Heavens to Betsy—the pre-Sleater-Kinney duo of Corin Tucker and the Husbands’ Tracy Sawyer—haven’t released an album since 1994, but their comeback LP, “Baby’s Gone”, has been even longer in the making. The record brings together 16 tracks from multiple releases: a long-lost demo the pair recorded in 1992, the following year’s “These Monsters Are Real”, and 1994’s “Direction 7” recordings.
Older and wiser but as full of conviction as they were all those decades ago, Heavens to Betsy remind us that righteous feminist fury never loses its relevance or power.
The kickoff date of Bob Dylan’s “Lights of Autumn” European tour at Oslo’s Spektrum generated a lot of attention over the weekend due to the addition of guitarist Mike Seal, surprise covers of Randy Newman’s “Louisiana 1927” and Guy Clark’s “Dublin Blues,” and the first live rendition of “Crash on the Levee (Down in the Flood)” since 2005.
But the song we keep returning to from the remarkably clean recording of the show that emerged the next morning (recorded on an Apple Watch) is “Tangled Up in Blue.” Dylan hadn’t played the “Blood on the Tracks” classic in eight years, but it’s hardly a rarity since he did it 1,709 times between times between 1975 and 2018, fourth in the all-time records behind “Like a Rolling Stone,” “Highway 61 Revisited,” and “All Along the Watchtower.”
Unlike those standards, however, “Tangled Up in Blue” continued to evolve in substantial ways over the decades, musically and lyrically.(The Dylan super-fan dylyricus once launched the “Project Tangled” endeavor in which he listened to every single rendition and logged each alteration.
In Norway, Dylan gave Project Tangled a lot of new material by radically stripping back “Tangled Up in Blue” to a torch ballad he performed on the piano with minimal accompaniment. The saga of the star-crossed lovers begins in familiar fashion (“Early one mornin’ the sun was shinin’/He was layin’ in bed/Wond’rin’ if she’d changed at all/If her hair was still red”), but then the third verse takes a totally different course from all past renditions.
“Way up north in the frozen woods,” Dylan sings. “Teardrops touch the sky/The leaves are falling one by one/And the mornings pass you by/Sometimes it gets so quiet/Sometimes it’ll get in the way/Look here for another/Tomorrow’s another day.”
The verse concludes like the original (“And all the while I was alone/The past was close behind I seen a lot of women/But I never escaped her mind, and she just grew”), but then the next one is again totally different.
“Things were getting to cost too much,” Dylan sings. “Summer slipped through my hand/Certain truths about that thing I never did understand/You bury the hatchet, you put it to bed/Sometimes you go for a ride/Nothing ever looks the same/After you’ve been on the other side/They turns around, merge and disappear/What I know he was looking at/He never did find it here/Neither did you/Tangled up in blue.”
Just a few years ago, it would be near-impossible to get a clean transcription like that from a single live Dylan performance, since so much of it would have been slurred and garbled. But he’s wisely shrunk the band down and softened their approach in order to highlight what remains of his voice, which hasn’t sounded this crisp in quite a while.
We’ll resist analyzing new couplets like “Summer slipped through my hand/Certain truths about that thing I never did understand,” but it’s hard to imagine the Dylan of 1975 or even 1995 singing those lines. The song, one of his all-time greats, has grown along with him.
The first time he gave “Tangled Up in Blue” a significant re-write was in 1984 when he played a European stadium tour with co-headliner Carlos Santana and special guest Joan Baez, who bolted after just a few shows. (They haven’t shared a stage a single time since.) This wasn’t Dylan in his finest era as a live performer, as evidenced by the dismal concert LP “Real Live”, but this new “Tangled Up in Blue” was revelatory.
“I always wanted it to be the way I recorded it on “Real Live,”Dylan told Bill Flanagan in 1985. “The old ones were never quite filled in. I rewrote it in a hotel room somewhere. I think it was Amsterdam. I wanted to sing that song so I looked at it again, and I changed it. When I sang it the next night I knew it was right. It was right enough so that I wanted to put it down and wipe the old one out. That was another of those songs where you’re writing and you’ve got it, you know what it’s about, but half of it you just don’t get the way you wanted to. Then I fixed it up, and now I know it’s where it should be.”
He didn’t touch the song again until the Never Ending Tour began in 1988, and it continued to mutate in significant ways over the next three decades. Most fans feel it reached its peak during the Charlie Sexton/Larry Campbell era of 1999 to 2002 where it would regularly be stretched out beyond the eight-minute mark, and became a showcase for the skills of each band member.
It’s hard for this brand new rendition of “Tangled Up in Blue” to compete with those turn-of-the-millennium ones on a musical level since that was one of the greatest bands Dylan ever used, and he was a relatively youthful 60. But on a purely emotional level, the one he debuted in Oslo is right up there.
Back in 1974, Dylan began writing “Tangled Up in Blue” in tiny red notebooks that now reside at the Morgan Library in New York City and the Bob Dylan Archive in Tulsa. He recorded it that September in New York, and almost immediately second-guessed himself and redid it that December in Minneapolis. But the story didn’t end there. And it’ll continue as long as he’s stays on the road, headed for another joint.
The experimental shoegazers TAGABOW show off the versatility with a commanding performance of ‘Violence I.’
Since 2017, the brilliant, bracing Philly shoegaze four-piece TAGABOW has been steadily refining a sound both pioneering and reverential, manifesting a radical new spin on the templates created by master noise merchants Sonic Youth, My Bloody Valentine and Neil Young. Bolstered by blitzkrieg guitars, earworm melodies and the frenetic, pounding assault of their concussive rhythm section, TAGABOW features harrowing-if-ultimately-life-affirming tales of addiction, relapse and redemption pulled straight from the real-life struggles of frontman and principal songwriter Douglas Dulgarian.
As part of “The One For New York”. concert film, we recruited TAGABOW to be one of the acts on the three-day, seven-band bill in support of Dinosaur Jr. and their set was a master class in anthemic catharsis and ecstatic demolition. Check out this video to see them play their song “Violence I” to a rapt audience at TV Eye in Ridgewood Queens.
Performing in their trademark circle formation, with the band facing each other and Dulgarian singing from the audience, the band highlighted the highwire versatility and vast tonal and emotional range and depth . Like generations of great artists before them, TAGABOW wrenches novel sounds from the stalwart tools we created decades ago and continue to innovate to this day. May the circle be unbroken.
Mon Rovîa’s breathtakingly beautiful debut ‘Bloodline’ is a searching, deeply human album that weaves memory, lineage, protest, and care into a living companion – an intimate indie folk journey through suffering and self-discovery that holds fast to love, hope, and empathy, inviting us to leave the world a little better than we found it.
The record channels themes of identity, survival, and transformation into a sound and story that have already resonated with millions worldwide. Mon’s music is rooted in his groundbreaking Afro-Appalachian folk sound, a genre-defying blend that bridges folk tradition and modern storytelling. At the heart of Mon Rovia’s artistry is a commitment to fostering community and connection. Whether performed in intimate settings or reaching millions online, his work resonates as a call to gather, to reflect, and to imagine a more connected future together.
But what makes “Bloodline” feel so striking isn’t only how soothing it sounds. It’s what that softness is doing. Mon Rovîa writes with the calm conviction of someone trying to leave the world a little more human than he found it – and if the album often feels spellbinding, it’s because his songs are built like lanterns: Warm enough to hold, bright enough to see by, steady enough to follow when everything else feels unstable.
Built on chance connections and a defining love of guitar music, Arkayla are earning a place among Manchester’s illustrious musical alumni. Cal Blakebrough getting stood up could have been just another forgettable night – a bruised ego and a story told on bleary nights at the pub.
Instead, it sparked “Waste of Time,” one of the standout tracks on Arkayla’s 2025 EP “Don’t Look For Answers“, and a reminder that sometimes rejection can be the best kind of inspiration. The song quickly became a highlight of Arkayla’s sets, with fans belting out every line like it’s their own story, setting the tone for the band’s infectious live energy.
“We weren’t setting out to ‘make an EP’ this time,” says Blakebrough. “We just wanted to supercharge our live set with as much excitement as possible. That energy really comes across in the songs and the production – they were built for the stage.”
Blakebrough and his bandmates – Joe Harley, Finley Rubens, and Dylan Murphy – spent 2025 sweating it out on stages that have launched generations of Manchester talent, turning what could have been a one-off moment into anything but a waste of time. Support slots grew bigger, crowds grew louder, and by the end of the year, the four-piece headlined their biggest hometown show yet: a 900-capacity sellout at Manchester’s O2 Academy, confirming their status as one of Britain’s most talked-about rising indie bands.
Praised for their nostalgic undercurrents, Arkayla have drawn comparisons to The Smiths, the La’s, and Oasis, setting them up for a comfortable spot among Manchester’s illustrious music alumni.
That nod to the past is evident on their record, which channels the band’s live-wire energy into a batch of tight, guitar-driven songs – from the breezy and “criminally underrated” (according to one fan) “Doctor” to the explosive “Long Way Back.”
Compared to their previous release, “Ella Malone”, which many have described as “Beatles-esque,” this EP feels more natural and self-assured, signaling a band growing into their sound.
Building on the momentum earned last year, the band is gearing up for a run of shows across Europe starting in February. Arkayla said about the unbelievable moments standing on iconic stages, staying optimistic, and why, when the world is f**ed, that’s exactly when some of the best music gets made.
A legend is a heavy thing to carry. It has been 27 years since the last album by The Olivia Tremor Control. In that time, they have influenced countless bands, been the subject of documentaries and biographies, and now, finally, improbably, there is a third Olivia Tremor Control album. In the 1990s,
The Olivia Tremor Control released two albums of experimental and psychedelic pop genius, “Music From TheUnrealized Script: Dusk At Cubist Castle” (1996), and “Black Foliage: Animation Music Vol. 1” (1999). As founding members of the Elephant 6 collective, they redefined the U.S. underground scene, injecting bright paisley colors and sonic adventure into a scene weighed down by grim irony and a fear of pretension.
Work began on this album as far back as 2005 but progress was slowed by other projects, other responsibilities, but in 2010, the band began to record. By 2011, Olivia Tremor Control had reemerged as a fully active band. Then in 2012, Bill Doss suddenly passed away. In 2024, with the album nearly finished, Will Hart unexpectedly died. Drawing on his extensive collections of notes, “The Same Place” was finally completed by the surviving band members, the broader Elephant 6 community, and producers Derek Almstead, Jason NeSmith, and Ron Kwasman.
“The Same Place” does everything The Olivia Tremor Control ever did well. It also does it better, and goes further, than anyone could have imagined was possible
Tony Iommi, the founding member of Black Sabbath and the godfather of heavy metal, returns with his first new solo music in 21 years and his first full-length release since Black Sabbath’s final album “13″. Across eight inventive, expansive and absorbing tracks, Tony and long-term producer Mike Exeter shape one of 2026’s defining rock albums. It is sonically heavy and rich in texture, bringing a long-held musical vision to life with some of the finest guitar playing of his career.
“From The Dark” sees Iommi joined throughout by Jorn Lande, who shares writing credits on all songs, as well as bassist Becky Baldwin and drummer Karl Brazil. Co-produced by Tony and Exeter, the sound is crystalline, vibrant and enormous, engulfing the listener in a state-of-the-art sonic experience that is as contemporary as it is timeless. Iommi says: “It’s an album we’ve really enjoyed making. We’re not trying to prove anything — it’s a great album, it rocks!”
Tony Iommi – Guitar Jorn Lande – Vocals Karl Brazil – Drums Becky Baldwin – Bass Mike Exeter – Keyboards
The Drums is the debut studio album by the American indie pop band The Drums. It wasoriginally released June 7th, 2010. The album contains the singles “Let’s Go Surfing,” “Best Friend,” “Me and the Moon” and “Forever andEver, Amen” as well as “Down By The Water,” which had previously been released as part of the band’s “Summertime!” EP.
The album was recorded in Jacob Graham’s apartment in Florida, the band’s apartment in New York City, and in a shack in Woodstock, New York. The Album is certified gold in the UK, The single “Let’s Go Surfing” was used in advertising for Volkswagen, and it featured frequently in the third series of the E4 coming-of-age sitcom The Inbetweeners and October 2011,
NME placed it at number 60 on its list of the “150 Best Tracks of the Past 15 Years”. To celebrate the albums 15th anniversary in 2025 the album has been repressed on Transparent Blue Vinyl.
The band Triggerfinger are massive in mainland Europe, once replacing Foo Fighters at Pinkpop without a squeak of protest. While their UK footprint doesn’t quite measure up, Ruben Block (vocals/guitar) and Mario Goossens (drums) could yet cross over, with sixth album “Tarmac” evoking a continental Queens Of The Stone Age.
We started writing “Tarmac” in 2023. You become so attached to it. It’s addictive. Then suddenly it’s not yours any more. It’s out there in the world, and everyone has an opinion about it.
Ruben Block: This album is not a one-trick pony. We write about life, the joyous and tragic events. Taking care of your parents and them passing away. Having kids of your own who start finding their way in life. That’s why we thought “Tarmac” was a good title. It’s both a landing place and a place to depart from.
“Tarmac” marks a new era for the Belgian rock band Triggerfinger, as it is their first album without longtime bassist Monsieur Paul. The record was written and recorded in Antwerp and Los Angeles with producer Mitchell Froom.
“Tarmac” is Triggerfinger’s sixth studio album, released in September 2026, featuring 11 tracks including “Everybody’s Looking,” “Stars,” and “Geronimo,” and issued on and multiple vinyl editions.
Pink Floyd have shared a newly restored high-resolution footage of George Greenough’s iconic short film of their classic track “Echoes”, from 1973 cult-classic surf film Crystal Voyager.
It comes as Pink Floyd get ready to release a coloured vinyl edition of their landmark 1971 album “Meddle”, for this year’s National Album Day, through Sony Music on October 17th.
The footage of “Echoes” is taken from cult-classic 1973 Australian surf film Crystal Voyager, a 1973 documentary directed by David Elfick. Searching for an appropriate soundtrack for footage which allowed the audience to see footage from inside a wave for the first time ever, surfer, photographer and filmmaker George Greenough, who wrote and narrated the film, stumbled across a record his mother had bought for him. Upon hearing the closing track, “Echoes”, he noted its perfectly matched 23-minute running time.
“We watched it for the first time when we were on tour in Australia and we were all blown away by it,” says Nick Mason. “It was absolutely sensational. Nowadays everyone’s got a GoPro fixed to their wetsuit, but at the time it was mind-blowing to see the guy with the camera strapped to his chest, going through the water tunnel.
“It did feel experimental at the time because basically we were left to our own devices, and we didn’t have a producer as such. We sort of made the album ourselves, and of course that meant that the engineering staff in Abbey Road were very happy to come along and see what they could do. The great thing with “Meddle” is that it’s the band playing for the enjoyment of it. It probably is one of the freest albums of all in terms of how we played it. It was one of those things that we really looked forward to playing.”
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