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Kanye West had something of a long overdue epiphany in October, as he finally appeared willing to distance himself from Donald Trump. “My eyes are now wide open,” he remarked at the time. As such, Kanye no longer wears the red MAGA hat he once proudly donned — that is, according to friend and collaborator Pusha-T. “He doesn’t anymore,” Pusha told host Trevor Noah during an appearance on The Daily Show Tuesday night. “He stopped. He stopped.” (Read: The Top 50 Albums of 2018) Noah pressed on, asking how difficult it’s been for them to continue their friendship and working relationship considering their conflicting political views. “Can you imagine having those conversations while he’s trying to make my album?” Pusha replied. “He basically has my life in his palm and I have to tell him that I hate something.” However, Pusha said it was this kind of conflict and disagreement that actually led to the greatness of the Kanye-produced Daytona. “We always have real conversations, though. Always,” he said. “I think that’s why me and him connect so well and I think that’s why Daytona came out so well. It’s a give and take. If I don’t like something, I say it and he tries to correct it, and so on and so forth.” (Read: The Top 50 Songs of 2018) Pusha and Noah also touched on the subject of mental health and how Kanye has been incredibly outspoken about his issues. Pusha said that he’s lived most of his life “ignorant to mental health,” but that he, much like Kanye, has had his eyes opened to the subject. “When we were coming up, nobody just looked toward that,” Pusha remarked, “and now, learning about it, it’s a real, real thing.” Elsewhere in his interview, Pusha briefly discussed the infamous Daytona album cover depicting Whitney Houston’s bathroom, saying it represents the “organized chaos” of his Grammy-nominated record. Pusha didn’t open up too much about the Drake beef, but said that “there is no edge” or limit when it comes to rap feuds. It’s about being “scathing,” he said, and “about getting a rise out of your opponent or getting them to hush.” Watch Pusha’s full interview below. Source

A pair of bands who released two of 2018’s most critically acclaimed metal albums are teaming up for a 2019 North American tour. Oregon doom metallers YOB and veteran Canadian metal act Voivod will co-headline the spring trek, with support from Amenra. The trek kicks off March 26th in Minneapolis, Minnesota, and runs through an April 19th gig in San Diego, although Voivod will not be on board for the final three shows. See the full itinerary below. YOB’s Our Raw Heart album earned the No. 1 spot on Heavy Consequence’s Top 25 Metal + Hard Rock Albums of 2018, while Voivod’s The Wake also landed in the Top 10 at No. 8. Tickets for the tour are on sale now at YOB’s official website, along with bundles that pair the tickets with merch like T-shirts and LPs. YOB, Voivod and Amenra 2019 North American Tour Dates: 03/26 – Minneapolis, MN @ Fine Line 03/27 – Chicago, IL @ Thalia Hall 03/28 – Columbus, OH @ Ace of Cups 03/29 – Cleveland, OH @ Grog Shop 03/30 – Toronto, ON @ Phoenix 03/31 – Buffalo, NY @ Town Ballroom 04/02 – Portland, ME @ Geno’s 04/03 – Boston, MA @ Royale 04/04 – Brooklyn, NY @ Warsaw 04/05 – Philadelphia, PA @ Union Transfer 04/06 – Richmond, VA @ Broadberry 04/07 – Raleigh, NC @ Kings 04/09 – Knoxville, TN @ Concourse 04/10 – Atlanta, GA @ Masquerade (Hell) 04/11 – New Orleans, LA @ One Eyed Jack’s 04/12 – Houston, TX @ Warehouse 04/13 – Austin, TX @ Barracuda 04/14 – Dallas, TX @ Gas Monkey 04/16 – Denver, CO @ Marquis Theater * 04/18 – Phoenix, AZ @ Club Red + 04/19 – San Diego, CA @ Brick by Brick + * = No Voivod + = YOB only Source

Black Panther is currently the highest grossing film of 2018, so it would make sense that a store like Forever 21 would capitalize on the moment. What doesn’t make sense, however, is using a Caucasian model to sell the goods. That was the case for their new “Wakanda Forever!” Christmas sweater: On Tuesday, the company pulled the listing from its website and released an apology statement: “”Forever 21 takes feedback on our products and marketing extremely seriously. We celebrate all superheroes with many different models of various ethnicities and apologize if the photo in question was offensive in any way.” Black Panther is currently heading towards award season as it recently picked up several nominations at both the Golden Globes and the Screen Actors Guild Awards. It’s also listed in Consequence of Sound’s top 25 films of 2018. Source

What would Christmas be without a bit of religious controversy? Lawmakers in Springfield, Illinois are currently getting guff for adhering to the first amendment by allowing a statue from the Satanic Temple of Chicago to be displayed in the state capital. Dubbed “The Snaketivity”, the sculpture depicts Eve’s hand gripping the apple while a serpent wraps around her arm. Last night, Jimmy Kimmel decided to get a final ruling on the dispute by going straight to the source: God. Billy Crystal appeared as the Almighty, explaining that Chicago has always been a sinful place, what with Al Capone, the Black Sox Scandal, and deep dish pizza. Even so, he had no issue with the Satanic Temple’s statue — mainly because he and Satan (portrayed by Foo Fighters frontman Dave Grohl) are good pals now. They get together for fantasy football and Fortnite once a week, and even argue over “who goes where.” In fact, during their appearance on Kimmel, they played a game of Rock Paper Scissors to figure out who gets stuck with Ted Cruz. Watch the whole bit below. Of course, this was not Grohl’s first time portraying Satan — he previously did so in Tenacious D’s 2016 film, The Pick of Destiny. Source

Following last week’s arrest of Cannibal Corpse guitarist Pat O’Brien on assault and burglary charges, a new report reveals that more than 80 firearms were found at the home of the death-metal musician. A search warrant obtained by the Tampa Bay Times lists the arsenal of weapons as roughly 50 shotguns, 10 semiautomatic rifles (including a couple variants of AK-47s), two Uzi-style rifles, and 20 handguns. However, only one of those firearms, a sawed-off shotgun, was illegal to possess, provided that the other guns had the proper paperwork. There were also a number of locked safes, and, as previously reported, a couple of flamethrowers in the residence. In addition, there were thousands of rounds of ammunition, several other weapons, and three skulls in the house. The newspaper also reports that O’Brien was renting the Northdale, Florida, home on Northwood Drive, and was not the owner, as may have been previously presumed. For those new to the story, O’Brien was arrested on December 10th for burglary and assault after allegedly entering a nearby house, and pushing a female occupant to the ground, and warning the occupants that the “rapture is coming.” He was then found behind a fence and allegedly charged at a deputy with a knife, and had to be tased several times in order to be detained. At that same time, his own rented home with the aforementioned cache of weapons caught fire. O’Brien, who also apparently had phoned relatives and warned them that “aliens have landed”, was ordered held on $50,000 bond when he appeared in court the next day in an anti-suicide vest and shackles, and was released this past Friday after posting bail. He is officially charged with “aggravated assault on a law enforcement officer with deadly weapon, and burglary of an occupied dwelling with assault or battery.” His arrest came a day after Cannibal Corpse were announced as a support act on the spring 2019 North American leg of Slayer’s final tour. Source

Following the preliminary teaser trailer released back in October, Disney has offered a further look at its forthcoming live-action remake of Aladdin from director Guy Ritchie. EW has published the first official cast photos as well as provided more details on the film’s plot and its characters. Notably, we get our first glance at Will Smith as the Genie in human form. In an interview with EW, Smith said he sought to pay homage to Robin Williams’ iconic portrayal in the 1992 animated original while also offering something entirely unique. What he came up with is a hip-hop-inspired genie. Smith said he tapped into his previous starring roles in The Fresh Prince of Bell-Air, Bad Boys, and Independence Day in shaping the character. “I think it’ll stand out as unique even in the Disney world,” Smith remarked. “There hasn’t been a lot of that hip-hop flavor in Disney history.” For the role, Smith also recorded his own version of the iconic Aladdin song “Friend Like Me”. Update: Responding to a fan on Instagram, Smith maintained that his Genie will be blue. “This is how the Genie is in Human / Disguise Form,” he explained. “My character will be CGI most of the movie.” Below, you can see more photos of Smith’s Genie as well as of Aladdin and Jasmine, played by Mena Massoud and Naomi Scott, respectively. We also get our first look at Marwan Kenzari’s Jafar and Abu the money. The EW article also provides more details about the expansive casting process for Aladdin and Jasmine and how Richie went about constructing the fictional kingdom of Agrabah in southeast England. Aladdin hits theaters May 24th, 2019. Naomi Scott as Jasmine and Mena Massoud as Aladdin Marwan Kenzari as Jafar Abu the monkey Source

Its Compton-meets-Seattle in the new visual 22-year-old Compton rap artist known as “Nacho” which he also identifies himself as “Top Nach” is making a huge statement to solidify himself as a music mogul. You might know him for his moniker as “Mr Ticket Out The Streets” as well as his popular club banger“Ion fuk wit” and new visual just recently dropped self-titled “Akz and Glockz” as he shows his fluency taking on a small acting role. Growing up as the youngest son of 12 children Nacho has faced many obstacles from home to outside of the home. Nacho later decided to join the military at the age of 19 years old. As some might identify his music as “Sliding Music” he says he sees himself as a diverse artist but if he had to put a label on his art he would label it “Murda Musik” it gives a whole different perspective on feeling pain from both sides of the fence. Being the victim primarily to losing his older brother which was a year apart in age to a gun shooting in Compton at the age of 12. When asked what made him want to join Navy he stated “Crime pays, but money isn’t more valuable than your life, shit was getting hectic and I was literally watching myself dig my own grave and the navy was my ticket out the streets” Follow nacho on all social platforms @iamtopnach to stay in tune with his latest music as well as his catchy demeanor. Watch NACHO- AKz and Glockz new video now. The post Meet NACHO- AKz & Glockz : Watch appeared first on Verge Campus. Source

Portland’s Own Bridges the Gap of Music On & Off the Court After a road to recovery year in 2017 following surgery complications, Portland’s favorite party starter David Jackson, better known as DJ O.G. One reminded Rip City why he is the ambassador in 2018. Official DJ for the NBA Portland Trailblazers, O.G. One controls the pace of the crowd and the heart of the city while its team fends off its opposites and attempt to secure the W every night. A position not taken lightly, the established DJ has earned not only the respect of the team but the city as well. Always keeping the energy and spirits up with crowd chemistry and bouncy music. OG is known to showcase local hitmakers, paying homage to the home team on and off the court. Giving local recording artists an opportunity to have their music heard by an unknown crowd of thousands. A shot no DJ before has given inside the Moda Center. Throughout his lustrious run, O.G. One has released two commercial projects with his popular Vibez series Volume 1 and Volume 2. His latest single, featuring Phoenix Melody, “Be The One Remix” is available now on all streaming platforms via One God Productions Inc. The Trailblazer season still underway, catch DJ O.G. One representing for Rip City every home game at the Moda Center. For news and new releases, follow DJ O.G. One on social media via Twitter and Instagram. Wanna hear more from DJ O.G. One? Visit his Soundcloud for new music like his Vibez Vol.2 below. The post DJ O.G. One Puts on a Rip City Show Every Game : Watch appeared first on Verge Campus. Source

As if a new song (“imagine”) and new music video (“thank u, next”) weren’t enough to close an already epic 2018, Ariana Grande swung by The Tonight Show on Tuesday night. The pop phenom teamed with The Roots to perform “imagine”, the newly released second single off her forthcoming Sweetener follow-up. Grande also participated in a recreation of “I Wish It Was Christmas Today”, the famed 2000 Saturday Night Live bit featuring Jimmy Fallon, Horatio Sanz, Tracy Morgan, and Chris Kattan. Replay both videos below. Grande’s “God is a woman” was just named the second best song of the year. This week she saw her songs covered by both Miley Cyrus and Alessia Cara. Source

Before we get to 2018’s best films, a year embarrassed with onscreen riches, a quick word about a bear. The year began with dread, held over from the one before it. The last few years have been great movie years, but especially rough years for reality at large, which makes escaping into movies all the more complicated. Do we want to escape? How often can we, or should we? Is it a copout of a sort to escape into art when daily life is perpetually characterized by the oncoming fear of what’s coming next? In 2018, realizing that we have to retain our simple pleasures even as we ask questions about them, we started to at least ask the right questions. Why can’t our populist entertainment, our biggest-budget movies, also open the doors that all of pop culture is long overdue for opening? Who are we tasking with making some of our biggest movies? Which stories are we telling, and consequently, which are presently absent or under-represented? Which movies do we value critically, and why do we value those movies? This isn’t to say that a single question we’ve posed has a simple answer. None of them do, and at its best, that’s the exhilaration that film as a medium uniquely offers. You’re drawn into a space, whether your living room or a movie theater equipped for 70mm projection, for a set amount of time, and asked to engage with an experience different from your own. Sometimes they’re similar, sometimes very much so. But movies, at the very least, ask you to relate to another experience enough to be moved by it, or laugh at it, or be edified by it in some small way, until the credits roll and you move on through life. Paddington 2 (Warner Bros) One of the 25 movies on the list you’re about to read is about an immovably kind Peruvian bear, and it’s hardly the only unusual choice our film staff found itself considering this year. Yet the bear sets a good example for how we can reflect on this tumultuous year and proceed into the next one, trying to find our better nature as it’s called into question on a nonstop daily basis. We can look out for our neighbors, even the ones we don’t always readily understand. We can believe that even people who’ve made grievous mistakes can be better than they’ve been. We can liberally deliver a hard stare when the provocation calls for it. The movies felt a lot like reality this year. They were funny and beautiful, painful and personal, animated and oversized and close-hewn and sometimes, against all logic, even quietly lovely. So it then feels appropriate that we follow the bear’s advice as we look back, and then onward: If we’re kind and polite, the world will be right. It might sound simple, but if we’ve learned anything this year, that might be the hardest thing in the world right about now. The most radical thing we can do might just be to try and be nice. These are Consequence of Sound’s top 25 films of 2018. –Dominick Suzanne-Mayer Film Editor __________________________________________________________ HONORABLE MENTION: The Other Side of the Wind The Other Side of the Wind (Netflix) Who’s In It? John Huston, Peter Bogdanovich, Oja Kodar, Bob Random, and a party full of hangers-on “Garth, that was a haiku!” ORSON WELLES IS BACK What did we do wrong, daddy? Back in Netflix form You Gotta See This: To paraphrase a colleague, how bleedin’ cool is it that we can boot up Netflix in 2018 and find a brand new, fully assembled, and quite sensical Orson Welles effort? What Welles started nearly five decades ago is now finished, not to mention challenging, and often quite riveting all the same. Death and decay in Hollywood, the transient restlessness of art, Huston versus Bogdanovich in an egotists’ battle for the ages?? The point being, even if this could veer into rambling, Welles’ resurrected effort is something to behold, and to feel grateful for. So while The Other Side of the Wind didn’t quite crack the final list, we have to give it up to producer Frank Marshall, editor Bob Murawski, and Netflix’s obscene spending habits. We got a miracle on this one. –Blake Goble Extra! Extra! Read Blake Goble’s full review here. __________________________________________________________ 25. Spider-Man: Into the Spider-Verse Spider-Man: Into the Spider-Verse (Sony) Who’s In It? Shameik Moore, Jake Johnson, Hailee Steinfeld, Nicolas Cage, John Mulaney, Kimiko Glenn, Mahershala Ali, Brian Tyree Henry “Garth, that was a haiku!” Nic Cage got to voice Superman and Spider-Man In the same damn year?! You Gotta See This: That this movie a.) exists and b.) is this good is nothing short of miraculous. Somehow, in the midst of the Marvel renaissance and a pop culture steeped in superheroes, Sony finally got Spidey right with this dizzyingly beautiful, drop-dead funny adventure featuring not one, but six different Spider-People. More than an homage to the characters’ comic origins, Spider-Verse offers a refreshing reminder that Spider-Man could be anyone. If that wasn’t enough, its frenetic blend of animation styles, a dizzying collage of everything from traditional comics art to 3D to street art, is unlike anything we’ve seen before.–Clint Worthington Extra! Extra! Read Dominick Suzanne-Mayer’s full review here. __________________________________________________________ 24. The Death of Stalin The Death of Stalin (eOne Films) Who’s In It?: Steve Buscemi, Jason Isaacs, Paddy Considine, Simon Russell Beale, Jeffrey Tambor, Olga Kurylenko, Andrea Riseborough, and Adrian McLoughlin as the fallen dictator in question “Garth, that was a haiku!” Josef Stalin died Everyone else is a goof Power vacuum time You Gotta See This: Armando Iannucci’s first film since In the Loop nine years ago is every bit as verbose, and every bit as hilariously profane. But what really distinguishes The Death of Stalin is that it’s the kind of dark comedy which pushes the boundaries of how dark one can get before it’s no longer even a comedy. In a kind of dissonant comic jazz, screwball comedy and pratfalls are undercut by constant executions and “disappearings” in the background of almost every scene. Like so much of Iannucci’s work on television, politics can be funny as hell, but there’s no magical point at which the power such people wield is anything less than terrifying. –Dominick Suzanne-Mayer Extra! Extra! Read Blake Goble’s full review here. __________________________________________________________ 23. Black Panther Black Panther (Marvel Studios) Who’s In It? Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Letitia Wright, Sterling K. Brown, Andy Serkis, Martin Freeman “Garth, that was a haiku!” WAKANDA FOREVER But Killmonger had some points Still, Wakanda? Real. You Gotta See This: Black Panther is big, sincere, and kinetic. It’s also never desperate for a hook, or an obvious YouTube moment. This is adventure filmmaking on a grand scale that should last, because the story is so good. No tricks. Few gimmicks. Just the art and artistry of seeing a charismatic good guy on screen, brought to life with a verve and imagination seldom seen in a constantly growing genre. It should not have taken this long to have a black-led tentpole comic movie, but instead of being a referendum, Black Panther seems defiantly comfortable with embracing tropes on its own terms. Oh, and Michael B. Jordan? That soundtrack? They don’t hurt either. –Blake Goble Extra! Extra! Read Dominick Suzanne-Mayer’s full review here. __________________________________________________________ 22. Burning Burning (CGV Arthouse) Who’s In It? Yoo Ah-in, Jun Jong-seo, Steven Yeun “Garth, that was a haiku!” Greenhouses in flame Glint off glassy eyes above An unhidden yawn You Gotta See This: Lee Chang-dong’s Burning, a gauzy, languid adaptation of a 1993 Haruki Murakami short story, isn’t a romance, although the casual viewer might mistake it for one. It begins, after all, with a tryst between a young, struggling writer (Yoo Ah-in) and a schoolmate he doesn’t remember (Jeon Jong-seo), one that becomes complicated when she returns from an international trip with the confident, well-off Ben (Steven Yeun). What emerges from this triangle, however, isn’t romantic in nature so much as it’s cultural, with Chang-dong emphasizing distinctly Eastern themes of class and confusion. The film’s third act is nightmarish in its gravity, building to a gutting final scene rich in metaphor and pathos. I can’t stop thinking about it. –Randall Colburn Extra! Extra! Read Dominick Suzanne-Mayer’s full review here. __________________________________________________________ 21. Widows Widows (20th Century Fox) Who’s In It? Viola Davis, Elizabeth Debicki, Michelle Rodriguez, Cynthia Erivo, Colin Farrell, Liam Neeson, Jon Bernthal, Robert Duvall “Garth, that was a haiku!” In pristine white suits Viola shakes the game that Tried to deal her out You Gotta See This: When people talk about Widows in the decades to come — and mark our words, they will — the first thing they’ll mention will be The Drive. A fiendishly smart setup from director Steve McQueen sees Colin Farrell’s politician travel through an underserved ward, the neighborhood transforming from impoverished to prosperous, reflected in the windshield of his rich-ass car. It’s a terrific shot, but it’s deceptive, because Farrell’s is perhaps the least important voice in this film. Widows belongs to its women. One hopes that once audiences have marveled at McQueen’s incredible eye, they’ll move on to the screenplay, co-written with Gillian Flynn, which fills its central figures with contradictions and complexity, whether they’re railing at each other, summoning their courage, shopping for guns, or running to catch the bus. And we hope that the film’s final scene — in which a smile spreads, at long last, across Viola Davis’ face — is at least as reverently discussed as Farrell’s commute. The latter may dazzle, but the former lingers, on and on. –Allison Shoemaker Extra! Extra! Read Sarah Kurchak’s full review here. __________________________________________________________ Source

Earlier in the fall, it was revealed that The Raconteurs were planning to release a new album in 2019, their first in over 10 years. While details on the long-awaited LP are still forthcoming, Jack White & co. are previewing it today with two new songs: “Sunday Driver” and “Now That You’re Gone”. The first offering finds White, Brendan Benson, Jack Lawrence, and Patrick Keeler electrified and swaggering, outfitted with cutting guitar licks. Meanwhile, the second tune takes on a more sobering tone with lyrics such as, “Never known such unhappiness.” Stream both tracks below via Apple Music and Spotify. In addition to appearing on The Raconteurs’ upcoming album, “Sunday Driver” and “Now That You’re Gone” are included on the 10th anniversary reissue of the rock group’s 2008 record, Consolers of the Lonely. This year saw White let loose a solid solo album in Boarding House Reach. Source

There’s something to be said for Disney that even after decades of their films being out, you could still revisit the classics and shed a tear at the emotion they were able to capture. Everyone’s got their favourites (I still refuse to watch Dumbo unless I’ve got a couple boxes of tissues on standby) but one film seems to weigh collectively on the hearts of all who have seen it. The tale of a baby deer learning to grow up in the forest and all the treacheries that comes with it, is an undeniable classic that hasn’t lost its impact to this day. Have a gander at the gut wrenching scene below where Bambi’s mother is killed by a poacher and try not to cry. Bit of a kick in the teeth right? Well the judge that sentenced a poacher to a year in prison thought so to, as he ruled that he’d have to watch Bambi at least once a month for his entire sentence. Over 9 years, David Berry and his two sons killed hundreds of deer, taking their heads as a trophy and leaving the body to rot. “Taking just the heads is their version of obtaining a ‘trophy’ and leaving the carcass behind is merely an afterthought,” Randy Doman, the division chief of the Missouri Department of Conservation, told the Springfield News-Leader. “While there are some cases where poachers go after the antlers for profit, with this bunch it was more about the thrill of the kill itself.” So the judge ordered that Berry “is to view the Walt Disney movie ‘Bambi,’ with the first viewing being on or before December 23, 2018, and at least one such viewing each month thereafter, during Defendant’s incarceration in the Lawrence County Jail.” Hopefully by the end of his one year sentence he won’t be such a whale. Source

MDMA has kept up its strong reputation as a party drug for some time, but psychiatrists are finding out it’s so much more than just that. The Multidisciplinary Association for Psychedelic Studies (MAPS) just opened up five clinical trials to test the effectiveness of MDMA in treating PTSD. Results thus far have been overwhelmingly positive. People who suffer from severe PTSD can now submit their name for potential MDMA-assisted psychotherapy. Scientists are seeking participants in four states for the five clinical trials, the final phase before the US Food and Drug Administration is able to approve the substance for medical use. The following five trial sites are open for enrollment inquiries: North Hollywood, California Boulder, Colorado Fort Collins, Colorado New Orleans, Louisiana Mount Pleasant, South Carolina “If the Phase 3 trials demonstrate significant efficacy and an acceptable safety profile, FDA approval is expected by 2021,” according to MAPS. “Once approved, MDMA-assisted psychotherapy would only be available by prescription in supervised therapeutic settings from specially trained mental health providers.” To see all of the requirements suitable subjects must meet, go here. Source: Inverse This article was first published on Your EDM. Source: Open Enrollment Has Begun For MDMA Trials In 4 Different States Source

As a breathtaking Christmas gift to us all, Insomniac has announced a new Electric Daisy Carnival in Seoul, South Korea to arrive in 2019. Unlike any other EDC, this event will host roller coasters, arcades, carousels and a virtual reality cafe. The entire place will be lit as a neon wonderland of the Seoulland amusement park. “Right now, there’s an energy around dance music in South Korea that inspires us to bring EDC there,” Founder and ceo of Insomniac Pasquale Rotella is quoted in a press release. “We have a great venue, an amazing partner, and most importantly, a community that is embracing dance culture in an exciting way.” -Pasquale Rotella, Founder and CEO of Insomniac Local and international will all be under the electric stage as they dominate 3 different stages. As Asia is one of the strongest places in the world, there is no doubt that bringing the Insomniac and EDC culture will enhance it’s already booming economy, architecture and music scene. Details for EDC Korea regarding dates, tickets, and lineup will be coming out within the next few months. Check out more info here! The post Insomniac Announces EDC South Korea in 2019 appeared first on EDM Maniac. Source

A “man-free” music festival held exclusively for women has been found in violation of discrimination laws. The Swedish event, Statement Festival, held in Gothenburg back in August prided itself on being “the world’s first major music festival for women, transgender, and non-binary people only.” However, Sweden’s Discrimination Ombudsman has deemed the very description “man-free” as an “infringement of discrimination law.” When Swedish comedian Emma Knyckare initiated Statement Festival, her intentions were in the right place. The entire concept behind the music festival was to provide a safe space for women, following multiple reports of sexual misconduct at various music events. But, dubbing the event as “man-free” was apparently going too far. “It is important to point out what an infringement is. These are the statements made before the festival, what they wrote on their website,” Discrimination Ombudsman’s press officer, Clas Lundstedt, remarked. “Still, we haven’t been able to prove that someone would have been discriminated against in connection with the implementation or that someone would have been rejected.” “Clearly, we believe that sexual abuse, especially at festivals, is a serious problem. So we are looking forward to trying to correct this,” Lundstedt continued. “However, it shouldn’t happen in a way that violates the law, which their statements in the media and their website do.” Source: Newsweek This article was first published on Your EDM. Source: “Man-Free” Music Festival Found In Violation Of Discrimination Law Source

For the second year running, Your EDM is choosing a group of breakout artists for the past year. A ‘breakout’ artist is a difficult thing to define, but for us, it’s more than just about a growing presence and force in the streaming world. Last year, we chose Illenium, Rezz, and San Holo for a variety of reasons. But most of all, they became absolutely gigantic acts in a short span of time and their fanbases are ravenous. For these artists in particular, we looked at performance of posts on our Facebook and other social media in comparison to that of posts about larger artists. This year, these artists have begun to outperform artist posts about Skrillex, Swedish House Mafia, etc., showing that fan engagement and interest in these artists is on the rise – sometimes at an astronomical rate. Our 2018 breakout artists are: Ekali, Fisher, and Kayzo. Ekali Given two more days at the end of 2017, Ekali would have started this year with his massive collaboration with Zhu, “Blame,” so we’re just going to give him that one. Over the course of this year, he’s gone above and beyond with his productions, capitalizing on the success of his track “Babylon” with Denzel Curry, which was remixed by Skrillex. He teamed up with Medasin and Elohim for “Forever,” has been teasing a new 1788-L collaboration, dropped “Blood Moon” with Tynan and Hekler, and released his debut EP. Aside from music, Ekali came out as bisexual this year, rallying against homophobia in the same tweet. With an album on the way in 2019, Ekali more than deserves the title of Breakout Artist in 2018. Fisher Our team debated including Fisher on this list, as we also included him on our Artists To Watch in 2019 list. But consider the magnitude of his blow up and the Grammy nomination this year, his presence on both lists is more than warranted. Despite the controversy over his involvement with Chris Lake (who, by the way, is credited on every track he worked on), Fisher’s personality and on-stage presence are what make him so electrifying to watch and interact with. After packing out ACADEMY in Los Angeles to the brim earlier today, he and Chris Lake just sold out three nights at the Shrine in downtown – that’s over 18,000 people. He must be doing something right. Hell, he even has Elon Musk’s attention.  Kayzo You might be thinking to yourself, “Now hang on, Kayzo is already huge.” And he is, yeah. But in 2018 in particular, he truly broke through and began honing in on his musical identity even more than before. Not only did he drop his debut album OVERLOAD, he also began putting out collaborations with Papa Roach and Underoath. He also returned to Lollapalooza, where he actually brought out Jacoby Shaddix of Papa Roach, and drew one of the biggest crowds to Perry’s Stage of the weekend, not to mention touring all over the world and running many of his successful DOGHOUSE shows. He’s also got a heart of gold. With the album and singles, Kayzo has dropped a fair bit of music this year. But more than that, he’s grown as an artist more than a lot of other DJs who’ve just coasted along their tours this year. You might have your own ideas for breakout artists in 2018, and we want to hear them! Let us know who’s had a big year in the comments, but take note, they might already be featured on our Artists To Watch list for 2019. This article was first published on Your EDM. Source: Ekali, Fisher, & Kayzo Are Our Top Breakout Artists of 2018 Source

Our nations capital, known for it’s quickly expanding daytime and nighttime culture is getting a major flex in the form of Fiction – the complete top to bottom refurb of it’s once standing superclub Academy. That’s not all with Chinese Laundry super booker Frank Tapia tipped to lead talent through 2019 and beyond, a formula for good times no doubt! There’s a bit more to the story (including it’s evolution into an entertainment space) so we reached out to Frank to out a bit about his time at Chinese Laundry booking a stack of international and local talent, a couple tips for those wanting to get into the booking game and more importantly Canberra evolution as a clubbing destination and the new club itself. SR: So all done at Chinese Laundry, how was your time there? FT: My time at Chinese Laundry was amazing! It is definitely a place I hold close to home. I originally left Canberra to take on the role as booker, which is quite ironic because now I’m back in the “berra” For the nearly 4 years I was there, the venue, music and historical culture taught me so much more about this wonderful industry we are in. Laundry is place that has been around for roughly 20 + years and has delivered some of the most legendary nights in Sydney and Australia. I feel really pleased that I was able to be part of the venues history and continue its longevity. I was lucky enough to work with artists from so many different genres and scenes. From the more bass side of things like Marshmello, Jauz, Baauer. To the big house artists like Patrick Topping, Chris Lake, MK, CamelPhat. And the very cool respected Techno giants like Nina Kraviz, Marcel Dettemann, Ben Klock & Stephan Bodzin. I’m forever grateful for the time I had at Laundry. I accomplished everything I set out to do in my time there. One of the biggest accomplishments while being there was being voted in the DJMAG TOP 100 clubs in the world 3 years in a row. With no other Australian club in the top 100 or non-surpassing our position, it essentially set us in the path of being recognised as the best club in Australia globally. SR: Can you tell us 3 key things you learned as a booker in Australia? FT: EASY! Stick to your guns. Believe in what you are doing. Be nice to people. SR: What’s the go with this new superclub in Canberra? Can you tell us more? FT: The new venue that will be opening up soon is called Fiction Club, which will be located where Academy Club originally was. The space is going through a complete renovation top and bottom. It will see the space installed with a new mezzanine level and double the space. Fiction will be more then just a super club. It will be a venue for multiple events, music, art and exhibitions. As the population grows in Canberra and lots of new places are opening up. It definitely feels like the right time for a venue like Fiction to open its doors. My plan was to always come back to Canberra and do something in nightlife. When this new opportunity appeared, it felt right to make the move from Sydney back home. I’m truly excited for what 2019 holds and what is planned with Fiction Club. SR: Why do you think Canberra has a place as a clubbing destination? FT: Canberra has always been a clubbing destination over the years. It recently has gone through some change and the culture is definitely different. I was involved in Canberra’s nightlife for a number of years and can tell you now; it has a very big history for clubbing and late night events. My journey originally began at Lot 33 in Kingston then did venues like Trinity Bar, Meche & North Bar. Without Canberra nightlife, it would not have lead me to Sydney and the opportunities I had at Chinese Laundry. My goal in the New Year is to contribute a strong and cultural brand with Fiction to grow it into Canberra’s nightlife. If I can emulate the success I had at Chinese Laundry in Canberra, it will only be a bonus. SR: Where do you see dance/electronic music in Australia in a years time? FT: As every other year, growing and getting stronger! I’ve noticed over the past 3 years, more and more promoters and events are popping up. It seems to be an inspiring time for some which is great to see. Music in general is in a very exciting phase. From what I’ve witnessed, people are open to so many different genres rather then just the one. This gives bookers like myself more flexibility to bring acts that may not have played here before for the first time. So all in all a really positive step forward for Canberrans or those wanting to make a trip interstate to soak up some superclub goodness! Be sure to follow Fiction on Facebook and Instagram to stay up to date on the latest. Source

Fancy partying on the beach with a world class dance music line-up? Look no further than the freshly formed UP DOWN festival which kicks off with a bang early next year. The lineup for the Newcastle foreshore based festival features a swell of international heroes including Major Lazer’s Jillionaire, Swedish sunset house hero Adrian Lux as well as electro veteran The Bloody Beetroots. Locals are well rep’d with Aussie party starter Carmada, Basenji, NLV’s Kota Banks, Smooth house boys Set Mo, Adelaide’s finest Motez and plenty more! The festival is backed by the good folk at THIS THAT who are no strangers to throwing big production events, having hosted the likes of RL GRIME, The Presets, Schoolboy Q and more over the past few years, so expect good times from day to night. UP DOWN Festival Line Up Adrian Lux (SWE) Basenji The Bloody Beetroots (ITA) Carmada Elk Road Go Freek The Jillionaire (of Major Lazer) Kilter Kota Banks Luen Motez Nina Las Vegas Roland Tings Set Mo Tøripepper For the price of a case of beer you can be throwing down with your best mates early next year so be sure to snap up a ticket now! Source

Under new federal regulation, bump stocks are officially and finally banned. The Trump administration has rolled out a new rule that classifies bump stocks as “slide-fire” devices, which allow a “shooter of a semiautomatic firearm to initiate a continuous firing cycle with a single pull of the trigger.” Therefore, they are considered illegal. Bump stocks gained massive national attention after being used by the gunman who opened fire on Route 91 Harvest music festival, killing 58 people and injuring hundreds more. Such firearm attachments allow a semiautomatic weapon to shoot nearly as fast as a machine gun, as heard in the chilling footage from October 1, 2017. Current bump stock owners will have 90 days before the new rule takes effect — to either turn the devices over to the Bureau of Alcohol, Tobacco, Firearms and Explosives, or find a way to destroy them. In addition, fully automatic machine guns remain illegal and strictly controlled in the U.S. The final rule may be found here. Sources: NPR, CNN This article was first published on Your EDM. Source: Justice Dept Finally Bans Device Used To Automate Assault Rifles In Vegas Festival Massacre Source

The Pitch: The Banks children are all grown up, for better and for worse. Michael (Ben Whishaw), who has children of his own now, grieves for his wife behind closed doors on Cherry Tree Lane. Jane (Emily Mortimer) has followed in her mother’s political footsteps, but has given up on love and the dream of having it all. [Ed. note: Sigh.] The younger Bankses (there are three of them, the youngest basically a walking Hummel figurine) have had to grow up quite quickly, doing the shopping and keeping the household running, but they’ve mostly forgotten to be kids at all. Then the big bad bank (headed by Colin Firth, that louse) swoops in to take 10 Cherry Tree Lane. Enter Mary Poppins (Emily Blunt), floating on an umbrella, here to set things right with the Banks family, aided by a charming lamplighter (Lin-Manuel Miranda). Oh, it’s a jolly holiday with Em’ly: Em’ly makes Returns feel right When this film feels kind of ordinary Em’ly makes it all so bright Her Mary’s tongue is sharp and oft deceptive But warmth still percolates throughout the tale When Emily’s on screen It feels so keen She captivates in every goddamned scene Oh it’s a jolly holiday with Em’ly! No wonder that it’s Em’ly with the buzz! Practically similar in every way: As the above section might suggest, this writer has a deep affinity for the Julie Andrews-starring Mary Poppins, one of the best children’s films of all time. It’s obvious that director Rob Marshall and screenwriter David Magee (working from a story by himself, Marshall, and choreographer/producer John DeLuca) share that affinity. That’s both a positive and a negative. On the one hand, Returns exists in the same colorful but gray, wild but civilized, anything-can-happen-but-please-sit-up-straight world as its predecessor, sometimes capturing but oftener echoing nearly all of what made the original so special. (A major exception: Mary and the Bert the Chimney Sweep stand-in, Jack the Lamplighter, never once feel as though they may actually just be trickster gods disguised as humans, nor does it ever seem likely that they fuck. Bert and Mary totally fuck. Moving on.) But on the other, as pleasant as it is, it’s difficult to escape the feeling that Returns was written in the same way that Can You Ever Forgive Me? protagonist Lee Israel forged celebrity signatures: by holding the original up to the light and tracing it. That’s not to say that this is a remake, rather than a sequel, but that anyone with even a passing familiarity with the original will recognize each beat as it approaches. That’s especially true of Marc Shaiman’s (undeniably infectious) songs. Here’s the tender bedtime ballad (“Stay Awake” vs. “The Place Where Lost Things Go”). Here’s the adventure in a part of London known only to Mary’s handsome, impish, working-class sidekick (“Step In Time” vs. “Trip a Little Light Fantastic”). Here’s where they go inside a piece of artwork (“Jolly Holiday”, “The Royal Doulton Music Hall”) and then take in a public event in which Mary is prompted to participate (“Supercalifragilisticexpialidocious”, “The Cover is Not the Book”). The list goes on. The same is true of the beats of the story, up to and including a father’s anger at a child running through a bank in a manner that jeopardizes his job, even though the child was definitely not at fault. You get the idea. It all works, more or less, although some of the more transparent moments can be temporarily off-putting. It’s a shame, because when Returns puts down the carbon copies, things tend to spark. A voyage inside a bathtub thrills when it shakes off its “Spoonful of Sugar” roots. That trip inside Bert’s painting — er, sorry, a painted bowl — gets particularly interesting when it begins to reflect the terrifying turmoil of the children’s outside lives. Michael’s grief proves more compelling than Mr. Banks’ disconnection and reserve. It’s good stuff. So is most of what exists in the Mary Poppins Mad Libs approach to the story, but it’s hard not to regret what might have been had the creators of this film listened closer to their titular character and embraced the power of imagination. Supercalifragilisticexproaliduction design, so-so direction: So there are quibbles, who cares, this thing is gorgeous. Sorry, should there be more to that? Fine. Mary Poppins Returns is one of the year’s most thoughtfully designed films. In a time when no shortage of movies try their utmost to feel classic or old-fashioned, Returns comes close to achieving what others attempt by leaning hard into texture, warmth, sets that feel too perfect to be real, and colors so vivid that they look as though the preface “techni-” ought to be applied. Of these elements, the one most deserving of close inspection and fawning praise is Sandy Powell’s almost comically rich costume design, in which even the buttons are worth a second glance. That’s true of all her designs, but most specifically those created for Blunt, which use color, shape, and movement to echo the contradictions present in the straight-laced nanny who breaks every rule of physics she encounters. If only that sense of passion, whimsy, and thoughtfulness were present in Marshall’s direction. It’s not bad, per se, but there’s little in the way of real urgency or stakes; where the screenplay’s debt to the first Poppins means that the tone of the first carries through to the second, Marshall’s straightforward approach renders it all a little flat. Compare this film to Paul King’s Paddington films, for example, and you’ll notice that King nimbly trots the audience in and out of the imaginations of his characters, using who they are to determine the visual style with which they’re approached. Marshall achieves this exactly twice: Once, in a scene in which Whishaw’s Michael uses a moment alone to grieve his wife in a way that feels specific to that man and that actor, and the other, in a tiny smile from Emily Blunt that transforms the camera from impartial observer to trusted co-conspirator. Other than that, he’s here to flatly capture the wonder and make sure it’s all within Disney code. Mary Poppins is a little bit sexy, sometimes even dangerous, with a throughline of melancholy that keeps it all from becoming too sweet. Returns rarely reaches such heights. That said, Marshall is particularly well-served by Blunt and Miranda, who seem to be having such a good time together — both as characters, and as two movie starts making a sequel to a freaking classic in really cool getups — that even when floating through the sky on the tail of a balloon looks kind of dull, their charms are nearly impossible to resist. The Verdict: Mary Poppins Returns goes straight for the knees with a bat made of pure, undiluted, unrepentant nostalgia. It wants your money, it wants your tears and your smiles, it wants to place your kids in thrall to the chirruping dolphins and funny penguins, the parkour and the pretty clothes. It doesn’t even attempt to do something new, and save for a few good (and one great) performances, its aims are equal parts reverent and mercenary. I also loved it. Make of that what you will. Where’s It Playing?: Mary Poppins Returns will trip a little light fantastic into wider-than-wide release just in time for the holidays, on December 19th. Trailer: Source

Electric Daisy Carnival is coming to Korea in 2019! Following a wildly successful 2018, which saw Insomniac‘s Electric Daisy Carnival (EDC) hosted in six locations across the globe, the next massive event has been revealed. Soon, Korea will experience what life is like under the electric sky. In partnership with PeterPan MPC, Seoulland will be transformed into EDC’s signature world of music, art and adventure. For the first time ever, the magic of EDC will be offered in a theme park setting, making the inaugural EDC Korea experience truly one-of-a-kind. “Right now, there’s an energy around dance music in South Korea that inspires us to bring EDC there,” Insomniac Founder and CEO Pasquale Rotella says in a statement. “We have a great venue, an amazing partner, and most importantly, a community that is embracing dance culture in an exciting way.” Details on EDC Korea, including dates and ticket sales, will follow in the coming months. For now, get hyped with the official teaser announcement below. EDC Korea 2019 Teaser Announcement Original photo by Cory J Photography for Your EDM This article was first published on Your EDM. Source: Insomniac Announces EDC Korea Coming To Seoulland In 2019 Source

Monday night was a special one for everyone who was at Taking Back Sunday’s gig at New York’s Irving Plaza. For the band, they continued their 20th anniversary celebration with a last-minute gig. For the venue, they achieved their 100th sell-out of the year. For fans, they watched TBS deliver a performance of their first three albums in their entirety. It momentous show was set to start at 8 p.m. sharp, but the Long Island alternative rockers took the stage nearly 30 minutes late. As they explained after “Cute Without the E (Cut from the Team)”, however, they just wanted to make sure everyone was inside to witness the triumphant, nostalgic concert. And no doubt everyone was fine with the delay once things started going, TBS ripping through the tracks off 2002’s Tell All Your Friends, 2004’s Where You Want to Be, and 2006’s Louder Now, one by one. Frontman Adam Lazzara’s tardiness apology was far from the last time he’d speak during the show, as he often took time between songs to reveal stories about the recording or how a band member ended up joining the group. He also remembered to pull up tour manager/friend Neil Rubenstein whenever they needed a solid background scream for a TAYF track. Not that you could really hear any sung word over the crowd belting along the entire time, but that’s just the kind of fandom an act like this has, even 20 years into their career. If you couldn’t make it to the quickly sold-out show — or just want to relive it — check out our gallery of the gig below. You can also catch the band continuing to celebrate their 20th anniversary next year when they embark on a tour of Australia, Asia and North America beginning in January. See the full list of dates, plus details on a new compilation album, Twenty, here. Source

Jimmy Right Now’s new EP All Who Do Not Wander Are Lost, he uses minimal, ethereal beats to explore the genres of house, deep house, techno, IDM, and beyond. Across this five-track EP, Jimmy proves his masterful craft and range. The result is simultaneously both groovy and hard-hitting; it’s easy to get lost in Jimmy’s temporal musical journey. At more than five minutes apiece, each single tells its own unique narrative. Jimmy juxtaposes cosmic euphoria and sonic chaos resulting in a work that is simultaneously both dystopian and meditative. All Who Do Not Wander Are Lost creates a resounding sense of spirituality and connection that echoes the legendary Jon Hopkins. A life-long audio engineer, musician, and producer, Jimmy Deer has performed at some of the world’s leading events and venues such as SXSW, WMC, Sun City Music Festival, the Montreal Jazz Festival, and legendary Tokyo club Yellow. All Who Do Not Wander Are Lost is out now on Subcutaneous Records. The post Jimmy Right Now Delivers ‘All Who Do Not Wander Are Lost’ : Listen appeared first on Verge Campus. Source

Electronic music label has had a steady stream of releases in 2018 with a rich discography of deep chill, psychedelic bass, and world beat releases from the likes of Random Rab, Luke Mandala, and Living Light. The sonic collection features distinctive and sonic remixes from nine talented producers. Featuring Sarah West’s ethereal vocals and Robert Mirabal’s native Taos flutes, this deep, meditative, and mysterious soundscape has now been reimagined into a kaleidoscope of grooves and textures remixed by some of the top talents from the Desert Trax roster and beyond. The compilation touches on a myriad of different sounds and genres including broken-beat chillout, IDM, downtempo, psychedelic bass, and even techno inspired progressive house. Connected by the defining features of the original track—especially the chanting and flutes—each remix uses distinct beat and bass elements to shape their tracks and explore the boundless layers hidden within the source material. The compilation opens with Moon Frog’s 808-infused kick and rolling hi-hats, a new twist from the hang drummer Bart Mills. The gentle tribal grooves of Ancestral Elephants give way to Jacob Paskus’ lush downtempo synthesis as Stratusphere. Master Minded delivers an intricately glitchy halftime take that brings the song into a contemporary production space. Desert Trax core member Griffin Paisely offers his unique tech house perspective and percussionist Scott Stirling leans into his strengths on a Drumspyder tech house remix. Momentology & DJ Taz Rashid contribute with two unique remixes, an upbeat dance beat and a chilled out yoga dub. The compilation closes with perennial label favorite Erothyme’s perfectly delicate and lush soundscape. “The Whispers of Our Ancestors” remix compilation will be officially released Friday, December 14th on most major digital platforms via Desert Trax. The post DESERT TRAX ARTISTS RE-ENVISION CLASSIC ON “WHISPERS OF OUR ANCESTORS” : LISTEN appeared first on Verge Campus. Source

Red Dead Redemption 2 floored gamers upon its release with its immersive open world and redolent level of detail. The video game came with a welcome surprise for music fans, too, as it featured the first new material from R&B auteur D’Angelo since his 2014 full-length Black Messiah. In a new interview with Rolling Stone, Ivan Pavlovich, the Director of Music and Audio at Rockstar Games has revealed how “May I? Stand Unshaken” from the reclusive singer came to be. As it turns out, D’Angelo is a huge fan of the Red Dead series, and he actually reached out to Rockstar initially. He contacted Pavlovich through an intermediary connection to get his hands on the new game while it was still in development. Apparently D’Angelo would show up at Rockstar’s New York offices at midnight and play entranced for hours through the early a.m.. “Each time he was just like, ‘It’s incredible.’ It just blows his mind,” Pavlovich said. “He’s such a fan. I have never seen someone that excited.” That enthusiasm for the game encouraged Pavlovich to ask for a musicial contribution. When D’Angelo agreed, Pavlovich was able to get veteran artist/writer/producer Daniel Lanois on board as a music supervisor. “They said, ‘We might be able to hook you up with D’Angelo,’” Lanois recalled. “That’s all it took. I love D’Angelo, and always appreciated those great R&B records he made.” According to Lanois, “May I? Stand Unshaken” came together in a week and a half. The song finds D’Angelo playing the electric piano against Lanois’ noodling guitar lines, with both offering their vocals on top of wandering, pattering percussion. The song was actually the second they tried after a “6/8 rock track” did not pan out. You can listen to their final contribution below. Red Dead Redemption 2’s soundtrack also features contributions from Nas, Willie Nelson, and Joshua Homme, among others. Revisit Homme’s track from the soundtrack, “Cruel, Cruel World”. Source