Depeche Mode Announce Physical Release of New Live Album and Film – A Milestone Moment for the Band

Get ready, mode fans—Depeche Mode are once again redefining what it means to deliver a live experience. The veteran English electronic-rock outfit has revealed that their latest live-era projects will be available in physical form on December 5, 2025.

What’s on the way

The announcement covers two major releases:

First, there’s a feature film titled Depeche Mode: M—a cinematic journey interweaving concert footage with reflections on Mexican perspectives on mortality. Directed by Mexican filmmaker Fernando Frías, the film captures the band’s three sold-out nights at Mexico City’s Foro Sol stadium during their Memento Mori tour.

Then there’s the live album Memento Mori: Mexico City, recorded at those same shows. It features 28 tracks, including four brand-new bonus songs from the Memento Mori sessions. Fans can choose from CD/DVD or CD/Blu-ray bundles for the film, or pick up the 2×CD and deluxe 4×LP vinyl editions of the live record.

Why this release matters

The project isn’t just another live package. The film connects Depeche Mode’s music to Mexican traditions around remembrance and mortality—perfectly in step with the themes of Memento Mori. It also marks the band’s first major live release since the passing of founding member Andy Fletcher, adding emotional resonance to every note.

And in an age when streaming dominates, the band’s decision to release multiple physical formats—complete with bonus tracks and cinematic packaging—feels like a love letter to collectors who still value the tactile experience of owning music.

What to expect

The live album spans over two hours, blending classics like “Enjoy the Silence”, “Personal Jesus”, and “Just Can’t Get Enough” with newer cuts from Memento Mori. The four bonus songs—“Survive”, “Life 2.0”, “Give Yourself to Me”, and “In the End”—offer something fresh even for die-hard fans who caught the tour live.

The film Depeche Mode: M will also screen in cinemas worldwide starting October 28, offering fans a rare chance to see the band’s monumental live show on the big screen before the physical editions arrive in December.

Final thoughts

For longtime fans, this release feels like more than a souvenir—it’s a statement of intent. Depeche Mode have turned reflection, loss, and resilience into art, fusing their performance with culture and community.

With Memento Mori: Mexico City and Depeche Mode: M, the band proves they’re still pushing boundaries while honoring their past. If you’ve been waiting for something truly special from Depeche Mode, this might just be the definitive live experience of their modern era.

The Latest Dispatch From The Late-Night Greats: On Nick Cave's New Live Album Live God

Nick Cave & The Bad Seeds Announce Live God — Live Album, Tour Thrills& a Video Drop

With their ever-restless creative engine humming, Nick Cave and The Bad Seeds have unveiled Live God, a sizzling live album captured on the road during their 2024-25 tour in support of their acclaimed studio release Wild God. The album lands on December 5, 2025.

The Record

Live God is billed as “a stunning testament to The Wild God Tour” and, in Cave’s own words, “an antidote to despair.” The setlist pulls together fierce live versions of every track from Wild God, woven with landmark songs from their back catalogue like From Her to Eternity, Papa Won’t Leave You, Henry and Into My Arms. It’s not just another live collection — it’s a full-tilt narrative of the band’s latest creative chapter, loud, raw, and beautifully alive.

The Video Drop

To mark the announcement, the band also shared a video of the live performance of the title track “Wild God,” filmed in Paris during the tour. The visuals shimmer with the sort of intensity that defines a Bad Seeds show — Cave prowling the stage, the band locked in, and the audience swept up in the rapture.

Why It Matters

For followers of Cave and company, this release hits on a few levels. Wild God — their 18th studio album — was already hailed as a moment of both refuge and reinvention, described by Cave himself as “deeply and joyously infectious.” The Wild God tour has been one of the band’s most electrifying in years, and capturing it in an official live package feels like bottling lightning. The video and album together underline that the Bad Seeds’ truest home might just be the stage.

The Essentials

Live God arrives on December 5, 2025, available on double LP, double CD, and digitally. The album features every song from Wild God plus select classics spanning the band’s storied career. Pre-orders are already open, with special editions and signed photo prints for fans who want a little extra magic.

What to Listen For

Expect the live renditions to be wilder and more expansive than their studio counterparts — big drums, sweeping arrangements, and Cave’s vocals balancing ferocity and grace. The setlist moves seamlessly between older material and the Wild God tracks, forming a kind of living retrospective. Pulled from multiple tour dates, the recording captures the band at their communal peak, with audiences roaring every step of the way.

If you’ve ever felt the power of a Bad Seeds show — or just wished you had — Live God looks set to be the next best thing. December can’t come soon enough.

A Fresh Chapter in the Breakup Saga: Haim Release Deluxe Edition Of I Quit

It’s been only a few months since Haim unleashed their fourth LP, I Quit, and now the sister-trio is already rewriting the script. On October 17, they quietly (but excitedly) released I Quit (Deluxe Edition) — an expanded version of the album that adds three new tracks to the already bold, emotionally charged original 15.

What’s New: “Tie You Down,” “The Story of Us,” “Even The Bad Times”

The standout from the deluxe drop is “Tie You Down,” a collaboration with Bon Iver (aka Justin Vernon) that finds Danielle Haim and Vernon trading lines in a tender duet. The track was co-produced by Danielle, Vernon, and Rostam Batmanglij.

Alongside that come “The Story of Us” and “Even The Bad Times.” The former leans rock-tinged, with punchy guitar and a slightly filtered, enveloping chorus. The latter opens with rhythmic drums and soft strums, building tension without ever erupting into full bombast. Its lyrical core looks back on a past relationship with surprising grace: “even the bad times were good.”

The deluxe tracklist now clocks in at 18 tracks, folding the new songs into the back half of the album.

Why This Matters

On paper, deluxe editions are often reflexive — a way to squeeze a few streams out of leftovers. But in this case, it feels more deliberate.

This edition extends the storytelling arc. I Quit has always been about heartbreak, reclamation, and emotional processing. These three additions feel like epilogues, new perspectives, or small post-credits scenes to what was already a sprawling, messy breakup film.

The Bon Iver feature is more than a name drop — it continues the creative friendship between Danielle and Vernon, who previously teamed up on Sable, fABLE. It also gives listeners a reason to revisit the record with fresh ears, teasing alternate emotional tones and recontextualizing the original tracklist’s pacing.

A Quick Look Back: I Quit as It Stood

Released June 20, 2025, I Quit was co-produced by Danielle Haim and Rostam Batmanglij (with additional help from Buddy Ross) and marked the band’s first full-length in five years.

It arrived with five singles — “Relationships,” “Everybody’s Trying to Figure Me Out,” “Down to Be Wrong,” “Take Me Back,” and “All Over Me” — mapping a terrain of heartbreak, nostalgia, and volatility.

Critics praised the emotional range and bold experimentation, though noted the record could feel uneven in places. Some fans pointed out that in a live setting, I Quit’s songs often shine brighter — the rawness and open dynamics come through more clearly in concert.

Final Thoughts

This deluxe edition feels less like a cash grab and more like an artist’s desire to revisit a chapter before fully turning the page. Haim aren’t just giving us more of the same — they’re expanding their emotional lexicon, offering new footnotes, and deepening the world of I Quit.

If you already loved the original, there’s reward in these additions. And if you were still circling the album, this is your fresh opening.

The Unearthing Of 50th Anniversary Reissue Of Neil Young's Lost Tonight’s the Night Tracks

Neil Young is dusting off the ghosts. To mark the 50th anniversary of Tonight’s the Night, his most haunted and emotionally raw album, Young is releasing a newly expanded edition featuring six unreleased or rarely heard tracks from the original 1973 sessions. The reissue, set for release on November 28, 2025, offers fans a deeper look into the dark heart of one of rock’s most legendary cult albums.

Excavating the Vault

The reissue includes six tracks that never made the final cut — most recorded at Studio Instrument Rentals (S.I.R.) in Los Angeles during the grief-stricken sessions that birthed Tonight’s the Night. Among the gems:

• A rawer, previously unheard original version of “Lookout Joe”

• A stripped-down early take of “Walk On”, later reimagined for On the Beach

• “Tonight’s the Night (Take 3)”, a looser, more chaotic version of the title track

• “Wonderin’”, once only available on Neil Young Archives, now making its vinyl debut

• “Everybody’s Alone”, “Raised on Robbery” (with Joni Mitchell), and “Speakin’ Out Jam”, previously scattered across archival releases, now finally unified

For longtime fans, this is the first time all six tracks are collected and presented in a way that aligns with the original Tonight’s the Night vision.

The Album That Was Never Supposed to Be

Originally recorded in 1973 but shelved for two years by a nervous label, Tonight’s the Night was Young’s raw response to the deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry. It’s lo-fi, loose, and emotionally jagged — a complete left turn after the commercial high of Harvest. Released in 1975, it quickly became a cult favorite and a cornerstone of Young’s so-called “Ditch Trilogy.”

Now, five decades later, Young is finally showing us more of what was left on the cutting room floor — not just alternate takes, but the emotional scaffolding behind the original album.

New Looks, Old Wounds

The 50th anniversary edition will be available on clear vinyl, CD, and digital, with reimagined cover art and a restored tracklist that better reflects the original S.I.R. sessions. It's a project years in the making — and another example of Young’s ongoing mission to reclaim his own musical legacy, one analog tape at a time.

This isn’t just a reissue. It’s a resurrection.

If Tonight’s the Night was a wake, the 50th anniversary edition feels like the after-afterparty — where the lights are low, the tape’s still rolling, and Neil Young is still howling into the void.

A Dive Into New Single By Gorillaz “The Manifesto”

Gorillaz have dropped a sprawling new single, “The Manifesto”, partnering with Argentine rapper Trueno and a posthumous verse from D12’s late Proof. The song serves as the second preview of their forthcoming album The Mountain, due March 20, 2026.

Clocking in at over seven minutes, “The Manifesto” unfolds in multiple phases, beginning with Trueno’s contemplative bars before shifting into an unexpectedly raw, hard‑hitting middle section led by Proof’s freestyle. Proof’s verse, reportedly recorded in his early days as a rapper, had remained unreleased until now.

But this is far from a conventional hip hop track. True to Gorillaz’s restless, genre-blurring ethos, “The Manifesto” wraps itself in lush instrumentation and global textures. The track features sarod played by Amaan Ali Bangash and Ayaan Ali Bangash, bansuri by Ajay Prasanna, brass and percussion from Jea Band Jaipur, and choral backing from The Mountain Choir led by Vijayaa Shanker.

Of the track, Gorillaz’s fictional drummer Russell Hobbs remarks:

“As space dust we are here forever and that’s a mighty long time. This is a musical meditation infused with light. A journey of the soul, with beats.”

Themes: Life, Death & the Infinite

Lyrically and thematically, “The Manifesto” leans into cycles, mortality, spiritual rebirth, and the liminal spaces between life and what lies beyond. Trueno’s verses wrestle with uncertainty and aspiration—lines like “Cuando atienda la luz que me llama” (“when I heed the light that calls me”) gesture toward transcendent longing. Proof’s contributions cut deeper, acting as a haunting interlude between existence and the beyond.

In that sense, the track feels like a sonic ritual or meditation rather than a pop single—a sprawling, ambitious statement rather than something designed strictly for radio.

Context & What’s Next

“The Manifesto” follows last month’s lead single “The Happy Dictator”, which featured Sparks and served as the formal announcement of The Mountain. On the album, nearly every track includes at least one guest artist, reinforcing the collective, boundary-defying feel of the project. Among the contributors to the album: Idles, Anoushka Shankar, Yasiin Bey, Johnny Marr, Omar Souleyman, and posthumous appearances by Tony Allen, Mark E. Smith, Bobby Womack, Dave “Trugoy the Dove” Jolicoeur, and Proof himself.

Gorillaz have also mapped out a UK & Ireland tour in support of the new album. It launches March 21, 2026 in Manchester, with stops in Birmingham, Glasgow, Leeds, Cardiff, Nottingham, Liverpool, Belfast, and Dublin. The trek culminates in a headline performance at London’s Tottenham Hotspur Stadium on June 20, with support from Sparks and Trueno.

For longtime fans, the inclusion of Proof carries extra weight: his collaboration with Gorillaz dates back to “911” (a track from the early 2000s), and hearing him resurface in “The Manifesto” offers a poignant bridge across eras.

Final Thoughts

“The Manifesto” isn’t easy listening in the conventional sense—but then, that’s been Gorillaz’s virtue from the start. It’s cinematic, ambitious, and emotionally expansive. It sets a high bar for what The Mountain might offer: a global, collaborative, visionary journey through sound, life, and beyond.

If this track is any indication, the next chapter in the Gorillaz saga looks both bold and boundless.

On Sam Mendes’ Beatles Biopic Series And The Casting Of Saoirse Ronan As Linda McCartney

Saoirse Ronan has reportedly signed on to play Linda McCartney in Sam Mendes’ ambitious Beatles biopic project—and honestly, it’s kind of perfect casting. The Oscar-nominated actress is set to take on the role of the late photographer, activist, and longtime partner of Paul McCartney in what’s shaping up to be one of the most anticipated film projects about the Fab Four.

If you haven’t been following the news, Mendes is going all-in on the Beatles story with not one, but four separate films, each told from the perspective of a different band member. It's a bold swing, and for the first time ever, the Beatles (and their estates) have actually given full access to their music and life rights for a scripted project. That alone makes this whole thing feel like a big deal.

So far, the casting for the main four has been announced: Paul Mescal will play Paul McCartney, Harris Dickinson is taking on John Lennon, Joseph Quinn will be George Harrison, and Barry Keoghan is stepping into Ringo Starr’s shoes. Now with Ronan joining the fold as Linda, it’s starting to feel like this cast could actually pull it off.

It hasn’t been confirmed exactly how much screen time Linda will get, but considering her importance in McCartney’s post-Beatles life, it’s safe to assume she’ll play a major role—at least in the Paul-focused installment. What’s interesting is that Ronan and Mescal already worked together before, so there’s already some chemistry there to build on. That could make their dynamic as Paul and Linda all the more believable on screen.

The films are all currently scheduled to hit theaters in April 2028, which is still a ways off, but it sounds like Mendes wants to release them close together so people can experience the full story as a kind of interconnected event. Think of it like binge-watching, but in theaters.

There’s still a lot we don’t know—like who else is being cast (will we see Yoko? George Martin? Brian Epstein?) and how the four films will intertwine—but what’s clear is that this project is going to be one of the biggest Beatles-related films ever made.

As for Ronan, she’s known for taking on roles with real emotional weight, and Linda McCartney certainly fits that mold. Linda wasn’t just Paul’s wife—she was a respected photographer, a musician in Wings, and a strong voice for animal rights. With Ronan in the role, there’s a good chance we’ll get a portrayal that goes beyond the usual biopic partner-in-the-background routine.

It’s early days, but if this casting is anything to go by, Mendes’ Beatles saga might actually live up to the hype. We’ll keep an ear out for more updates as production ramps up.

On The Reissue Of "Strange but True" By The Famed Yo La Tengo and Jad Fair

Indie rock fans and lovers of beautifully bizarre collaborations, rejoice — Strange but True, the cult classic from Yo La Tengo and Jad Fair, is finally getting a long-overdue reissue this December.

Originally released back in 1998, Strange but True is a true oddity in the best way. The concept? Take a bunch of sensational tabloid headlines (shoutout to Weekly World News), twist them into surreal lyrics, and let Jad Fair deliver them with his signature outsider charm, all while Yo La Tengo provides the musical backdrop. It’s chaotic, heartfelt, lo-fi, and completely unforgettable.

The album’s been hard to find for years — out of print, off streaming services, and basically a collector’s-only experience. That changes on December 12, when the reissue lands via Joyful Noise and Bar/None. It’ll be available on vinyl (yes, there’s a limited mint green pressing), CD, and, for the first time ever, digitally and on streaming platforms.

The music itself hasn’t been altered — the reissue keeps the gloriously weird original lineup of tracks, like “Texas Man Abducted by Aliens for Outer Space Joy Ride” and “National Sports Association Hires Retired English Professor to Name New Wrestling Holds.” The lyrics were crafted by David Fair (Jad’s brother and fellow Half Japanese member), who reportedly collected the headlines himself. It’s the kind of record that balances absurd humor with genuine affection for pop music’s stranger edges.

One track, “Texas Man Abducted by Aliens,” is already available to stream ahead of the release — and it’s a great teaser for the full ride.

This reissue isn’t just nostalgia; it’s about reintroducing a truly singular album to a new generation of listeners. With Yo La Tengo recently releasing This Stupid World and their Old Joy EP earlier this year, the timing feels right to celebrate one of their most experimental and playful side projects.

It’s weird, it’s wonderful, and it’s back.

Strange but True drops December 12. Don’t sleep on it.

A Look At The New Surprise Live EP "Are Playing Where??? Vol. 1" By Rock Legends Foo Fighters

Foo Fighters have surprised fans with the release of a new live EP, Are Playing Where??? Vol. 1, available now exclusively via Bandcamp. Released on October 3, 2025, the six-track collection features recordings from a series of intimate, under-the-radar club shows the band played in September across four U.S. cities.

The EP is available as a pay-what-you-want download, with all proceeds going to local charities in the cities where the shows took place.

Rare Club Shows, Classic Deep Cuts

The recordings on Are Playing Where??? Vol. 1 were captured during a run of surprise shows Foo Fighters performed in small venues—a sharp contrast to the stadiums they typically play.

The first of these intimate gigs took place in San Luis Obispo, followed shortly by stops in Santa Ana and Washington, D.C. Each performance was announced with little warning and sold out within hours, offering fans a rare opportunity to experience the band in close quarters.

Finally, the band made their way to New Haven, Connecticut, where they performed at the legendary Toad’s Place, wrapping up the short but high-energy string of shows.

All tracks on the EP are labeled simply as “Live from Somewhere 2025,” leaving fans to guess which city each performance came from.

A Charitable and DIY Approach

Are Playing Where??? Vol. 1 was released via Bandcamp—a platform known for its artist-first approach—on a Bandcamp Friday, when the service waives its revenue cut. Proceeds from the EP will go directly to nonprofit organizations in each of the four cities, focusing on food insecurity and other local aid efforts.

The decision to self-release through Bandcamp and support grassroots causes aligns with Foo Fighters’ longstanding connection to their fanbase and their continued commitment to community over commerce.

A New Era for Foo Fighters?

The EP also marks the live debut of Ilan Rubin (Nine Inch Nails, Angels & Airwaves), now stepping behind the drum kit for Foo Fighters following the tragic passing of Taylor Hawkins in 2022. Rubin’s performances have been met with enthusiasm from longtime fans, and the energy on these live recordings suggests that the band is entering a confident new chapter.

Coming off the critically acclaimed 2023 studio album But Here We Are, this live release shows a different side of Foo Fighters—one that’s loud, loose, and more interested in revisiting raw, early material than resting on radio hits.

Available Now

Are Playing Where??? Vol. 1 is streaming now on Foo Fighters’ official Bandcamp page. Fans can download it for free or contribute any amount, with 100% of proceeds benefiting local organizations in each host city.

There’s no official word on whether a Vol. 2 is in the works—but based on this release, Foo Fighters are clearly embracing spontaneity, connection, and a return to their roots.

A Queer Operatic Mashup that Dares to Sing and Scream at Once: Kevin Carillo's blend of Fire Island With Mozart

In a fearless and fabulously inventive turn, artist and director Kevin Carillo has done what few would dare: fuse the raging queer activism of Larry Kramer’s Fire Island with the lyrical opulence of Mozart’s The Marriage of Figaro. The result? A hybrid performance piece that’s as defiant as it is decadent—operatic camp, classical rebellion, and emotional depth all rolled into one.

The project, titled "Furious Figaro", is not merely a pastiche. It’s a cultural remix that blurs the lines between 18th-century European aristocracy and 1980s queer resistance, stitching together two seemingly disparate worlds with a deft hand and a fiercely modern lens.

From Boudoirs to Beaches: A Story Retold

From Boudoirs to Beaches: A Story Retold

Mozart’s Figaro, written in the spirit of revolution, is itself an opera that pokes holes in the facades of power, class, and control. Larry Kramer’s Fire Island, a lesser-known but searing piece of social commentary, turns the shimmering gay utopia of Fire Island into a battleground of identity, denial, and survival amidst the AIDS crisis. Carillo's production doesn’t just juxtapose them—it lets them bleed into each other.

Figaro becomes a firebrand activist. Susanna, more than a clever maid, emerges as a truth-teller unafraid to confront the blindness of privilege. And Count Almaviva? He’s reimagined as a closeted power broker whose own repression contributes to the decay of the very community he exploits.

Carillo doesn't attempt to "modernize" Mozart with cell phones or neon wigs. Instead, he lets the original text of Fire Island slip into the spaces between Mozart’s arias—often in raw, spoken interludes that interrupt the music like protest chants breaking into a formal gala.

Operatic Activism: More Than Aesthetic

What makes this combination work is Carillo’s instinct for emotional resonance. Kramer’s work—angry, messy, and heartbreakingly real—might seem at odds with the precision and elegance of opera. But in Furious Figaro, that contrast becomes its own kind of harmony. Mozart’s melodies soar over scenes of queer disillusionment. Moments of levity crack open into vulnerability. The audience isn’t sure whether to laugh, cry, or shout—and that’s exactly the point.

As Carillo said in a talkback following a preview performance:

“Kramer screamed because no one was listening. Mozart composed rebellion so beautiful that the powerful forgot they were being mocked. I wanted to see what happens when those two voices sing together.”

Casting as Commentary

True to his vision, Carillo cast a mix of classically trained opera singers and downtown performance artists—many of them queer, nonbinary, and trans—to push the limits of traditional opera casting. Figaro is played by a drag baritone with vocal chops and a political snarl; Susanna is sung by a trans soprano whose performance melts between genders with ease. The casting isn’t just inclusive—it’s ideological, turning the stage into a literal battleground of identity politics.

Fire Island Redux

The set design echoes both Fire Island’s infamous Pines and the ornate interiors of a Rococo villa. Think gilded chaise lounges on a sand-strewn stage, powdered wigs tossed aside like beach towels. The line between pleasure and performance, between party and protest, is deliberately blurred.

Lighting shifts from candlelit opulence to fluorescent clinic coldness, as Kramer’s AIDS-era fury takes over. In one haunting scene, a group of revelers freeze mid-dance as the names of the dead—spoken in voiceover—replace the music. Then, almost cruelly, the overture resumes.

A Brave, Uncomfortable Triumph

Furious Figaro is not for the faint of heart or the purist ear. It’s messy, loud, heartbreaking, and occasionally offensive. But it is never insincere. Carillo doesn’t ask Mozart to do Kramer’s work or vice versa. He lets them wrestle. He lets them disagree.

In doing so, he gives us something rare: a new kind of opera that’s not just about love and loss but also about activism, memory, and rage. It’s both homage and uprising—Larry Kramer would probably hate it. And that, paradoxically, might be the highest compliment.

If you ever wondered what it would sound like if a gay rights manifesto were sung in a gilded opera hall while the world outside burned—this is it.

Welcome to Fire Island. Welcome to Figaro. Welcome to the revolution.

Twilight Override: On The New Work By Jeff Tweedy

In an era of algorithmic playlists and disposable singles, Jeff Tweedy remains one of the rare musicians who still believes in the album as an art form. With Twilight Override, the Wilco frontman has crafted what many are calling his most affecting, adventurous, and cohesive work since Yankee Hotel Foxtrot. But this isn’t a return to form — it’s a bold step forward into new emotional and sonic territory. And it's nothing short of a magnum opus.

A Quiet Revolution

Tweedy has always had a knack for quiet revolutions. From the alt-country days of Uncle Tupelo to Wilco’s slow morph into avant-folk deconstructionists, his career has been a study in constant evolution. But with Twilight Override, there’s a distinct sense that Tweedy has tapped into something deeper, more elemental. The record doesn’t shout for attention — it draws you in with a whisper, then breaks your heart open with a single line.

Recorded at The Loft in Chicago, Twilight Override was born out of long nights, analog tape machines, and a small, rotating cast of collaborators — including his sons Spencer and Sammy, both now fully fledged musicians in their own right. The result is an album that feels lived-in, like a memory you can’t quite place but can’t stop replaying.

The Sound of Letting Go

Musically, Twilight Override is unmistakably Tweedy: warm, weathered, and built on a foundation of melodic understatement. But there’s a spectral quality running through it — ambient textures, disembodied harmonies, and field recordings that sound like they were pulled from dreams. There’s an undercurrent of unrest beneath the beauty, like something important is ending but no one wants to say it out loud.

Fans of Tweedy's more experimental instincts will find much to love here. Tracks like “Stray Voltage” and “Underglow Companion” stretch and bend traditional song structures, folding in bursts of modular synths and abstract guitar loops. Yet even at its most sonically adventurous, the album never loses its center: Tweedy’s voice — fragile, familiar, and endlessly expressive.

Lyrics from the Edge

Lyrically, Twilight Override finds Tweedy at his most vulnerable and philosophical. The songs explore aging, uncertainty, and the strange comfort of not having all the answers. “Every morning I override / the twilight that wants me gone,” he sings on the title track — a line that encapsulates the entire album's quiet resistance against despair.

This is not an album about triumph, but about endurance — about finding meaning in the act of continuing. The songs are meditations rather than manifestos, each one peeling back another layer of the self Tweedy has spent decades trying to understand.

Not Just Another Wilco Record

Though released under his own name, Twilight Override isn’t just a solo detour. It feels like the culmination of everything Tweedy has been exploring across Wilco, his solo work, and the Tweedy project. It’s stripped-down but sonically rich, emotionally raw yet intellectually sharp. There’s no filler, no indulgent detours. Every sound serves the whole.

Critics are already whispering that Twilight Override might be the most important work of his career — a late-era masterpiece in the same way that Leonard Cohen's You Want It Darker or Bowie’s Blackstar redefined their legacies. It’s not hyperbole. It’s just that rare feeling when an artist, decades in, makes something that feels entirely necessary.

Final Thoughts

In Twilight Override, Jeff Tweedy hasn’t just made a great record — he’s made a statement about what it means to keep creating in a world that’s constantly trying to simplify, commodify, or ignore depth. It's a record that rewards patience, invites contemplation, and stays with you long after the last note fades.

It’s the kind of album that reminds you why albums matter in the first place.

And in a world full of noise, Jeff Tweedy has once again found a way to make silence sing.

"Science Will Eventually Catch All Of These Wounds": A Glimpse At A Private Concert By John Mayer To Benefit New Studies Into The Sleep Of Veterans

Last night, under the soft glow of string lights and the hush of an intimate crowd, Grammy-winning musician John Mayer took the stage—not for a stadium, not for a late-night TV show, but for something far more personal. In a secluded venue in Los Angeles, Mayer hosted a private concert to raise funds for a groundbreaking study into the sleep health of U.S. military veterans—a subject he described as "not just scientific, but deeply human."

The event, limited to just under 200 guests, included a mix of veterans, sleep researchers, mental health professionals, and close friends of the artist. It was an evening of stripped-down acoustic music, personal storytelling, and a shared commitment to a mission that Mayer says has been “weighing on my heart for years.”

A Night of Music With Meaning

Mayer, dressed simply in jeans and a denim shirt, opened the evening with “In the Blood”, a song that many in the audience said felt written for the occasion. Between songs, he spoke about the invisible wounds of war—not just PTSD, but the chronic insomnia, fragmented sleep, and night terrors that plague countless veterans long after they’ve returned home.

“Sleep is the most basic form of peace,” Mayer told the crowd. “And it’s one of the first things war takes away—even years after the last battle.”

The Science Behind the Cause

The concert was in support of a new collaborative research initiative between the Department of Veterans Affairs and Stanford University’s Center for Sleep Sciences. The study aims to explore innovative treatments for sleep disorders in veterans, combining traditional cognitive-behavioral therapies with emerging neurotechnologies.

The research will focus on non-drug-based interventions, such as targeted brain stimulation, circadian rhythm reprogramming, and trauma-informed sleep coaching. Organizers say this is the first time such a holistic approach has been applied on a national scale.

Dr. Elisa Trent, the project’s lead researcher and a long-time advocate for trauma-informed care, took the stage before Mayer’s encore to express gratitude: “This isn’t just about better sleep—it’s about giving veterans back their nights. And with that, we believe, a chance at reclaiming their days.”

A Personal Connection

While Mayer has often kept his philanthropic work out of the spotlight, he shared that this cause is personal. His grandfather was a WWII veteran who, Mayer recalled, “never slept through a single night in the 40 years I knew him.”

“In the end,” Mayer said, “I believe science will eventually catch all of these wounds. It just needs a little help getting there.”

A Hopeful Encore

The night closed with Mayer’s hauntingly beautiful “Stop This Train,” a song about time, fear, and letting go. The final lyrics rang through the small venue like a prayer:

“So scared of getting older / I'm only good at being young.”

As the last chord faded, the room stood in silence for a moment longer than usual—not out of etiquette, but reverence.

The Road Ahead

The benefit concert raised over $2.3 million—enough to fund the study’s first full year of operations. More importantly, it sparked a renewed conversation about how we care for those who’ve served, not just physically, but neurologically and emotionally.

Mayer has hinted that this may not be a one-time event. In his closing remarks, he said: “This is the start of a song that science will finish.”

And for the veterans whose nights have been long and restless, that song may soon be a lullaby.

A look at new cover of Pete Townshend’s “Let My Love Open the Door” by Mitski

Mitski Opens the Door: A Reverent Reimagination of Townshend’s Classic

Mitski, known for her emotionally raw vocals and lyrical subtleties, has just dropped a cover of Pete Townshend’s 1980 hit “Let My Love Open the Door” — but she doesn’t merely reproduce it. Her version, featured on the soundtrack of A Big Bold Beautiful Journey (the new film starring Margot Robbie and Colin Farrell), strips back the original’s buoyant new‑wave energy and offers something more intimate, reflective, and haunting.

From Synth Pop to Solo Piano & Voice

The original “Let My Love Open the Door” is an upbeat, optimistic piece typical of Townshend’s post‑Who solo material: synths, cheerful rhythm, a sense of outward energy. Mitski’s version, however, pulls in the opposite direction — it pares things down to something much more spare. According to reviews, her rendition is essentially just voice and piano. She slows the tempo, gives the lyrics room to breathe, and lets the emotional undercurrent of the words stand out.

In doing so, she flips the lens: what was once a song about invitation, brightness, openness, becomes a kind of interior plea. In Mitski’s hands, “letting love open the door” feels less like a celebration and more like a longing.

The Song in Context: Townshend’s Original & Meaning

For those less familiar, “Let My Love Open the Door” came out on Townshend’s solo album Empty Glass. It was arguably his biggest solo chart success, reaching high across several territories, especially in the U.S. Though Townshend himself has had mixed feelings about it — at times dismissing it as a “ditty” — he’s also said its deeper core centers on a kind of divine or unconditional love.

That tension between lightness and spiritual depth makes the song fertile ground for reinterpretation. Mitski taps into that duality — the brightness and the longing — but leans more heavily into the shadow side: the vulnerability, the quiet ache.

Why Mitski? Why Now?

Mitski has never shied away from vulnerability. Her work tends to explore liminal states — loneliness, longing, identity, desire — so “Let My Love Open the Door” seems almost predestined for her style. It’s a song that has always had one foot outside the door, looking in, and one inside, unsure whether to step forward. Mitski widens that space, lets us linger in the threshold.

The film A Big Bold Beautiful Journey, meanwhile, provides a fitting frame. It’s described as a sweeping, somewhat fantastical adventure about two strangers who meet at a friend’s wedding, relive moments of their pasts, and face the possibility of altering their futures. In a story about doors — literal, metaphorical, and emotional — Mitski’s cover becomes more than a song: it becomes a scene‑setter, a mood piece, a lens on loss, hope, and possibility.

Final Thoughts

Covers run a risk of either being too deferential or trying so hard to be different that they lose what made the original compelling. Mitski’s take avoids both pitfalls. She honors the heart of Townshend’s song — its warmth, its hope — while reshaping its emotional architecture.

For longtime fans of Mitski, this fits seamlessly into her evolution: someone who consistently channels deep feeling through minimal means. For fans of Townshend and Empty Glass, it’s a reminder that even songs that once felt triumphant can also carry contradictions, fragility, and beauty when looked at from another angle.

If you haven’t heard it yet, it’s worth listening with headphones, letting it unfold slowly. The cover doesn’t call attention to itself — it invites you in.

A Look at new Wish You Were Here 50th Anniversary Reissue by Prog Legends Pink Floyd

Legendary rock pioneers Pink Floyd have announced a special 50th anniversary reissue of their iconic 1975 album Wish You Were Here. As part of the celebration, the band has also unearthed a never-before-heard demo of the hauntingly mechanical track “Welcome to the Machine,” now available for fans to stream.

The reissue, slated for release this November, promises to be a collector’s dream, featuring remastered audio, rare session outtakes, and newly unearthed material from the band’s archives. Perhaps most exciting for die-hard Floyd fans is the inclusion of early demos that provide an intimate look at the band’s creative process during one of their most emotionally charged eras.

The newly released demo of “Welcome to the Machine” is raw, stripped-down, and surprisingly intimate compared to the final version that appeared on the original album. Where the studio version is drenched in cold synthesizers and oppressive atmosphere—symbolizing the soulless machinery of the music industry—the demo is more acoustic and skeletal, allowing Roger Waters’ cynical lyrics to take center stage.

“It’s always fascinating to hear where a song begins,” said Nick Mason, Pink Floyd’s drummer and sole continuous member, in a press statement. “This version of ‘Welcome to the Machine’ is much more vulnerable, and you can hear us feeling our way through the track’s emotional terrain.”

Released on September 12, 1975, Wish You Were Here served as a deeply personal follow-up to The Dark Side of the Moon. The album was largely shaped by the band’s disillusionment with the music business and their feelings of loss surrounding founding member Syd Barrett, whose mental health struggles had led to his departure years earlier. Tracks like “Shine On You Crazy Diamond” and “Wish You Were Here” remain poignant tributes to Barrett’s legacy, while “Welcome to the Machine” took a harsher stance on the industry that, in the band’s view, had consumed him.

The 50th anniversary box set will include:

• A newly remastered edition of the original album (on vinyl, CD, and high-res digital formats)

• A disc of unreleased demos, including early takes of “Have a Cigar” and “Shine On You Crazy Diamond”

• A 36-page hardcover book with unseen studio photographs and liner notes by longtime Pink Floyd collaborator Aubrey “Po” Powell

• Replica tour memorabilia from the band’s 1975 tour

• A Blu-ray disc featuring a restored 5.1 surround mix and a new Dolby Atmos mix

Fans can listen to the “Welcome to the Machine” demo now on all major streaming platforms.

As one of the most influential and emotionally resonant albums in progressive rock history, Wish You Were Here still resonates half a century later. Whether you're a lifelong fan or discovering it for the first time, this reissue offers a powerful reminder of why Pink Floyd continues to echo through time.

Big Hype For A Possible New Rolling Stones Album

After more than six decades of defying time, trends, and the laws of rock and roll, The Rolling Stones are proving yet again that they're not done. In fact, if recent reports are anything to go by, they're more energized than ever. The legendary band is deep into the creative process for a new album—and according to insiders, “they’re all hyped up.”

Yes, Mick Jagger, Keith Richards, and the rest of the Stones are back in the studio, cooking up fresh tracks that promise to blend their classic swagger with some modern edge. It's a thrilling update for fans who were still buzzing from the release of their 2023 album Hackney Diamonds, which marked their first original material in nearly two decades—and their first release since the death of drummer Charlie Watts.

till Rocking, Still Relevant

At this stage in their career, most bands would be content with legacy tours, greatest hits compilations, and occasional interviews. Not the Stones. If anything, they’re shifting into overdrive.

Reports suggest the band has been working in both London and Los Angeles, collaborating with top-tier producers, and potentially some surprise guest musicians. While details are still under wraps, there's talk of the new material tapping into the Stones’ blues roots—while also embracing the raw, youthful energy that launched them into rock royalty in the first place.

And why the renewed drive?

“They’re all hyped up,” said one source close to the band. “It’s like a spark has been lit again. There’s this creative electricity in the room—like they’re making their first record, not their 30th.”

A New Era Without Charlie

This new album will be their second major release without Charlie Watts, who passed away in 2021. His absence is still deeply felt, but the band has continued to honor his legacy in their music. Longtime associate Steve Jordan has stepped into the role on drums and is now considered part of the Stones' extended family. His presence seems to have reinvigorated the band, giving them both stability and a fresh rhythmic drive. Why It Matters

In an era dominated by viral hits, streaming algorithms, and TikTok-fueled fame, The Rolling Stones’ continued presence in the music world feels downright rebellious. They’re not trying to compete with trends—they’re carving their own lane, just as they always have.

For fans, this album could be more than just new music. It’s a rare opportunity to witness one of the last great rock bands still pushing forward, still creating, still refusing to be confined by age or expectation. At a time when nostalgia is often packaged and commodified, The Rolling Stones are doing something more radical: they’re staying alive by staying active.

What’s Next?

There’s no official release date yet, but speculation is high that the album could drop in early 2026, possibly alongside a world tour announcement. If Hackney Diamonds was a surprise comeback, this next project could cement their late-era resurgence.

One thing is certain: The Rolling Stones aren’t just riding on past glory. They’re still writing, still playing, and most importantly—still rolling.

Peter Hook talks about "Get Ready", the Rock n' Roll Hall of Fame, and more

It’s been over four decades since Peter Hook co-founded Joy Division, the band that evolved into New Order following the tragic death of Ian Curtis. From pioneering post-punk to shaping electronic dance music, New Order’s legacy is undeniable. But there’s one recognition still missing from their resume — induction into the Rock and Roll Hall of Fame.

In a recent interview, Hook addressed the elephant in the room: Why hasn’t New Order made it into the Rock Hall yet? His answer, as always, was as candid as fans have come to expect.

“It’s politics, plain and simple,” Hook said. “The Hall of Fame has a history of ignoring bands with messy relationships — and let’s face it, ours was more than messy.”

Fractures in the Factory

The tensions between Peter Hook and his former New Order bandmates — Bernard Sumner, Stephen Morris, and Gillian Gilbert — are well-documented. Hook left the band in 2007 after mounting personal and creative differences. Since then, he’s carved out a successful career with his band, Peter Hook & The Light, performing Joy Division and New Order albums in full. Meanwhile, New Order has continued to tour and release new music without him.

When New Order was nominated for the Rock and Roll Hall of Fame in 2020, fans were cautiously optimistic. But when the band didn’t make the final cut — and when Joy Division and New Order were later jointly nominated in 2023 but again not inducted — it felt like an intentional snub.

“We’re a band with a complicated history,” Hook acknowledged. “And I think the Hall doesn’t know what to do with us. Are we Joy Division? Are we New Order? Are we both? And if we are inducted, who gets to stand on stage and take the credit?”

It’s a fair question. The Hall of Fame tends to avoid messy reunions, and New Order’s saga is particularly tangled. Still, for fans, the music speaks louder than the drama.

Revisiting Get Ready: An Underrated Classic

Despite the politics, Peter Hook isn't waiting around for industry validation. He’s channeling his energy into what he does best: playing music. His current tour sees him and The Light performing New Order’s 2001 album Get Ready in full — a bold choice, considering it’s one of the band’s most divisive records.

“Get Ready was the last album I did with New Order, and I think it’s criminally underrated,” Hook said. “It marked a return to our rock roots, after all the dance records. It’s raw, emotional — and it deserves a second listen.”

Released after an eight-year hiatus, Get Ready saw New Order embracing guitar-heavy sounds while still retaining their signature synth textures. With tracks like “Crystal,” “Slow Jam,” and “Someone Like You,” the album bridged the gap between their post-punk origins and the modern indie-rock landscape.

Hook's decision to play the album front to back is more than nostalgia — it’s a reclamation.

“For me, playing Get Ready is about closure. It’s about giving that record the spotlight it never got, and giving fans the chance to hear it live in a way they never have.”

Looking Back Without Regret

For someone who’s been at the heart of two of the most influential bands of the 20th century, Peter Hook remains refreshingly grounded — and unapologetically honest.

“I’m proud of what we did — in both Joy Division and New Order. Whether or not we ever get into the Rock Hall, the legacy is already there. The fans are the real hall of fame, and they’ve stuck with me all the way.”

As Hook continues to tour the world with Get Ready and deeper cuts from New Order and Joy Division’s catalog, one thing is clear: Rock Hall or not, his place in music history is secure — and he’s not done making noise yet.

An Exciting Discovery: The Clandestine Final Project Of David Bowie

In a revelation that’s thrilling fans and historians alike, a previously unknown final project by legendary musician and artist David Bowie has been discovered locked away in his private study—untouched since his death in 2016.

The discovery was made by Bowie's longtime archivist and estate manager, who had been cataloging the remaining contents of his New York City apartment. Tucked behind a false panel in the study—overlooked for nearly a decade—was a vintage hard drive, several notebooks, and a series of unlabelled mini-DV tapes. What they contained has stunned even those closest to the late icon.

A ultidimensional Masterpiece

According to early reports, the contents point to an ambitious multimedia project that Bowie was quietly developing in the final months of his life—an interactive, sci-fi rock opera titled “Beyond the Static.”

Blending music, video, visual art, and speculative storytelling, Beyond the Static appears to be a continuation of the themes introduced in Bowie’s final album, Blackstar—mortality, transformation, and the transcendence of identity. But unlike Blackstar, which was released just two days before his passing, this project was never completed or announced.

The notebooks outline a rich narrative world: a dystopian future where memories can be traded, time is fractured, and music is forbidden. One recurring character, known only as "The Listener," seems to serve as a spiritual stand-in for Bowie himself—an ageless observer who navigates the ruins of culture with only sound as his guide.

The Music: A Hidden Album?

Perhaps most tantalizingly, the hard drive includes demo recordings of 8 fully produced tracks not found in any known Bowie discography. Described as “haunting and futuristic” by insiders, the songs blend elements of ambient electronica, spoken word, and jazz, echoing Bowie’s Berlin-era experimentation while embracing 21st-century production.

Some titles include:

• “Signal to Ashes”

• “The Hollow Channel”

• “Static Saints”

• “A Map Without Time”

While unfinished, the recordings are unmistakably Bowie—his voice weathered yet commanding, weaving lyrics that are at once cryptic and intimate.

A Glimpse Into Bowie’s Mind

This secret project offers an unprecedented glimpse into Bowie’s artistic process during his final days. Known for his meticulous curation and constant reinvention, Bowie often operated in layers of metaphor and mystery. He had hinted in interviews that there were things “still left to say,” but no one expected something of this scale to emerge posthumously.

Longtime producer and friend Tony Visconti, who worked closely with Bowie until the end, was reportedly unaware of the project but said, “If anyone was capable of hiding an entire universe of music and meaning in plain sight, it was David.”

What’s Next?

The Bowie estate is currently working with archivists, musicologists, and digital preservation experts to fully assess the materials. While no formal release date has been announced, the estate has confirmed its intention to make portions of the project available to the public, possibly as part of a major exhibition or a special edition box set.

Fans are already buzzing online, with hashtags like #BeyondTheStatic and #BowieReturns trending across platforms. For many, it feels like a message from beyond—a final gift from an artist who was always steps ahead of his time.

In a world still echoing with his influence, Beyond the Static might just be the epilogue David Bowie always intended: mysterious, genre-defying, and unmistakably brilliant.

A New Take on ‘Hollow Man’ - Bruce Springsteen & Bon Jovi Team Up

In a collaboration that has classic rock fans buzzing, Bon Jovi and Bruce Springsteen have joined forces for a powerful new version of “Hollow Man,” the introspective track from Bon Jovi’s 2020 album 2020. The reimagined version, released today across all major streaming platforms, adds a gritty, soulful layer to the original — thanks in no small part to Springsteen’s unmistakable voice and raw emotional depth.

This is the first official studio collaboration between the two New Jersey icons, and it sounds exactly like you’d hope: honest, weathered, and full of heart.

From the first verse, Jon Bon Jovi’s signature raspy vocals set a reflective tone. But it’s when Springsteen takes over the second verse that the track takes on a new life. There’s a haunting authenticity in how he delivers lines like “I see a stranger in my eyes, and he’s staring back at me”, adding weight to the song’s themes of identity, regret, and personal reckoning.

“Hollow Man” was always one of the quieter emotional punches on 2020, but this version feels more lived-in. The arrangement has been stripped back further — acoustic guitars, a touch of harmonica, and piano drive the track — allowing both voices to shine in their vulnerability. The harmonies in the final chorus are goosebump-inducing: two rock legends, no longer the hungry young rebels of their early careers, but seasoned storytellers singing with the wisdom of experience.

Bon Jovi shared his excitement about the collaboration on social media: “Bruce brought something to this track that only he could. We’ve been friends for a long time, but working together in the studio — it just clicked.” Springsteen, in his typical understated fashion, said simply, “Jon wrote a hell of a song. I was glad to be a part of it.”

The collaboration has already sparked rumors among fans about the possibility of a joint tour or more music to come. While nothing has been confirmed, the chemistry on “Hollow Man” is undeniable — and it’s left fans wanting more.

For now, though, this version of “Hollow Man” stands as a poignant, powerful moment in both artists' storied careers — a reminder that even legends still have new stories to tell, and new ways to tell them.

Listen to “Hollow Man (feat. Bruce Springsteen)” now — and get ready to feel all the feels.

Deftones Retain Consistently Superb Quality on Private Musi

Deftones Retain Consistently Superb Quality on Private Music
By Eligh Gold, August 22, 2025

If there’s one thing you can count on in the ever-shifting terrain of alternative metal, it’s that Deftones will never deliver anything less than excellence. With their latest release, Private Music, the Sacramento legends once again prove that time only sharpens their edge — not dulls it. As bands come and go, or fall victim to formulaic writing and sonic redundancy, Deftones continue to evolve while retaining the essence of what makes them so uniquely powerful.

A Sonic World of Their Own

Private Music doesn’t scream for attention — it haunts, it swells, it creeps under your skin. The album's title might suggest something subdued, even minimalist, but don’t let that fool you. What Deftones present here is deeply personal, yet sonically expansive. There's a sense of restraint laced with ferocity; a band clearly in full control of its emotional and technical faculties.

From the opening track, you’re reminded of why Deftones have remained in a league of their own. Chino Moreno’s vocals are as textured and evocative as ever, shifting from hushed vulnerability to guttural intensity with surgical precision. Guitarist Stephen Carpenter lays down crushing yet atmospheric riffs, balancing aggression with ambiance in a way few modern rock guitarists can. Meanwhile, Abe Cunningham’s drumming remains a masterclass in groove and finesse, anchoring the band’s dreamlike excursions with just the right amount of weight.

The Evolution Continues

While some legacy acts lean on nostalgia, Private Music feels fresh — even experimental — without being self-indulgent. Tracks like “Glass Language” and “Tidepool Static” showcase Deftones' flair for blending ethereal electronics with their signature alt-metal backbone. Frank Delgado’s contributions on synths and samples are more prominent here than in recent memory, adding eerie textures that blur the lines between post-rock, trip-hop, and doom.

Yet, for all its atmospheric ambition, the album never forgets to hit hard. Songs like “Carbine Veins” and “Salt Bloom” prove that Deftones can still deliver heavy, emotionally charged rock music that cuts deep — but always with nuance.

Lyrical Intimacy

Moreno’s lyrics on Private Music are abstract but deeply affecting. There’s a sense of quiet introspection across the record, as if these songs are sonic diary entries whispered into the dark. Themes of isolation, yearning, memory, and transformation echo throughout — all filtered through the band’s trademark lyrical impressionism.

You won’t find overt declarations or anthemic choruses here. Instead, Moreno invites the listener into a shadowy, intimate headspace. It’s this emotional honesty — shrouded in mystery — that’s kept fans connected to Deftones for decades.

A Legacy Reinforced

In an era where many veteran bands struggle to stay relevant or risk diluting their legacy, Private Music reinforces Deftones' place in the pantheon of modern rock innovators. It’s not just another good album — it’s a statement of creative vitality, proving that their well of inspiration is far from dry.

While Deftones could easily coast on their classics, they choose instead to keep exploring, keep evolving, and most importantly, keep delivering music that resonates. Private Music is yet another chapter in a discography that has rarely, if ever, faltered.

And that’s what makes Deftones so enduring: a refusal to stagnate, a commitment to quality, and an ability to make the private feel universal.

“You Are Truly Immortal”: Bill Ward Writes Touching Message to His Black Sabbath Bandmates After Final Show

The final curtain has officially fallen on one of heavy metal’s most legendary acts. Black Sabbath, the pioneering force behind a genre that shook the world, has played their last show. But while the amps may now be silent, the emotions remain electric—especially from founding drummer Bill Ward, who penned a deeply moving message to his former bandmates in the wake of their farewell performance.

In a heartfelt note shared with fans on social media, Ward reflected on the band's extraordinary journey and the legacy they leave behind. Although he was absent from Sabbath's final reunion shows due to longstanding personal and contractual issues, Ward made it clear that the bond between him, Tony Iommi, Ozzy Osbourne, and Geezer Butler is one that transcends stage time.

“To Tony, Ozzy, and Geezer—thank you for the music, for the brotherhood, and for carrying the flag all the way to the end. You are truly immortal,” Ward wrote. “No matter where we stand now, I will always be proud of what we created together.”

For fans, Ward’s message is both poignant and symbolic. It is a deeply moving reminder that Black Sabbath's impact is not only measured in platinum records and sold-out arenas, but also in the unbreakable, if complicated emotional bonds forged through decades of creation, chaos, and catharsis.

Ward went on to acknowledge the final show, calling it “a powerful, dignified close to a life-altering story,” and thanked the fans who have followed them from the smoky clubs of Birmingham to the world’s biggest stages.

“You carried us when we were broken. You sang with us when we had no voice. You are the final piece of this legacy,” he wrote.

While his absence from Sabbath's last chapter was a source of disappointment for many longtime followers, Ward’s gracious words brought a sense of healing and closure. His message wasn’t just a farewell; it was a tribute to a legacy that has influenced generations and will undoubtedly echo for decades to come.

Black Sabbath’s swan song may have been missing one original member onstage, but Bill Ward’s words ensured that the heart of the band—its original spirit—was still very much present.

Ozzy's Wild Canvas: Prince of Darkness Paints with Chimps for Charity

In a story as surreal as one of his legendary stage antics, Ozzy Osbourne — the self-proclaimed Prince of Darkness — has swapped bats for brushes and teamed up with an unlikely group of collaborators: chimpanzees. Yes, you read that right. The heavy metal icon recently took part in a charity art project where he painted side-by-side with rescued chimps, all to raise funds for wildlife conservation.

Held at a private sanctuary just outside Los Angeles, the event was part of an initiative by Art for Apes, an organization that raises money to support endangered primates through creative expression. Ozzy, grinning ear to ear in a paint-smeared leather jacket, joined the sanctuary’s resident chimps for a day of chaotic collaboration — resulting in abstract masterpieces that are now being auctioned online.

"I’ve done a lot of mad things," Ozzy said, “but painting with chimps? That’s a new one, even for me. And they’re bloody better artists than I am!”

The collaborative paintings — a swirl of neon splashes, fingerprints, and yes, some very deliberate strokes by our primate friends — have already caught the attention of collectors and fans alike. Proceeds from the sales go toward building new enclosures and funding veterinary care at sanctuaries across the globe.

This bizarre, beautiful partnership shows that creativity knows no species — and that even the Prince of Darkness has a soft spot for the animal kingdom.