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Watching Aquaman and a ghostbuster having a screaming contest alongside mild-mannered English band Mumford & Sons in this week’s Saturday Night Live preview (below) normally wouldn’t have raised my hopes. (Marcus Mumford, while playing it polite, looks as though he’s already set to fire his band’s agent — and these are just the promos.) But after last week’s show, in which the funniest moment was Charlie Bucket’s bedridden grandparents knockin’ slippers until they rocked a bedpost through an adjacent wall and plaster fell on them, I’m ready for Season 44 to go silly or go home. This could be the breakout week of the season, though. While Anderson .Paak set a new bar for musical guests last week, the Mumfords are no slouches, and host Jason Momoa — basically, Jesus with a gym membership and an island vibe — will bring a stature and physicality that no other host has been able to supply this season. Will it all add up to an early Christmas miracle? Can Saturday Night Live finally deliver a show that earns more than a few chuckles and delivers a sketch or two truly worth talking about come Monday morning? Can they keep from cutting their best skit of the night … again?!?! You tell us. Here are this week’s best moments. _________________________________________________________ Ads, Ads, Ads… While Season 44 hasn’t quite delivered us a life-changing product on par with Oops! I Crapped My Pants (though, the announcement of Amazon’s new HQ nearly got there), this week’s ads were definite must-sees. As our friends at Fox News and white supremacists around the nation bemoan “shifting demographics,” young, white men in khakis better realize that it’s not the Jews, or even the Mexicans, coming to replace them; it’s their fed-up wives. Yes, that’s right. It’s a dangerous time to be a young, white man in America with women not only falsely accusing them left and right but now taking over the workforce as well. Luckily, GE Big Boy Home Appliances are available so that men can still feel manly even while doing man’s work. Oh, and sick and tired of your libtard friends playing the old “If Obama Had Done That Game?” No worries. Them Trumps will save them all that speculation now that the orange family in the White House is black! Coming to television sooner than you can say L’evanka. __________________________________________________________ ‘Tis the Season… Although SNL has confirmed at least one more show before Christmas, this week’s episode doubled down on the holiday themes. Skits included a cocky Rudolph the Red-Nosed Reindeer bullying others after Santa gives him the lead deer gig (Pete Davidson needed this victory after his week), a sleigh ride through the forest with Cecily Strong’s Gemma, Dickens’ holiday classic A Christmas Carol getting updated with a fourth spirit who has plenty of “extra,” and one of Santa’s watcher elves, Scrabby, reporting back that his 13-year-old charge, Marshall, sure spent a lot of time alone in his room this year working on a new, very hands-on hobby. The winner has to be the very non-elf-like Momoa filing his report, with perfect comedic timing, on his chronic masturbating boy. That said, Kate McKinnon can make it rain as “Tiny” Tim Cratchit anytime she likes. God, bless us extra! __________________________________________________________ Christmas in the Delta Admittedly, the odds of Kendrick dropping a surprise guest verse during the Mumford set were as long as a Migos album. But while Mumford & Sons might be a few years removed from stirring up those levels of excitement, few can argue the quality delivered by the band, especially when they harmonize over acoustics and keys. Both their recent hit “Guiding Light” and the title track off their last album, Delta, reminded listeners that the band can still deliver big, emotional songs that will never be unwelcome. __________________________________________________________ First Impressions I said go silly or go home, and Beck Bennett’s hide-and-seek strategy for meeting the father (Momoa) of his girlfriend for the first time played silly to absolute perfection. Momoa’s childish enthusiasm in response to the creepy gesture made for one of the funnier pairings of the night and season. It’s easily a top-five sketch of the season. __________________________________________________________ Is That the Dude from Rocky IV? For all you Game of Thrones nerds, Momoa reprised his brutish role of Khal Drogo on a talk show that revisits characters killed off during the series. If you like that sort of thing… Source

Geraldo Rivera has never been one overly concerned with journalistic integrity, so it shouldn’t be a surprise to hear that his new docu-series for Reelz is already mired in controversy. The latest episode of Rivera’s true crime series, Murder in the Family, chronicles the death of Dave Navarro’s mother at the hands of her ex-boyfriend in 1981. Navarro previously discussed the tragedy in the 2015 documentary, Mourning Son, but he turned down Rivera’s overtures to participate in Murder in the Family. As the Jane’s Addiction guitarist tells it in a new Instagram post, Rivera opted “to run [the episode[ anyway with inaccurate facts and total abandon for the triggering effect a program of this nature could have on the families.” ‘I understand that true crime is a big moneymaker, in fact I am a fan of programs such as this, but when they chase down the dollar instead of having the feelings of the loved ones in mind, that’s when I have to say something,” Navarro added. “I’m personally ok as I have told this story myself in my documentary #MourningSon but this is an opportunity to stand up for the other families that don’t get a choice whether or not they have their stories told to millions without their consent!” You can read Navarro’s full post below. For his part, Rivera has yet to respond to Navarro’s criticism. Instead, the Trump sycophant is busy chastising real reporters for the way they’re covering Robert Mueller’s investigation of Donald Trump. Reporters are putting a bloated importance on Cohen plea as it affects @POTUS. There is 0 chance @realDonaldTrump can or will be indicted. Remember #PresidentObama massive campaign finance violation? Did any reporters now salivating over Trump similarly condemn his predecessor? — Geraldo Rivera (@GeraldoRivera) December 9, 2018 Source

Egypt has an artist that the entire world will soon know and proves it on his new single Let pre kai ro sound cross your ear path just once and he might become your new favorite artist. Hailing from Egypt, pre kai ro tone, flow and artistry is a breathe of fresh air into the industry. On the new offering, the artist showcases just why many are claiming him to be a superstar, listen as he flexes his lyrics and thoughts while still providing a cadence that is sure to hit your soul. The dynamics of pre kai ro are very interesting, with the ability to provide us with a record such as “Blink Twice” and then deliver us a record like “Friday” or “El Camino” is truly remarkable. Bursting onto the scene as of late and it couldn’t have been at a better time with a majority of the industry sounding very alike. Expect much more from the artist in the near future as he seems to be just heating up. Listen to “Blink Twice” and be sure to dive deeper into the Cairo native catalog as pre kai ro is set to have a massive 2019. Catch pre kai ro on Twitter and Instagram The post Pre Kai Ro Is Exploding On To The Scene Thanks To “Blink Twice” : Listen appeared first on Verge Campus. Source

Lawyers for Tekashi 6ix9ine contend the 22-year-old rapper only pretends to be a gangster and will ultimately be vindicated of the multiple federal crimes he’s been charged with. However, based on the evidence submitted in court this week, prosecutors believe they have 6ix9ine “dead to rights,” according to TMZ. In arguing why 6ix9ine should not be granted bail, prosecutors have submitted a bevy of photographs and video clips showing 6ix9ine at the scene of several shootings and armed robberies. In particular, prosecutors produced footage from an April 3rd armed robbery in Brooklyn which 6ix9ine actually filmed himself and later gave to a third party to post onto the Internet. Additionally, there are photographs of 6ix9ine at a pair of shootings in Brooklyn on April 21st, as well as ones of him in possession of a backpack stolen during an armed robbery. Many of the images and video clips were found on phones belonging to 6ix9ine and his former associates. Tekashi 6ix9ine’s federal trial is expected to begin in September 2019. If found guilty on the charges, he faces a minimum of 32 years to a maximum of life in prison. Source

Hexagonians have been waiting for Don Diablo to unleash this one for a while now. Finally, his official version of “I Got Love” featuring Nate Dogg is here. The producer came up with at least a couple of running variations of the track before landing on this finished product. Recently, he has been rinsing it out during sets and now his fans can crank up the loving vibes whenever the moment calls for it. It’s a return to Don’s signature style, with an extra side of feel good. Nate Dogg’s original track by the same title originally released in 2001. Nearly two decades later, his sound drives this production into a nostalgic space that’s built for the now. RIP, legend. Our only complaint — it’s a short track, clocking in at just 2 minutes and 39 seconds. Still, it gets the job done. Don Diablo is currently “locked” in his studio focusing on major preparations for his FUTURE XL show. Hopefully he finds the time to vibe out to “I Got Love” today like the rest of us! Don Diablo – “I Got Love” featuring Nate Dogg  This article was first published on Your EDM. Source: Don Diablo’s Famous ID “I Got Love” featuring Nate Dogg Gets Official Release [LISTEN] Source

Speculation proved correct in the latest Swedish House Mafia reveal. The EDM supergroup will hit up Weekend Festival in Finland next year, marking only their second time to perform in the country. SHM joins Afrojack, Headhunterz, Armin van Buuren, Zomboy, Alan Walker and more at Weekend Festival in 2019, which is set to take place over July 19th & 20th in Helsinki. Nine total Swedish House Mafia dates have been revealed thus far including dates in Stockholm and Mexico City, and now a handful of festival shows. SHM will take over Tinderbox, Stavernfestival, Weekend Festival, Frequency Festival, and Creamfields next year. See more details and ticket info at swedishhousemafia.com. Oh yeah, and there’s another time that goes off at 12/13/2018 16:00:00 UTC. Be expecting another huge announcement from SHM soon. We’ll leave you with this little clip from Swedish House Mafia’s Instagram account, because it gives us all the feels. We cannot wait for their epic return! Swedish House Mafia Photo via Rukes.com This article was first published on Your EDM. Source: Swedish House Mafia Announce Another Music Festival Tour Date Source

Earlier this year, longtime guitarist Lindsey Buckingham was unceremoniously fired from Fleetwood Mac prior to the band’s latest tour. Buckingham responded by suing his former bandmates for “fiduciary duty, breach of oral contract and intentional interference with prospective economic advantage.” Now, according to Buckingham, the two sides have reached a settlement. “We’ve all signed off on something,” Buckingham told CBS This Morning during an appearance on Saturday. “I’m happy enough with it. I’m not out there trying to twist the knife at all. I’m trying to look at this with some level of compassion, some level of wisdom.” Bucking previously said he was fired from Fleetwood Mac after he asked his bandmates to postpone their tour three months so he could play concerts with his solo band. Additionally, Buckingham said he had a falling out with Stevie Nicks, who was reportedly perturbed by Buckingham’s antics at a MusiCares benefit concert in January. At the time, Nicks gave the band an ultimatum: Either he goes or she goes. A short time later, Buckingham was informed of his firing in a phone call with the band’s manager, Irving Azoff. In a statement released when he first filed the lawsuit, Buckingham said, “Last January, Fleetwood Mac made the decision to continue to tour without me. I remain deeply surprised and saddened, as this decision ends the beautiful 43-year legacy we built together. Over the last eight months, our many efforts to come to an agreement have unfortunately proved elusive. I’m looking forward to closure, and will always remain proud of all that we created, and what that legacy represents.” Elsewhere in his interview with CBS This Morning, Buckingham revealed he had recently received an email from Fleetwood Mac bandmate Christine McVie. (The two released a collaborative album together last year.) “She wrote me an email and basically said, ‘Dearest Lindsey, just know that I had nothing to do with any of this. Know that I miss you so much,'” Buckingham recounted. “She said, ‘I believe deep in Stevie’s heart that she would like you to come home.’” As for Fleetwood Mac, they recently extended their tour into 2019. Source

The Pitch: Like it or not, the word “influencer” matters. Influencers, the eye-rolling name bestowed upon the most followed of online personalities, can make or break a person, a product, or a platform with one post. Don’t believe me? Just ask Snapchat. The American Meme — a new Netflix documentary that, despite its title, is not about Pepe the Frog — is a personality-focused chronicle of some of the earliest, most trailblazing celebrities in this field, with Paris Hilton posited as the business model’s Alpha and Omega. Hilton speaks candidly about her years spent unwittingly spawning the phenomenon, while Josh “The Fat Jew” Ostrovsky, onetime Vine star Brittany Furlan, and “Slut Whisperer” Kirill Bichutsky also open up about their rise in the online world and how it’s changed since they first cultivated their platforms. DJ Khaled, Hailey Baldwin, and Emily Ratajkowski, all of whom dominate feeds to this day, also swing by with their thoughts. For Posterity: The American Meme is by no means comprehensive, with filmmaker Bert Marcus opting for a character-based approach rather than a cultural one. As such, the reach and breadth of social media celebrity is only scratched upon, the focus more or less being built around Instagrammers of various shades rather than YouTube, Twitter, Snapchat, or Facebook celebrities. That said, the now-defunct Vine plays a major role in Furlan’s story, just as it did in the rise of numerous current influencers; the film offers a smidge of insight into the platform’s power, but never digs deep enough into its collapse to truly contextualize the social media landscape of the early 2010s. The American Meme does a better job of demonstrating Hilton’s influence on the monetizing power of personality, as well as how her fame helped usher in a new era of corporate sponsorship. Consider it a 101 course in the topic, one that would benefit anyone trying to grasp the earliest touchstones of how our culture came to be so Extremely Online. The Internet is Dark and Full of Terrors: The American Meme, a documentary that suffers from its relative toothlessness (more on that below), surprises most in the candor it culls from both Furlan and Bichutsky, who use their online fame as a lens through which to discuss their struggles with mental illness. Themes of thirstiness and loneliness arise time and again in the documentary, and though there are plenty of canned denials from the film’s more unreliable subjects (though, to be fair, all of these people are unreliable narrators to some degree), Furlan and Bichutsky confront some downright existential struggles that they continue to face. Bichutsky especially emerges as the film’s most fascinating personality. A photographer who achieved online fame by first cataloging, and then spurring on, nightclub debauchery, the “Slut Whisperer” produces blatantly misogynist and fat-phobic content that’s undeniably exploitative. And though he doesn’t seem repentant about his attitude, he certainly seems to grasp that what he’s doing carries no intrinsic value to society. He spends a majority of the film hungover, and speaks at length about his suicidal thoughts and how fucked up it is that his online persona has begun to infect the person he is in real life. He occasionally speaks about pivoting into another form of content, but the resignation in his voice speaks to the futility of such an endeavor. Online, your brand defines you. That you’ve grown out of it is irrelevant. Missed Opportunities: There’s pathos in Furlan and Bichutsky’s stories, but only so much. The film completely glosses over the fact that much of the blowback they’ve received comes from the fact that the content they produced was often blatantly racist and misogynistic. Furlan laments the response to her videos, but the gross, insensitive clips Marcus shows offer proof that the criticism was warranted. Marcus offers a similar shrug when the film touches on the Fat Jew’s history of monetizing plagiarized content, the takeaway seeming to be that “everybody does it, so why’s it such a big deal?” There’s a general lack of teeth here; Hilton, for example, is given an extremely gracious edit. She speaks at length about the pain she endured when a sex tape of her was leaked in the early ’00s, but the film completely bypasses the fact that she subsequently monetized it with a DVD release. No disrespect to Hilton on that front, but to leave it out of the conversation in an effort to bring the star more sympathy feels disingenuous. Also, there’s something downright hazardous about ignoring the myriad scandals to erupt from the influencer world. What of alleged child predator Austin Jones? Or the child abuse antics of DaddyOFive? Or PewDiePie spitting racism left and right? What about Logan Paul and his trip to Japan’s suicide forest? What about the Fyre Festival, the sham festival that was promoted by several prominent influencers? The Verdict: The American Meme is an entry-level look at the world of online influencers and the ways in which that kind of platform can either open up a slew of business opportunities or trap you in a soul-sucking vacuum of your own making. It’s vital in the sense that there aren’t enough third-party chronicles of this undeniably potent force in the online world, but it’s sloppy in how safe it feels — it’s easy to imagine the stars agreeing to speak so long as certain topics were either breezed over or avoided entirely. But Marcus’ film is a brisk, entertaining watch, and he’s assembled a striking ensemble of interview subjects, ones whose influence on the business model can’t be denied. So dig deeper into this world, we implore, and next time actually ask some tough questions. Where’s It Playing?: Now streaming on Netflix. Trailer: Source

Dillon Francis popped off in the dance music world at the beginning of this decade, putting out massive moombahton bangers and championing a genre. When he made “IDGAFOS” in 2011, that was the beginning of his huge rise, soon after releasing his Something Something Awesome EP with OWSLA and becoming a regular at HARD Summer Music Festival. But it’s been a long time since then, and Dillon Francis has grown not only as a producer but as a person, artist, TV star, entertainer, and more. And some people don’t like it. Dillon released his second album this year, the Spanish-language WUT WUT, featuring a variety of rising artists from Latin America. It’s not moombah (mostly), and it’s definitely not like Money Sucks, Friends Rule, his debut album released in 2014. It is its own thing. That’s okay. Then again, some people just can’t leave well enough alone, and Dillon had enough today. He spent the better part of an hour responding to haters on Twitter, laying down the facts and telling them to “grow up” and move on. Dillon Francis is a “mainstream whore” now. Alert the presses! Grow up. https://t.co/Rxzrntddwy — Dillon Francis (@DillonFrancis) December 8, 2018 Heeeeeere we go… *grabs popcorn* When did i sellout? I addressed this a long time ago but happy to do it again sweetie https://t.co/V8vZ3RHFTx — Dillon Francis (@DillonFrancis) December 8, 2018 Ooooooh, tell ’em, Dill! Article A Section L pic.twitter.com/zgiWMIpVdQ — Dillon Francis (@DillonFrancis) December 8, 2018 So I guess you didn’t see him at all in the three years between 2015 and when he released his album this year? Bro my last album is all in Spanish with mostly up and coming latin artists. Where was i fishing on there? This goes back to the music i was making in 2011 do ur fucking research kid. Ur banned from chat. Byyyyee https://t.co/RPJjxN4qNg — Dillon Francis (@DillonFrancis) December 8, 2018 Porque no los dos? As the great limp bizkit said “it’s just one of those days” https://t.co/tBbIJKV5h7 — Dillon Francis (@DillonFrancis) December 8, 2018 … big room? Am I missing something? I Am Dead https://t.co/MMMs2OWykM — Dillon Francis (@DillonFrancis) December 8, 2018 I need to know where the big room on my last album is cuz i didn’t even know it was on there — Dillon Francis (@DillonFrancis) December 8, 2018 I forgot my nickname was Big Room Boi — Dillon Francis (@DillonFrancis) December 8, 2018 Sick reference, bro. Your references are out of control. Everyone knows that. I am human and dancer and people need to understand that. https://t.co/R6aYDafotz — Dillon Francis (@DillonFrancis) December 8, 2018 *mic drop* anyways grow up with calling people sell out because guess what!? WE DONT EVEN SELL OUR MUSIC ANYMORE YOU JUST STREAM IT FROM A FUCKING MUSIC PLAYER! SOOO to conclude to all the salty ass lil plebs go eat shit and listen to my album WUT WUT available everywhere — Dillon Francis (@DillonFrancis) December 8, 2018 Listen to WUT WUT below.  Photo via Rukes.com This article was first published on Your EDM. Source: Dillon Francis Responds To Haters Calling Him A Sellout On Twitter: “Grow Up” Source

It’s hard to overstate just how long fans have been waiting for KOAN Sound’s debut album. The UK duo were one of the first signees to Skrillex’s OWSLA, dropping their Funk Blaster EP with the label all the way back in 2011. In the years following, they released five more EPs, both on OWSLA and Inspected Records, before releasing Forgotten Myths on their own Shoshin Records. In contrast, the last three years have been very quiet for them, a period during which dance music has exploded exponentially and gained millions of new listeners, and so they don’t have what many these days would consider to be a strong following. However, with the release of their debut album Polychrome this weekend, that’s bound to change. Rather than the sometimes blind exercises in sound design by artists like Alon Mor, or the rather single minded direction of Flume and his sound, KOAN Sound are master chameleons and sound engineers. They’re able to weave seamlessly between genre, often finding themselves somewhere in between many simultaneously. With regards to sound design, their talents are largely regarded on par with legends like Amon Tobin, Tipper, Noisia, and the like. With their debut album Polychrome, they’ve certainly more than proven their boundless abilities. The album spans 11 tracks, created over the course of the last three years. “Chilli Daddy” and “Viridian Dream” were released as singles prior to the album, demonstrating a penchant for frenetic funk as well as the jazzy, dream-filled synths they’ve become known for. The rest of the album is a brilliant combination of various styles ranging from the aforementioned funk and jazz to drum & bass, chill house, and more. Each track is treated with KOAN Sound’s own brand of polish and finesse, dripping wet synths with bright, crisp drums and beautiful melodies. The nearly hour-long journey is worth your undivided attention. Listen to KOAN Sound’s debut album Polychrome below.  This article was first published on Your EDM. Source: KOAN Sound Release Highly Anticipated Debut Album, “Polychrome” Source

NGHTMRE and Big Gigantic offer bass music enthusiasts something different with their new collab “Like That.” The new single is riddled with a buffet of genres, bringing bass, funk, trap, and hip hop into the mix. With NGHTMRE’s signature style and Big Gigantic signature sax and drums, this collaboration is anything but ordinary — it’s truly the best of both worlds. NGHTMRE reveals he’s admired Big G’s sound for years, so from the sounds of it, a collab was only a matter of time. “Some of my first festivals I ever attended I saw Big Gigantic perform and immediately fell in love with their vibe. After meeting the guys on the road and getting along so well, it was an honor to work together on some music,” he explains. “They are both so talented and I really feel like this song represents us both well.” Rounding out a successful year for both artists, “Like That” is sure to blow both fan bases away and provoke some crossover interest. Listen to their new single here and let us know what you think about the massive collab! NGHTMRE & Big Gigantic – “Like That”  This article was first published on Your EDM. Source: NGHTMRE & Big Gigantic Offer Best Of Both Worlds with New Collab “Like That” [LISTEN] Source

Space Yacht recently took over Detroit — Elektricity in Pontiac, Michigan to be exact — and they brought more than just killer music and a fun time. They brought a sense of their own community to the dance floor. Personally, I felt it from the get go. Upon meeting 2/3 of the fearless co-founders Henry Lu and Rami Perlman (sans Ollie Zhang), I was greeted with smiles and hugs and gifted a signature Space Yacht “Space Peach” enamel pin, which immediately found a prime spot on my Detroit Bad Boys jacket. But enough about me. This night was about Space Yacht. What started as a smelly basement party has blossomed into the hottest weekly dance show LA has to offer. The first-ever midwest takeover brought Chris Lorenzo, Sacha Robotti, Worthy, and LondonBridge (that’s Rami) out to play, with a surprise appearance from hometown heroes Golf Clap and support from Henry Brooks. Outside on the patio, the party was bumping with sets from Qlank, Food Fight, Young & Heddy and Adam Westing. The biggest takeaway from the night was that Space Yacht is out here with a mission to make people happy. To get a slice of what Space Yacht has to offer, check out their live streams, radio shows, and if you’re in LA be sure to hit up a party. Also, shoot them a tweet and your city could be next! With the power of the internet, space is the limit. (This will all make more sense if you just read the interview.) FOLLOW: SPACE YACHT How did the name Space Yacht come to you? Henry: The name came to us — Back in college me and our other co-founder Ollie had this conference that was for young, aspiring show producers, festival producers. We were kind of wowed and wide-eyed at the experience. We were all trying to become entertainment people in our own way. We were like, “Dude, let’s do this.” We had this conviction at the end of the night. But, by the time it happens we thought, technology is going to be so fancy and we’re going to be so far into the future that people will be driving their yachts — but in space. The name just kind of stuck around. There was no intention to make it a party or anything. It could have been an app in any other world. We had linked up with LondonBridge and we’re all kind of people that don’t take ourselves too seriously. Then, when we thought up the party we were like, “What do we call it? Why don’t we use Space Yacht?!” Rami: It was also that Ollie had a birthday. It was his birthday party and for some reason he called it Space Yacht Landing. It was my first show as LondonBridge and I could barely mix. I used to spin on vinyl, but I had just learned CDJs so I was a little out of my element. I remember he put on the flyer — it said: Space Yacht Landing. And when we started talking about the party and we found a venue, it organically turned into Space Yacht. So, it was kind of an extension of Ollie’s party. But, that party was in some random salon on the 10th floor of some warehouse. There was like 50 people there. You’re coming up on your 4th anniversary of Space Yacht — What do you wish you would have known then, starting out, that you know now? Henry: We learned a lot of things the hard way. Rami: But that’s good. Learning things the hard way is how you learn to be better at what you do. So, when you look back, yeah sure there are times a manager will be upset about something or maybe we didn’t do as well on a marketing thing or whatever. But, I think Henry and I are very big on — if we make a mistake, OK let’s not do that again. Henry: That’s just small stuff. We’re level headed people at the end of the day. We’ll handle it in a professional, level headed way. You know what I think it is? I wish we would have known to not be afraid of anything back then. Rami: But I’m still afraid of things now! I think fear is important to light the fire to make you work harder. I think we were very cognizant of the fact that we didn’t know anything. I don’t know. I don’t regret anything about what’s happened. We can look at it and say it’s a progression. We still feel that we’re in our infancy. We don’t feel like we’re where we want to be at all — but at the same time we’re lucky enough to be here in fucking Michigan being able to play a show. We feel amazing that we’ve gotten to this step. We’re always trying to make the show better, make the merch better, and make the fans happier. What can we offer them, whether it’s in a show format or online that will make them feel better about their day?! How can we service everybody, including the artists? How can we be a platform for new artists that want to rock? That want to jam. That want to Space Jam. I wanted to say — Sky is the limit! But actually, space is the limit! Rami: Space is the limit. Henry: Space Yacht’s the limit. Rami: It is infinitely expanding, but it’s expanding into what? I don’t think we can understand space, really. It’s infinitely expanding, but into what? That makes no sense. If it’s expanding it has to be expanding into something. That’s why they have quantum mechanics, which also doesn’t make any sense. At least not to me. What does it mean to bring Space Yacht to Detroit tonight? Henry: Oh, man! Well we’re on this whole mission. What we started in LA, at the time and even now, nothing has really changed. We wanted to showcase fresh stuff that wasn’t getting the looks in the clubs and we were personally digging. We figured out our own way of making it work for us. What brings us to do that outside of LA is like — people are tweeting at us. At first we were kinda taking our time, but now we feel a sense of urgency across the US and even outside the US, in Australia and in the UK. Maybe we don’t see this in our everyday lives, because we’re so immersed in it and we are what we are. But, people are saying, “We need stuff like this in our town.” Rami: I think we take it for granted, because LA is so saturated with dance music. So, we’re like, “Doesn’t every city have this scene?” And, they really don’t. I would say LA has a very unique scene that isn’t anywhere else in the states right now. That’s what we’re trying to do coming here. Both towns are great music towns, but to build something that feels like a community type thing where you’re able to put on local artists and bring someone really cool as well — I think people are appreciating that. We just did Vegas. We just did San Diego. San Francisco. We’re here now. We’re doing a lot of these shows outside of LA and realizing we can bring a fun vibe. I like the idea of being able to go somewhere at least once a month. Once a week would probably kill us. LA weekly is already enough for us. The concept to have a Space Yacht always going on, even if it’s on a monthly basis, is cool to us. That’s what we’re trying to see — if it’s viable. It could be viable. I like to party. Henry: I, too, like to party! Can you name off all the cities you’ve been to so far? Rami: We can try! There’s been a lot. Miami Music Week, great for us. SXSW in Austin. Dallas. Obviously, San Francisco. Phoenix is really great for us. Riverside in SoCal. New Orleans. Soon, New York. Soon, Chicago. Shoutout to Detroit for being the first midwestern city! Vegas. Tahoe. Man, there’s so many! Coachella. EDC. That’s not even a city! That’s a city on it’s own. Buku. We got to do a lot of festival stages, so we’ve done Life is Beautiful, Beyond Wonderland, we did this Coachella pool party. We feel honored to be invited to the festivals and and will probably do more of that come this summer. Do you guys have any bucket list cities you want to take over? Rami: Pontiac, Michigan. Henry: Sydney, Australia. Rami: I’d love to go to London, because they call me LondonBridge. I think that would be really cool! Henry: I want to do another one in Denver — that’s a cool one. Rami: Fresno. Rocked it in Fresno. You wouldn’t know it, but they know how to party. Are there certain qualities you look for when your booking talent for your lineups? Rami: No, not really. Very commonly it will just be over a joint or over Twitter DMs. And, we’ll just be like, “Dude! I love your shit!” Lately timing has become the whole thing. People are sending us music every day and then we’re meeting so many people at the shows. So, there’s no longer a criteria. The music leads, and then when we do shows in LA we do like to have a wow-factor with those headliner people. Whether that’s one big headliner or we’re putting together a lineup of up-and-comers. We just sit in a room and think, “OK, what’s cool? Do you like this? Do you like that? Oh, this person has a really cool song!” It’s just us being fans at the end of the day. The criteria is make authentic, really cool music. I think uniqueness does stick out to us. If you have a good vibe live that’s important, too. We’re fans so — make cool shit that would make any fan excited and you’ll probably get us excited as well. I like music. Sometimes you’re rolling with it, taking submissions super last minute — What’s that like? Henry: We have a combination of shows that we book four hours before doors open. Riot Ten was one example and that was one of our biggest shows. Other shows we kind of plan in advance, because we already know we want to support the artist, their brand, or their whole crew. But, why are we doing that Twitter stuff? It’s the power of the internet. We want to harness the power of the internet. Being on SoundCloud and Spotify has enabled us to discover what is now a massive artist name, which was once a lesser known name. We have to use this stuff to discover more shit. I’m almost certain we’re barely scratching the surface. Some artists like Lucati and Morelia that we support a lot in LA, that started with tweets to us in the beginning. Then, we started a narrative with them. They kept energized and kept coming out to shows and now their music is getting really good and we’re supporting them in bigger ways. Rami: What Henry said. Coming out of Space Yacht, some of these regulars are getting really great at producing. Where some of them were further than others in the beginning, now it’s like, “Damn, they’re all homies from day one and now they’re legit.” Henry: Even take Qlank who’s from out here. I bring him up because we’re doing this interview in your city. Rami: He’s been coming for the last three years! Henry: We never made the connection he’s from here — but now we know. Ultimate Space Yacht story? One to tell the grandkids… Rami: I liked when DJ Snake rolled in when What So Not was playing. It was like, everybody in dance music was there! It was in between Coachellas, so everybody was in town. Dombresky was there. Am I thinking of the right one? Henry: Yeah he was there. I think Wax Motif was hanging out there. Destructo was hanging out. Rami: That one was cool because it was like like, “Damn! What are you doing here?” Henry: Yeah, that’s the thing that’s like, “wow” to us. Not that they weren’t invited, but we didn’t know this. They just kinda pulled up. Afrojack was one of those guys. That was crazy. Rami: I think the theme you hear is that we’re fans and we’re just so stoked to have this as our day jobs. We really work hard to make this experience really awesome and special for people. We just want to make it a night that you want to talk about with your friends, over and over again. We’re pretty tame I think. When I think of how we could be rocking out and being crazy — it’s like, I just got married. I go to bed early. OK, so a Space Yacht party in outer space — What does it look like? Henry: I got this whole thing planned out. It’s a music festival called The Galactic Mission and the bathrooms are on planet Uranus. Rami: There’s no gravity. It all floats. [laughs] Henry: The trap and bass stage is on Trappist 1, which is the astroid. Mars is where you have the house stage. Damn! You’ve been asked this before! Rami: No, we’ve thought about this! This is our whole festival concept. Henry: You see where I’m heading with all this. It’s called The Galactic Mission music festival. Or, we could call it something else, but — Rami: We should call it Space Yacht! Henry: Basically, Elon Musk, we’re coming for you. We’re gonna partner with you. Advice for dreamers like yourself who want to start something up, maybe it’s a Space Yacht or something else — What’s your advice for that person? Rami: Work your ass off. Save your money. Henry: I think it’s like, be good people. The reason I say that is because I think there are people who come in here with the intention that it’s a money thing and solely a money thing or a clout thing. That’s supposed to be the byproduct, that’s not supposed to be your intentions. Just be good people and let things happen how they happen. But, work your ass off. Drink water. Rami: Yeah, no! Seriously, being nice is actually the most important thing because people want to work with who they like. Having an attitude or being a prima donna — even though I think it goes without saying — sometimes you come across people who didn’t get that memo. There’s always somebody more famous, talented, rich, whatever than you, right? We really try to make friendships and work with people that we like. We book a lot of people that we also like personally in addition to their music. And, we won’t book people who we think are kind of assholes so — be nice! Does Space Yacht have a mantra? Henry: Weed is tite. Rami: Weed is tite, yeah. Little bit of quick fire — Favorite labels right now? Rami: Oh yeah! Box of Cats! Night Bass. Fucking Dirtybird. Disciple. Henry: SubCarbon. Rami: Buygore. Henry: Black Label. Defected. Rami: OKNF and Box of Cats are always the ones who find it first. Henry: Drumcode is a classic. Rami: Homies like Sinden’s House Line and TONS & TONS by Stranger and Psycho Disco! by Treasure Fingers. We like that too. We like to see artists that are homies putting out records. Henry: I know this is supposed to be quick fire, but we love working with people in that regard. 4B has a label, MACA. We could go all day with naming these passion projects. This is their vehicle to do really creative things, so shoutout to people like that! Favorite artists right now? Henry: Schade, for me. Lucati is really great. VNSSA. Rami: Volac are really great. They’ve been getting it for a while, but they are still one of my favorites. This guy, Vouti — I just did a collab record with him and I think he’s like the young Chris Lake. He’s writing great house hits. Of course, Chris Lake and Fisher. All that stuff is great, too. Dombresky. Habstrakt. AC Slater. All of the people you like, we like! Favorite song? Rami: Favorite song? Like if you have to play something 10 times in a row right now… Rami: I’m playing “Animal” by LondonBridge and Vouti. That’s what I’m playing! Over on a loop! That shit’s fire! Henry: I’ve got two. “Schadeifornia” by my boy Schade. There’s another one called “Headbang Gang” by Trollphace and Trampa. Two great songs! Favorite mix? Henry: It’s a Space Yacht one, not sure what number it is, with Nitti Gritti. Favorite clothing brand? Henry: Actually, this is not even biased. We just started up Space Yacht in-house design and it’s kind of dumb, but we’re in love with our stuff. I’m really proud of the team and what they do, beyond just logo stuff. Favorite pizza topping? Henry: Ohhhh! Red onion and barbecue chicken. Rami: Sausage. Henry: Do you like pineapple on pizza? Me: I don’t like it — but I’ll eat it. Henry: OK, the interview is over. [laughs] Photos via Treevalds This article was first published on Your EDM. Source: Space Is The Limit: Space Yacht Co-Founders Talk Detroit Takeover & Beyond [INTERVIEW] Source

No one thought that Insomniac could get any better, but, they just did. Just a few days ago, Insomniac surprisingly announced the launch of Insomniac Music Group which will be known as an “in-house record label services groups overseeing distribution and management of music releases for established and upcoming artists, and serving as the umbrella from the company’s own internal imprints.” Insomniac already provides label services to some of the most popular and in-demand artists in the EDM industry such as Fisher’s Catch & Release, Chris Lake’s Black Book Records, and famously NGHTMRE & SLANDER’S Gud Vibrations. Insomniac Records will now be under Insomniac Music Group, and has spawned Bassrush Records, HARD Recs, IN/ROTATION, Dreamstate Records, and Discovery Project which will forever be extensions to the label. This is a guarantee of a continuous diverse and eclectic variety of music. Visit Insomniac here! The post Insomniac Launches Insomniac Music Group Label appeared first on EDM Maniac. Source

Ninjawerks Volume 1 is out next Friday, but fans can already listen to released tracks from Nero, 3LAU, Tycho, and Alesso. Now, Dillon Francis and Kaskade can be included in that list, with two newly released singles for the compilation. “LFGD” by Dillon Francis features the producer’s usual style of moombahton and bass, also bringing it into more of a swinging trap vibe toward the end. Small vocal contributions from Chris Melberger help to give the track some live appeal, but there really aren’t any surprises with this one. Kaskade, on the other hand, delivers an enthralling new track called “On Your Mind.” It’s a sort of deep house amalgam with a thrilling melody and vibe, featuring additional production from Late Night Alumni member Finn Bjarnson. Of the two new tracks, this is definitely the more addictive. Check out both tracks below, and pre-order the album on Ninja’s website here.  Photo via Rukes.com This article was first published on Your EDM. Source: Kaskade & Dillon Francis Drop New Songs For Ninja x Astralwerks Compilation Source

Wooli and SampliFire‘s take on Seven Lions and Blastoyz‘s “After Dark” just blew our minds in the best possible way! Although we knew the kind of relentless dubstep artists we were dealing with, the smooth, extended open heard here almost had us fooled. Instead of working into the psytrance arrangement of the original, Wooli and SampliFire build up the anticipation perfectly, and pause for a playful sort of “psych!” before unleashing their own madness on this remix. As far as epic builds go, this is how it’s done. Gradually increasing intensity drives the track forward and we’re about 1:45 in before we hear any sort of drop. And, what a drop it is. Wooli and SampliFire defy the dubstep recipe for this one, allowing room to breathe on both ends of their thrashing climax. Listen to “After Dark” here. The original is also below so you can hear the difference between both extravagant productions. Seven Lions & Blastoyz – “After Dark” (Wooli & SampliFire Remix)  Seven Lions & Blastoyz – “After Dark” (Original) This article was first published on Your EDM. Source: Wooli & SampliFire Transform Seven Lions “After Dark” Into Sheer Madness [LISTEN] Source

Aside from his usual dance music tracks, Marshmello has a strong record of crossover hits in the realms of hip hop and pop, too. In the past, Marshmello has collaborated with Bastille, Selena Gomez, Migos, Juicy J, Amr Diab and more. Now, as his final track of 2018 (unless there’s another surprise waiting), he’s dropped a new tune with Roddy Ricch, “Project Dreams.” If you’re not already a fan of hip hop, this track likely won’t be the one that turns you. It’s a slow and simple beat with auto-tuned vocals; some embellishments in the synth melody and the snap of the drums clue you into the fact that maybe it’s a Marshmello track, but aside from that, it’s your standard hip hop beat. “Project Dreams” never strays or changes from the initial beat, so if that’s all you’re interested in, it gets boring pretty quickly. And with the auto-tune, Roddy Ricch may as well be any other rapper, his voice indistinguishable from any other aspiring rapper with a decent microphone and some software. If nothing else, we just hope that the music video features Radon Randell. Check out “Project Dreams” from Marshmello and Roddy Ricch below.  Photo via Rukes.com This article was first published on Your EDM. Source: Marshmello Drops New Hip Hop Record With Roddy Ricch To Finish Out 2018 Source

1981 was a bad year for New York City. By the time the big red apple dropped in Times Square on New Year’s Eve, reports of violent and property crime in the city had peaked at 1,214,935 (a record that still stands), West 42nd Street’s warren of porno theaters and by-the-hour motels had prompted Rolling Stone to declare it “the sleaziest block in America,” and the New York Times had unknowingly heralded the decade’s oncoming AIDS crisis with the chilling headline “Rare Cancer Seen in 41 Homosexuals.” Even the winter holidays weren’t immune to the malaise. December saw the city weather a 17-day strike by private trash collectors that produced a rash of garbage fires, violence, and refuse-piled streets. An op-ed in the Times from the day before the strike’s end described the situation with the terse poetry of a wartime dispatch: “Plastic bags break and begin to smell; some have caught fire, singeing adjacent buildings; fears of vermin and disease grow. Piled-up trash hides what’s left of the city’s beauty. Intimations of disorder corrode what’s left of civic spirit.” This is all a long way of saying that you’d be forgiven for doubting that anyone in that city, at that time, would have the energy or interest in recording one of modern pop music’s most essential Christmas records. Luckily, the “anyone” in this case was the motley roster of ZE Records, the haven of mutant disco and no-wave overseen by tastemakers Michael Zilkha and Michel Esteban. By 1981, ZE had established its gonzo bona fides through acts ranging from the minimalist punk menace of Suicide to the skronky sax provocations of James Chance to the avant weirdness of Lydia Lunch to the near-tropical funk of acts like Kid Creole and the Coconuts. They were the last label in town you might expect to produce a Christmas compilation, a fact which made A Christmas Record as fascinating as it was unlikely. Most famous now for including The Waitresses’ still-underrated “Christmas Wrapping”, the 11 songs that comprise A Christmas Record’s first two releases (the UK-only 1981 version and the wider 1982 release) broke with a treacly tradition that saw even certified rock stars produce what Times critic Robert Palmer called at the time “some of the direst, most pernicious Christmas records of all time.” Instead, listeners were greeted with holiday bleakness, delivered by songs that came by their direness not through false cheer, but through the honest yuletide blend of humor and anger and despair. Alan Vega and Suicide lead the way here — wandering through Martin Rev’s murky, mercurial no-wave soundscapes, Vega delivers two tales of winter desperation (“Hey Lord” and “No More Christmas Blues”) with all the affect of a walking Valium — but they aren’t the only ones keyed into Christmas’ darker moods. “Christmas with Satan” finds James Chance torturing classics as he tacks up tinsel in hell while “Things Fall Apart” lets ZE secret weapon Cristina systematically dismantle the case for Christmastime nostalgia with score-settling lyrics steeped in wry melodrama. Even the brightest songs on the record are tinged with bittersweetness. Davitt Sigerson’s should’ve-been-a-standard “It’s a Big Country” recognizes the loneliness at the heart of the holiday phone call, The Waitresses’ hit “Christmas Wrapping” ends with a potential love affair that’s still powered by canned cranberries from an all-night A&P, and August Darnell’s impossibly catchy “Christmas on Riverside Drive” lauds NYC’s holiday vibe while celebrating the scenic Manhattan road whose architectural glory days called back to the fading past rather than towards any future. If A Christmas Record’s only legacy came from its status as a forlorn holiday artifact from the year New York hit rock bottom, it would still be worth a listen. However, like the holiday standards they sought to lampoon, the songs here found a way of transcending their own time. Taken together, they provided the first real example of what an “alternative” Christmas record might sound like, one that’s guided the ethos of indie-label holiday releases ever since. Taken individually, they continue to offer a cathartic (but never wholly depressing) outlet for anyone who’s ever felt left out from a season predicated on joy. In 2018, that number’s probably pretty high. Things have changed since 1981. New York got better, then worse again for different reasons. ZE shuttered in 1984, then came back in 2003. Alan Vega and Patty Donohue died, which still feels unfair. Christmas happened. It happens every year, even when things seem terrible. Even when things are terrible. It’s not nostalgia, then, with which we look back upon those days. We don’t long for their return so much as we appreciate the people who lived through it all, the ones who looked at the garbage piles and the peep shows and the stick-up artists and made something as stupid as Christmas music anyway. If you’re feeling blue between now and the 25th, spin this record. You won’t necessarily feel better, but you’ll almost certainly feel less alone. Essential Tracks: “Christmas on Riverside Drive”, “Christmas Wrapping”, and “No More Christmas Blues” Source

Chris Grey, pushes sonic boundaries of spectral R&B with The Beginning EP. Drawing from pop, trap, soul, electronic, and rock influences, Toronto’s Chris Grey demonstrates his musicality on his debut EP, properly-titled, The Beginning. The 4-track project features the sensual “When I’m Gone,” an invitation to spend the night together without the complications of love or a relationship over explosive synths, while “Unusual” conveys the complexities of unexpected emotional attachment, amongst dark undertones. “Give” and “Goodbye” continue the story to its inevitable conclusion. With a trademark sound established, Chis Grey takes listeners on a resounding and vulnerable journey difficult to stop listening to. The lavish guitar solos add an additional layer to his emotional and vulnerable, contemporary R&B work. It’s only the beginning for this talented young artist. Like The Beginning? Follow Chris Greay for daily updates via Twitter and Instagram. The post Chris Grey Creates a Dark & Unusual Atmosphere on Promising Debut EP : Listen appeared first on Verge Campus. Source

Warren Haynes’ Christmas Jam will celebrate its 30th anniversary this weekend, with artists such as Eric Church, Gov’t Mule, Jim James, Grace Potter, and more bringing the soul to Asheville’s U.S. Cellular Center. Also on the bill is Dave Grohl, who will unleash his 23-minute prog-rock instrumental Play with the assistance of some special guests. Among them are Them Crooked Vultures bandmate Alain Johannes, Jane’s Addiction guitarist Chris Chaney, Foo Fighters collaborator Drew Hester, producer Greg Kurstin, and session musicians Jason Falkner and Barrett Jones. See what they’ll each be playing in the below tweet. Can't wait to #PLAY with these guys tomorrow night! LOOK OUT ASHEVILLE! Dave Grohl: drums Greg Kurstin: keyboards Alain Johannes: guitar Jason Falkner: guitar Barrett Jones: guitar Chris Chaney: bass Drew Hester: percussion pic.twitter.com/4Q93rDNIxe — Foo Fighters (@foofighters) December 7, 2018 Grohl released a documentary about the making of Play this past summer. “The entire song was played by Grohl, each time on a different instrument, live for 23 minutes,” said a press release that accompanied the documentary. “Beginning with the recording of the entire drum track purely from memory, with no sheet music or guide tracks, followed by guitar, then bass, then keyboards, and so on… Grohl tasked himself with a one-man-band recording session that was forced to start from the very beginning of the 23-minute song any time the slightest mistake was made or if Grohl felt he could do a better take.” Source

Iconic artists Armin Van Buuren and W&W have declared to the universe that their ” Ready to Rave.” How do they do this you ask? They jam out to their newest collaboration just released December 3rd. This comes as a pleasant surprise as W&W have finally revealed their new song ‘Rave Culture’ apart of their new label (Rave Culture). Only highly attentive fans would’ve been able to sense this collab coming our way. At the end of the ‘Rave Culture’ music video, Armin had a small cameo role which served as a huge hint for future collaborations between the two music acts. Both acts had dynamite things to say about this new release. Armin Van Buuren: It’s been such a pleasure to see W&W turn from two young, talented boys into one of the most successful dance music duos of our time. Each time we decide to collaborate, we hit it off instantly and get some amazing results in the studio, just like we did now with ‘Ready To Rave’. This track is definitely meant to get people to go nuts and rave relentlessly wherever in the world they are, so I hope everyone likes what we came up with this time.” W&W: “When the idea of starting our Rave Culture label crossed our minds, we knew we wanted to center it around records that could really drive a crowd crazy. ‘Ready To Rave’ fits that bill completely, and it’s always nice to hit the studio with someone who has released many of these tunes. It’s been one of the biggest tracks from our live sets this summer, so we’re having high hopes for this one.” Take a listen to “Ready to Rave” by clicking here! The post W&W and Armin Van Buuren are ‘Ready to Rave’ with New Song appeared first on EDM Maniac. Source

As far as legendary songs in dance music go, “Sad Machine” by Porter Robinson is pretty high up there. Lots of artists have tried their hand at remixing it, some good, some bad. KLOUD has just put out a new remix of the song, but really, every sound in the track is created from scratch making it even more impressive. It’s hard to put my finger on just what it is about the track, but it really does feel like a true remix, whatever that means. Perhaps it’s the fact that it actually was made from scratch that it has a sort of sincerity to it – it’s not as if KLOUD is taking someone else’s work and modifying it like in what happens with a remix usually. Rather, by doing it all from scratch, it sounds like a whole new track. Whatever impression you take away from the remix, whether it’s as nebulous a description as the one I just tried to provide, or simply a warm feeling rushing over you, KLOUD has definitely done the original justice. Check out KLOUD’s “Sad Machine” remix below! This article was first published on Your EDM. Source: KLOUD Recreates Porter Robinson’s “Sad Machine” And Gives It A New Twist Source

The beauty of a rave is it knows no bounds. A nightclub? Built for a rave. A desert? Nothing stops a rave out there. An abandoned prison? Why not? However, no one expected Chernobyl of all places to hold a rave. Well, this is 2018, and this weird year ain’t over yet. Turns out a rave can really go anywhere, as Chernobyl hosted its first-ever rave, called ARTEFACT. OK, ARTEFACT isn’t officially a rave per-say. The website calls it a “contemporary art and media object” to spread awareness of Chernobyl’s struggles. For those who don’t know, the world’s worst nuclear accident occurred at the Chernobyl Nuclear Power Plant in 1986. It ruined the neighboring Ukrainian town Pripyat, and resulted in the direct deaths of 31 people. More than 30 years later, ARTEFACT brought live art, music, VJing and more to the abandoned nuclear site. The Guardian documented the event, which is officially supported by the Ukraine military. Light projections decorated the abandoned buildings, and in photos you can see guests holding selfie sticks and gathering together. Both Ukrainian and international artists helped the event come to life. There may be dark subtext behind organizing an event like ARTEFACT at Chernobyl, but there’s hope behind it too. Raves bring us together, even in the darkest times…and in the seemingly darkest places. SONG OF THE WEEK This article was first published on Your EDM. Source: Read About Chernobyl’s First-Ever Rave, ARTEFACT Source

Live Nation introduced its festival passport in 2017, giving anyone access to all of its festivals year-round for just $799. Considering Live Nation throws events like Austin City Limits, Bonnaroo, Governors Ball, Lollapalooza, and more, it’s a steal. However, if you don’t feel like going to all of those festivals, Insomniac has you covered with their own passport, though the price difference really isn’t all that much. There are three tiers of passports available: A California festival option, costing $50 per month and giving you access to all of the California festivals on Insomniac’s list. A US festival option for $60 a month, adding festivals such as EDC and Electric Forest, which are not located in California, in addition to the California festivals. A “US Max” option for $80 a month, including all Insomniac festivals, concerts, and raves. In addition to the monthly cost, you pay $20 per event and get benefits such as priority access, a dedicated entrance, and other perks. All options are only valid for GA entrance. To recap, if you get the US Max option, you’re paying $960 for the year, plus $20 to whatever event you go to. An email invitation for the program was sent out to Insomniac fans today, but it apparently wasn’t meant for everyone. An error in Insomniac’s system sent the invitations out wide. However, those who weren’t supposed to receive an invitation still did not receive a password needed to login to Insomniac’s system to purchase the passport. If you’re a die-hard Insomniac event goer and travel to at least 3+ festivals per year, the Insomniac Passport could be right for you. H/T edm.com | Original Photo by Cory J Photography for Your EDM SONG OF THE WEEK This article was first published on Your EDM. Source: Insomniac Accidentally Leaks Its Own Festival Passport Source

David Guetta aka Jack Back just dropped a bomb on us. He returns to his underground roots yet again, with a thrilling Toolroom-released single, out now. Hardly recognizable as a Guetta production, the iconic producer’s new alias is in full effect with “Grenade” as he makes his label debut. Described as a “no-nonsense, straight up club banger,” the new single gets to work with a jacking tech house beat whist referencing vocals from Adam Freeland‘s classic, “We Want Your Soul.” The production, stacked with familiar vox, insane rhythm and plenty of warehouse tendencies, will have listeners at its mercy. A rave anthem, transformed right before our very ears. “Grenade” is a true party starter, a dance floor reviver, and is poised to be one of the most played out tracks through the upcoming NYE revels. Raise your glass to this one — because Jack Back is simply refreshing to hear! P.S. Listen to even more Jack Back here. Jack Back – Grenade  This article was first published on Your EDM. Source: David Guetta aka Jack Back Makes Insane Label Debut with “Grenade” [MUST LISTEN] Source

“Hail corporate!” proclaimed America. It’s no secret Americans love their corporations, especially those on the scale of McDonald’s. Say what you will about the fast food eatery, but it continues to succeed worldwide. What’s left on McDonald’s plate (no pun intended) to achieve? How about a rave? Next week in Los Angeles, McDonald’s will host the Rise N’ Rave event with headliner Manila Kila. Running from 6 to 8 a.m. at the Globe Theatre, Rise N’ Rave highlights three new McDonald’s breakfast items. The triple breakfast stacks may as well be the second headliner, as they share prominent billing with Kila himself. NextShark and ISA are helping organize the event. The best part? The event is completely free. If you try one of the triple stack sandwiches before the event and bring your receipt, you’ll claim VIP access. The event itself may confuse or even disappoint more underground EDM fans, but at least it brings more awareness to Manila Kila’s talent. Check out the Rise N’ Rave event next Thursday by RSVPing through the Facebook page.  Cover Photo: Rukes SONG OF THE WEEK This article was first published on Your EDM. Source: Manila Killa Headlines Official McDonald’s Rave Source