Last night, Wiz Khalifa went on Twitter to react to Kanye West’s new album title, WAVES, and basically tried to call him out for stealing the wave movement attributed to Max B from the early 2000s. Now Kanye has clapped back at Wiz on Twitter, sending the situation to a whole other level. In the series of tweets, Kanye said that Wiz’s first single—presumably “Say Yeah”—and most after were “corny as fuck.” In one of the tweets, Kanye brought up Wiz tweet his wife’s initials, but it seems that Wiz was just tweeting about a strand of weed.

Kanye also said that Wiz stole his “whole shit” from Cudi in the first place. The series of tweets were both harsh and pretty funny, as he tweeted out Wiz’s “Work Hard Play Hard” song title with a crying Kim Kardashian emoji.

He also said that even though he’s currently making the best music of his career right now, he still hasn’t lost his pettiness. That is especially apparent in ‘Ye’s later tweets where he brought in Amber Rose and her son with Wiz. The rant was long and took multiple twists and turns, and Kanye finished it with the reminder that WAVES drops on Feb. 11. Like we could forget. While Wiz has stayed quiet on his own Twitter, the official Taylor Gang account is sending out some quite vulgar messages toward Kanye and Kim. We’ll update as this story progresses.

Oh niggas must think I’m not petty cause I’m the best that’s ever made music

— KANYE WEST (@kanyewest) January 27, 2016

Bro first of all you stole your whole shit from Cudi

— KANYE WEST (@kanyewest) January 27, 2016

Second, your first single was corny as fuck and most there after

— KANYE WEST (@kanyewest) January 27, 2016

work hard play hard pic.twitter.com/zp2P7FMtVp

— KANYE WEST (@kanyewest) January 27, 2016

3rd no one I know has ever listened to one of your albums all the way through

— KANYE WEST (@kanyewest) January 27, 2016

4th you let a stripper trap you

— KANYE WEST (@kanyewest) January 27, 2016

Posted by Zach Frydenlund (via Complex)

And we’d say ‘Listen here!’ but unless you caught it on BBC Radio 1 at 1pm or have a Tidal subscription, you can’t, because she’s only gone and put it behind Tidal’s pay-to-listen wall.

With reports suggesting that we could be finally getting Rihanna’s long-awaited eighth studio album ‘ANTI’ this week (probably Friday, in line with global music releases these days but possibly before then in a quasi-Beyoncé move), we finally got a listen to a new track from the album in the form of her collaboration with Drake entitled ‘Work’.

FIRST SINGLE #WORK ft. @Drake from #ANTI is here!! Listen up –> https://t.co/CYqrvPRahc pic.twitter.com/0WvHi4x3Ut

— Rihanna (@rihanna) January 27, 2016

‘Work’ is the first time Rihanna and Drake have teamed up since 2012’s ‘Take Care’. The reason there’s such hype around the album is because we actually haven’t had one from her since 2012’s ‘Apologetic’, and before then Rihanna was banging out albums annually.

Whether ‘ANTI’, which already has quite the mix of songs on it (‘Bitch Better Have My Money’, FourFIveSeconds’ and ‘American Oxygen’), lives up to the hits of yore remains to be seen.

Log in to listen or listen here on Tidal: http://listen.tidal.com/album/56638582

Posted by David Miller

Pioneer DJ has shown off a prototype CDJ and mixer at NAMM that make the flagship Nexus range look like toys.

As DJ Tech Tools reports, the CDJ-Tour1 and DJM-Tour1 models are high-end devices designed to be used in a festival, stadium or large-scale club setting. The main selling point for each is an attached monitor that looks to be roughly the size of a small laptop screen, which is used for a built-in version of the company’s Rekordbox DJ software.

Apart from the monitors, the Tour models looks to be much the same as the premium Nexus 2 models, though the DJM-Tour1 features additional controls and a second headphone socket. The CDJ-Tour1 also includes shock-absorbing bumpers, presumably for when you want to throw the unit at your fans or crowdsurf over them in an inflatable boat.

For home or small club use the Tour range is going to be overkill, but if you’re a touring EDM DJ who uses Pioneer DJ’s Rekordbox DJ software, they’re likely to be high on your wish list.

Pioneer DJ has yet to confirm release date or pricing.

Posted By: DJ Tech Tools   

Video By: Brian S Reed

Fresh off NAMM, I was able to catch up with Mr. Collipark AKA DJ Smurf who is responsible for such hits as Ying Ying Twins “Wait”, Pitbull “Shake”, David Banner “Play”, Bubba Sparxxx “Ms New Booty”, and much more. The veteran producer by way of College Park, GA (hence the name “Collipark”) teamed up with virtual instrument creator and distributor StudioLinked to create BassX (pronounced “Basics”) — A virtual drum machine that incorporates several beat patterns into once digital space.

Collipark broke down the reason behind coming up with this software.

“For me, it was hard for me to find one product that solved all my needs,” he explained. “I’m a drum guy — I’m a club drum guy,” he continued. “I wanted to be able to go to one place and find all of these dope sounds under one software. And that’s what BassX does. Whether you’re new to the game or you’ve been doing beats for 20 years, BassX is your one-stop shop for that knocking percs and glass-shattering bass.”

Watch video here.

BassX is now available for pre-order. For more info, visit the StudioLinked website.

– Dennis Blaze

This week we released our new Club Killers clothing designs, and everyone has being showing a lot of love by ordering it. They were sitting on the computer waiting for the minute the products went online in our store section, ‘When can I buy it?’ they comment. If we used our imagination I would picture them waiting outside the store, in a line going around the block as if they would wait for a new Iphone to be release. “Is it open yet? Is it open yet?” and as soon as we opened the doors they would rush in, trample over each other just to get their orders in first.

I know, I have a wild imagination, but I am just letting you know, get your orders in before we run out. I hope you like the new collection from The World Famous Crew, Club Killers.

Model: Jonah Claunch Photos by: King Kast 

The legendary DJ Scene came through the office last week to kick off our Kings of the Decks T-shirt campaign! We’re so honored to have the privilege to collaborate with one of the illest to do it! If you haven’t seen him live yet make sure you make time to stop by the club when ever he is headed to your town. Keep up with his dates @DJScene

Kings of the Decks T-shirt is now available. Click here to purchase.

Posted by Alex Dreamz

Though it’s not technically a G.O.O.D Friday, we still get more new music from Kanye West tonight, as he drops his new song, “No More Parties in LA” featuring Kendrick Lamar. The release comes as the most recent installment of the new age of the G.O.O.D Fridays series, which Kim Kardashian revealed were coming back earlier this month.

This is also the latest song from Kanye since he confirmed that his new album, SWISH, will be released on Feb. 11. Though we already knew that Kanye originally crafted “No More Parties in LA” with Madlib during the My Beautiful Dark Twisted Fantasy sessions in 2010, Kim tweeted last night that ‘Ye added some work to the track on his way back from a trip to Italy. That added work actually turned out to be a display of lyrical excellence from Kanye, as he snapped throughout his lengthy verse on the track. “That’s why I’d rather take the 405, I be worried ’bout my daughter, I be worried about Kim, but Saint is baby ‘Ye, I ain’t worried about him,” Kanye rapped.

Based on Kim’s tweets, it would seem that Kanye will continue to drop new music every week leading up to the album, though it’s unclear if these songs will actually be featured on the project. As she noted, this is the first ever collaboration from Kanye and Kendrick, even though they were on the Yeezus tour together back in 2013.

Posted by Zach Frydenlund (via Complex)

If Frankie Knuckles were alive today, he would have spent last night in the DJ booth at his birthday party in Chicago. Instead, house greats including David Morales, Derrick Carter, and Little Louie Vega played a show that doubled as Knuckles’ birthday celebration and a benefit for the foundation created in his honor after he passed away in 2014.

Knuckles would have been 61 years old today. As the godfather of house music, he was at the forefront of a sonic sea change that started during the post-disco boom inside The Warehouse, the Chicago venue from which his musical style got its name.

“We didn’t think of it as being trendsetting,” says Frederick Dunson, foundation president and Knuckles’ former business partner. “We just thought of it as, ‘This is the way that we party.’”

The Warehouse was a cultural haven in a city with a long history of segregation. Upon advertisements of work and equality, Chicago’s black population had boomed during the Great Migrations of the early and-mid 20th century, rising from roughly 44,000 in 1910 to roughly 110,000 in 1920. African Americans lived primarily on the city’s South Side, in what would quickly become impoverished urban slums. It was, and remains, a difficult place. According to the Chicago Tribune, in the first 10 days of 2016, Chicago saw more than 100 shootings and 19 gun-related deaths.

These horrific headlines are only the most most recent developments in a city with a long history of racial violence. “I have never seen, even in Mississippi and Alabama,” Martin Luther King Jr. said during a 1966 trip to the city, “mobs as hateful as I’ve seen here in Chicago.”

King, whose legacy is honored today throughout the United States, made racial equality in Chicago a focus during the final years of his life. On July 10, 1966, he spoke for tens of thousands of people at Chicago’s Soldier Field, vowing to end the slums. He was killed two years later.

This legacy of racism, segregation and violence demanded a place where gay Latinos and African Americans, people often marginalized even in their own communities, could call their own. Enter The Warehouse.

“Gay African Americans really started the house movement, at least here in Chicago,” Dunson says.

Opened in 1978 as a member’s only venue, The Warehouse became a nexus of Knuckles’ lush, celebratory sound. Dunson first attended while still in high school, volunteering at the club until Knuckles, who was the club’s Music Director, asked if he wanted a job. Dunson began working the refreshments stand before moving onto coat check and eventually becoming manager.

The club mailed out invitations for each week’s party, and every week, people would arrive and lose their minds on the dancefloor when Frankie played. “There was no other sound like it,” Dunson says. “You could feel it in your bones. It was something that was very new to people.” Knuckles eventually left the Warehouse to open his own venue, the Power Plant, in 1982.

Continue reading →

Konflikt is back with with episode 2 of Decoded! On the second episode he highlights a very important question “How does a new DJ become a BRAND?” A lot of young newcomers to the DJ world really don’t understand what it takes. Hope this episode helps shine a little bit one of the most important keys in making DJing your full time career. Send us your comments & questions @clubkillers or info@clubkillers.com and hopefully they will make it on the next episode of Decoded with Konflikt. Enjoy!

Posted by David Miller

It has only be a handful of months since the US restored relations with Cuba, and US artists are starting to make their way to the island nation. U.S. trio Major Lazer is set to perform a free show for thousands of fans on March 6 in Havana, making them one of the first U.S. artists in over ten years to do so – Audioslave performed in 2005.

Diplo and crew will be performing in front of the U.S. Embassy and will be featured along some of Havana’s local DJ talent. This is truly a historic moment and we can only hope more electronic acts make the journey out there to strengthen community ties. In Diplo’s own words:

For as long as I can remember, Cuba has played an influential role on my love of music — Cuba has such a powerful cultural impact all over the world and for me, especially growing up in Florida, it became one of the biggest cultural centers for music to evolve from. I was lucky enough to visit Cuba a few years back with my friends Calle 13 and during my four days there my mind was blown by the people, depth of culture and their way of life. Going back to perform in 2016 and to be a part of the culture once again is a huge blessing and I couldn’t be more honored to bring the Major Lazer project there.

The concert is presented by the Musicabana Foundation in association with the people and government of Cuba as a sort-of cultural exchange, bringing Americans and Cubans together once again. The Musicabana Foundation will also be sponsoring another event called Musicabana (shocker) in May, which will be the first music festival produced by both Americans and Cubans in over 30 years.

Posted by Daniel Cha (via YourEDM)

After a seemingly endless string of lawsuits, technical mishaps, and all-around public frustration, SoundCloud is finally catching its break. The Berlin-based company has reached an official licensing agreement with Universal Music, which will allow the streaming platform access to the major label’s catalog.

The deal arrives over one year after SoundCloud inked a similar agreement with Warner Music over their catalog. Supposedly, the new agreement will open the door for a new paid subscription model, though the company has yet to release any details surrounding the plan. Having also settled their dispute with PRS For Music, who sued the platform for unpaid royalties last August, SoundCloud has finally paved a solid, legal foundation on which to (hopefully) build a profitable business model.

“We’ve got the majority of the music industry partnered with us now,” Alexander Ljung, CEO of SoundCloud, said.

The final piece missing from the puzzle is Sony, the world’s second largest recorded music company. Relations between the two companies have historically been a bit shaky. Last May, for instance, Sony removed their artists’ catalogues from the site after royalty disputes with SoundCloud. The two companies remain in negotiations, but have yet to reach any official deal.

Posted by Michael Sundius (Via Dancing Astronaut)

Do you like to buy your music online? By 2021, you may be the only one.

Based on recent projections by Digital Media News, paid music downloads are expected to drop 93 percent in the next five years. According to preliminary details released by Nielsen Soundscan, in 2015 paid song downloads dropped 12.5 percent, for a two-year total of -23.4 percent, with iTunes and Amazon dropping below a billion total downloads for the first time since 2007.

The drop in sales is directly linked to the rise of streaming services like Spotify, YouTube, and Apple Music. In 2015, the number of total music streams in the US doubled from 164.5 billion to 317.2 billion. Unfortunately, this also spells certain doom for independent labels and small-time artists–a paid download accounts for at least 140 times the revenue of an equivalent stream.

Posted By: Jesse Champagne (via Lessthan3)