A new trailer for the upcoming Oasis documentary "Oasis: Don't Look Back in Anger" is out now. The film follows the band's 2025 reunion tour, which marked the first time brothers Noel Gallagher and Liam Gallagher had shared a live stage in 16 years, following a highly publicized feud.
"The songs are one thing, but I'd forgotten what he means to people," Noel Gallagher says in a voiceover, presumably referring to his brother. "I certainly wasn't prepared for the intense outpouring."
Oasis' 2025 reunion tour was regarded as "one of the most anticipated rock 'n' roll comebacks of our time," according to a press release. The press release adds that the upcoming documentary is "an unapologetically uplifting account" of the band's 2025 tour and captures "the experience and emotions of the band and their fans across the world."
In addition to never-before-seen footage from their tour, the documentary will also include Noel and Liam Gallagher's first joint interview in over 20 years.
"Don't Look Back in Anger" is set to hit theaters and IMAX on Sept. 11. Limited IMAX early access screenings will take place Sept. 9. Tickets are on sale now.
The documentary will be available to stream on Hulu and Disney+ later in 2026.
Björk composed arrangements with thin-sounding instruments, including the harp, the celesta, clavichord, strings and custom music boxes. Assisted by Matmos, Björk created "microbeats" from various commonplace sounds, such as that of shuffling cards and ice being cracked. Lyrically, the album drew inspiration from Björk's new relationship with Matthew Barney, exploring themes related to sex, intimacy, eroticism, and love. Other lyrical sources include the poetry of E. E. Cummings and British playwright Sarah Kane's Crave. The album has been noted for its erotic, intimate mood and sonic experimentation, Vespertine received universal acclaim from music critics, with some considering it Björk's best album to date.
Björk had released her previous studio album, Homogenic, in 1997. The album's style differed from her previous two releases, described by her as "very emotionally confrontational and [...] very dramatic". She also described "All Is Full of Love"—Homogenic's closing track—as the first song on Vespertine, as it opposed the rest of the album's "aggressive, macho" aesthetic. Writer and critic Mark Pytlik writes, "Her appetite for thumping techno had been, temporarily at least, subsumed by a desire for stark melodies and minimalist production".
In 2000, she starred in Lars von Trier's Dancer in the Dark, and composed its soundtrack, Selmasongs. While she worked on the film, she also began producing her next album,
writing new music, and teaming with new collaborators. She has said "Selmasongs was the day job and Vespertine was the hobby". During this time, she also began to use her new laptop to write music, and Vespertine has been retrospectively referred to as "her laptop album"She initially set about making a record with a domestic mood featuring "everyday moods and everyday noises translating into melodies and beats", hence its working title Domestika.
Her new relationship with artist Matthew Barney, and the stress she experienced while filming Dancer in the Dark, have been referred to as the two major forces that shaped what would become Vespertine. Her relationship with Barney influenced her lyrics, which became more intimate, detailed, and revealing in contrast to her past works. As Björk had to be extroverted during the filming process, the music she wrote for Vespertine also became hushed and tranquil as a way for her to escape. In fine style, Björk had set out to write an album about making sandwiches. She'd ended up with an album about making love". A stylistic antecedent was her poem "Techno Prayer", published in Details magazine in July 1996, which would later be used as part of the lyrics of "All Neon Like". It featured thematic ideas such as cocooning and thread-weaving that she would later explore on Vespertine.
Björk has stated that she wanted the album to sound like "modern chamber music", referring to the times where "the most ideal music situation was in the home, where people would play harps for each other". She also considers Vespertine to be the opposite of her previous studio album Homogenic, the former being an introverted, quiet, winter record; the latter a loud, dramatic, summer record. Björk has also described the album as "more electronic folk music". Critics have classified Vespertine as electronica, art pop, psychedelia, ambient, folktronica, and glitch pop. Björk's performance on Vespertine has been described as that of an "art-rock torch singer".
Stylistically, Vespertine incorporates elements of both art and dance music. For example, the instrumentation of choir, strings, and harp is suggestive of Romantic art music, while the "synthesised keyboard sonorities, filtering effects and complex percussive sounds" are elements characteristic of dance-based pop. Vespertine is also characterised by "the obsession with sonic traces of analog technology – that is, the pervasive use of loops, static and white noise". Unlike her previous albums like Debut and Post, "electronic sounds are the norm, and the acoustic sounds become the interjections." Influenced by the 1999 album New Ancient Strings, a recording of kora duets by Toumani Diabaté with Ballaké Sissoko, Björk's voice was used as a supplement to "the complex electronic textures". Her vocals often appeared to be recorded close to the microphone and with little treatment, and sung in a sometimes "unstable whisper", conveying a sense of close proximity and reduced space suitable for the
The album opener "Hidden Place", featured a soprano section and strings, "over the top of a warm, intimate melody". Björk sang about "how two people can create a paradise just by uniting", as she intones: "I'm so close to tears/And so close to/Simply calling you up/And simply suggesting/We go to that hidden place". "Cocoon" was based around an exploratory bassline and beats that sound like fingertips on skin". "It's Not Up to You" has been described as a "dizzying ballad" and a song that lifts the album upward. The "caressing lyrics" of "Undo" assure that: "It's not meant to be a strife/It's not meant to be a struggle uphill". "Pagan Poetry" is a "harp-splashed" song that concerns unrequited love. The instrumental interlude "Frosti" has been described as "metallic tundra".
"Frosti" faded into "Aurora", while "a warm, faintly crunchy sound" is heard. These are samples of footsteps in the snow—the work of Matmos—re-appropriated as the song's "subtly shifting beat". "Aurora" has been described as "something that appeals to a child-like imagination", and having a "magical and airy quality". "An Echo, a Stain" is underpinned by a creeping choir line and nibbling clicks, and featured an "unresolved, ominous tension" that is atypical of her writing style. "Sun in My Mouth" was an adaptation of E. E. Cummings' poem "I will wade out/Till my thighs are steeped in burning flowers", with an emphasis on the vocal and accompaniment provided by a string orchestra, a harp, and soft electronica. "Heirloom" altered "between what sounds like a samba preset on a vintage Wurlitzer organ and skittering breakbeats, and is decorated with inverted synthtones and analog keyboards". Film director Harmony Korine wrote "Harm of Will"'s lyrics. The Slate album review noted the minimalist nature of the track, pointing out a lack of hook, beat and melody. It was a slow song, as it was the closing track, "Unison". The latter contained a refrain directly inspired by Björk's experience in Dancer in the Dark and a healthy dollop of self-effacing humor evoked to counter the balance"
The cover art, shot by Inez van Lamsweerde and Vinoodh Matadin in Los Angeles, California, was a black and white photograph of Björk lying down on the patterned ground next to a swimming pool, covering her eyes from the sun and wearing the Marjan Pejoski swan dress that she wore at the 73rd Academy Awards in 2001,
Slippery When Wet was an instant commercial success, spending eight weeks at No. 1 on the U.S. Billboard 200 chart and was named by Billboard as the top-selling album of 1987, and is considered Bon Jovi's best-selling album to date.
Upon its 1985 release, 7800° Fahrenheit achieved moderate success, but Bon Jovi had not yet become superstars. The band changed its approach for the next album, with a more mainstream sound than the heavier first two albums. Hiring Desmond Child as a collaborator, the band wrote 30 songs and auditioned them for local New Jersey and New York teenagers, basing the album's running order on their opinions. Bruce Fairbairn was chosen as the producer for the album, with Bob Rock as the mixer.
Much of the album was written by Jon Bon Jovi and Richie Sambora, whereas "You Give Love a Bad Name", "Livin' on a Prayer", "Without Love", and "I'd Die For You" were co-written by the duo with Desmond Child, and "Wild in the Streets" was by Jon Bon Jovi alone. This was the first time Desmond worked with Jon and Richie. He came to New Jersey, where they worked on the four songs in Sambora's mother's basement.
Jon Bon Jovi explained, "I liked what Bryan Adams had done with Tina Turner so I suggested we do something similar: I write a song for someone like her, and then we do the song together. But that got changed, and our A&R guy came up with Desmond's name ... He hasn't tried to change what we are, but to refine it slightly; to suggest extra ways that we could wring a bit more out of what we had." Jon Bon Jovi was initially reluctant to include "Livin' on a Prayer", believing it was not good enough. Sambora convinced him it was a hit in the making, and so the band rerecorded it, releasing the second version on the album. It is Bon Jovi's signature song.
The album's name was changed during its inception, including Wanted Dead or Alive. A proposed cover with the band dressed as cowboys was later used for the single release of the track of the same name. According to Jon Bon Jovi, the band named the album Slippery When Wet after visiting The No.5 Orange strip club in Vancouver, British Columbia. According to Sambora, "This woman descended from the ceiling on a pole and proceeded to take all her clothes off. When she got in a shower and soaped herself up, we just about lost our tongues. We just sat there and said, 'We will be here every day.' That energized us through the whole project. Our testosterone was at a very high level back then."
The cover consists of a wet black garbage bag with the words "Slippery When Wet" traced in the water. "So simple, and not very impressive", said Sambora. The album originally was to feature a busty woman in a wet yellow T-shirt with the album name on the front of the shirt. This was swapped for the plastic bag cover just prior to release. The reasons given for the switch were record executives' fears that dominant record store chains at the time would have refused to carry the album with a sexist cover, and Jon Bon Jovi's dislike of the bright pink border around the photograph the band submitted.
The Smiths were indeed a moment in time marking a point in the early
80s when "Indie" moved from being "small audience material on minor
record labels" to a crossover into the mainstream.
This is not intended to be a definitive history but a history across 300
pages told by those who were involved, were there, bear the scars, and
still hold the highest esteem for an outspoken (some would say odd-ball)
singer, musical partner in crime and tune, plus backing from a solid if
un-noticed (until the court case) rhythm section.
The stories range from their fist gig at The Hacienda when Morrissey got annoyed with the crowd and the poster stating “We are THE Smiths, not just Smiths”, to first appearances on The Tube and Top Of The Pops (not as many stories of people going home, buying a deaf aid and waving gladioli about as I though there may have been), to the last recording sessions in Streatham, before Johnny Marr quits and the NME publish the “Smiths To Split” headline.
ZZ Top was founded in 1969 and played their first live concert the following year. Together they released 15 studio and four live albums, with hit singles like Gimme All Your Lovin', Sleeping Bag, and Viva Las Vegas.
Members of the group have included founder and lead vocalist Billy Gibbons and the late Dusty Hill. When Hill died in 2021, the group carried on performing with Elwood Francis as its bassist.
"Today, Elwood and I lost a great friend and collaborator, and the world lost one of the most naturally innovative drummers and a great and true son of Texas," Gibbons said.
"His signature backbeat was key to keeping ZZ on top. The band of which he was part for six decades is going to keep on keeping on as he had wished," he said.
Shows the group called off after Beard's death had been scheduled in Salt Lake City, Utah, on Monday and in Colorado Springs, Colorado, on Wednesday. The group said it plans to resume its current The Big One! Tour over the weekend, with two dates at Austin City Limits, which the band said was one of Beard's favourite venues in "a city that had been something of a second home for him".
Beard joined the group after ZZ Top released its first single Salt Lick and later brought on Hill as its bassist, serving as the band's rhythmic force on drums, he anchored hits such as La Grange, Tush and Cheap Sunglasses.
He became known as The Man With No Beard - despite his surname - because he was the only member of the Houston ensemble who didn't sport the lengthy facial hair the band became known for, the band has said.
The group's famous 1984 album Eliminator featured the hits Gimme All Your Lovin, Sharp Dressed Man and Legs. It sold more than 10m copies, was certified diamond, by The Recording Industry Association of America (RIAA) in 1996. The album also earned a Grammy Award nomination.In 1987, the group received another Grammy nod from the Recording Academy for their Afterburner album. In 2021, the group was also nominated for best music film for Sam Dunn's documentary That Little Ol' Band From Texas.
For this release, the usual "Yearbook" 4CD option of deluxe hardcover book packaging or more basic card sleeve edition, offers 77 tracks, while a 3LP coloured vinyl (purple) delivers 44 songs from 1986.
For this Vault compilation, because there's some relatively big names here such as Paul Young's first single from his third solo album, 1986's Between Two Fires, had been "Wonderland". Vault ’86 also reminds us that acts we know and love as one hit wonders did actually ‘try again’; they didn’t want to be one hit wonders, after all. So yes, Belouis Some did release a few singles that weren’t ‘Imagination’ and funnily enough one of them was called ‘Some People‘! It was a very minor hit, but if history teaches us anything, it’s that 1986 was not a year to release a song called ‘Some People’. ‘Ed’s Funky Diner‘ was actually a great follow-up to It’s Immaterial’s ‘surprise’ hit.
Other tracks include Nik Kershaw's ‘Nobody Knows’ (No 44) and Howard Jones’ All I Want (No 35), both artists, like Paul Young, experimenting with new producers (in Nik’s case himself!) and it not really working out. The Thompson Twins‘ ‘Nothing in Common’ wasn’t released in the UK, but it didn’t trouble the upper reaches of the American chart when it was issued there (their previous two singles had been top 10 hits Stateside). Three singles from Sting's brilliant The Dream of the Blue Turtles album failed to get into the UK top 40 which seems crazy, and ‘Moon Over Bourbon Street‘, when issued as the fifth 45 (A&M were probably enthused because ‘Russians’ had reached No 12) was the last of them (No 44). Sting would have to wait until 1994 before chalking up a solo UK top 10 single (‘When We Dance’).
Tears For Fears make an appearance on Vault ’86, with a song that was both the first and last single from Songs From The Big Chair: ‘Mothers Talk‘. Included here is the US Mix, not issued in the UK. In America, it reached 27 which sounds decent, until you recall that the first three singles from the album were No 1, No 1 & No 3!. Roland Orzabal told this writer that he much preferred the version re-recorded for the North American market: “I always thought we got ‘Mothers Talk’ slightly wrong. It was a bit too fast. The US version worked really well, we were happy”. There’s plenty more interesting selections on this new compilation; scroll down for full tracklistings.
The legendary London independent label will release its second volume of newly printed classic singles, titled ‘Rough Trade 45s: Volume 2’, on October 30. It will comprise tracks from The Fall, Aztec Camera, Mazzy Star, Scritti Politti, Robert Wyatt and more, and the boxset will be limited to just 1000 copes, released on October 30.
Among them is a new release from The Smiths, with "The Headmaster Ritual" on the A-side, and "I Want The One I Can't Have" on the flip side. Both songs originally appeared on the band’s second album "Meat Is Murder" in 1985, but they were never released as a single on Rough Trade.
Now, they will be available as a single for the first time, with Morrissey and Marr both requesting the two tracks. Morrissey has also overseen the creation of the new artwork, choosing a 1939 image of the American actor Billy Halop. It follows in the tradition of The Smiths' artwork throughout their career, with Morrissey having previously selected the likes of Truman Capote, Candy Darling, Alain Delon and Elvis Presley.
Both Morrissey and Marr have also both contributed sleeve notes for the release, and the booklet will also include writing from Elvis Costello, Stewart Lee, Green Gartside, Jonathan Richman and The Go-Betweens' Robert Forster.
You can pre-order here: Rough Trade 45s
