The electronic trio officially called it a day at Ultra Music Festival last week. They’ve left us with this last video to sound us out, a fitting, neon electric foot stomper of the type that the group have become known for since their inception five years ago.

Leave The World Behind was the first song that Swedish House Mafia wrote. This song started the success-story that lasted until the Ultra House Festival in Miami 24 March this year when Swedish House Mafia played together for the very last time. As a final farewell to their fans they are now releasing a new version of the song, featuring Lune. SHM has, together with Volvo, made a music video where we see the three guys leave the world behind them

If you missed here, here’s the teaser, too.

The ceiling brackets of this advertised soundsystem, which hang off the ceiling like curious forest animals, are actually fairly suarve. Wouldn’t want one peering at you while you sleep, though.

The S3′s successor came up against stiff competition in the form of HTC’s One handset before it was even released. Other devices, such as Nokia’s Lumia 920 range, are still standing tall.

As such, the South Korean company packed a slew of nifty features into its largest non-Note device to date, namely Group Play – a  music trick that lets you play a track on the phone in sync with your pals to give it an audible boost.

That’s the feature Samsung evidently wanted to show off in this new advert, which does so with a load of basketball players and Icona Pop’s new track ‘I Love It’, which, as some guy alluded to in the film Spinal Tap, sounds best turned up to 11.

To listen to it, point your mouse here and give it a tickle.

The band’s output, available on Soundcloud, manages the rare feat of being ambient and ethereal, yet uplifting. ‘The Trial’ recalls Stimming with its minimal use of bass before being broken down by echo-laden keyboard stabs, while ‘Panic Attack’ employs a rollicking synth line straight off The Presets’ Apocalypso that somehow morphs into a modern Prodigy track.

Things never become derivative though, thanks mainly due to Smith’s hazy vocal delivery that slithers and tangles around Orvis’ electronic soundscape throughout. The combination is particularly effective on ‘The Space’, which channels thoughts of dingy minimal techno clubs. Like bats, Paris XY survives on sounds and thrives in the dark. If you’re the same, there is much on offer here to enjoy.

For fans of: The Knife, Fever Ray, Stimming, Trentemoller, Burial

In a statement posted on Facebook, the band said: “We’ve just learned that the official cause of Jeff’s death was alcohol related cirrhosis.  While he had his health struggles over the years, including the recent Necrotizing fasciitis infection that devastated his well-being, Jeff and those close to him were not aware of the true extent of his liver condition until the last days of his life.

“Contrary to some reports, Jeff was not on a transplant list at the time of his passing, or at any time prior to that.  In fact, by all accounts, it appeared that he had been improving – he was excited and looking forward to working on a new record.”

A public celebration in memory of the guitarist’s life will be held later this month.

The US company has cranked up the CGI for its latest advert, which is plugging ultrabooks, which Intel obviously sell a shedload of chips for.

The company is trying to make headway into the ultrabook market, what with the demise of chunky chip desktop machines and everything. But hey, let’s not kick the company in the balls. Sit back, click play, and enjoy the lovely graphics.

And for a performance so loud and all-consuming their show is notably free of props. The band took the stage to applause, before Gira requested of the man twiddling the knobs, “Can I get some light Mr. Action Man?”, and tuned up, for some time, in view of their audience; no flashy opening, no dry ice. Theirs is a show that overwhelms but does so with little artifice, preferring the basic tools of volume, repetition and Gira’s disturbing charisma.

Support by Xiu Xiu was frontman Jamie Stewart playing alone with an electric guitar. Considering Xiu Xiu and Swans are kindred spirits (beyond that cover of ‘Under Pressure’) in their exploration of ugly sounds and life’s more horrific offerings, Stewart’s performance was met with ambivalence from the audience for the most part.

A veil of distortion muted his vocals, excepting particular lines where his falsetto would pierce through the murk and then disintegrate. Mixing was an issue and didn’t necessarily serve him well while not playing to the converted, but a lot of what makes him brilliant was there tonight even if it passed with only modest praise.

Swans’ opener ‘To Be Kind’ spent a long time covering the main points of their approach. Long, quiet mantra of a build-up into ear-splitting repetition during an extended climax.

‘Mother of the World’ fell into ‘Screen Shot’ as Gira proved himself one of the most frightening men in rock. Reviews of last year’s The Seer, as well as noting how rare it is for a band to release such an important album so late in their career, would include imagery of Gira conjuring the darkness, a conduit for evil. Live, and without the benefit of volume control, he not only opens the portal to the otherside but orders the taxis and buys everyone their last drink. Without a crazy light show or backdrop or excessive Iggy Pop rock-cartoonishness, Gira conjures all the evil of a Cormac McCarthy novel. His voice and mannerisms, the quiet and the obnoxious, wield an all-American menace.

Instruments are permitted to behave in a manner more akin to what is expected during old favourite ‘Coward’, as Gira becomes Mary Shelley’s Creature, experiencing lust for the first time. On the simplest level there are two fundamental aspects of a Swans set, the massive, pummelling vortex of a sound, often based on the principle of whacking instruments really, really hard, and Gira’s manic persona. Each pushes the other out of being a boring art or gimmick band.

Clearly it’s hard to maintain the level of one-note (maybe two) intensity that Swans do for the considerable length of their sets. Engagement with the material is going to have a lot to do with how you’re wired to that kind of thing, though it would be difficult to be indifferent and, let’s be honest, no one walks into a Swans gig by accident.

At the conclusion of ‘The Seer’/‘Toussaint Louverture Song’ medley, Gira recites, or rather bellows, the national motto of France, “Liberté, égalité, fraternité”, before a guttural sound accompanies a decapitation gesture. He reminds us that many great things, democracy and the application of just virtues, are based on violence, brutality and cruelty, at least in the first instance and often beyond. He remains the Minister of Deeply Unpleasant Realities.