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In an announcement this morning, the Rock and Roll Hall of Fame named Radiohead as one of its prestigious 2019 inductees. While fans may see the decision as well overdue, Thom Yorke & co. have long held an ambivalence toward the Hall of Fame institution. “I don’t care,” Radiohead guitarist Jonny Greenwood responded when asked about the band’s potential enshrinement in an interview last year. Guitarist Ed O’Brien was similarly uninterested, saying, “I don’t want to be rude about the Rock and Roll Hall of Fame because for a lot of people it means something, but culturally I don’t understand it. I think it might be a quintessential American thing.” O’Brien added he’d “rather be sitting at home in front of the fire or going to a gig” than attend the ceremony. (Read: The 20 Worst Rock and Roll Hall of Fame Snubs) However, in response to today’s announcement, Radiohead opted for a more gracious tone. “The members of Radiohead have been surprised to learn of the band’s induction into the Rock & Roll Hall of Fame Class of 2019. The band thanks the Hall of Fame voting body and extends congratulations to this year’s fellow inductees,” they said in a statement. The Rock and Roll Hall of Fame 2019 induction ceremony will take place March 29th at Barclays Center in Brooklyn. Joining Radiohead are The Cure, Janet Jackson, Stevie Nicks (for the second time!), Roxy Music, Def Leppard, and The Zombies. Source

Hailing from Seattle, the band Vespera are set to release their debut album, The Thoughts That Plague You, in early 2019, and they’re teaming up with Heavy Consequence to bring you the premiere the music video for the new song “Sleepless” (watch below). Vespera are a relatively new act, having formed in 2016, but frontman Jonathan Wolfe has put in time as a touring member of such acts as Slaves, Falling in Reverse, and Dayshell. The band has been rolling out singles from their debut disc over the past year, as songs like “Obsidian Dreams”, “Bloom”, and “Paradise” (featuring Spencer Sotelo from Periphery) have already surfaced, with a progressive sound that lies between alternative metal and modern rock. As for the track “Sleepless”, the band describes the song lyrically as follows: “Emotionally abusive and toxic relationships can seem impossible to escape. We often give all of ourselves to someone or something, only to repeatedly be brought down and dragged through the mud. We let toxic people get the best of us, and despite our best efforts and most genuine intentions, we continue to suffer at the hands of our abusers. ‘Sleepless’ touches on the agony of these relationships, and the fear of not knowing how to escape.” The band credits guitarist Cairn Tse-Lalonde with taking the lead on writing the track, explaining that he “brought our sound to a darker, heavier place than we had ever previously explored.” Regarding the video, which was directed by Jon Vulpine, the members of Vespera got a little more than they bargained for when filming the clip in a decommissioned nuclear power plant where scenes from Transformers 3 were shot. “We filmed the band performance scenes in the dead of winter, and having to play our instruments in sub zero temperatures for just over an hour was a serious challenge,” the band reveals. They continue, “A few months later, we returned to the nuclear facility and lowered a small boat about 50 feet into the depths of a flooded nuclear reactor where we filmed the rest of the video … Interestingly, there was military raid training going on at the facility while we were filming. On multiple occasions, we turned corners in dark basement hallways to have guns mistakenly pointed our way. We were dressed in black cloaks, and funny enough, they were more scared of us than we were of them.” In addition to Wolfe and Tse-Lalonde, Vespera are rounded out by bassist Paul Anderson and drummer Jonathan Schwartz. You can check out their singles on Spotify, and their other music videos at the band’s official website. Stay tuned for an official release date for their debut full-length disc, The Thoughts That Plague You. Source

After what seemed like forever, Lil Wayne finally released his Tha Carter V album in September. The Louisiana-born rapper celebrated with a stint on Saturday Night Live last month, as well as an appearance on Wednesday’s episode of the Late Show with Stephen Colbert. Below, replay his performance of “Don’t Cry”. Along with his own material, Lil Wayne has kept particularly busy the last couple of months in terms of collaborations. He recently teamed up with Nicki Minaj for a new remix of “Good Form”, contributed to Future and Juice WRLD’s joint album, and popped up on the soundtrack for Creed II. His Tha Carter V track “Mona Lisa” featuring Kendrick Lamar was named one of our favorite songs of the year. Source

The Rock and Roll Hall of Fame has reveled its class of 2019. Radiohead, The Cure, Janet Jackson, Stevie Nicks, Roxy Music, Def Leppard, and The Zombies are all to be inducted during a ceremony held next April. Rage Against the Machine, Devo, Kraftwerk, MC5, Rufus and Chaka Khan, and Todd Rundgren were on the longlist of potential inductees who will have to wait another year before their possible inclusion into the Rock Hall. A committee of 1,000 artists, historians, and music industry members, as well as a fan vote, determined next year’s Rock Hall class. In order to be eligible, a nominee’s first recording must have been released at least 25 years ago. The induction ceremony will take place March 29th at Barclays Center in Brooklyn. A TV broadcast of the gala will air on HBO at a later date. (Read: The 20 Worst Rock and Roll Hall of Fame Snubs) Radiohead, who were first nominated in 2018, previously expressed a disinterest in a potential induction. “I don’t care,” Radiohead guitarist Jonny Greenwood responded when asked about the band’s potential enshrinement in an interview last year. Guitarist Ed O’Brien added, “I don’t want to be rude about the Rock and Roll Hall of Fame because for a lot of people it means something, but culturally I don’t understand it. I think it might be a quintessential American thing.” However, in response to today’s announcement, Radiohead took a more gracious tone. “The band thanks the Hall of Fame voting body and extends congratulations to this year’s fellow inductees.” As for Nicks, she becomes the first woman to be inducted into the Hall of Fame on two separate occasions (She is also enshrined as a member of Fleetwood Mac). In a statement, Nicks said, “I have a lot to say about this, 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.” Source

Reel Feels displays raw emotionalism in latest single The latest single from Reel Feels, “Feel It All,” exudes raw emotion through both vocal delivery and musical production. The use of organic instrumentation, such as the acoustic guitar, provides a tangible quality to the track and adds to the passionate nature of its lyrics. Displaying a dark narrative, the artist tells of the metal turmoil surrounding heartbreak and the abuse of drugs, however, a spark of hope remains. With his production and songwriting prowess, Reel Feels ensures that listeners will “Feel It All.” The Arizona-born, LA-based Reel Feels is a multi-instrumentalist, producer, singer, rapper, and mixing and mastering engineer. The artist breathes life into his music with self-experiential themes of vulnerability, experimentation, and wonder, providing an escape for the listener. With a production studio in LA where he provides production, recording, mixing, and mastering services for over twenty artists, in addition to his own creative endeavors, Reel Feels has a lot planned for 2019 – including a full-length album due for release within a few months. Reel Feels on making “Feel It All”: “I hope ‘Feel It All’ relates to other people who struggle with relationships, mental issues and/or drug abuse, and gives hope for a brighter future.” Stream the new single above via Soundcloud. The post Premiere: Reel Feels Wants You To “Feel It All” on New Song appeared first on Verge Campus. Source

Things are moving fast for Paramount’s Are You Afraid of the Dark?. Back in September, we reported that The Nun hero Gary Dauberman had written an original story for the Midnight Society, one that would “honor the darker, scarier tone” of the Nickelodeon anthology series. Now, the project has a director to bring said tale to life. According to Bloody Disgusting, D.J. Caruso has climbed aboard to deliver the spooky. While his recent credits hardly speak to his strengths in this domain — ahem, 2017’s xXx: Return of Xander Cage — his work on 2007’s Disturbia is a perfect match. Of course, he’ll have to act fast given that he’s also expected to deliver the sequel everyone’s waiting for, G.I. Joe: Ever Vigilant, by 2020. So, expect to hear more casting and story details in the weeks ahead. Here’s hoping Zeebo somehow makes a cameo. We’ll see come October 11, 2019. Until then, embrace that inner nostalgia of yours by revisiting Editorial Director Matt Melis’ incredibly comprehensive ranking of the original series and catching up over at Nickelodeon’s online streaming service, Nicksplat. Source

It’s been a while between drinks with ol’ mate What So Not and to be honest we miss the bloke a little. Having had his fair share of good times at the recently deceased World Bar you can tell he’s feeling a certain way towards lockouts right now so he’s trying to do his bit for his hometown. He’s put the call out on his Instagram for parties going down that he can play at for free (preferably in Sydney, but he’s happy to travel). All you have to do to enter is chuck down “the resume” of your party in the comments, get some mates to like it and he’ll make his decision on Friday afternoon! He has no other Aussie shows teed up until Laneway, so this might be your only chance to see the bass mastermind live for a while. Check out his Instagram post below, submit your party specs here and may the best party-goer win! Source

The River Clyde, Scotland DJ and Producer, Denis Sulta first caught our attention during his Boiler Room x AVA Festival set in 2017. His high-energy rooftop sunset set was felt from all around the world. Piecing singles in his set such as ‘York – On The Beach (CRW Edit)‘, Niels Van Gogh – Pulverturm (Solomun & Tomcraft Remix)and an official Sulta Select ‘It’s Only Real‘, has us fixated.  This fall, Denis Sulta found himself on two mixmag covers. I’m pretty speechless and struggling somewhat to sum up how to explain how excited, honoured and just generally overwhelmed I am to have two Mixmag covers. When Mixmag approached us to do a cover feature I knew I wanted to show a part of myself that I hadn’t really before. Their fantastically open and receptive attitude towards all of my ideas was flattering and I could not be more happy with how it has turned out. -Denis Sulta This man moves crowds like rapids move kayakers, like bears move boulders, like.. well you get the idea. The raw experience Sulta brings with authentic house music isn’t seen often. With classic disco and uptempo dance music, Denis brings a wicked smile to everyones face. Get to know this boogie man like we do through the set above and his set for The Lab Ibiza, that opens with a classic by none other than Boof, ‘On The Swings‘. You know it sounds like a good time…  This winter you can catch Denis in India for Magnetic Fields Festival, The Netherlands for the Zeezout Club Tour, couple Denis Selects sessions in the UK, then in Australia at Pitch Music & Arts and Days Like This Festival. It is apparent, the world wants Denis Sulta. Our plead, please come to America! Follow Denis Sulta: facebook | SoundCloud | Instagram | The post Denis Sulta: The Man of Fall 2018 appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

The Netherlands has a huge new techno venue known as the Music Dome. By the numbers — there are three floors, up to 4,000 person capacity, and at least six events planned for 2019. It gets even more interesting — the venue is located underneath the Parkstad Limburg Stadion, the home field for football club Roda JC Kerkrade. The location is about more than just sports now. Several techno concepts will be brought to the unique location this upcoming year, and there are plans in the works for a summer music festival. The main floor, which holds approximately 2,500 people, has more than enough space to accommodate in itself. Roughly translated, the official Music Dome website boasts — “The power of this space lies in the presence of technologically advanced, modular elements that stimulate your senses.” In other words, it has a booming sound system ideal for dance music. It appears, though, that the Music Dome has already been hosting a variety of events this year. Although, it’s about to switch gears and go techno. Check out the upcoming Music Dome events, including the Amelie Lens × Labyrinth Club takeover, right here. Source: Release Mag | Photo: Music Dome This article was first published on Your EDM. Source: The Netherlands’ Hottest New Techno Venue Is Underneath A Football Stadium Source

I feel like it’s been a pretty shitty year for everyone for a myriad of reasons. As a nation we’ve always relied on sinking a few cold ones at the end of the day to make us feel right as rain again, but it looks like yet another thing we all enjoy is going to get taxed. A new study by Deakin University has found that introducing new taxes on alcohol could drastically reduce consumption, and potentially lead to a healthier Australia. “Alcohol is high in calories, with a pint of beer almost on par with a chocolate bar, so consumption can have a big impact on daily energy intake,” co-author Associate Professor Gary Sacks said. “Currently different types of alcohol are all taxed differently, but under a uniform volumetric tax all drinks would be taxed based on alcohol content, meaning a significant price increase for some products.” It looks like beer would shoot up by 28%, cask wine by a staggering 120% and bottled wine by 33%. Essentially, their means of reducing alcohol consumption is to just price it out of a lot of people’s price range. Which begs the question what else can they apply this reasoning to? Should we tax pizza because some people get fat? Chocolate? I understand the reasoning for policing energy drinks and high amounts of sugar, but it’s a really slippery slope. Another option is to target low-priced alcohol at $1.30 per standard drink, which would mean that there’s no such thing as cheap or expensive alcohol – just alcohol. Source

Nearly 8 months after Avicii’s death, a powerful documentary following the late DJ/producer will be released on Netflix. The documentary follows Avicii as he tours across the world and plays over 800 shows. Over the course of four years, the film is a breathtaking and thoughtful account of the DJ’s intense and emotional life. Every moment from his highs to his lows is portrayed in this film and is a beautiful, yet thought-provoking portrayal. The film was released before Avicii’s passing which gives it a very posthumous feel that will leave you feeling some kind of way. The film will drop on Netflix December 28th, right before the year ends, and is definitely something every dance music fan should watch. Originally the film was slated for limited release in Europe, but it has found a home on Netflix for the time being. You can view the trailer below. We suggest grabbing some tissues. The post Avicii Documentary Returning To Netflix appeared first on EDM Maniac. Source

You read it right folks, a youth advocate group is calling for the further regulation of nangs. Co-ordinator of Byron Bay Schoolies Safety Response, Nicqui Yazdi, has come out saying that they need to be better regulated, going further to say the shops selling them need to be held more responsible. “The reality is, they just shouldn’t be selling them in the first place.” “Any shop owner, manager or anyone ordering stock would have to know exactly what that is being used for.” As it currently stands the NSW laws are that it is illegal for someone to give you nangs while knowing that it’s going to be used for “human consumption” and that carries a maximum penalty of two years jail time. As you’d imagine however it’s not the easiest thing to police. “There is the possibility that it is an offence under the Drugs Misuse and Trafficking Act, but how do police prove that it is being used for psychoactive effect unless someone actually states that to police?” said Detective Chief Inspector Brendon Cullen. The detective chief inspector has said that his area command has in the past seized a bunch of nitrous oxide cannisters at local music festivals (e.g. Splendour) but no charges were ever laid. This comes after the proposed changes in classification on amyl were pushed back for further review. What do you think, would Nangs being better regulated affect you? If you’re Source

Rick and Morty have gone EDM with their new teaser, which has us incredibly hyped to see what adventures lie ahead for our favorite multiverse explorers. Oh, how we’ve missed them. In just 15 seconds, the cult Adult Swim show has reeled back in its massive audience. There’s a lot of crossover between electronic music fans and Rick and Morty fans, so we have to say this teaser is quite smart on their part. But, the entire series centers around lightyears of intelligence, so it’s not surprising. “Keep your enemies close and your portal gun closer,” they share along with the video below. Foreshadowing much? With this being the first time we’ve heard directly from Rick and Morty in a while, we have to believe season 4 is in our very near future. Many believe the new season could arrive as soon as this Christmas. Yes, please. Rick and Morty Portal Gun Teaser Keep your enemies close and your portal gun closer. pic.twitter.com/Npr9FiBncR — Rick and Morty (@RickandMorty) December 12, 2018 This article was first published on Your EDM. Source: Rick and Morty Go EDM In New Teaser Hinting Season 4 Is Near [WATCH] Source

It’s been five years since Jon Sandler and Luke Moellman ran into each other on the streets of New York and decided to make a song together. Their paths had crossed many times since Moellman lived with Sandler’s friend and old band’s pianist, but after countless instance of saying they’d someday collaborate, the time seemed finally right. They finished “You’re The One For Me” in one night and sent it around to friends. “We got such a positive reaction, we knew we had to keep going,” shared Sandler. He had been sitting on the moniker “Great Good Fine Ok” for future use, and since Moellman “didn’t hate it” they had settled on their new persona. They released the track on SoundCloud and racked up over 500,000 streams in no time. The track offered something many hadn’t heard before. It was a marriage of pop and electronic that created a sound rarely found exclusively in either genre. Moellman’s stand-out production paired with Sandler’s unique falsetto voice made it clear to the two that GGFO was onto something. They released their first EP in 2014, and have been creating together ever since. “We didn’t even think this would become a band when we first wrote [‘You’re The One For Me’], we were just messing around,” revealed Sandler. Their initial success, though, catapulted them into a very different mindset. “It was definitely really surprising, but we knew it meant we had to maintain that momentum and keep doing this together,” he asserted. Since their debut, they’ve released two EPs, one album, and numerous singles with an EP currently in the works. Together, Sandler and Moellman’s talents combine to create something musically ingenious. “Both of us had been making music for awhile before we got together so we were really able to develop our own talents individually,” Sandler explained. “Because of that, when you put us together you’re going to get something you’ve never heard before.” Sandler considers GGFO as falling under the “alt-pop” genre but was too humble to admit their strides as innovators or genre-benders. So much of pop today can be repetitive, but GGFO is working to change that tune. The alternative category itself is kind of a mixed bag, so bringing those two worlds together usually means you’re going to get something unique for a dynamic audience. In simpler terms, GGFO’s music has something for every type of music fan. It’s a little bit of pop, a little bit of techno, very lyrically focused, and just a good vibe with every track. “I do hope we are doing something different,” said Sandler on their impact. Luke Moellman (Left) and Jon Sandler (Right) of GGFOTheir interesting sound didn’t just come from nowhere. Sandler shared his musical inspirations today and it’s a broad spectrum. From classic artists like Michael Jackson and Whitney Houston to synth-backed vocal groups like Betty Who and The 1975. A dream collaboration of Sandler’s is jazz artist Quincy Jones. “He’s the man,” Sandler said, with a laugh. “He knows music.” When I spoke with Sandler on the phone, he was elated to share news of their upcoming EP due in 2019 which is expected to take their sound to a new level. “We tried a lot of things we hadn’t ever done before in our music,” he said. “There’s some piano stuff, acoustic, it’s definitely showing the extent of our talents and musical capabilities.” In the last five years, Sandler has watched him and Moellman grow together as musicians and sees this EP as a chance to share that growth with fans. Fans have a lot to work with already though. So far, the duo has released three singles from the EP, “Easy,” “Touch,” and “Change,” and music videos for “Touch” and “Change.” The singles are a mix of up-tempo dance tracks and mellow synth-pop ballads, each encapsulating meaningful lyrics written by Sandler himself. “’Change’ is definitely my favorite of the three,” The song is about commitment in a relationship and hoping someone doesn’t change their mind about you along the way, it is certainly one of the most emotional of the three singles. Sandler’s pre-chorus and chorus lyrics are: “Moving on but the scars ain’t healing / Things went wrong and now we’re dealing / You told me that you’re tired of feeling / Is having a change of heart a real thing?” followed by “Are you gonna change your mind? / Are you gonna leave this incomplete? / Will you leave it all behind? / Find a way, don’t change on me.” The melancholy lyrics communicate heartache but Moellman’s production is uplifting with its light, synth beats that solidify the track in the alt-pop genre. “the lyrics mean a lot to me and it’s a song I really hope people can listen and feel the same way I feel,” said Sandler. It’s a sad, but hopeful song and already a standout from the EP. To me, it’s the most relatable of the tracks because it touches on the miscommunication aspect of relationships today that we’ve all sadly been through. It’s this paradoxical amalgam of an upbeat measure and sorrowful libretto that makes this track so great. Less paradoxical is “Touch,” a more traditional dance-pop track that is borderline EDM with its electric beat drops. My favorite track of theirs so far, it still remains unique with Sandler’s romantic lyrics and unparalleled falsetto vocals. “It’s a really fun song,” Sandler admitted. According to Sandler, the visuals for the aforementioned tracks are of equal importance to the EP. The videos for “Change” and “Touch” respectively combine as a short film about two lovers who dream of going to space, and eventually reunite there. The videos are expertly shot with crisp cinematography that features vibrant pastel colors and abstract details. In “Change” Director Colin Michael Quinn uses continuity editing by combining closing detailed shots of household objects like light bulbs, eggs, a sink head, etc. and pairing them with similar shaped shots of space, planets, and rocket ships. Quinn takes a similar approach in “Touch” with close ups and detailed shots of plants, eyes, and glitter to draw comparisons to outer space. These are both coupled with bright pinks, oranges, yellows, teals, and greens that create a visually stunning approach to visualizing the protagonists dreams of the cosmos. I’ve never considered going to space more in my life. Sandler explained that the video uses outer space as a medium for the couple to find each other and show that “you can’t escape your destiny. The theme of space has been apparent in their other projects by way of their album art, but this time around it’s a more concrete concept. “We’ve been using these pictures of little guys on a planet with outer space around him for a really long time because space was something we were always drawn to as a visual space for our music to live. Now, if you look at the cover art for the new singles, the guys on the planets are me and Luke, so it’s like this new EP is more us and a more developed version of who we are.” In a sense, GGFO has taken a more personal approach to their music now, using their art to communicate their own stories and feelings rather than conform to a generic sound. Sandler admitted that their primary goal is to “make music that puts into words those feelings we can’t usually describe.” But they aren’t leaving out the fans in that equation. “If I can perform ‘Change’ at a live show and make someone cry because they can relate to it, then I’ve succeeded” added Sandler. In 2019, that goal might become a reality for Sandler, with hopes to go back on the road and tour. “We’ve been working really hard to make music but we constantly get messages from fans asking us to do another tour and we really really want to” said Sandler. Without seeing them live, according to Sandler, you’re only getting half of their musical experience. “Our live show is something else. We use so many visual elements with lights and costumes, its really a show. We aren’t just playing music on stage.” Sandler even revealed that if you go to a GGFO show, you’re most likely going to see him dance his “ass off,” which I would definitely hate to miss. 2019 is looking like a good year for these guys, with an EP on the way and a prospective tour, there’s no reason to not keep them on your radar. The post [Interview]: Jon Sandler of Great Good Fine Ok Talks New Music, Their Road to Success, and Outer Space appeared first on Verge Campus. Source

The new Taylor can’t come to the phone right now. I’ll always remember the first time I listened to Taylor Swift’s polarizing 2017 comeback, “Look What You Made Me Do”. I remember what I said to my sister, perhaps the biggest Swiftie in my life, when I finished – “It’s good, but I can’t believe that’s a Taylor Swift song.” I remember my uneasy feeling about the song and its implications for the album to come. I convinced myself the song was good (I admit now it’s lacking the bite it desires), but I found her claiming her old self dead disturbing. What would the album cycle to come hold? 15 months later, on November 21, 2018, the reputation Stadium Tour played its final date in Tokyo and brought the era to a close. By the era’s end, reputation collected 4.5 million album sales (down from 1989‘s 10 million, but an unmatchable feat in today’s sales climate regardless), 1.8 billion YouTube views, and the highest grossing US tour… ever. How did the songstress transform her downfall into her greatest strength? A shot from the “Look” video, courtesy of Rolling Stone.Well, as someone who listens to a new Taylor Swift song whenever it comes out, I think the pre-release songs were released in the perfect order. Barring swapping “Look What You Made Me Do” with “I Did Something Bad” (an album track) which may have been a more bombastic choice that served the same purpose, the order of the four songs released before the album was genius. First, “Look” unsettled the audience. Swifties everywhere were supportive, but confused. The quick follow-up, “…Ready For It?”, told audiences that the first single was not a fluke— this “New Taylor” is here to stay. Then, Swift again subverted expectations with “Gorgeous”, a bubblegum pop song about being in love. I was unsettled once more: regardless of how much I enjoyed the song, how did this fit into the image Swift was building? What did this have to do with Swift’s reputation, and how did it remotely fit the album? And then, like an angel appearing from above came “Call It What You Want”, which flawlessly tied together the themes of the album: “All the drama queens taking swings/All the jokers dressing up as kings/They fade to nothing when I look at him”. And suddenly, it was like everything made sense. Reputation is not an album expressly about Swift’s reputation; it is an album about reacting to and healing from public crucifixion, and in one starlet’s particular case, how true love played a role in that process. The Reputation album cover, courtesy of Billboard.That being said, the general public did not have the same viewpoint as those who followed the album release did. They only knew the new, bad girl image that Swift was pushing, and the radios spamming “Look”, “Ready”, and third single “End Game” (featuring Future, no less) did nothing to help this. The fact is, the public didn’t like or want this from her. While those with the greatest investment in the singer’s life and drama may have been “snatched” by this kind of response to her public misfortunes, most of America would simply prefer the relatable, vulnerable pop star they signed up for. Enter “Delicate”. Considered by many to be the song that saved the era, the single was a fan-favorite from the moment the album dropped due to its subtle groove, clever use of vocoder, and emotional honesty. More importantly, the song and video marked a huge shift in image, and a return to the quirky, approachable Swift of the past. “Delicate” may not have been a giant smash hit, but it spent 35 weeks on the Billboard Hot 100, showing refreshing longevity after how quickly the first three singles dropped from the chart. Swift having fun in the rain in the “Delicate” video, courtesy of larkcreative.tvAnd then there’s the tour. Despite backlash at first (starting to see a theme?) with Swift Tix and the competitive pricing strategy she employed, the Reputation tour sold out every US and Asia date (possibly Europe and Oceania too, but the official numbers aren’t out). Plus, I’ll say it again, the tour became the highest grossing US tour of all time. Not to mention, this achievement was made with about half the dates of #2 on the list, The Rolling Stones’ 2007 A Bigger Bang Tour. All this being said, many people would still call the Reputation era an underperformance by Swift’s standards, due to the lack of smash singles and relative negative response from the public towards her image change. I’d like to take a different perspective: the Reputation era is what a successful album cycle looks like in 2018. The truth is, artists do not make money from streaming. Yes, the megastars might make a pretty check from it, but this is nothing compared to pure sales in the past. Money in the 2018 music industry exists in touring. And the Reputation tour wasn’t just successful – it’s number one. Just one of the sold-out crowds Swift played to on tour, courtesy of Eonline.Singles used to exist to sell albums. Then albums became platforms to include a couple hit singles with room for artistic exploration, or just plain filler. Nowadays, albums exist to be bloated just for the purposes of building streaming numbers, or simply to promote tours themselves. With this perspective, Reputation very literally couldn’t have done a better job. With all this in mind, the Reputation era is not completely done yet. Grammys nominations are upon us, after all, and Swift has always been a critic’s darling. I would not be surprised to see this era finishing with a win, marking a final crowning moment on an era that may as well have redefined what success means for the modern music industry. The post A Reputation Retrospective: What Worked, What Didn’t, & How Taylor Swift Stayed On Top appeared first on Verge Campus. Source

Here is a brief interview with the fresh neo-soul group that is taking groovy to another level. It was about fifteen minutes before Jackson Lundy and his band hit Cafe 939’s stage. The crowd was just filling in and the lights were low. Neelu MohagheghI was able to turn a corner and have a little conversation with three muscians– Drummer John Brown, guitarist (and producer) Austin Brown, and singer Linus Lester-Hodges are the members Hablot Brown. How did the band come to be? Austin: “We met a Berkelee summer program. We just met one day and were all listening to the same music and everything. We started making music and then hanging out and just talking… We would just be sending music to each other and sh*t. And then we [John and Austin] went to college at Berklee and Linus moved to New York. Linus: We just ended up getting closer and closer. How does your music making process usually go? John: It usually starts on the computer, like a groove… Austin: I’ll just start geeking out on my computer. Every time we try to write music we’re all just hanging out in a room. Linus: It’s a very malleable experience, so like we’re very much learning how to work together, work with other people, but it’s pretty much just a free-for-all… a free-for-all with trust. Austin: It’s a pretty social experience. Neelu MohagheghAs a band, you’re inspired by a lot of soul and R&B. Who are you inspired by that fresh right now? Linus: Oh oh oh! Parcels, Emmet Kai– he’s opening for us in New York on Tuesday. Austin: His music’s amazing. Linus: Jackson Lundy, but if you’re trying to get the inside scoop follow “H.B Weekly” [the band’s playlist on Spotify]… and the 1975. How did your latest single, “Color World” (a collaboration with Tim Atlas), get created? Austin: It was through Bryce [the band’s manager]. Linus: So we were opening for Tom Misch and Tim’s manager came along to watch the show and then we set up a session with him through that. But it was the second song that we wrote with him, and it was just very in the moment. Austin: To write the song it took like two hours. Working with Tim is always such a vibe. How was your experience opening for Tom Misch and HONNE? John: It was an insane experience. Austin: You know, growing up, we’d be in the van and I’d put on a playlist that I made in highschool and it was just a HONNE compilation. Linus: It’s basically just a master class for us, you know. It’s like we don’t know anything, but now we know something! Austin: Yeah, it’s a huge learning experience. Neelu MohagheghWhat are your plans for the future? Where do you see yourselves in a year from now? Austin: Still making music. Linus: Album. John: Definitely want to get overseas and play some shows. Austin: Yeah, an album and then touring countries. What’s your dream country to play? Linus (immediately): Istanbul John: Mhm. Austin: Yeah. Neelu MohagheghWhat’s your advice to any musical creatives who are trying to start something up? Austin: I think the number one thing is trying to keep everything in-house because you have control over absolutely everything you do. Linus: That’s right. Austin: When we make music, we literally make it in one of the bedrooms in our house. I’d say my best advice, as a producer to anybody who is trying to make music, is get your production chops up; because if you can do everything the way you want to, then it makes the entire road so easy.you don’t need to rely on anyone else John: Keep the circle small. Linus: Anyone will tell you to not be afraid to do stuff, but it’s f*cking true. When we first moved to L.A., we made a four-song EP in two weeks and we released it immediately just because we didn’t have any music online. There’s no problem with that. Put it up on Spotify, get lucky with a playlist, whatever. Austin: And to top it off, just release music. Nobody can hear it and f*ck with it if they can’t save it to their playlist. And don’t get discouraged. We put out a record in 2016, under Linus’s name, and probably got a collective of 1.5 million streams after six months of twenty streams. We didn’t expect anything! Linus: It can happen any time and that’s basically it. Just put the music out. Never be afraid to put the music out. Austin: Hundo P. Neelu MohagheghWhat are you guys on the verge of? Linus: Assimilation. Austin: I think we’re on the verge of making music for the sole purpose of working on music. We’ve spent the past year-and-a-half writing music together for Hablot Brown, but I think we’re on the verge of just writing songs for fun and seeing where it takes us. If we write a song for somebody else, it’s for somebody else, but it’s a good song, you know? Linus: Also, you know I think we’re on the verge of making music that a lot less self-centered and a lot more related to actual issues. Neelu MohagheghTalking to Hablot Brown was as chill as their music. The trio is simply lovely and eager to make more sound. Their (two-thirds) hometown performance was intimate and filled to the brim with joy. If you are into modern funk and soul, definitely keep an eye out for Hablot Brown. The post [Interview]: A Backstage Chat with Hablot Brown appeared first on Verge Campus. Source

“They say there’s no such thing as too much of a good thing…” I disagree. If I could keep listening to Subtact’s new song “Good Things” on repeat, I’d be pretty damn happy. The new song from the Denver-based artist his the internet today and already one of our feel-good songs of the week. Between the lightly chopped and delicate vocals and the whimsical synths, “Good Things” is a peaceful and engaging track that we can’t get enough of. Check it out below. This article was first published on Your EDM. Source: Subtact Drops New Song “Good Things” Source

After less than 24 hours at sea, the debut sailing of AMF Friendship on the Celebrity Equinox was forced back to port in Miami following a medical emergency. The news first came from PTZtv, a site that shares streaming webcam coverage at cruise ports. #CelebrityEquinox is heading back into @PortMiami — reason unknown. On a 4-night charter (music cruise) to CocoCay which started last night. Follow live now on https://t.co/r5sdnIWDkm pic.twitter.com/dTHwWsWblC — PTZtv (@PTZtv) December 12, 2018 Initial reports suggest that the person who fell ill could have been a DJ, but these rumors are as yet unfounded and uncorroborated. No official statement has been made by either Friendship or AMF at this time. Port of Miami confirmed via Twitter that the ship returned for a medical emergency, and has already left the Port back to sea. If the lineup managed to not be affected too much, those sailing should still be able to enjoy their time onboard before the ship returns for real on the 15th. Per a passenger, there is a medical emergency. — KISS FM (@KISS_FM_LIVE) December 12, 2018 QUITE often, ships will return to a port for emergency medical help when they’re close enough. It’s pretty expensive to fly a Coast Guard helicopter out to a ship. (I imagine. I’ve never seen a bill) — KISS FM (@KISS_FM_LIVE) December 12, 2018 Medical emergency. Ship has already left Terminal G. — PortMiami (@PortMiami) December 12, 2018 H/T EDM Tunes This article was first published on Your EDM. Source: Debut Friendship Sailing Forced To Return To Miami Following Medical Emergency Source

The Pitch: In an ostensibly inspired move worthy of the meta-loving Merc with a Mouth, Fox has released a PG-13 cut of Deadpool 2, which we reviewed earlier this year. For the most part, Once Upon a Deadpool is just that – the tale of superpowered mercenary Wade Wilson (Ryan Reynolds), throwing himself into a madcap situation involving a troubled mutant teen with pyrokinetic powers (Julian Dennison) and the gritty cyborg Cable (Josh Brolin), who wants to slaughter the kid before he grows up to destroy the world. This time, though, all the ‘f*ck’s and gore are cut down to a pleasing, family-friendly frequency, as evidenced by a framing device wherein Deadpool kidnaps Fred Savage (himself) and forces him to recreate the bedroom scenes from The Princess Bride. Kiddie Pool: The idea of winkingly cutting down an entry in the notoriously sh*t-talking Deadpool series is Extremely On Brand for the character’s brand of self-referential humor, so Once Upon a Deadpool had a golden opportunity to really lean into the joke. It’s a shame, then, that they get mother*cking lazy with it: all the swears are either bleeped out or replaced with TV-edit-level ADR (“stuff” instead of “sh*t”, “freak” instead of “f*ck”), and most of the gorier moments are just muted or cut away from. If the gag is that cleaning up a Deadpool movie is hilariously impossible, own that sh*t – replace the dirty words with goofy “mister falcon”-caliber phrases, or paste rainbows and kittens over all of Deadpool’s bone-bending injuries. That’s at least something; here, you’re just… pretty much watching Deadpool 2 again. There’s also a perfect opportunity for the film to make use of its one ratings-permitted f*ck, which is absolutely wasted. Savage Love: If there’s any real entertainment value to be gleaned with Once Upon a Deadpool, it’s in the film’s aforementioned bookends with a captive Fred Savage. Believe it or not, Savage has remained a stalwart TV actor and director since his child-star years (you can thank him for a lot of what makes It’s Always Sunny in Philadelphia great), and he bounces wonderfully off Reynolds’ Deadpool. Whether it’s in asides comparing Fox-produced Marvel flicks with Nickelback (“It’s music…but it sucks”) or refusing to entertain Wade’s request to ask him if it’s “a kissing book,” Savage’s cutaways are always a welcome respite from the wasted potential of the rest of the re-release. Okay, But Does It Have Anything to Do With Christmas?: F*ck no! The Verdict: Unless you’re really desperate to troll your grandparents with the annual Christmas family movie night, or if you’re just that dedicated to a half-baked metajoke (and if you’re a big enough fan of Deadpool, you will be), Once Upon a Deadpool doesn’t offer nearly enough new gags to justify its cheeky family-cut re-release. Sure, the bits they add are great – Fred Savage’s hostage situation with Deadpool should have been a cool third of the film – but in the end, it’s a retread as limp as one of Wade Wilson’s re-growing limbs. There is a surprisingly sweet, heartfelt final post-credits scene that almost justifies the price of admission, but I imagine it (along with all the other Savage bits) will end up on YouTube soon enough anyway. In the meantime, just take Pop-Pop and Gam-Gam to see Mary Poppins Returns instead. Where’s It Playing?: Everywhere nationwide, with $1 dollar of every ticket going to cancer research. So that’s awesome. Trailer: Source

Eight months later, we still mourn the loss of Avicii who committed suicide in April 2018. Fans have anxiously awaited more details of the Avicii: True Stories documentary, which follows four years of Avicii’s life up to the end of 2017. Now, we have confirmation the highly anticipated doc will finally make its way back to Netflix in a few weeks. The Guardian confirmed the doc will release on US, UK and Australia Netflix on December 28. The documentary includes footage from four years of Avicii’s life, including touring, traveling and producing music in his studio. The doc famously includes Avicii admitting “It will kill me,” referencing his exhaustive tour life. It also includes an ominous quote from his ex-manager Ash Pournouri: “Tim is going to die, with all the interviews, radio tours and playing. He’ll drop dead.” Director Levan Tsikurishvili gave details about the doc in The Guardian story. Addressing the doc’s rocky release so far, Tsikurishvili clarified his film had not been intended to release in full around when Avicii died. Speculation ran amok after the doc “disappeared” from Netflix, but it had only fully released on Netflix in Western Europe up to that point. Leading up to the Netflix release, Avicii: True Stories will screen in LA on December 14 to qualify for Oscar consideration, and in New York on December 21. Watch the trailer for the doc below: This article was first published on Your EDM. Source: The Avicii: True Stories Documentary Releases on Netflix This Month Source

Janelle Monáe has just let loose a new music video for “Crazy, Classic, Life”. Set in a dystopian future where people are referred to as “computers”, the clip sees our 2018 Artist of the Year throwing a stylish but illegal party that’s eventually broken up by the rulers that be. Actress Tessa Thompson also stars as one of Monáe’s close “computer” friends. If the visual looks familiar, it’s directly lifted from this year’s Dirty Computer – An Emotion Picture, a nearly hour-long accompaniment to Monáe’s Dirty Computer. Additionally, the short film included the music videos for “I Like That”, “PYNK”, “Make Me Feel”, and “Django Jane”. (Read: The Top 50 Songs of 2018) Below, watch the “Crazy, Classic, Life” video, followed by the full Emotion Picture. Dirty Computer was named one of Consequence of Sound’s Top 50 Albums of 2018. It also nabbed a Grammy nomination for Album of the Year. Source

There’s a beat in Hereditary that rattles you on a bone-deep level. It’s when Toni Collette‘s doomed artist Annie tells her son that she never wanted him. Then again, it’s not as though she’s telling him for sure. The words certainly come out, as clear as day: “I never wanted to be your mother.” But by that point in Ari Aster‘s nightmarish directorial debut, the very nature of reality is being called into question, actively and regularly. Yet what hits about that sequence, beyond even the heartbreaking cruelty or unsettling candor of it, is the way in which Collette slams her hand to her mouth, just a second after it’s too late to ever again close the door she just flung open. The words leaving her mouth are sadistic, but not just because of the way in which they’ll affect her son Peter (Alex Wolff). They’re sadistic in the truth they expose, the ways in which we expect parents to love their children unconditionally and don’t wish to hear about the thoughts some parents might have when they’re alone in the dead of night. They’re sadistic in the way they wound the person who utters them, despite and because of the fact that there’s some semblance of truth behind them. Hereditary is one of the best films of 2018, and among its many merits, it boasts the year’s very best performance from Collette. In the actor’s capable, thoughtful hands, Annie is not only the victim of a nerve-rattling horror feature, but also its soul, its devil, its most accessible source of humanity and its most memorable terror. In at least one scene near the end of the film — fans already know the one — she embodies all of those ideas, together and in opposition, in just a few minutes of screen time flat. Through Collette, Annie is somebody whose inner life extends far beyond the boundaries of the film’s storytelling. There’s an artist who became a wife, and then a mother, and then an amalgam of all of those backbreaking roles while also struggling with the traumas left in her from her mother, whose death sets the film in motion. Women of multitudes are hardly a new task for Collette. Since breaking through with her unforgettably humane turn in Muriel’s Wedding, she’s often been tasked with making those multitudes accessible, and has succeeded time and again. From her long-embattled matriarch in Little Miss Sunshine to her devastated widow in The Sixth Sense, Collette has always been able to exude a sense of character that resonates beyond the film’s story. The endlessly magnetic performer has worked along the entire cinematic spectrum from comedy to tragedy, and has always found an aching humanity within a broad diversity of fictional women. Hereditary, however, utilizes that humanity in ways both unsparing and affecting alike. As Annie and her family are dragged into madness due to what might be anything from inherited pain to the trickster god Paimon, Collette is the film’s tormented compass, a woman deeply undeserving of the cruelties being visited upon her who struggles to overcome grief at both ends of her life. When she’s eventually subsumed by it, her turn mutates into something nearly inhuman, a marvel of physical and dramatic performance that will surely stand in time as one of the great horror movie performances. In honor of this year’s selection, Consequence of Sound was able to speak with Collette about what drives Annie, the social taboos that inform the character’s impact, and much, much more. __________________________________________________________Much of your work has engaged with the ideas of what women are “supposed to be,” in one form or another, and the tensions that emerge from placing certain pressures and mandates on them. How did that come to inform Annie? You’re right. Over and over again, I am drawn to stories of people learning who they are and learning to be comfortable with that. Or not. It sounds subtle, but in reality that kind of awakening is intense. Most of Annie’s life she has felt that something was wrong without knowing exactly what it was. This story is about her realizing the truth about her family and herself. She has been a puppet her entire life. A life manipulated and orchestrated by her mother. Total betrayal. She made choices along the way that felt rebellious and/or as if they were hers to make; like becoming an artist, marrying Steve [Gabriel Byrne], having kids. But i think even those decisions were not Annie’s. She’s been sleepwalking, so to speak, going through the motions of life and doesn’t realize it till she is awake but by then it’s too late. An awakening usually brings a sense of well earned knowledge and personal freedom but clarity and awareness can’t save Annie. This is what makes it truly horrific for me. She is released from one burden (the secrets of her past) only to fall into a deeper, inescapable pit. There is now no way out. No hope. In both Hereditary and Wanderlust, grief is a driving force, but in neither case does it express itself in the way we expect — it’s almost as though the body knows what’s going on before the mind does. Has that been your experience? Absolutely. The mind gets in the way. I trust my body more than my mind. It is so much wiser. However, you cannot ignore the mind. The two are entwined. Eventually the mind catches up and turns your feelings into thoughts, words and actions. It’s a slow process of articulation. Grief is hard to process, and we all muddle through however we can. But blindly managing is not living. I’m drawn to grief in stories because it is the ultimate illumination tool and giver of context. I don’t think people can substantially evolve ’til they jump in this fire. Eventually we all must. It’s part of the nature of life. Hereditary plays at length with one of our great social taboos: a mother’s assumed unconditional love for her child. Where do you feel that the power of that phobia (the “bad mother”) emerges? It’s everywhere. We don’t live in the present. If we did, we’d know how ridiculous this notion is. But many of us are fed and informed by human history and not who we are now. For so long women have been allocated certain roles. It wasn’t always that way. Only during the agricultural revolution did we shirk village life, shared roles and equality itself. Only then did women assume the role of primary caretaker and homemaker. It doesn’t make sense anymore. More recently, those images of women in the ’50s smiling through a profound loss of self in order to keep up appearances are just so sad. Thankfully, it helped us springboard into who we are now — free humans with every opportunity available to us. At least in the western world. And yes, some women may still choose to be the all-loving stay-at-home mother. Fantastic! At least it is a conscious choice and not a position thrust upon them. I also know from personal experience that I can be an all-loving mother and also satisfy my other needs, desires, and creative dreams. What societal taboos are still mostly unexplored, in your opinion? Well, just basic expression of feelings. Is that weird? ‘How are you? Fine.’ We’re on auto-pilot, and then we complain about [a] lack of connection and compassion. I wish people were more honest and unafraid to talk about their humblest feelings. Society does a great job of ostracizing people. And technology hasn’t helped. Yes, we’re connected but we’re not connecting. There is a real lack of acknowledging the fact that we are one. On an energetic level, on a cellular/DNA level, on a ‘we share the planet at the same time (how miraculous!)’ level. In the scheme of infinity, we live such short lives and yet we’re all too scared to be open about the real stuff. When we see someone on social media take the shirt off their back and give it to a homeless guy, we are all moved beyond words. But then the next day, we walk past the homeless guy. We are all connected! Each and every one of us. We are part of nature. Not above it. We are one. This should make us less afraid to open up. But I get it. It’s hard to see the wood for the trees. There’s an extremity to your performance, in the way it captures how grief and panic can both capture the body in this primal way. How did you go about capturing the physical experience of extreme emotion in such an outward, visceral way? Look, the writing was so good that it was very clear to me from the outset. I didn’t really think about it much. I tried not to think about it. I have grieved. I know how hideous it feels. More than anything, I think I pushed those moments away ’til action was called. Then I got myself out of the way and let it spill out. It was less technical and more just immersing myself in the honesty of the moment. Some of the film’s most visceral stuff comes from the emotional abuse witnessed on screen, in any and all directions. Annie’s both the target of it (Steve’s unwillingness to listen to her) and the victimizer (against Peter), so how did you negotiate that in your own approach to the material? We didn’t rehearse much. We talked a little about each scene in a bare hotel conference room before we started at the beginning of the shoot. Ari, our incredibly talented writer/director, sent me copious amount of notes on character and backstory which I read once. As well as the script being well written, to me, it was extremely loud in what it was saying between the words. What was unspoken in that house. All the toxic energy Annie had lived with her entire life before this moment of expressing the resentment and grief and rage you see onscreen. This is a woman who experienced familial emotional abuse herself her entire life. She had been holding it in forever. When the worst happens, she cracks open and she cannot help who her anger is directed at. It needs to come out and shift and flow. All energy does. She does love her son, but she is in too much pain to help him. Sadly, he is in her direct firing line when it spews out of her. You very likely got a much closer look at Annie’s artwork on set than Aster frequently allows through the film. What, if anything, did you take away from her based on that aspect of the design? It was beautiful and meticulous. Just so much detail and accuracy. Her miniature work is both her attempt to understand her life and is, therefore, therapeutic. But it’s also her way of attempting to control her life and all that she knows deep down is wildly out of control. What have the people close to you made of the film and you in it, if they’ve seen it? They were blown away. They see it as the poetic and artful piece that it is. They also see a study on grief which is almost too much to bear. Which is scarier: a kid who sees dead people, or a kid who is maybe possessed by an ancient dark force? Ha! The latter. Darkness takes it to a whole new level of fear. Source

2018 is easily the most erratic year yet in Kanye West’s perpetually-volatile career, what with his back and forth support for Donald Trump, hurriedly released string of seven-track albums out of Wyoming, and the multiple delays on his promised next solo LP Yandhi. But rest assured, Ye’s not going to let the year close out without at least a few more headline-grabbing antics. In another iteration of his standard celebrity-baiting on Twitter, Kanye reached out to Bob Dylan this afternoon with the request: “Let’s get together”. Calling out to Bob Dylan Let’s get together — ye (@kanyewest) December 12, 2018 Now I’m pretty sure if Kanye actually needed to connect with Bob Dylan he could find a more effective method (maybe see if his collaborator Paul McCartney has his number?). Ye failed to even tag the official Bob Dylan Twitter account in his post. But regardless of how serious his interest in Dylan is, the intentions of his message are fun to consider. Why does Ye want to speak with Dylan? Perhaps he needs another Oldchella-vet to hop on a Rihanna track? Or maybe he has an idea for Blood On The Tracks-inspired Yeezys. Ye could be taking a cue from his prodigy Travis Scott and is looking for a legendary American songwriter to play harmonica on his latest rap banger. Or producing a Bob Dylan album might be the next item on his bucket list after having done so for Nas. Perhaps he’s simply a fan of our Bob Dylan podcast series, The Opus. There are many possibilities, but after this year the hope that anything Kanye does will prove worthwhile is pretty slim. And Kanye if Dylan says no, Billy Corgan is still waiting for a call. Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS | Follow via Facebook Source

2018 was a huge year for music and streaming numbers — but the world’s favorite song is still Ed Sheeran‘s “Shape of You.” The song has been played out more than 2 billion times on Spotify, which is a first for the platform. To break it down is perhaps even more impressive. This means “Shape Of You” has been streamed for about 7 billion minutes or 14,776 years. The pop star keeps his thank you note simple, which he shared via social media: “Thank you world. First song to two billion streams on Spotify.” Sheeran has achieved a milestone that no other artist has as of yet, not even Drake — but he’s catching up. This year alone, “God’s Plan” racked up 1.1 billion listens on Spotify. No doubt, the rapper will also hit that 2 billion mark. But, “Shape of You” will always be the first. Listen again here! Ed Sheeran – Shape of You This article was first published on Your EDM. Source: Ed Sheeran First To Hit 2 Billion Plays On Spotify with “Shape Of You” Source

With all the news surrounding the return of Swedish House Mafia, they have been the talk of the industry this year. The name on everyone’s lips and typed by everyone’s fingers. According to Google, “Swedish House Mafia” was the top trending electronic music artist of 2018. With their return to Ultra, buzz about a world tour, and an overall killer marketing strategy, it makes total sense. Let’s just say — we are not surprised by this result whatsoever, but that doesn’t make it any less exciting for Swedish House Mafia. Sticking with their brand, SHM didn’t give so much as a “wow” or a “thank you” for the huge nod, but instead tagged Google three times in the description of their post and added #YearInSearch. See — their online imprint is always on point. And though Swedish House Mafia’s accolade is noteworthy, it’s nothing compared to another dance music legend. The search engine’s Year In Search review has also revealed Avicii as the #2 most searched topic overall on Google, and the #1 searched name related to loss. Clearly, Avicii’s death in April of this year had a profound impact on his fans. And, like many of us, we rushed to Google when we first heard, unable to believe that it was really true. Read more of Google’s Year In Search here. Swedish House Mafia – Most Googled Electronic Music Artist 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Swedish House Mafia & Avicii Among Most Googled This Year Source