News

It’s been three years since Erykah Badu released But You Caint Use My Phone, and that was the last music we heard from the neo-soul singer. Today, she finally shared a new track — though she left it untitled and it’s only listenable through NTS Radio. Badu was a guest host on the online radio station for their “Sound of Colour” series, presenting a mix centered around green. She dedicated the mix to the late jazz trumpeter Roy Hargrove, who passed away on Friday. In addition to dropping in songs by Wu-Tang Clan, Earl Sweatshirt, and Khruangbin, she slipped in a new one of her own at the 1:05:04 mark. Though she didn’t title the premiere, with lines like, “Money can’t buy me love/ But it can keep me in some fresh shit,” let’s just call it “Money Can’t Buy Me Love” for now. Around the 1:25:00 mark (after the Khruangbin track), Badu also delivered a spoken word breakdown about what the color green represents. After that, she delivers a jazzy jam that finds her simply beckoning, “Bounce” over and over. US listeners can only hear three playbacks of the mix, and you can’t scroll backwards or rewind. With that in mind, head carefully to 1:05:04 below to take a listen to “Money Can’t Buy Me Love” now, and seek out the Khruangbin track for what comes next. Source

Last week, Conor Oberst linked up with Phoebe Bridgers on a pair of tracks. The two singer-songwriters recorded a new collaborative version of “LAX” (originally written by Oberst for the Juliet, Naked soundtrack), as well as covered “Powerful Man” by Sandy (Alex G). Now, Oberst is back in the spotlight today with a new two-song solo single. The first offering is titled “No One Changes” and sees Oberst on the piano, his quivering voice lamenting those who never seem to fix their ways. “No one’s gonna change, nobody ever does,” he sings, howling, “Nobody’s changing for you!” On the second tune, “The Rockaways”, Oberst recalls “simpler times” while accompanied by spare guitar strings. Both tracks were co-produced by Oberst and Bryce Gonzales. Oberst’s longtime Bright Eyes collaborator Nate Walcott contributed additional keyboards to “The Rockaways”. Take a listen below. No One Changes / The Rockaways by Conor Oberst Oberst’s last album, Salutations, came out in March 2017. “No One Changes”/”The Rockaways” Artwork: Source

This year’s been a slow season for Abel Tesfaye, aka The Weeknd. After popping up on Black Panther: The Album in February and dropping his My Dear Melancholy EP in March — both of which warranted him two Platinum-certified, Billboard-charting singles in “Pray for Me” with Kendrick Lamar; and “Call Out My Name” — the award-winning crooner has kept things relatively low key with a minimal buzz. That all changes soon. On Tuesday night, while performing at Toronto’s Hxouse Live alongside Bryson Tiller, Nav, and The Neighbourhood, Tesfaye confirmed that he’s working on a proper follow-up to 2016’s Starboy. “Being in Toronto these past two days, I haven’t been this inspired in years,” he announced to a screaming crowd (via Hot New Hip-Hop). “And I want you guys to be the first to know I’m working on my new album right now.” He’s calling it Chapter 6 and says it’s “coming soon,” which means it could be literally any moment or another year. Regardless, it’s going to be a whopper of an album, as he teased on his Twitter account: “Some chapters are smaller than others, not this next one though.” Seeing how his past two albums have been international juggernauts, those are some big words, but we’ll see. some chapters are smaller than others. not this next one though… — The Weeknd (@theweeknd) November 7, 2018 In the meantime, revisit “Call Out My Name” below and cry. Source

Ariana Grande visited Ellen DeGeneres’ daytime talk show on Wednesday to perform her new single “thank u, next” live for the first time. In keeping with the song’s themes, the stage was stylized to look like an empty wedding reception venue. Grande herself said the performance was inspired by the 1996 film, The First Wives Club. Watch the replay below. “thank u, next” serves as the first single off Grande’s upcoming fifth album. The as-yet-untitled LP serves as the follow-up to August’s Sweetener. In support of both releases, Grande is scheduled to launch a world tour in March 2019, and you can get tickets here. first wives club 2018 …… @theellenshow tomorrow i love you @victoriamonet @taylaparx … thank u, next https://t.co/UHmQO5l8LQ pic.twitter.com/rbAV42lVCg — Ariana Grande (@ArianaGrande) November 7, 2018 Source

Though he hails from Kazakhstan, Borat Sagdiyev very much wants to make America great again. Thus, the famed Kazakh reporter spent the day of the American midterms canvassing on behalf of pro-Trump congressional candidates. “Russia interfere with the presidential election,” he explained. “But now, all eyes are on them. So, it’s up to Kazakhstan to swing the midterms for Premier Trump. I come to California to do election tampering.” Over the course of the day, Borat spoke to several MAGA supporters, one of who applauded Trump’s decisions to keep Mexican children in cages: “It was like a campout — he fed them three times a day like his own children, because he’s a humanitarian.” Another explained why Trump isn’t a racist: “In my opinion, the fake news people say he is a racist and I don’t believe he is and I don’t see any evidence of that.” To which Borat replied, “I’m racist — it’s nice.” Borat also visited a polling place and did his best to prevent Jewish voters from voting. “Big problem, 72% percent of Jew vote for Democrat,” Borat explained before proceeding to throw bacon at a Jewish voter. The segment aired on Tuesday night’s episode of Jimmy Kimmel Live, which also featured an interview with Borat’s friend, Sacha Baron Cohen. Watch it below. Source

The Lowdown: After being approached by the same labels, releasing acclaimed albums in fairly alike genres, participating in the same tours and festivals, and steadily rising to fame in similar circles over the past couple of years, indie singer-songwriters Julien Baker, Phoebe Bridgers, and Lucy Dacus were not only destined to befriend one another but to create together. Earlier this year, the trio formed under the cheeky name “boygenius” in Los Angeles to write and record a six-track EP in just four days. Every musician leads the vocals of one track while the remaining three sound entirely collaborative. The Good: Each member of boygenius pushes her particular musical strengths without dampening another’s spotlight. Baker’s emo-tinged vocal rawness breaks us down and builds us up, only to break us down again on “Stay Down”. On the Bridgers-led “Me & My Dog”, the folk-inspired songwriter’s simple lyricism speaks a thousand words and experiences within brief lines like “I’m fine now, it doesn’t matter/ I didn’t wanna be this guy/ I cried at your show with the teenagers.” Dacus’ delivery seamlessly blends the hard and the soft, especially on opening track “Bite the Hand”. At the same time, the three perform together in perfect harmony, resembling a chorus of scorned angels who somehow maintain their poise amid squealing distortion and unequal romantic relationships on the EP’s powerhouse track, “Salt in the Wound”. The Bad: boygenius is 21 minutes long — one beautiful burst that dims out as passionately as it ignited. It feels too short each and every time the refrain of “Ketchum, ID” cuts out so briskly that a sentence falls unfinished. To resolve this dilemma using any digital listening service, simply select an option to play boygenius on repeat. One will find that “Bite the Hand” fits as easily following “Ketchum, ID” as it does as the first track on the record, allowing a seemingly short EP to last as long as one sets their mind to. The Verdict: Within such a short span of time, boygenius manages to cover universal experiences of insecurity and perpetual, sometimes funny sadness, along with more individual situations like the instability of touring, all with the same specificity, cleverness, and dreamlike melodies that could not have come from anyone else, nor could it have come from these musicians individually. Sometimes it feels like success only fuels jealousy and competition, but boygenius demonstrate that collaboration and unity can form beauty and belonging for listeners and the musicians alike. When the trio harmonize over quiet guitar, “I am never anywhere anywhere I go/ When I’m home I’m never there long enough to know,” referring to touring on “Ketchum, ID”, there is sonic proof that at least three people feel less alone than when this EP began, and that, in itself, is truly comforting. Essential Tracks: “Me & My Dog”, “Salt in the Wound”, and “Ketchum, ID” Source

With Blumhouse Productions, producer Jason Blum has changed Hollywood by turning monsters into dollars and awards through culturally conscious horror fare like last year’s Get Out and the current slasher champ Halloween. However, even a guy like him can get terrified by the real-life horror that’s plagued America, a country that’s stupid enough to re-elect walking dickfucks like Ted Cruz and tolerate schmucks like Trump. Not surprisingly, Blum’s political sentiments weren’t exactly welcome at the 32nd Israel Film Festival on Tuesday night, where he was booed and kicked off the stage during his polarizing acceptance speech. “We have a president who calls the press the enemy of the people,” he said, adding further truths such as: “Thanks to our president, anti-semitism is in the rise.” He’s not wrong, but that didn’t matter to this crowd of ghouls. According to The Hollywood Reporter (via The AV Club), Israeli businessman, entrepreneur, and reality TV star Yossi Dina, perhaps best known for “groundbreaking television” like Beverly Hills Pawn, even attempted to tear him away from the podium, like he was some fucking extra in a George A. Romero movie. It’s a pathetic scene, made all the more baffling when you think about who these idiots are defending. Watch below. Watch: Jason Blum was booed and physically removed from the Israel Film Festival stage after making controversial political statements about Trump https://t.co/1nAyogEP8i pic.twitter.com/sH80NZVq7B — Hollywood Reporter (@THR) November 7, 2018 Source

We’re working together with our friends at Electronic Music Conference! You will be able to catch a whole host of keynotes and workshops with local and international talent November 14th and 15th. Check out the full program for details. On a local scale, the closure of the much beloved long running dance music blog inthemix has played its part to signal the anxious flux of dance music media. Integrating with Junkee Music under the wider umbrella of Junkee Media, it was odd to see what was once a dance music media bible, undeniably influential on the Australian media landscape, be submerged into the overarching digital media void. Paired with the majority of big media being either heavily questioned (‘fake news’ style) or altogether discarded in favour of citizen journalism and tweets, achieving longevity in the media, let alone dance music media, seems to be becoming an increasingly difficult task. With a globally increasing penchant for streaming, the increasingly dominant integrations of social media and an industry-wide rush to innovate, one wouldn’t be misplaced to ask, what’s the future of dance music media? It seems pretty safe to say that if you want to be a major outlet and you’re not interested in moving beyond your general review and opinion piece model, you may run into issues. Look at any major music media brand and the need to expand has been absolutely imperative. Charlotte Cijffers can speak to this from two ends of the spectrum. Brisbane born and now living in London, Charlotte is the founder of the online music magazine Chase the Compass and is also the Digital Editor of DJ Mag, one of the few music media outlets that, amazingly, still has a print edition. “DJ Mag UK and North America print monthly editions in each of their territories, while DJ Mag Ibiza and Croatia both print two seasonal issues per year.”, she explains, as well as pointing to the cornerstone monthly UK mag and beyond. “…digital licensee worldwide include operations in Japan, Korea, China, Brazil, France, Italy, Spain and many more.” Her other brand has had quite a different evolution. “Chase The Compass started as a blog seven years ago but has evolved into an events company running parties in London, New York, Barcelona, Sydney, Dublin and more.” This evolution has undoubtedly become key to their longevity, and more importantly, their expansion. “Doing parties has been an extremely important in the evolution of the brand as its given us a chance to meet our readers and community — and get real time feedback on line-ups, venues and content. We’re also about to open a for-hire music studio in North London.” Mixmag’s Lab series is another example of brand evolution, this time penetrating the social media streaming sphere. A quick scroll through Mixmag’s Youtube channel will see some of the world’s finest acts curating their ultimate mixes, with talent ranging from The Black Madonna to Carl Craig and Peggy Gou, each easily hitting over 50k views a pop. Although this project seems to have solidified the brand into the invaluable social media sphere, it emerged from a simple office tradition. “The Lab was never about elevating our own brand but was set up to showcase the artists, music and events that we feature,” explains Mixmag’s Managing Editor Nick Stevenson. “The Lab was actually born from DJs playing in our office each Friday, which has been happening regularly since 2002. When YouTube asked us to become their Original Content Provider for dance music in 2012 we were able to bring in the technology to start streaming it worldwide. Now we do this weekly from London, LA and New York.” As live streaming as a communicative format takes more of a centre stage in our culture consumption, it’s also important to consider as a media maker how you might navigate this social sphere and how willing you may be to adapt. “From Mixmag’s perspective we have always had a presence on every social touch point and that adapts as socials do,” Nick explains. “So we’ve effectively ditched Snapchat in favour of Instagram Stories, dialled back from platforms that haven’t picked up like Google+ and then doubled-down on a video first strategy on Facebook and YouTube.” If you never expected to have your media career funnel into parties, streaming and heavy social media integration you might be asking if there’s is there still a place for the written word in this space? There’s no doubt that the internet empowered us to blog, but now that seems a little early Myspace-era to many consumers and creators. Is there still space for small and independent platforms, and are they still valued? Nick responds an unequivocal yes, even though they may only occupy niche space. “The more diversity of opinion and perspective in music journalism the better. Without the passion of some of the most (apparently) niche blogs whole genres might have withered away,” he says. “Like the multitude of radio stations, podcasts, magazines or streaming channels, blogs, however their format evolves, are a resource for cutting through the mainstream noise and connecting with different audiences.” So whatever kind of content you’re creating and however you’re distributing it to get it seen, how can outlets maintain a relationship with their readers and followers in such a heavily saturated environment? “Carefully evaluate what your audience are asking you for,” says Charlotte, “and try to deliver that in an authentic and meaningful way. Don’t be scared to experiment, take risks and challenge your readership.” Nick agrees, “Adapting to how people want to receive content is a given – but how you frame that, your tone and your authority along with your relationships and drive to bring new talent through are all key. Mixmag has been through numerous incarnations over the years but at the heart of it has always been that drive to find and point out the next exciting thing; whether it’s a DJ, genre, a club, a scene or an event, and share it with people who care as much about dance music and club culture as we do.” Charlotte Cijffers will be appearing at this years Electronic Music Conference November 14th and 15th. To learn more about the dance music media and industry as well as keynotes and workshops, check out their 2018 program here. Source

Florida-native creates a new monster for the industry on new project Underground sensation Kap Kallous has established an impressive resume in music. Toured with Strange Music’s MayDay, Murs, and Ces Cru, collaborated with Jon Connor (Aftermath Music) Caskey from YMCMB, Wrekonize and Lucky I Am, and released several credible projects like his 2014 effort ‘Grandeur’. Kap’s music represents his unique amalgamation for sincere and indicative rap music. With constructions of multiple album releases under way, this independent machine stays consistently working on his craft. Today, we get the latest addition to the Los Angeles-by-way-of-Florida recording artist catalog in Kalloustein ‘Kalloustein’ is a 13-track project produced by Khompono. Sticking to his signature style and creativity, Kap Kallous draws in a newly discovered fanbase for his latest effort. Kap is ready to ascend from the underground and become one of music’s biggest stars. Watch Kap’s time in the spotlight, stream the new project, ‘Kalloustein’ above, courtesy of Spotify. The post Kap Kallous Brings To Life “Kalloustein” : Listen appeared first on Verge Campus. Source

Yeah, bitch! Breaking Bad is heading to the silver screen. According to the Albuquerque Journal, there’s a hush-hush film heading into production in New Mexico later this month under the working title, Greenbrier, which its sources have confirmed as being related to AMC’s iconic series. As the Journal reports, “a source close to the project said it’s about the escape of a kidnapped man and his quest for freedom,” which should have fans doing their best Walter White impersonation as they scream in unison: “Jesse!” Update – November 7th: Breaking Bad star Bryan Cranston has confirmed that a movie is indeed in the works. Now, before everyone celebrates with a bag of baby blue, know that the New Mexico Film Office would neither confirm nor deny the report. However, the Film Office did confirm that Sony is involved, the same company which owns the series’ IP and which recently signed creator Vince Gilligan to a three-year deal. The Hollywood Reporter has gone a step further with its sources confirming that Gilligan will write the script, executive produce, and possibly even direct what’s being touted as a two-hour movie. Right now, it’s unclear whether it’ll be released theatrically or for TV. To add more weight to the report, the news comes only two days after AMC announced it’s in the business of making feature films, as the network plans on rolling out not one, not two, but three goddamn movies based on The Walking Dead. So, this would fit that model, too. What’s more, actor Aaron Paul, who played surviving drug dealer Jesse Pinkman, has been incredibly vocal about returning to the character, a sentiment that has also been echoed by Gilligan. In other words, this “quest for freedom” could easily belong to our favorite beanie-wearing peddler. Of course, they’ll have to find a way to wrench him away from Westworld. Source

As more U.S. drum and bass fans become aware of the massive UK and EU festival scenes and their growth, more names are cropping up every year that stateside heads should know about. From the standards of Let It Roll and the Hospitality series to more obscure let nonetheless massive festivals like Invaderz and Rampage, it seems like there’s more and more to learn with every passing season and more and more reasons to make the trip across the pond. Korsakov has become one of these new earworms we’re hearing more often stateside. Beginning as a techno collab event in the Netherlands a few years ago, Korsakov switched to DnB and never looked back. It grew from there quite quickly, and now on its most recent run over Halloween weekend, Korsakov sold out a 5,000 capacity venue in Rotterdam. Yes, Rotterdam; home of techno and gabber. Not only are Korsakov surviving, they’re thriving and have become one of the biggest drum and bass festivals in the world. In addition to their landmark festival just last week, Korsakov also did something that very few festivals are trying: they started a label. This is extremely novel for the festival scene in Europe, where pretty much no festie promoters are anything more than loosely associated with labels, save for Hospitality. The new Korsakov label released an introductory compilation just ahead of the end of October show, and with tracks by Maztek, Jade, The Clamps, Feint and even the lately quite quiet Gridok, it’s a great reflection of the festival: diverse, danceable and hard-hitting, and it’s a definite preview of things to come. With Korsakov’s buzz on the rise and the new Korsakov Compilations Vol. 1 out and doing well, Your EDM decided to sit down and chat with the promotion company-turned-label’s newly knighted A&R person, Elmar van Eijk about how the project got started and what kind of madness we can expect from one of the craziest festivals in drum and bass. Spoiler: lots of tracks from lots of big names are incoming from Korsakov, so read on. For US DnB fans who may not know much about Korsakov, explain a little about what you do now with events in the Netherlands and what the original mission was? Sacha and Sami, my two great friends and colleagues at Korsakov who look after the events, were doing techno events actually before they started Korsakov. After Sacha and Sami went to a DnB event together, which was Sami’s first one, they decided that they should throw a DnB event. I think they never had the intent of becoming the biggest or the best drum and bass event out there but they just wanted to throw a proper DnB event, which they thought was missing in our home city Rotterdam. Three years down the road, we’ve grown to be one of the biggest DnB events in the world with our upcoming event pulling more than 5000+ visitors from over 20 countries. We repositioned ourselves from a small underground event to a big event where we present all subgenres of DnB with a nice and different theme every event. What made you decide to expand Korsakov into a label? Starting the label is something we wanted to do as soon as Sacha and Sami started putting on many different subgenres on the events. We really think music shouldn’t be labelled to or focused on just one subgenre since there’s so much variety that DnB has to offer. The only thing that stopped us was that we didn’t have a big enough fanbase yet and we also lacked financial resources in the early days. With the next event now coming up and selling out 5000 tickets, we have all the resources needed and we thought it was finally time to put our money where our mouth is and start the label. We think it’s safe to say our first release really backs up our words and ambitions! The new compilation has a lot of artists on it; how many of these will be putting out solo releases with Korsakov? Let me see, there are quite a few on there indeed! Out of the 16 producers on the album, exactly half are doing solo releases with us at some point in the near future, of which two are going to sign exclusively for multiple years. Korsakov Music is here to stay let me tell you! How is the new label going to interact with the events side of things? The label will be self sustainable within a few years. That’s the plan at least. We don’t necessarily book artists because they release on our label, but this can be an artist request that we will sometimes grant, and sometimes not. We are also planning Korsakov Music release parties to be held all over Europe. Are there specific subgenres of DnB you plan to focus on with the label? No. We like everything and want to be a unifying force between all subgenres. If the productions are next level or have the potential to be next level we will always want to sign it. Are you planning to include other genres of bass music in Korsakov label releases? The simple answer is no. Perhaps we’ll invite some non DnB artists for a remix here and there or an artist puts out an album with one or two tunes on different tempos but it will always be a DnB brand. I might at some point in the distant future want to do my own dubstep label but I have zero concrete plans for it and I’m perfectly fine as is. How do you plan to go about selecting and working with artists on releases? What will your A&R look like? The way I did ‘The Korsakov Compilations Vol. 1’ was literally hitting everybody up on Facebook. I knew most of them from my journalism days or from various backstages where I either had to DJ myself or, at Korsakov, be the artist handler. I think not much will change but I will start hitting up artists through management now, too. Because we do one of the biggest DnB events in the world there surely is some extra pull that most labels simply won’t have. I’ll never be like, “yo if you do a tune we’ll book you,” but as I said before it’s usually the artist or manager asking. We’ve got considerable funds reserved for promoting our music so even though as a label we’re new, we aren’t any less capable than most established labels. You should see the artists I’ve already contracted for the next compilation! Can you give any hints to upcoming releases on the new label? I can’t name anybody yet but one of the biggest artists on ‘The Korsakov Compilations Vol. 1’ is signing with us for the next few years and dropping his first ever album with us. I also have a few amazing talents doing singles and EPs and another artist from the compilation is also signing exclusively for multiple years. I’m already planning multiple remix EPs too. Korsakov Music is gonna be making steps this year. What are the next few upcoming shows? The next one should be early May and traditionally we do our biggest one every Halloween weekend in October. Apart from that I’m working on album and EP release parties and we’re looking into an EU tour of DnB events. We’re an ambitious lot, us! And ideas to work with US promoters in the future? Who knows! We don’t want to exclude anything. We might even do a rave in a cave in Islamabad or Addis Abeba or some shit sometime! The sky is the only limit we have (until we do an event on a plane which with our Dutch disposition for being completely crazy wouldn’t even be the strangest idea). I wouldn’t count on it but you never know, and we’re always open for hosting stages too. We’ll be waiting for EDC and Ultra to invite us over! The Korsakov Compilations Vol. 1′ is out now and available to stream on Soundcloud and Spotify and can be purchased on Beatport. Stay tuned for more release announcements soon.  This article was first published on Your EDM. Source: Your EDM Q&A: Dutch DnB Festival Giant Korsakov is Starting a New Label and Here’s Why It’s a Big Deal Source

They say that you should never work with children or animals, but if you ask any teacher from grade 10 down it’s pretty clear they’re both the same thing. Seriously, kids can be absolutely fkn brutal, so it’s always nice to see the evil ones taken down a couple of pegs. One teacher called Mr Riley from Maywood School in the States did just that in a fairly unconventional way by beating a racist shit talking student the fuck up, and now donations are pouring in for him in order to deal with his legal battles and fines. The carnage starts at around 13 seconds in, and you can clearly see the teacher going to down on the kid and using what looks like his phone to give him a hiding. After the incident, Mr Riley was taken to jail. A Go Fund Me Page was promptly started and as of the time of writing, he’s received a whopping $125k in donations. Now, obviously, a teacher can’t just slap up a student and get away with it on account of the kid being a gobshite. It looks like Mr Riley will probably be fired and will have to go through legal action, so here’s hoping he actually gets the donations and can find a decent legal team. Source

Gammer has unleashed a massive new single “Out With The Old” — and a nostalgic music video to go with it. The new hybrid anthem is out now via DJ Snake’s Premiere Classe Records, showing off yet another side of the prestigious label. The producer enlists in Milan-based director Carlo Mastrorilli to bring this 90’s arcade fantasy to life. Iconic shots of F-Zero, Super Punch-Out, R-Type and basically every classic title on a gamer’s wishlist are featured in the music video below, along with high-energy clips from Gammer’s live performances. “Out With The Old” mixes a range of genres. An authentic trance build is met with a monstrous dubstep drop. The song is deeply rooted in hardcore, but has a softer, melodic side as well. The diverse production only goes to show Gammer’s multidimensional artistry. “I guess you could call this song the spiritual successor to ‘The Drop,'” the producer explains. “Once again I wanted to put my spin on dubstep, with an emphasis on rave synths and euphoric breakdowns. Combining my happy hardcore roots and love for bass music and turning it into something straight up rowdy!” Watch below and let us know what you think of Gammer’s new bass anthem! GAMMER – OUT WITH THE OLD FT. SAM KING This article was first published on Your EDM. Source: Gammer Unleashes Rowdy Successor to “The Drop” [MUSIC VIDEO] Source

A year ago, Apple Music shelved Danny Brown’s documentary, Live at the Majestic, which captures the lead up to his 2016 performance at Detroit’s historic venue. Now, after reclaiming rights to the film, he’s selling the whole thing on his own site. Directed by Andrew Cohn, the behind-the-scenes documentary “was a real humbling experience,” Brown told Complex back in 2017 prior to its initial release. “It’s just something I always wanted to do, was to make a live album with a live DVD or something,” he explained. Now, his dream is a reality. Grab the documentary now or see him in the flesh on November 21st at Detroit’s Masonic Temple Roller Rink, where he’ll be hosting his fifth annual Bruiser Thanksgiving concert in support of youth arts program InsideOut Detroit. Tickets available here. Source

The Melbourne Cup is often toted as the ‘race that stops a nation’ but the fallout looks not dissimilar to music festivals if not seemingly worse. With immense amounts of rubbish and some fairly loose photos and videos of punters ‘having a good time’ it makes us wonder, why the double-standards? Why don’t the races have the same accountability as our music festivals? Music Festivals by comparison are often toted as the most dangerous place a young person can go, where they will be pressured into drinking far too much and sometimes partaking in some other dubious things. The reality is: yep, that could very well be a possibility, but it’s not the full story. Music festivals at their core are a lot of fun and an opportunity to watch some seriously great local and international talent, a chance to socialise and make some new friends – which is why hundreds of thousands of punters attend them annually and often local police praise the behaviour of those there. It’s not just a hedonistic music orgy either, with music festival organisers subjected to layers upon layers of safety before, during and post the event – for more on that, you can check out everything they do to keep you safe here. In contrast, Melbourne Cup which alone hosts a reported 120,000 on the day is celebrated by many for these exact same reasons ie booze, drugs and a chance to socialise. While whipping horses and gambling (not so much a fan of either) does make up a huge focus of Melbourne Cup it’s praised and celebrated as a national spectacle with those in Victoria even treated to a public holiday for the event. You’d expect much the same when it comes to safety at the Melbourne Cup with on-ground security, RSA on all bars, free water, a police presence and a lot of behind the scenes activity but wait, where are the sniffer dogs?? In contrast this years Defqon had over 200 police as well as undercover detectives and a number of drug detection dogs which didn’t stop the tragic passing of two attendees and actioned a ‘Festival Safety Panel’ headed up by government officials without any input from festival organisers. While it seems like this piece is heading towards calling for similar actions towards Melbourne Cup such as those for music festivals, it’s not. This really is just about highlighting that if people are free to socialise and enjoy themselves at the races, then they too should be able to at music festivals. But that’s not the case, there are still on-going restrictions and scrutiny towards punters and organisers that are haemorrhaging new and on-going events with huge burdening costs. It doesn’t matter if you’re a music fan, or a fan of the races (despite the fact we’re definitely not) a good time should not be something we’re scrutinised for, and we should all have the freedom to enjoy ourselves safely. Check out a selection of snaps below from this years Melbourne Cup via the Sydney Morning Herald Photo credits: Justin Mcmanus and Chris Hopkins Source

After being a huge hit on Halloween, Los Angeles’ established Minimal Effort event has revealed a hugely significant lineup for their New Years Eve extravaganza. Parking at the infamous Belasco in Los Angeles, incredible artists from the House and Techno scene will be sure to bring their A-Game. Headlining this incredible soiree will be DJ Sasha, followed by Skream, Layton Giordani, and more. Check out last years event by clicking here. Tickets will go on sale tomorrow, November 7th. Check out the full lineup for Minimal Effort NYE below. The post Minimal Effort NYE Hits Los Angeles appeared first on EDM Maniac. Source

We thought “Tik Tok” was just a hit Ke$ha song, but as it turns out it’s the most popular app on the planet. The TikTok video app is all the rage in China and beyond, as it just surpassed Facebook, Instagram, YouTube, and Snapchat to become the most downloaded app in the month of September for the first time. TikTok first-time installs were even greater than Facebook’s last month. On top of that, TikTok recorded a record number of monthly active users globally — 500 million total across 150 countries and regions. So what is TikTok? It’s an app merged with Musical.ly, all about telling a story in 15 seconds. Whether it’s about dance, comedy, food, sports, DIY, animals, your own vlog, or anything in between. Discover videos from endless categories via TikTok here. Source: Tech Observer This article was first published on Your EDM. Source: This App Is More Popular Than Facebook, Instagram & Snapchat Right Now Source

Over the summer, Max Vangeli dived headfirst into a Twitter beef between Zedd and Diplo. The results were a bit unpleasant, and Twitter even suspended Vangeli’s account for a bit. Things had calmed down since then, but nothing good ever lasts. Twitter has suspended Max Vangeli’s account once again, and it looks like he got into a spat with Steve Aoki. We’re not sure what happened since Vangeli’s Twitter is suspended, but a new Instagram post of his clues us in. Vangeli posted a screenshot of the above unsubscribe email from his own NoFace Records. It appears Steve Aoki personally unsubscribed from NoFace’s promo emails, though it was more likely just someone on his A&R team. Basically, Aoki implicitly said he doesn’t want any more of the label’s music for his sets. Vangeli’s screenshot caption is patented Vangeli, full of all caps and misspellings. It doesn’t say what happened between him and Aoki, and Aoki’s Twitter has no info, so perhaps we’ll never really know. Alexa, play The X-Files theme music. Cover Photo: Rukes This article was first published on Your EDM. Source: Max Vangeli Suspended From Twitter Again as He Starts New Beef With Steve Aoki Source

Samsung was just recently beaten to the punch in putting out the world’s first foldable smartphone — but the company isn’t far behind. According to multiple reports, the new device will finally be unveiled this week to gather early feedback from developers and the public alike. A spokesperson revealed Samsung is taking a “different approach” to the release of this smartphone. Which, makes sense because it’s an unprecedented type of technology. According to the source, “the foldable phone is a completely new concept in terms of design and user experience.” In the meantime, Royole’s second generation creation, FlexPai is the world’s first foldable smartphone. Royole’s FlexPai is ultra thin, with a fully flexible display, boasting a virtually unbreakable screen. It has been bent over 200,000 times to test out the wearability and durability. As for Samsung, tomorrow we should have more information and specs on the forthcoming device. Samsung CEO DJ Koh is set to host the developer conference. The keynote will begin promptly at 1PM ET / 10AM PT on November 7th. Stay tuned. Source: The Verge This article was first published on Your EDM. Source: REPORT: Samsung To Reveal Details On Foldable Smartphone Tomorrow Source

Back in 1978, John Carpenter’s Halloween set the bar for the slasher genre by grossing $70 million worldwide, becoming one of the most profitable independent features of all time. Since then, countless descendants and imitators have slashed their way through the box office, particularly Wes Craven’s Scream, which held the top slot of the slasher genre with a domestic gross of $103 million and worldwide gross of $173 million. Now, 40 years later, David Gordon Green’s Halloween has reclaimed the throne with receipts (so far) tallying in at $150 million domestically and $229.6 million worldwide. What’s more, these grosses now place Halloween as the most profitable horror franchise of all time at $761 million, at least with inflation taken into consideration, eclipsing both Friday the 13th ($755 million) and A Nightmare on Elm Street ($703 million). Michael Myers came home, alright. Below, you can stream the full review from Halloweenies, our monthly podcast dedicated to all things The Shape. Soon they’ll be leaving Haddonfield, Illinois for Springwood, Illinois, a city full of dreams … and nightmares. Subscribe now. Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | Podchaser | RSS Source

We’re still feeling a bunch of vibes from Sweat It Out’s 10th birthday over the weekend and one of the highlights was been Parachute Youth‘s huge set, specifically when they dropped this big ol’ banger. Parachute Youth got a bit of prominence just off the back end of the electro movement and this tune takes some of those underlying vibes and turns it into more of an indie dance cut. It’s a quintessential summer vibe tune and as we get into some of those hotter days, it slots into the background quite nicely. Check it out and tell us if you remember this classic cut! Source

Everyone’s still focused on Post Malone’s beerbongs & bentleys, but Heroless just went back to Stoney to dig up “Big Lie” for a fresh new remix. Posty’s voice seems to be just one of those voices that’s perfect for remixing, like Lights or Ellie Goulding. Maybe it’s the smoothness of the post-processing, maybe it’s just his unique cadence, but it doesn’t take much to make a song with him on it sound great. Heroless takes “Big Lie” from Stoney and injects that now-well recognized Heroless sound to create a groovy, bouncy number that’s ridiculously addictive. Check it out below! This article was first published on Your EDM. Source: Heroless Returns With New Remix Of Post Malone’s “Big Lie” Source

So long, October. So long, Halloween. Last week some of our favorite artists gave us spooky releases. And as we move into November, we have a lot to be thankful for in music. Check out our picks for our favorite releases this past week on our Week in Music playlist.  Release Spotlight Calvin Harris keeps popping up as a featured artist, but that’s OK with us. His latest stint comes as a producer on benny blanco‘s latest single. We dig it. 1788-L pops up twice this week, once for an awesome collab and again for a legendary remix. First, “A B Y S S” arrives as a collab with fellow producer TYNAN. 1788-L also remixed The Glitch Mob‘s “Disintegrate Slowly,” a match made in heaven if we’ve ever heard one. Kygo releases yet another radio-friendly single, but is that such a bad thing? “Happy Now” features talents from rising vocalist Sandro Cassava. The Prodigy released their seventh album last Friday. No Tourists features many new tracks, including our pick “Timebomb Zone.” This article was first published on Your EDM. Source: New: Calvin Harris, 1788-L & TYNAN, Kygo – Your EDM | Week In Music Source

The road to This That was admittedly, one with a few rocky bumps – but most definitely still packed with excitement. With the loss of two major headliners (Sticky Fingers and Goldlink) in the months and weeks leading up to the festival, punters quickly turned their attention to the rest of the acts on this massive line up, which remained chock-a-block with both up-and-comers and megastars in the Australian and international music scenes, across all genres. The weather was sweaty, but not as sweaty as the sweat we created by cutting shapes. Let’s dive into This That 2018’s most memorable moments. THAT… Mood was positive and ultra-safety-focused: Photo credit: This That Facebook Page Upon lineup announcement, This That trod their way through a solid amount of slack for their choice to include the now-infamous Sticky Fingers as one of their headlining acts for 2018’s festie. Upon Sticky Fingers ditched out of controversy, This That were left with a big pile’o’hate to deal with for their initial choice. In a statement to Music Feeds regarding Sticky Fingers’ inclusion on the bill, This That organisers, Motherboard Events, said, “The This That team do not condone abuse and strive to create a safe and welcoming space for all those attending the festival.” So did they live up to their promise? As far as we saw, This That did a great job at creating a vibe filled, safe place for punters to roam around and enjoy their day. From boutique food and drink selection, to the massive slingshot carnival-style ride, to the music and vibes flowing about, the day was overall joyous, and most definitely not threatening. In fact, the police, medical professionals, and safety presence was noticeably strong. In regards to the level of douchebags – it’s just a fact that no one festival can stay completely safe from this. The touted tops-on policy was very loosely enforced, but this could be attributed to maintaining human safety in the 35-degree heat, rather than the organisers simply letting muscle bros run loose. THIS… Bass music bangs, bro: Photo by @zennieshia This That has proved itself time and time again as a festival for all. With punters young and old, from all locations, there was truly an act for everyone on this lineup, from rock, to electronica, to heavy, to rap. But what really stood out was This That’s incredibly hospitable accommodation to the bass heads in attendance. From rising DJ Godlands, to the earth-shaking B2B trio of Herobust, LUUDE (plus Badrapper), and Just A Gent hit the festival to break a few metaphorical necks, before the night closed on our almighty bass lord, RL Grime. And as I overheard one punter say, “You can never complain about getting to see RL Grime,” and yes, Random Punter 32947, you were correct – whilst many a promoter have brought the trap king to Australia over the past few years, RL Grime is just one of those acts we doubt anyone will ever tire of seeing. Impeccable mixing, the dirtiest drops, and incredible crowd energy are massive understatements to describe what RL Grime brings to a live show, and This That was no exception. THAT: Weather was most definitely, not what you want at a festival: Photo by Mitch Lowe: That moment when the sun fucked off <3 Hitting a lovely 31 degrees by morning and a glorious 35 at its peak, enjoyment of all these great acts was definitely halted by the burning need to look around through blurry eyes for a sight of the beverage seller. Note: despite their lack of liquid, our empty water bottles were forced into an early death on arrival, delegating you to lukewarm free taps, or a cheeky $5 bottle destined for a local turtles’ nose. Whilst standing in line for a refreshing sip of anything, I found myself wondering; has there ever been a festival in Australia where the weather was just… good? Not too hot, no pouring rain, not sub-zero degrees once the sun went down? If you’re aware of such an event, please hit me up so I can live through your experience, because – no, this has never happened to me. And of course, none of this was the fault of the lovely folk at This That – just an unfortunate sweat stain on an otherwise fantastic day! THOSE… Quality hip-hop artists filled the Goldlink-shaped hole in our hearts: Photo by Mitch Lowe: Allday makes his grand return to the Aussie festival stage. Although our hearts were still mourning the sweet styles of Goldlink, there was a whole lot of hip-hop acts to make up for it along the way, crash tackling almost every notable sector of rap music – minus the sweet, R’n’B infused sounds of…. never mind. Manu Crooks took over US trap-rap duties, hyping up a very white crowd to unimaginable levels mid-afternoon. Later on, Adelaide’s hometown hero Allday brought his masterfully casual rhymes back to Australia post his venture to the USA. ILLY also made an appearance, satisfying the Aussie rap crowd inevitably Newcastle drew. Safe to say, hip-hop heads definitely got their fair share of love at This That, be it through these artists, or the many who threw out rap heaters in their DJ sets. THESE… Women are shining: Photo by @zennieshia: Godlands and Ninajirachi packed out the main tent way before peak hour. Most of the time, we’d consider 1:30pm as way too early to rock up to a 12+ hour festival. But if you told that to the crowds Ninajirachi and Godland’s pulled, their mere presence would prove you wrong. Punters came out in swarms to get an early earful of Central Coast local Ninajirachi’s mix of jersey, trap, and all-around cute tracks to bop to, in a tent filled to the max. Mega-soulful songstress Samsaruh also rocked the opening slot to a sizeable crowd. And the women of This That kept on killing it, from open to close. Nyxen, Godlands, Lex Deluxe, Sports, Purple Sneakers DJ’s, Amy Shark and Broods all took to the stage and performed stellar sets to the This That crowd, who were eating the tunes out of their hands – keep on shining, gals. Source

One of the many Spielberg offsprings to come out of the ’80s is Joe Dante’s Explorers. The film follows three latchkey kids — two of them being the late River Phoenix and the great Ethan Hawke in their on-screen debuts — who build a spacecraft. Although the final act totally sucks, the build up remains imaginative fodder for both indoor and backyard kids who love to build and look to the stars. Now, according to Deadline, filmmakers Cary Fukunaga and David Lowery are hoping to bring that magic to today’s generation of youngsters with a new series based on the film for Paramount. The two will write the script and story bible with one of them directing the pilot should the network give them the greenlight, which would be a wise decision. Why? Well, given the talent behind it, this has the potential to be an incredible production. As we saw with last year’s screenplay for It, Fukunaga has a strong grasp on writing kids that come off less precocious and more natural, and when you couple that with the balmy heart of Lowery’s affecting Pete’s Dragon remake, you’re looking at a dynamic collaboration that could warrant something truly memorable. What’s more, the possibilities are endless, especially if they go the DIY route, where we watch them figure this shit out on their own. The problem with the film is that they nix that magic by the final act, not only revealing subpar aliens, but essentially nullifying that feeling of discovery by turning the sandbox narrative into a morality parable. Skip that part and you’ve got Stranger Things in Space. In the meantime, both have their hands full: Fukunaga is directing the 25th Bond movie, while Lowery is currently doing promo for his Robert Redford swan song The Old Man and the Gun and will next work on a “fantasy epic” retelling of Sir Gawain And The Green Knight for A24. Regardless, beam up. Source