Ultra Music Festival (UMF) has proven its RESISTANCE brand to be a well-oiled industrial machine that unceasingly manufactures some of the finest house and techno lineups in the modern festival circuit. The revelations of its 2019 lineup continues this process. For its 2019 edition, Ultra Miami will present the RESISTANCE concept in an unprecedented manner, devoting a considerable portion of the Virginia Key festival grounds to what UMF organizers have newly dubbed “RESISTANCE island.”
In the midst of RESISTANCE’s luster gleams a back-to-back Carl Cox set. Ultra maintains the mystery for now, as festival organizers currently conceal of the name of Cox’s back-to-back partner behind the decks, which Ultra will expectedly declare at a later date. Ultra Music Festival will record its inaugural edition at its new home of Virginia Key from March 29-31.
Chicago’s own Chance the Rapper serves as the sixth Backstreet Boy in a Doritos commercial that promotes the chip brand’s latest flavor on the snack scene, Flamin’ Hot Nacho. The Chance-assisted commercial will debut during the commercial breaks that interpose the live screening of Super Bowl LIII on Feb 3. Fortunately, fans of the “No Problem” artist and the recently reassembled boy band alike can get an advanced look of Chance and The Backstreet Boy’s commercial collaboration ahead of game day—thanks to a teaser from Doritos.
The playful clip shows the seminal five Backstreet Boys posing shoulder to shoulder for the camera. Chance The Rapper enters the frame three seconds into the preview, to squeeze his way through the horizontal line of denim-clad Backstreet Boys, thereby chipping out some commercial screen time of his own.
Still riding the ravaging momentum of her worldwide “thank u, next” success, Ariana Grande isn’t done flaunting her independence as an artist, and as a woman. The sweetener singer has just released a lavish visual for her most recent track, “7 rings,” a contemporary, hip-hop-indebted pastiche of the The Sound of Music classic, “My Favorite Things.”
The video, touting a pink monochromatic color scheme (down to the gleaming lip gloss), follows Grande through a decadent all-girl house party. Grande is dripping in diamonds as she rap-sings about what she can afford or manifest for herself, which is, well, pretty much anything. Between shattering a YouTube record for most plays within a 24-hour period with the video for “thank u, next,” securing a slot at Coachella as the youngest headliner in the festival’s history, and queuing up a new album, Grande has plenty to boast about.
Just months after the release of LSD‘s stroke of “Genius,” the power trio has resurrected the track, this time with a twist. The group has enlisted another member of pop monarchy, the recently resurfaced Lil Wayne, to bump the track up a few more ancillary IQ points.
Diplo‘s string synths and bumping kicks provide a momentous pedestal for the rap icon’s flippant rhyming. Weezy’s contributing intro verse is a lesson in brevity. In under 25 seconds, the rapper spits his peace and ducks out, giving way to Sia and Labrinth’s prevailing, full-bodied croons. Tha Carter V creator also materializes in the new video accompaniment as a floating, dreadlocked wizard, complete with the trio’s signature breathing colors and off-the-wall animation.
Just four tracks into their auspicious union, LSD has seized the attention of both electronic and pop patrons. With Diplo’s soon-to-be-disbanded Major Lazer project on the backburner, there’s likely to be lots more LSD on the tips of our tongues in coming months.
British DJ, SUAT welcomed Prime Minister Theresa May’s Commons defeat with a 30 minute, Facebook live streamed “Brexit DJ set.” After May’s Brexit proposal was rejected by 230 votes, she was cast to a no confidence vote, of which she survived today, keeping her in office.
As protesters gathered outside the Parliament buildings, SUAT took to his turntables and Facebook live for an impromptu house DJ set as members of parliament voted. The cleverly positioned set amassed 150,000 views in a short period of time as the world reacted to May’s Brexit proposal defeat. 10 minutes into the set, police arrive and SUAT doesn’t miss a beat, continuing to dance and have a casual conversation with the officers. They let him carry on, so his lighthearted explanation seemed to have quickly checked out. Also, the set is pretty damn good, so perhaps the fuzz was just looking to get down with SUAT during the landslide vote.
Deadbeats has been letting out some heavy sonic emissions from their Zeds Dead-owned compound. The latest, “Static Theory,” comes to listeners from the LA-based Wax Motif, (the man behind the wall-to-wall festival favorite, his “Fly Kicks” remix) and a fresher face, Warez, who recently materialized on the electronic horizon with a Kayzo collaboration and a pair of Dim Mak guest-mix appearances.
“Static Theory” is anything but stagnant, drawing from Wax’s notoriously elastic beats and skittering hi-hats and Warez affnity for low-end bass. The track’s interference-like textures only add to its pulsing allure, which is heightened by the track’s visual–wherein a sports car endures a slow-motion standoff with a Chinese dragon comprised solely of neon rave lights.
Toto’s inspiring 80s smash “Africa” found new life in 2018 after Weezer covered the track thanks to a fan’s viral campaign. The cover became the American rock band’s biggest hit in years, also igniting a flame to the original, and Toto returned the favor by covering Weezer’s “Hash Pipe.” Pitbull even sampled “Africa” in his newest single “Ocean to Ocean,” which was featured in the Aquaman movie soundtrack.
Today, the audio artifact is ingrained in the airwaves for the rest of eternity thanks to Namibian artist, Max Siedentopf, who created an art instillation in the Namib Desert of seven white pedestals and speakers on each platform blasting “Africa” on a continuous loop. The speakers are solar powered, and since they’re in the desert, there should be no shortage of Toto’s bliss unless it rains down in Africa.
Siedentopf told BBC, “I wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa. Some [Namibians] love it and some say it’s probably the worst sound installation ever. I think that’s a great compliment.”
Techies and programming junkies who follow deadmau5 on Twitch follow the legend as he plays video games and dives into various creation workstations are often given an in-depth peak into his thought process. Sometimes, the mau5trap head honcho reveals production releases, which is exactly the case with his most recent stream. A secret track he made with streamer dronehands, “The Horn Of Jericho,” was revealed, of which deadmau5 reported to have contributed to around half the project — namely, the melody and synth design.
The orchestral low-end bass creates a bed for the high end plucks to go wild, while the percussion offers a more consistent energy. It’s certainly a different side to Joel Zimmerman more percussive arrangements, experimenting with melody structure and patchwork elements.
In other deadmau5 news, he recently released the music video for “10.8” with Mr. Bill off his mau5ville: Level 2 project. It’s an animated, computerized video of organized chaos, contrasting sublimely alongside the complex percussion audio. A busy start to 2019 for sure in Zimmerman’s world, whose debut score is also set to hit Netflix on January 25 in the film, Polar.
The lamentable story of Fyre Festival will live on, thanks to a new Netflix documentary that weaves a narrative of the entire abysmal string of events leading up to the disaster of a music festival.
For anyone looking for a tutorial on how not to organize a music festival, Ja Rule and Billy McFarland are the ideal instructors. The failed and now infamous “festival” ended in thousands of people stranded on an island in The Bahamas. As a result, McFarland will be facing up to six years in prison and owes more than $25 million in damages.
According to Netflix, the documentary will be told by the organizers themselves. The two-minute trailer showcases the mass panic of the workers as they attempted to prepare for the incoming fans, knowing that the conditions were not suitable to host them. It also displays behind the scenes moments with both McFarland as he conned investors to come on board, even though the execution of the festival was becoming increasingly unlikely.
The documentary will be titled FYRE: The Greatest Party that Never Happened and is set to be released on Netflix January 18.
deadmau5‘s innovative genius knows no bounds, as the mau5trap label head’s current technological challenge, the Cube 3.0, illustrates. As deadmau5 prepares to present his new cube-ular setup during his headlining slot at Ultra Music Festival 2019, he’s shared some sneak peeks of the new and improved Cube through his Twitch channel, the live streaming platform that, in the past, has been deadmau5’s medium of choice for teasing unreleased music, like his Rob Swire collaboration, “Monophobia.”
deadmau5 recently returned to his virtual Twitch stomping ground to share a Cube 3.0 progress update with his fans. The mau5ville compilation curator has streamed more than 24 hours of his work on the Cube thus far, which show the producer tinkering with a variety of different software programs like Cinema 4D and Houdini FX, to usher the Cube 3.0 from idea to reality. His latest latest Cube 3.0 video report is the most comprehensive to date, in its depiction of the cube’s intended shape, the surrounding stage design, and the cube’s LED styling. deadmau5 enthusiasts can follow live developments of the Cube 3.0 by subscribing to his Twitch channel, here. Channel subscribers will receive a notification when deadmau5 next goes live, so followers can be sure not to miss a minute of the creative action.