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More extraordinary details continue to pour in regarding the arrest of Cannibal Corpse guitarist Pat O’Brien on assault and burglary charges. The latest reports indicate that the death-metal musician had military-style flamethrowers inside his home, and was rambling about the rapture on the night of his alleged crime. A quick recap: O’Brien was arrested on Monday night for allegedly breaking into a neighbor’s house and shoving a female occupant to the floor, all while his own Northdale, Florida, home caught fire, with explosive ammunition inside. Deputies found him behind a fence, where he reportedly charged at the officers with a knife, only to be subdued by a taser. He appeared in court yesterday wearing an anti-suicide vest and shackles, and was ordered held on $50,000 bond pending a drug test. As if that all wasn’t strange enough, a news report from ABC affiliate WFTS in Tampa Bay reveals that “military-style flamethrowers” were found inside O’Brien’s home. Moreover, it was reported that surrounding houses were evacuated Tuesday as a precaution when deputies found an unspecified item of concern in O’Brien’s house. WFTS also spoke to the homeowner of the house that O’Brien allegedly broke into, and while he wouldn’t speak on camera, he did tell the TV station that he figured O’Brien was hallucinating, since the guitarist was speaking about the rapture and claiming that someone was after him, even hiding in the closet at one point. That report can be seen below. As previously reported, Cannibal Corpse were recently announced as an opener on the upcoming spring 2019 North American leg of Slayer’s farewell tour. Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS This Wednesday’s Kyle Meredith With… features Micky Dolenz of The Monkees, who speaks with Kyle Meredith about the major 50-year anniversaries of Head and Instant Replay, what the transition between their respective styles had to do with the format of the band itself, and how Good Times! put The Monkees back on the charts after nearly 50 years. Dolenz also discusses the album’s recent follow-up, Christmas Party — the very first Christmas album from The Monkees — and offers an update about a “vault” of unreleased Monkees songs. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Source

Get on your spacesuits. Australian artist Golden Vessel just dropped his newest single “MOONSTONE” the other week but he’s already flying in with a music video to complete the mission. Donning a full spacesuit, a handful of moon rocks, and a laser beam, Golden Vessel Elkkle and Akurei stage a moon landing with a bit of a dramatic twist with a special guest appearance from Mallrat. The video actually has some historical significance to it as well, referencing the disappearance of NASA’s original moon rocks. In 1998, so the story goes, US federal law enforcement launched an investigation into missing moon rocks from one of its original NASA trips into space on Apollo 11. The specimens once brought back to earth in 1969 were distributed across the world in the famous Goodwill Moon Rocks initiative, only to, nearly 30 years later, have mostly vanished or become untraceable. Golden Vessel used that story as inspiration for the song, discussing it with friends and collaborators Elkkle and Akurei, saying “I started telling them about the stolen moonstones and then morphed it into a metaphor for a conversation we were having earlier about missed opportunities and when we or friends miss out on something that should’ve been in reach (and the frustration around that). The stolen moonstones became the missed opportunities and we all started writing. We tried to sneak a few references from the different stories around stolen moon rocks into the song such as mentioning Joseph Gutheinz who was a NASA special agent tasked with recovering the missing rocks.” Closing out the year by taking to space isn’t a bad way to celebrate an eventful 2018 for Golden Vessel. His other music video for the colorfully brilliant “BIGBRIGHT” just got nominated for Music Video of the Year from Australia’s Triple J, he’s racked up millions of streams, and has collaborated with Duckwrth, filous, and Emerson Leif. He doesn’t seem to be slowing down at all though, announcing a North American tour for early 2019, kicking off in Boston at the end of January. See the full list of dates below and see more from Golden Vessel on Facebook, Twitter, SoundCloud, and Instagram. Jan 31 // Boston, MA @ Sonia Feb 1 // Washington, DC @ U Street Music Hall Feb 2 // NYC, NY @ The Bowery Ballroom Feb 8 // St. Paul, MN @ Turf Club Feb 9 // Chicago, IL @ Chop Shop Feb 15 // Boulder, CO @ Fox Theater Feb 16 // Salt Lake City, UT @ Soundwell Feb 21 // Santa Barbara, CA @ EOS Lounge Feb 22 // San Francisco, CA @ The Independent Feb 23 // Los Angeles, CA @ Teregram Ballroom Feb 28 // Portland, OR @ Holocene Mar 1 // Seattle, WA @ Barboza Mar 2 // Vancouver, BC @ Celebrities Underground The post Golden Vessel Stages His Own Moon Landing In “MOONSTONE” Music Video, Announces Tour appeared first on Verge Campus. Source

Who knew The Mandalorian would be the Mos Eisley of Star Wars productions. Such is the case for Jon Favreau’s forthcoming Disney+ spinoff series, which has just expanded its seemingly never-ending roster of stars. Today, Lucasfilm announced that director Werner Herzog, Apollo Creed himself Carl Weathers, Breaking Bad villain Giancarlo Esposito, Supernatural’s Emily Swallow, Deadpool 2’s Gina Carano, and American Gods’ Omid Abtahi will be joining the galaxy. Rumors about Herzog’s involvement have been swirling around for weeks, but now it’s 100% confirmed, meaning the legendary German film director, screenwriter, author, actor, and opera director is now a part of the Star Wars canon. Just unreal. As previously reported, Dave Filoni, Taika Waititi, Bryce Dallas Howard, Rick Famuyiwa, and Deborah Chow are all confirmed to direct episodes with Game of Thrones hunk Pedro Pascal at the lead alongside veteran grizzly bear Nick Nolte. Here’s the synopsis: After the stories of Jango and Boba Fett, another warrior emerges in the Star Wars universe.The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. We follow the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic. The series is currently in production and will drop in 2019. In the meantime, stay tuned to State of the Empire, our Lucasfilm podcast that covers news in Alderaan places. Next year will be a big one for the series as it also sees the release of Disney’s new Star Wars theme parks and Episode IX. Werner Herzog be with you. Source

During an appearance on The Howard Stern Show on Wednesday morning, Miley Cyrus confirmed that she will have a role on the upcoming fifth season of Black Mirror. Although the pop star/actress was not allowed to mention the popular Netflix dystopia show by name, she shook her head in affirmation when Stern asked about the rumors of her involvement. The crossover is fitting – a recent Miley Cyrus headline about a vinyl record infused with her urine already sounded Black Mirror enough – and apparently the role was deeply significant for Miley. As she described to Stern, “I hate everything, but it was the first time I’ve left somewhere feeling really proud of my work.” Her involvement took on an added dimension because of what was going on in her personal life at the time. “It was while the devastation of Malibu was happening, and it was a really weird learning experience for me,” she explained. “Because I was so far from home and the show is already really dark, and it’s already kind of eerie when you’re there the whole time.” Beyond Miley, anticipation for Black Mirror to return was already at a fever pitch after the announcement that the upcoming season will feature its very first choose-your-own-adventure episode. While a premiere date for the show is still unknown, Cyrus will be joining Mark Ronson to perform their collaborative single “Nothing Breaks Like a Heart” on Saturday Night Live this weekend. Source

Just a couple days ago, WAV Media and Insomniac have announced an incredible collaboration which will give fans and music lovers across the world the availability to access dance music content across WAV platforms. They are announcing together the launch of the new season of Insomniac’s long-running “Golf Cart Confessions” which will air three new episodes each week. It will include DJ’s answering your burning questions as well as rapid-fire Q&As. The new partnership will also include the “Discovery Project” contest series where artists will have the opportunity to be featured onstage across a plethora of Insomniac festivals and events throughout the US. You’ll also be able to watch artist’s journey into the festivals via the WAV app. Fans will be able to see first hand experiences of select Insomniac concerts with original, exclusive content from Andy C, Fisher, Kaskade, Jauz, Seven Lions, Slushii, Borgore, and many more. Check out @WAV on Instagram to catch upcoming livestream announcements. You can view Golf Cart Confessions on Insomniac Event’s Youtube Channel here! The post Insomniac Announces Partnership with WAV Media appeared first on EDM Maniac. Source

Another year has mostly come and gone. This year saw the unfortunate news of too many artists’ deaths, including Avicii, Mac Miller, Lil Peep, and others. Though these artists are gone, their legacies remain and their mantles will be picked up by a new generation of artists who continue to persevere and fight for their ranks among the best of the best. 2018 in particular has seen the rise of a heavier midtempo style of bass music, championed by the likes of Rezz, and subsequently newer artists like 1788-L, blanke, Slooze, and Quackson. At the same time, dance music continues to spread globally at an ever-faster rate, with Australian artists like SIPPY and WILDLYF and Mexican artist Jessica Audiffred making a huge impact this year. And though some artists have been in the game for longer than others, it looks like 2019 will finally be the year they truly break through and do some phenomenal work. CRAY, SVDDEN DEATH, Wenzday, Kompany, and Chime are among those artists who have poured their blood, sweat, and tears into their projects and are now beginning to be recognized on the global stage. Then there’s Fisher, who, despite debuting his project only halfway through 2017, has become one of the biggest artists of 2018 thanks to just a couple of songs! As we do every year, we’ve picked our 40 artists who we feel will have an incredible year in 2019, not just in their own personal careers, but also on the electronic music scene as a whole. As a reminder, we do our best not to repeat names year after year so as to give new artists the spotlight. So if you don’t see the name of an artist you feel has had a great year and is destined for more, it’s more than likely we featured them in the past three years. 2016 | 2017 | 2018 See Your EDM’s Artists To Watch in 2019 list below. Congratulations to all who are featured! We expect big things of you next year. 1788-L | Tynan | blanke | PEEKABOO | Fisher | Fytch | 13 | Wenzday | Jacknife | Oliverse CRAY | Slooze | SIPPY | WILDLYF | Jessica Audiffred | i_o | KLOUD | HE$H SVDDEN DEATH | Nitti Gritti | Neo Fresco | LSDREAM | OMNOM Lil Texas | Vincent | Huxley Anne | sfam | Kompany | Chime | Harrison BDP Upsammy | MADGRRL | Lizzy Jane | Quackson Moore Kismet | Hairitage | Schade | SWARM | TenGraphs | Deathpact This article was first published on Your EDM. Source: Your EDM’s Top 40 Artists To Watch In 2019 Source

Korn guitarist Brian “Head” Welch has been on quite the roller-coaster ride both in his professional and personal lives, and a new documentary titled Loud Krazy Love captures the musician’s tumultuous journey, with a focus on his relationship with his daughter, Jennea. As fans know, Head left Korn in 2005 in the midst of a battle with meth addiction, turning toward religion as he rejected the rock-star lifestyle. All the while, during his drug use and after he cleaned up, he had to take care of his young daughter, Jennea, who is now 20 years old. The documentary not only tells the story of Head and his daughter, but also of Korn, as members Jonathan Davis, James “Munky” Shaffer, and Reginald “Fieldy” Arvizu all appear in the film, talking about the early days of Korn, as well as their relationship with Head, who has since returned to the band. Loud Krazy Love recently won an audience award at he Dallas International Film Festival and premieres this Friday (December 14th) at 10 p.m. ET/PT on Showtime. We sat down with both Head and Jennea to discuss the origins of the documentary, the depths of Head’s meth addiction, his departure from Korn, their father-daughter relationship, and more. Read the interview below: On the origins of the documentary Loud Krazy Love Brian “Head” Welch: When I left Korn in ’05, that’s when I was thinking about filming things, because it was just so out of the box. I was in the band, and then all this controversy happened when I left. But the main reason was because my life got so much better, and I wanted to film my journey to show the transition from being miserable to getting happy. So, I started filming things — I went to Israel, and filmed that. And then some things where Jennea was 5 years old, 6 years old, that’s in the movie. So, I’m glad I did. That was the initial idea back then. And then I put it away. We had gotten into some disputes with some people that were involved in filming, so we put it away for a while. Then, a couple of years later, we thought about picking it up, and then it didn’t happen. At that time, I just gave up. And then all this stuff happened with Jennea. She was going through a lot of emotional issues as a teenage girl. And then the opportunity for the documentary came up, and that had to be a part of it. So she had to agree to it. I [said to Jennea], “Here’s the opportunity. First of all, are you open to it? Second of all, if you are open to it, you will own the footage and you will say yes or no to anything that’s aired.” So, she got comfortable with that, and here we are. So that was the only reservation, because we’re filming some deep emotional things and counseling sessions and stuff, and there’s tears and there’s heavy things, so she was brave, and she was like, “OK, I’ll do it.” On the depths of Brian’s meth use and the effect it had on his relationship with Jennea BW: The depth of it was pretty dark, but when I came home, Jennea was still my priority, even though it was a functioning thing. It was like I had to keep going with the drug so I wouldn’t crash and fall asleep. I was always there in the morning, making her breakfast and taking her to school and all that, when I was home. But there was a time when she lived with a family while I was on the road, and then when I came back to town, I wanted to see her, but that interrupted the routine of life. So, there was a season where I would go over their house and just spend time with her and put her to bed, and then I’d go home. It was like juggling life, and I had no wisdom on how to do all of it, because I was just a mess. It was pretty dark, but she was always my priority, even in my drug use. On whether Jennea had any understanding of Brian’s drug use, and what it was like seeing him in that state Jennea Welch: I had no understanding [of my father’s drug use at that time]. He was very good at making sure that I was OK and I was comfortable. But he was gone a lot. I remember him being up at night, just stuff that I knew was off, and it kind of freaked me out, just little things. But I was too young, I was 4, 5 years old, so your dad’s like your hero, so you wouldn’t know any better. On the reaction of Brian’s bandmates to him quitting Korn in 2005 BW: The good thing about the documentary is that it’s real and raw. Jonathan [Davis] goes back emotionally into his irritated feelings when I was like overly religious and saying these weird things to him. They were like, “Oh my god, what’s happened to him? What, you’ve been on drugs this whole time?” You know, we all partied, but meth is a different level of partying. So they were concerned, but in the meantime I was saying all this weird religious stuff to them, because I was a little bit nuts then, and I can laugh at myself now. I sent them an email saying, “I’m quitting. I love you guys, I’m sorry, but I gotta do this.” And then I started going to the press, and telling my story, and that’s when the band got mad, because they’re trying to do a huge record deal. And so the record companies are like, “What’s going on with your band? Looks like they’re falling apart. What do you mean you want to do a huge record deal?” So, I was hurting things. I irritated them for another couple of years, and then I kind of went into seclusion and started to get to know the real me, and everything leveled out. In the movie, the Korn members are all in it, and we tell all the old Korn stories — the story of Korn from how it formed and everything. And so there’s a lot of different sub-stories in there. It’s got the Korn story, it’s got my story, and it’s got some of the [other band members’] problems, too, back then. On Jennea mentioning in the film that she saw naked women and partying as a little girl on the road with Korn JW: The movie describes all of that so much, because it visually takes you back to when I was a kid, and how, I guess, I knew things weren’t normal because I would go home and live a normal life, and then I would go on the road. All I know is that we went from that weird life, and then he found God, and then we cut everyone off and moved to Phoenix, Arizona, and tried to live a normal life, and obviously he was detoxing and stuff. I think our relationship started to struggle when I was 11, 12, 13. There’s a lot about that in the movie. That’s when I started to realize that things weren’t right and difficult, so I started to act out and put my emotions on display. BW: I will say this: It was crazy on the road with Korn, and there was a lot of partying, but there were not naked chicks walking around all the time, so I must have the worst luck that she comes out and sees something. To this day, I’m like, “I believe you saw it, but how could that happen when you were so little?” She was a 5-year-old. I’m not going to take her around where some crazy party is happening. It might have been a thing where someone came out of a bus, and went to another bus, or girls in the audience, but that gets me every time I hear that. Because I tried to do everything to protect her, because, even though my life was crazy, she always knew that dad had everything worked out. To this day, even though she’s 20 now, it hurts to hear some of that stuff. On whether Brian’s decision to turn to religion ultimately saved his life, despite him being mocked by many fans BW: One hundred percent. I was coming off of meth and I was awakened spiritually, and it was a real thing that was happening, but I couldn’t process it all. And so I was saying weird things, and there was mocking and everything. But I was going to find out who I was and I was going to go into seclusion, and that’s what I did. And I didn’t come out with solo stuff for a while. I just focused on [Jennea]. I had this big old Hummer that was lifted 12 inches, and when I took her to school, all these kids surrounded it, and were like, “Are you a rock star or something?” And I’m like, I should probably sell this car because it’s not blending into society. During that season in Arizona, it was so good for us. And so those moments are precious, even though I had emotional outbursts. If you see in the trailer, I was punching holes in walls and stuff. She wouldn’t see that. She would be watching Spongebob, and I would be in my room just going [screams out loud]. But mostly, those were good times we had together — a lot of birthday parties, and school, and dance parties, and all that. I have great memories from back then. On whether it’s a rewarding feeling for the documentary to be picked up by Showtime BW: We had a lot of dreams for it, and this is one of them — someone partnering in the mainstream who believed in the film and the story. It’s a unique film, it’s a unique story. People think it might be kind of like a rock doc, and it does tell all the old Korn stories, but it’s so different. It deals with teenage depression, suicidal thoughts, mental health. And there’s a little bit of faith in it. It’s so unique, and I’m thankful to Showtime for partnering with us. We’re very pleased. This is the first phase, and it’s amazing to have them as a partner. And then we’re going to release it wider next year, and then take it overseas and everything, so it’s just getting started. On what Brian and Jennea discovered about each other in making and watching the documentary BW: I discovered that she’s very strong and she is determined to find out who she really is, and get to that place where she’s comfortable with herself. She’s willing to face things that a lot of people may not, and she’s willing to be accountable. That takes a huge level of strength. That means the world to me, because we want the best for our children. So, yeah, I discovered that she’s very, very loving, and forgiving, too. This kid has had to forgive so much from her dad and her mom. Now that she’s grown up, she’s seen that her mom didn’t have the best life growing up, and that her dad had emotional issues, and a lot of pain in life. We just dealt with it the way we knew how — to medicate with alcohol and drugs, until it didn’t work anymore, and that’s when the healing came. [Turns to Jennea and whispers, “Thank you for forgiving me.”] JW: I learned that he loves me a lot! That sounds so funny, but I didn’t know what love was. What does that even mean? How do you even describe it? It’s not so much that I discovered things about him, but I think our relationship has grown deeper, just a better understanding of each other. We filmed counseling sessions, and talked about stuff that’s really difficult to talk about. So, I think our relationship just became deeper and stronger. Source

Having released her sophomore album Certain Kind Of Magic earlier this year, as well as a fresh remix of Porter Robinson’s “Divinity” only just two weeks ago, Rezz continues her 2018 onslaught with the announcement of another new, original track. “Mixed Signals” with blanke is dropping this Friday. Twitter user @BBeam_o caught the track being played out by Rezz in October, who then confirmed that it was a collab ID between her and blanke. The melody is new territory for Rezz, as the latter half of the drop incorporates a wonderful synth harmony, as opposed to her usual dark and twisted drops. don’t watch if u don’t want to hear some unreleased @OfficialRezz and see some cute ass dance moves !! pic.twitter.com/X7zysprn56 — harry potter and the goblet of beans (@BBeam_o) October 14, 2018 Check out the official track art below and pre-save link from Rezz! This one is out Friday. New track this Friday. REZZ x @blankemusic – Mixed Signals presave: https://t.co/b6qNplUi5V pic.twitter.com/QGcnXeasIT — Rezz (@OfficialRezz) December 12, 2018 Photo via Maria Jose Govea @thesupermaniak This article was first published on Your EDM. Source: Rezz Announces New Collaboration “Mixed Signals” With Blanke Coming Out This Friday Source

Michelle Obama is a guest on the latest episode of Questlove’s Pandora podcast, Supreme. Their conversation focused predominately on music, including the records Obama listened to during her formative years (Stevie Wonder’s Talking Book) and her first concert (Stevie Wonder in Philadelphia circa 1983). She also recounted some of the more memorable musical moments from her time at the White House, including the private concert Prince put on in 2015. As it turns out, booking Prince wasn’t the easiest of tasks. “We went back and forth trying to get Prince, because most of our personal parties revolved around birthdays — and Prince didn’t celebrate birthdays,” Obama said of the musician, who was a practicing Jehovah’s Witness. “‘He was like, I can’t come but I want to come.’ We had to figure out how to create something that wasn’t a birthday.” When Prince finally did make his way to the White House, he kept the audience on its heels. “For the first 15 minutes, he just let his band riff. They were just jamming before he even showed up,” Obama remembered. Obama also revealed that Bruce Springsteen first tested the show that become his Broadway residency at the White House. “He wanted to do something special for the staff and he put together what became the Broadway show,” Obama explained. Explaining her decision to host so many concerts at the White House, Obama said, “One of the things I wanted to make sure of is that we got all the greats to perform, because I didn’t know if anyone was ever going to ask them to perform at the White House [again].” Elsewhere in the interview, Obama discussed her current musical consumption and how she relies on her daughters to keep her informed. “I love to let them teach me about what they love… Sasha is my more musical child. She has her room set, candles lit, colored light bulbs, with certain sounds. It depends on what her mood is. She could be playing classical music — or jamming to SZA.” That said, Obama admitted, “I don’t know all the artists names now,” adding, “I just recently realized Migos wasn’t just one. “I’m not all down with it, but when I like a song I like it,” she concluded. But I will tell them if artists are crap.” You can listen to the full episode here. Obama recently added a new leg of dates to her arena tour supporting her memoir, Becoming. Source

Ozzy Osbourne and his son Jack’s reality series Ozzy & Jack’s World Detour wrapped up its third season earlier this year, but one of the best moments never made it to air. In a previously unreleased clip unveiled today via Rolling Stone, Ozzy Osbourne meets Ronald Osbourne, the frontman of the McDonald’s-themed Black Sabbath tribute band Mac Sabbath. Jack and his daughter Pearl set up the surprise for their paternal Prince of Darkness, who in the clip is led to a red-and-yellow curtain flanked by balloons depicting the fast food icon gone by way of Stephen King’s It. Ozzy is visibly confused, before the curtain falls to Mac Sabbath playing the signature riff of the Sabbath classic “Iron Man”. “I am frying pan!” Ronald Osbourne screams out, and Ozzy visibly erupts in glee. He became increasingly impressed watching the lead singer grill a bat on stage in tribute to his mythology. Watch the video of the meeting below. The moment was even bigger for Mac Sabbath than it was for Ozzy. As the singer put it to Rolling Stone: “Being Ronald Osbourne, the front-clown for Mac Sabbath, isn’t easy. I have to meet all these fry-by-night ‘Drive-through metal’ icons like Burger King Diamond, Cinnibon Jovi and KFCC DeVille, look them in the eye and pretend like my indigestion is not acting up. Today is quite different. Today I met Ozzy Freaking Osbourne. Some big clown shoes to fill.” He went on to remark: “You might not believe this, but without Black Sabbath, Mac Sabbath would not exist.” Mac Sabbath are set to play a December 28th show at the Fonda Theatre in Los Angeles, just a few nights before Ozzy headlines a New Year’s Eve edition of Ozzfest at The Forum in L.A. Check out Mac Sabbath’s video for the song “Sweet Beef” below. Source

Keith Richards and alcohol go together like Mick Jagger and skinny jeans. That’s no shade to either member, it’s just a part of the mythology of The Rolling Stones. But, as with any storied mythos, things change, and the latest chapter of the Stones is a sober one. “It’s been about a year now,” Richards told Rolling Stone of his decision to cut back on drinking. “I pulled the plug on it. I got fed up with it.” While he did admit that he still enjoys “a glass of wine occasionally, and a beer,” he insisted, “It was time to quit.” When asked if it’s been an adjustment, he responded, “You can call it that, yeah,” but added, “I don’t notice any difference really – except for I don’t drink. I wasn’t feeling . I’ve done it. I didn’t want that anymore.” Fortunately, he’s got nearby support. His fellow guitarist Ron Wood has been sober for over eight years now, and told the publication that Richards has been “a pleasure to worth with,” adding that he’s “Much more mellow. He’s open to more ideas, whereas before I’d kind of grit my teeth and go, ‘He’s gonna give me some shit for saying this.’ Now, he’ll say, ‘That’s cool, man.’ ” Wood digressed a bit more, saying: “It just wasn’t working anymore, you know? I think the Keith that we used to know and love had this cutoff point where if he had one more, he’d go over the top and he’d be nasty. The cutoff point became shorter and shorter, you know, and he realized that.” Whether it’s impacted their live shows, Richards admired, “It was interesting to play sober,” a feeling that Wood further expanded upon. “We’re weaving [guitar parts] a lot more conscientiously now,” he adds. “We’re much more aware of the gaps and the spaces between. We’re in our seventies, but we’re still rocking like we’re 40-year-olds, you know?” They’ll need to feel that youth come next year, when the Stones hit the road for another exhaustive round of US tour dates. What’s more, they’ll want those good feelings when they return to the studio to finally follow up 2005’s A Bigger Bang, which Woods teased in the interview: “Mick and Keith wanted to make sure the songs were really good,” he says, “so we’ve sort of taken a step back again, have a listen, put more into the pot.” Looks like 2019 will be anything but a 21st century breakdown for the Stones. Source

Linkin Park fans continue to wonder whether the band will forge ahead following last year’s tragic death of singer Chester Bennington. While band members haven’t said no to the possibility, they’ve been pretty vague about what’s ahead. In a new interview, bass player Dave “Phoenix” Farrell is giving fans hope that new music might surface at some point. “It’s a big question,” he told Sirius XM’s Volume West. “I think the easiest way to answer it is probably just to say I don’t know. And then I can expound upon that,” he went on. “The five of us, we still love getting a chance to hang out. We hang out quite a bit. I think we will do music again. We all want to. We all still enjoy being together and being around each other.” He added, “But we have a huge process to figure out what we wanna do and what that’s gonna look like. And I don’t have a timetable for how long that’ll take. I’ve never been down that road [or gone through] that process completely, so it’s really hard to put a time or a day.” (Read: Chester Bennington’s Top 10 Performances) Farrell also said that he deeply appreciates the support the band is receiving from fans following the tragedy of losing Bennington. “Social media, notoriously, can be a really negative place, and it is, like, 99.9 percent positive, what I see, from our fans just saying, ‘We’re here. We want to hear what you guys are doing. We want to be involved, but we get it. We want you guys also to be healthy and happy, and do what’s right for you as well,'” he said. “And we hear that message — we receive that, we get that from that community and from that fanbase — and it’s really, really something that is special, and I can’t say ‘thank you’ enough for that.” Listen to the full interview in the player below. Source

Earlier this month, The Jimi Hendrix Experience’s 1968 double album, Electric Ladyland, celebrated its 50th anniversary with a new box set featuring previously unreleased demos, alternate takes, and a live bootleg. Pick up a copy here. Electric Ladyland shouldn’t be as amazing as it is. The sessions for the double album took forever by the otherwise quick-hit production standards of the ‘60s. Jimi Hendrix and The Experience started laying down tracks for the record a month after they wrapped up work on 1967’s Axis: Bold as Love, and it would be a full year before they were finished. When the trio wasn’t in the studio, they were on the road, fulfilling the demands of promoting their second album and the demand by rock audiences to absorb the impact of Hendrix’s guitar necromancy. And when The Experience were in the studio (primarily the Record Plant in New York City), there were copious distractions and frustrations to go around. Hendrix would wander in as the spirit moved him, hours after the rest of the band and often accompanied by an entourage of hangers-on. As bassist Noel Redding remarked in a 1997 documentary about the making of the album, he had to fight these assorted groupies for couch space in the control room. Once the sessions got underway, they could be frustratingly slow with Hendrix’s desire for both control and perfectionism (he is credited on the sleeve of Electric Ladyland as both producer and director). Even though one song had already been completed — “Burning of the Midnight Lamp” was released as a single in the UK in August of ‘67 — and he had laid down the framework for a handful of other tunes via a demo tape he had put together in a hotel room in New York, a lot of time at the Record Plant was given over to jamming, lighting the fuse of a nascent idea until it fizzled. And when Hendrix got his hands on the mixing desk, he wouldn’t let go. As Jack Adams from the Record Plant told Rolling Stone in 1972, “He’d have such a set idea of what he wanted a record to sound like that he’d remix a song 300 times. No fooling. We’d remix a song for 10 hours, all night, all week.” By the time Ladyland was finally in the can, Hendrix lost his manager, Chas Chandler, and Redding, both men expressing their frustration at his working methods and attitude on the way out the door. Consequence of Sound and Sony bring you an exploration of legendary albums and their ongoing legacy with The Opus. The second installment revolves around Hendrix’s Electric Ladyland in conjunction with the new 50th anniversary reissue. Purchase a copy here and subscribe to the podcast. That’s the way it is with many a masterpiece. You can’t have Loveless without bankrupting Creation Records. And you can’t have Abbey Road without destroying the band that made it. While nothing quite that extreme happened on the way to Electric Ladyland, a lot of egos, sleep patterns, friendships, and spools of tape had to be abused along the way. Was it worth it? Absolutely it was. There’s not a rock fan alive that would argue against the greatness of Electric Ladyland. More than any time before or even the short period he was still on this planet afterward, Hendrix crossbred his myriad of musical influences into a hybrid strain that intoxicated the world. Within months, dozens of other bands would pack their own experiences and interests into the same pipe, going even farther out and getting even heavier as they did. But it’s Ladyland that feels like the locus, the main junction where much of music’s future spurred from. The extended, stereo field-spanning breakdown in the epic length “1983…(A Merman I Should Turn to Be)” forecasts the world of jazz fusion and prog as heard through the Mahavishnu Orchestra and King Crimson. The proto-metal scene was built from the raw materials found in the overdriven pummeling and the psychedelic inquiries of “Voodoo Child (Slight Return)”. And just think of all the shredders who went on to start jam bands and glam metal groups, as well as the hundreds of electric blues players, studying and transcribing each solo, looking for the key that would unlock this new language. These were the moments where, as Jack Casady of Jefferson Airplane, who played bass on “Voodoo Chile”, put it in that aforementioned documentary, Hendrix surmounted his influences, where “sometimes he steps aside and it melts together and creates a new thing.” Hendrix was still beholden to those influences, however. It’s what he did within the framework of the genres that truly proved his mettle. The 15-minute “Chile” is pure Chicago blues; a slow grind where he talks up his strength and sexual prowess while trading licks with guest organist Steve Winwood. He flickers and sparks for the better part of the song until the final few minutes, when oxygen bursts into the room and the whole place is ablaze. Hendrix urges his bandmates, particularly drummer Mitch Mitchell, to greater heights with shouts and yelps, as his own nimble guitar runs go stratospheric. Or listen to the funk workout “Gypsy Eyes” as it turns liquid via phased-out effects on his vocals and guitar. Let us also not forget Hendrix’s abilities as a pop songwriter and appreciator. His first two albums with The Experience carried a surplus of catchy three-minute tunes that sounded great on one side of a 45. And he peppered the set lists at his concerts with popular tunes of the day, like the title track to Sgt. Pepper’s and Cream’s “Sunshine of Your Love”. Even here on his most experimental album, he cushions the spacious “Voodoo Chile” and the dreamy “Have You Ever Been (To Electric Ladyland)” with a groovy song comparing a stubborn, young lady with trying to get from one side of town to the other in rush hour. And he conceded the greatness of “Little Miss Strange”, Redding’s garage pop flurry that kicks off side two of the double LP set, loaning out some of his wildest and loudest guitar licks. It’s also worth noting that Hendrix’s gate-crashing version of Dylan’s “All Along the Watchtower” earned enough radio airplay to give him his highest-charting single. For as much control as Hendrix had over the music cut into the four sides of vinyl in its original release, his record companies were less than enthused about his proposed artwork: a photo taken by Linda Eastman (soon to be Mrs. Paul McCartney) featuring the three members of The Experience and some nameless kids sitting on an Alice in Wonderland statue in Central Park. Now that it has finally been used for the cover of the recently released 50th anniversary boxed set reissue of Ladyland, it seems that Reprise, his stateside label, had the right idea nixing it. (And thankfully they didn’t get as far gone as UK imprint Track Records did, using a photo of a couple of dozen naked women.) It’s a cute concept but one that, without even considering the departure of Redding, doesn’t feel of a piece with the music contained within. Instead, it’s the cover picture that we’re all familiar with that fits perfectly. Hendrix, eyes shut, mouth agape as he sings or is mid-trance during another axis-shifting guitar solo, bathed in shades of red and yellow. This is our hero, through the monolith and clearly enjoying the ride beyond the infinite. Essential Tracks: “All Along the Watchtower”, “Crosstown Traffic”, and “Voodoo Child (Slight Return)” Source

Out this coming Friday via Waakan is EAZYBAKED’s Alone With Yourself EP, which will allow fans to soak up a total of seven tracks from the bass outfit. We are stoked to premiere the collection’s title track today, to serve as a little teaser to the rest that will follow. This tune is brimming with fizzing low-end energy and eclectic synth patterns, which wind around each intensely. Check out this single right here. This article was first published on Your EDM. Source: Your EDM Premiere: EAZYBAKED – Alone With Yourself Source

In a special fan event, celebrity and influencer teams went head to head for charity, with deadmau5 winning $20K to donate to Extra Life (extra-life.org). He defeated teams of fans captained by Cloud9, YouTube stars The Try Guys and streamer Jericho, coming out on top in three of the four scrimmage matches. The OGN Super Arena launched this past weekend to a sold-out crowd. The new arena is the largest eSports arena on the west coast, at 35,000 square feet and with more than 400 audience seats and a 100-player capacity. It is also the only arena in the country with a specialized stage set-up for battle royale format competitions. The arena is entirely modular, allowing it to be shaped into any configuration based on need, or desire. “With this event, our U.S. launch is now official and we are very excited to be able to unveil our new arena and studio for fans here and around the world,” said CJ E&M America CEO DJ Lee. “We can’t wait to show everyone the next phase in this journey.” This article was first published on Your EDM. Source: Deadmau5 Wins $20,000 For Charity In First-Of-Its-Kind PUBG Event Source

Killer Mike has never shied away from asserting his views both proudly and eloquently. Next month, Netflix will give him a new platform to from which to “explore socially relevant topics” with a new “subversive comedy documentary series,” Trigger Warning with Killer Mike. Premiering January 18th on the streaming service, the six-part series finds the Run the Jewels rapper, né Michael Render, and a team of correspondents asking complicated questions about the state of US society. As demonstrated in the show’s trailer, that includes avoiding Asians strippers in an attempt to keep money black, leveling out the Hell’s Angel merchandising market with Crip-a-Cola, and making the argument for a black Jesus. As Render himself explained it in a statement, “Trigger Warning is about examining cultural taboos and giving viewers the space to examine the ‘what ifs’ and ‘why nots’ that limit how some people move and operate in the world. In six episodes, we explore the human condition using nontraditional approaches. Not everyone will agree with my methods (and some of what we’re putting out is fucking crazy), but this show is about embracing your freedom to challenge societal expectations and conformity. This show is if an anarchist determined the status quo.” Oh, we can’t wait for this one. Take a look at the preview below. Source

During a 2017 interview on Beats 1, Elton John made it known that he hoped to one day collaborate with Khalid. “New artist wise, Khalid,” Sir Elton gushed to Zane Lowe, “I love Khalid.” It appears the Rocket Man’s dreams have come true: Today, he’s shared a cover of “Young Dumb & Broke” featuring additional vocals from Khalid himself. The new rendition was recorded at the Colosseum at Las Vegas’ Caesars Palace as part of John’s Spotify Singles session. In typical Elton John fashion, it’s got color, flare, and prominent piano arrangements. (Read: The 50 Greatest Rock and Roll Movies of All Time) “I discovered Khalid’s music a few years ago, and have been a fan ever since,” John remarked in a press statement. “We finally met when I played his home town of El Paso last year.” “It’s a thrill to be a small part of any new artist’s journey, and it’s been wonderful to see his star continue to rise and rise,” he added. “‘Young Dumb & Broke’ is a fabulous song, one of my favorites and I’m really pleased that he liked my cover enough to contribute vocals.” Take a listen to John’s full Spotify Singles session below, which also features a new take on his classic “Bennie and the Jets”. John is currently on his massive “Farewell Yellow Brick Road Tour”, which stretches into late 2019. A new biopic on John, dubbed Rocketman, is scheduled to launch May 31st. As for Khalid, the R&B singer landed on our Top 50 Songs of 2018 list. He recently shared his Suncity EP. Source

GG Magree came out with her song “Bodies” on Zeds Dead’s label Deadbeats toward the beginning of 2018, and is actually her most recent release. The rising DJ has been busy this year touring and pushing her brand of crazy bass, but “Bodies” is an unexpected slow, pop song. In contrast, the single is getting a remix pack this Friday, and we’ve got the exclusive premiere of the Champagne Drip remix today. While this remix could be filed under “D” for “Dubstep,” the true complexity of the track affords it a more diverse classification. The bubbling synths in the drop are absolutely wild and add a degree of originality and texture to the track that is generally unheard of; meanwhile, the underlying bass tones are guaranteed to ground you and shake your bones to their core. All this while GG’s original soft vocals remain intact provides a brilliant juxtaposition between chaotic and serene. Check out the remix below, and wait for the full remix EP out this Friday on Deadbeats, with additional remixes by LICK and Adam Pearce. This article was first published on Your EDM. Source: Your EDM Premiere: GG Magree – Bodies (Champagne Drip Remix) [Deadbeats] Source

The Screen Actors Guild Awards announced its 2019 nominees this morning. Now in its 25th year, the annual event recognizes outstanding performances in both film and prime time television, as voted by the SAG‐American Federation of Television and Radio Artists. A Star Is Born nabbed four nominations, specifically best actor for Bradley Cooper, best actress for Lady Gaga, best supporting actor for Sam Elliott, and best ensemble. While both BlacKkKlansman and The Favourite both grabbed a trio of nods. On the television front, those SAG voters certainly love Amazon’s The Marvelous Mrs. Maisel and Netflix’s Ozark, as each show walked away with four nominations each. Other favorites include HBO’s Barry and Hulu’s The Handmaid’s Tale. Outside the favorites, it’s nice to see some love for AMC’s Better Call Saul, particularly Bob Odenkirk, in addition to deserved nominations in the ensemble field, namely for The Americans, Atlanta, and Black Panther. In the past, the SAG Awards have been a fairly good indicator for the upcoming Oscar season, at least with regards to what nominations everyone might expect in the weeks to come. So, don’t be surprised to see A Star is Born as an Oscar favorite this year. Consult the full list of nominees below. The ceremony itself will air on both TNT and TBS on January 27th at 8 PM ET. Outstanding Performance by a Male Actor in a Leading Role: Christian Bale, Vice Bradley Cooper, A Star Is Born Rami Malek, Bohemian Rhapsody Viggo Mortensen, Green Book John David Washington, BlacKkKlansman Outstanding Performance by a Female Actor in a Leading Role: Emily Blunt, Mary Poppins Returns Glenn Close, The Wife Olivia Colman, The Favourite Lady Gaga, A Star Is Born Melissa McCarthy, Can You Ever Forgive Me? Outstanding Performance by a Male Actor in a Supporting Role: Mahershala Ali, Green Book Timothee Chalamet, Beautiful Boy Adam Driver, BlacKkKlansman Sam Elliott, A Star Is Born Richard E. Grant, Can You Ever Forgive Me? Outstanding Performance by a Female Actor in a Supporting Role: Amy Adams, Vice Emily Blunt, A Quiet Place Margot Robbie, Mary Queen of Scots Emma Stone, The Favourite Rachel Weisz, The Favourite Outstanding Performance by a Cast in a Motion Picture: A Star Is Born Black Panther BlacKkKlansman Bohemian Rhapsody Crazy Rich Asians Outstanding Performance by a Male Actor in a Television Movie or Miniseries: Antonio Banderas, Genius: Picasso Darren Criss, Assassination of Gianni Versace Hugh Grant, A Very English Scandal Anthony Hopkins, King Lear Bill Pullman, The Sinner Outstanding Performance by a Female Actor in a Television Movie or Miniseries: Amy Adams, Sharp Objects Patricia Arquette, Escape at Dannemora Patricia Clarkson, Sharp Objects Penelope Cruz, Assassination of Gianni Versace Emma Stone, Maniac Outstanding Performance by a Male Actor in a Drama Series: Jason Bateman, Ozark Sterling K. Brown, This Is Us Joseph Fiennes, The Handmaid’s Tale John Krasinski, Tom Clancy’s Jack Ryan Bob Odenkirk, Better Call Saul Outstanding Performance by a Female Actor in a Drama Series: Julia Garner, Ozark Laura Linney, Ozark Elisabeth Moss, The Handmaid’s Tale Sandra Oh, Killing Eve Robin Wright, House of Cards Outstanding Performance by a Male Actor in a Comedy Series: Alan Arkin, The Kominsky Method Michael Douglas, The Kominsky Method Bill Hader, Barry Henry Winkler, Barry Outstanding Performance by a Female Actor in a Comedy Series: Alex Borstein, The Marvelous Mrs. Maisel Alison Brie, GLOW Rachel Brosnahan, The Marvelous Mrs. Maisel Jane Fonda, Grace and Frankie Lily Tomlin, Grace and Frankie Outstanding Performance by an Ensemble in a Drama Series: The Americans Better Call Saul The Handmaid’s Tale Ozark This Is Us Outstanding Performance by an Ensemble in a Comedy Series: Atlanta Barry GLOW The Kominsky Method The Marvelous Mrs. Maisel Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series: Glow Marvel’s: Daredevil Tom Clancy’s Jack Ryan The Walking Dead Westworld Outstanding Action Performance by a Stunt Ensemble in a Motion Picture: Ant-Man and the Wasp Avengers: Infinity War The Ballad of Buster Scruggs Black Panther Mission: Impossible – Fallout Source

When it comes to creating, the toughest part of the process isn’t usually the act of expression, but rather getting started. The battle between idea and execution is handled with fervency by 24-year-old singer-songwriter Darja Tomanovic. The budding pop artist, born in Serbia and transplanted to Austin, was classically trained in piano performance before abandoning the confines of classical music for ventures into the world of her own songwriting. Only three officially released songs deep, she notes the exercise of songwriting is already an incredible source of liberation. It’s clear from her music so far that she’s onto a unique sound, visiting indie-pop scapes that make heavy use of synths, driven songwriting and her powerfully harmonic voice all at once. Songs like “Fallen,” “9 to 5” and her latest release, “Alone” intoxicate easily, walking the line between dance tracks and melodic tunnels seamlessly. The journey, as it’s understood, is not an easy path, but with each step, Tomanovic is finding herself, and she’ll only get better with time. “Alone”Darja has been living and working in Austin for about two years now, writing, recording and performing her music in between her time spent at work, marketing for a music management company. “I’m always around music,” she says. “But being an artist and writing and performing my own songs is my main focus.” Music has long been a part of Darja’s DNA, having grown up in Serbia where her parents introduced her to artists like Whitney Houston, Celine Dion and Bruce Springsteen, and attending a music high school where she trained in classical piano performance. “My mom played piano, and we always had music in my house. I’ve always wanted to play it and to be in music, I just thought that playing classical piano was the only option, and I was never too crazy about it,” she says. “I loved it but I didn’t have the passion for it. I loved performing, and that’s why I did it. I went to a lot of competitions and stuff so my childhood was basically trapped playing piano instead of playing outside.” She recalls being intrigued by the ideas of composing and songwriting once she discovered Jazz, but also being torn between those passions and classical performance–which at the time, she was beginning to grow out of. She had begun exploring interests outside of classical piano when one of her professors condemned her for worrying about anything other than rigid practice schedules and performance expectations. That’s when she broke through. “The first song that I wrote was at 16 and that moment was when I felt like ‘Wow, I want to do this.’ It felt so liberating, and I never was really much of a singer, but it’s something I’ve always wanted to do. I needed a little push and performing my own songs helped me get my own voice,” she explains. She moved to Texas from Serbia in 2012 on a Jazz studies scholarship to Texas State in San Marcos. Upon her graduation in 2016, she began recording her first couple of songs and decided to make the 30 mile move to the music capital to expose herself to more live music, perform her own material and meet other artists and creatives along the way. Photo by Alex ParkerNow, Darja is full steam ahead, working inch by inch alongside her producers, Moses Elias and Robert Sewell of the Hustle House to perfect her sound and improve her songwriting abilities. A song for her usually starts with one or a few lyric ideas that she has. “I’m constantly writing down thoughts and phrases in my notes and my phone and then I sit down look at lyrics and try to find what that sounds like,” she says. Influenced by potent contemporary lyricists like Julia Michaels, Billie Eilish, John Mayer, and Sara Bareilles, she’s often drawn to the writing that she feels is most relatable in the moment as the seed for what her songs eventually grow into. “For the last single “Alone,” I had a poem that I had written, and I brought it to the guys and I asked ‘can we do something with this, can we make it into a song?’ So, I love starting off with lyrics. I think that’s pretty much how all of my songs start.” While as an artist it can be easy to let people’s perceptions of your music get the best of you, at the root of Darja’s desire is creative release. ”My main reason for doing this is because I don’t really know how to express myself, so through music and through writing that’s how I get everything out that’s been bottling up inside. I definitely do have moments where I’m like ‘Are people going to like it or do people hate me, like what is going on?’ But, at the end of the day if I’m happy with it, then I’m okay,” she says. Through that sense of authentic creation, Darja wants listeners to take what they need from her music, interpreting it the way they see fit, since everyone will think and relate about a song in different ways. “I hope that because I love lyrics, people recognize that and take them as much as they take in the music. I want people to be able to dance to it or be sad to it, but also understand that they can think about what I wrote and feel it,” she explains. According to Darja, 2018 has been her favorite yet as far as artistry and creative development. “I’ve grown a lot, and everyone that I’m working with is constantly pushing me and they’re all amazing musicians but also amazing people, which is just a very nurturing nourishing environment,” she says. “At the end of each session, I think of how grateful I am to have everyone around me because it takes a village, and I’m going places that I want to be going. I know it’s a very long process, and sometimes I’m impatient so I want it now, but when I stop and look around me, I love it.” With new music on the horizon for 2019, Darja looks to the future with excitement and artistic comfortability. “I am so excited, and I love everything that we’ve done and every song sounds better and they’re all different from everything that I’ve released so far,” she says. “I’m just feeling the change, and I see and hear the progress that we’re making. I’m very excited to share with everyone it just takes a little time.” Check out the visualizer for “Alone” below: The post Premiere: Darja’s “Alone” Visualizer (interview) appeared first on Verge Campus. Source

Despite unleashing their debut album, Anthem of the Peaceful Army, less than two months ago, Greta Van Fleet are already planning to release new music in 2019. In addition, the young rockers have hopes for a big-time collaboration if asked to perform at the upcoming Grammy Awards. In a new interview with Billboard, the band reveals that they’ve been working on new material since finishing up Anthem of the Peaceful Army. When asked about their plans for 2019, bassist Sam Kiszka responded, “A lot more writing, getting some stuff recorded and start working on the next thing.” As to whether that meant the band would release new music next year, drummer Danny Wagner remarked, “Oh yeah, absolutely. I’ll quit if we don’t,” to which singer Josh Kiszka added, “We’ll all quit; we’re parting ways if we don’t release new music.” This past Friday, Greta Van Fleet received four Grammy nominations, which could mean they’ll be asked to perform at the ceremony in February. Asked whether they have any dream collaborations in mind if they do indeed rock the Grammy stage, Josh said he’d love to perform The Beatles’ “Helter Skelter” with Paul McCartney. Other names he mentioned included fellow Michigan musicians Bob Seger and Stevie Wonder. In the meantime, Greta Van Fleet will close out their 2018 touring with three-night stands in Chicago and Detroit, followed by a massive world tour in 2019 that will see the band playing arenas and amphitheaters. Click here to see their full itinerary, and check out our own recent interview with Sam Kiszka. Source

With this month’s Vice, Christian Bale will once again shock audiences, this time as Dick Cheney, one of the most uncompromising sociopaths to ever take over the White House. It’s yet another transformative performance by Bale for director Adam McKay. While out doing press for the film, the English actor told Variety that he’d actually met another political sociopath, one who’s far less effective than Cheney and yet somehow exceedingly more egotistic: President Donald Trump. “I met him, one time,” Bale recalls. “We were filming on Batman in Trump Tower and he said, ‘Come on up to the office.’” Variety reports that this was in 2011 for The Dark Knight Rises, but it was actually 2008’s The Dark Knight that filmed in Chicago’s Trump Tower. “I think he thought I was Bruce Wayne,” Bale jokes, “because I was dressed as Bruce Wayne. So he talked to me like I was Bruce Wayne and I just went along with it, really. It was quite entertaining. I had no idea at the time that he would think about running for president.” It’s a wonder Trump didn’t see Bale as himself, especially considering the actor’s breakthrough role was Patrick Bateman, the murderous sociopath in American Psycho who actually has spiritual ties to ’80s era Trump in Bret Easton Ellis’ unnerving novel. Here’s hoping Trump never watches Vice, though, seeing how the movie is a two-and-a-half hour condemnation on the ways Cheney’s warring, sociopathic tendencies destroyed the world, all of which would surely go over POTUS’ piggy head. Vice hits theaters on December 25th. Fan Theories: What If The Blade Made Comic Book Movies Lady Gaga - A Star Bohemian Rhapsody Movie Trailer The Come Up: The Music Source

Aphex Twin put out one of the year’s best efforts with his Collapse EP, but the electronic artist is looking way back into his catalog for his latest releases. Richard David James has added a trio of bonus tracks to his 2001 album Drukqs via his webstore player, bringing the record’s total song count to 34. One addition is the “new” track “Mangle 11”, which is really just an alternate version of “Mangle 11 [Circuit Bent V.I.P. Mix]”, James’ contribution to the 2003 compilation Rephlexions! An Album of Braindance! under his AFX moniker. There are also two new takes on Drukqs’ “Avril 14th” dubbed, “Avril 14th Revered Music Not Audio” and “Avril 14th half speed alternative version”. Take a listen to all three tracks via Aphex Twin’s website. Revisit the original “Mangle 11 [Circuit Bent V.I.P. Mix]” below. Source

Earlier this season, Kesha unveiled a new song titled “Here Comes the Change”. The original number was penned specifically for On the Basis of Sex, the forthcoming biopic on Supreme Court justice Ruth Bader Ginsburg. Today, the pop singer appeared on Ellen to perform the track on TV for the first time. Outfitted in a sparkling dress, and with harmonica in hand, Kesha took center stage with the poise and passion to match the song’s power. Replay it down below. “I hope the song and the video reminds you that we don’t all have to loom as large as these heroes to make a difference,” Kesha told Refinery29 around the time of the song’s initial release. “We can all have a positive impact on our shared future.” On the Basis of Sex opens in theaters Christmas Day. Revisit its trailer below. Source