Cupe

J Mascis is busy with Dinosaur Jr. these days, having released a new single earlier this year in advance of a fall tour with Mastodon, but it appears his solo career is also bearing fruit. Today, the silver-haired rocker announced a new solo album, Elastic Days, which follows 2014’s Tied To A Star. It arrives November 9th via Sub Pop. Mark Mulcahy, Black Heart Procession’s Pall Jenkins, and Luluc’s Zoë Randell join Mascis on the album, which was recorded at his own Bisquiteen studio in Massachusetts. Accompanying the announcement is “See You At The Movies”, a lovely, open-hearted song that punctuates Mascis’ rich, acoustic strums with some lightning-strike electric solos. Hear it below. Below, you can find the album’s artwork and tracklist. Elastic Days Artwork: Elastic Days Tracklist: 01. See You At The Movies 02. Web So Dense 03. I Went Dust 04. Sky Is All We Had 05. Picking Out The Seeds 06. Give It Off 07. Drop Me 08. Cut Stranger 09. Elastic Days 10. Sometimes 11. Wanted You Around 12. Everything She Said Mascis will take Elastic Days out on the road for a solo tour starting in November. J Mascis 2018 Tour Dates: 11/07 – Vancouver, BC @ Imperial 11/08 – Portland, OR @ Aladdin Theater 11/09 – Seattle, WA @ Tractor 11/10 – Bellingham, WA @ Wild Buffalo 11/14 – San Francisco, CA @ Slim’s 11/15 – San Diego, CA @ Soda Bar 11/16 – Los Angeles, CA @ Lodge Room 11/17 – Denver, CO @ Ophelia’s Electric Soapbox 11/18 – Fort Collins, CO – Washington’s 11/20 – Chicago, IL @ City Winery 11/21 – Chicago, IL @ City Winery 11/27 – Atlanta, GA @ City Winery 11/28 – Nashville, TN @ City Winery 11/29 – Louisville, KY @ Zanzabar 11/30 – Detroit, MI @ El Club 12/01 – Toronto, ON @ Great Hall 12/04 – Philadelphia, PA @ World Cafe 12/05 – Washington, DC @ City Winery 12/07 – Brooklyn, NY @ Rough Trade 12/08 – New York, NY @ Public Arts 12/09 – Hamden, CT @ Space Ballroom 12/19 – Providence, RI @ The Met 12/13 – Boston, MA @ The Sinclair 12/14 – Northampton, MA @ The Academy of Music 12/15 – Portland, ME @ Port City Music Hall Source

Canadian punk outfit Death From Above are celebrating the re-pressing of their debut EP, 2002’s Heads Up, with a special run of US tour dates. Dubbed “Heads Up! Is Now”, the trek will see the duo perform the six-track effort in full each and every night. Things are officially underway beginning October 30th in Seattle and extend through the end of November. The Strokes offshoot CRX and Teri Gender Bender’s raucous Le Butcherettes have been tapped as openers. Consult DFA’s full schedule below. Their last album, Outrage! Is Now, dropped in September 2017. Death From Above 2018 Tour Dates: 08/21 – Prague, CH @ Lucerna 08/22 – Munich, DE @ Strom 08/24-26 – Reading, UK @ Reading Festival 08/24 – Wetherby, UK @ Leeds Festival 10/30 – Seattle, WA @ Neumos Crystal Ball & 10/31 – Portland, OR @ Wonder Ballroom & 11/02 – San Francisco, CA @ Great American Music Hall & 11/03 – San Diego, CA @ Music Box & 11/04 – Los Angeles, CA @ Teragram Ballroom & 11/06 – Santa Ana, CA @ The Observatory & 11/07 – Phoenix, AZ @ Press Room & 11/09 – Denver, CO @ The Marquis Theater & 11/11 – Dallas, TX @ Gas Monkey Live # 11/12 – Houston, TX @ The Studio at Warehouse Live # 11/13 – Austin, TX @ Mohawk # 11/15 – Nashville, TN @ Mercy Lounge # 11/16 – Chicago, IL @ Metro # 11/17 – Detroit, MI @ Magic Stick # 11/18 – Cincinnati, OH @ Bogart’s # 11/20 – Baltimore, MD @ Rams Head Live # 11/21 – Philadelphia, PA @ The Foundry # 11/23 – Brooklyn, NY @ Elsehall # 11/24 – Allston, MA @ Brighton Music Hall # 11/25 – Niagara Falls, NY @ The Rapids Theatre # & = w/ CRX # = w/ Le Butcherettes Revisit Outrage! single “Freeze Me”: Source

Setting the Stage: At this point, Wrigley Field is even more of a tradition for Pearl Jam than playing hometown shows in Seattle. It helps, of course, that their main man, Eddie Vedder, is a Chicagoland native, having been born just north of the stadium in Evanston, Illinois. He’s also a life-long Cubs fan, an allegiance that’s been well documented by both WGN footage over the years and the band’s 2017 concert film and documentary, Let’s Play Two. By now it’s obvious that Wrigley is the band’s summer home. For their third go-around, following 2013’s historic rain delay show and 2016’s epic two-night run, Pearl Jam arrived fresh from an incredible week in Seattle, where they paid respect to fallen legends, fought to preserve history, opened up an entire goddamn exhibit, and conquered two epic shows at Safeco Field. That energy only grew stronger in the MIdwest as Vedder and co. came well prepared to add to their Wrigleyville narrative, from endless tributes to unlikely covers to another duel with Mother Nature. Taking the Stage: I’ll let the galleries remind you of how beautiful Wrigley Field looks when the grandstands are packed and shining like a Camaro’s hood in the moonlight. And you’ve probably seen Eddie Vedder defy his age a thousand times and go hurtling off a riser at a song’s conclusion or Mike McCready take a soloing victory lap into an adoring crowd. If you’re a Pearl Jam fan, no doubt you’ve scraped the sky with shouts of “Hello…” (“Elderly Woman Behind the Counter in a Small Town”), felt the blood rush through your body as “Corduroy” surged, rode shotgun with the windows down on “Rearviewmirror”, or felt the sky crack open during “Alive”. You’ve cried for an absent friend (“Missing”), gritted your teeth in defiance (“Know Your Rights”), or heard something old in a new light (“Rebel Rebel”). If you were at Wrigley Field on either Saturday or Monday night, you went to not only a rock show at a ballpark but to a party, a protest, and a wake. You felt celebration, angst, and release. Like any Pearl Jam show, you came in with life’s worries, frustrations, and bruises and somehow, thanks to rock and roll, miraculously left on the mend. –Matt Melis Have Fun, Play Singles: Maybe it’s because they were still feeling nostalgic from their time in the Emerald City, but slotting their two Singles contributions back to back was a brilliant move by the gang. Granted, “State of Love and Trust” has become a staple in recent memory — and for good reason, seeing how it destroys the crowd — but “Breath” is something of a rarity. Hearing them together made die-hard fans such as this guy swoon like a greasy Steve Dunne opening his apartment door to a loving Linda Powell. You just wanted to stand up and scream, “We will always go out dancing!” –Michael Roffman Rain Over Me: Play an outdoor show in the summer and you run the risk of drawing the ire of Mother Nature. For Pearl Jam, though, it’s starting to become part of the Wrigley tradition. Five years later, their legendary 2013 performance continues to resonate within the ivy confines, and you can see it on the faces of their followers (and, well, also their t-shirts). So, when the rain and lightning delayed Monday evening’s show, it became storytime for veterans who recounted their experiences as everyone huddled together in the lobby for beer, dogs, and camaraderie. Kind of nice. –Michael Roffman Can’t Find a Vedder Man: Look, we all know how Eddie loves the wine. The way he climbs into a bottle or two of Merlot every night is part and parcel the charm to every Pearl Jam show. Because by the end of every set, the guy sounds like a Springsteen bootleg that’s been shot to shit by overexposure to the sun. Naturally, his big return to Wrigley saw him relishing his moments like any other Wrigleyville lush, but it was earned. These were the first shows they played following the Cubs’ historic win in 2016, and Vedder was not going to let that piece of history go by unnoticed. On both nights, he shared his love for the game, for the team, and for the people behind it. He thanked the Ricketts, Anthony Rizzo, Theo Epstein, Joe Maddon, and the list goes on. It was all very heartfelt, but also not without humor. His funniest moment, however, came deep Monday night: “This is the last time the band’s ever going to tour from April to October,” he announced. “Not because of the weather or anything, but because of the owner of the Cubs last night offered me a job working in the scoreboard and I just can’t turn that down. I mean… that’s living the dream.” And yet for two seconds, it was every fans’ nightmare. Hilarious. –Michael Roffman Cover Me: It’s been five years since Pearl Jam put out an album, and although they’ve been insistent that a followup to 2013’s Lightning Bolt is coming, we’ve heard nothing but promises and one average single in this past March’s “Can’t Deny Me”. So, what’s the deal? Well, one look through their expansive setlists for their Home Away shows suggests that the band’s been really, really keen on doing covers, so maybe they’re putting out an album? Who knows. Either way, they’ve clearly been having a ball playing other people’s music, and Wrigley saw over a dozen covers between the two nights. Each night had six, making up around 30% of the performance, and both produced a couple of highlights for future setlists. The band’s live debut of David Bowie’s “Rebel Rebel” on Saturday night, for instance, and even Vedder’s take on The White Stripes’ “We’re Going to Be Friends” on Monday evening. Not all were hits, and they could stand to lose The Clash’s “Know Your Rights” and Neil Young’s “Throw Your Hatred Down”. Both paled in comparison to how they’ve previously tackled either artist and left the setlist sagging. Still, gotta love that Hail Mary return of The Beatles’ “Rain” on Monday. Having said all that, where’s the album fellas? –Michael Roffman That One Moment: Pearl Jam have grown into and embraced being a band of all times, and their shows reflect that. Sometimes, it’s raising millions for the homeless of their hometown of Seattle; other times, it’s looking to an uncertain future with hope and encouraging their fans, young and old, to get out the vote. On Saturday, the most poignant moment came with an eye to the past. Vedder segued from “Wishlist” to sitting alone center stage and reflecting on those he wished were still around, like Cubs legends Ron Santo, Harry Caray, and “Mr. Cub” himself, Ernie Banks, who had appeared onstage with the band at their famous Wrigley debut five years earlier. When you think about all the great athletes and musicians who have been cheered on at Wrigley Field — the second oldest major league baseball stadium — and consider that the memories of those championed could fill the ballpark on their own, it does make the Friendly Confines a sort of hallowed place, ripe for looking back on the best of us. Foremost on Vedder’s mind, though, as has been the case at previous shows, was the late Tom Petty. For many Americans, laying out on the lawn at a Petty concert had become an annual summer tradition like fireworks on the Fourth of July or eating a hot dog at the ballpark. So, it was fitting to be in the stands of Wrigley or out atop its lush, green grass as Vedder, using Petty’s own guitar, led a sing-along of our favorite American boy of summer’s “I Won’t Back Down”. Cell lights lit the ballpark with the glow of a million fireflies, and somehow, as we collectively pledged to “stand our ground,” it felt as though the masses at Wrigley were paying tribute to our past, affirming our present, and staking our claim to a future that builds upon the best of what came before. –-Matt Melis That One Song: There was a surprising amount of overlap on both nights. “Do the Evolution”, “Rearviewmirrror”, “Even Flow”, “Alive”, “Porch”, and “Corduroy” were all played twice, and while it wasn’t exactly frustrating to sit through these classics again, it wasn’t particularly exciting, either. Well, with the exception of “Corduroy”. Ever since it first appeared on Vitalogy, the single has been a staple of the band’s, and honestly, it’s arguably their strongest live cut. Vedder’s survivalist inflections, those ebbs and flows between McCready and Matt Cameron, the way it recycles that haunting Temple of Doom claps from the audience … ah, it’s a perfect encapsulation on why this band is the greatest live act living today. And we got it twice. –Michael Roffman So, Who Won? Saturday night edged out Monday. Sure, the rain delay made things feel particularly special and added more of a narrative, but there was also a lot of fat to that setlist. Deep cuts like “Leash”, “Smile”, “In My Tree”, and “U” were pleasant to hear dusted off and that cell phone vigil for Stan Mikita during “Come Down” was all kinds of emotional, but the unstoppable punch of Saturday, what with its astounding first few innings (“Wash”, “Low Light”, “Small Town”, “Breakferfall”, “Corduroy”, “Hail Hail”, and “Animals”), Singles double-header (“State of Love and Trust”, “Breath”), and final grand slam encore (“Rebel Rebel”, “Better Man”, “Alive”, “Rockin’ in the Free World”, and “Yellow Ledbetter”), is just impossible to forget. –Michael Roffman Extra Innings: We don’t have any accolades left to heap on Pearl Jam that we haven’t already awarded. They’re one of the few remaining rock acts that deserve to play stadiums, never take a night off, and build community through sincerity, brotherhood, and an unwavering belief in rock and roll’s ability to leave the world just a little better for it having blared out a stack of amps. Mired in what will no doubt be looked upon as a particularly ugly stretch of history — a period that has witnessed our basic American values called into question on almost a daily basis — two nights of standing, dancing, and headbanging shoulder to shoulder with our brothers and sisters at the ballpark was enough to remind us of just how sweet it is to keep on rocking in the free world. –Matt Melis Saturday’s Setlist: Wash Low Light Elderly Woman Behind the Counter in a Small Town Breakerfall Corduroy Hail Hail Animal Getaway Leaving Here (Edward Holland, Jr. cover) Present Tense Even Flow Missing (Chris Cornell cover) Garden Not for You (with “Modern Girl” tag) Can’t Deny Me Wishlist I Won’t Back Down (Tom Petty cover) Porch Encore: Just Breathe Sleeping by Myself (Eddie Vedder song) Footsteps State of Love and Trust Breath Know Your Rights (The Clash cover) Do the Evolution Alone Rearviewmirror Encore 2: Rebel Rebel (David Bowie cover, Pearl Jam live debut) Better Man Alive Rockin’ in the Free World (Neil Young cover) Yellow Ledbetter Monday’s Setlist: Given to Fly Why Go Go Last Exit Mind Your Manners Do the Evolution Rain (The Beatles cover) Throw Your Hatred Down (Neil Young cover) Even Flow U In My Tree Immortality Daughter (with “It’s Ok” tag) Unthought Known Jeremy I Am a Patriot (Little Steven cover) Lukin Porch Encore: We’re Going to Be Friends (The White Stripes cover) Come Back Corduroy Black Lightning Bolt Rearviewmirror Smile Evil Little Goat (live debut) Leash Alive Baba O’Riley (The Who cover) Source

A report in the New York Times earlier this week uncovered a secret hush payment made to former child actor, Jimmy Bennett, who had accused his former co-star, Asia Argento, of sexually assaulting him in 2013, when he was 17 years old. Argento has now responded to the allegations. In an issued statement, Argento called the New York Times story “absolutely false” and denied ever having a sexual relationship with Bennett. She accused Bennett of extortion and said that her late boyfriend, Anthony Bourdain, himself sent the hush payment to avoid “possible negative publicity.” “Bennett – who was then undergoing severe economic problems and who had previously untaken legal actions against his own family requesting millions in damages — unexpectedly made an exorbitant request of money from me,” Argento said in her statement. “Anthony insisted the matter be handled privately and this was also what Bennett wanted. Anthony was afraid of the possible negative publicity that such person, whom he considered dangerous, could have brought upon us. We decided to deal compassionately with Bennett’s demand for help and give it to him. Anthony personally undertook to help Bennett economically, upon the condition that he would no longer suffer any further intrusions in our life.” In light of the story going public, Argento said she has “no other choice but to oppose such false allegations and will assume in the short term all necessary initiatives for my protection before all competent venues.” Read Argento’s full statement below. I just received this statement from @AsiaArgento in response to the NYT story published late Sunday evening. pic.twitter.com/jAOo7TAULX — Yashar Ali (@yashar) August 21, 2018 The Italian actress, who was one of the first to publicly accuse Harvey Weinstein of sexual assault, is alleged to have had sexual intercourse with Bennett at a Los Angeles hotel in 2013. Argento and Bennett appeared together in the 2004 film, The Heart Is Deceitful Above All Things. In November 2017, a month after Argento came forward with her own accusations of assault against Weinstein, Bennett sent Argento a notice of intent to sue, according to the New York Times. In the notice, Bennett explained that seeing Argento “present herself as a victim of sexual assault was too much to bear… and called up memories of their hotel reunion.” Bennett asked for $3.5 million in damages for “the intentional infliction of emotional distress, lost wages, assault and battery.” According to documents obtained by the Times, Argento agreed to pay $380,000 over the course of a year and a half, starting with an initial payment of $200,000 that was made in April. Under terms of the deal, Bennett relinquished the copyright of an intimate photo he took with Argento in bed. After the Times published its story, the Los Angeles County Sheriff’s Department announced its intent to investigate the allegations made against Argento. Bourdain died by suicide earlier this year. Source

Killswitch Engage were forced to postpone a handful of gigs in the spring when it was revealed that singer Jesse Leach had to undergo vocal cord surgery. Now, the band is making up for those shows, plus adding more dates, on a brief fall U.S. jaunt. The Massachusetts metallers already returned to the stage over the summer, supporting Iron Maiden on a European tour. The new 10-date U.S. trek kicks off November 24th in Providence, Rhode Island, with four of the shows (Sayreville, Poughkeepsie, Cleveland, and Louisville) serving as make-up dates for the missed spring gigs. Supporting Killswitch Engage on the tour will be Born of Osiris, Crowbar and Death Ray Vision. The tour news follows the announcement in June that Killswitch Engage inked a new record deal with Metal Blade, following a long run with Roadrunner Records. The band’s upcoming eighth album is expected to be released in 2019. Killswitch Engage will embark on a previously announced Australian tour with Parkway Drive in late October. See the band’s complete itinerary below. Killswitch Engage Fall 2018 Tour Dates: 10/25 – Canberra, AU @ UC Refectory * 10/26 – Sydney, AU @ Hordern Pavilion * 10/27 – Newcastle, AU @ Nex * 10/28 – Brisbane, AU @ Riverstage * 11/02 – Melbourne, AU @ Margaret Court Arena * 11/03 – Adelaide, AU @ Entertainment Centre * 11/06 – Perth, AU @ HBF Stadium * 11/24 – Providence, RI @ The Strand # 11/25 – Poughkeepsie, NY @ The Chance # 11/27 – Reading, PA @ Reverb # 11/28 – Cleveland, OH @ Agora Ballroom # 11/30 – Louisville, KY @ Mercury Theater # 12/01 – Chattanooga, TN @ The Signal # 12/02 – Asheville, NC @ Orange Peel # 12/04 – Lynchburg, VA @ Phase 2 # 12/05 – Wilmington, DE @ The Queen # 12/06 – Sayreville, NJ @ Starland Ballroom # * = w/ Parkway Drive # = w/ Born of Osiris, Crowbar and Death Ray Vision Behemoth's Top 5 Songs X Japan Makes Epic Debut at Coachella 2018 Metallica’s Top 5 Songs Tour Update: Nine Inch Nails Presents: Cold and Black and Infinite Tour Tool’s Top 5 Music Videos Source

Julien Baker, Phoebe Bridgers, and Lucy Dacus have formed the ultimate singer-songwriter supergroup: boygenius. The trio of musicians will soon release their self-titled debut EP under the new moniker, which they’ll support with a North American tour this fall. The idea for establishing an actual band together came to mind after the three mapped out their joint tour. “A long time ago, before I even met Phoebe, Julien mentioned that she had a pipe dream of starting a band with both of us,” Dacus explained in a press statement. “Then we booked this tour and decided the time was right.” They didn’t just have time on their side — upon meeting, Baker, Bridgers, and Dacus got along together like kindred spirits. Baker elaborated: “When we met, Lucy and Phoebe and I were in similar places in our lives and our musical endeavors, but also had similar attitudes toward music that engendered an immediate affinity. Lucy and Phoebe are incredibly gifted performers, and I am a fan of their art outside of being their friends, but they are also both very wise, discerning and kind people whom I look up to in character as much as in talent.” (Read: September 2017 Artist of the Month: Phoebe Bridgers) The resulting boygenius EP was recorded in just one day in early June at Los Angeles’ famed Sound City studios. Each songwriter was tasked with bringing along one completed song and an idea for brainstorming. Altogether, the six-track effort reflects a bit of each artist and their respective past works (Baker’s excellent Turn Out the Bright Lights, Bridgers’ Stranger in the Alps, and Dacus’ Historian). Due out November 9th, the EP is being previewed today with three gorgeous new songs in “Me & My Dog”, “Bite The Hand”, and “Stay Down”. Take a listen below. boygenius Artwork: boygenius Tracklist: 01. Bite The Hand 02. Me & My Dog 03. Souvenir 04. Stay Down 05. Salt In The Wound 06. Ketchum, ID The three artists’ joint tour kicks off in early November. While it’s not officially a boygenius trek — meaning they’ll each play their own solo sets — a press release teases possible surprise collaborations. Julien Baker, Phoebe Bridgers, and Lucy Dacus 2018 Tour Dates: 11/04 – Nashville, TN @ Ryman Auditorium 11/06 – Brooklyn, NY @ Brooklyn Steel 11/07 – Brooklyn, NY @ Brooklyn Steel 11/08 – Boston, MA @ Orpheum Theatre 11/10 – Toronto, ON @ Danforth Music Hall 11/11 – Detroit, MI @ Majestic Theatre 11/12 – Chicago, IL @ Thalia Hall 11/13 – Chicago, IL @ Thalia Hall 11/15 – St. Louis, MO @ The Pageant 11/16 – Madison, WI @ The Sylvee 11/17 – Minneapolis, MN @ First Avenue 11/19 – Denver, CO @ Ogden Theatre 11/20 – Salt Lake City, UT @ The Depot 11/23 – Vancouver, BC @ Commodore Ballroom 11/24 – Seattle, WA @ The Moore Theatre 11/25 – Portland, OR @ Crystal Ballroom 11/27 – Oakland, CA @ Fox Theater 11/29 – San Diego, CA @ The Observatory 11/30 – Los Angeles, CA @ The Wiltern Source

It’s been two years since we first learned that Chance the Rapper had secretly been working on his feature film debut, Slice. After a short teaser was revealed last Halloween, we’ve finally been given our first full look at the A24 release with the debut of a new trailer. Slice comes from director Austin Vesely, Chance’s close collaborator from videos like “Sunday Candy”, “Angels”, “Brain Cells”, and more. The story is set in the small town of Kingfisher, where pizza delivery boys keep getting murdered. Two surviving ‘za slingers decide to join forces and track down the killer, but things get infinitely more terrifying when they learn that one pie spot, Perfect Pizza, has been built directly on a gateway to hell. The trailer also heavily implies that Chance’s character, Dax Lycander, is a werewolf — not leastwise because of a police report that says he’s wanted for “5 counts of murder, fast food conspiracy, general werewolfery.” It also list his race as “wolf” and his age as “Undying, old as time, born of a curse.” In addition to Chance (who’s credited as Chance Bennett), the film stars Zazie Beetz (Deadpool 2), Joe Keery (Stranger Things), Paul Scheer of The League fame, The OA actor Will Brill, Fear the Walking Dead actress Rae Gray, and (as you hear in one of the trailer’s voiceovers) Chris Parnell. Hannibal Buress also pops up for a quick cameo, so keep an eye out. Check out the trailer below, and stay tuned while we await an official release date for Slice. Source

Madonna is drawing criticism for her VMAs tribute to Aretha Franklin, and for good reason. Much like how Donald Trump managed to make Franklin’s death about himself (“She worked for me on numerous occasions”), Madonna’s own tribute to the Queen of Soul ended up becoming a tribute to Madonna. Near the end of last night’s VMAs, the legendary pop singer, who celebrated her 60th birthday last week, shared a long-winded story about an early audition in which she sang Franklin’s “Natural Woman”. Aside from her singing one of Franklin’s songs, Madonna’s story had absolutely nothing to do with Franklin. To illustrate that point, I’ve bolded every instance in which Madonna references herself. “Aretha Franklin changed the course of my life,” began Madonna. “I left Detroit when I was 18. Thirty-five dollars in my pocket. My dream was to make it as a professional dancer. After years of struggling and being broke, I decided to go to auditions for musical theater. I heard the pay was better. I had no training or dreams ever ever becoming a singer, but I went for it.” For those counting, Madonna’s opening paragraph contained nine “my” or “I”s, but just one reference to Franklin. It only got worse from these. “I got cut, and rejected from every audition. Not tall enough. Not blend-in enough, not 12-octave-range enough, not pretty enough, not enough, enough. And then one day, a French disco sensation was looking for backup singers and dancers for his world tour. I thought, ‘Why not? I could go back to getting robbed, held at gunpoint, and being mistaken for a prostitute in my third floor walk-up that was also a crack house.‘ That’s right, I’m a rebel heart.“ “So I showed up to the audition, and two very large French record producers sat in the empty theater, daring me to be amazing. The dance audition went well. Then they asked me if I had sheet music and a song prepared. I panicked. I had overlooked this important part of the audition process. I had to think fast. My next meal was on the line. Fortunately, one of my favorite albums was Lady Soul by Aretha Franklin. I blurted out, ‘You make me feel!’ Silence. ‘You make me feel like a natural woman!’ “Two French guys nodded at me. I said, “You know, by Aretha Franklin.” Again, mm-hmm. They looked over at the pianist. He shook his head. I don’t need sheet music, I said, I know every word. I know the song by heart, I will sing it a capella. I could see that they didn’t take me seriously, and why should they? Some skinny-ass white girl is going to come up here and belt out a song by one of the greatest soul singers who ever lived? A capella? I said, ‘Bitch, I’m Madonna.’ No, I didn’t. I didn’t say that. Because I wasn’t Madonna yet. I don’t know who I was.” Still with us? “I don’t know I said. I don’t know what came over me. I walked to the edge of the pitch black stage, and started singing. When I was finished and drenched in nerve sweat. You know what that is, right nerve sweat? They said, ‘We will call you one day, maybe soon.’ Weeks went by and no phone call. Finally, the phone rang, it was one of the producers, saying. ‘We don’t think you are right for this job.’ I’m like, ‘Motherfucker, why are you calling me?’ He replied, ‘We think you have great potential. You are rough around the edges, but there is good rawness. We want to bring you to Paris and make you a star. Well, we will put you in a studio, with the great Giorgio Moroder.’ And I had no idea who that was, and I wanted to live in Paris and I wanted to eat some food.” “So, that was the beginning of my journey as a singer. I left for Paris, but I came back a few months later. Because I had not earned the life I was living. It felt wrong. They were good people, but I wanted to write my own songs and be a musician, not a puppet. I needed to go home and learn to play guitar, and that’s exactly what I did. And the rest is history.” So. You are probably all wondering why I am telling you this story. There is a connection, because none of this would have happened, could have happened, without our lady of soul. She lead me to where I am today. And I know she influenced so many people in this house tonight. In this room tonight. And I want to thank you, Aretha, for empowering all of us. R-E-S-P-E-C-T. Long live the queen.” Final count: 72 mentions of Madonna 4 mentions of Aretha Franklin From that point, Madonna went on to announce the winner of the VMA for Video of the Year… while still making it all about herself. “Another anecdote I would like to share: In 1984, this is where the first VMAs were, in this very building. And I performed at this show. I sang ‘Like a Virgin’ at the top of a cake. And on my way down, I lost a shoe, and I was rolling on the floor and trying to make it look like it was part of the choreography, looking for the missing stilleto, and my dress flew up, and my butt was exposed, and oh my God, quelle horror. After the show, my manager said my career was over… So, I would now like to present the nominees for the video of the year.” Remarkably, Madonna refrained from announcing herself as the winner. Watch Madonna’s “tribute” to Aretha Franklin below. And to think, I’ve yet to even mention the accusations of cultural appropriation leveled against Madonna for dressing in traditional African garb. Banner job, Madge. People are upset about Madonna's Aretha Franklin tribute at the VMA's 'cos it was basically all about her and not Aretha. Whatchu think? Here's a snippet Video credit @TheRaroLae pic.twitter.com/9loUPGTG24 — Kenzy Vinco (@KenzyVinco) August 21, 2018 Source

“You know what I feel like?” “A Big Mac?” “The man’s psychic!” Long before it became a running joke for every Conan appearance Paul Rudd has ever made, 1988’s MAC and Me was already infamous — a blatant, soulless, calculated rip-off of E.T. the Extra-Terrestrial with a hefty glob of product placement slathered across every frame like so much barbecue sauce over a McRib. It graced theaters for a mere two weeks and grossed only $6 million; however, it did win two Razzies for Worst New Star (Ronald McDonald, of course) and Worst Director. Thirty years later, MAC and Me has faded into obscurity as a cult curiosity, a cynical feature-length commercial for McDonald’s and Coca-Cola that represents the most egregious example of that particular commercial impulse. But the road to MAC and Me is paved with more than Big Mac wrappers and creative bankruptcy; it was just the most blatant instance of a trend toward children’s programming that focused less on education and storytelling and far more on getting kids hooked on brands and products. To understand how MAC and Me came to Mac-and-be, we must go back to 1946 and the publication of the Federal Communications Commission (FCC)’s first Blue Book – a document that limited commercial airtime to certain public service standards, including eliminating “excess advertising.” Through the ‘50s, ‘60s, and ‘70s, advertisers worked diligently to circumvent the guidelines of the Blue Book: in 1963, for instance, the FCC lost a court case that said they were no longer able to enforce how many commercials were featured in children’s programming or how long they could be. However, watchdog groups like Action for Children’s Television (ACT) started to speak out about violations of FCC guidelines, which helped stem the tide of blatant advertising in kids’ shows. Then along came the Gipper, and everything changed. Ronald Reagan, infamous nemesis of corporate regulations, began gutting the FCC from the inside, starting with his appointment of Mark Fowler as FCC commissioner in 1981. Fowler was a fellow acolyte of Big Business, a firm believer of the dominance of market forces as a yardstick for quality in broadcasting. To that end, Fowler summarily began cutting regulation after regulation for advertisement on children’s programming. In his mind, the free market would decide what programming was entertainment and what was just another ad. The effects were quickly felt; as cultural historian Tom Engelhardt notes in his book The End of Victory Culture, by 1985, children’s programming experienced an approximate 300% increase in shows featuring licensed characters, from He-Man to M.A.S.K. to Transformers. Pac-Man had his own show, and so did My Little Pony. Children’s television became a cavalcade of full-length toy commercials, to the point where commercial breaks within those programs became virtually redundant. Under Reagan, the commercial culture of family entertainment had fully arrived: shows no longer taught lessons or told stories. They were just a means to sell stuff to kids. That brings us back around to MAC and Me, which wasn’t directly affected by the FCC’s deregulation per se (it was a theatrically released film, not a television show), but was certainly the most unapologetic extension yet of that kid-as-consumer mindset these changes promised. To the film’s mild credit, its origin was mildly motivated by altruism: RJ Louis, an ad guy who’d worked on McDonald’s advertising campaigns and was associated with Ronald McDonald House Charities (RMHC), wanted to capitalize on Ronald McDonald being “even more [well-known] than Santa Claus.” To that end, he’d create a film where the proceeds would go to RMHC, negotiating with McDonald’s to use their brand, stores, and elements. McDonald’s could market the film in their stores, offer video cassettes with an intro by Ronald McDonald himself, and even have a cardboard MAC (which stands for Mysterious Alien Creature, natch) in every store in the nation. However, noble intentions and corporate branding do not make good bedfellows, and MAC and Me ended up a completely derivative disaster. Screenwriters Steve Feke and Stewart Raffill (the latter also directed) didn’t so much take inspiration from Spielberg’s classic lost-alien tale E.T. as they traced over it, from its concept of a young boy befriending a lost alien to the tan, scrotal look of both creatures. Plot beats are replicated note for note – the boy and his alien are helped by their clan of plucky friends; they’re chased by shadowy government suits – with little of Spielberg’s earnest sentiment or production value. In hindsight, it was relatively progressive of them to cast Jade Calegory, a boy with spina bifida, to play the wheelchair-bound lead, but that doesn’t excuse the rest of the film, which looks and feels so, so cheap. Then, of course, there’s the product placement. McDonald’s reportedly offered no direct financing for the film, but gave permission to market the brand. And oh boy, did they ever. McDonald’s presence looms large over the film, particularly in one sequence set entirely in one of their restaurants. Inexplicably, Calegory’s Eric and his friends decide to hide MAC in a busy McDonald’s during an impromptu, inexplicably well-choreographed dance party. B-boys and B-girls breakdance in formation while kids laugh and cheer, eating French fries and Big Macs with the Golden Arches painted on the windows. MAC, disguised as a teddy bear, gets in on the fun, too, boogeying on the service counter with a troupe of backup dancers decked out in the classic green McD’s polo. Even Ronald McDonald himself makes an appearance, doing everything short of pointing at the camera and shouting, “Don’t we have so much fun here?!” Of course, McDonald’s wasn’t the only brand that snaked its way into the fabric of MAC and Me. When Eric and his family first try to give MAC water, he refuses, but he’s gonzo for the flavor of Coca-Cola, sucking up the magical elixir through his suckling anus of a mouth. (They also feed him Skittles, and he clearly loves to taste the rainbow.) Later on, MAC’s family blunder their way through a grocery store full of terrified onlookers, conspicuously knocking over a mountain of Coke cans prominent in the frame. Today, audiences are used to films featuring the odd Pepsi vending machine in the background or Marky Mark taking a break from an alien invasion to pop open an ice-cold Bud Light in a Transformers movie, but it’s fascinating to see where the phenomenon clumsily began. Sure, MAC and Me is easy fodder for jokes about product placement, and it’s fun to giggle at that clip of a kid in a wheelchair rolling off a cliff. But its notoriety comes at least partially from its brazenness as a corporate product, the end result of Reagan-era deregulation and an entertainment culture increasingly permitted to hard-sell products to kids. It’s so unapologetic in its nature as a tie-in for junk food restaurants and soda that audiences thankfully caught on, rightfully shunning it. However, that’s because the producers and brands behind MAC and Me got too precious, and audiences recognized they were being sold to, not entertained. Product placement is just as rampant now as it was then, but it’s more pernicious, more surreptitious. The ‘80s and ‘90s got kids used to the idea of their favorite shows and movies being springboards for buying stuff – now, it’s par for the course. Source

Warner case and Zak Downtown are a couple of names you may not be completely behind yet, but I’ll tell you what, they’re definitely worth a follow! Hailing from the big apple these two guys have been diligently chugging along with their own projects and it shows. Good Time is a summery house vibe and Zak Downtown’s voice is the perfect smooth accompaniment for the laid back, feel good beats that place you next to a pool sippin’ on piña coladas. The tune is simple, fun and upbeat and that’s what warner case says the track is about.”Often in music (and Art in general), we get so entrenched in deep symbolism that we forget to just let loose and write something that feels good and makes us happy.” Check out the tune below and tell us what you think! Source

There’s not much to say here, we’ve been given the reigns to take over the Marly Friday August 24 and we’ve enlisted a bunch of Sydney killers to help guide you through the night. Upstairs will be a disco infused boogie fest, fronted by loveable electronic artist, Mickey Kojak, joined by Bobby Gray, Banquet DJs, Sidehustle DJs and rounded off by the mysterious DJ Render & Tony Not A Snitch. Downstairs we threw control over to our dear friends at Gateway Collective who have secured Interstellar Fugitives who’ll sit atop Sydney lo-fi legend Slamb and young gun James Pepper. The party’s going off at the Marlborugh Hotel, Sydney from 9pm and as aforementioned it’s free! Reserve your spot here and come boogie with us at Stoney Roads’ Discotheque. We’d like to reiterate that we believe in a safe and inclusive space for all and have a no dickheads policy. Source

There are some songs that are meant to relax the listener… ‘Helios’ by Ekali & Slumberjack is not one of those songs. This is a song that will raise your heart rate. It will get you excited for whatever it is you have to do. No need for coffee in the morning when you can pop this jam on. ‘Heilos’ Listen to Ekali & Slumberjack’s ‘Heilos’: The aggressive bass and drastic peaks and valleys of the song combine in a perfect storm of beautiful chaos. The addition of guitar in the slower moments of the song give it a sound that is not really heard in this genre. It has an almost hypnotic trance vibe. This song will definitely be on my workout playlist for the foreseeable future. Canada’s own Ekali and Australia’s duo Slumberjack team up to make an all-time dirty hit. Ekali is probably best known for his affiliation with Drake but he is and has accomplished so much more than that. Like a collaboration with ZHU and creating singles people have to change their underwear after listening to them. Ekali has taken the Vancouver music scene by storm and now the world is listening. Slumberjack, on the other hand, are made it big on the Australian music scene in 2014 and have been getting bigger ever since. With a long list of absolute bangers, there is only room for them to go up. photo credit Slumberjack Keep up with these paradise creators by following them on their social media handles linked below. Follow Slumberjack: Facebook SoundCloud Twitter Instagram Follow Ekali: Facebook SoundCloud Twitter Instagram The post Ekali and Slumberjack Create a Paradise with Collaboration appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Legends never die. At tonight’s MTV Video Music Awards, Rita Ora & Avicii were awarded best dance video for “Lonely together.” Avicii passed away in April in Oman at age 28. Other nominees for included Calvin Harris & Dua Lipa for “One Kiss,” The Chainsmokers for “Everybody Hates Me,” David Guetta & Sia for “Flames,” Marshmello ft. Khalid for “Silence,” and Zedd & Liam Payne for “Get Low (Street Video).” The post Avicii Wins Posthumous MTV Video Music Award appeared first on EDM Maniac. Source

The dance category at the VMAs this year was hotly contested by all artists nominated: Avicii, Calvin Harris, The Chainsmokers, David Guetta, Marshmello and Zedd. However, in the end, the Moonman went to Avicii for “Lonely Together” with Rita Ora. The #VMA for Best Dance goes to @RitaOra and @Avicii — Video Music Awards (@vmas) August 21, 2018 Avicii took his own life this past April. This article was first published on Your EDM. Source: Avicii Wins Posthumous Award For Best Dance at VMAs 2018 Source

The dance category at the VMAs this year was hotly contested by all artists nominated: Avicii, Calvin Harris, The Chainsmokers, David Guetta, Marshmello and Zedd. However, in the end, the Moonman went to Avicii for “Lonely Together” with Rita Ora. The #VMA for Best Dance goes to @RitaOra and @Avicii — Video Music Awards (@vmas) August 21, 2018 Avicii took his own life this past April. This article was first published on Your EDM. Source: Avicii Wins Posthumous Award For Best Dance at VMAs 2018 Source

The year is 2018, the world is plagued by ‘up-and-coming’ artists. Everyone’s trying to make it but no one’s quite sure how. Putting on a show is the aim, but building hype is all that anyone knows how to do. It’s here, the Trapocalypse, a world wherein ever trap set builds and builds and never drops! One guy has taken aim at this plight on modern DJing making a 2 minute song of nothing but build ups and blue-balls. The track, titled This is what trap DJ sets sound like in 2018 goes through a bunch of bangers, but just refuses to drop. Check it out below and tell us what you think, is this tune representative of the generic trap set? Source

Travis Scott is everywhere. His Astroworld album just entered its second week atop the Billboard 200 chart, and today he announced an accompanying tour, which includes a performance at the rapper’s own Astroworld Festival in Houston. Tonight, after keeping his distance from a not-so-happy Nicki Minaj, Scott took the stage at the 2018 MTV VMAs for a trippy, kaleidoscopic medley featuring none other than UK crooner James Blake, who contributed to Scott’s latest. Clad in Minion yellow, Scott kicked things off with “Stargazing” before bringing out Blake for his “Stop Trying To Be God” verse. From there, Scott launched into middle verse of “Sicko Mode” as a massive crew of hoodied dancers moshed with abandon behind him. Scott also offered respect to the late Aretha Franklin—the show’s first acknowledgement of Franklin of the night—and ended his show with what many are perceiving to be a dig at Nicki Minaj. “Astroworld! Number one album in the world right now!” he yelled, bringing to mind Minaj’s shady tweets about Queen failing to surpass it. Check it out below. TRAVIS SCOTT’s PERFORMANCE AT THE 2018 #VMAs pic.twitter.com/I7aonPaSEQ — FTP FLAME (@FTPflame) August 21, 2018 If that left you wanting more, check out some non-album tracks featuring Gunna and Playboi Carti the rapper recently debuted on his Beats 1 radio show. Source

South African DJ Kyle Watson has recently taken everyone by storm. While his bass house heavy pieces have been featured on huge labels like This Aint Bristol and Dirtybird, he’s become a staple person in everyones ” must see” artist list. His progression as an artist has been something quite enjoyable to notice. Now, he’s finally announced on Magnetic Mag that he’ll be going on a US tour and to celebrate, he’s blessed us with a mini mix of his new album Into the Morning which is out August 24 via This Aint Bristol. Regarding the album, Watson claimed, “Into The Morning is a pretty eclectic album for me. I played around in a few genres different to what people might usually expect, and this little mini mix of the album tracks should whet your appetite and hopefully get you excited for the whole package to drop!“ Stream his mini-mix below and get tickets for his US tour here! The post Kyle Watson Announces US Tour and Releases MiniMix appeared first on EDM Maniac. Source

Less than a week after releasing her new album album, the both stunning and frustrating Sweetener, pop phenom Ariana Grande turned in an appearance on the 2018 MTV VMAs on Monday. Grande pulled from her latest effort, performing the divine hit “God is a Woman”. The stage setup looked much like the track’s official music video, with Grande comfortably reigning over the cosmos while surrounded by other powerful women. In addition to nearly flawless vocals — as impeccable live as it is on record — Grande’s performance featured cameos from perhaps two of the most influential females in her life: her mother and grandmother. (Read: Ariana Grande Is *Too* Good For Carpool Karaoke) Catch the replay below. god is a woman and her name ariana grande #VMAs pic.twitter.com/TamdInkSSx — kayla (@buterasdoll) August 21, 2018 Sweetener is the follow-up to 2016’s widely successful Dangerous Woman as well as her first LP since the 2017 Manchester Arena attack, which claimed the lives of more than 20 of Grande’s concert attendees. To help raise money for the victims’ families, Grande famously put together the One Love Manchester benefit concert featuring acts like Miley Cyrus, Justin Bieber, and Coldplay. In related news, couple Grande and beau Pete Davidson, whose quick engagement took everyone by storm, made their red carpet debut tonight at New York’s Radio City Music Hall. Source

Nicki Minaj may not be satisfied with the Billboard chart position for new album Queen, but the rapper still turned up at the 2018 MTV VMAs, and with a royal kind of swagger. Repping her New York hometown, the rapper busted out an epic medley from the city’s downtown Oculus transportation hub. Draped in golden garb, Minaj performed bits of Queen cuts like “Ganja Burn”, “Majesty”, and “Barbie Dreams”, her epic diss track featuring major shade against Drake, Young Thug, and DJ Khaled, among others. Catch the replay below. Minaj recently released her music video for Queen track “Ganja Burn”. Next month, Minaj will kick off her “NICKIHNDRXX Tour” with Future. You can grab tickets here. Source

Like any good marketplace site these days, an easily accessible and functional app is essential. The Discogs iOS app, had been alright, but up until now didn’t let you buy through the app itself. Well team, we just hit the future because now there’s no redirection. The latest update allows you to access the full 80k user catalogue and buy straight from the application. On top of that it also connects to their sister site Vinylhub that connects to over 7k record stores globally. Personally, we’re worried for our hip pockets, knowing how much more likely we are to buy a cheeky purchase out of boredom on the road. Tell us what you think, is this one a bit dangerous? [Via: RA] Source

If you’ve ever bro’d out and had an intimate bro sesh with your bro while reflecting on all the epic things your bro does for you, then you’ll understand how warm and comforting the relationship between two bros can be, bro. Well, a study published in Men and Masculinities has essentially confirmed what we knew all along, that men find the bond between their mates more fulfilling than having a romantic relationship. Bromances are starting to make a resurgence, but that hasn’t always been cool. Towards the latter part of last century, we began to change our outlook on masculinity and how men should interact with each other. Now, thanks to high profile bromances in pop culture, it’s perfectly normal to have a night in with your bros and have a good chinwag about what’s bothering you. The study looked at a group of 30 second-year Uni students who were all studying a sports-related degree, it found that all of them had at least one friend they’d consider to be a bromance, and 29 out of 30 reckon they’ve cuddled their bro. It in part comes down to how we expect men to function in society, one of the study respondents said “Tim knows I love listening to Taylor Swift and Beyonce, but I keep that quiet [around my girlfriend] because she would judge me. I feel like I have to be more manly around her.” So there ya have it, ladies if you’re interested in keeping your man I’d recommend asking him how his day went and ensure he is appreciated, otherwise Kyle might just steal him away. Source

For the latest episode of Diplo & Friends, the man Diplo recruited his “long time personal friend and lover” — himself — for an epic, two-hour mix. With Diplo in the mix, it’s nothing but nonstop dance-driven energy as he rinses tracks from tons of his friends including Valentino Khan, Mercer, Camelphat, Chris Lorenzo, A-Trak, Zeds Dead, Fisher and so many more. In fact, he leaves much of the soundtrack to his buddies as he expertly intertwines their sounds for a unique vibe of his own. He does sprinkle in a few of his own tracks like Silk City‘s “Feel About You,” some Jack Ü and Major Lazer, and Don Diablo‘s remix for MØ & Diplo’s “Sun In Our Eyes.” There’s plenty of flavor to keep the party going all night. Well, at least for the next two hours. Listen below — and to even more Diplo & Friends here. Diplo & Friends – 2 Hour Mix Tracklist via 1001tracklists.com This article was first published on Your EDM. Source: Diplo Takes Over ‘Diplo & Friends’ For Epic 2-Hour Mix [LISTEN] Source

For the latest episode of Diplo & Friends, the man Diplo recruited his “long time personal friend and lover” — himself — for an epic, two-hour mix. With Diplo in the mix, it’s nothing but nonstop dance-driven energy as he rinses tracks from tons of his friends including Valentino Khan, Mercer, Camelphat, Chris Lorenzo, A-Trak, Zeds Dead, Fisher and so many more. In fact, he leaves much of the soundtrack to his buddies as he expertly intertwines their sounds for a unique vibe of his own. He does sprinkle in a few of his own tracks like Silk City‘s “Feel About You,” some Jack Ü and Major Lazer, and Don Diablo‘s remix for MØ & Diplo’s “Sun In Our Eyes.” There’s plenty of flavor to keep the party going all night. Well, at least for the next two hours. Listen below — and to even more Diplo & Friends here. Diplo & Friends – 2 Hour Mix Tracklist via 1001tracklists.com This article was first published on Your EDM. Source: Diplo Takes Over ‘Diplo & Friends’ For Epic 2-Hour Mix [LISTEN] Source

The wait for Jauz’s debut album is nearly over, as The Wise and The Wicked is set to be released on August 31. And now, fans can witness the full tracklist and concept behind the album. To our surprise, it has been separated into chapters alternating between Wise and Wicked, and ultimately, United. In Jauz’s own words, “When I’m writing music, half of my brain wants to write fun, crazy bangers for parties, clubs, fests, etc. This is represented by ‘The Wicked.’ The other half of the time I want to write emotional, intelligent, experimental music that feeds the ‘inner artist’ in myself, which is represented by ‘The Wise.’ The middle ground, which is where I strive to really be, is a blend of the melodic, emotional parts of my music paired with high energy drops and climaxes. This is represented by ‘The United.'” Jauz has created an entire storyline to go along with the album as well, which is just as engrossing as it is original. Check out the tracklist (which includes newly revealed collaborations with Krewella, Ducky, HYPRESSION, and more) and story below, along with the five singles that have been released so far. In this dystopia that Jauz has dreamt up – the wealth gap is about to reach its limit, which will leave only the ultra-rich minority, and the completely impoverished majority with no middle class whatsoever. From these two financial “castes,” two seperate alliances have formed, each hell-bent on using their own methods and techniques to inspire and empower the masses, and save the world in their own image. The Wise inspire the masses by using intelligence and knowledge, and hope to find a cure for the ailing earth we live on with new groundbreaking technologies. They believe that only the truly adept should survive. On the other side, The Wicked believe in full anarchism, using anger and aggressiveness to grow their ranks, and will eventually let the modern world burn itself to the ground so it can be rebuilt in a more sustainable way. But the plot thickens, The Wise celebrate music and creativity in ancient theaters, concert halls and in front of monuments. Their music aims to teach, and is more catered to the intelligent. While the music of the The Wicked is more primal, fueled by energy and anger. They share their sounds more publically, under bridges, in abandoned buildings, in the middle of the streets. Their rivalry comes to an end, after chapters of the two castes opposing each other, a third party enters, The United, who are fueled by passion to create a better world. As outcasts of both parties, they have seen the errors both sides have made and also the strengths each side possesses. They have realized that this fight is not between two sides of humanity, but between all of humanity itself and everything that corrupted both sides into sinking our world deeper into darkness. THE WISE AND THE WICKED TRACKLIST 001: Prologue: The Wise and The Wicked 002: Babylon – With Tisoki 003: In The Zone – With Example 004: Chapter 1: Discovery [The Wise] 005: Diamonds – With Kiiara 006: Eager – With fabrice 007: Soldier – With Krewella 008: Chapter 2: Wicked Nature [The Wicked] 009: Motherfuckers – With Snails 010: Acid or Techno 011: Get Widdit – With XX92 ft. BRU-C 012: Chapter 3: The Search For Meaning [The Wise] 013: Frequency – With Adventure Club ft. Kyle Pavone 014: Rave With me – With Ducky 015: Fade – With Mike Waters 016: Chapter 4: Becoming United [The United] 017: Gassed Up – With DJ Snake 018: Velvet Paradise – With FIRST 019: On Fire – With HYPRESSION 020: Keep The Rave Alive – With Lazer Lazer Lazer 021: Say Never – With Gerald Le Funk 022: Back Again – With Holy Goof 023: Super Fly ft. 666 Photo via Rukes.com This article was first published on Your EDM. Source: Jauz presents the tracklist for his concept album “The Wise and The Wicked” Source