catalyst 02/09 – Los Angeles, CA @ The Regent Source

Origins is a new music feature that asks an artist to divulge the influences behind their latest track. Ariana and the Rose’s music isn’t just well suited for nightclubs, it paints the picture of one. The vocoder, the funky bass, the kaleidoscopic synths — they each summon the sweaty, colorful essence of an ’80s dance floor. It makes sense, then, that the Brooklyn-based artist is also known for her immersive light + space parties, which add a theatrical quality to her dance-ready tracks. The synth-pop outfit released an EP, Retrograde, last year, and now they’re back with new tunes to accompany a recent spate of parties. Last month, Ariana and the Rose dropped the soaring “Lonely Star”, and today Consequence of Sound premieres “Night Owl”, a vivid banger with a chorus to die for. Born out of a time of darkness, the song exists to propel people into the light, be it the one in your heart or the one shooting from a disco ball. “I was coming out of a tough few months and just beginning to feel like myself again,” Ariana Di Lorenzo says. “There had been another piece of news on TV that was just so disheartening. I sat down in the studio and wanted to make something that would lift everyone up. The mood of the song is about standing on your own two feet.” Hear it below: Ariana and the Rose shared with CoS a closer look at the song’s influences, which range from former NYC nightlife hub Paradise Garage to The Purple One himself. ’70s and ’80s Nightclubs (Paradise Garage/Danceteria): I wish there were still clubs like this in New York! I love the nostalgia of a time where people would go to the same place and know people solely from going out to these spots all the time. Night life in that era was a home away from home for people. New York City: New York is really my forever inspiration. Finding your footing in a city like New York is a rare moment in time when you feel like you can take on just about anything. It usually only lasts for an actual moment but it’s the best feeling in the world. Prince: I had been listening to a lot of Prince at the time and his cadence and melodic style definitely influenced my songwriting on this track. The light vocals combined with the banging bass line was all that was swirling around in my head at the time. The whole mood has a disco tinge, I wanted it to feel like an amazing night out. Prince had this way of making everything sound effortlessly sexy and empowering, which is what I was going for with “Night Owl”. Living Alone: I had just gotten out of a break up and was living by myself again for the first time in a while. The lyric, “You’re alone, but you’re not alone anymore” grew out of that experience. It’s when your heart and overall mood is no longer in reference to someone else and you’re just doing exactly what you want, when you want. Sequins: This whole song just feels like glam sequins to me. A sequin dress, a disco ball, a mirrored wall, anything that makes you feel glamourous. I imagine Jerry Hall or Bianca Jagger walking down the street to this song. Really anyone who’s dated Mick Jagger. I imagine it would be their walk-on music in a movie, in a sequined dress. Source

Young Thug is back in jail after failing a drug test this morning. According to The Blast (via Pitchfork), the Atlanta rapper born Jeffery Williams failed to pass a drug test at his scheduled arraignment today, and a result, has had his bond revoked. The arraignment stems from a September 2017 arrest, which resulted in the MC being hit with eight felony charges, including possession and intent to distribute meth, hydrocodone, and marijuana. He was also charged with possession of amphetamine, Alprazolam, and codeine, as well as possession of a firearm. Williams eventually turned himself in on September 11th, 2017, but then was released on bond a few days later on September 13th. Following the failed drug test, the rapper’s been officially taken in and booked at Georgia’s DeKalb County Jail. This past August, Williams was also arrested and charged with felony gun possession at Dave & Buster’s in Los Angeles while celebrating his 27th birthday and the release of his Slime Language album. Despite his mounting legal troubles, Williams has still remained productive in the studio. He dropped a Young Thug EP called On the RVN, featuring Elton John and Jaden Smith, in September, as well as contributed to Metro Boomin’s Not All Heroes Wear Capes mixtape this month. The rapper also teamed up with Juice WRLD on their collaborative project WRLD on Drugs, released in October. Source

It’s always impressive when you see two already-accomplished producers’ names on a track together; before even hitting play, your mind goes wild with imaginations of what it could possibly sound like. With JayKode and Tascione on a track together, the possibilities are endless. Both producers make their Circus Records debut with “Collide” featuring Nevve (JayKode has previously only released a remix on Circus – this is his first original on the label), and what a debut it is. Both JayKode and Tascione impart a massive deal of skill and structure to the mix, while Nevve’s voice glides angelic atop the chords. The first drop hits with a future drop slant, mixing a traditional trap tempo with a brighter, more effervescent synth style. This eventually morphs into an even more future-leaning drop with huge melodic chords. After a bridge putting the focus on Nevve, the final drop comes back in with an absolutely shiver-inducing electric guitar solo atop trap snares and bass. JayKode says of the collaboration, “This is one of my favorite tracks of the year and I’m so glad to finally get this one out. Tascione and I have been wanted to work on a track together for a while now and the collaboration itself was incredible organic. On top of it we got to have the Nevve on vocals which has been someone I’ve been wanting to work with for quite some time. So stoked to get this one finally out!” Tascione add, “I’m really excited about this release because not only is it my first release in over 6 months, but it’s also one of the most emotional and well rounded tracks I’ve been apart of. Jaykode and I really went all in and tried to make an emotional yet heavy banger that has a lot of depth and after more than a year I’m glad this finally gets to be showcased to our fans.” With all facets of the track combined, and the depth that Tascione mentions, this is definitely one of our favorite bass releases of the year. Check out “Collide” exclusively here on Your EDM today – officially out tomorrow on Circus Records! This article was first published on Your EDM. Source: Your EDM Premiere: JayKode & Tascione – Collide feat. Nevve (Circus) Source

Hugh McDowell, who played cello in ELO’s classic lineup, has died at the age of 65. McDowell joined ELO in 1972 when he was only 19 years old. He briefly left the band with ELO founding member Roy Wood to form the glam rock band Wizzard, but returned to ELO in 1973 to replace cellist Colin Walker. McDowell remained a member of the band until in the last 1970s at which point frontman Jeff Lynne removed string players from the lineup. McDowell is featured on several classic ELO albums, including 1974’s Eldorado and 1977’s Out of the Blue. Fellow ELO member Melvyn Gale shared news of McDowell’s passing in a message posted to Facebook. “I’m sad beyond words to have to pass on the news that my old friend and fantastic cellist Hugh McDowell passed away last night after a long illness,” Gale wrote. “We met in our mid teens and were close until we left ELO in 1980. He was a beautiful free spirit, had such a natural gift as a cellist and [was] just a lovely bloke.” Source

If you’re not familiar with “Baby Shark,” consider yourself lucky. For those of you, like much of our staff, who live and die by memes, you’ll know well what we’re talking about. The viral meme has been emulated by dozens of YouTube personalities and even live during news, but it might finally reach peak meme if Jauz has anything to do with it. (Be warned: this will burrow into your head and will not leave for a week) As EDM’s resident shark boi, Jauz tweeted yesterday, vowing to remix “Baby Shark” if he received 20,000 retweets. “Ok I’m sick of seeing everyone asking,” he wrote. “And I really don’t wanna do it SO — If this gets 20,000 retweets I’ll remix Baby Shark. Good fucking luck LOL.” At time of publishing, the tweet already has over 19,000 retweets and is gaining more by the minute. Let’s help get him over the top! Ok I’m sick of seeing everyone asking. And I really don’t wanna do it SO — If this gets 20,000 retweets I’ll remix Baby Shark. Good fucking luck LOL — JAUZ (@Jauzofficial) November 8, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Jauz Vows To Remix “Baby Shark” With 20,000 Retweets – Let’s Help Get Him There Source

Getter has been a force in the dubstep scene for several years but some might not know that he has a plethora of talent. He’s produced more than a few underground hip hop songs with the likes of Pouya and $uicideboy$ as well as his own rapper alter Terror Reid. If you have never checked out Terror Reid you’re missing out. His music is diverse enough that he has the song for every mood. He had a pretty large Vine following (R.I.P. Vine). The San Jose native moved to LA to pursue his goals and has been making a name for himself ever since. Photo from straight.com Getter releases his latest album Visceral, a self-proclaimed passion project that digs deep. Getter Visceral Many of the songs have a trancy vibe that you don’t see in his early work but it’s a welcome change. There is a melancholy feel to the album but in a good way. As weird as that is to say, as a passion project he is laying it all on the table, looking within to create and the outcome is amazing. A number of collaborations with rappers and other DJs given this album a deep diverse sound. It’s the kind of album that you are never sure what the next song will be. A far cry from the heavy bass club hits of his past, Getter’s album shows a new side to someone that has been a staple in the scene for years. Also appreciate, ‘Rip N Dip’ is a quintessential Getter classic, how he got his start. Before you go, it is time for some Terror Reid- Getter’s rap alter ego. Follow Getter: Official Website | SoundCloud | Instagram The post Getter’s New Trancy Passion Project Goes In appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

While it’s easy to file Seattle’s rock revolution under Cultural Landmarks of the ’90s, its origins really start a decade earlier. Reminding listeners where grunge truly began, Sub Pop is reissuing two efforts from Pearl Jam and Mudhoney precursors Green River. On January 25th, 2019, the label will release deluxe editions of Green River’s 1988 debut LP Rehab Doll and their 1987 EP Dry As a Bone. Each will feature previously unreleased tracks from the era, all restored, mixed, and mastered by Jack Endino, who originally produced Dry As a Bone 30 years ago. The new edition of Rehab Doll will feature eight songs recorded to 8-track at Endino’s Reciprocal Recording. A press release describes the tracks as “a more accurate depiction of how the band sounded when they played live.” Included amongst the never-before-heard versions are the band’s cover of David Bowie’s “Queen Bitch”, the title track, “Swallow My Pride”, and “Porkfist”. Dry As a Bone, meanwhile, will come with further unreleased songs, including Betamax recordings of “One More Stitch”, “Hangin’ Tree”, “Bleeding Sheep”, and more. The collection will also feature tracks previously available on the C/Z Records compilations Another Pyrrhic Victory and Deep Six. Formed in 1984, Green River comprised Mark Arm of Mudhoney, Stone Gossard and Jeff Ament of Pearl Jam, Bruce Fairweather of Mother Love Bone and Love Battery, and drummer Alex Shumway. Their blend of blues, punk, and rock set the course for where alternative music went in the years that follow, and these new Sub Pop reissues celebrate that fact. Pressed on vinyl for the first time in years, the Dry As a Bone and Rehab Doll reissues are available for pre-order through the Sub Pop webstore. select independent record shops will also have limited Loser editions available, with the EP pressed on forest green vinyl and the LP coming on opaque lime green. Find the full tracklist and album art for each release below. Rehab Doll Deluxe Reissue Artwork: Rehab Doll Deluxe Reissue Tracklist: 01. Forever Means 02. Rehab Doll 03. Swallow My Pride 04. Together We’ll Never 05. Smilin’ and Dyin’ 06. Porkfist 07. Take a Dive 08. One More Stitch 09. 10000 Things * 10. Hangin’ Tree * 11. Rehab Doll *^ 12. Swallow My Pride ^ 13. Together We’ll Never *^ 14. Smilin’ and Dyin’ *^ 15. Porkfist *^ 16. Take a Dive *^ 17. Somebody *^ 18. Queen Bitch *^ * = Previously Unreleased ^ = Reciprocal 8-track Version Dry As a Bone Deluxe Reissue Artwork: Dry As a Bone Deluxe Reissue Tracklist: 01. This Town 02. PCC 03. Ozzie 04. One More Stitch * 05. Unwind 06. Baby Takes 07. Searchin’ 08. Hangin’ Tree * 09. Together We’ll Never 10. Ain’t Nothin’ To Do 11. Bleeding Sheep * 12. Bazaar 13. Thrown Up * 14. This Little Boy * 15. 10000 Things 16. Your Own Best Friend * = Previously Unreleased As a preview of each release, listen to the new remasters of “This Town” from Dry As a Bone and “Forever Means” off Rehab Doll below. Source

Swedish House Mafia’s latest countdown has just revealed the date for their next show: Mexico City. This was definitely the most obvious announcement, as the group had been teasing Mexico City a bunch in the past month. However, now that the countdown is completed, the date for the show has been revealed as May 18, 2019. Fans can register for ticket information here. Along with this date, yet another countdown has appeared on their website, ending November 15 at 9:00a PT. More than likely we’ll begin to see the group teasing the next location within the next week, as they did for Mexico City before it. See the information for their Stockholm shows here, as well. Photo via Rukes.com This article was first published on Your EDM. Source: Swedish House Mafia Reveal Mexico City Date For 2019 Source

Well done, Claudio Sanchez! The Coheed and Cambria frontman successfully fooled the internet, including us, into thinking he cut off his beautiful long mane of curly hair, only to reveal his signature locks in a dramatic fashion at the band’s show last night. Sanchez had posted two photos on Instagram, one of him sporting a baseball cap with a Justin Bieber-like ‘do, and another one with a slicked-back style, sending his fans and music sites into a frenzy, thinking he had chopped off his glorious mane. While Coheed and Cambria were performing at The Pageant in St. Louis, Missouri, last night, Sanchez sported the baseball cap look at the beginning of the band’s set only to bang his head to reveal his massive mane of hair, greeted by a loud roar from the crowd. The singer must have been hiding the rest of his long locks in a ponytail in the aforementioned Instagram photos. Check out video of the big reveal below via Coheed’s Instagram page, with the caption “Feels good to be free.” And see the Instagram pics that faked out the Internet here: We hereby consider ourselves trolled, but for some hard truth from Sanchez, check out our recent interview with the Coheed and Cambria frontman. Source

Maynard James Keenan and his A Perfect Circle outfit have let loose a bonkers new music video for “So Long, and Thanks for All the Fish”. Directed by Kyle Cogan, the clip juxtaposes the song’s cheery melodies with unsettling, “gleefully apocalyptic” scenes set in ’50s suburbia. Dolphins fly through the skies, neighbors engage in S&M and sex orgies, lawns and homes are engulfed in flames, and unsuspecting children commit murder. It all ultimately culminates in a nuclear bomb. “Welcome to the new normal,” Keenan said of the clip in a press statement. Sounds about right. Watch below. The Hitchhiker’s Guide to the Galaxy-referencing track appears on APC’s latest album, Eat the Elephant. The band is currently touring North America, and you can grab tickets here. In related news, another one of Keenan’s famous groups, Tool, recently announced dates for a European tour. Tool’s Top 5 Music Videos Metallica’s Top 5 Songs Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

The Pitch: Originally borne as a Netflix series, Joel and Ethan Coen’s The Ballad of Buster Scruggs has instead found life as a straightforward anthology film, a melange of grimly comic vignettes set in the Old West. Each of the six segments follows a different story of doomed adventurers out on the frontier – the titular Buster Scruggs (Tim Blake Nelson), a cheery singing cowboy with the deadly bloodlust of Anton Chigurh; a bank robber (James Franco) who keeps escaping certain hanging by increasingly karmic threads; a limbless traveling orator (Henry Melling) silently suffering the bitterness of his impresario (Liam Neeson); a prospector (Tom Waits) probing an Edenic valley for a pocket of gold; a young bride-to-be (Zoe Kazan) enduring a dangerous wagon train ride to a new life; and a group of coach passengers (Saul Rubinek, Tyne Daly, Chelcie Ross) discovering the Gothic fate that awaits them at their destination. No Country for Old Cowboys: The Old West is always a fascinating milieu for the Coens’ particular brand of idiosyncracies. After all, many of their other works have the feel of a Western – the outlaw sensibilities of Llewyn Davis and Raising Arizona’s Hi, the tumbling tumbleweed of the Dude – which makes their explicit Westerns (True Grit, No Country for Old Men) feel especially Coenesque. Their darkly comic explorations of ordinary and extraordinary undone by fate has a perfect backdrop amidst the tall, flat mountains of Arizona and the plains of Nevada, the lawlessness of the Old West filled in by the caprices of Mother Nature and man’s inhumanity of man. In this respect, The Ballad of Buster Scruggs feels like the Coens dabbling in this winking moral nihilism in a more scattershot fashion. None of the vignettes are diegetically connected, but all are collected in a hard-bound book an unidentified hand (the hand of fate, perhaps?) flips through between each segment, like the framing device of an old Disney movie. As is prototypical of the Coens, each hero struggles against the unfeeling, uncaring world of the frontier – circumstances toss them from one predicament to another, characters moving (or being transported) inexorably toward their fates in myriad ways. Virtue matters little: Kazan’s kind, innocent Alice Longbaugh is just as doomed as Franco’s hapless outlaw. Strikes and Gutters: While the Coens are some of mainstream cinema’s most acclaimed filmmakers, they’re not immune to the occasional misstep, and Buster Scruggs’ nature as an anthology is a perfect microcosm of their career’s quality. Some of the segments number among the best stuff the Coens have done; Buster Scruggs, for instance, is an uproariously goofy sendup of the Singing Cowboy genre they already lampooned in Hail, Caesar!, Nelson’s gormless gunslinger a deliciously watchable protagonist as he sings and shoots his way through a cartoonish version of the Old West. Waits’ segment is also a particular highlight, practically a one-man show as he digs around an Edenic valley panning for gold and grumbling to his quarry. “I’m gonna find ya, Mister Pocket,” he grumbles to himself in his charmingly gravelly register, the flora and fauna of the valley stepping out of his way until he finds what he wants. Franco and Neeson’s segments also have their fair amount of poetry to them: Franco’s run-in with an overeager bank teller (Stephen Root) who defends his bank by strapping on cast iron pans to deflect bullets (“Pan-shot!” he squeals as each round pings against him) is a lovely bit of comedy, and Neeson’s shifting rapport with the pitiable actor he carries around in his segment is told entirely without dialogue. However, the last two segments feel like a case of diminishing returns, padding that don’t quite match the otherwise superb quality of the previous vignettes. Kazan’s wagon-train adventure is an overlong slog centered largely around a milquetoast romance between her and the rugged cowboy Mr. Knapp (Bill Heck), saved somewhat by an exciting and tragic final few minutes. The final segment, the Poe-like “The Mortal Remains”, is an outright bore, though, a waste of several great actors spouting portentous dialogue as they wheel toward their inevitable fate. It’s a decent enough ghost story in and of itself, but it suffers compared to the novelty of the other segments. The Verdict: The uneven quality of the vignettes aside, The Ballad of Buster Scruggs is still a suitably Coenesque jaunt through the merciless trails of the American West. Between its impeccable cast, Bruno Delbonnel’s jaw-dropping Western photography, and Carter Burwell’s always-radiant scoring, Buster Scruggs is at least worth the price of admission for its first hour and a half. Come for Tim Blake Nelson slaughtering people with a goofy grin on his face, stay for Tom Waits conquering Mother Nature with nothing but a trowel, a mule, and a big bushy beard. It’ll at least whet your appetite until the next full-length Coen joint comes a-callin’. Where’s It Playing?: Netflix will release The Ballad of Buster Scruggs in select theaters on November 8th before releasing it wide via streaming on November 16th. Trailer: Source

Earl Sweatshirt has returned with “Nowhere2go”, his first new single in almost three years. Take a listen below via Apple Music. Earl released his most album, I Don’t Like Shit, I Don’t Go Outside, in 2015. Earlier this year, he canceled a planned European tour, citing anxiety and depression. However, he returned to the stage last month for a brief performance at the Mac Miller tribute concert, and this weekend, he’s set to appear at Camp Flog Gnaw, an event put on by his former Odd Future colleague Tyler the Creator. Source

Just a couple of days after the announcement of a public memorial for All That Remains guitarist Oli Herbert, the event has been canceled. The memorial was scheduled to take place this Sunday, November 11th, at the Worcester Palladium in Massachusetts. A suggested donation of $10 was to be collected at the door for charity, and the event was set to be live-streamed for fans who could not make it in person. However, last night, a posting on Oli Herbert’s official Facebook page read as follows, “IMPORTANT NOTICE – Wednesday, November 7th at 9:30 pm, ET: The public Memorial Service for Oli Herbert scheduled for Sunday, November 11th has been CANCELLED. No additional information is available at this time.” Herbert died last month at the age of 44 as the result of an unspecified accident on his property in Connecticut. His body was found in a pond near his home. A new All That Remains album, Victim of the New Disease, arrives Friday. The release date was scheduled prior to Herbert’s death. Source

The Free Nationals may be best known as the band behind Anderson .Paak, but the group is making strides to stand out on its own. Back in October, they teased their forthcoming self-titled debut with the lead single, “Beauty & Essex”, which featured Daniel Caesar and Unknown Mortal Orchestra. Today, the collective is back with the Scott Lazer-directed visuals for the track. Caesar takes a central role in the video, placed in front of solid colored backgrounds and flanked by stolid models. The Free Nationals themselves play from underneath wind-taught tarps, while their friend .Paak shows up for a cameo. Take a look below. No release date is yet set for The Free Nationals, but we do know other guests include Syd, Kali Uchis, Chronixx, and the late Mac Miller. .Paak is also expected to release his latest album, Oxnard, before the year’s end. UMO, meanwhile, recently dropped the instrumental IC-01 Hanoi and Caesar shared his single “Who Hurt You?”. Source

On February 8th, 2019, Panda Bear will release Buoys, his sixth studio album and his first full-length solo project since 2015’s Panda Bear Meets The Grim Reaper. Earlier this year, he released the vinyl-only EP, A Day With The Homies. Set for release via Domino, Buoys was recorded in Lisbon, Portugal, and features production and mixing both by Panda Bear and Rusty Santos. It also features collaborations with Chilean DJ Lizz and Portuguese artist Dino D’Santiago. Along with the album announcement, Panda Bear has shared “Dolphin,” the album’s experimental lead single. Check out “Dolphin”, which is centered around a dripping water sample, below. In a statement, Lennox compared Buoys to his previous albums, saying: “The last three records felt like a chapter to me, and this feels like the beginning of something new.” See the album’s artwork and tracklist below. Buoys Artwork: Buoys Tracklist: 01. Dolphin 02. Cranked 03. Token 04. I Know I Don’t Know 05. Master 06. Buoys 07. Inner Monologue 08. Crescendo 09. Home Free Source