Fleet Foxes Put Their Gentle Spin on “Angel in the Snow” by Elliott Smith

In a beautifully understated turn of events, Fleet Foxes — led by Robin Pecknold — have released a tender and faithful cover of Elliott Smith’s “Angel in the Snow,” the quietly shimmering track originally included on Smith’s New Mooncompilation. The cover appears on the soundtrack for the upcoming holiday comedy Oh. What. Fun.

A Cover That Hits Home

Pecknold’s admiration for Smith comes through instantly. Rather than reinventing the song, he treats it with the kind of reverence usually reserved for sacred texts — keeping the structure intact while lending it Fleet Foxes’ signature warmth and layered harmonic glow.

In a recent statement, Pecknold said the song had long been a personal holiday favorite, making the opportunity to record it feel “like a huge joy.” He also shared a poignant memory from his teenage years: distributing “RIP Elliott” flyers at his high-school graduation in 2004, a moment that speaks to how deeply Smith’s songwriting impacted him.

Fleet Foxes’ version unfolds gently — vocals fading back as shimmering instrumentation takes the foreground, giving the track an almost wintry glow. It’s delicate, devotional, and unmistakably Fleet Foxes.

Why This Cover Matters Now

This isn’t just a nod from one admired artist to another — it’s a cross-generational connection between two pillars of indie folk. Smith’s influence runs deep in the genre, and Fleet Foxes’ interpretation brings that legacy into the present with care and nuance.

The release also arrives alongside a star-studded soundtrack. Oh. What. Fun., directed by Michael Showalter, features contributions from St. Vincent, Gwen Stefani, Jeff Tweedy, Weyes Blood, and more. Both the film and its accompanying soundtrack are set for release on December 3, with the soundtrack arriving via Sony Music Masterworks.

A Personal Tribute, Not Just a Song

Pecknold has said he’s “very literal” about covers — he thinks of them almost like historical reenactments. That approach works beautifully here. It’s not flashy, not embellished, but deeply sincere.

And because Smith’s work shaped Pecknold’s formative years, the cover becomes more than an homage. It’s a musical thank-you letter, delivered with restraint and affection.

The Takeaway

For longtime Elliott Smith fans, this is a touching, respectful tribute. For Fleet Foxes listeners, it’s another reminder of how gracefully the band can channel vulnerability. And for anyone planning to watch Oh. What. Fun., it’s an unexpectedly emotional highlight tucked into a holiday soundtrack.

If you haven’t heard it yet, it’s absolutely worth your time — a quiet moment of beauty from one artist honoring another.

On “Dream as One” the new song by Miley Cyrus

Pop powerhouse Miley Cyrus has released a brand-new original track, “Dream as One,” created for the upcoming blockbuster Avatar: Fire and Ash. The song arrived on November 14, 2025, and is already sparking excitement across both the music and film worlds.

A Song of Renewal and Resilience

Co-written with Mark Ronson, Andrew Wyatt, and Avatar composer Simon Franglen, the track blends Cyrus’s emotional vocals with sweeping cinematic production. Cyrus also co-produced the song, helping shape its powerful, atmospheric sound.

In announcing the release, Miley shared that the lyrics were born from deeply personal reflection:

“Every lyric remembers where we’ve been, reflects where we are and holds hope for what’s ahead for all of us.”

Born From Fire, Made for Pandora

The emotional weight behind “Dream as One” stems partly from Miley’s own experience with the Woolsey Fire, which destroyed her home years earlier. The themes of loss, rebuilding, and unity naturally aligned with Avatar: Fire and Ash, making her contribution feel organic and deeply connected to the film’s core story.

Cyrus described the opportunity as “musical medicine,” a way to transform personal devastation into something uplifting and communal — a perfect fit for a film universe centered on connection and healing.

What the Song Brings to the Film

The ballad is sweeping, warm, and hopeful — everything you’d expect from a closing-credits emotional release. Its chorus captures the heart of the story:

“Even through the flames / Even through the ashes in the sky / Baby, when we dream, we dream as one…”

With Ronson and Wyatt’s trademark cinematic-touch songwriting and Franglen’s world-building musical palette, the track lands as both intimate and epic — a fitting sendoff for the film’s dramatic conclusion.

Stepping Into the Avatar Musical Legacy

Miley joins a prestigious line of artists who have crafted original songs for the franchise.

• Avatar (2009) featured Leona Lewis with “I See You.”

• Avatar: The Way of Water (2022) showcased The Weeknd with “Nothing Is Lost (You Give Me Strength).”

Her addition continues the tradition of pairing the Na’vi world with big emotional pop ballads that elevate each film’s finale.

What’s Coming Next

• Film release date: Avatar: Fire and Ash premieres December 19, 2025.

• Soundtrack: The full score by Simon Franglen arrives December 12, 2025.

• Placement: Miley’s track plays over the end credits, giving audiences one last emotional hit before they leave the theater.

Why This Song Matters

“Dream as One” isn’t just another movie tie-in single — it’s a convergence of Miley’s personal journey and the Avatarseries’ sweeping themes of rebirth, unity, and resilience. It bridges a story of real-world healing with the grand mythology of Pandora, offering a moment of catharsis to both longtime fans and new listeners.

Whether you’re gearing up for the film or just craving a heartfelt new Miley track, “Dream as One” delivers a stunning, soul-lifting experience.

Hercules & Love Affair Return With New EP — And A Dreamy Club Jam

Hercules & Love Affair, the ever-evolving dance-music project led by Andy Butler, are officially stepping back into the spotlight. Their new EP, Someone Else Is Calling, arrives December 12 on Stratasonic — the group’s first major release since the reflective and emotionally charged In Amber in 2022.

Back to the Club

After the somber, textured explorations of In Amber, Butler has shifted the project back toward its club-driven roots. The title track, “Someone Else Is Calling,” features Icelandic vocalist Elín Ey (Hips & Lips) alongside Quinn Whalley of Paranoid London. Together, they craft a hypnotic, groove-heavy sound that channels the project’s iconic fusion of house, disco, and emotional immediacy.

The chemistry between Butler and Ey deepens the track, especially given her previous contributions on In Amber. Whalley’s raw, London-rave production edge adds a driving pulse that brings the song squarely into the dancefloor’s orbit.

On Tour and Gaining Momentum

Hercules & Love Affair are also back on the road, performing a string of North American dates including Philadelphia, New York, Boston, and Los Angeles, with European stops in Manchester and Berlin to follow. The timing of the EP release couldn’t be better — fans will likely get to experience the new material live as it rolls out.

Why This EP Feels Big

This release feels significant for several reasons.
It marks a reconnection with the dance-oriented energy that defined the project’s earliest impact, while still carrying the emotional weight that Butler has been exploring more deeply in recent years.
It also represents an evolution in sound, blending introspection with renewed physicality — a bridge between the shadowy mood of In Amber and the celebratory pulse of their earlier work.
And importantly, it showcases powerful collaborative voices: Elín Ey’s emotive clarity and Quinn Whalley’s underground-leaning production sharpen Butler’s vision into something both intimate and electrifying.

Final Thoughts

Someone Else Is Calling isn’t just a new chapter — it’s a revitalization. Hercules & Love Affair are reaffirming everything that has made the project so adored: queer-rooted dance music, emotionally rich songwriting, and deep, pulsating grooves that pull you in both physically and spiritually.

With the EP landing December 12, the countdown is officially on. And if you catch them on tour, expect to feel that call — loud, shimmering, and irresistible — straight from the dancefloor.

On The Recent Radiohead Reunion Show In Madrid

A few days ago in Madrid, at the Movistar Arena, Radiohead returned in what can only be described as a mission-critical homecoming. After seven years away from the road, the Oxford five-piece made it clear: we still need them. And they absolutely delivered.

A comeback built on surprise and obsession

It’s no small feat for a band like Radiohead to re-emerge after such a long hiatus and land with impact. Their last full live activity dates back to their 2018 A Moon Shaped Pool tour. But rehearsal hints had already surfaced earlier this year—bassist Colin Greenwood confirmed the group were back in the studio in London “just to play the old songs.” A new limited-liability partnership, RHEUK25, had also been registered, fuelling speculation that something major was brewing.

On stage, they made bold production choices: performing in the round, surrounded by fans, with semi-translucent video curtains that lifted during key songs. “Bloom” melted into abstract visuals; Thom Yorke darted across the stage, twisting through the lights in his signature, hypnotic way.

The setlist: More than greatest-hits

Opening with “Let Down” felt like a statement. This wasn’t a nostalgia trip—it was a reckoning. Much of Hail to the Thief resurfaced, including the first live outing of “Sit Down. Stand Up.” since 2004. The band are reportedly working from a pool of 65 songs to rotate each night, keeping things unpredictable.

The encore delivered a knockout sequence: “Fake Plastic Trees,” “How to Disappear Completely,” “Paranoid Android,”and “Karma Police.” Every moment felt like reclamation—Radiohead reconnecting with their audience on their own terms.

Why it mattered

Beyond nostalgia, this show reminded everyone why Radiohead became more than a band—they became a cultural force. Their seven-year silence only sharpened the hunger, and their return didn’t coast on legacy. They arrived with intent, curiosity, and clarity.

The setlist and staging choices pointed to something deeper than a simple reunion. The design emphasized immersion, not spectacle; presence, not perfection. The performance was a reminder that art, even in its most cerebral form, can still be communal, visceral, and human.

What next?

No new album has been announced yet. The European tour continues through Bologna, London, Copenhagen, and Berlin. With dozens of songs rehearsed and a renewed sense of creative electricity, this run feels less like a farewell and more like a new beginning.

Radiohead aren’t simply back—they’ve reminded us why we’ve missed them, and why their strange, searching music still feels vital in 2025.

In short: if you thought their best days were behind them, last night proved otherwise. The ghosts of expectation were met, tackled, and transformed into something transcendent. The revival has begun.

Dark Pop Gothic: Charli XCX & John Cale Roam the Moors

Lights flicker, strings swell—pop’s perpetual boundary-pusher Charli XCX has just dropped a deliciously eerie teaser for her upcoming song “House”, featuring Velvet Underground co-founder John Cale, and it’s bound for the soundtrack of Emerald Fennell’s forthcoming Wuthering Heights adaptation.

What We Know So Far

Charli shared a cryptic Instagram clip showing her lying on the ground as a raven-like bird circles overhead. A voice intones, “Can I speak to you privately for a moment?”, while violins slice through the background. It’s unsettling, cinematic, and far removed from the glossy pop of her Brat era.

“House” is confirmed as the first release from Charli’s album created for Fennell’s film, due out November 10, 2025.

Collaboration with John Cale

Cale’s involvement adds an unmistakable layer of avant-gothic credibility. Charli said she was inspired by a phrase of his—“elegant and brutal”—which became a conceptual anchor for both the track and the wider project. She explained, “That voice, so elegant, so brutal… I sent him some songs. He recorded something and sent it to me. Something that only John could do. It made me cry.”

The Mood & the Narrative

This isn’t your average Charli XCX single—it’s steeped in gothic atmosphere. She described writing about the moors, the mud, the cold; passion and pain; England in stormy weather. It’s the emotional world of Wuthering Heights rendered in sound: haunting strings, tension, and raw romanticism.

The film itself reportedly stars Margot Robbie as Catherine and Jacob Elordi as Heathcliff, set for release in early 2026. “House” is positioned as both a sonic reflection of that story and a bold evolution of Charli’s artistry.

Why It Matters

Rather than a typical pop single, “House” signals a new creative phase—one where Charli merges art-pop ambition with cinematic storytelling. Teaming up with John Cale bridges generations and genres: his Velvet Underground heritage meeting her hyper-pop instincts in something dark, textural, and unpredictable.

Final Word

We’re watching a pop star step into art-house territory, uniting gothic romance and avant-rock experimentation. If “House” delivers on its promise to be both elegant and brutal, Charli XCX won’t just enter a new era—she might redefine what a modern pop soundtrack can be.

The Basement Door Opens: Demi Lovato Finally Lets Poot Lovato Out for Halloween

This Halloween, Demi Lovato didn’t just pick a costume — she reclaimed a meme. The singer took to Instagram and TikTok to resurrect the decade-old internet legend of “Poot Lovato,” her fictional twin sister who, according to meme lore, had been locked in a basement her whole life.

From meme to main event

The story of Poot goes back to around 2015, when a heavily edited photo of Demi circulated on Tumblr. The image depicted her in a washed-out, distorted way, and fans jokingly declared: This is Poot, the twin sister who’s just emerged from the basement for the first time. Over the years, Demi has referenced the joke — in 2023 she even had a birthday cake decorated with Poot’s image.

So when Demi posted on October 30 2025:

“happy halloween and happy one week of intd!! been so locked in this era thought i’d let pootvato out 🔒🤍”
she wasn’t just dressing up — she was letting Poot step into the spotlight.

The Halloween reveal

Her costume was a spot-on recreation of the meme: pale lighting, exaggerated receding hairline, minimal styling, basement door backdrop. She shared side-by-side snaps of the original meme image and her recreation, and posted a TikTok of “Poot” creeping out of the garage, sweeping, showing the “basement essentials” (bubble wrap, cleaning supplies) while set to “House Tour” by Sabrina Carpenter.

Angels and devils alike joined the fun in the comment sections:

“Welcome back Poot we missed you.”
“Halloween is over everyone. Pack it up. It belongs to Demi this year.” — Jordan “Jutes” Lutes (Demi’s husband) in response.

Why it matters

This costume isn’t just funny — it’s meaningful. On one level, it shows Demi’s ability to own a meme that once made her uneasy. She admitted she thought the original photo was of her and felt bad about it. On another level, by leaning into the shared internet joke, she connects with fans in a playful, self-aware way.

And of course: it’s just plain hilarious. In a sea of celebrity Halloween looks, this one stood out not only for its execution but for its depth of internet culture knowledge. Media outlets are already crowning it among the best of 2025.

Final word

So yes — on this Halloween, Poot Lovato climbed out of the basement, stepped into the light, and reminded all of us: you can take a meme, laugh with it instead of at it, and turn it into something gloriously iconic. If you needed a sign that Demi is comfortable in her skin (and her sibling lore), this is it.

Enter thunder-clap Free Poot.

Lady Gaga & Catherine Zeta-Jones Bring “All That Jazz” to Halloween with Hilarious ASMR ‘Chicago’ Spoof

Leave it to Lady Gaga and Catherine Zeta-Jones to turn Halloween into a masterclass in camp, comedy, and charisma. The two powerhouse performers joined forces for a tongue-in-cheek ASMR video that playfully spoofs Chicago — and even pokes fun at the fact that both of their husbands share the same name: Michael.

The short clip is pure theatrical gold. Gaga, ever the queen of avant-pop, and Zeta-Jones, the Oscar-winning actress who immortalized Velma Kelly in the 2002 film version of Chicago, whisper, tap, and giggle their way through a sultry ASMR routine. Clad in feathers, rhinestones, and roaring-’20s flair, the duo trade breathy lines that blend jazz-club glamour with Halloween mischief.

The scene is equal parts parody and homage. Gaga channels her inner Roxie Hart with exaggerated wide-eyed innocence, while Zeta-Jones brings her signature cool, knowing grin — the same smirk that made Chicago’s Velma such an icon. Together, they riff on the musical’s legendary energy, adding a dash of absurdist humor that could only come from two women who know how to own a camera.

But the best running joke of the video? Their “sexy husbands.” Both stars are married to Michaels — Gaga to entrepreneur Michael Polansky and Zeta-Jones to Hollywood royalty Michael Douglas. Between their whispered “Michael” name-drops and knowing laughs, it’s clear they’re in on the joke, turning what could’ve been a throwaway gag into a hilarious, self-aware punchline.

Beyond the laughter, the clip is another example of Gaga’s uncanny ability to blur boundaries between music, performance art, and social media culture. Her collaboration with Zeta-Jones shows how two generations of entertainers — one from the pop avant-garde, the other from Hollywood’s golden stage — can meet in the middle to create something refreshingly unexpected.

The result? A viral Halloween treat that feels equal parts Broadway and bedtime story — a whispering, winking reminder that sometimes the best performances are the ones that don’t take themselves too seriously.

Because when Lady Gaga and Catherine Zeta-Jones tell you to “come on babe, why don’t we paint the town”… you listen. Quietly, of course.

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.