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I arose from my slumber this morning at 4:45am, oddly alert. I looked around my room for my phone, the alarm on which had been set for 5:30; noticing the earlier time, I chose to accept my body was simply ready for the day ahead of me, knowing I’d be attending a rave in the basement of a cherished Los Angeles theater sponsored by McDonald’s just 75 minutes later. Yes, this morning was the Rise ‘n’ Rave event sponsored by McDonald’s in LA, headlined by Manila Killa, and I’m here to tell you that it was worth the early alarm. After readying myself for the day, I headed downtown to the Globe Theater where a line was quickly moving through the queue. Admission to the event was free with RSVP, though showing up with a receipt for a Triple Breakfast Stack from McDonald’s would afford you priority entry and unlimited access to the VIP lounges, which included some cool swag like branded towels, cups, and other such trinkets. Once inside, two areas toward the back on either side of the room afforded attendees free orange juice and coffee, as well as complimentary Triple Breakfast Stacks, on either a McMuffin or a McGriddle. As for the actual rave vibes, I was mildly surprised to see that so many people had shown up for such an early event. It was packed! As I walked in, SHYTWIN was finishing up her opening set and the crowd was already primed for Manila Killa to take the stage at a brisk 7am. And once he did, the vibes only kept growing. Check out some photos from the event below! Photos via @Struongyo This article was first published on Your EDM. Source: I Went To A 6am Rave Sponsored By McDonald’s & This Is What It Looked Like Source

Frances Bean Cobain is unstoppable. Last night, the incredibly talented daughter of Kurt Cobain and Courtney Love shared yet another emotional strummer on her Instagram, proving yet again that she’s “absolutely” serious about pursuing a music career. So far, the song’s untitled — Alternative Nation suggests “Crazy For It (You Think I’m Going Down)” or “Fall to Pieces” as possible names, despite the latter being a godawful Velvet Revolver song — but it’s almost there. “I wrote this here rough yet delicate tune last night,” Cobain writes in the caption. “The creative death rattle of 2018, as it were. It’s been a weird one but I’ve never felt more creatively charged or more in control of my own narrative.” Watch it below and consult the lyrics after. “Crazy for it You think I’m goin down I think I should be in line to Save myself I don’t mind the sun sometimes Break me open And I’ll fall to pieces State your business Or keep your distance I’m not done just yet Long live no one Nowhere never Keep telling yourself it’s gotta get better As you move through time As you move through time” Over the past few months, Cobain has been making quite a splash on Instagram. Ever since she announced her musical intentions back in April, she’s shared multiple songs, all of which you can listen to here, and here, and here. Looks like talent is genetic. Source

System of a Down bassist Shavo Odadjian brought some “disorder, disorder, disorder” to his son’s preschool class as the pair rocked “Toxicity” for the young boy’s classmates. Shavo, with an acoustic guitar, and his budding-musician son, armed with a red electric guitar, strummed through the riffs of the title track to System’s epic 2001 masterpiece, Toxicity, as one kid yelled out, “Rock ‘n’ roll!,” to which Shavo replied, “I love that!” It was all captured in a short video clip the bassist posted to his Instagram page. The performance was apparently part of the classroom’s “music and ice cream” session, with Shavo captioning the video, “Performing with my son at his preschool for the class #toxicity #systemofadown #family #shavoodadjian #littlerockstar #musicandicecream.” Recently, System of a Down were announced as headliners of both the Sonic Temple Art + Music Festival in Columbus, Ohio, and Chicago Open Air, taking place the same weekend in May. No word yet if Shavo’s little boy will be joining them onstage! Source

Now matter how much you dislike a song from an artist and want to show it by throwing it a thumbs down on YouTube, you’ll never get close to how much the world hates this year’s YouTube Rewind. As of today, the video is officially the most disliked video on the platform, taking the place of Justin Bieber’s “Baby.” At time of publishing, YouTube Rewind has 10.3 million dislikes, while “Baby” now has 9.8 million. In fact, the amount of dislikes on “Baby” has actually decreased since the Rewind was published, seemingly in an effort to get Rewind to the status of “most disliked” even more quickly. And while it took Bieber’s video approximately eight years to rack up that dislike count, YouTube Rewind beat it in closer to eight days. There are a lot of issues with the video, not least of all that it tried to pretend like a lot of the bad moments of the year never happened; events with PewDiePie, Shane Dawson, and Logan Paul are the most commonly cited. Another issue was that it seemed to gloss over some of the true creators on YouTube who have made an impact this year, in favor of advertiser-friendly celebrities and artists who YouTube can pitch to agencies. A YouTube representative issued the following statement to The Verge, saying that “dethroning ‘Baby’ in dislikes wasn’t exactly our goal.” “Honest feedback can suck, but we are listening and we appreciate how much people care,” the representative said. “Trying to capture the magic of YouTube in one single video is like trying to capture lightning in a bottle. We also learned that creating content can be really hard and this underscores our respect and admiration for YouTube creators doing it every day. Keep the feedback coming and maybe we’ll release a top 10 list of ‘Rewind dislike’ reaction videos.” See what all the fuss is about in the video below. This article was first published on Your EDM. Source: YouTube Rewind 2018 is now the most disliked video on YouTube Source

Rumors began last month that Moe Shalizi, manager of Marshmello, Jauz, Ookay, Slushii, Ghastly, Sikdope and Southside of 808 Mafia, was leaving his current job at Red Light Management to begin his own management company. That rumor was confirmed today via automated email responses from employee’s at Shalizi’s new company, The Shalizi Group. Contacting members of Shalizi’s team today at their current Red Light email address resulted in an automated response as follows: “Starting Monday, December 17th I can be reached at my new email address ______@theshalizigroup.com.” According to EDM.com, The Shalizi Group Inc. was registered as a domestic corporation in the state of Nevada in January of 2017, suggesting this strategic move was long in the works. An official announcement is expected on Monday, December 17. This article was first published on Your EDM. Source: Moe Shalizi’s New Management Company: The Shalizi Group Source

Slander The Headbangers Ball dubstep music Headbangers, it is time to eat. SLANDER just unleashes their 3-track new The Headbangers Ball EP comprising of previously released dubstep tracks, “Running To You” with Spag Heddy and “You Don’t Even Know Me” with Riot, in addition to most recent single that dropped Nov. 29th via Monstercat, “Hate Being Alone”. This is beautiful dubstep.  As their latest release, “Hate Being Alone” is a collaboration SLANDER worked on with Dylan Matthew, who is no stranger to working with the LA-based duo. Previous collaborations from this group of talent has produced has garnered a lot of success like their work on “First Time” with Seven Lions and “Without You” with Kayzo. SLANDER Unveils Final Track “Hate Being Alone” as final track on new the The Headbangers Ball EP. Monstercat Slander dubstep music In addition to taking over festivals like Ultra Mexico and Holy Ship 12.0, you can catch SLANDER in a city near you this winter as they are currently tearing up North America on The Headbangers Ball Tour, hitting major cities like Las Vegas, Washington D.C., Miami, Houston, and Chicago. The dangerous duo will be kicking off the New Year with two nights at LA’s legendary Hollywood Palladium. If you want to start off next year proper with SLANDER, you can join them in Hollywood on January 11th, and 12th, 2019. They already had to add the 11th as an extra night since tickets were flying too fast to function! Make sure you grab yours while you still can doh! Event Info for SLANDER’s Hollywood Palladium 2019 Shows: Hollywood Palladium 6215 Sunset Blvd. Hollywood, CA,90028 thehollywoodpalladium.com Follow SLANDER: Spotify Facebook Instagram Twitter Follow Monstercat: Spotify Apple Facebook Twitter Instagram The post SLANDER Polishes Off New EP: The Headbangers Ball appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Much of what Skrillex does in the studio comes out in controlled bursts, via random Instagram stories or third party rumors. However, we’ve just gotten a megadose of possible collaborators thanks to a bio from Perfect Sound Studios in Los Angeles. According to Perfect Sound, Skrillex spent over a month in the studio working with From First To Last. Whether he was just helping out with production or lending more of his own vocals remains a mystery. The studio also revealed that guests like Sean Mendez (We think they mean Shawn Mendes?), Frank Dukes, and Ty Dolla $ign dropped in! Again, the extent to which they worked together is unclear. Regardless, it’s clear that Skrillex has been keeping busy, so we should have a bunch of new music to look forward to in 2019! Fingers crossed it’s on his long-anticipated followup album to his debut Recess in 2014. This article was first published on Your EDM. Source: Possible Skrillex Collaborations Revealed In Studio Bio Source

Update — 11:00 p.m.: Kanye has unleashed another barrage of tweets directed at Drake. In his latest tirade, he accused Drake of threatening him with violence. — Original Story — In an effort to make amends, back in September Kanye West publicly apologized to Drake for a litany of supposed offenses. He expressed regret for stepping on the release date of Drake’s latest, Scorpion, with the release of his own new album, ye; for leaving Drake off the track “Lift Yourself”; and for not speaking to Pusha-T before Pusha revealed the existence of Drake’s son on “The Story of Adidon”. Drake never accepted Kanye’s apology, however. In fact, shortly after, the Toronto rapper appeared on a radio show and insisted that Kanye actually did play an active part in Pusha’s “The Story of Adidon”. Today, the rap beef between the two, unfortunately, continued on in sad, tired fashion. On Twitter this afternoon, Kanye pushed out a series of tweets slamming Drake. One included an undated screenshot of Drake asking for clearance for “Say What’s Real”, the So Far Gone track that samples Kanye. Ye also said that he’s “been trying to meet with you for 6 months bro,” and accused Drake of both “sneak dissing” him via Travis Scott songs and texting Kris [Jenner] behind his back. (Read: In a Rap Beef, There’s No Such Thing as Crossing the Line) The bulk of Kanye’s apparent anger, though, stems from this whole mess regarding “The Story of Adidon”. “I told you I ain’t tell Pusha about your son,” he wrote. “It’s all love bro bro but don’t play with me.” “Sending purple emojis When I’m dealing with mental shit I need my apologies now Not through scooter either Not through Travis,” Kanye continued. He and Drake previously “hit” back at one another via purple demon emojis (obviously as all rap beefs go). Toward the end of his social media rant, though, Kanye took on a more remorseful tone. “I would never intentionally hurt you bro I never even heard none of the diss records,” he remarked, later adding that their tension “has been bothering me too long.” Drake must have witnessed this unraveling because according to Kanye, the More Life rapper finally reached out. “Drake finally called,” he said, “Mission accomplished.” It’s not clear what they talked about exactly, but Ye followed that up by saying, “by the way… not cleared,” along with a cry-laughing face emoji, which suggests that this rap beef may not be over yet. Read all of Kanye’s Drake-related tweets below. This proves shit faker than wrestling pic.twitter.com/E9wzNycJna — ye (@kanyewest) December 13, 2018 Still need that apology for mentioning the 350s and trying to take food out your idols kids mouths — ye (@kanyewest) December 13, 2018 Been trying to meet with you for 6 months bro You sneak dissing on trav records and texting Kris talking bout how’s the family — ye (@kanyewest) December 13, 2018 I told you I ain’t tell Pusha about your son — ye (@kanyewest) December 13, 2018 It’s all love bro bro but don’t play with me. You stay too close to be playing all these industry games bro — ye (@kanyewest) December 13, 2018 Sending purple emojis When I’m dealing with mental shit I need my apologies now Not through scooter either Not through Travis — ye (@kanyewest) December 13, 2018 I would never intentionally try to hurt you bro I never even heard none of the diss records That ain’t my MO never did a diss record — ye (@kanyewest) December 13, 2018 No tough talk either — ye (@kanyewest) December 13, 2018 This ain’t about who could pay to have something done to somebody This man to man bro This been bothering me too long — ye (@kanyewest) December 13, 2018 pic.twitter.com/YcnbZEnaKX — ye (@kanyewest) December 13, 2018 Buying first two rows at Pusha show got me hot bro — ye (@kanyewest) December 13, 2018 Stop this already bro You getting people hurt out here And over what — ye (@kanyewest) December 13, 2018 pic.twitter.com/p22p3Eivdq — ye (@kanyewest) December 13, 2018 Drake finally called — ye (@kanyewest) December 13, 2018 Mission accomplished — ye (@kanyewest) December 13, 2018 By the way… not cleared — ye (@kanyewest) December 13, 2018 Source

The Pitch: After the Ancients destroyed Earth almost instantly in the 60-Minute War, the small pockets of humans who survived find themselves struggling to survive in a landscape which now favors “the great predator cities of the West.” London is now the most powerful of them all, a rolling monstrosity of opulent tiered buildings and destructive mounted weapons. Other, smaller cities tear across the endless deserts, hoping to avoid being “consumed” by London, which tears apart any smaller berg it finds to the cheers of its privileged citizens. Aboard London, Tom (Robert Sheehan) yearns to discover the antiquated tech of the Ancients, but when his stash of wartime military equipment is discovered by London’s governing body, it’s up to he and the mysterious anti-tractionist Hester Shaw (Hera Hilmar), a scarred hunter with a deep connection to London’s head scientific official Thaddeus Valentine (Hugo Weaving), to stop the second end of the world. Steampunk ahoy! Sputtering Off the Line: Mortal Engines opens with a giant city racing a smaller through the desert, in a visually feverish extension of the ideas outlined by the Mad Max movies, before it’s devoured by the gaping maw of a metropolis-sized tank. Were all of the film able to sustain the eye-popping madness of that opening, Mortal Engines would be a cult sci-fi classic in the making. As it stands, anybody who enjoys the steel-and-steam aesthetics of steampunk are still very likely to fall in love, but most other audiences may well struggle to stay with a movie that veers from wide-scale action to YA melodrama to wordy franchise franchise building with reckless abandon. The early scenes rush along at a pace surely to leave viewers winded, as screenwriting trio Peter Jackson, Fran Walsh, and Philippa Boyens sprint through the basics of the film’s world in order to get to the exciting, art direction-heavy stuff as quickly as possible. Unfortunately, this leaves too much of the emotion throughout feeling thin, especially when Mortal Engines starts to take bounding leaps in its storytelling while leaving little room for anything other than wordy exchanges being delivered in brief between action setpieces on floating cities and rolling cities and giant cities behind walls. And even as xan action-first piece, Mortal Engines is a mixed bag at best. When it’s operating at its heights, particularly in that opening and in a furious scramble across a burning assemblage of giant balloons, the film achieves a pleasing sense of operatic sci-fi theatricality. However, whenever the action is pulled into close quarters, director Christian Rivers frames most of the exchanges with incoherent shaky-cam photography, as though the film is hiding from its own onscreen violence as it goes along. There’s more than one genuinely unpleasant fight scene throughout the film’s 129 minutes, and that unpleasantness is wholly owed to the visually scattered direction. We (Tried To) Own the Sky: It’s a shame that Mortal Engines never puts its many mismatched pieces together, because the steel skeleton of an entertaining jaunt through a fantastic hellscape is there. Were any of the film’s major dramatic payoffs satisfying (or failing that, at least not cribbed wholesale from Star Wars and the screenwriting trio’s own The Lord of the Rings), the admittedly stunning visuals might be enough to sustain the excessive story. As it stands, however, this feels closer to the Hobbit side of the Jackson think tank than the Rings, a messy patchwork assemblage of leaden world-building, character relationships that either fail to justify the runtime devoted to them or feel entirely false in their resolution, and the kind of big-beyond-big CGI machinations that start as impressive and turn deafening when there’s nothing else of particular note to break them up along the way. The Verdict: Mortal Engines deals in a number of familiar stock types, which leaves Hilmar and Sheehan with the thankless job of enlivening protagonists whose backstories are hastily rushed through and yet still relied upon for pathos in the film’s late scenes. They step up to the plate effectively enough, Hilmar’s stoic grit matching amiably with Sheehan’s dweeby enthusiasm, but Mortal Engines is too seldom interested in anything going on beyond the titular gigantic machines. Like so many YA adaptations, the interesting fringe corners of the onscreen universe are there, but they go unexplored in favor of a movie that bellows and roars a great deal without leaving too great an impression. Even so, there are small notes that stand out. The effortless cool of Anna Fang (Jihae), a roguish sky captain, offers a welcome lightheartedness that more of the rest of the film could have used. Tom’s enthusiasm for “ancient” distractions leads to a big laugh or two early on, as the film playfully tinkers with the possibilities of its premise in a way its rushed later acts refuse to allow. But as with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along. Where’s It Playing?: Theaters all over the so-far-unshattered planet, starting December 14th. Trailer: Source

Out of all the reunions and homecomings this year, none were more exciting than seeing the Master of Horror John Carpenter return to Halloween. Even over Jamie Lee Curtis, who had previously reclaimed the Scream Queen throne with 1998’s Halloween H20: Twenty Years Later, the idea of having Carpenter involved with the franchise was not only a dream for fans, but a major coup for Blumhouse. It legitimized their reboot, giving it an edge, made that much sharper by Carpenter’s score. Musically, it wasn’t particularly surprising to hear how Carpenter and his band, which comprises of son Cody Carpenter and godson Daniel Davies, conjured all the right sounds for Michael Myers. After all, they were coming off of three successful years of recording and touring, which saw the release of both volumes of Lost Themes and a reworked anthology collection. What was surprising is how angry it sounded, as if Carpenter, too, had spent 40 years locked up in Smith’s Grove Sanitarium. Rather than simply flexing his minimalistic strengths, Carpenter added more muscle, slicing through David Gordon Green’s film with thunderous vitriol. With The Shape, he wired his march through Haddonfield, Illinois with industrial percussion, shuddering bass, and suffocating synths, only dulled occasionally by flourishes of midnight piano. And for Laurie, he pivoted from the previously melancholic theme to a hypnotic swell, embellishing the on-screen evolution from worrier to warrior. For these reasons alone, Carpenter wound up spiritually directing the new sequel, layering the film with a tension that, much like his 1978 original, pushed the horror to terror. From the film’s true-crime beginning to its Straw Dogs-esque finale, there’s this dreadful anxiety that subtly insists upon Carpenter’s own willingness to break out, as if he’s like his own Shape, trying to stab the celluloid with each piano note and whiplash guitar line. It’s unnerving, to say the least, but that’s what you want. Jamie Lee Curtis in Halloween In the end, that’s all we wanted at Consequence of Sound, and as someone who loves an epic comeback tale, Carpenter’s return to Haddonfield was no doubt the most exciting story to watch unfold all year. Which says a lot for a year that also saw two members of Radiohead composing two Oscar-worthy films (see: Jonny Greenwood’s You Were Never Really Here and Thom Yorke’s Suspiria) and the late Jóhann Jóhannsson giving us his dreamy swan song with the equally dreamy Mandy. But Carpenter is King, and, as the old adage goes, long live the Carpenter. In celebration, we spoke to the filmmaker and composer, reflecting on the evolution of the iconic theme, in addition to a myriad of goodies he has in store for the near future. Read on ahead and listen to the full conversation as part of the latest episode of Halloweenies, our monthly horror franchise podcast, which will soon be leaving Haddonfield, Illinois for the dreamy confines of Springwood, Ohio. Happy Halloween. Well, it’s been a good year. Yeah. Did you have any idea that Halloween would be this big of a success? No clue. No clue? No clue. No clue. No clue. What do you think hooked audiences this time? I think they dug the story, and it’s a walk-down-memory-lane kind of deal, a little bit, you know? What did you dig most about it? I liked what David Gordon Green did with it. I thought he did a fantastic job. The style of the film I liked a lot. I loved Jamie’s performance. I love Jamie and her performance was fantastic — just fantastic. Was it fun getting back together with some faces that you hadn’t seen in a while? Was that a big part of it, too? Look, the whole thing was fun, but working on the soundtrack was really, really fun. It was great to go back and revisit the old score, and update it, you know, bring it into this century a little bit. How has your relationship changed to both the score and the movie over the last 40 years? Well, you know, you’ve got to realize, many sequels of varying quality have been made over the years, and they’ve been made for basically one reason only, and that’s to make money — and some of them are pretty, pretty wretched. I’ve just gotten used to it, you know? “Well, they’re gonna do it again, so…” and I hide my head, and sometimes it’s good, but more than not, it’s not good. That was my relationship, and I wasn’t expecting anything from it. Then Jason Blum, who’s Mr. Horror these days, he called me up and said, “Hey, let’s get together,” so we met, and he said, “Well, the sequels, this is gonna be made, whether we are involved or not, so why don’t we do it together? Why don’t we get aboard?” He wanted me to shepherd it through, kind of a quality control, I guess, I don’t know why. And, you know, “Let’s find a good director, let’s do it.” And so, that was the premise by which we started. I said, okay. And then David Gordon Green came along — and Danny McBride — and they had a great story, and it was just a great idea. And it appealed to me, and it appealed to my… I have to admit, it appealed to my ego. They said, “Let’s just pretend nothing else exists, except the first movie,” you know, and I said, “Oh, what a clever idea.” I liked that a lot. So, off we went, and Danny McBride killed it, but so did David Gordon Green, man. He killed it. When you and David Gordon Green first talked about the score, what were some of the discussions? Well, he knew what he wanted and where. So, he knew he wanted some of the old stuff from the movie, and he knew the movie really well, that was the one thing. It was kind of, uh, eerie. He knew it better than I did. And, so he knew where he wanted the main title, for instance, and where he wanted something new. And so, we went through the whole thing that way: We went to have spotting sessions, I’m sure you know, but that’s what composers do with directors, you know? They sit down and the director says, “I want music here,” and the composer says, “Well, what do you want the music to be doing and saying, and what mood to you want to convey?” Anyway, we did that, and it just—he knew. He’s very conversant in music. It was easy. So he knew exactly what he wanted and where. It was amazing. He knew better than I did, as a director, much better than I did. I’m kind of impressed by that. Did you bring in what you took from those experiences recording Lost Themes I and II? Well, I don’t know if I brought anything in. I bring myself along with the gig, everything—everything I’ve done, and everything I know about music, you know? It’s part of me. Just everything. Music is improvised, by myself. I just play it. My father made me grow up in a household full of music, and I just barfed that all back on the audience. [Laughs.] So, that’s what I brought to it, and it was fun to revisit the old shit. I won’t say I was impressed, because that would sound egotistical, but, I’d say, “Wow, you know, that sounds pretty good.” We updated it with the new technology that’s available, and, I’d think, Oh my God, I wish I’d had this back then, but hey, now I can look good by just doing this. That’s fun. You recorded the original Halloween score in three days. Do you think with this team that you have right now, you would have been able to get it done shorter, or do you think you would have needed more time? Man, I don’t know. We—to be frank, you know, we—to have a sane life, we need to not work that hard. Yeah. But in those days, you know, I was rip-roarin’ and ready to go. ”Ooh, put me in, coach,” you know, that kind of shit. Yeah. Yeah. Not anymore. But, uh, you know, that three days thing, I can’t do that again. That’s only for the young. [Laughs.] And there were no drugs involved in that. [Laughs.] I was actually gonna ask about that. Because really, 72 hours. Wow. Do you recall when you finished the actual theme? Did you step outside for a moment and say, “Okay, I got this,” or something? Well, that was… I knew that, “Okay, we’ve got this,” this part. Good. Now, I can—if I hit, if I can do, like, I don’t know, four or five pieces of music that would go in Halloween, that I could cut in anywhere I wanted to, then I’d be in great shape for the score. So, that’s what I did, I just sat down and, you know, scored with various intensity these pieces that went into the movie. Speaking of intensity, the new theme. A few years ago, my brother suggested that the Halloween theme and Michael Myers are one in the same — you know, similar to the shark in Jaws. Oh, thank you. Thank you. And, you know, the way the innocence of the piano at the beginning evolves into that threatening bass, it’s almost a reflection on how this young kid has become this monster. But with the new one, it’s so incredibly punishing and harsh. Were you trying to reflect those 40 missing years? Punishing and harsh! Oh, it’s vicious. It’s a totally vicious score. [Laughs] Ah, great! It’s so angry and so course. Were you trying to reflect an older Michael? Well, you know, I hadn’t even thought of it. I like what you’re saying, though. Can I use that in an interview? [Laughs.] Go for it! Okay, great, thanks. Uh, you know, I—no, not particularly. I just went along with what I saw, you know, that’s what we do. You know, we just started scoring off the beginning of the new movie, and we discovered the movie just like the audience does. “Oh, look at this.” So we hadn’t seen it before, and, you know, we started working on it. ”Wow, look at this.” “That’s a funny scene,” you know? Then we’d go back and look at our favorite moments, our favorite delivery, and the actors delivering lines. Oh, god, it’s great. You know, there’s a couple of places where it’s hilarious. Totally. Yeah, it’s just great, I love this, so. It was fun. I don’t mean to sound like a new-age hippie, but it was a great discovery. I mean, we got to discover this film, as we were scoring, and enjoy it, and enjoy the intricacies. That must have been new to you, too. By the time you scored your own films, you knew them all back and forth, right? Too much, yeah. I agree. Yeah, yeah. I did, and, uh—oh, you know, that—it’s really a pain in the ass, if you want to know the truth. Oh, it’s just, after a while, I just couldn’t—I couldn’t do the whole thing, the whole movie-making process, became a bit of a pain in the ass. And that’s—that’s beside the point. Uh, yeah. And this was a process of discovery, which was fabulous. Just fabulous. Yeah. I was lucky. I was lucky. Well, it’s interesting, too, because it’s a total 180 from everything you’ve done over the last five or six years, where you were orchestrating themes for nothing, which is the point of Lost Themes, and then now going into fresh visuals. Was there any anxiety about that? What was your thinking going into it? You know what, it’s… It’s different when I have to do a job to an image. It’s different. I didn’t realize that before. I thought, ah, this is all the same. But it isn’t all the same. The images—because of my background, and my training, and, you know, how I came into the business — I realized, Oh, wow, you know, the image is next to the music. What a strange thing, and it’s just different—to me it’s different, probably nobody else thinks it’s different. So, that was an interesting—I mean, I’m just like an old hippie now. I’m old! [Laughs] Would you want to keep scoring? Hell, yes! Are you kidding? God, yes! Yeah, you get to stay in your house, you don’t have to go out to work, you work off your computer, you can, you know, take a break, have coffee. I mean, it’s fabulous. Would you prefer doing something like Lost Themes or scoring films? Both, both. I mean, they’re both great, but they’re involving music now. See, my first love, my muse, is cinema — I love directing. But it’s so hard, and I’m an old man now, and, see, I’ve made a bunch of movies, and they’ve all ganged up on me and started killing me! So I had to stop, you know, I can’t do this, you know it’s murder on you, but the music, doing the music — oh, hell, this is amazing! I mean, this is great! Your father’s whole career was music. Do you feel you’re finally following in his footsteps? A little bit, a little bit. My dad’s not really around to appreciate it, but actually, he did, he thought that scoring my movies was a career in music, so that was good, but that’s what he said. Well, I don’t know, man, I didn’t love it like I loved movies, I just didn’t love it — um, and, when you fall in love with a beautiful woman like cinema, you’re just not thinking very straight. I just said, “Come on, baby let’s go!” And she just kicked the shit out of me! But that didn’t matter, I didn’t care. The label auteur gets tossed around so frequently, but having done literally everything in your movies, whether it’s the writing, to the filmmaking, to the actual scoring, there has to be a delight in looking back knowing you earned the title. Yeah, it’s great! I don’t necessarily want to talk about the fact that it’s any good, but let’s just talk about the fact that I did it! Hell, it’s fabulous, I’ve had a great fucking life, I mean, it’s just unbelievable, and I have this second career now, I can’t believe it. I mean, it’s unbelievable, anyway. Going back to the Halloween score for a second, I noticed that the final track, “Halloween Triumphant”, has kind of a dancy sort of feel to it… Yeah, I think we ought to put it out as a dance record. [Laughs.] I really do! It would absolutely kill at a festival. I know it, man. I mean, all we have to do is put a big bass drum, an electronic drum, and we got it! We’ll send it out to all the DJs that can play it and kids can take Ecstasy and dance! I imagine that was happening at the Halloween show at the Palladium. Well, I don’t know, well, we played a little bit of it. I don’t know about the drugs, but yeah. Did you have your live show in mind when you were doing the score? No, no, no, no. No, we didn’t, and the live show, essentially it morphed into, “Let’s play John’s themes from John’s movies,” which the audience seems to like, but we just added the new Halloween, like you said, “Halloween Triumphant”, but we didn’t do it as electronic type disco stuff. That’s what I really wanted to do. I wish. I can’t convince anybody else but you! Just toss it out there and confuse the hell out of ’em. [Laughs.] Yeah. Well, on the opposite side of dance, there’s a lot of guitar in this score. Granted, Alan Howarth had pretty much welded it into the series back in the late ‘80s and ‘90s, so it’s not exactly new to Halloween, but it’s far more effective here. Did you have to have any consideration not to go too heavy or too light with the guitar? Well, we could put a guitar solo on everything, but I don’t know if it would work! You know, yeah, and I have somebody who can really play guitar in Daniel Davies, Dave Davies’s son, and I just love to let him go, but it’s different work. What it all comes down to is what works for the movie … but we let loose in some places. You’re a big gamer and I wondered if that had any influence on this. [Laughs] I didn’t think of that, but I think there’s a part of me that’s dying to do a game score, I’m just dying to do it, but I don’t think anybody will hire me. No one thinks about me to do music for games, that’d be great! There have been so many interpretations of the Halloween theme, especially last year with Atticus Ross and Trent Reznor. Have you ever listened to any of them? Yeah! There was one for Escape from New York and it was incredible, I can’t remember the name of the group, but it was guitar-heavy with solos, and I thought, Shit, this is great! Can’t remember now, yeah, I love them. The best use of the Halloween theme, though, was the wrestling tag team, the Samoan Squad team, and as they entered the ring they played the theme on a tiny little boom box. They weren’t in the big venues, they were in the tiny ones. Oh god, that’s funny. Every artist has their hits, and you always hear about how they’re tired of them. Does that happen with Halloween at all, or did this kind of rejuvenate it? No, no no. It doesn’t end, and playing it is a joy, because my son plays the main scene — the “da da da da.” He plays all the bass, and I love it now! You know, I have minimal chops as a musician. I just can’t play that fast anymore, nor do I care to play that fast anymore. So I just have other people to do the dirty work. Speaking of other people, we recently had a chat with Tommy Lee Wallace, who says you keep in touch. I brought up the Coup de Villes to him and we both wondered if there was any interest on your end to make this happen. I know Nick Castle showed up at one of the shows recently… I know what we should do. We should do one of these concerts that I’ve been doing and the three of us should get up and do the main title from Big Trouble in Little China, and that would be fun to do, I would love that. But, uh, I don’t know, I’ve talked to Nick about it, he’s all ready to go, he’s all set to go. Do you ever think about going back and doing a rock album? I don’t think about it much anymore — I used to — but I’d love to do one. But I get to express all my shit now in the Lost Themes stuff, you know, and I don’t have to sing, which is hard to do, hard to sound good, it’s hard. What are some rock albums of all time? They change for me every day. Tell me about it, oh, tell me about it, I know. What are some that have stuck with you over the years? Well, some of the stuff that I grew up with, I still love a great deal, you know? Like The Beatles. You realize, I was a kid when The Beatles came out and they were unbelievable! The music was unbelievable, and it was a stunner to hear them. They were just so unique, and they would do an album like every three or four months! I mean, are you kidding me? I don’t know how they did it. Earlier this year, I caught a documentary on Rubber Soul, which covered how that album pretty much came out because they needed something for a Christmas release, and they did the whole thing in a month. Yeah! Do you believe it? I mean it’s unreal! So, uh, the talent, the genius of those guys. I mean, yeah I loved a lot of those groups, I loved The Doors, The Who, all that stuff, but yeah. I listen to a lot of the recent pop music and some rock music, and most of it’s derivative now, it’s unbelievable. I just hear things I’ve heard before, and it’s like what? Really? And, so, I’m not a big rap fan, um, it just, I don’t know why, maybe I’ve closed my mind off to it. There’s been a lot of hip-hop that has cited your music. Dr. Dre for The Chronic 2001 used the Halloween theme. [Laughs] Yeah, he did, he did. I don’t think he paid me for it, either. Yeah, I don’t think he did. I don’t know, maybe he did. Well, you two are in California, you should meet up sometime. [Laughs] Well yeah, my my. “Where’s my money?” I’m going to say to him. Looking ahead, I know that the last time we talked, you had mentioned you were working on Lost Themes III… Well, yeah, we’ve been putting together some music. It isn’t anywhere near done, the group is kind of splitting up. Just temporarily! My son’s going over to Japan. He’s a Japanophile, he loves Japan, so I think he has a couple girlfriends over there. I’m not sure, but he’s going over there to hang out and go to see some girl groups he loves over there — Japanese “idol groups”, he calls them. My godson, he and his wife are going to have a baby So the group is not intently working on anything, but we’ll get back together and work on some more stuff, get some rest now after Halloween. We need to rest and keep out of sight. I don’t think we need to bug anybody now. What if they knock on your door for the sequel that’s obviously happening? We’ll be ready, we’ve all already talked about it, and if they don’t, uh, fuck ‘em. [Laughs] Cody Carpenter, John Carpenter, and Daniel Davies, photo by Sophie Gransard I imagine you’re following everything that’s happening with the Warriors right now? Oh, the Warriors, you know I love the Warriors. They had an incredible game last night. I’m so proud of them. They lost, but I’m proud of them. Two of their greatest players weren’t available, and they still, they just gave Toronto a run for their money. I’m ah, watching, kind of with a wary eye. I’m watching LeBron and the Lakers, but everywhere LeBron goes, the media follows him, it’s unbelievable! Yeah they do. I’m a Miami fan, so when he came down there I had all these people hating my team, and I’m like, “Wait, what the hell, nobody cared about my team two months ago, what the hell is going on?” Isn’t it odd? Yeah, it’s weird, and he still just shows no signs of slowing down. It’s incredible! He’s an anomaly. At his age, and he’s still just pulling it off! Amazing, and I think … he was in the movie with whats-her-name? Amy Schumer. He was good! Damn, he could act if he wanted to. LeBron James as Michael Myers Yeah, you have an icebreaker if you ever want to meet him. He recently just posted on Instagram that he was watching Halloween II with a mask on. He’s a huge horror fan. Yeah, I saw that. I also think he’s involved with the reboot of Friday the 13th… Which is interesting. I wonder if he’ll be in it. Yeah, he could be! I think he should be the killer — I think he should put on the hockey mask. I have to imagine Hollywood is why he’d take the Lakers deal. It’s not like the team is that enticing to him right now. No, no, not really, ut maybe we’ll make him be in the south end of the playoffs, I don’t know, I don’t really know. Do you buy too much into the drama going on with Kevin Durant and Draymond Green? I don’t like it. Steph Curry said they have a “brother” relationship, they bicker like brothers, I don’t know, I hope it’s okay. I hope they can play together. People forget how much drama there was between like Michael Jordan and Scottie Pippen, so who knows. In the meantime, thank you for everything. It’s been an incredible year and I can’t wait to see what you do next. Thanks so much! Take care, happy holidays. — Halloween is currently available on Sacred Bones Records. The film itself has a digital release of December 28th and heads to your home on Blu-Ray with all sorts of special features on January 15th. Source

It’s been a wild and troubling week for Cannibal Corpse guitarist Pat O’Brien. On Monday, the musician’s house in Northdale, Florida burned down for unknown reasons, and he was arrested that night for allegedly breaking into a nearby home and pushing down one of its residents, and then charging at police with a knife. O’Brien appeared in court the next day for his bail hearing wearing an anti-suicide vest and with both wrists and ankles shackled. He awaits release on a $50,000 bond pending a drug test. So far, the members of Cannibal Corpse have yet to make any statements about the incident or O’Brien’s future in the band, but there’s indication that they are willing to show him some kind of support. As reported by Metal Sucks, a crowdfunding campaign, overseen by Deana Mazurkiewicz, wife of Cannibal Corpse drummer Paul Mazurkiewicz, has been set up to raise some money to help O’Brien get back on his feet once he is out of jail. “Pat is a standup guy, true to his friends, family and his band,” reads a statement accompanying the crowdfunding campaign. “Also Pat does not have insurance, and lost everything that he owns. These funds will help him get back on his feet with the regular much-needed necessities like clothing, a roof over his head, and other daily life necessities that are needed.” The campaign, at least according to the information on the site hosting it, stops short of helping pay down any legal fees that O’Brien will be facing as a result of this incident. But Deana Mazurkiewicz does hope “that people not jump to conclusions until the full details of what occurred come out, and that you show Pat nothing but love and support and let him know that you’re there for him. Although the last 48 hours have been shocking to most people, they’ve been devastating to him.” It’s also worth noting that O’Brien could be facing further charges beyond burglary of an occupied dwelling with assault and aggravated assault of a law officer. As has been reported widely, one reason that the fire did as much damage as it did is that firefighters had to reckon with an arsenal of explosive ammunition and military-grade flamethrowers within the guitarist’s home. Again, O’Brien’s status within Cannibal Corpse is unknown at this point, but it’s something that will have to addressed soon as the band is set to co-headline the 2019 Decibel Tour, which kicks off on February 17th at the Alamo Music Hall in San Antonio, Texas, and will provide support on Slayer’s farewell North American tour next spring. Source

Lots of music videos were released in 2018, but none have received as many views at the end of the year as Calvin Harris & Dua Lipa’s “One Kiss.” Of course, it heavily depends on when a video was released; for instance, a video released in May, as “One Kiss” was, as opposed to Ariana Grande’s “thank u, next,” will obviously get more views. Regardless, Calvin Harris & Dua Lipa’s “One Kiss” is MTV’s Most Played Music Video of 2018. The ranking is based on cumulative global on air music video plays from January 1 to December 3, 2018. “One Kiss” tops a list of the 20 biggest videos revealed today including tunes from Ariana Grande, Drake, Ed Sheeran, Rita Ora, Post Malone and more. See the full list and watch “One Kiss” again below. 2018 MTV video play awards top 20 music videos: Calvin Harris, Dua Lipa – One Kiss Clean Bandit feat. Demi Lovato – Solo Marshmello & Anne-Marie – FRIENDS Rudimental feat. Jess Glynne, Macklemore & Dan Caplen – These Days Bruno Mars feat. Cardi B – Finesse (Remix) Ariana Grande – no tears left to cry David Guetta & Sia – Flames Drake – God’s Plan Dua Lipa – IDGAF Maroon 5 ft. Cardi B – Girls Like You Jonas Blue ft. Jack & Jack – Rise Selena Gomez, Marshmello – Wolves Drake – In My Feelings Zedd, Maren Morris, Grey – The Middle Luis Fonsi, Demi Lovato – Échame La Culpa Ed Sheeran – Perfect Rita Ora – Anywhere Nicky Jam x J. Balvin – X Post Malone Ft. Ty Dolla $ign – Psycho Jax Jones ft. Ina Wroldsen – Breathe This article was first published on Your EDM. Source: Calvin Harris & Dua Lipa’s “One Kiss” Is MTV’s Most Played Music Video of 2018 Source

2018 has been a huge year for trance legend Ferry Corsten with a slew of releases and tour dates. Back in March we had the pleasure of talking to Ferry when he unveiled his new UNITY project, his quest to “unite” the trance genre and collab with some of the other titans of the genre. This time Ferry is teaming up with Ilan Bluestone for the final UNITY collaboration of the year, “We’re Not Going Home.” This track lives up to the UNITY moniker as it flawlessly blends each of the producers’ unique styles into a standout track. Ilan clearly has the production on the intro, as the song establishes itself with a hard trance kick drum and repeating synth progression. Light piano notes come in as strings start to build up in the background and the synth progression from the intro comes back into play. The buildup is long, but it is nice, with layers upon layers of synths leading into a rapid drum build. Finally the drop hits and it’s just next level. This is where Ferry’s work shows up as it’s the classic, progressive trance that takes you on a journey (seemingly into deep space during live sets). It’s a perfect track to wrap up the year and get your groove on. Here’s what Ferry and Ilan had to say about collaborating on the track. Ferry: “Ilan and I have been friends for a long time now. We always have so much fun playing shows together, we wanted to see what we could put together in the studio. Ilan came to Rotterdam and that’s where the energy of the record came to life.” Ilan: “I’ve always looked up to Ferry as an absolute legend. To be invited to his home and spend time with him and his family and studio has been one of the most surreal moments of my life. We have always wanted to do a song together after touring, and this track naturally was a combination of my sound with Ferry’s legendary sounds.” “We’re Not Going Home” will be out on Flashover Recordings tomorrow. But you can listen to it a day early right here on Your EDM! This article was first published on Your EDM. Source: Ferry Corsten and Ilan Bluestone Drop Latest UNITY Collab “We’re Not Going Home” Source

A Pale Horse Named Death are gearing up to release their third album, When the World Becomes Undone, on January 18th, and they’ve joined forces with Heavy Consequence to debut the new song “Vultures” (listen below). The band is led by Sal Abruscato, founding drummer of Type O Negative and onetime member of Life of Agony. In A Pale Horse Named Death, Abruscato handles vocals and guitars, with the rest of the band rounded out by drummer Johnny Kelly (who actually replaced Abruscato in Type O Negative), bassist Eric Morgan, and guitarists Joe Taylor and Eddie Heedles. The Brooklyn, New York, act’s music is rooted in metal, with elements of doom, goth, and grunge. When the World Becomes Undone will be the band’s first album in nearly six years, having released their last disc, Lay My Soul to Waste, in 2013. Regarding the new song, Abruscato tells us, “‘Vultures’ is about being used until you have nothing left to give — friends and family coming around only when they need you or when you have something they want and of course waiting for your demise.” As for the album title, the frontman explains, “The phrase When the World Becomes Undone came to me in 2014,” he explains. “You could see what was beginning to happen in the world at large. Just turn on the news or look around. At the same time, there were a lot of crazy things happening in my personal life. Those struggles all became fuel for the music.” When the World Becomes Undone is available for pre-order in various formats and bundles at this location. A Pale Horse Named Death will play a record release party on January 18th at the Mercury Lounge in New York City, followed by a tour of the UK and Europe beginning in March. See the band’s full itinerary here. Source

Peter Murphy and David J recently reunited for a tour celebrating the 40th anniversary of gothic rock pioneers Bauhaus. Just as they were nearing the end of their European leg on Tuesday night, however, things took an aggressive turn that ended with Murphy being kicked out of his own show. “The Ruby Celebration Tour” stop at Stockholm, Sweden’s Nalen seemed doomed from the onset. According to reports, the gig began considerably late and Murphy appeared off from the get-go (via Gaffa). He was complaining about the sound and a lack of audience attention, and by the time he hit “Stigmata Martyr” (around the eighth song, if setlists are accurate), he began taking it out on the audience. Murphy tossed bottles of water and glasses into the crowd, apparently injuring some concertgoers, with Aftonbladet reporting at least one person went to the hospital. Video shows Murphy kicking a stage light, shattering it, and throwing water bottles. One of the tossed bottles splashed onto a mixer, damaging it. According to Nalen press officer Jennie Monie, it was Murphy’s own technician who chose to end the concert at that point. Monie told Aftonbladet that they initially did not kick Murphy out after cutting the show off, but when he returned to the stage, he began acting aggressively towards staff, and that’s when security escorted him from the premesis. (Read: Top 10 4AD Albums) Things got worse from there. In video posted on Aftonbladet, you can see Murphy yelling at someone (it’s unclear if it’s a fan or Nalen security). Someone tells him to “calm it down, mate,” and Murphy says something that sounds like, “You think you got a big cock? Fuck you, you fucking Swedish whale.” At this point, someone puts his hand on Murphy’s shoulder and Murphy responds with a punch. That’s when security chose to take him down with a chokehold. The concert promoter released the following statement (via Brooklyn Vegan): “With one more song planned, the artists tour manager and technician decided to end yesterday’s concert with Peter Murphy since technical equipment had been destroyed due to incidents we at Nalen take very seriously. The artist acted in an unacceptable way towards the audience and our staff. We are currently trying to sort the situation out. If anyone in the audience got injured in any way, we would like you to contact us and report to the police. We also want to say thanks to the guests who helped us at Nalen and others in the audience.” The “one more song planned” bit contradicts the setlist Murphy has largely stuck to during this tour, but Setlist.fm currently doesn’t have any information regarding the Nalen show. It also appears the venue did not contact police. Video from the incident can be seen at the event’s Facebook page — and we highly recommend watching the takedown clip over at Aftonbladet. Bauhaus recently released a remastered edition of their 1979 cornerstone The Bela Sessions. Source

This past July, Austin Clay used a pickaxe to destroy Donald Trump’s Hollywood Walk of Fame star. While it’s no impeachment, the destruction effectively saw Clay speaking on behalf of most Americans, many of whom have felt silenced and sidelined by the 45th president. Now, in an essay for GQ, Clay has finally addressed the incident. The most interesting tidbit to be revealed? As he swung and slammed down his pickaxe, Clay was apparently blasting the music of… Death Grips. After purchasing the pickaxe from a local Home Depot, he headed down to the Walk of Fame and “put on some headphones; I was listening to Death Grips, which is some high-energy, ridiculous music.” He added, “It gave me the energy I needed to tear through the star.” (Read: 10 Timeless Political Songs) Was he listening to the raging Bottomless Pit? The savage Jenny Death or LOVE DEEP WEB? We may never know, but a slow clap is still in order here. Clay further detailed how the carnage unfolded. “Rocks were flying up in my face. I wanted to obliterate the thing, because I thought that would be a statement,” he said. “We’re removing him from the ground, we’re removing him from Hollywood, we’re removing him from California, we’re removing him from the United States.” Clay also naturally took great pleasure in pissing off Trump, a noted man-child. “The Walk of Fame is a whole boulevard of different people who have lived amazing lives. David Bowie. Marilyn Monroe,” Clay added. “Taking Trump’s name out of there is very rich and symbolic. I’m sure his ego was torn up about it, considering it’s the second time that it’s happened. He’s like, ‘Damn it. Not again.'” Donald Trump’s Hollywood Walk of Fame star destroyed As we previously noted, Clay is not the first person to try to erase Trump from the Walk of Fame. James Lambert Otis attempted to do so using a jackhammer in 2016; funnily enough, Otis went on to bail out Clay after he turned himself in to police. Clay has since been charged with one felony count of vandalism and faces up to three years in prison if convicted. Trump opponents supposedly weren’t the only ones to be delighted by Clay’s actions. According to Clay, the Secret Service later visited him at his home, presumably at the behest of Trump. No reprimanding or retaliation took place; it was actually quite the opposite. “But they kind of thought it was funny,” Clay recounted to GQ. “I didn’t harm anyone; I didn’t commit a violent act. After we got to talking, one of them gave me a high five.” As for Death Grips, the industrial hip-hop outfit hasn’t formerly responded to the GQ piece. They did, however, retweet it on social media so it’s safe to say they’d give Clay a high five, too, if they could. Source

The death of Avicii this year rocked the music world. By all accounts, at least from the outside looking in, he seemed to be doing well and making music and being happy. However, not everything is at it seems on the surface, and the producer/DJ/icon took his own life this past April. Throughout the year, tributes were made by DJs on stage and in the studio, and by fans, as well. One of the more iconic tributes by a fan this year was the massive Avicii flag at Tomorrowland (pictured above). Measuring 16×10 meters and weighing about 20 kg, the flag is truly massive and served as a grand visual tribute to the late DJ. “On April 20th, 2018 Tim Bergling, also known as Avicii, took his own life while going through a crisis. Three days later, a Swedish Facebook group called Svenskar till Tomorrowland (Swedes at Tomorrowland) decided to pay tribute to Avicii during one of the biggest EDM festivals in the world, Tomorrowland in Belgium. The flag was raised by the crowd on two occasions during the festival and received great attention in media, both nationally and internationally.” Now, the flag is being auctioned off with proceeds going to suicide prevention charity Suicide Zero. “When we decided to auction the flag, we looked at different organizations and the choice fell on Suicide Zero. We think their work and purpose are in line with our tribute and we have had a good dialogue with them. Hopefully the auction can bring a lot of money that can assist them in their work,” says Jonas Thordeman, of the group Swedes at Tomorrowland. The flag is currently on tour, being signed by various famous DJs who loved and respected Avicii, and want to show their support. So far, it’s been signed by Steve Angelo, Nicky Romero, Don Diablo, Dada Life, Armin van Buuren, Ferry Corsten, Lost Frequencies, and Vini Vici, among others. There are a little over 8 days left in the auction at time of publishing (10:45a PDT), with the price now sitting at $1,000. You can bid on it here. This article was first published on Your EDM. Source: Massive Avicii Flag From Tomorrowland Being Sold With Proceeds Going To Suicide Prevention Charity Source

As reported earlier, the Rock & Roll Hall of Fame 2019 inductees were announced this morning, an eclectic class that includes Radiohead, The Cure, The Zombies, Stevie Nicks, Roxy Music, Janet Jackson, and, of especial interest to the readers of Heavy Consequence, hard rock icons Def Leppard. The reactions from the artists themselves have been pouring in over the last few hours, including some comments from Def Leppard vocalist Joe Elliott. Speaking to Rolling Stone last night before the band’s headlining gig at the Manchester Arena in his native U.K., the 59-year-old singer expressed a mixture of delight and relief at the news. As he told journalist Andy Greene, “Now we can stop holding our breath and go, ‘Great! How wonderful to be in the same club as The Rolling Stones and The Beatles and The Who and Queen and etc., etc.’ It’s nice. It’s a good club to be in.” In the interview, Elliott looked forward to the ceremony, which takes place on March 29th at the Barclays Center in Brooklyn, New York, saying that he will be extending an invitation to original Def Leppard guitarist Pete Willis to be part of the celebration. Willis played and co-wrote many of the tracks on the band’s first three albums before being replaced during the sessions for Pyromania by Phil Collen. “Yeah, Pete is invited. Absolutely,” Elliott said. “Whether he comes or not is up to him. We might have to drag him there by his hair. […] I haven’t seen Pete in 14 years. I don’t know if he’s aware yet. We’re going to reach out to him over the next day or two now that the dust has settled and we’ll see if he wants to come.” The singer also discussed another former member of the group, guitarist Steve Clark, who died in 1991 after ingesting a lethal mix of alcohol and prescription drugs. When asked if Clark would be excited about the Rock Hall induction, Elliott said, “The Steve that I knew, which was for more than 13 years, I think he’d enjoy it. It’s a difficult question since a lot of what we’ve done to get where we are we did with Steve. And then everything since then has been building the fan base. It’s kind of like asking what Peter Green would think of Fleetwood Mac getting in. I think if this was to happen to 1988, Steve [would] be like, “Yeah! Awesome!” If a 60 year-old Steve were around today, I don’t know if he’d care.” Def Leppard are currently wrapping up a run of tour dates in the U.K. with openers Cheap Trick, including tomorrow night’s gig at the Fly DSA Arena in their native Sheffield. The band’s schedule for 2019 is already filling up with a run of summer festival dates throughout Europe. Source

The world has been waiting for new Madeon music since the French producer dropped his debut album Adventure in 2015. Aside from “Shelter” with Porter Robinson, his output has been scant. He posted about moving to LA and working on his next album, but there’s been nothing about that. Instead, the newest piece of music we get from Madeon is a co-produced single with Lido for rapper Ric Wilson, “No Hands.” Ric came up in the now legendary YCA (Young Chicago Authors), the same poetry program that helped launch the likes of Noname, Saba, Jamila Woods, Chance The Rapper, Vic Mensa, Mick Jenkins, and many others. He’s translated that into a music career that’s gotten the attention of notable music publications like Pitchfork, Complex, and Noisey… and apparently Madeon and Lido. “Madeon’s a good friend and this isn’t the last you’ll hear from us,” says Wilson. “This song is for everyone that I’ve inspired and has been an inspiration to me. We young and we out here and we got this. I LOVE YALL.” Admittedly, the single sounds far more Lido than Madeon with the whimsical synths and horns. But to get new music from Madeon, even in this form, is a promise of more to come. Hopefully 2019 is the year we see some new original Madeon productions, but until then, check out “No Hands” by Ric Wilson below.  Photo via Rukes.com This article was first published on Your EDM. Source: Madeon & Lido Produce New Song By Rapper Ric Wilson, “No Hands” Source

Alice In Chains announced today that their latest album, Rainier Fog, has been given a cinematic adaptation. The film, Black Antenna, uses the 10 tracks from the disc as a backdrop for a 90-minute sci-fi epic, produced and directed by filmmaker Adam Mason. The work will be released early next year in episodic fashion, with each one of the 10 segments soundtracked by a tune from Rainier Fog. “We’ve always toyed with the idea of creating videos for every song on one of our albums,” said drummer Sean Kinney, in a statement accompanying the announcement. “Not only did we do that for Rainier Fog, it got totally out of hand and we made a whole goddamn movie. Everything that will be seen in the videos will be footage from Black Antenna to preface the complete film’s release.” Black Antenna is another in a long line of credits for Mason, who has written, produced, and directed a healthy number of genre films in his career, including the 2010 horror-thriller Pig and the 2016 crime drama Misconduct, which co-starred Sir Anthony Hopkins and Al Pacino. “I’m a longtime fan of the band,” said Mason about Black Antenna. “And this was an opportunity to do something fresh and inspiring from an indie filmmaking side. The sound and vision between album and film are closely intertwined – it was a brilliant synergy that led to a really unique project.” A preview for Black Antenna can be seen below. Alice In Chains are currently basking in the glow of Rainier Fog picking up a Grammy nomination (the band’s ninth) for Best Rock Album. The quartet will soon start gearing up for a tour that kicks off on March 7th at the Logan Campbell Centre in Auckland, New Zealand and moves over to Europe in May of 2019 for a month of shows that ends at the Release Athens Festival in Greece on June 24th. Source

Origins is a recurring new music feature in which we allow an artist to share the influences that led to their latest song. They say the best film scores blend invisibly into the background, to the point where you don’t even notice the music. For Tom Holkenborg, otherwise known as Junkie XL, the opposite is true. Holkenborg started out as a musician in trance and electronica bands before transitioning to film scoring in 2013 following a two-year collaboration with legendary composer Hans Zimmer. From 300: Rise of an Empire to his already iconic score for Mad Max: Fury Road, Holkenborg’s sound is big, bold and brassy, a chaotic blend of electronic and found noises mixed with the wall-of-sound bombast that demands attention. This Friday, Junkie XL’s latest work will be heard in the Peter Jackson-produced fantasy film Mortal Engines, an adaptation of the young adult novel of the same name. It’s set in a steampunk-inspired dystopia in which cities are mounted on wheels, chasing each other down for resources — a perfect backdrop for Holkenborg’s signature blend of modern, industrial film scoring. Today, Consequence of Sound is thrilled to premiere an exclusive track from Holkenborg’s soundtrack. “The Weapon of the Ancients” isn’t one of the score’s more action-heavy moments, but it offers a grungy showcase for the composer’s unique sound. Beginning quietly with ominous bass and low strings, then building with choral and percussive elements, the cue showcases the droning, apocalyptic theme that heralds the doomsday super-weapon villainous Thaddeus Valentine (Hugo Weaving) plans to use against the film’s heroes. Take a listen to the ominous, booming “Weapon of the Ancients” below. We got a chance to talk to Holkenborg about what influenced his work on “Weapon of the Ancients” and the film’s score as a whole, which ranges from classical music influences to found sounds, to the intricate, bold designs of Mortal Engines’ characters and setting. Check it out below. Classical Music: What I did do is listen to an awful lot of classical music. My goal is literally to create a score that has the best things about modern film scoring, but also honors and acknowledges the classical scoring of classic Hollywood films. Peter and I immediately agreed that we wanted a really thematic score, with good tunes you can remember. For London, I researched older Wagner stuff, like “Ride of the Valkyries”, but also Berlioz, who wrote a fantastic symphony called Symphonie Fantastique. These are great examples of works where brass is really heavily featured in the music, so I studied those a lot. Garbage trucks and other found sounds: [Stephen Lang’s robotic character] Shrike needed to be something completely different from the rest of the score, and that all started with a garbage truck. You know how sometimes, a vehicle can pass wherever you sit and you feel like the whole house is coming apart? I was sitting at my dentist’s office one day, and a garbage truck drove away, with this BROOM, broom-broom BROOM sound. I thought to myself, “That’s it!” I ran home and told one of my assistants what I was looking for — which wasn’t easy, since my mouth was still numb from the injections. He then went on a trip for four days to find recorded garbage sounds on Youtube that made that exact sound I heard. We went through the process of recording brass in this massive hall that was completely empty; we called it “The Tank.” Then, with a software technique called cross-convolution, I was able to apply the brass onto the garbage truck sounds. That became his theme, basically. His apprenticeship with Hans Zimmer: My relationship [with Hans] was a little different than many other guys who have become successful; many of them started working with Hans when they were very young. They were really groomed for a period of four-to-eight years before they went out on their own. The difference with me was that I worked with Hans for about two and a half years or so; the reason he brought me on was that he wanted some of my artists’ integrity in my music. It started with remixes, and before we knew it we were fully collaborating on music. It was a really great experience; I needed to see how things were done by a master composer like Hans. The most important thing he did was when I got offered the score for 300: Rise of an Empire at the end of our collaboration, he basically slapped my back and said, “Son, you’re gonna be good at this. Just go do it.” Digging in with his hands and working with instruments: I call myself a full-contact composer; I’m not the guy who sits with a piece of paper and a pencil behind the piano and just writes everything out for an orchestra. For me, it’s very important that I can hold an instrument, play drums, play guitar, play with the knobs of my synthesizers, whatever. A lot of the composing elements just come from that. A good inspiration source for me is making music with my hands. Since I have a colorful history playing with so many bands in the past, including industrial bands from the late ’80s, you have all these different types of experience that come in handy when you work on these films. For Mad Max [Fury Road], for example, I’m a drummer by nature, so when I can do a drum score, it’s like, “Hell, yeah.” It’s not just music being written, it’s a musical exercise to get there. The designs and the feel of the film’s fantasy world: The world of Mortal Engines involves a lot of repurposing of old things for new purposes — you see a barstool repurposed as a steering wheel, a coffee pot as a gear switch — all these objects they found from the past and repurpose it for something else. I thought to myself, “How can I turn strings into drums, guitars into strings, a bass guitar into a bass drum?” I try to take instruments that lend themselves to that repurposing, using them for something they weren’t meant for in the first place. It became a part of the whole laboratory aspect which I like, just experimenting on your own with all these sounds and weird objects that can make sounds, coming up with the palette for the sound of the movie. Sometimes I can barely keep up with my brain; it spits new ideas at me. It’s a great process. Mortal Engines steamrolls into theaters Friday, December 14th. Watch the trailer below. Source

Like Sheryl Crow said, there are three things James Bond is known for: martinis, girls and guns. However, after a sixty-year career of engaging liberally in all three, researchers are cautioning 007 to cut back on the spy sauce a bit. Left unchecked, it could very well do something a half century’s worth of gimmicky bad guys could never accomplish: kill him. According to Esquire, a study published in the Medical Journal of Australia on James Bond’s drinking habits over the course of his twenty-four official outings diagnoses the character with “severe alcohol use disorder.” Sure, the study is all in good fun (the lead author told the Washington Post the study was part of a cheeky Christmas competition put on by the journal), but at this point, MI6 probably needs to put on an intervention. The authors of the study found that Bond had 109 drinks over the course of his career to date. His booziest adventure is, surprisingly, 2008’s Quantum of Solace, in which incumbent Bond Daniel Craig threw back six Vesper cocktails — a custom Ian Fleming-created beverage that includes “three measures of Gordon’s, one of vodka, [and] half a measure of Kina Lillet,” according to the original novel Casino Royale. That would increase Bond’s blood alcohol level to approximately .36 grams per deciliter, which the authors note is “enough to kill some people.” The American Psychiatric Association’s DSM-V criteria for alcohol use disorder includes binge drinking, drinking to change one’s mood, getting into dangerous situations before, during and after drinking, and more. Those criteria would all qualify for Bond’s behavior in virtually any individual film, much less two dozen of them. The authors of the study conclude that “There is strong and consistent evidence that James Bond has a chronic alcohol consumption problem at the ‘severe’ end of the spectrum… He should seek professional help and try to find other strategies for managing occupational stress.” Sure, M and Q are Bond’s best friends, but maybe he should look up AA. (Read: Ranking: Every James Bond Film From Worst to Best) Of course, this isn’t the first time scholars have wondered about 007’s propensity for boozy binging. A couple years after Skyfall was released, Buddy Loans came up with a nifty infographic documenting all of the drinks the superspy has slung down his pun-hole, from martinis to champagne to good old-fashioned beer. It’s not updated for Spectre, but check out the infographic below. James Bond Infographic, credit Buddy Loans The twenty-fifth James Bond movie is set to be directed by Maniac’s Cary Fukunaga (taking over for Danny Boyle, who dropped out), and star Daniel Craig for (presumably) one final go. Filming begins next March, for a release date of Valentine’s Day 2020. Watch the trailer for Bond’s booziest adventure, Quantum of Solace, below. Source

The Rock and Roll Hall of Fame has announced the inductees for its class of 2019. They include an exciting class of Radiohead, The Cure, Janet Jackson, Stevie Nicks, Roxy Music, Def Leppard, and The Zombies, sadly leaving out luminaries such as Rage Against The Machine, Todd Rundgren, Rufus and Chaka Khan, LL Cool J, Devo, John Prine, MC5, and Kraftwerk. Fortunately for them, that roster is not alone in being shut out from the warm confines of the Cleveland institution. Here’s a list of 20 artists who have yet to be enshrined, accompanied with rankings and our semi-formal arguments. As this list proves, however, things do change. __________________________________________________________ 20. Warren Zevon Number of Years Snubbed: 25 Number of Albums: 12 Chart Performance: Thanks to “Werewolves of London”, Warren Zevon’s third studio album, 1978’s Excitable Boy, remains the late singer’s most successful effort to date, peaking at No. 8 and finally going Platinum in 1997. Outside of that, he saw relatively modest success — his final album, 2003’s The Wind, topped at No. 12 and was certified Gold — which perhaps explains why he’s been cruelly excluded all these years. Accolades: After spending years behind the scenes, where he wrote for The Turtles and toured as a session musician for The Everly Brothers, Zevon really came into his own. He collaborated with greats like Jackson Browne and Fleetwood Mac, eventually becoming rock critics’ favorite best-kept secret. Although he’s remained a cult icon, even long after his sudden 2003 passing, his trademark wit and intuitive lyrics continue to inspire countless musicians year after year. __________________________________________________________ 19. Depeche Mode Number of Years Snubbed: 13 Number of Albums: 14 Chart Performance: After finding their footing in the mid-’80s, Depeche Mode have sold more than 100 million records and run off a string of eight straight Top 10 albums in the United States, including last year’s Spirit. Accolades: Arguably the most popular and influential electronic outfit ever, Depeche Mode finally getting into the Hall of Fame one of these years could open up new opportunities for both their own influences (Kraftwerk) and bands they’ve gone on to inspire (Nine Inch Nails). This year they were passed over after being nominated two years in a row. __________________________________________________________ 18. Nick Drake Number of Years Snubbed: 25 Number of Albums: 3 Chart Performance: His albums sold terribly upon release, but have since become essential albums posthumously. His final studio album, 1972’s Pink Moon, sits at No. 321 on Rolling Stone’s Top 500 Albums of All Time list. Accolades: Since his early death, he’s been cited as an influence by R.E.M., The Cure, Lucinda Williams, Ben Folds, Badly Drawn Boy, Lou Barlow, Mikael Åkerfeldt, and many more. Pink Moon ranked No. 45 among Consequence of Sound’s Top 100 Albums. __________________________________________________________ 17. Iron Maiden Number of Years Snubbed: 15 Number of Albums: 16 Chart Performance: With little radio or television support, Iron Maiden have sold over 90 million records worldwide. And yet regardless of the lineup shifts, several of their albums have received platinum and gold albums both stateside and overseas, specifically 1982’s The Number of the Beast, 1983’s Piece of Mind, 1984’s Powerslave, 1985’s live release Live After Death, 1986’s Somewhere in Time, and 1988’s Seventh Son of a Seventh Son. Accolades: As of October 2013, the band have played over 2,000 live shows throughout their career. In 2002, they received the Ivor Novello Award for international achievement, and in 2005, were also inducted into the Hollywood RockWalk on Sunset Boulevard in Los Angeles, CA. __________________________________________________________ 16. Pat Benatar Number of Years Snubbed: 15 Number of Albums: 12 Chart Performance: Let’s see, Pat Benatar has two multi-Platinum albums (1980’s Crimes of Passion and 1981’s Precious Time), five platinum albums, three gold albums, and 15 Top 40 singles, including four No. 1 hits (“Hit Me with Your Best Shot”, “Love Is a Battlefield”, “We Belong”, and “Invincible”). To date, she’s sold over 30 million records worldwide. Accolades: Benatar was unstoppable in the early ’80s, walking away with four consecutive Grammy wins in the Best Female Rock Vocal Performance: 1981 for Crimes of Passion, 1982 for “Fire and Ice”, 1983 for “Shadows of the Night”, and 1984 for “Love Is a Battlefield”. She was an icon then and she remains one today with her music featured in every facet of pop culture. __________________________________________________________ 15. New Order Number of Years Snubbed: 13 Number of Albums: 10 Chart Performance: Through their 68 total releases — including LPs, EPs, and singles — New Order have been an unstoppable presence in the UK charts with three Gold albums, two Platinum compilations, three Silver albums, and, you know, the best selling 12-inch single of all time with “Blue Monday”. Stateside, they secured two Gold albums and their Substance compilation was even certified Platinum. Accolades: Chart success aside, they’ve only been nominated once by the Grammys, and it wasn’t until 2005, and it was a small nomination at that (i.e. Best Dance Recording for “Guilt Is a Useless Emotion” off Waiting for the Siren’s Call). Still, the outfit’s one of the most critically-acclaimed and influential acts of the last 30 years, changing the face of techno, rock, and pop forever. __________________________________________________________ 14. Pixies Number of Years Snubbed: 7 Number of Albums: 6 Chart Performance: Surfer Rosa spent 60 weeks on the UK Indie Chart, peaking at No. 2. In 2005, a solid 17 years after its release, it was finally certified gold by the RIAA. Its followup, Doolittle, peaked at No. 98 on the US Billboard 200 and at No. 8 on the UK Albums Chart. In 1995, it was certified gold by the RIAA. Bossanova, however, was released on a major label (Elektra) and nabbed No. 70 on the Billboard 200 and No. 3 on the UK Albums Chart. Accolades: Both Surfer Rosa and Doolittle are consistently cited as one of the greatest albums of the ’80s and the most important albums in alternative rock, having influenced everyone from Nirvana to Radiohead, The Strokes to Pavement. It should be noted their 2009 box set, Minotaur, received a Grammy nomination and that Doolittle ranked No. 14 among Consequence of Sound’s Top 100 Albums. __________________________________________________________ 13. Devo Number of Years Snubbed: 17 Number of Albums: 9 Accolades: In 2005, they picked up their first Grammy in the Best Metal Performance category for their cover of Metallica’s “Whiplash” on Metallic Attack: The Ultimate Tribute. In 2013, they received the Metal Hammer Golden God Award. Chart Performance: Their critically-acclaimed debut album Q: Are We Not Men? A: We Are Devo! reached No. 12 in the UK and No. 78 in the US. However, its 1980 followup Freedom of Choice went Platinum in the US and Gold in Canada, making it their highest selling album. 1981’s New Traditionalists and 2010’s Something for Everybody peaked at No. 23 and No. 30 on U.S. charts, respectively. Accolades: Their cult acclaim has only awarded them the first-ever Moog Innovator Award, which they received in 2010 at Moogfest in Asheville, NC. What’s integral about Devo is their pioneering sound and style, which impacted New Wave, industrial, and alternative in addition to how music videos could be conceived. Duty Now for the Future ranked No. 66 among Consequence of Sound’s Top 100 Albums. They were once again passed over by the Hall of Fame after being nominated this year. __________________________________________________________ 12. Nine Inch Nails Number of Years Snubbed: 5 Number of Albums: 9 Chart Performance: The band’s debut, 1989’s Pretty Hate Machine, spent a total of 115 weeks on the Billboard 200 chart and became the first independently released record to attain a Platinum certification (it’s since been certified thrice). The album’s followup, The Downward Spiral, debuted at No. 2 and remains their most successful album to date at 4x Platinum. Both 1999’s double album The Fragile and 2005’s With Teeth debuted at No. 1. Shall we go on? Accolades: In addition to hallmarking industrial music for mainstream audiences, Nine Inch Nails has remained one of the most influential acts to come out of Generation X. To date, they’ve been nominated for 12 Grammys, winning two for Best Metal Performance (“Wish”, “Happiness in Slavery”). It should be noted its mastermind Trent Reznor has nabbed several choice awards, specifically an Oscar for his original score behind David Fincher’s The Social Network. __________________________________________________________ 11. Sonic Youth Number of Years Snubbed: 12 Number of Albums: 16 Chart Performance: Their final album, 2009’s The Eternal, peaked at No. 18 on the Billboard 200 and was the band’s highest charting album of their career. However, it did clock in at No. 01 on the US Billboard Tastemakers Albums. Accolades: In 2009, they won an Innovation in Sound award at the Q Awards. Outside of that, however, zilch — which is quite depressing given their jaw-dropping legacy of 16 studio albums, seven extended plays, three compilation albums, seven video releases, 21 singles, 46 music videos, and eight releases in the Sonic Youth Recordings series. To date, their legacy has redefined the way critics and musicians look at music altogether, having influenced the alternative and art house scenes for decades. Daydream Nation ranked No. 51 among Consequence of Sound’s Top 100 Albums. __________________________________________________________ Source

More than ten years later, Jonny Greenwood’s heralded score for There Will Be Blood is coming to vinyl for the very first time. It’s due out January 18th through Nonesuch. Per a statement, the collection was mastered for vinyl by Graeme Stewart and Christian Wright at the famed Abbey Road Studios. It’s been pressed on 140g vinyl at Record Industry in the Netherlands and comes with two additional tracks in “Proven Lands (Intro.)” and “De-Tuned Quartet.” (Read: Thom Yorke admits he was “jealous” of Jonny Greenwood’s film scoring) Upon its original release in 2007, Greenwood’s unsettling score received countless praise and even a nomination for Best Score Soundtrack Album at the 2008 Grammys. It also marked the Radiohead guitarist’s first collaboration with director Paul Thomas Anderson; they would later team up again on 2012’s The Master, 2014’s Inherent Vice, and 2017’s Phantom Thread, whose score earned Greenwood an Oscar nomination. The pair most recently worked together on this year’s You Were Never Really Here. “I saw some fairly long sections of the film, read the script, and just wrote loads of music,” Greenwood previously said of his process for creating There Will Be Blood’s score. “I tried to write to the scenery, and the story rather than specific ‘themes’ for characters. It’s not really the kind of narrative that would suit that. It was all about the underlying menace in the film, the greed, and that against the fucked-up, oppressive religious mood — and this kid in the middle of it all.” Anderson’s There Will Be Blood went on to be nominated for Best Picture, but ultimately lost to the Coen Brothers’ No Country for Old Men. There Will Be Blood Score Artwork: Revisit the full score below: Source

Today, the Rock and Roll Hall of Fame revealed its class of 2019, and there were quite a few highlights. Radiohead made it in on their second go (not that they care), Janet Jackson finally got the votes, and Roxy Music slipped in on their first try. Perhaps most significant, however, was Stevie Nicks’ induction as a solo artist, making her the first female artist to be inducted into the Hall of Fame twice. Nicks was initially inducted along with Fleetwood Mac in 1998, a respectable five years after they became eligible. Having released her debut solo album, Bella Donna, in 1981, Nicks became eligible for solo induction in 2006. However, this year marked her first time receiving a solo nomination and, not surprisingly, she made it on the first ballot. “I have a lot to say about this,” said Nicks in a statement, “but I will save those words for later. For now I will just say, I have been in a band since 1968. To be recognized for my solo work makes me take a deep breath and smile. It’s a glorious feeling.” Needless to say, her selection marks a major step towards representation for women in Rock and Roll Hall of Fame, as the institution doesn’t have the best history of equality. The first woman to be inducted was Aretha Franklin in 1987, and since then only 44 women or acts featuring women have joined the ranks — that’s just 13.6% of the total 322 pre-2019 members. 2019 also marks the first time two women (Nicks and Jackson) will be joining the Hall as members of the same class since 2013, when both Donna Summer and Heart were inducted. A number of male performers have already been enshrined twice — heck, Eric Clapton’s in there three times (solo and as a member of both The Yardbirds and Cream). Peter Gabriel, all of The Beatles, Michael Jackson, Jimmy Page, Neil Young, Lou Reed, and even Rod Stewart all have their names listed twice in Cleveland. At last, a female has broken through as a two-time inductee. Now we just have to wait for Diana Ross (already in with The Supremes), Gladys Knight (inducted with The Pips), Janis Joplin (who could still go in with Big Brother & The Holding Company), and other worthy women to get their recognition twice over. Source