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.