OPINION: The Rolling Stones just destroyed decades of credibility with one shitty music video 📺
🗣; "We have a problem in today’s music industry, a big, glaring one that can’t be ignored anymore. And it’s this: for the most part, legacy acts don’t know how to be. They’re older, they’re wiser, they probably have more to offer than they ever did – so why do they struggle to remain modern and relevant without hopping aboard the nostalgia train and flogging a dead horse?
In other words: The Rolling Stones, what the hell are you doing?"
Read the full opinion on our 🔗 in bio
🎥: The Rolling Stones - 'In The Stars'
BLUE PLAQUE: 3 Savile Row, Mayfair - The Beatles’ final farewell 📍
The roof upon which The Beatles played their last ever gig, is soon to be open to the public who can stand on hallowed ground and celebrate history's greatest band.
But we couldn't wait until then and went down to dig into the history of The Beatles and 3 Savile Row.
#TheBeatles #3SavileRow #FarOutMagazine
David Bowie once said, “I’m a person who can take on the guises of people I meet. I’m a collector, and I collect personalities and ideas.” Somehow, Tyler Ballgame might be reincarnating that notion.
It’s not as if he is going to don some space-age costume and paint a bright red bolt over his eye anytime soon; you don’t have to worry about that. But in terms of the idea of persona, characters, and bringing a guise of oneself to the stage rather than the human left behind, the LA songwriter might be the closest modern example we’ve seen since the classics.
Ballgame has taken the indie world by storm since the release of his debut album, For the First Time, Again, in January. This was only four months ago, of course, but it seems that the fortunes have suddenly very much spun in the singer’s favour, having signed to Rough Trade and already being compared to everyone from Harry Nilsson to Roy Orbison.
Exploring the persona of Tyler Ballgame - read the full cover story on our 🔗 in bio
INTERVIEW: Jeremy Slater 🎯
Video game adaptations remain one of cinema’s most frequently poisoned chalices, but as a lifelong fan of the games, screenwriter Jeremy Slater didn’t hesitate when he was asked to pen 'Mortal Kombat II', which he also executive produces.
While this is the first time he’s scripted a console-to-screen movie, he’s no stranger to genre fare, with his previous credits including co-writing gigs on Adam Wingard’s 'Godzilla x Kong: The New Empire' and 'Death Note'.
Slater is no slouch on the small screen, either, having created, executive-produced, and served as the showrunner on both the sequel series to 'The Exorcist' and Marvel Studios’ 'Moon Knight', starring Oscar Isaac, not to mention his role in developing and executive producing The Umbrella Academy for Netflix.
It’s been five years since director Simon McQuoid’s 'Mortal Kombat' was released, and the follow-up seeks to increase the ante. Whether it’s characters, fight sequences, or bloody fatalities, the second instalment was written with the hope of giving the fans everything they wanted.
🗣️ “We especially didn’t want a martial arts tournament movie where the only excitement was happening in the tournament, and once a fight ends, now the audience knows it’s going to be ten minutes before anything fun happens."
Read the full interview on our 🔗 in bio
📷: Far Out / Warner Bros
🔁ICYMI: Our May cover story with @tyler.ballgame 🪽
David Bowie once said, “I’m a person who can take on the guises of people I meet. I’m a collector, and I collect personalities and ideas.” Somehow, Tyler Ballgame might be reincarnating that notion.
It’s not as if he is going to don some space-age costume and paint a bright red bolt over his eye anytime soon; you don’t have to worry about that. But in terms of the idea of persona, characters, and bringing a guise of oneself to the stage rather than the human left behind, the LA songwriter might be the closest modern example we’ve seen since the classics.
Ballgame has taken the indie world by storm since the release of his debut album, For the First Time, Again, in January. This was only four months ago, of course, but it seems that the fortunes have suddenly very much spun in the singer’s favour, having signed to Rough Trade and already being compared to everyone from Harry Nilsson to Roy Orbison.
Exploring the persona of Tyler Ballgame - read the full cover story on our 🔗 in bio
“You can often use commercial breaks to your benefit,” the all-American cowboy and filmmaker Taylor Sheridan once remarked. That defining quote perhaps makes him the foremost auteur when it comes to incorporating the sale of Fords, vacations to Montana, and insurance policies.
The permanently hatted Yellowstone creator has also perhaps used these respite windows to boost his productivity. In recent years, he has rapidly bolstered his filmography, and you could even argue that he is behind the rise of the neo-western genre.
He once explained, “People have seen so many films that they can intuit what happens next. They can feel ‘Here’s what’s coming.’ I wanted it to feel like anything could happen at any point.” But generally speaking, it will involve a gun, a long shot, a horse, and despair.
With that in mind, our resident cartoonist, David Squires, muses that we might not be all that far away from a ‘choose your own adventure’ incarnation of the Taylor Sheridan universe.
Joy Division lyrics that made Ian Curtis an icon 🖤➡️
There’s palpable and visceral poetry to Joy Division’s lyrics. Only spread across a comparatively small canon, considering the band’s huge impact, lead singer Ian Curtis delivered an array of themes and motifs that not only reflected a world slowly trudging its way into cold and lifeless modernity but also the intense and intrinsic sadness of Curtis’ personal life.
Following the singer’s tragic suicide in 1980, those lyrics that had once felt so charged and evocative now came with an extra dose of realism that had been largely unwanted. This extra weight has landed most definitely on the generations who followed the initial spurt of Joy Division’s success.
As kids have found their way to the work of the band, often guided by the morose melancholy of adolescence, a sense of belonging has been found in the sonic walls of the band’s impressively rich record collection.
Curtis is rightly revered as one of the foremost leaders of the post-punk movement. He may only have been at the helm for a few short years, but Curtis entire performance, demeanour and lifestyle made him the genre’s unanointed king.
✍️ Jack Whatley
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The Beach Boys‘ Al Jardine has admitted that he has no relationship with his former bandmate Mike Love.
The public fallout between the pair exploded in 2025 when Jardine criticised Love’s speech during the funeral of Brian Wilson, who sadly died last June aged 82.
Jardine said of Love’s speech, “Mike wanted everybody to know that he wrote every single word of ‘Good Vibrations’. I didn’t feel the compassion, let’s put it that way. Mike’s got some serious megalomania problems.”
During his own speech at the funeral, the 83-year-old then used his time to deliver a barb at Love, telling those in attendance, “Mike, I’ve written some songs with Brian myself.”
Love then hit back at Jardine’s claims about his speech, with a representative for the musician stating that the version of events told was “not true”.
Now, in a new interview with The I, Jardine has revived the decades-long feud, admitting, “I have no relationship with him. It’s hard to explain, but sometimes it’s better to leave things alone. He’s very quiet now. He doesn’t talk much.”
However, they are set to cross paths in the not-so-distant future, with Jardine adding, “When I see him, I’ll see if he’s still talking to me.”
Jardine and Love previously had a legal entanglement over the use of The Beach Boys’ name following the death of Carl Wilson in 1998, with Love winning the right to tour under the moniker.
While Jardine is no longer a member of The Beach Boys’ touring band, Love will be visiting the UK under the historic band’s name this summer.
Shows are lined up in June in London, Edinburgh, Halifax, Southampton, Wolverhampton and Belfast.
Paul McCartney has explained how growing up in post-war Liverpool was pivotal in shaping the mindset of The Beatles.
McCartney was born in the middle of World War II in 1942, but his earliest memories are from the post-war period, which had a huge effect on him and his entire generation.
During a new appearance on The Rest is History, McCartney reminisced about those formative years in conversation with historian Tom Holland and discussed having Liverpool to thank for the person he is today.
He shared, “I do think the character of Liverpool is a very strong one. I think with the Irish influence and then coming through the war, and having to be happy when bombs were falling, there was a lot of music when I was a kid.”
McCartney, whose new album The Boys of Dungeon Lane is a love letter to his early days in Liverpool, continued, “My dad played the piano at home. There were a lot of jokes. And so they kept their heads above water by laughing at the whole thing. And I think that was something that found its way into the Beatles.”
The Beatles legend then explained how those characteristics that were ingrained in the band due to their Liverpool upbring manifested when they were exposed to the wider world, “I think it gave us a good sense of humour – that no matter what we were going to do, like arrive in America and have the New York press ready to make fun of us, we gave as good as we got.”
McCartney gratefully added, “And that was because of our Liverpool upbringing.”
Elsewhere in the conversation, McCartney stated that growing up around people who had survived World War II gave him a thick skin and made him able to see the humour in any situation, sharing, “When I grew up, there was a lot of joy. I think everyone was just so glad to be out of these terrible circumstances. And my uncles were all great joke tellers.”
He elaborated, “And I never heard any of them sort of sitting around going, ‘Oh, God, life’s terrible’. You know, there was none of that. It just, they’d come through it, and so it kind of wasn’t allowed.”
Happy Birthday to the incomparable Brian Eno. 🎂
When it comes to being an influential voice in music, few have managed to shape so many different styles and trends as Brian Eno.
From being a key member of the art rock group Roxy Music on their first two albums to his pioneering work in ambient music, the career trajectory of the Suffolk-born artist has taken many unusual twists and turns, but every single one of them has proven to be fascinating in its own right.
His work as a producer is perhaps what he ought to be most celebrated for, and his collaborations with the likes of David Bowie, Devo and U2 remain some of his finest achievements. However, it was on a trio of albums that he assisted Talking Heads where his prowess truly shone most, and his production on 'More Songs About Buildings and Food', 'Fear of Music' and 'Remain in Light' was truly groundbreaking for its time.
Introducing the band to different rhythms and synthesised sounds pushed the group in a far more experimental direction over the course of this trilogy, and by the time they came to release Remain in Light in 1980, the band sounded drastically different from the group that had made 'Talking Heads: 77' just three years prior.
It was Eno’s influence that brought the polyrhythms and repetitive grooves of African music to the table, with Afrobeat, in particular, being a major source of inspiration to the group.
Eno has said in the past that the music of Fela Kuti was something of a revolutionary discovery for him, and the story of him finding the Nigerian artist’s music for the first time is perhaps one we can all relate to. “I walked into a record shop and found a record with a rather strange cover; it was called Afrodisiac, and it was by somebody called Fela Kuti,” Eno recalled. “I just bought it really on the strength of the cover.” We might all have been taught at one point in our lives never to judge a book by its cover, but the same can’t necessarily be said for someone browsing a record store.
Read Morrissey’s scathing 1976 review of The Ramones 💥➡️
Many of us have something of what you’d call a complicated relationship with The Smiths.
Their music is undeniably wonderful. They own a sound that has a deeply melancholic and introspective feel that somehow has the magic ability to take your hand lovingly and guide you on a tranquil journey. The story of The Smiths, however, is entirely incongruous to that.
✍️ Kelly Murphy
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EXISTENTIAL BOOZER: Felix White on the greatest Oasis track of all time 🍻
After catching up with Far Out in a pub garden with his Maccabees bandmates last summer, Felix White has returned but this time, to the Existential Boozer.
Over a Guinness, Felix goes beyond the music to deliberate life, death and everything in between. Football, relationships and an undying love for the masters of a guitar all crop up in this Proustian conversation, at the trusted Ivy House in Peckham.
Watch the full episode at the link in our bio 🔗
